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Pardoned Out

Pardoned Out

I’m pardoned out. Again the stars
Shine on me with their myriad eyes.
So long I’ve peered ‘twixt iron bars,
I’m awed by this expanse of skies.
The world is wider than I thought,
And yet ‘tis not so wide, I know,
But into its remotest spot
My tale of shame can go.

I’m pardoned out. Old Father Time
Who seemed to halt in horror, when
I strained my manhood by a crime,
With steady step moves on again,
And through the black appalling night,
That walled me in a gloom accurst,
The wonder of the morning light
In sudden glory burst.

I’m pardoned out. I shall be knows
No more by number, but by name.
And yet each whispering wind has blown
Abroad the story of my shame.
I dread to see men shrink away
With startled looks of scorn or fear,
When in life’s crowded marts some day,
That name falls on their ear.

I’m pardoned out, ah God! to roam
Like some whipped dog among my kind.
I have no friends, I have no home,
Save these bleak walls I leave behind.
How can I face the world of men,

My comrades in the days of yore?
Oh! hide me in my cell again,
And, warden lock the door.
385

Our Lives

Our Lives

Our lives are songs. God writes the words,
And we set them to music at pleasure;
And the song grows glad, or sweet, or sad,
As we choose to fashion the measure.


We must write the music, whatever the song,
Whatever its rhyme, or metre;
And if it is sad, we can make it glad,
Or if sweet, we can make it sweeter.


One has a song that is free and strong;
But the music he writes is minor;
And the sad, sad strain is replete with pain,
And the singer becomes a repiner.


And he thinks God gave him a dirge-like lay,
Nor knows that the words are cheery;
And the song seems lonely and solemn-only
Because the music is dreary.


And the song of another has through the words
An under current of sadness;
But he sets it to music of ringing chords,
And makes it a pean of gladness.


So whether our songs are sad or not,
We can give the world more pleasure,
And better ourselves, by setting the words
To a glad, triumphant measure.


1872
386

Over The Alley

Over The Alley

Here in my office I sit and write
Hour on hour, and day on day,
With no one to speak to from morn till night,
Though I have a neighbour just over the way.
Across the alley that yawns between
A maiden sits sewing the whole day long;
A face more lovely is seldom seen
In hall or castle or country throng.

Her curling tresses are golden brown;
Her eyes, I think, are violet blue,
Though her long, thick lashes are always down,
Jealously hiding the orbs from view;
Her neck is slender, and round, and white,

And this way and that way her soft hair blows,
As there in the window from morn till night,
She sits in her beauty, and sings and sews.

And I in my office chair, lounge and dream,
In an idle way, of a sweet 'might be, '
While the maid at her window sews her seam,
With never a glance or a thought for me.
Perhaps she is angry because I look
So long and so often across the way,
Over the top of my ledger-book;
But those stolen glances brighten the day.

And I am blameless of any wrong; She
is the transgressor, by sitting there
And making my eyes turn oft and long
To a face so delicate, pure and fair.
Work is forgotten; the page lies clean,
Untouched by the pen, while hours go by.
Oh, maid of the pensive air and mien!
Give me one glance of your violet eye.

Drop your thimble or spool of thread
Down in the alley, I pray, my sweet,
Or the comb or ribbon from that fair head,
That I may follow with nimble feet;
For how can I tell you my heart has gone
Across the alley, and lingers there,
Till I know your name, my beautiful one?
How could I venture, and how could I dare?

Just one day longer I'll wait and dream,
And then, if you grant me no other way,
I shall write you a letter: 'Maid of the seam,
You have stolen my property; now give pay,
Beautiful robber and charming thief!
Give me one glance for the deed you've done.'
Thus shall I tell you my loss and grief,


Over the alley, my beautiful one.
425

Optimism

Optimism


Talk happiness. The world is sad enough
Without your woes. No path is wholly rough;
Look for the places that are smooth and clear,
And speak of those, to rest the weary ear
Of Earth, so hurt by one continuous strain
Of human discontent and grief and pain.


Talk faith. The world is better off without
Your uttered ignorance and morbid doubt.
If you have faith in God, or man, or self,
Say so. If not, push back upon the shelf
Of silence all your thoughts, till faith shall come;
No one will grieve because your lips are dumb.


Talk health. The dreary, never-changing tale
Of mortal maladies is worn and stale.
You cannot charm, or interest, or please
By harping on that minor chord, disease.
Say you are well, or all is well with you,
And God shall hear your words and make them true.
375

Our Atlas

Our Atlas

Not Atlas, with his shoulders bent beneath the weighty world,
Bore such a burden as this man, on whom the Gods have hurled
The evils of old festering lands-yea, hurled them in their might
And left him standing all alone, to set the wrong things right.


It is the way the Fates have done since first Time's race began!
They open up Pandora's box before some chosen man;
And then, aloof, they wait and watch, to see if he will find
And wake the slumbering God that dwells in every mortal's mind.


Erect, our modern Atlas stands, with brave uplifted head,
And there is courage in his eyes, if in his heart be dread.
Not dread of foes, but dread of friends, who may not pull together,
To bring the lurching ship of State safe through the stormy weather.


Oh, never were there wilder waves or more stupendous seas,
Or rougher rocks or bleaker winds, or darker days than these.
Not Washington, not Lincoln knew so grave an hour of Time
As he who now stands face to face with War's world-shaking crime.


His brain is clear, his soul is brave, his heart is just and right,
He asks no honours of the earth, but favour in God's sight;
His aim is not to wear a crown or win imperial power,
But to use wisely for the race life's terrible great hour.


O Liberty, who lights the world with rays that come from God,
Shine on Columbia's troubled track, and make it bright and broad;
Shine on each heart, and give it strength to meet its pains and losses,
And give supernal strength to one who bears the whole world's crosses;
Take from his thought the fear of friends who may not pull together,
And bring the glorious ship of State safe through wild waves and weather.
441

Only A Slight Flirtation

Only A Slight Flirtation

‘Twas just a slight flirtation,
And where’s the harm, I pray,
In that amusing pastime
So much in vogue to-day?

Her hand was plighted elsewhere

To one she held most dear,
But why should she sit lonely
When other men are near?


They walked to church together,
They sat upon the shore.
She found him entertaining,
He found her something more.

They rambled in the moonlight;
It made her look so fair,
She let him praise her beauty,
And kiss her flowing hair.

‘Twas just a nice flirtation.
So sad the fellow died.
Was drowned one day while boating,
The week she was a bride.’

A life went out in darkness,
A mother’s fond heart broke,
A maiden pined in secret –
With grief she never spoke.

While robed in bridal whiteness,
Queen of a festal throng,
She moved, whose slight flirtation
Had wrought this triple wrong.
422

Only A Sad Mistake

Only A Sad Mistake

Only a blunder-a sad mistake;
All my own fault and mine alone.
The saddest error a heart can make;
I was so young, or I would have known.


Only his rare, sweet, tender smile;
Only a lingering touch of his hand.
I think I was dreaming all the while,
The reason I did not understand.


Yet, somewhere, I've read men woo this way;
That eyes speak, sometimes, before the tongue.
And I was sure he would speak some day;
Pardon the folly-I was so young.


Was I, say-for now I am old!
So old, it seems like a hundred years
Since I felt my heart growing hard and cold
With a pain too bitter and deep for tears.


I saw him lean over the stranger's chair,
With a warm, new light in his beautiful eyes;
And I woke from my dreaming, then and there,
And went out of my self-made Paradise.


He never loved me-I know, I see!
Such sad, sad blunders as young hearts make.
She did not win him away from me,
For he was not mine. It was my mistake.


A woman should wait for a man to speak
Before she dreams of his love, I own;
But I was a girl-girls' hearts are weak;
And the pain, like the fault, is mine alone.
431

One Woman's History

One Woman's History

'The maiden free, the maiden wed.
Can never, never be the same,
A new life springs from out the dead.
And with the speaking of a name-
A breath upon the marriage bed,
She finds herself a something new.


'Where lay the shallows of the maid
No plummet line the wife can sound;
Where round the sunny islands played
The pulses of the great profound
Lies low the treacherous everglade.


'A wife is like an unknown sea,
Least known to him who thinks he knows
Where all the shores of Promise be,
And where the islands of Repose-
And where the rocks that he must flee.'
400

One By One

One By One

Little by little and one by one,
Out of the ether, were worlds created;
Star and planet and sea and sun,
All in the nebulous Nothing waited
Till the Nameless One Who has many a name
Called them to being and forth they came.


All things mighty and all things small,
Stone and flower and sentient being,
Each is an answer to that one call,
A part of Himself that His will is freeing-
Freeing to go on the long, long way
That winds back home at the end of the day.


Little by little does mortal man
Build his castles for joy and glory,
And one by one time shatters each plan
And lowers his palaces, story by story-
Story by story, till earth is just
A row of graves in the lowly dust.


One by one, whatever was called,
Must be called back to the primal Centre.
Let no soul tremble or be appalled,
For the heart of the Maker is where we enter-
Is where we enter to gain new force
Before we are sent on another course.


And one by one, as He calls us back,
We shall find the souls that we loved with passion,
In the great way-stations along the track,
And clasp them again in the old, sweet fashion-
In the old, sweet fashion when earth we trod-
And journey along with them up to God.
395

Old Rhythm And Rhyme

Old Rhythm And Rhyme

They tell me new methods now govern the Muses,
The modes of expression have changed with the times;
That low is the rank of the poet who uses
The old-fashioned verse with intentional rhymes.
And quite out of date, too, is rhythmical metre;
The critics declare it an insult to art.
But oh! the sweet swing of it, oh! the clear ring of it,
Oh! the great pulse of it, right from the heart,
Art or no art.


I sat by the side of that old poet, Ocean,
And counted the billows that broke on the rocks;
The tide lilted in with a rhythmical motion;
The sea-gulls dipped downward in time-keeping flocks.
I watched while a giant wave gathered its forces,
And then on the gray granite precipice burst;
And I knew as I counted, while other waves mounted,
I knew the tenth billow would rhyme with the first.


Below in the village a church bell was chiming,
And back in the woodland a little bird sang;
And, doubt it who will, yet those two sounds were rhyming,
As out o'er the hill-tops they echoed and rang.


The Wind and the Trees fell to talking together;
And nothing they said was didactic or terse;
But everything spoken was told in unbroken
And a beautiful rhyming and rhythmical verse.


So rhythm I hail it, though critics assail it,
And hold melting rhymes as an insult to art,
For oh! the sweet swing of it, oh! the dear ring of it,
Oh! the strong pulse of it, right from the heart,
Art or no art.
408

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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.