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

The Harp Of The Minstrel

The Harp Of The Minstrel

The harp of the minstrel has never a tone
As sad as the song in his bosom to-night,
For the magical touch of his fingers alone
Can not waken the echoes that breathe it aright;
But oh! as the smile of the moon may impart
A sorrow to one in an alien clime,
Let the light of the melody fall on the heart,
And cadence his grief into musical rhyme.


The faces have faded, the eyes have grown dim
That once were his passionate love and his pride;
And alas! all the smiles that once blossomed for him
Have fallen away as the flowers have died.
The hands that entwined him the laureate's wreath
And crowned him with fame in the long, long ago,
Like the laurels are withered and folded beneath
The grass and the stubble--the frost and the snow.


Then sigh, if thou wilt, as the whispering strings
Strive ever in vain for the utterance clear,
And think of the sorrowful spirit that sings,
And jewel the song with the gem of a tear.
For the harp of the minstrel has never a tone
As sad as the song in his bosom tonight,
And the magical touch of his fingers alone
Can not waken the echoes that breathe it aright.
269

The Good, Old-Fashioned People

The Good, Old-Fashioned People

When we hear Uncle Sidney tell
About the long-ago
An' old, old friends he loved so well
When _he_ was young--My-oh!--
Us childern all wish _we'd 'a'_ bin
A-livin' then with Uncle,--so
We could a-kindo' happened in
On them old friends he used to know!--
The good, old-fashioned people--
The hale, hard-working people--
The kindly country people
'At Uncle used to know!


They was God's people, Uncle says,
An' gloried in His name,
An' worked, without no selfishness,
An' loved their neighbers same
As they was kin: An' when they biled
Their tree-molasses, in the Spring,
Er butchered in the Fall, they smiled
An' sheered with all jist ever'thing!--


The good, old-fashioned people--
The hale, hard-working people--
The kindly country people
'At Uncle used to know!


He tells about 'em, lots o' times,
Till we'd all ruther hear
About 'em than the Nurs'ry Rhymes
Er Fairies--mighty near!--
Only sometimes he stops so long
An' then talks on so low an' slow,
It's purt'-nigh sad as any song
To listen to him talkin' so
Of the good, old-fashioned people--
The hale, hard-working people--
The kindly country people
'At Uncle used to know!
282

The Drum

The Drum

O the drum!
There is some
Intonation in thy grum
Monotony of utterance that strikes the spirit dumb,
As we hear
Through the clear
And unclouded atmosphere,
Thy palpitating syllables roll in upon the car!


There's a part
Of the art
Of thy music-throbbing heart
That thrills a something in us that awakens with a start,
And in rhyme
With the chime
And exactitude of time,
Goes marching on to glory to thy melody sublime.


And the guest
Of the breast
That thy rolling robs of rest
Is a patriotic spirit as a Continental dressed;
And he looms
From the glooms
Of a century of tombs,
And the blood he spilled at Lexington in living beauty blooms.


And his eyes
Wear the guise
Of a purpose pure and wise,
As the love of them is lifted to a something in the skies
That is bright
Red and white,
With a blur of starry light,
As it laughs in silken ripples to the breezes day and night.


There are deep
Hushes creep
O'er the pulses as they leap,
As thy tumult, fainter growing, on the silence falls asleep,
While the prayer
Rising there
Wills the sea and earth and air
As a heritage to Freedom's sons and daughters everywhere.


Then, with sound
As profound
As the thunderings resound,
Come thy wild reverberations in a throe that shakes the ground,
And a cry
Flung on high,
Like the flag it flutters by,



Wings rapturously upward till it nestles in the sky.


O the drum!
There is some
Intonation in thy grum
Monotony of utterance that strikes the spirit dumb,
As we hear
Through the clear
And unclouded atmosphere,
Thy palpitating syllables roll in upon the ear!
277

The Frog

The Frog

Who am I but the Frog--the Frog!
My realm is the dark bayou,
And my throne is the muddy and moss-grown log
That the poison-vine clings to--
And the blacksnakes slide in the slimy tide
Where the ghost of the moon looks blue.


What am I but a King--a King!--
For the royal robes I wear--
A scepter, too, and a signet-ring,
As vassals and serfs declare:
And a voice, god wot, that is equaled not
In the wide world anywhere!


I can talk to the Night--the Night!--
Under her big black wing
She tells me the tale of the world outright,
And the secret of everything;
For she knows you all, from the time you crawl,
To the doom that death will bring.


The Storm swoops down, and he blows--and blows,--
While I drum on his swollen cheek,
And croak in his angered eye that glows
With the lurid lightning's streak;
While the rushes drown in the watery frown
That his bursting passions leak.


And I can see through the sky--the sky--
As clear as a piece of glass;
And I can tell you the how and why
Of the things that come to pass--
And whether the dead are there instead,
Or under the graveyard grass.


To your Sovereign lord all hail--all hail!--
To your Prince on his throne so grim!
Let the moon swing low, and the high stars trail
Their heads in the dust to him;
And the wide world sing: Long live the King,
And grace to his royal whim!
264

The Curse Of The Wandering Foot

The Curse Of The Wandering Foot

All hope of rest withdrawn me?--
What dread command hath put
This awful curse upon me--
The curse of the wandering foot!
Forward and backward and thither,
And hither and yon again--
Wandering ever! And whither?
Answer them, God! Amen.


The blue skies are far o'er me---
The bleak fields near below:
Where the mother that bore me?--
Where her grave in the snow?--
Glad in her trough of a coffin--
The sad eyes frozen shut
That wept so often, often,
The curse of the wandering foot!


Here in your marts I care not
Whatsoever ye think.
Good folk many who dare not
Give me to eat and drink:
Give me to sup of your pity--
Feast me on prayers!--O ye,
Met I your Christ in the city
He would fare forth with me--


Forward and onward and thither,
And hither again and yon,
With milk for our drink together
And honey to feed upon--
Nor hope of rest withdrawn us,
Since the one Father put
The blessed curse upon us--
The curse of the wandering foot.
268

The Days Gone By

The Days Gone By

O the days gone by! O the days gone by!
The apples in the orchard, and the pathway through the rye;
The chirrup of the robin, and the whistle of the quail
As he piped across the meadows sweet as any nightingale;
When the bloom was on the clover, and the blue was in the sky,
And my happy heart brimmed over in the days gone by.


In the days gone by, when my naked feet were tripped
By the honey-suckle's tangles where the water-lilies dipped,
And the ripples of the river lipped the moss along the brink
Where the placid-eyed and lazy-footed cattle came to drink,
And the tilting snipe stood fearless of the truant's wayward cry
And the splashing of the swimmer, in the days gone by.


O the days gone by! O the days gone by!
The music of the laughing lip, the luster of the eye;
The childish faith in fairies, and Aladdin's magic ring--
The simple, soul-reposing, glad belief in everything,--
When life was like a story, holding neither sob nor sigh,
In the golden olden glory of the days gone by.
265

The Circus-Day Parade

The Circus-Day Parade

Oh, the Circus-Day parade! How the bugles played and played!
And how the glossy horses tossed their flossy manes, and neighed,
As the rattle and the rhyme of the tenor-drummer's time
Filled all the hungry hearts of us with melody sublime!


How the grand band-wagon shone with a splendor all its own,
And glittered with a glory that our dreams had never known!
And how the boys behind, high and low of every kind,
Marched in unconscious capture, with a rapture undefined!


How the horsemen, two and two, with their plumes of white and blue,
And crimson, gold and purple, nodding by at me and you.
Waved the banners that they bore, as the Knights in days of yore,
Till our glad eyes gleamed and glistened like the spangles that they wore!


How the graceless-graceful stride of the elephant was eyed,
And the capers of the little horse that cantered at his side!
How the shambling camels, tame to the plaudits of their fame,
With listless eyes came silent, masticating as they came.


How the cages jolted past, with each wagon battened fast,
And the mystery within it only hinted of at last
From the little grated square in the rear, and nosing there
The snout of some strange animal that sniffed the outer air!


And, last of all, The Clown, making mirth for all the town,
With his lips curved ever upward and his eyebrows ever down,
And his chief attention paid to the little mule that played
A tattoo on the dashboard with his heels, in the parade.


Oh! the Circus-Day parade! How the bugles played and played!
And how the glossy horses tossed their flossy manes and neighed.
As the rattle and the rhyme of the tenor-drummer's time
Filled all the hungry hearts of us with melody sublime!
307

The Chant Of The Cross-Bearing Child

The Chant Of The Cross-Bearing Child

I bear dis cross dis many a mile.
O de cross-bearin' chile--
De cross-bearin' chile!


I bear dis cross 'long many a road
Wha' de pink ain't bloom' an' de grass done mowed.
O de cross-bearin' chile--
De cross-bearin' chile!


Hits on my conscience all dese days
Fo' ter bear de cross ut de good Lord lays
On my po' soul, an' ter lif my praise.
O de cross-bearin' chile--
De cross-bearin' chile!


I 's nigh-'bout weak ez I mos' kin be,
Yit de Marstah call an' He say,--'You 's free
Fo' ter 'cept dis cross, an' ter cringe yo' knee
To no n'er man in de worl' but me!'
O de cross-bearin' chile--
De cross-bearin' chile!


Says you guess wrong, ef I let you guess--
Says you 'spec' mo', an'-a you git less:--
Says you go eas', says you go wes',
An' whense you fine de road ut you like bes'
You betteh take ch'ice er any er de res'!
O de cross-bearin' chile--
De cross-bearin' chile!


He build my feet, an' He fix de signs
Dat de shoe hit pinch an' de shoe hit bines
Ef I on'y w'ah eights an-a wanter w'ah nines;
I hone fo' de rain, an' de sun hit shines,
An' whilse I hunt de sun, hits de rain I fines.-O-
a trim my lamp, an-a gyrd my lines!
O de cross-bearin' chile--
De cross-bearin' chile!


I wade de wet, an' I walk de dry:
I done tromp long, an' I done clim high;
An' I pilgrim on ter de jasper sky,
An' I taken de resk fo' ter cas' my eye
Wha' de Gate swing wide an' de Lord draw nigh,
An' de Trump hit blow, an' I hear de cry,-'
You lay dat cross down by an' by!--
O de Cross-bearin' Chile--
Do Cross-bearin' Chile!'
239

The Boys

The Boys

Where are they?--the friends of my childhood enchanted--
The clear, laughing eyes looking back in my own,
And the warm, chubby fingers my palms have so wanted,
As when we raced over
Pink pastures of clover,
And mocked the quail's whir and the bumblebee's drone?


Have the breezes of time blown their blossomy faces
Forever adrift down the years that are flown?
Am I never to see them romp back to their places,
Where over the meadow,
In sunshine and shadow,
The meadow-larks trill, and the bumblebees drone?


Where are they? Ah! dim in the dust lies the clover;
The whippoorwill's call has a sorrowful tone,
And the dove's--I have wept at it over and over;--
I want the glad luster
Of youth, and the cluster
Of faces asleep where the bumblebees drone!
332

The Brook-Song

The Brook-Song

Little brook! Little brook!
You have such a happy look--
Such a very merry manner, as you swerve and
curve and crook--
And your ripples, one and one,
Reach each other's hands and run
Like laughing little children in the sun!


Little brook, sing to me:
Sing about a bumblebee
That tumbled from a lily-bell and grumbled
mumblingly,
Because he wet the film
Of his wings, and had to swim,
While the water-bugs raced round and
laughed at him!


Little brook-sing a song
Of a leaf that sailed along
Down the golden-braided centre of your current
swift and strong,
And a dragon-fly that lit
On the tilting rim of it,
And rode away and wasn't scared a bit.


And sing--how oft in glee
Came a truant boy like me,
Who loved to lean and listen to your lilting
melody,
Till the gurgle and refrain
Of your music in his brain
Wrought a happiness as keen to him
as pain.


Little brook-laugh and leap!
Do not let the dreamer weep:
Sing him all the songs of summer till he sink in
softest sleep;
And then sing soft and low
Through his dreams of long ago--
Sing back to him the rest he used to
know!
298

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