Poems List

The Cry Of The People

The Cry Of The People

Fire! Fire! Fire! the cry rang out on the night air,
The roving winds caught it up, and the very heavens resounded.
Louder and louder still, by voices grown hoarse with terror,
The cry went up and out and a nation stood still to listen.


'Come, for the love of God, and help us fight the demon!
Come and help us to chain the fiend that is making us homeless:
His hot and scorching breath has melted our hard-earned fortunes,
And, not contented with this, he is snatching our loved ones from us.
The air is thick with the stream that pours in clouds from his nostrils:
Come, for the love of God, and help us to fetter or slay him.'


The ear of the Nation heard, the heart of the Nation responded:
The smith left anvil and forge, and hastened to render assistance;
The clergyman went from the pulpit, the lawyer went from his office,
The houses of trade were closed, and a Nation was in commotion.
For the hungry tongue of Fire was lapping the skirts of the city,
The royal Queen of the West, and her people were crying in anguish.


Nobly and well they worked, till they chained and fettered the demon,
Bound him hand and foot, and hindered his work of destruction.
Over the land on wires, over the mighty cable,
Flashed the terrible truth: 'Ruin and destitution
Reigns where but yesterday there was lavish wealth and plenty.'
And up from the South came aid, and aid came down from the Northland,
And it came from East and West, wholesome food for the hungry,
Shelter for houseless heads, and clothes to cover the naked.


Hark! there's a sound abroad, like the cry of a suffering people,
Loud and louder it swells, and echoes from ocean to ocean,
The raving winds catch it up, and from throats that are hoarse with crying
The wail goes up and out, but is answered only by echoes.


'Come for the love of God, and help us to fetter the demon
That is taking the bread from our mouths, and the mouths of our helpless children;
He is walking abroad in the land, and all things perish before him:
Homesteads crumble away, and fortunes vanish like snow wreaths;
And, not contented with this, he is slaying our best and our fairest,
Stealing the brains of the wise, and bringing the young to the gallows;
He is making the home forlorn, and crowding the jails and the prisons,
He moves the hand of the thief-he drives the assassin's dagger.'


The ear of the Nation is deaf, the heart of the Nation is hardened:
The smith at his anvil and forge sings in the midst of his labor;
The clergyman stands in his pulpit, and prays for the soul of the sinner,
But says no word of the fiend who wrecked and ruined the mortal;



The lawyer smokes his cigar or sips his glass of Burgundy;
The merchant, day after day, thinks only of buying and selling.


And up and down through the land, night and day, walks the demon,
Poverty, sorrow, and shame follow the print of his footsteps.
The cry of the people goes up, a cry of anguish and pleading,
But only a few respond, a few too feeble to chain him.
The multitude stands aloof, or aids the fiend of destruction,
While he tramples under his hoofs hundreds and thousands of victims-
And the multitude's ear is deaf to the wail of the beggared orphans.


Shame, oh! shame to the Nation that leaves the demon of Traffic
Free to roam through the land, and pillage and rob the helpless.
Shame to the multitude that will not render assistance,
But leaves a few to do what many can only accomplish.


Arouse! ye listless hosts! and answer the suffering people!
Spring to the aid of the million, as ye sprang to the aid of the thousand:
As you fettered the demon Fire, fetter the demon Traffic,
Who slays his tens of thousands, where the other slew only hundreds.
450

The Common Lot

The Common Lot

It is a common fate – a woman’s lot –
To waste on one the riches of her soul,
Who takes the wealth she gives him, but cannot
Repay the interest, and much less the whole.

As I look up into your eyes, and wait
For some response to my fond gaze and touch,
It seems to me there is no sadder fate
Than to be doomed to loving overmuch.

Are you not kind? Ah, yes, so very kind –
So thoughtful of my comfort, and so true.
Yes, yes, dear heart; but I, not being blind,
Know that I am not loved, as I love you.

One tenderer word, a little longer kiss,
Will fill my soul with music and with song;
And if you seem abstracted, or I miss
The heart-tone from your voice, my world goes wrong.

And oftentimes you think me childish – weak –
When at some thoughtless word the tears will start;
You cannot understand how aught you speak
Has power to stir the deapths of my poor heart.

I cannot help it, dear – I wish I could,
Or feign indifference where I now adore;
For if I seemed to love you less, you would,
Manlike, I have no doubt, love me the more.

‘Tis a sad gift, that much applauded thing,
A constant heart; for fact doth daily prove
That constancy finds oft a cruel sting,
While fickle natures win the deeper love.
348

The Christian’s New Year Prayer

The Christian’s New Year Prayer

Thou Christ of mine, Thy gracious ear low bending
Through these glad New Year days,
To catch the countless prayers to heaven ascending –
For e’en hard hearts do raise
Some secret wish for fame, or gold, or power,
Or freedom from all care –
Dear, patient Christ, who listeneth hour on hour,
Hear now a Christian’s prayer.

Let this young year, silent, walks beside me,
Be as a means of grace
To lead me up, no matter what betide me,
Nearer the Master’s face.
If it need be ere I reach the Fountain
Where living waters play,
My feet should bleed from sharp stones on the mountain,
Then cast them in my way.

If my vain soul needs blows and bitter losses
To shape it for Thy crown,
Then bruise it, burn it, burden it with crosses,
With sorrows bear it down.
Do what Thou wilt to mould me to Thy pleasure,
And if I should complain,
Heap full of anguish yet another measure
Until I smile at pain.
Send dangers – deaths! but tell me how to dare them;
Enfold me in Thy care.
Send trials, tears! but give me strength to bear them –
This is a Christian’s prayer.
316

The Camp Fire

The Camp Fire

When night hung low and dew fell damp,
There fell athwart the shadows
The gleaming watchfires of the camp,
Like glow-worms on the meadows.
The sentinel his measured beat
With measured tread was keeping,
While like bronze statues at his feet
Lay tired soldiers, sleeping.


On some worn faces of the men
There crept a homesick yearning,
Which made it almost seem again,
The child-look was returning.
While on full many a youthful brow,
Till now to care a stranger,
The premature grave lines told how
They had grown old through danger.


One, in his slumber, laughed with joy,
The laughing echoes mocked him,
He thought beside his baby boy
He sat and gaily rocked him.
O pitying angels! Thou wert kind
To end this brief elysian,
He found what he no more could find
Save in a dreamer's vision.


The clear note of a mocking bird-
That star of sound-came falling
Down thro' the night; one, wakeful, heard
And answered to the calling,
And then upon the ear there broke
That sweet, pathetic measure,
That song that wakes-as then it woke,
Such mingled pain and pleasure.


One voice at first, and then the sound
Pulsed like a great bell's swinging,
'Tenting to-night on the old camp ground,'
The whole roused camp was singing.
The sense of warfare's discontent
Gave place to warfare's glory;
Right merrily the swift hours went
With song, and jest, and story.


They sang the song of Old John Brown,
Whose march goes on forever;



It made them thirsty for renown,
It fired them with endeavor.
So much of that great heart lives still,
So much of that great spirit-
His very name shoots like a thrill
Through all men when they hear it.


They found in tales of march and fight
New courage as they listened,
And while they watched the weird camp-light,
And while the still stars glistened,
Like some stern comrade's voice, there broke
And swept from hill to valley
'Til all the sleeping echoes woke,-
The bugle's call to rally!


'To arms! to arms! the foe is near!'
Ah, brave hearts were ye equal
To hearing through without one fear
The whole tale's bloody sequel?
The laurel wreath, the victor's cry,
These are not all of glory;
The gaping wound, the glazing eye,
They, too, are in the story.


And when again their tents were spread,
And by campfires they slumbered,
The missing faces of the dead
The living ones outnumbered.
And yet, their memories animate
The hearts that still survive them,
And holy seems the task, and great,
For one hour to revive them.
320

The Boys' And Girls' Thanksgiving of 1892

The Boys' And Girls' Thanksgiving of 1892

Never since the race was started,
Had a boy in any clime,
Cause to be so thankful-hearted,
As the boys of present time.


Not a girl in old times living-
Let the world talk as it may-
Found such reasons for Thanksgiving,
As the girls who live to-day!


Grandmas, in their corners sitting,
Toiling till the day grew late,
What knew they with endless knitting,
Of the jolly roller-skate?


Grandpas sitting by the fender,
Reading by the faggots' blaze,
What knew they of modern splendor
Found in incandescent rays?


Where they toiled in bitter weather,
Braving rain and snow and sleet,
Gathering sticks of wood together,
We have radiators' heat.


But these fruits of modern science
They first planted seed by seed,
In their strength and self-reliance
We may find a noble creed.


With the dawn of great inventions,
Came the anti-warring days.
Men are sick of armed contentions,
God be thanked with heart-felt praise.


Once a boy was trained for fighting,
Now the world is better taught,
'Tis an age when wrongs are righting
By the force of common thought.


Once a girl was trained for sewing,
Spinning, knitting, nothing more.
She must never think of knowing
Aught of things outside her door.


If she soared above her spinning,
If she sought a life more broad,
She was looked upon as sinning
'Gainst the laws of man and God.


Now a girl is taught she's human,
Brain and body, soul and heart



All are needed by the woman
Who to-day would play her part.


Swift and sure the world advances,
Let the critic carp who may.
God be praised for all the chances
Boys and girls enjoy to-day.
474

The Belle's Soliloquy

The Belle's Soliloquy

Heigh Ho! Well, the season’s over!
Once again we’ve come to Lent!
Programme’s changes from balls and parties –
Now we’re ordered to repent.
Forty days of self-denial!
Tell you what, I think it pays –
Know’t’l freshen my complexion
Going slow for forty days.

No more savoury French suppers –
Such as Madame R- can give.
Well, I need a little thinning –
Just a trifle – sure’s you live!
Sometimes been afraid my plumpness
Might grow into downright fat.
Rector urges need of fasting –
Think there’s lot of truth in that.

We must meditate, he tells us,
On our several acts of sin,
And repent them. Let me see now –
Whereabouts shall I begin!
Flirting – yes, they say ‘tis wicked;
Well, I’m awful penitent.
(Wonder if my handsome major
Goes to early Mass though Lent?)

Love of dress! I’m guilty there too –
Guess it’s my besetting sin.
Still I’m somewhat like the lillies,
For I neither toil or spin.
Forty days I’ll wear my plainest –
Could repentance be more true?
What a saving on my dresses!
They’ll make over just like new.

Pride, and worldliness and all that,
Rector bade us pray about
Every day through Lenten season,
And I mean to be devout!
Papa always talks entrenchment –
Lent is just the very thing.
Hope he’ll get enough in pocket
So we’ll move up town next spring.
391

The Black Charger

The Black Charger

There's a terrible steed that rests not night nor day,
But onward and onward, for ever away,
Through hamlet, through village, through country, through town,
Is heard the dread thud of his hoofs beating down;
Is seen the fierce eye, is felt the hot breath;
And before it, behind it, spreads ruin and death:
By castle, by cottage, by hut, and by hall,
Still faster and fiercer he passes them all.


He breathes on the youth with the face of the morn,
He leaves him a mark for the finger of scorn;
He cries, 'Mount and ride! I will bear you away
To the fair fields of pleasure. Come, mount me, I say!'
And, alas for the youth! he is borne like the wind,
And he leaveth his manhood, his virtue, behind;
And faster, still faster, he speeds down the track,
Where many shall follow, and few shall come back.


He breathes on the heart that is stricken with grief:
'Come, mount me! and fly to the plains of relief.
I will bear you away to the fair fields elysian,
Where your sorrows shall seem but a long-vanished vision.
With the future before you, forgetting the past,
You shall revel in pleasure, rejoicing at last.'
Ah! whoso shall mount shall ride to his doom:
Shall be sunk in the marshes of terror and gloom.


He breathes on the king, and he breathes on the slave;
On the young and the old from the crib to the grave;
On masterly minds, and they wither away
As the flower droops and dies 'neath a torrid sun's ray;
On beautiful souls that are pure as the light,
And they shrivel, polluted with mildew and blight:
The master, the servant, the high and the low,
He bears them all down to the regions of woe.


Ho! ho! temperance clan! rest ye not night nor day:
Watch, watch for the steed! starve him down! block his way!
Throw him into the dust! seize his long, flowing mane!
Bind his terrible limbs till he quivers in pain.
Stab him through to the heart! beat him down till he lies
Stark and stiff on the earth-beat him down till he dies!
Till never by castle, by cottage, by hall,
Shall again pass the black-hearted steed, Alcohol!
408

The Beautiful Blue Danube

The Beautiful Blue Danube

They drift down the hall together;
He smiles in her lifted eyes.
Like waves of that mighty river
The strains of the ‘Danube’ rise.

They float on its rhythmic measure,
Like leaves on a summer stream;
And here, in this scene of pleasure,


I bury my sweet dead dream.

Through the cloud of her dusky tresses,
Like a star, shines out her face;
And the form of his strong arm presses
Is sylph-like in its grace.
As a leaf on the bounding river
Is lost in the seething sea,
I know that for ever and ever
My dream is lost to me.

And still the viols are playing
That grand old wordless rhyme;
And still those two are swaying
In perfect tune and time.
If the great bassoons that mutter,
If the clarinets that blow,
Were given the chance to utter
The secret things they know.

Would the lists of the slain who slumber
On the Danube’s battle-plains
The unknown hosts outnumber
Who die ‘neath the ‘Danube’s’ strains?
Those fall where the cannons rattle,
‘Mid the rain of shot and shell;
But these, in a fiercer battle,
Find death in the music’s swell.

With the river’s roar of passion
Is blended the dying groan;
But here, in the halls of fashion,
Hearts break, and make no moan.
And the music, swelling and sweeping,
Like the river, knows it all;
But none are counting or keeping
The lists of those who fall.
348

The Ah Goo Tongue

The Ah Goo Tongue

The queerest languages known to man,
Sanscrit, Hebrew, Hindoostan,
Are all translated and made as free
And comprehensive as A B C.


Yet the oldest language talked or sung,
The strange mysterious Ah Goo tongue,
The royal language of Babyland
No man living can understand.


Every soul in the world to-day
Was one time anchored in Babyland Bay,
And quarantined there for a year or more
Before he even could step on shore.


And everybody in Babyland Bay
Talks the Ah Goo tongue, so people say,
But once on land-why not a word
Do they understand of it when 'tis heard.


For the fairy rulers of Babyland
Who guard the kingdom on every hand,
Have willed that no one shall keep the key
Who crosses into the Grown-up Sea.


So the sweet court language has never been made
A common parlance of strife or trade,
But is kept in the kingdom where natives come
Versed in the language of Babydom.


They are all of them royal and that is how
The Grown-up people all kneel and bow,
When they hear that language talked or sung-
The strange mysterious Ah Goo tongue.
393

That's The Way

That's The Way

Just a little every dayThat's
the way!
Seeds in darkness swell and grow,
Tiny blades push through the snow;
Never any flower of May
Leaps to blossom in a burst,
Slowly, slowly, as the first,
That's the way.
Just a little every day.


Just a little every dayThat's
the way,
Children learn to read and write
Bit by bit and mite by mite,
Never any one I say
Leaps to knowledge and its power;
Slowly, slowly, hour by hour,
That's the way!
Just a little every day.
463

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Identification and basic context

Ella Wheeler Wilcox was an American poet and novelist, born in Wisconsin. She is best known for her popular and inspirational poetry, often characterized by its accessible language and optimistic or sentimental themes. Wilcox achieved considerable fame during her lifetime, becoming one of the most widely read and commercially successful poets of her era. Her work often explored themes of love, nature, spirituality, and the power of positive thought, resonating with a broad audience. She wrote primarily in English and was a significant voice in American popular literature during the late 19th and early 20th centuries.

Childhood and education

Wilcox grew up in a rural setting in Wisconsin and showed an early inclination towards writing, composing her first poem at the age of seven. Her formal education was limited; she attended the University of Wisconsin for a brief period but left to pursue her literary ambitions. Despite this, she was a voracious reader and a self-taught individual, largely shaping her own intellectual and artistic development. Her early life experiences, including financial struggles within her family, likely contributed to her later focus on themes of perseverance and positive outlook.

Literary trajectory

Wilcox's literary career began in her youth, with poems appearing in local and then national publications. Her first book of poetry, "The Beautiful and the Ugly," was published in 1877, but it was her poem "The Beautiful World" (later retitled "The World Beautiful") that brought her widespread recognition. She went on to publish numerous volumes of poetry and prose, becoming a prolific and popular writer. Her work evolved in terms of its thematic focus, often emphasizing self-help, spiritualism, and a cheerful disposition, which cemented her reputation as a poet of encouragement and optimism. She was also a regular contributor to newspapers and magazines, further expanding her reach.

Works, style, and literary characteristics

Wilcox's most famous works include poetry collections like "Poems of Passion" (1883), "The Beautiful World" (1890), and "Sonnets of Sorrow and Triumph" (1907), as well as the inspirational prose work "The Art of Being Alive" (1913). Her dominant themes revolve around love, loss, nature, the spiritual realm, and the importance of a positive mental attitude. Her style is generally characterized by simplicity, directness, and a strong emotional appeal, making her poetry highly accessible to a broad readership. She often employed traditional forms like the sonnet but was also known for her lyrical and often aphoristic verse. Her poetic voice is typically warm, empathetic, and encouraging, aiming to uplift and inspire. While not known for radical formal innovations, her strength lay in her ability to articulate common sentiments and philosophical ideas in memorable and quotable ways. Her association with popular poetry and the self-help genre often meant her work was distinguished from more experimental or avant-garde literary movements of her time.

Cultural and historical context

Wilcox wrote during a period of significant social and cultural change in the United States, including the Gilded Age, the Progressive Era, and the rise of the New Thought movement, which emphasized the power of the mind to influence one's circumstances. Her optimistic and spiritual themes aligned well with the prevailing mood of self-improvement and the search for meaning that characterized this era. She was a contemporary of other popular poets and writers, and her work was widely circulated through newspapers and magazines, reflecting the growing mass media landscape. Her accessible style and reassuring messages provided a form of comfort and guidance to many readers navigating the complexities of modern life.

Personal life

Wilcox experienced personal hardships, including her father's early death and the family's subsequent financial difficulties, which likely influenced her later emphasis on resilience and financial independence. She married Robert Wilcox in 1884, and their relationship provided stability. She was known to be interested in spiritualism and New Thought philosophy, which permeated her writing and offered a framework for her optimistic outlook. Her public persona was one of warmth and approachability, and she engaged actively with her audience through her writings.

Recognition and reception

Wilcox achieved immense popularity during her lifetime, becoming one of the best-selling poets in the United States. Her work was widely published, translated, and read, earning her considerable fame and financial success. She was often referred to as "the people's poet." While she enjoyed broad popular appeal and critical acknowledgment of her ability to connect with readers, her work was sometimes viewed by literary elites as sentimental or lacking in artistic depth compared to more formally complex poets. Nevertheless, her place in popular culture and her impact on readers seeking comfort and inspiration are undeniable.

Influences and legacy

Wilcox was influenced by contemporary popular poets and by the philosophical currents of her time, such as New Thought and the broader interest in spirituality and positive thinking. Her legacy lies in her enduring popularity and her contribution to the genre of inspirational poetry. She influenced many subsequent writers in the self-help and inspirational genres, and her poems continue to be quoted and shared for their uplifting messages. While not typically considered a canonical figure in "high" literature, her work remains significant for its widespread appeal and its role in shaping popular literary tastes and providing solace to generations of readers.

Interpretation and critical analysis

Scholarly interpretation of Wilcox's work often focuses on its role within the context of popular literature, the New Thought movement, and the rise of women writers in the late 19th and early 20th centuries. Critics analyze her thematic focus on optimism and self-reliance, and her accessible style, as key factors in her broad appeal. Debates may arise regarding the artistic merit of her sentimentalism versus the genuine emotional resonance of her message.

Curiosities and lesser-known aspects

Wilcox was known for her belief in reincarnation and her interest in occult and spiritualist phenomena. She was also a proponent of vegetarianism. Her prolific output and sustained popularity made her a significant literary entrepreneur of her day. Despite her sentimental image, she was also a strong advocate for women's rights and empowerment, often weaving themes of independence and self-worth into her poetry.

Death and memory

Ella Wheeler Wilcox died in New York City at the age of 69. Her death was widely noted in the press, reflecting her considerable public profile. Her memory is preserved through the continued availability of her books and her frequent inclusion in anthologies of popular American poetry. Her poems remain widely circulated online and in popular culture, continuing to offer messages of hope and encouragement to new generations of readers.