Poems List

Don’t

The New Yale Book of Quotations

1

Oh! the old swimmin’ hole! When I last saw the place, The scenes was all changed, like the change in my face.

The Old Swimmin’ Hole [1883], st. 5

2

O, it sets my heart a-clickin’ like the tickin’ of a clock, When the frost is on the punkin and the fodder’s in the shock.

When the Frost Is on the Punkin [1883], st. 3

1

An’ all us other children, when the supper things is done, We set around the kitchen fire an’ has the mostest fun A-list’nin’ to the witch-tales ’at Annie tells about, An’ the Gobble-uns ’at gits you Ef you Watch Out!

Little Orphant Annie [1883], st. 1

2

’Long about knee-deep in June, ’Bout the time strawberries melts On the vine.

Knee-Deep in June [1883], st. 1

That old sweetheart of mine.

An Old Sweetheart of Mine, st. 12

4

The ripest peach is highest on the tree.

The Ripest Peach, st. 1

3

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._
249

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.
210

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.
260

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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.