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The Rape Of The Mist

The Rape Of The Mist

High o’er the clouds a Sunbeam shone,
And far down under him,

With a subtle grace that was all her own,
The Mist gleamed, fair and dim.

He looked at her with burning eyes
And longed to fall at her feet;

Of all sweet things there under the skies,
He thought her the thing most sweet.

He had wooed oft, as a Sunbeam may,
Wave, and blossom, and flower;

But never before had he felt the sway
Of a great love’s mighty power.

Tall cloud-mountains and vast space-seas,
Wind, and tempest, and fire –

What obstacles such as these
To a heart that is filled with desire?

Boldly he trod over cloud and star,
Boldly he swam through space,

She caught the glow of his eyes afar
And veiled her delicate face.

He was so strong and he was so bright,
And his breath was a breath of flame;

The Mist grew pale with a vague, strange fright,
As fond, yet fierce, he came.

Close to his heart she was clasped and kissed;
She swooned in love’s alarms,

And dead lay the beautiful pale-faced Mist
In the Sunbeam’s passionate arms.
370

The Poor Little Toe

The Poor Little Toe

I am all tired out, said the mouth, with a pout,
I am all tired out with talk.
Just wait, said the knee, till you're lame as you can be-
And then have to walk-walk-walk.


My work, said the hand, is the hardest in the land.
Nay, mine is harder yet, said the brain;
When you toil, said the eye, as steadily as I,
O then you'll have reason to complain.


Then a voice, faint and low, of the poor little toe
Spoke out in the dark with a wail:
It is seldom I complain, but you all will bear your pain
With more patience if you hearken to my tale.


I'm the youngest of five, and the others live and thrive,
They are cared for, and considered and admired.
I am overlooked and snubbed, I am pushed upon and rubbed,
I am always sick and ailing, sore and tired.


But I carry all the weight of the body, small or great,
Yet no one ever praises what I do;
I am always in the way, and 'tis I who have to pay
For the folly and the pride of all of you.


Then the mouth and the brain and the hand said, 'tis plain
Though troubled be our lives with woe,
The hardest lot of all, does certainly befall
The poor little, humble little toe,
The snubbed little, rubbed little toe.
365

The Question

The Question

Beside us in our seeking after pleasures,
Through all our restless striving after fame,
Thorough all our search for worldly gains and treasures
There walketh one whom no man likes to name.
Silent he follows, veiled of form and feature,
Indifferent if we sorrow or rejoice,
Yet that day comes when every living creature
Must look upon his face and hear his voice.

When that day comes to you, and Death, unmasking,
Shall bar your path, and say, “Behold the end, ”
What are the questions that he will be asking
About your past? Have you considered, friend?
I think he will not chide you for your sinning,
Nor for your creeds or dogmas will he care;
He will but ask, “From your life’s first beginning
How many burdens have you helped to bear? ”
396

The Optimist

The Optimist

The fields were bleak and sodden. Not a wing
Or note enlivened the depressing wood,
A soiled and sullen, stubborn snowdrift stood
Beside the roadway. Winds came muttering
Of storms to be, and brought the chilly sting
Of icebergs in their breath. Stalled cattle mooed
Forth plaintive pleadings for the earth's green food.
No gleam, no hint of hope in anything.


The sky was blank and ashen, like the face
Of some poor wretch who drains life's cup too fast.
Yet, swaying to and fro, as if to fling
About chilled Nature its lithe arms of grace,
Smiling with promise in the wintry blast,
The optimistic Willow spoke of spring.
418

The Pessimist

The Pessimist

The pessimist locust, last to leaf,
Though all the world is glad, still talks of grief.
311

The Needle and Thread

The Needle and Thread

The Needle and Thread one day were wed,
The Thimble acted as priest,
A paper of Pins, and the Scissors twins
Were among the guests at the feast.


That dandy trim the Bodkin slim
Danced with Miss Tape-measure,
But he stepped on her trail, and she called him 'a whale,'
And that put an end to their pleasure.


Wrinkled and fat the Beeswax sat
And talked with the Needle-case.
'I am glad,' she said, 'that my niece, the Thread,
Has married into this race.


'Her mother, the Spool, was a dull old fool,
And the Needle and Thread were shy;
The result you see came all through me,
I taught her to catch his eye.'


The Emery-ball just there had a fall-
She had danced too long at one time,
And that put a stop to the merry hop,
And that brings an end to my rhyme.


The groom and the bride took their wedding ride
Down a long white-seam to the shore,
And the guests all said there never was wed
So fair a couple before.
369

The Old Moon In The New Moon's Arms

The Old Moon In The New Moon's Arms

The beautiful and slender young New Moon,
In trailing robes of pink and palest blue,
Swept close to Venus, and breathed low: 'A boon,
A precious boon, I ask, dear friend, of you.'

'O queen of light and beauty, you have known
The pangs of love - its passions and alarms;
Then grant me this one favour, let my own My
lost Old Moon be once more in my arms.'

Swift thro' the vapours and the golden mist The
Full Moon's shadowy shape shone on the night,
The New Moon reached out clasping arms and kissed
Her phantom lover in the whole world's sight.
280

The Muse And The Poet

The Muse And The Poet

The Muse said, Let us sing a little song
Wherein no hint of wrong,
No echo of the great world need, or pain,
Shall mar the strain.
Lock fast the swinging portal of thy heart;
Keep sympathy apart.
Sing of the sunset, of the dawn, the sea;
Of any thing or nothing, so there be
No purpose to thy art.
Yea, let us make, art for Art's sake.
And sing no more unto the hearts of men,
But for the critic's pen.
With songs that are but words, sweet sounding words,
Like joyous jargon of the birds.
Tune now thy lyre, O Poet, and sing on.
Sing of


THE DAWN


The Virgin Night, all languorous with dreams
Of her belovèd Darkness, rose in fear,
Feeling the presence of another near.
Outside her curtained casement shone the gleams
Of burning orbs; and modestly she hid
Her brow and bosom with her dusky hair.
When lo! the bold intruder lurking there
Leaped through the fragile lattice, all unbid,
And half unveiled her. Then the swooning Night
Fell pale and dead, while yet her soul was white
Before that lawless Ravisher, the Light.


The Muse said, Poet, nay; thou hast not caught
My meaning. For there lurks a thought
Back of thy song.
In art, all thought is wrong.
Re-string thy lyre; and let the echoes bound
To nothing but sweet sound.
Strike now the chords
And sing of


WORDS


One day sweet Ladye Language gave to me
A little golden key.
I sat me down beside her jewel box
And turned its locks.
And oh, the wealth that lay there in my sight.
Great solitaires of words, so bright, so bright;
Words that no use can commonize; like God,
And Truth, and Love; and words of sapphire blue;



And amber words; with sunshine dripping through;
And words of that strange hue
A pearl reveals upon a wanton's hand.


Again the Muse:
Thou dost not understand;
A thought within thy song is lingering yet.
Sing but of words; all else forget, forget.
Nor let thy words convey one thought to men.
Try once again.


Down through the dusk and dew there fell a word;
Down through the dew and dusk.
And all the garments of the air it stirred
Smelled sweet as musk;
And all the little waves of air it kissed
Turned gold and amethyst.
There in the dew and dusk a heart it found;
There in the dusk and dew
The sodden silence changed to fragrant sound;
And all the world seemed new.
Upon the path that little word had trod,
There shone the smile of God.


The Muse said, Drop thy lyre.
I tire, I tire.
500

The Messenger

The Messenger

She rose up in the early dawn,
And white and silently she moved
About the house. Four men had gone
To battle for the land they loved,
And she, the mother and the wife,
Waited for tidings from the strife.
How still the house seemed! and her tread
Was like the footsteps of the dead.


The long day passed; the dark night came.
She had not seen a human face.
Some voice spoke suddenly her name.
How loud it echoed in that place,
Where, day on day, no sound was heard
But her own footsteps. 'Bring you word,'
She cried to whom she could not see,
'Word from the battle-plain to me?'


A soldier entered at the door,
And stood within the dim firelight;
'I bring you tidings of the four,'
He said, 'who left you for the fight.'
'God bless you, friend,' she cried, 'speak on!
For I can bear it. One is gone?'
'Ay, one is gone!' he said. 'Which one?'
'Dear lady, he, your eldest son.'


A deathly pallor shot across
Her withered face; she did not weep.
She said: 'It is a grievous loss,
But God gives His belovèd sleep.
What of the living-of the three?
And when can they come back to me?'
The soldier turned away his head:
'Lady, your husband, too, is dead.'


She put her hand upon her brow;
A wild, sharp pain was in her eyes.
'My husband! Oh, God, help me now!'
The soldier heard her shuddering sighs.
The task was harder than he thought.
'Your youngest son, dear madam, fought
Close at his father's side; both fell
Dead, by the bursting of a shell.'


She moved her lips and seemed to moan.
Her face had paled to ashen gray:



'Then one is left me-one alone,'
She said, 'of four who marched away.
Oh, overruling, All-wise God,
How can I pass beneath Thy rod!'
The soldier walked across the floor,
Paused at the window, at the door,


Wiped the cold dew-drops from his cheek
And sought the mourner's side again.
'Once more, dear lady, I must speak:
Your last remaining son was slain
Just at the closing of the fight,
'Twas he who sent me here to-night.'
'God knows,' the man said afterward,
'The fight itself was not so hard.'
363

The Meeting Of The Centuries

The Meeting Of The Centuries

A CURIOUS vision, on mine eyes unfurled
In the deep night. I saw, or seemed to see,
Two Centuries meet, and sit down vis-a-vis,
Across the great round table of the world.
One with suggested sorrows in his mien
And on his brow the furrowed lines of thought.
And one whose glad expectant presence brought
A glow and radiance from the realms unseen.
Hand clasped with hand, in silence for a space,
The Centuries sat; the sad old eyes of one
(As grave paternal eyes regard a son)
Gazing upon that other eager face.
And then a voice, as cadenceless and gray
As the sea's monody in winter time,
Mingled with tones melodious, as the chime
Of bird choirs, singing in the dawns of May.


THE OLD CENTURY SPEAKS:


By you, Hope stands. With me, Experience walks.
Like a fair jewel in a faded box,
In my tear-rusted heart, sweet pity lies.
For all the dreams that look forth from your eyes,
And those bright-hued ambitions, which I know
Must fall like leaves and perish in Time's snow,
(Even as my soul's garden stands bereft,)
I give you pity! 'tis the one gift left.


THE NEW CENTURY:


Nay, nay, good friend! not pity, but Godspeed,
Here in the morning of my life I need.
Counsel, and not condolence; smiles, not tears,
To guide me through the channels of the years.
Oh, I am blinded by the blaze of light
That shines upon me from the Infinite.
Blurred is my vision by the close approach
To unseen shores, whereon the times encroach.


THE OLD CENTURY:


Illusion, all illusion. List and hear
The Godless cannons, booming far and near.
Flaunting the flag of Unbelief, with Greed
For pilot, lo! the pirate age in speed
Bears on to ruin. War's most hideous crimes
Besmirch the record of these modern times.
Degenerate is the world I leave to you, --
My happiest speech to earth will be -- adieu.


THE NEW CENTURY:



You speak as one too weary to be just.
I hear the guns-I see the greed and lust.
The death throes of a giant evil fill
The air with riot and confusion. Ill
Ofttimes makes fallow ground for Good; and Wrong
Builds Right's foundation, when it grows too strong.
Pregnant with promise is the hour, and grand
The trust you leave in my all-willing hand.


THE OLD CENTURY:


As one who throws a flickering taper's ray
To light departing feet, my shadowed way
You brighten with your faith. Faith makes the man.
Alas, that my poor foolish age outran
Its early trust in God. The death of art
And progress follows, when the world's hard heart
Casts out religion. 'Tis the human brain
Men worship now, and heaven, to them, means gain.


THE NEW CENTURY:


Faith is not dead, tho' priest and creed may pass,
For thought has leavened the whole unthinking mass.
And man looks now to find the God within.
We shall talk more of love, and less of sin,
In this new era. We are drawing near
Unatlassed boundaries of a larger sphere.
With awe, I wait, till Science leads us on,
Into the full effulgence of its dawn.
392

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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.