Poems List

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?
311

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!
298

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.
274

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!
328

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!
235

Thomas The Pretender

Thomas The Pretender

Tommy's alluz playin' jokes,
An' actin' up, an' foolin' folks;
An' wunst one time he creep
In Pa's big chair, he did, one night,
An' squint an' shut his eyes bofe tight,
An' say, 'Now I 'm asleep.'
An' nen we knowed, an' Ma know' too,
He _ain't_ asleep no more 'n you!


An' wunst he clumbed on our back'fence
An' flop his arms an' nen commence
To crow, like he's a hen;
But when he failed off, like he done,
He didn't fool us childern none,
Ner didn't _crow_ again.
An' our Hired Man, as he come by,
Says, 'Tom can't _crow_, but he kin _cry_.'
254

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.
300

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.
264

Their Sweet Sorrow

Their Sweet Sorrow

They meet to say farewell: Their way
Of saying this is hard to say--.
He holds her hand an Instant, wholly
Distressed-- and she unclasps it slowly,


He lends his gaze evasively
Over the printed page that she
Recurs to, with a new-moon shoulder
Glimpsed from the lace-mists that infold her.


The clock, beneath its crystal cup,
Discreetly clicks-- 'Quick! Act! Speak up!'
A tension circles both her slender
Wrists-- and her raised eyes flash in splendor,


Even as he feels his dazzled own--.
Then blindingly, round either thrown,
They feel a stress of arms that ever
Strain tremblingly-- and 'Never! Never!'


Is whispered brokenly, with half
A sob, like a belated laugh--,
While cloyingly their blurred kiss closes--,
Sweet as the dew's lip to the rose's.
279

The Watches Of The Night

The Watches Of The Night

O the waiting in the watches of the night!
In the darkness, desolation, and contrition and affright;
The awful hush that holds us shut away from all delight:
The ever weary memory that ever weary goes
Recounting ever over every aching loss it knows--
The ever weary eyelids gasping ever for repose--
In the dreary, weary watches of the night!


Dark--stifling dark--the watches of the night!
With tingling nerves at tension, how the blackness flashes white
With spectral visitations smitten past the inner sight!--
What shuddering sense of wrongs we've wrought
that may not be redressed--
Of tears we did not brush away--of lips we left unpressed,
And hands that we let fall, with all their loyalty unguessed!
Ah! the empty, empty watches of the night!


What solace in the watches of the night?--
What frailest staff of hope to stay--what faintest shaft of light?
Do we _dream_ and dare _believe_ it, that by never weight of right
Of our own poor weak deservings, we shall win the dawn at last--
Our famished souls find freedom from this penance for the past,
In a faith that leaps and lightens from the gloom
that flees aghast--
Shall we survive the watches of the night?


One leads us through the watches of the night--
By the ceaseless intercession of our loved ones lost to sight
He is with us through all trials, in His mercy and His might;--
With our mothers there about Him, all our sorrow disappears,
Till the silence of our sobbing is the prayer the Master hears,
And His hand is laid upon us with the tenderness of tears
In the waning of the watches of the night.
301

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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.