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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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.
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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

Uncle Mart's Poem

Uncle Mart's Poem

THE OLD SNOW-MAN

Ho! the old Snow-Man
That Noey Bixler made!
He looked as fierce and sassy
As a soldier on parade!-'
Cause Noey, when he made him,
While we all wuz gone, you see,
He made him, jist a-purpose,
Jist as fierce as he could be!--
But when we all got _ust_ to him,
Nobody wuz afraid
Of the old Snow-Man
That Noey Bixler made!


'Cause Noey told us 'bout him
And what he made him fer:-He'd
come to feed, that morning
He found we wuzn't here;
And so the notion struck him,
When we all come taggin' home
'Tud _s'prise_ us ef a' old Snow-Man
'Ud meet us when we come!
So, when he'd fed the stock, and milked,
And ben back home, and chopped
His wood, and et his breakfast, he
Jist grabbed his mitts and hopped
Right in on that-air old Snow-Man
That he laid out he'd make
Er bust a trace _a-tryin_'--jist
Fer old-acquaintance sake!--
But work like that wuz lots more fun.
He said, than when he played!
Ho! the old Snow-Man
That Noey Bixler made!


He started with a big snow-ball,
And rolled it all around;
And as he rolled, more snow 'ud stick
And pull up off the ground.--
He rolled and rolled all round the yard-'
Cause we could see the _track_,
All wher' the snow come off, you know,
And left it wet and black.
He got the Snow-Man's _legs-part_ rolled--
In front the kitchen-door,--
And then he hat to turn in then
And roll and roll some more!--
He rolled the yard all round agin,
And round the house, at that--
Clean round the house and back to wher'
The blame legs-half wuz at!



He said he missed his dinner, too--
Jist clean fergot and stayed
There workin'. Ho! the old Snow-Man
That Noey Bixler made!


And Noey said he hat to _hump_
To git the _top-half_ on
The _legs-half!_--When he _did_, he said,
His wind wuz purt'-nigh gone.--
He said, I jucks! he jist drapped down
There on the old porch-floor
And panted like a dog!--And then
He up! and rolled some more!--
The _last_ batch--that wuz fer his head,-And--
time he'd got it right
And clumb and fixed it on, he said--
He hat to quit fer night!--
And _then_, he said, he'd kep' right on
Ef they'd ben any _moon_
To work by! So he crawled in bed--
And _could_ a-slep' tel _noon_,
He wuz so plum wore out! he said,--
But it wuz washin'-day,
And hat to cut a cord o' wood
'Fore he could git away!


But, last, he got to work agin,--
With spade, and gouge, and hoe,
And trowel, too--(All tools 'ud do
What _Noey_ said, you know!)
He cut his eyebrows out like cliffs--
And his cheekbones and chin
Stuck _furder_ out--and his old _nose_
Stuck out as fur-agin!
He made his eyes o' walnuts,
And his whiskers out o' this
Here buggy-cushion stuffin'--_moss_,
The teacher says it is.
And then he made a' old wood'-gun,
Set keerless-like, you know,
Acrost one shoulder--kindo' like
Big Foot, er Adam Poe--
Er, mayby, Simon Girty,
The dinged old Renegade!
_Wooh!_ the old Snow-Man
That Noey Bixler made!


And there he stood, all fierce and grim,
A stern, heroic form:
What was the winter blast to him,
And what the driving storm?--
What wonder that the children pressed



Their faces at the pane
And scratched away the frost, in pride
To look on him again?--
What wonder that, with yearning bold,
Their all of love and care
Went warmest through the keenest cold
To that Snow-Man out there!

But the old Snow-Man--
What a dubious delight
He grew at last when Spring came on
And days waxed warm and bright.--
Alone he stood--all kith and kin
Of snow and ice were gone;--
Alone, with constant teardrops in
His eyes and glittering on
His thin, pathetic beard of black--
Grief in a hopeless cause!-Hope--
hope is for the man that _dies_--
What for the man that _thaws!_
O Hero of a hero's make!--
Let _marble_ melt and fade,
But never _you_--you old Snow-Man
That Noey Bixler made!
365

To The Judge

To The Judge

_A Voice From the Interior of Old Hoop-Pole Township_

Friend of my earliest youth,
Can't you arrange to come down
And visit a fellow out here in the woods--
Out of the dust of the town?
Can't you forget you're a Judge
And put by your dolorous frown
And tan your wan face in the smile of a friend-Can't
you arrange to come down?


Can't you forget for a while
The arguments prosy and drear,--
To lean at full-length in indefinite rest
In the lap of the greenery here?
Can't you kick over 'the Bench,'
And 'husk' yourself out of your gown
To dangle your legs where the fishing is good-Can't
you arrange to come down?


Bah! for your office of State!
And bah! for its technical lore!
What does our President, high in his chair,
But wish himself low as before!
Pick between peasant and king,--
Poke your bald head through a crown
Or shadow it here with the laurels of Spring!-Can't
you arrange to come down?


'Judge it' out _here_, if you will,--
The birds are in session by dawn;
You can draw, not _complaints_, but a sketch of the hill
And a breath that your betters have drawn;
You can open your heart, like a case,
To a jury of kine, white and brown,
And their verdict of 'Moo' will just satisfy you!-Can't
you arrange to come down?


Can't you arrange it, old Pard?--
Pigeonhole Blackstone and Kent!--
Here we have 'Breitmann,' and Ward,
Twain, Burdette, Nye, and content!
Can't you forget you're a Judge
And put by your dolorous frown
And tan your wan face in the smile of a friend-Can't
you arrange to come down?
328

Told By

Told By

Coming, clean from the Maryland-end
Of this great National Road of ours,
Through your vast West; with the time to spend,
Stopping for days in the main towns, where
Every citizen seemed a friend,
And friends grew thick as the wayside flowers,--
I found no thing that I might narrate
More singularly strange or queer
Than a thing I found in your sister-state
Ohio,--at a river-town--down here
In my notebook: _Zanesville--situate
On the stream Muskingum--broad and clear,
And navigable, through half the year,
North, to Coshocton; south, as far
As Marietta._--But these facts are
Not of the _story_, but the _scene_
Of the simple little tale I mean
To tell _directly_--from this, straight through
To the _end_ that is best worth listening to:

Eastward of Zanesville, two or three
Miles from the town, as our stage drove in,
I on the driver's seat, and he
Pointing out this and that to me,--
On beyond us--among the rest--
A grovey slope, and a fluttering throng
Of little children, which he 'guessed'
Was a picnic, as we caught their thin
High laughter, as we drove along,
Clearer and clearer. Then suddenly
He turned and asked, with a curious grin,
What were my views on _Slavery? 'Why?'_
I asked, in return, with a wary eye.
'Because,' he answered, pointing his whip
At a little, whitewashed house and shed
On the edge of the road by the grove ahead,-'
Because there are two slaves _there_,' he said-'
Two Black slaves that I've passed each trip
For eighteen years.--Though they've been set free,
They have been slaves ever since!' said he.
And, as our horses slowly drew
Nearer the little house in view,
All briefly I heard the history
Of this little old Negro woman and
Her husband, house and scrap of land;
How they were slaves and had been made free
By their dying master, years ago
In old Virginia; and then had come
North here into a _free_ state--so,
Safe forever, to found a home--
For themselves alone?--for they left South there
Five strong sons, who had, alas!


All been sold ere it came to pass
This first old master with his last breath
Had freed the _parents_.--(He went to death
Agonized and in dire despair
That the poor slave _children_ might not share
Their parents' freedom. And wildly then
He moaned for pardon and died. Amen!)


Thus, with their freedom, and little sum
Of money left them, these two had come
North, full twenty long years ago;
And, settling there, they had hopefully
Gone to work, in their simple way,
Hauling--gardening--raising sweet
Corn, and popcorn.--Bird and bee
In the garden-blooms and the apple-tree
Singing with them throughout the slow
Summer's day, with its dust and heat--
The crops that thirst and the rains that fail;
Or in Autumn chill, when the clouds hung low,
And hand-made hominy might find sale
In the near town-market; or baking pies
And cakes, to range in alluring show
At the little window, where the eyes
Of the Movers' children, driving past,
Grew fixed, till the big white wagons drew
Into a halt that would sometimes last
Even the space of an hour or two--
As the dusty, thirsty travelers made
Their noonings there in the beeches' shade
By the old black Aunty's spring-house, where,
Along with its cooling draughts, were found
Jugs of her famous sweet spruce-beer,
Served with her gingerbread-horses there,
While Aunty's snow-white cap bobbed 'round
Till the children's rapture knew no bound,
As she sang and danced for them, quavering clear
And high the chant of her old slave-days-


'Oh, Lo'd, Jinny! my toes is so',
Dancin' on yo' sandy flo'!'


Even so had they wrought all ways
To earn the pennies, and hoard them, too,--
And with what ultimate end in view?--
They were saving up money enough to be
Able, in time, to buy their own
Five children back.


Ah! the toil gone through!
And the long delays and the heartaches, too,
And self-denials that they had known!



But the pride and glory that was theirs
When they first hitched up their shackly cart
For the long, long journey South.--The start
In the first drear light of the chilly dawn,
With no friends gathered in grieving throng,--
With no farewells and favoring prayers;
But, as they creaked and jolted on,
Their chiming voices broke in song-


''Hail, all hail! don't you see the stars a-fallin'?
Hail, all hail! I'm on my way.
Gideon[1] am
A healin' ba'm--
I belong to the blood-washed army.
Gideon am
A healin' ba'm--
On my way!''


And their _return!_--with their oldest boy
Along with them! Why, their happiness
Spread abroad till it grew a joy
_Universal_--It even reached
And thrilled the town till the _Church_ was stirred
Into suspecting that wrong was wrong!--
And it stayed awake as the preacher preached
A _Real_ 'Love'-text that he had not long
To ransack for in the Holy Word.


And the son, restored, and welcomed so,
Found service readily in the town;
And, with the parents, sure and slow,
_He_ went 'saltin' de cole cash down.'


So with the _next_ boy--and each one
In turn, till _four_ of the five at last
Had been bought back; and, in each case,
With steady work and good homes not
Far from the parents, _they_ chipped in
To the family fund, with an equal grace.
Thus they managed and planned and wrought,
And the old folks throve--Till the night before
They were to start for the lone last son
In the rainy dawn--their money fast
Hid away in the house,--two mean,
Murderous robbers burst the door.
...Then, in the dark, was a scuffle--a fall--
An old man's gasping cry--and then
A woman's fife-like shriek.


...Three men
Splashing by on horseback heard
The summons: And in an instant all



Sprung to their duty, with scarce a word.
And they were _in time_--not only to save
The lives of the old folks, but to bag
Both the robbers, and buck-and-gag
And land them safe in the county-jail--
Or, as Aunty said, with a blended awe
And subtlety,--'Safe in de calaboose whah
De dawgs caint bite 'em!'


--So prevail
The faithful!--So had the Lord upheld
His servants of both deed and prayer,--
HIS the glory unparalleled-_
Theirs_ the reward,--their every son
Free, at last, as the parents were!
And, as the driver ended there
In front of the little house, I said,
All fervently, 'Well done! well done!'
At which he smiled, and turned his head
And pulled on the leaders' lines and--'See!'
He said,--''you can read old Aunty's sign?'
And, peering down through these specs of mine
On a little, square board-sign, I read:


'Stop, traveler, if you think it fit,
And quench your thirst for a-fip-and-a-bit.
The rocky spring is very clear,
And soon converted into beer.'


And, though I read aloud, I could
Scarce hear myself for laugh and shout
Of children--a glad multitude
Of little people, swarming out
Of the picnic-grounds I spoke about.--
And in their rapturous midst, I see
Again--through mists of memory--
A black old Negress laughing up
At the driver, with her broad lips rolled
Back from her teeth, chalk-white, and gums
Redder than reddest red-ripe plums.
He took from her hand the lifted cup
Of clear spring-water, pure and cold,
And passed it to me: And I raised my hat
And drank to her with a reverence that
My conscience knew was justly due
The old black face, and the old eyes, too--
The old black head, with its mossy mat
Of hair, set under its cap and frills
White as the snows on Alpine hills;
Drank to the old _black_ smile, but yet
Bright as the sun on the violet,--
Drank to the gnarled and knuckled old



Black hands whose palms had ached and bled
And pitilessly been worn pale
And white almost as the palms that hold
Slavery's lash while the victim's wail
Fails as a crippled prayer might fail.--
Aye, with a reverence infinite,
I drank to the old black face and head--
The old black breast with its life of light--
The old black hide with its heart of gold.
327

To My Good Master

To My Good Master

In fancy, always, at thy desk, thrown wide,
Thy most betreasured books ranged neighborly--
The rarest rhymes of every land and sea
And curious tongue--thine old face glorified,--
Thou haltest thy glib quill, and, laughing-eyed,
Givest hale welcome even unto me,
Profaning thus thine attic's sanctity,
To briefly visit, yet to still abide
Enthralled there of thy sorcery of wit,
And thy songs' most exceeding dear conceits.
O lips, cleft to the ripe core of all sweets,
With poems, like nectar, issuing therefrom,
Thy gentle utterances do overcome
My listening heart and all the love of it!
315

To Robert Burns

To Robert Burns

Sweet Singer that I loe the maist
O' ony, sin' wi' eager haste
I smacket bairn-lips ower the taste
O' hinnied sang,
I hail thee, though a blessed ghaist
In Heaven lang!


For weel I ken, nae cantie phrase,
Nor courtly airs, nor lairdly ways,
Could gar me freer blame, or praise,
Or proffer hand,
Where 'Rantin' Robbie' and his lays
Thegither stand.


And sae these hamely lines I send,
Wi' jinglin' words at ilka end,
In echo o' the sangs that wend
Frae thee to me
Like simmer-brooks, wi mony a bend
O' wimplin' glee.


In fancy, as wi' dewy een,
I part the clouds aboon the scene
Where thou wast born, and peer atween,
I see nae spot
In a' the Hielands half sae green
And unforgot?


I see nae storied castle-hall,
Wi' banners flauntin' ower the wall
And serf and page in ready call,
Sae grand to me
As ane puir cotter's hut, wi' all
Its poverty.


There where the simple daisy grew
Sae bonnie sweet, and modest too,
Thy liltin' filled its wee head fu'
O' sic a grace,
It aye is weepin' tears o' dew
Wi' droopit face.


Frae where the heather bluebells fling
Their sangs o' fragrance to the Spring,
To where the lavrock soars to sing,
Still lives thy strain,
For' a' the birds are twittering
Sangs like thine ain.


And aye, by light o' sun or moon,
By banks o' Ayr, or Bonnie Doon,
The waters lilt nae tender tune



But sweeter seems
Because they poured their limpid rune
Through a' thy dreams.


Wi' brimmin' lip, and laughin' ee,
Thou shookest even Grief wi' glee,
Yet had nae niggart sympathy
Where Sorrow bowed,
But gavest a' thy tears as free
As a' thy gowd.


And sae it is we be thy name
To see bleeze up wi' sic a flame,
That a' pretentious stars o' fame
Maun blink asklent,
To see how simple worth may shame
Their brightest glent.
317

To Annie

To Annie

When the lids of dusk are falling
O'er the dreamy eyes of day,
And the whippoorwills are calling,
And the lesson laid away,--
May Mem'ry soft and tender
As the prelude of the night,
Bend over you and render
As tranquil a delight.
290

To a Boy Whistling

To a Boy Whistling

The smiling face of a happy boy
With its enchanted key
Is now unlocking in memory
My store of heartiest joy.


And my lost life again to-day,
In pleasant colors all aglow,
From rainbow tints, to pure white snow,
Is a panorama sliding away.


The whistled air of a simple tune
Eddies and whirls my thoughts around,
As fairy balloons of thistle-down
Sail through the air of June.


O happy boy with untaught grace!
What is there in the world to give
That can buy one hour of the life you live
Or the trivial cause of your smiling face!
255

Three Dead Friends

Three Dead Friends

Always suddenly they are gone--
The friends we trusted and held secure--
Suddenly we are gazing on,
Not a _smiling_ face, but the marble-pure
Dead mask of a face that nevermore
To a smile of ours will make reply--
The lips close-locked as the eyelids are-Gone--
swift as the flash of the molten ore
A meteor pours through a midnight sky,
Leaving it blind of a single star.


Tell us, O Death, Remorseless Might!
What is this old, unescapable ire
You wreak on us?--from the birth of light
Till the world be charred to a core of fire!
We do no evil thing to you--
We seek to evade you--that is all--
That is your will--you will not be known
Of men. What, then, would you have us do?--
Cringe, and wait till your vengeance fall,
And your graves be fed, and the trumpet blown?


You desire no friends; but _we_--O we
Need them so, as we falter here,
Fumbling through each new vacancy,
As each is stricken that we hold dear.
One you struck but a year ago;
And one not a month ago; and one-(
God's vast pity!)--and one lies now
Where the widow wails, in her nameless woe,
And the soldiers pace, with the sword and gun,
Where the comrade sleeps, with the laureled brow.


And what did the first?--that wayward soul,
Clothed of sorrow, yet nude of sin,
And with all hearts bowed in the strange control
Of the heavenly voice of his violin.
Why, it was music the way he _stood_,
So grand was the poise of the head and so
Full was the figure of majesty!--
One heard with the eyes, as a deaf man would,
And with all sense brimmed to the overflow
With tears of anguish and ecstasy.


And what did the girl, with the great warm light
Of genius sunning her eyes of blue,
With her heart so pure, and her soul so white--
What, O Death, did she do to you?
Through field and wood as a child she strayed,
As Nature, the dear sweet mother led;
While from her canvas, mirrored back,
Glimmered the stream through the everglade



Where the grapevine trailed from the trees to wed
Its likeness of emerald, blue and black.


And what did he, who, the last of these,
Faced you, with never a fear, O Death?
Did you hate _him_ that he loved the breeze,
And the morning dews, and the rose's breath?
Did you hate him that he answered not
Your hate again--but turned, instead,
His only hate on his country's wrongs?
Well--you possess him, dead!--but what
Of the good he wrought? With laureled head
He bides with us in his deeds and songs.


Laureled, first, that he bravely fought,
And forged a way to our flag's release;
Laureled, next--for the harp he taught
To wake glad songs in the days of peace--
Songs of the woodland haunts he held
As close in his love as they held their bloom
In their inmost bosoms of leaf and vine--
Songs that echoed, and pulsed and welled
Through the town's pent streets, and the sick child's room,
Pure as a shower in soft sunshine.


Claim them, Death; yet their fame endures,
What friend next will you rend from us
In that cold, pitiless way of yours,
And leave us a grief more dolorous?
Speak to us!--tell us, O Dreadful Power!--
Are we to have not a lone friend left?--
Since, frozen, sodden, or green the sod,--
In every second of every hour,
_Some one_, Death, you have left thus bereft,
Half inaudibly shrieks to God.
315

Time

Time


1
The ticking-- ticking-- ticking of the clock--!
That vexed me so last night--! 'For though Time keeps
Such drowsy watch,' I moaned, 'he never sleeps,
But only nods above the world to mock
Its restless occupant, then rudely rock
It as the cradle of a babe that weeps!'
I seemed to see the seconds piled in heaps
Like sand about me; and at every shock
O' the bell, the piled sands were swirled away
As by a desert-storm that swept the earth
Stark as a granary floor, whereon the gray
And mist-bedrizzled moon amidst the dearth
Came crawling, like a sickly child, to lay
Its pale face next mine own and weep for day.

2
Wait for the morning! Ah! We wait indeed
For daylight, we who toss about through stress
Of vacant-armed desires and emptiness
Of all the warm, warm touches that we need,
And the warm kisses upon which we feed
Our famished lips in fancy! May God bless
The starved lips of us with but one caress
Warm as the yearning blood our poor hearts bleed...!
A wild prayer--! Bite thy pillow, praying so--
Toss this side, and whirl that, and moan for dawn;
Let the clock's seconds dribble out their woe,
And Time be drained of sorrow! Long ago
We heard the crowing cock, with answer drawn
As hoarsely sad at throat as sobs... Pray on!
347

There Was a Cherry-Tree

There Was a Cherry-Tree

There was a cherry-tree. Its bloomy snows
Cool even now the fevered sight that knows
No more its airy visions of pure joy --
As when you were a boy.

There was a cherry-tree. The Bluejay sat
His blue against its white -- O blue as jet
He seemed there then!-- But now -- Whoever knew
He was so pale a blue!

There was a cherry-tree -- our child-eyes saw
The miracle:-- Its pure white snows did thaw
Into a crimson fruitage, far too sweet
But for a boy to eat.

There was a cherry-tree, give thanks and joy!--
There was a bloom of snow -- There was a boy --
There was a bluejay of the realest blue --
And fruit for both of you.
282

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