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

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_.'
279

The Wife-Blessed

The Wife-Blessed

I.
In youth he wrought, with eyes ablur,
Lorn-faced and long of hair--
In youth--in youth he painted her
A sister of the air--
Could clasp her not, but felt the stir
Of pinions everywhere.

II.
She lured his gaze, in braver days,
And tranced him sirenwise;
And he did paint her, through a haze
Of sullen paradise,
With scars of kisses on her face
And embers in her eyes.


III.
And now--nor dream nor wild conceit--
Though faltering, as before--
Through tears he paints her, as is meet,
Tracing the dear face o'er
With lilied patience meek and sweet
As Mother Mary wore.
265

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.
309

The Twins

The Twins

One 's the pictur' of his Pa,
And the _other_ of her Ma--
Jes the bossest pair o' babies 'at a mortal ever saw!
And we love 'em as the bees
Loves the blossoms of the trees,
A-ridin' and a-rompin' in the breeze!


One's got her Mammy's eyes--
Soft and blue as Apurl-skies--
With the same sort of a smile, like--Yes,
and mouth about her size,--
Dimples, too, in cheek and chin,
'At my lips jes _wallers_ in,
A-goin' to work, er gittin' home agin.


And the _other_--Well, they say
That he's got his Daddy's way
O' bein' ruther soberfied, er ruther extry gay,--
That he either cries his best,
Er he laughs his howlin'est--
Like all he lacked was buttons and a vest!


Look at _her_!--and look at _him_!--
Talk about yer 'Cheru-_bim_!'
Roll 'em up in dreams together, rosy arm and chubby limb!
O we love 'em as the bees
Loves the blossoms of the trees,
A-ridin' and a-rompin' in the breeze!
323

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.
332

The Town Karnteel

The Town Karnteel

The Town Karnteel--! It's who'll reveal
Its praises jushtifiable?
For who can sing av anything
So lovely and reliable?
Whin Summer, Spring, or Winter lies
From Malin's Head to Tipperary,
There's no such town for interprise
Bechuxt Youghal and Londonderry!


There's not its likes in Ireland--
For twic't the week, be gorries!
They're playing jigs upon the band,
And joomping there in sacks-- and-- and--
And racing, wid wheelborries!


Kanteel-- it's there, like any fair,
The purty gurrls is plinty, sure--!
And man-alive! At forty-five
The leg's av me air twinty, sure!
I lave me cares, and hoein' too,
Behint me, as is sinsible,
And it's Karnteel I'm goin' to,
To cilebrate in principle!


For there's the town av all the land!
And twic't the week, be-gorries!
They're playing jigs upon the band,
And joomping there in sacks-- and-- and--
And racing, wid wheelborries!


And whilst I feel for owld Karnteel
That I've no phrases glorious,
It stands above the need av love
That boasts in voice uproarious--!
Lave that for Cork, and Dublin too,
And Armagh and Killarney thin--,
And Karnteel won't be troublin' you
Wid any jilous blarney, thin!


For there's the town av all the land
Where twic't the week, be-gorries!
They're playing jigs upon the band,
And joomping there in sacks-- and-- and--
And racing, wid wheelborries!
299

The Treasure Of The Wise Man

The Treasure Of The Wise Man

O the night was dark and the night was late,
And the robbers came to rob him;
And they picked the locks of his palace-gate,
The robbers that came to rob him--
They picked the locks of his palace-gate,
Seized his jewels and gems of state,
His coffers of gold and his priceless plate,--
The robbers that came to rob him.


But loud laughed he in the morning red!--
For of what had the robbers robbed him?--
Ho! hidden safe, as he slept in bed,
When the robbers came to rob him,--
They robbed him not of a golden shred
Of the childish dreams in his wise old head-'
And they're welcome to all things else,' he said,
When the robbers came to rob him.
321

The Sphinx

The Sphinx

I know all about the Sphinx--
I know even what she thinks,
Staring with her stony eyes
Up forever at the skies.


For last night I dreamed that she
Told me all the mystery--
Why for aeons mute she sat--:
She was just cut out for that!
285

The Stepmother

The Stepmother

First she come to our house,
Tommy run and hid;
And Emily and Bob and me
We cried jus' like we did
When Mother died,--and we all said
'At we all wisht 'at we was dead!


And Nurse she couldn't stop us,
And Pa he tried and tried,--
We sobbed and shook and wouldn't look,
But only cried and cried;
And nen someone--we couldn't jus'
Tell who--was cryin' same as us!


Our Stepmother! Yes, it was her,
Her arms around us all-'
Cause Tom slid down the bannister
And peeked in from the hall.--
And we all love her, too, because
She's purt nigh good as Mother was!
320

The Singer

The Singer

While with Ambition's hectic flame
He wastes the midnight oil,
And dreams, high-throned on heights of fame,
To rest him from his toil,-


Death's Angel, like a vast eclipse,
Above him spreads her wings,
And fans the embers of his lips
To ashes as he sings.
249

Quotes

7

Videos

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