James Whitcomb Riley

James Whitcomb Riley

1849–1916 · lived 66 years -- --

James Whitcomb Riley was an American poet and author, best known for his dialect verse that celebrated rural life in Indiana. His poems often captured the nostalgia and simplicity of childhood, small-town America, and the common folk. Riley's warm, humorous, and often sentimental style made him immensely popular in his time, earning him the nickname "The Hoosier Poet." His works, such as "Little Orphant Annie" and "The Raggedy Man," remain beloved for their accessible language and evocative portrayals of American folklore and rural experiences.

n. 1849-10-07, Greenfield · m. 1916-07-22, Indianápolis

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With Hale Affection And Abiding Faith These Rhymes And Pictures Are

With Hale Affection And Abiding Faith These Rhymes And Pictures Are
Inscribed To The Children Everywhere

_He owns the bird-songs of the hills--
The laughter of the April rills;
And his are all the diamonds set
In Morning's dewy coronet,--
And his the Dusk's first minted stars
That twinkle through the pasture-bars
And litter all the skies at night
With glittering scraps of silver light;--
The rainbow's bar, from rim to rim,
In beaten gold, belongs to him._
Read full poem
Bio

Identification and basic context

James Whitcomb Riley was an American poet, author, and lecturer. He is celebrated as "The Hoosier Poet" for his distinctive dialect verse that vividly depicted rural life in Indiana and the American Midwest. His writings often evoked a sense of nostalgia for childhood, simplicity, and the everyday lives of common people. Riley's national fame and accessibility made him one of the most popular literary figures of his era.

Childhood and education

Riley was born and raised in Greenfield, Indiana. His father was a lawyer who encouraged his son's literary inclinations. Riley's formal education was limited; he attended public school but left before graduating. He was largely self-taught, developing a love for literature, poetry, and popular entertainment. His childhood experiences in rural Indiana, filled with local folklore, storytelling, and the rhythms of small-town life, profoundly shaped his later literary output.

Literary trajectory

Riley began his career in journalism, working for various newspapers in Indiana. He also experimented with writing songs and poems, often publishing them under pseudonyms. His breakthrough came with the serialization of "The Old Swimmin' Hole" in 1883, a poem written in Hoosier dialect that resonated with readers. This success led to the publication of his first collection, "The Old Swimmin' Hole and Other Poems" (1883), which established his reputation. He went on to publish numerous collections of poetry and prose, becoming a nationally recognized literary figure.

Works, style, and literary characteristics

Riley's most famous works include "The Raggedy Man," "Little Orphant Annie," "When the Frost Is on the Punkin," and "A Country Boy." His dominant themes revolve around rural life, childhood innocence, nostalgia for the past, friendship, and the simple virtues of ordinary people. His style is characterized by its use of Hoosier dialect, colloquial language, and a warm, humorous, and often sentimental tone. He employed simple rhyme schemes and rhythmic patterns, making his poetry accessible and memorable. His poetic voice is typically that of a genial observer, sharing fond memories and gentle observations about his subjects.

Cultural and historical context

Riley's work emerged during a period of significant change in America, as the nation transitioned from an agrarian society to an industrial one. His poems tapped into a widespread sentimentality and nostalgia for the perceived simpler times of rural life, which were rapidly disappearing. He was part of a broader literary trend that celebrated regionalism and local color in American literature. His popularity reflected a national desire to connect with its agrarian roots and the everyday experiences of its citizens.

Personal life

Riley never married and lived a relatively private life, though he was a popular public figure. He suffered from ill health for much of his adult life, including a stroke that affected his mobility, but he continued to write and lecture. His deep affection for children and his memories of his own childhood were central to his creative inspiration. He maintained close ties to his family and friends in Indiana throughout his career.

Recognition and reception

James Whitcomb Riley achieved immense popularity during his lifetime. He was celebrated across the United States, hailed as a national treasure. His readings were often standing-room-only events, and his books sold exceptionally well. He received numerous honors and accolades, solidifying his status as one of America's most beloved poets. His accessible style and relatable themes ensured a broad appeal that transcended literary circles.

Influences and legacy

Riley was influenced by earlier American poets who celebrated rural life and folklore, as well as by popular song forms. His legacy lies in his enduring portrayal of Hoosier life and his contribution to American regionalist literature. He helped popularize the use of vernacular dialect in poetry, making it more relatable to a wider audience. While his work is sometimes seen as overly sentimental by modern critics, its charm and historical value continue to be recognized, and he remains a significant figure in the history of American poetry.

Interpretation and critical analysis

Critics often analyze Riley's work for its nostalgic portrayal of rural America and its use of dialect. Some view his sentimentality as a way to explore universal themes of childhood and memory, while others find it to be a retreat from the complexities of modern life. His celebration of "simple folk" can be interpreted as both an affirmation of democratic ideals and a romanticized, perhaps overly idealized, depiction of rural existence.

Curiosities and lesser-known aspects

Riley was known for his affable personality and his engaging public readings. He was an avid collector of books and manuscripts. Despite his fame, he often expressed a desire for more serious literary recognition, though his talent for popular verse was undeniable. He was also known for his interest in spiritualism.

Death and memory

James Whitcomb Riley died in Indianapolis in 1916. His death was mourned by a nation that had embraced him as a beloved literary son. His home in Greenfield is preserved as a museum, and he is remembered as "The Hoosier Poet" whose words captured the heart and spirit of Indiana.

Poems

225

Writin' Back To The Home-Folks

Writin' Back To The Home-Folks

My dear old friends--It jes beats all,
The way you write a letter
So's ever' _last_ line beats the _first_,
And ever' _next_-un's better!-W'y,
ever' fool-thing you putt down
You make so inte_rest_in',
A feller, readin' of 'em all,
Can't tell which is the _best_-un.


It's all so comfortin' and good,
'Pears-like I almost _hear_ ye
And git more sociabler, you know,
And hitch my cheer up near ye
And jes smile on ye like the sun
Acrosst the whole per-rairies
In Aprile when the thaw's begun
And country couples marries.


It's all so good-old-fashioned like
To _talk_ jes like we're _thinkin'_,
Without no hidin' back o' fans
And giggle-un and winkin',
Ner sizin' how each-other's dressed--
Like some is allus doin',-'_
Is_ Marthy Ellen's basque ben _turned_
Er shore-enough a new-un!'--


Er 'ef Steve's city-friend haint jes
'A _lee_tle kindo'-sorto''--
Er 'wears them-air blame eye-glasses
Jes 'cause he hadn't ort to?'
And so straight on, _dad-libitum_,
Tel all of us feels, _some_way,
Jes like our 'comp'ny' wuz the best
When we git up to come 'way!


That's why I like _old_ friends like you,--
Jes 'cause you're so _abidin'_.--
Ef I was built to live '_fer keeps_,'
My principul residin'
Would be amongst the folks 'at kep'
Me allus _thinkin'_ of 'em,
And sorto' eechin' all the time
To tell 'em how I love 'em.--


Sich folks, you know, I jes love so
I wouldn't live without 'em,
Er couldn't even drap asleep
But what I _dreamp'_ about 'em,--
And ef we minded God, I guess
We'd _all_ love one-another
Jes like one fam'bly,--me and Pap



And Madaline and Mother.
226

With Hale Affection And Abiding Faith These Rhymes And Pictures Are

With Hale Affection And Abiding Faith These Rhymes And Pictures Are
Inscribed To The Children Everywhere

_He owns the bird-songs of the hills--
The laughter of the April rills;
And his are all the diamonds set
In Morning's dewy coronet,--
And his the Dusk's first minted stars
That twinkle through the pasture-bars
And litter all the skies at night
With glittering scraps of silver light;--
The rainbow's bar, from rim to rim,
In beaten gold, belongs to him._
269

While The Musician Played

While The Musician Played

O it was but a dream I had
While the musician played!--
And here the sky, and here the glad
Old ocean kissed the glade--
And here the laughing ripples ran,
And here the roses grew
That threw a kiss to every man
That voyaged with the crew.


Our silken sails in lazy folds
Drooped in the breathless breeze:
As o'er a field of marigolds
Our eyes swam o'er the seas;
While here the eddies lisped and purled
Around the island's rim,
And up from out the underworld
We saw the mermen swim.


And it was dawn and middle-day
And midnight--for the moon
On silver rounds across the bay
Had climbed the skies of June--
And there the glowing, glorious king
Of day ruled o'er his realm,
With stars of midnight glittering
About his diadem.


The seagull reeled on languid wing
In circles round the mast,
We heard the songs the sirens sing
As we went sailing past;
And up and down the golden sands
A thousand fairy throngs
Flung at us from their flashing hands
The echoes of their songs.


O it was but a dream I had
While the musician played--
For here the sky, and here the glad
Old ocean kissed the glade;
And here the laughing ripples ran,
And here the roses grew
That threw a kiss to every man
That voyaged with the crew.
280

Who Santy-Claus Wuz

Who Santy-Claus Wuz

Jes' a little bit o' feller--I remember still--
Ust to almost cry fer Christmas, like a youngster will.
Fourth o' July's nothin' to it!--New Year's ain't a smell!
Easter-Sunday--Circus-day--jes' all dead in the shell!
Lawzy, though! at night, you know, to set around an' hear
The old folks work the story off about the sledge an' deer,
An' 'Santy' skootin' round the roof, all wrapt in fur an' fuzz--
Long afore
I knowed who
'Santy-Claus' wuz!


Ust to wait, an' set up late, a week er two ahead;
Couldn't hardly keep awake, ner wouldn't go to bed;
Kittle stewin' on the fire, an' Mother settin' here
Darnin' socks, an' rockin' in the skreeky rockin'-cheer;
Pap gap', an' wonder where it wuz the money went,
An' quar'l with his frosted heels, an' spill his liniment;
An' me a-dreamin' sleigh-bells when the clock 'ud whir an' buzz,
Long afore
I knowed who
'Santy-Claus' wuz!


Size the fire-place up an' figger how 'Ole Santy' could
Manage to come down the chimbly, like they said he would;
Wisht 'at I could hide an' see him--wunderd what he'd say
Ef he ketched a feller layin' fer him thataway!
But I _bet_ on him, an' _liked_ him, same as ef he had
Turned to pat me on the back an' say, 'Look here, my lad,
Here's my pack,--jes' he'p yourse'f, like all good boys does!'
Long afore
I knowed who
'Santy-Claus' wuz!


Wisht that yarn was true about him, as it 'peared to be--
Truth made out o' lies like that-un's good enough fer me!--
Wisht I still wuz so confidin' I could jes' go wild
Over hangin' up my stockin's, like the little child
Climbin' in my lap to-night, an' beggin' me to tell
'Bout them reindeers, and 'Old Santy' that she loves so well
I'm half sorry fer this little-girl-sweetheart of his--
Long afore
She knows who
'Santy-Claus' is!
295

Where The Children Used To Play

Where The Children Used To Play

The old farm-home is Mother's yet and mine,
And filled it is with plenty and to spare--,
But we are lonely here in life's decline,
Though fortune smiles around us everywhere:
We look across the gold
Of the harvests, as of old--
The corn, the fragrant clover, and the hay;
But most we turn our gaze,
As with eyes of other days,
To the orchard where the children used to play.


O from our life's full measure
And rich hoard of worldly treasure
We often turn our weary eyes away,
And hand in hand we wander
Down the old path winding yonder
To the orchard where the children used to play.


Our sloping pasture-lands are filled with herds;
The barn and granary-bins are bulging o'ver;
The grove's a paradise of singing birds--
The woodland brook leaps laughing by the door;
Yet lonely, lonely still,
Let us prosper as we will,
Our old hearts seem so empty everyway--
We can only through a mist
See the faces we have kissed
In the orchard where the children used to play.


O from our life's full measure
And rich hoard of worldly treasure
We often turn our weary eyes away,
And hand in hand we wander
Down the old path winding yonder
To the orchard where the children used to play.
281

When The Hearse Comes Back

When The Hearse Comes Back

A thing 'at's 'bout as tryin' as a healthy man kin meet
Is some poor feller's funeral a-joggin' 'long the street:
The slow hearse and the hosses-- slow enough, to say at least,
Fer to even tax the patience of gentleman deceased!
The low scrunch of the gravel-- and the slow grind of the wheels--,
The slow, slow go of ev'ry woe 'at ev'rybody feels!
So I ruther like the contrast when I hear the whip-lash crack
A quickstep fer the hosses,
When the
Hearse
Comes
Back!


Meet it goin' to'rds the cimet'ry, you'll want to drap yer eyes--
But ef the plumes don't fetch you, it'll ketch you otherwise-You'll
haf to see the caskit, though you'd ort to look away
And 'conomize and save yer sighs fer any other day!
Yer sympathizin' won't wake up the sleeper from his rest--
Yer tears won't thaw them hands o' his 'at's froze acrost his breast!
And this is why-- when airth and sky's a gittin blurred and black--
I like the flash and hurry
When the
Hearse
Comes
Back!


It's not 'cause I don't 'preciate it ain't no time fer jokes,
Ner 'cause I' got no common human feelin' fer the folks--;
I've went to funerals myse'f, and tuk on some, perhaps--
Fer my hearth's 'bout as mal'able as any other chap's--,
I've buried father, mother-- But I'll haf to jes' git you
To 'excuse me,' as the feller says--. The p'int I'm drivin' to
Is simply when we're plum broke down and all knocked out o' whack,
It he'ps to shape us up like,
When the
Hearse
Comes
Back!


The idy! Wadin round here over shoe-mouth deep in woe,
When they's a graded 'pike o' joy and sunshine don't you know!
When evening strikes the pastur', cows'll pull out fer the bars,
And skittish-like from out the night'll prance the happy stars.
And so when my time comes to die, and I've got ary friend
'At wants expressed my last request-- I'll mebby, rickommend
To drive slow, ef they haf to, goin' 'long the out'ard track,
But I'll smile and say, 'You speed 'em
When the
Hearse
Comes
Back!'
294

When Old Jack Died

When Old Jack Died

I.
When old Jack died, we staid from school (they said,
At home, we needn't go that day), and none
Of us ate any breakfast--only one,
And that was Papa--and his eyes were red
When he came round where we were, by the shed
Where Jack was lying, half way in the sun
And half way in the shade. When we begun
To cry out loud, Pa turned and dropped his head
And went away; and Mamma, she went back
Into the kitchen. Then, for a long while,
All to ourselves, like, we stood there and cried.
We thought so many good things of Old Jack,
And funny things--although we didn't smile--We
couldn't only cry when Old Jack died.

II.
When Old Jack died, it seemed a human friend
Had suddenly gone from us; that some face
That we had loved to fondle and embrace
From babyhood, no more would condescend
To smile on us forever. We might bend
With tearful eyes above him, interlace
Our chubby fingers o'er him, romp and race,
Plead with him, call and coax--aye, we might send
The old halloo up for him, whistle, hist,
(If sobs had let us) or, as wildly vain,
Snapped thumbs, called 'speak,' and he had not replied;
We might have gone down on our knees and kissed
The tousled ears, and yet they must remain
Deaf, motionless, we knew--when Old Jack died.

III.
When Old Jack died, it seemed to us, some way,
That all the other dogs in town were pained
With our bereavement, and some that were chained,
Even, unslipped their collars on that day
To visit Jack in state, as though to pay
A last, sad tribute there, while neighbors craned
Their heads above the high board fence, and deigned
To sigh 'Poor dog!' remembering how they
Had cuffed him, when alive, perchance, because,
For love of them he leaped to lick their hands--
Now, that he could not, were they satisfied?
We children thought that, as we crossed his paws,
And o'er his grave, 'way down the bottom-lands,
Wrote 'Our First Love Lies Here,' when Old Jack died.
292

When The Frost Is On The Punkin

When The Frost Is On The Punkin

When the frost is on the punkin and the fodder's in the shock
And you hear the kyouck and gobble of the struttin' turkey cock
And the clackin' of the guineys, and the cluckin' of the hens
And the rooster's hallylooyer as he tiptoes on the fence
O, it's then's the times a feller is a-feelin' at his best
With the risin' sun to greet him from a night of peaceful rest
As he leaves the house, bareheaded, and goes out to feed the stock
When the frost is on the punkin and the fodder's in the shock


They's something kindo' harty-like about the atmusfere
When the heat of summer's over and the coolin' fall is here
Of course we miss the flowers, and the blossums on the trees
And the mumble of the hummin'-birds and buzzin' of the bees
But the air's so appetizin'; and the landscape through the haze
Of a crisp and sunny morning of the airly autumn days
Is a pictur' that no painter has the colorin' to mock
When the frost is on the punkin and the fodder's in the shock.


The husky, rusty russel of the tossels of the corn,
And the raspin' of the tangled leaves, as golden as the morn;
The stubble in the furries kindo' lonesome-like, but still
A-preachin' sermuns to us of the barns they growed to fill;
The strawstack in the medder, and the reaper in the shed;
The hosses in theyr stalls below the clover over-head!
O, it sets my hart a-clickin' like the tickin' of a clock,
When the frost is on the punkin and the fodder's in the shock!


Then your apples all is gethered, and the ones a feller keeps
Is poured around the celler-floor in red and yeller heaps;
And your cider-makin' 's over, and your wimmern-folks is through
With their mince and apple butter, and theyr souse and saussage, too!
I don't know how to tell it but ef sich a thing could be
As the Angels wantin' boardin', and they'd call around on me
I'd want to 'commodate 'em all the whole-indurin' flock
When the frost is on the punkin and the fodder's in the shock!
245

When Mother Combed My Hair

When Mother Combed My Hair

When Memory, with gentle hand,
Has led me to that foreign land
Of childhood days, I long to be
Again the boy on bended knee,
With head a-bow, and drowsy smile
Hid in a mother's lap the while,
With tender touch and kindly care,
She bends above and combs my hair.


Ere threats of Time, or ghosts of cares
Had paled it to the hue it wears,
Its tangled threads of amber light
Fell o'er a forehead, fair and white,
That only knew the light caress
Of loving hands, or sudden press
Of kisses that were sifted there
The times when mother combed my hair.


But its last gleams of gold have slipped
Away; and Sorrow's manuscript
Is fashioned of the snowy brow--
So lined and underscored now
That you, to see it, scarce would guess
It e'er had felt the fond caress
Of loving lips, or known the care
Of those dear hands that combed my hair.


. . . . . . . .


I am so tired! Let me be
A moment at my mother's knee;
One moment--that I may forget
The trials waiting for me yet:
One moment free from every pain--
O! Mother! Comb my hair again!
And I will, oh, so humbly bow,
For I've a wife that combs it now.
254

When June Is Here

When June Is Here

When June is here--what art have we to sing
The whiteness of the lilies midst the green
Of noon-tranced lawns? Or flash of roses seen
Like redbirds' wings? Or earliest ripening
Prince-Harvest apples, where the cloyed bees cling
Round winey juices oozing down between
The peckings of the robin, while we lean
In under-grasses, lost in marveling.
Or the cool term of morning, and the stir
Of odorous breaths from wood and meadow walks,
The bobwhite's liquid yodel, and the whir
Of sudden flight; and, where the milkmaid talks
Across the bars, on tilted barley-stalks
The dewdrops' glint in webs of gossamer.
339

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