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Joyce Kilmer

Joyce Kilmer

1886–1918 · lived 31 years -- --

Joyce Kilmer was an American poet, journalist, and literary critic. He is best known for his patriotic poem "Trees," which captured the popular imagination for its vivid imagery and straightforward sentiment. His work often reflects a deep appreciation for nature, faith, and the values of his time, though he is also remembered for his untimely death during World War I.

n. 1886-12-06, New Brunswick · m. 1918-07-30, Seringes-et-Nesles

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Trees

I think that I shall never see
A poem as lovely as a tree.
A tree whose hungry mouth is prest
Against the earth's sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in Summer wear
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
Poems are made by fools like me,
But only God can make a tree.
Read full poem
Bio

Identification and basic context

Alfred Joyce Kilmer was an American writer, poet, and literary critic. He is most famous for his poem "Trees." He was born into a devoutly religious family and maintained a strong Catholic faith throughout his life, which deeply influenced his work. He was American and wrote in English.

Childhood and education

Kilmer was born in New Brunswick, New Jersey. He received his early education in public schools and later attended Rutgers University, graduating in 1908. He pursued further studies at Columbia University, earning a Master of Arts degree in 1909. His academic background provided him with a solid grounding in literature and language.

Literary trajectory

Kilmer began his literary career as a journalist and critic after completing his studies. He worked for various publications, including "The Literary Digest" and "The New York Times," reviewing books and writing articles. His poetry began to gain recognition during this period, culminating in the publication of his most famous work, "Trees," in 1913. His career was tragically cut short by his death in World War I.

Works, style, and literary characteristics

Kilmer's major works include collections of poetry such as "Summer of Love" (1911), "Trees and Other Poems" (1914), and "Main Street and Other Poems" (1915). His dominant themes were nature, faith, love, patriotism, and the beauty found in everyday life. His style is characterized by its lyrical quality, accessible language, and traditional metrical forms, often employing rhyme and a clear, direct voice. "Trees" is celebrated for its vivid imagery and its sincere appreciation for the natural world and its divine creator. His poetic voice is often earnest, devotional, and appreciative.

Cultural and historical context

Kilmer lived during a period of significant change in America, including rapid industrialization and the looming presence of World War I. He was a staunch patriot and a devout Catholic, and his writings often reflected these commitments. He was part of the literary scene of his time, engaging with other writers and contributing to periodicals that shaped public discourse. His enlistment and death in the war made him a symbol of patriotic sacrifice for many.

Personal life

Kilmer was married to Annie McEvoy Kilmer, who was also a writer. They had five children. His conversion to Catholicism deeply impacted his worldview and creative output. His decision to enlist in the army at the age of 36, despite having a family and a developing literary career, underscored his strong sense of duty and patriotism.

Recognition and reception

Kilmer gained considerable popularity during his lifetime, particularly after the success of "Trees." He was recognized as a poet who articulated the sentiments of many Americans. While "Trees" remains his most enduring work, his broader literary contributions have been subject to varying critical assessments over time. His patriotic sacrifice also cemented his place in American memory.

Influences and legacy

Kilmer was influenced by classical poets and the literary traditions of his time. His most significant legacy is "Trees," which has become one of the most widely recognized and recited poems in the English language, often symbolizing a love for nature and simple beauty. His work continues to be appreciated for its accessibility and heartfelt expression of faith and patriotism.

Interpretation and critical analysis

"Trees" is often interpreted as a celebration of the inherent beauty and resilience of nature, as well as a testament to divine creation. Critics have noted its straightforward sentiment and its broad appeal, though some have also pointed out its conventionality compared to more modernist poetry of the era.

Curiosities and lesser-known aspects

Despite his fame for "Trees," Kilmer considered himself primarily a critic and prose writer. He famously stated that "Trees" was written "without any effort or premeditation," almost as an afterthought. His deep commitment to his faith led him to convert from Methodism to Catholicism.

Death and memory

Joyce Kilmer was killed in action on July 30, 1918, during the Second Battle of the Marne in France, while serving with the U.S. Army's 42nd Division. His death at the age of 31 made him a posthumous symbol of American wartime sacrifice. His body was never identified, but a memorial stands in his honor near the site of his death.

Poems

20

Trees

I think that I shall never see
A poem as lovely as a tree.
A tree whose hungry mouth is prest
Against the earth's sweet flowing breast;
A tree that looks at God all day,
And lifts her leafy arms to pray;
A tree that may in Summer wear
A nest of robins in her hair;
Upon whose bosom snow has lain;
Who intimately lives with rain.
Poems are made by fools like me,
But only God can make a tree.
202

Poets

Vain is the chiming of forgotten bells
That the wind sways above a ruined shrine.
Vainer his voice in whom no longer dwells
Hunger that craves immortal Bread and Wine.
Light songs we breathe that perish with our breath
Out of our lips that have not kissed the rod.
They shall not live who have not tasted death.
They only sing who are struck dumb by God.
192

Alarm Clocks

When Dawn strides out to wake a dewy farm
Across green fields and yellow hills of hay
The little twittering birds laugh in his way
And poise triumphant on his shining arm.
He bears a sword of flame but not to harm
The wakened life that feels his quickening sway
And barnyard voices shrilling "It is day!"
Take by his grace a new and alien charm.
But in the city, like a wounded thing
That limps to cover from the angry chase,
He steals down streets where sickly arc-lights sing,
And wanly mock his young and shameful face;
And tiny gongs with cruel fervor ring
In many a high and dreary sleeping place.
183

Dave Lilly

There's a brook on the side of Greylock that used to be full of trout,
But there's nothing there now but minnows; they say it is all fished out.
I fished there many a Summer day some twenty years ago,
And I never quit without getting a mess of a dozen or so.
There was a man, Dave Lilly, who lived on the North Adams road,
And he spent all his time fishing, while his neighbors reaped and sowed.
He was the luckiest fisherman in the Berkshire hills, I think.
And when he didn't go fishing he'd sit in the tavern and drink.
Well, Dave is dead and buried and nobody cares very much;
They have no use in Greylock for drunkards and loafers and such.
But I always liked Dave Lilly, he was pleasant as you could wish;
He was shiftless and good-for-nothing, but he certainly could fish.
The other night I was walking up the hill from Williamstown
And I came to the brook I mentioned,
and I stopped on the bridge and sat down.
I looked at the blackened water with its little flecks of white
And I heard it ripple and whisper in the still of the Summer night.
And after I'd been there a minute it seemed to me I could feel
The presence of someone near me, and I heard the hum of a reel.
And the water was churned and broken, and something was brought to land
By a twist and flirt of a shadowy rod in a deft and shadowy hand.
I scrambled down to the brookside and hunted all about;
There wasn't a sign of a fisherman; there wasn't a sign of a trout.
But I heard somebody chuckle behind the hollow oak
And I got a whiff of tobacco like Lilly used to smoke.
It's fifteen years, they tell me, since anyone fished that brook;
And there's nothing in it but minnows that nibble the bait off your hook.
But before the sun has risen and after the moon has set
I know that it's full of ghostly trout for Lilly's ghost to get.
I guess I'll go to the tavern and get a bottle of rye
And leave it down by the hollow oak, where Lilly's ghost went by.
I meant to go up on the hillside and try to find his grave
And put some flowers on it -- but this will be better for Dave.
180

But, of your courtesy, Monsignore

But, of your courtesy, Monsignore,
Do me this favour:
When you this morning make your way
To the Ivory Throne that bursts into bloom with roses
because of her who sits upon it,
When you come to pay your devoir to Our Lady,
I beg you, say to her:
"Madame, a poor poet, one of your singing servants yet on earth,
Has asked me to say that at this moment he is especially grateful to you
For wearing a blue gown."
160

To a Young Poet who Killed Himself

When you had played with life a space
And made it drink and lust and sing,
You flung it back into God's face
And thought you did a noble thing.
"Lo, I have lived and loved," you said,
"And sung to fools too dull to hear me.
Now for a cool and grassy bed
With violets in blossom near me."
Well, rest is good for weary feet,
Although they ran for no great prize;
And violets are very sweet,
Although their roots are in your eyes.
But hark to what the earthworms say
Who share with you your muddy haven:
"The fight was on -- you ran away.
You are a coward and a craven."
"The rug is ruined where you bled;
It was a dirty way to die!
To put a bullet through your head
And make a silly woman cry!
You could not vex the merry stars
Nor make them heed you, dead or living.
Not all your puny anger mars
God's irresistible forgiving.
"Yes, God forgives and men forget,
And you're forgiven and forgotten.
You may be gaily sinning yet
And quick and fresh instead of rotten.
And when you think of love and fame
And all that might have come to pass,
Then don't you feel a little shame?
And don't you think you were an ass?"
167

Memorial Day

"Dulce et decorum est"
The bugle echoes shrill and sweet,
But not of war it sings to-day.
The road is rhythmic with the feet
Of men-at-arms who come to pray.
The roses blossom white and red
On tombs where weary soldiers lie;
Flags wave above the honored dead
And martial music cleaves the sky.
Above their wreath-strewn graves we kneel,
They kept the faith and fought the fight.
Through flying lead and crimson steel
They plunged for Freedom and the Right.
May we, their grateful children, learn
Their strength, who lie beneath this sod,
Who went through fire and death to earn
At last the accolade of God.
In shining rank on rank arrayed
They march, the legions of the Lord;
He is their Captain unafraid,
The Prince of Peace . . . Who brought a sword.
151

Roofs

(For Amelia Josephine Burr)
The road is wide and the stars are out
and the breath of the night is sweet,
And this is the time when wanderlust should seize upon my feet.
But I'm glad to turn from the open road and the starlight on my face,
And to leave the splendour of out-of-doors for a human dwelling place.
I never have seen a vagabond who really liked to roam
All up and down the streets of the world and not to have a home:
The tramp who slept in your barn last night and left at break of day
Will wander only until he finds another place to stay.
A gypsy-man will sleep in his cart with canvas overhead;
Or else he'll go into his tent when it is time for bed.
He'll sit on the grass and take his ease so long as the sun is high,
But when it is dark he wants a roof to keep away the sky.
If you call a gypsy a vagabond, I think you do him wrong,
For he never goes a-travelling but he takes his home along.
And the only reason a road is good, as every wanderer knows,
Is just because of the homes, the homes, the homes to which it goes.
They say that life is a highway and its milestones are the years,
And now and then there's a toll-gate where you buy your way with tears.
It's a rough road and a steep road and it stretches broad and far,
But at last it leads to a golden Town where golden Houses are.
160

St. Laurence

Within the broken Vatican
The murdered Pope is lying dead.
The soldiers of Valerian
Their evil hands are wet and red.
Unarmed, unmoved, St. Laurence waits,
His cassock is his only mail.
The troops of Hell have burst the gates,
But Christ is Lord, He shall prevail.
They have encompassed him with steel,
They spit upon his gentle face,
He smiles and bleeds, nor will reveal
The Church's hidden treasure-place.
Ah, faithful steward, worthy knight,
Well hast thou done. Behold thy fee!
Since thou hast fought the goodly fight
A martyr's death is fixed for thee.
St. Laurence, pray for us to bear
The faith which glorifies thy name.
St. Laurence, pray for us to share
The wounds of Love's consuming flame.
155

The White Ships and the Red

(For Alden March)
With drooping sail and pennant
That never a wind may reach,
They float in sunless waters
Beside a sunless beach.
Their mighty masts and funnels
Are white as driven snow,
And with a pallid radiance
Their ghostly bulwarks glow.
Here is a Spanish galleon
That once with gold was gay,
Here is a Roman trireme
Whose hues outshone the day.
But Tyrian dyes have faded,
And prows that once were bright
With rainbow stains wear only
Death's livid, dreadful white.
White as the ice that clove her
That unforgotten day,
Among her pallid sisters
The grim Titanic lay.
And through the leagues above her
She looked aghast, and said:
"What is this living ship that comes
Where every ship is dead?"
The ghostly vessels trembled
From ruined stern to prow;
What was this thing of terror
That broke their vigil now?
Down through the startled ocean
A mighty vessel came,
Not white, as all dead ships must be,
But red, like living flame!
The pale green waves about her
Were swiftly, strangely dyed,
By the great scarlet stream that flowed
From out her wounded side.
And all her decks were scarlet
And all her shattered crew.
She sank among the white ghost ships
And stained them through and through.
The grim Titanic greeted her
"And who art thou?" she said;
"Why dost thou join our ghostly fleet
Arrayed in living red?
We are the ships of sorrow


Who spend the weary night,
Until the dawn of Judgment Day,
Obscure and still and white."
"Nay," said the scarlet visitor,
"Though I sink through the sea,
A ruined thing that was a ship,
I sink not as did ye.
For ye met with your destiny
By storm or rock or fight,
So through the lagging centuries
Ye wear your robes of white.
"But never crashing iceberg
Nor honest shot of foe,
Nor hidden reef has sent me
The way that I must go.
My wound that stains the waters,
My blood that is like flame,
Bear witness to a loathly deed,
A deed without a name.
"I went not forth to battle,
I carried friendly men,
The children played about my decks,
The women sang -- and then --
And then -- the sun blushed scarlet
And Heaven hid its face,
The world that God created
Became a shameful place!
"My wrong cries out for vengeance,
The blow that sent me here
Was aimed in Hell. My dying scream
Has reached Jehovah's ear.
Not all the seven oceans
Shall wash away that stain;
Upon a brow that wears a crown
I am the brand of Cain."
When God's great voice assembles
The fleet on Judgment Day,
The ghosts of ruined ships will rise
In sea and strait and bay.
Though they have lain for ages
Beneath the changeless flood,
They shall be white as silver,
But one -- shall be like blood.
141

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