Escritas

Poems List

Pooch

Pooch


Nurse, won't you let him in?
He's barkin' an' scratchen' the door,
Makin' so dreffel a din
I jest can't sleep any more;
Out there in the dark an' the cold,
Hark to him scrape an' whine,
Breakin' his heart o' gold,
Poor little pooch o' mine.


Nurse, I was sat in ma seat
In front o' the barber shop,
When there he was lickin' ma feet
As if he would never stop;
Then all of a sudden I see
That dog-catcher moseyin' by:
"Whose mongrel is that?" says he;
"It's ma pedigree pup," says I.


Nurse, he was starved an' a-stray,
But his eyes was plumbful o' trust.
How could I turn him away?
I throwed him a bit o' a crust,
An' he choked as he gluped it up,
Then down at ma feet he curled:
Poor little pitiful pup!
Hadn't a friend in the world.


Nurse, I was friendless too,
So we was makin' a pair.
I'm black as a cast-off shoe,
But that li'le dog didn't care.
He loved me as much as though
Ma skin was pearly an' white:
Somehow dogs seem to know
When a man's heart's all right.


Nurse, we was thick as thieves;
Nothin' could pry us apart,
An' now to hear how he grieves
Is twistin' a knife in ma heart.
As I worked at ma shoe-shine stand
He'd watch me wi' eyes o' love,
A-wigglin' an' lickin' ma hand
Like I was a god above.


Nurse, I sure had no luck
That night o' the rain an' then fog;
There was that thunderin' truck,
And right in the way - ma dog.
Oh, I was a fool, I fear;
It's harder to think than to feel . . .
I dashed in, flung the pup clear,



But - I went under the wheel. . . .


Nurse, it's a-gittin' dark;
Guess ma time's about up:
Don't seem to hear him bark,
Poor, broken-hearted pup! . . .
Why, here he is, darn his skin!
Lickin' ma face once more:
How did the cuss get in?
Musta' busted the door.


God, I'm an ol' black coon,
But You ain't conscious o' race.
I gotta be goin' soon,
I'll be meetin' You face to face.
I'se been sinful, dice an' hooch,
But Lordy, before I die
I'se a-prayin': "Be good to ma pooch" . . .
That's all - little mutt, good-bye.
231

Plebeian Plutocrat

Plebeian Plutocrat

I own a gorgeous Cadillac,
A chauffeur garbed in blue;
And as I sit behind his back
His beefy neck I view.
Yet let me whisper, though you may
Think me a queer old cuss,
From Claude I often sneak away
To board a bus.

A democrat, I love the crowd,
The bustle and the din;
The market wives who gab aloud
As they go out and in.
I chuckle as I pay my dime,
With mien meticulous:
You can't believe how happy I'm;
Aboard a bus.

The driver of my Cadillac
Has such a haughty sneer;
I'm sure he would give me the sack
If he beheld me here.
His horror all my friends would share
Could they but see me thus:
A gleeful multi-millionaire
Aboard a bus.
242

Poet's Path

Poet's Path

My garden hath a slender path
With ivy overgrown,
A secret place where once would pace
A pot all alone;
I see him now with fretted brow,
Plunged deep in thought;
And sometimes he would write maybe,
And sometimes he would not.


A verse a day he used to say
Keeps worry from the door;
Without the stink of printer's ink
How life would be a bore!
And so from chime of breakfast time
To supper he would beat
The pathway flat, a mossy mat
For his poetic feet.


He wrote, I'm told, of gods of old
And mythologic men;
Far better he had sung, maybe,
Of plain folks now and then;
With bitterness he would confess
Too lofty was his aim. . . .
And then with woe I saw him throw
His poems to the flame.


He went away one bitter day
When death was in the sky;
No further word I ever heard
Beyond his last goodbye.
Did battle grim take toll of him
In heaven-rocking wrath?
Oh did he write in starry flight
His name in flame on hell-brewed night?


... Well, there's my poet's path.
166

Pipe Smoker

Pipe Smoker

Because I love the soothing weed
And am of sober type,
I'd choose me for a friend in need
A man who smokes a pipe.
A cove who hasn't much to say,
And spits into the fire,
Puffing like me a pipe of clay,
Corn-cob or briar.

A chap original of thought,
With cheery point of view,
Who has of gumption quite a lot,
And streaks of humour too.
He need not be a whiskered sage,
With wisdom over-ripe:
Just give me in the old of age
A pal who smokes a pipe.

A cigarette may make for wit,
Although I like it not;
A good cigar, I must admit,
Gives dignity to thought.
But as my glass of grog I sip
I never, never gripe
If I have for companionship
A guy who smokes a pipe.
221

Picture Dealer

Picture Dealer

There were twin artists A. and B.
Who painted pictures two,
And hung them in my galley
For everyone to view;
The one exhibited by A.
The name "A Sphere" did bear,
While strangely brother B's display
Was catalogued: "A Square".


Now although A. (and this is queer)
Could squeeze a pretty tube,
The picture that he called a Sphere
Was blocky as a cube;
While B. (though no hint he disclosed
To pull the public leg)
The Square he placidly exposed
Was oval as an egg.


Thought I: To sell these pictures two
I never will be able;
There's only one thing I can do,
That's change around the label.
The rotund one I called a Sphere,
The cornered one a Square . . .
And yet, I thought: It's very queer,
Unbought they linger there.


Then strange as it may well appear,
Derision did I bare,
And blandly dubbed the Square a Sphere
And tabbed the Sphere a Square.
Behold the answer I had found,
For to my glad dismay
The curious came crowding round:
A sold the daubs next day.


Well, maybe A. and B. were right,
Not mugs like you and me,
With something missing in our sight
That only artists see.
So what it is and what it ain't
I'll never more discuss . . .
These guys believe in what they paint,
Or . . . are they spoofing us?
163

Pavement Poet

Pavement Poet

God's truth! these be the bitter times.
In vain I sing my sheaf of rhymes,
And hold my battered hat for dimes.


And then a copper collars me,
Barking: "It's begging that you be;
Come on, dad; you're in custody."


And then the Beak looks down and says:
"Sheer doggerel I deem your lays:
I send you down for seven days."


So for the week I won't disturb
The peace by singing at the curb.
I don't mind that, but oh it's hell
To have my verse called doggerel.
188

Perfection

Perfection


If I could practise what I preach,
Of fellows there would few be finer;
If I were true to what I teach
My life would be a lot diviner.
If I would act the way I speak,
Of halo I might be a winner:
The spirit wills, the flesh is weak,-


I'm just a simple sinner.

Six days I stray,--on number seven
I try to be a little better,
And stake a tiny claim on Heaven
By clinging close to gospel letter.
My pew I occupy on Sunday,
And though I draw the line at snoring,
I must admit I long for Monday,


And find the sermon boring.

Although from godly grace I fall,
For sensed with sin my every act is,
'Twere better not to preach at all,
Then I would have no need to practice.
So Sabbath day I'll sneak away,
And though the Church grieve my defection,
In sunny woodland I will pray:


"God save us from Perfection!"
228

Pantheist

Pantheist


Lolling on a bank of thyme
Drunk with Spring I made this rhyme. . . .


Though peoples perish in defeat,
And races suffer to survive,
The sunshine never was so sweet,
So vast he joy to be alive;
The laughing leaves, the glowing grass
Proclaim how good it is to be;
The pines are lyric as I pass,
The hills hosannas sing to me.


Pink roses ring yon placid palm,
Soft shines the blossom of the peach;
The sapphire sea is satin calm,
With bell-like tinkle on the beach;
A lizard lazes in the sun,
A bee is bumbling to my hand;
Shy breezes whisper: "You are one
With us because you understand."


Yea, I am one with all I see,
With wind and wave, with pine and palm;
Their very elements in me
Are fused to make me what I am.
Through me their common life-stream flows,
And when I yield this human breath,
In leaf and blossom, bud and rose,
Live on I will . . . There is no Death.


Oh, let me flee from woeful things,
And listen to the linnet's song;
To solitude my spirit clings,
To sunny woodlands I belong.
O foolish men! Yourselves destroy.
But I from pain would win surcease. . . .
O Earth, grant me eternal joy!
O Nature - everlasting peace!


Amen.
220

Our Pote

Our Pote

A pote is sure a goofy guy;
He ain't got guts like you or I

To tell the score;
He ain't goy gumption 'nuff to know
The game of life's to get the dough,

Then get some more.
Take Brother Bill, he used to be
The big shot of the family,

The first at school;
But since about a year ago,
Through readin' Longfeller and Poe,

He's most a fool.

He mopes around with dimwit stare;
You might as well jest not be there,

The way he looks;
You'd think he shuns the human race,
The how he buries down his face

In highbrow books.
I've seen him stand for near an hour,
Jest starin' at a simple flower


Sich waste o' time;
The scribblin' on an envelope . . .
Why, most of all his silly dope

Don't even rhyme.

Now Brother's Jim's an engineer,
And Brother Tim's a bank cashier,

While I keep store;
Yet Bill, the brightest of the flock,
Might be a lawyer or a doc,

And then some more.
But no, he moons and loafs about,
As if he tried to figger out

Why skies are blue;
Instead o' gittin' down to grips
Wi' life an' stackin' up the chips

Like me an' you.

* * * * * * * * * *

Well, since them final lines I wrote,
We're mournin' for our Brother Pote:

Bill crossed the sea
And solved his problem with the beat,
For now he lies in peace and rest

In Normandie.
He died the bravest of the brave,
And here I'm standin' by his grave

So far from home;
With just a wooden cross to tell
How in the blaze of battle hell


As gloriously there he fell Bill
wrote his "pome".
145

Only A Boche

Only A Boche

We brought him in from between the lines: we'd better have let him lie;
For what's the use of risking one's skin for a tyke that's going to die?
What's the use of tearing him loose under a gruelling fire,
When he's shot in the head, and worse than dead, and all messed up on the wire?
However, I say, we brought him in. Diable! The mud was bad;
The trench was crooked and greasy and high, and oh, what a time we had!
And often we slipped, and often we tripped, but never he made a moan;
And how we were wet with blood and with sweat! but we carried him in like our own.


Now there he lies in the dug-out dim, awaiting the ambulance,
And the doctor shrugs his shoulders at him, and remarks, "He hasn't a chance."
And we squat and smoke at our game of bridge on the glistening, straw-packed floor,
And above our oaths we can hear his breath deep-drawn in a kind of snore.
For the dressing station is long and low, and the candles gutter dim,
And the mean light falls on the cold clay walls and our faces bristly and grim;
And we flap our cards on the lousy straw, and we laugh and jibe as we play,
And you'd never know that the cursed foe was less than a mile away.
As we con our cards in the rancid gloom, oppressed by that snoring breath,
You'd never dream that our broad roof-beam was swept by the broom of death.


Heigh-ho! My turn for the dummy hand; I rise and I stretch a bit;
The fetid air is making me yawn, and my cigarette's unlit,
So I go to the nearest candle flame, and the man we brought is there,
And his face is white in the shabby light, and I stand at his feet and stare.
Stand for a while, and quietly stare: for strange though it seems to be,
The dying Boche on the stretcher there has a queer resemblance to me.


It gives one a kind of a turn, you know, to come on a thing like that.
It's just as if I were lying there, with a turban of blood for a hat,
Lying there in a coat grey-green instead of a coat grey-blue,
With one of my eyes all shot away, and my brain half tumbling through;
Lying there with a chest that heaves like a bellows up and down,
And a cheek as white as snow on a grave, and lips that are coffee brown.


And confound him, too! He wears, like me, on his finger a wedding ring,
And around his neck, as around my own, by a greasy bit of string,
A locket hangs with a woman's face, and I turn it about to see:
Just as I thought . . . on the other side the faces of children three;
Clustered together cherub-like, three little laughing girls,
With the usual tiny rosebud mouths and the usual silken curls.
"Zut!" I say. "He has beaten me; for me, I have only two,"
And I push the locket beneath his shirt, feeling a little blue.


Oh, it isn't cheerful to see a man, the marvellous work of God,
Crushed in the mutilation mill, crushed to a smeary clod;
Oh, it isn't cheerful to hear him moan; but it isn't that I mind,
It isn't the anguish that goes with him, it's the anguish he leaves behind.
For his going opens a tragic door that gives on a world of pain,
And the death he dies, those who live and love, will die again and again.


So here I am at my cards once more, but it's kind of spoiling my play,
Thinking of those three brats of his so many a mile away.



War is war, and he's only a Boche, and we all of us take our chance;
But all the same I'll be mighty glad when I'm hearing the ambulance.
One foe the less, but all the same I'm heartily glad I'm not
The man who gave him his broken head, the sniper who fired the shot.


No trumps you make it, I think you said? You'll pardon me if I err;
For a moment I thought of other things . . .Mon Dieu! Quelle vache de gueerre.
161

Comments (0)

ShareOn Facebook WhatsApp X
Log in to post a comment.

NoComments

Identification and basic context

Robert William Service was born in Preston, Lancashire, England, and later became a Canadian citizen. He is most famous for his Yukon ballads, written during his time in the Canadian North. His writings often focused on the rugged and adventurous life experienced by prospectors and settlers.

Childhood and education

Service's early life was marked by a middle-class upbringing. He received a sound education, but his adventurous spirit led him to seek opportunities abroad rather than settling into a conventional life in England. He eventually traveled to Canada, working various jobs before finding his niche as a poet.

Literary trajectory

Service's literary career took off with the publication of "Songs of a Sourdough" (also known as "The Spell of the Yukon") in 1907, which achieved immediate success. His poetry chronicled the experiences and characters of the Yukon Gold Rush, becoming incredibly popular among both readers and critics. He continued to write prolifically throughout his life, producing novels and plays in addition to his famous ballads.

Works, style, and literary characteristics

Service's major works include "Songs of a Sourdough," "The Ballads of a Cheechako," and "Rhymes of a Rolling Stone." His poetry is characterized by its strong narrative quality, accessible language, and rhythmic meter, often employing rhyme schemes that enhance the storytelling. Dominant themes include adventure, hardship, love, loss, and the harsh beauty of the northern landscape. His style is often described as ballad-like, with a direct and engaging tone that appeals to a broad audience. He successfully captured the spirit and vernacular of the people he wrote about, creating memorable characters and situations.

Cultural and historical context

Service's work is deeply rooted in the historical context of the Klondike Gold Rush and the early 20th century. His poems reflect the era's spirit of adventure, the challenges faced by pioneers, and the unique subculture that developed in the Yukon. He belonged to no specific formal literary movement but his popular appeal placed him within the broader tradition of narrative poetry that resonated with the public during his time.

Personal life

Service led a life of considerable adventure. After working in the Yukon, he served as a war correspondent during World War I and lived in various locations, including France and Monaco. His personal experiences often informed the settings and characters in his poetry and prose, imbuing them with authenticity and a sense of lived experience. He married Germaine Cornulier and had a daughter.

Recognition and reception

Robert W. Service achieved immense popularity during his lifetime, earning the nickname "The Bard of the Yukon." His books sold millions of copies, and his poems were widely recited and known. While sometimes criticized by literary elites for being too sentimental or simplistic, his work maintained a strong connection with ordinary readers and continues to be celebrated for its storytelling and evocative portrayal of the North.

Influences and legacy

Service's work was influenced by popular ballad traditions and the real-life stories of the people he encountered. He, in turn, influenced countless readers and writers with his ability to capture the spirit of adventure and the human condition in challenging environments. His poems remain a significant cultural touchstone for understanding the Yukon Gold Rush era and continue to be read and enjoyed worldwide.

Interpretation and critical analysis

Critics often analyze Service's work for its portrayal of romanticized adventure versus the harsh realities of frontier life. His poems can be interpreted as both celebrating and critiquing the pursuit of fortune, as well as exploring themes of loneliness, companionship, and the resilience of the human spirit against nature's unforgiving backdrop.

Curiosities and lesser-known aspects

Despite his fame as a poet of the North, Service spent relatively little time in the Yukon compared to the duration of his life. His ability to capture the atmosphere and spirit of the region was a testament to his observational skills and imaginative writing. He was also known for his adventurous lifestyle outside of his writing career.

Death and memory

Robert W. Service passed away in 1958. His memory is kept alive through his enduringly popular poems, which continue to be published, recited, and celebrated, ensuring his place as a beloved chronicler of the Yukon's golden age.