Poems List

Mockery

Mockery


Why do we grudge our sweets so to the living
Who, God knows, find at best too much of gall,
And then with generous, open hands kneel, giving
Unto the dead our all?
Why do we pierce the warm hearts, sin or sorrow,
With idle jests, or scorn, or cruel sneers,
And when it cannot know, on some to-morrow,
Speak of its woe through tears?
What do the dead care, for the tender token—
The love, the praise, the floral offerings?
But palpitating, living hearts are broken
For want of just these things.
286

Mesalliance

Mesalliance


I am troubled to-night with a curious pain;
It is not of the flesh, it is not of the brain,
Nor yet of a heart that is breaking:
But down still deeper, and out of sight—
In the place where the soul and the body unite—
There lies the scat of the aching.
They have been lovers in days gone by;
But the soul is fickle, and longs to fly
From the fettering mesalliance:
And she tears at the bonds which are binding her so,
And pleads with the body to let her go,
But he will not yield compliance.
For the body loves, as he loved in the past,
When he wedded the soul; and he holds her fast,
And swears that he will not loose her;
That he will keep her and hide her away
For ever and ever and for a day
From the arms of Death, the seducer.
Ah! this is the strife that is wearying me—
The strife 'twixt a soul that would be free
And a body that will not let her.
And I say to my soul, 'Be calm, and wait;
For I tell ye truly that soon or late
Ye surely shall drop each fetter.'
And I say to the body, 'Be kind, I pray;
For the soul is not of thy mortal clay,



But is formed in spirit fashion.'
And still through the hours of the solemn night
I can hear my sad soul's plea for flight,
And my body's reply of passion.
426

Memory's Mansion

Memory's Mansion

In Memory's Mansion are wonderful rooms,
And I wander about them at will;
And I pause at the casements, where boxes of blooms
Are sending sweet scents o'er the sill.
I lean from a window that looks on a lawn;
From a turret that looks on the wave.
But I draw down the shade when I see on some glade
A stone standing guard by a grave.


To Memory's attic I clambered one day
When the roof was resounding with rain,
And there, among relics long hidden away,
I rummaged with heart ache and pain.
A hope long surrendered and covered with dust,
A pastime, out-grown and forgot,
And a fragment of love all corroded with rust,
Were lying heaped up in one spot.


And there on the floor of that garret was tossed
A friendship too fragile to last,
With pieces of dearly bought pleasures that cost
Vast fortunes of pain in the past,
A fabric of passion, once vivid and bright,
As the breast of a robin in Spring,
Was spread out before me-a terrible sight-
A moth-eaten rag of a thing.


Then down the deep stairway I hurriedly went,
And into fair chambers below;
But the mansion seemed filled with the old attic scent
Wherever my footsteps would go.
Though in Memory's House I still wander full oft,
No more to the garret I climb;
And I leave all the rubbish heaped there in the loft
To the hands of the Housekeeper, Time.
482

Love's Language

Love's Language

How does Love speak?

In the faint flush upon the tell-tale cheek,

And in the pallor that succeeds it; by

The quivering lid of an averted eye –

The smile that proves the parent to a sigh –
Thus doth Love speak.

How does Love speak?

By the uneven heart-throbs, and the freak

Of bounding pulses that stand still and ache,

While new emotions, like strange barques, make

Along vein-channels their disturbing course;

Still as the dawn, and with the dawn’s swift force –
Thus doth Love speak.

How does Love speak?

In the avoidance of that which we seek –

The sudden silence and reserve when near –

The eye that glistens with an unshed tear –

The joy that seems the counterpart of fear,

As the alarmed heart leaps in the breast,

And knows, and names, the greets its god-like guest –
Thus doth Love speak.

How doth Love speak?

In the proud spirit suddenly grown meek –

The haughty heart grown humble; in the tender

And unnamed light that floods the world with splendour,

In the resemblance which the fond eyes trace

In all things to one beloved face;

In the shy touch of hands that thrill and tremble;

In looks and lips that can no more dissemble –
Thus doth Love speak.

How doth Love speak?

In the wild words that uttered seem so weak

They shrink ashamed to silence; in the fire

Glance strikes with glance, swift flashing high and higher,

Like lightnings that precede the mighty storm;

In the deep, soulful stillness; in the warm,

Impassioned tide that sweeps through throbbing veins,

Between the shores of keen delights and pains;

In the embrace where madness melts in bliss,

And in convulsive rapture of a kiss –
Thus doth Love speak.
511

Master And Servant

Master And Servant

The devil to Bacchus said, one day,
In a scowling, growling, petulant way,
As he came from earth to hell:
'There's a soul above that I cannot move,
And I've struggled long and well;
He's a manly youth, with an eye of truth,
A fellow of matchless grace;
And he looks me through with his eye of blue
Till I cower before his face.
The very power and strength of heaven
To this young, fearless soul were given;
For I've never an art that can reach his heart,
And I cannot snare his feet:
I have wasted days in devising ways,
And now must cry 'Defeat!''
And the devil scowled, and grumbled, and growled,
And beat about with his cane,
Till the demons fled over the burning waste
Out of his reach in hurrying haste,
Howling aloud in pain.


Bacchus laughed as he stooped and quaffed
A burning bumper of wine:
'Why, master,' said he, 'you soon shall see
The fellow down at your shrine;
Long ago, if you'd let me know,
We'd had him in our ranks.
And now, adieu! while I work for you;
Don't hurry about your thanks!
I'm going above; you know they love
The sight of my glowing face.
They call me a god! ho! ho! how odd!
With this for my dwelling-place.'
A youth with a dower of manly grace,
A maid with the morning in her face;
And she filleth a goblet full to the brim,
And giveth the bubbling draught to him.
'Drink!' she says, and the goblet sways
And shimmers under his eyes.
He tries to speak, but the tongue is weak,
And the words sink into sighs;
For the maid is fair, and she holds him there
With a spell that he cannot flee:
'Drink!' and she sips with her ruby lips'
Drink but a draught with me.'
And the lovers quaffed, while the demons laughed,
And Bacchus laughed loud and long.
'Ho! ho!' cried he, 'what a victory!
Ho! ho! for the soul so strong
That my master was beat, and cried 'Defeat!'
But wine is a tempter, and love is sweet.'



Bacchus went back o'er the fiery track
Into the land below;
And the devil said, 'Well, what have you to tell
Of the thing I want to know?'
And Bacchus said he, 'Why, look and see!
There is your strong, brave youth
Reeling along, with a drunken song
Staining those lips of truth.
My work is done! You must go on
And finish the job I started;
And as long as I stay in your service, pray,
Don't ever be down-hearted.'
383

Love Will Wane

Love Will Wane

When your love begins to wane,
Spare me from the cruel pain
Of all speech that tells me so Spare
me words, for I shall know,

By the half-averted eyes,
By the breast that no more sighs
By the rapture I shall miss
From your strangely-altered kiss;

By the arms that still enfold
But have lost their clinging hold,
And, too willing, let me go,
I shall know, love, I shall know.

Bitter will the knowledge be,
Bitterer than death to me.
Yet, 'twill come to me some day,
For it is sad world's way.

Make no vows - vows cannot bind
Changing hearts of wayward mind.
Men grow weary of a bliss
Passionate and fond as this.

Love will wane. But I shall know,
If you do not tell me so.
Know it, tho' you smile and say,
That you love me more each day.

Know it by the inner sight
That forever sees aright.
Words could not but increase my woe,
And without them, I shall know.
445

Love Song

Love Song

Once in the world’s first prime,
When nothing lived or stirred,

Nothing but new-born Time,
Nor was there even a bird –
The Silence spoke to a Star,


But do not dare repeat
What it said to its love afar:
It was too sweet, too sweet.

But there, in the fair world’s youth,
Ere sorrow had drawn breath,
When nothing was known but Truth,
Nor was there even death,
The Star to Silence wed,
And the Sun was priest that day,
And they made their bridal-bed
High in the Milky Way.

For the great white star had heard
Her silent lover’s speech;
It needed no passionate word
To pledge them each to each.
O lady fair and far,
Hear, oh, hear, and apply!
Thou the beautiful Star –
The voiceless silence, I.
462

Lost

Lost


You left me with the autumn time;
When the winter stripped the forest bare,
Then dressed it in his spotless rime;

When frosts were lurking in the air
You left me here and went away.
The winds were cold; you could not stay.

You sought a warmer clime, until
The south wind, artful maid, should break
The winter's trumpets, and should fill

The air with songs of birds; and wake
The sleeping blossoms on the plain
And make the brooks to flow again.

I thought that the winter desolate,
And all times felt a sense of loss.
I taught my longing heart to wait,


And said, 'When Spring shall come across
The hills, with blossoms in her track,
The she, our loved one, will come back.'

And now the hills with grass and moss
The spring with cunning hands has spread,
And yet I feel my grievous loss.

My heart will not be comforted,
But crieth daily, 'Where is she
You promised should come back to me? '

Oh, love! where are you? day by day
I seek to find you, but in vain.
Men point me to a grave, and say:

'There is her bed upon the plain.'
But though I see no trace of you,
I cannot thiink their words are true.

You were too sweet to wholly pass
Away from earth, and leave no trace;
You were to fair to let the grass

Grow rank and tall above your face.
Your voice, that mocked the robin's trill,
I cannot think is hushed and still.

I thought I saw your golden hair
One day, and reached to touch a strand;
I found but yellow sunbeams there


The bright rays fell aslant my hand,
And seemed to mock, with lights and shades,
The silken meshes of your braids.

Again, I thought I saw your hand
Wave, as if beckoning to me;
I found 'twas but a lily, fanned


By the cool zephyrs from the sea.
Oh, love! I find no trace of you -
I wonder if their words were true?

One day I heard a singing voice;
A burst of music, trill on trill.
It made my very soul rejoice;

My heart gave and exultant thrill.
I cried, 'Oh heart, we've found her - hush! '
But no - 'twas the silver-throated thrush.

And once I thought I saw your face,
And wild with joy I ran to you;
But found, when I had reached the place,

'Twas a blush rose, bathed in dew.
Ah, love! I think you must be dead;
And I believe the words they said.
444

Love is Enough

Love is Enough

Love is enough. Let us not ask for gold.
Wealth breeds false aims, and pride and selfishness;
In those serene, Arcadian days of old
Men gave no thought to princely homes and dress.
The gods who dwelt on fair Olympia's height
Lived only for dear love and love's delight.
Love is enough.


Love is enough. Why should we care for fame?
Ambition is a most unpleasant guest:
It lures us with the glory of a name
Far from the happy haunts of peace and rest.
Let us stay here in this secluded place
Made beautiful by love's endearing grace!
Love is enough.


Love is enough. Why should we strive for power?
It brings men only envy and distrust.
The poor world's homage pleases but an hour,
And earthly honours vanish in the dust.
The grandest lives are ofttimes desolate;
Let me be loved, and let who will be great.
Love is enough.


Love is enough. Why should we ask for more?
What greater gift have gods vouchsafed to men?
What better boon of all their precious store
Than our fond hearts that love and love again?
Old love may die; new love is just as sweet;
And life is fair and all the world complete:
Love is enough!
392

Little Queen

Little Queen

Do you remember the name I wore –
The old pet-name of Little Queen –
In the dear, dead days that are no more,
The happiest days of our lives, I ween?
For we loved with that passionate love of youth
That blesses but once with its perfect bliss, -
A love that, in spite of its trust and truth,
Seems never to thrive, in a world like this.

I lived for you, and you lived for me;
All was centred in “Little Queen”;
And never a thought in our hearts had we
That strife or trouble could come between,
What utter sinking of self it was!
How little we cared for the world of men!
For love’s fair kingdom, and loves’ sweet laws,
Were all of the world and life to us then.

But a love like ours was a challenge to fate;
She rang down the curtains and shifted the scene;
Yet sometimes now, when the day grows late,
I can hear you calling for Little Queen;
For a happy home and a busy life
Can never wholly crowd out our past;
In the twilight pauses that come from strife,
You will think of me while life shall last.

And however sweet the voice of fame
May sing to me of a great world’s praise,
I shall long sometimes for the old pet-name
That you gave to me in the dear, dead days;
And nothing the angel band can say,
When I reach the shores of the great Unseen,
Can please me so much as on that day
To hear your greeting of “Little Queen.”
419

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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.