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The Release

The Release

To-day within a grog-shop near
I saw a newly captured linnet,
Who beat against his cage in fear,
And fell exhausted every minute;
And when I asked the fellow there
If he to sell the bird were willing,
He told me with a careless air
That I could have it for a shilling.


And so I bought it, cage and all
(Although I went without my dinner),
And where some trees were fairly tall
And houses shrank and smoke was thinner,
The tiny door I open threw,
As down upon the grass I sank me:
Poor little chap! How quick he flew . . .
He didn't even wait to thank me.


Life's like a cage; we beat the bars,
We bruise our breasts, we struggle vainly;
Up to the glory of the stars
We strain with flutterings ungainly.
And then -- God opens wide the door;
Our wondrous wings are arched for flying;
We poise, we part, we sing, we soar . . .
Light, freedom, love. . . . Fools call it -- Dying.
258

The Receptionist

The Receptionist

France is the fairest land on earth,
Lovely to heart's desire,
And twice a year I span its girth,
Its beauty to admire.
But when a pub I seek each night,
To my profound vexation
On form they hand me I've to write
My occupation.

So once in a derisive mood
My pen I nibbled;
And though I know I never should:
'Gangster' I scribbled.
But as the clerk with startled face
Looked stark suspicion,
I blurred it out and in its place
Put 'Politician.'

Then suddenly dissolved his frown;
His face fused to a grin,
As humorously he set down
The form I handed in.
His shrug was eloquent to view.
Quoth he: 'What's in a name?
In France, alas! the lousy two
Are just the same.'
237

The Record

The Record

Fearing that she might go one day
With some fine fellow of her choice,
I called her from her childish play,
And made a record of her voice.
And now that she is truly gone,
I hear it sweet and crystal clear
From out my wheezy gramophone:


"I love you, Daddy dear."

Indeed it's true she went away,
But Oh she went all, all alone;
Into the dark she went for aye,
Poor little mite! ere girlhood grown.
Ah that I could with her have gone!
But this is all I have to show -
A ghost voice on a gramophone:


"Dear Dad, I love you so."

The saddest part of loss 'tis said,
Is that time tempers our regret;
But that is treason to the dead I'll
not forget, I'll not forget.
Sole souvenir of golden years,
'Twas best to break this disc in two,
And spare myself a spate of tears . . .


But this I cannot do.

So I will play it every day,
And it will seem that she is near,
And once again I'll hear her say:
I love you so, Oh Daddy dear."
And then her kiss - a stab of woe.
The record ends . . . I breathe a plea:
"Oh God, speed me to where I know


Wee lass, you wait for me."
159

The Quest

The Quest

I sought Him on the purple seas,
I sought Him on the peaks aflame;
Amid the gloom of giant trees
And canyons lone I called His name;
The wasted ways of earth I trod:
In vain! In vain! I found not God.


I sought Him in the hives of men,
The cities grand, the hamlets gray,
The temples old beyond my ken,
The tabernacles of to-day;
All life that is, from cloud to clod
I sought. . . . Alas! I found not God.


Then after roamings far and wide,
In streets and seas and deserts wild,
I came to stand at last beside
The death-bed of my little child.
Lo! as I bent beneath the rod
I raised my eyes . . . and there was God.
216

The Prisoner

The Prisoner

Upspoke the culprit at the bar,
Conducting his own case:
'Your Lordship, I have gone to far,
But grant me of your grace.
As I was passing by a shop
I saw my arm go out,
And though I begged of it to stop,
It stole beyond a doubt.

'But why should my whole body be
Condemned to dungeon grim,
For what in fact was only the
Transgression of a limb?
So here before the Court I stand,
And beg in Justice' name:
Please penalise my arm and hand,
But not my frame.'

Outspoke the Judge with voice of ice,
Although a smile he hid:
'Quite right! You should not pay the price
For what one member did.
Your reasoning I must admit;
Your arm should gaol expect . . .
Three months! And if you follow it
The Court does not object.'

The culprit smiled with sudden charm,
Then to the Court's dismay,
Quickly removed a wooden arm
And went away.
244

The Portrait

The Portrait

The portrait there above my bed
They tell me is a work of art;
My Wife,--since twenty years she's dead:
Her going nearly broke my heart.
Alas! No little ones we had
To light our hearth with joy and glee;
Yet as I linger lone and sad


I know she's waiting me.

The picture? Sargent painted it,
And it has starred in many a show.
Her eyes are on me where I sit,
And follow me where'er I go.
She'll smile like that when I am gone,
And I am frail and oh so ill!
Aye, when I'm waxen, cold and wan,


Lo! She'll be smiling still.

So I have bade them slash in strips
That relic of my paradise.
Let flame destroy those lovely lips
And char the starlight of her eyes!
No human gaze shall ever see
Her beauty,--stranger heart to stir:
Nay, her last smile shall be for me,


My last look be for her.
214

The Pigeons Of St. Marks

The Pigeons Of St. Marks

Something's wrong in Pigeon-land;
'Tisn't as it used to be,
When the pilgrim, corn in hand,
Courted us with laughing glee;
When we crooned with pinions furled,
Tamest pigeons in the world.


When we packed each arm and shoulder,
Never deeming man a menace;
Surly birds were never bolder
Than our dainty doves of Venice:
Who would have believed a pigeon
Could become wild as a widgeon.


Well, juts blame it on the War,
When Venetians grew thinner,
And gaunt hands would grab us for
Succulence to serve a dinner . . .
How our numbers fast grew fewer,
As we perished on a skewer.


Pa and Mummie went like that,
So when tourist takes his stand,
On his Borsolino hat
Soft as whispered love I land;
Then with cooing liquid vowels


I . . . evacuate my bowls.
Something's wrong in Pigeon-land;
Mankind we no longer trust;
Shrinking from the tendered hand,
pick we corn from out the dust;
While on guileless pilgrim pate,
Thinking that revenge is sweet,
Soft I croon my hymn of hate,
Drop my tribute and retreat.
189

The Petit Vieux

The Petit Vieux

"Sow your wild oats in your youth," so we're always told;
But I say with deeper sooth: "Sow them when you're old."
I'll be wise till I'm about seventy or so:
Then, by Gad! I'll blossom out as an ancient beau.
I'll assume a dashing air, laugh with loud Ha! ha! . . .
How my grandchildren will stare at their grandpapa!
Their perfection aureoled I will scandalize:
Won't I be a hoary old sinner in their eyes!


Watch me, how I'll learn to chaff barmaids in a bar;
Scotches daily, gayly quaff, puff a fierce cigar.
I will haunt the Tango teas, at the stage-door stand;
Wait for Dolly Dimpleknees, bouquet in my hand.


Then at seventy I'll take flutters at roulette;
While at eighty hope I'll make good at poker yet;
And in fashionable togs to the races go,
Gayest of the gay old dogs, ninety years or so.


"Sow your wild oats while you're young," that's what you are told;
Don't believe the foolish tongue -- sow 'em when you're old.
Till you're threescore years and ten, take my humble tip,
Sow your nice tame oats and then . . . Hi, boys! Let 'er rip.
207

The Philistine And The Bohemian

The Philistine And The Bohemian

She was a Philistine spick and span,
He was a bold Bohemian.
She had the mode, and the last at that;
He had a cape and a brigand hat.
She was so riant and chic and trim;
He was so shaggy, unkempt and grim.
On the rue de la Paix she was wont to shine;
The rue de la Gaîté was more his line.
She doted on Barclay and Dell and Caine;
He quoted Mallarmé and Paul Verlaine.
She was a triumph at Tango teas;
At Vorticist's suppers he sought to please.
She thought that Franz Lehar was utterly great;
Of Strauss and Stravinsky he'd piously prate.
She loved elegance, he loved art;
They were as wide as the poles apart:
Yet -- Cupid and Caprice are hand and glove --
They met at a dinner, they fell in love.


Home he went to his garret bare,
Thrilling with rapture, hope, despair.
Swift he gazed in his looking-glass,
Made a grimace and murmured: "Ass!"
Seized his scissors and fiercely sheared,
Severed his buccaneering beard;
Grabbed his hair, and clip! clip! clip!
Off came a bunch with every snip.
Ran to a tailor's in startled state,
Suits a dozen commanded straight;
Coats and overcoats, pants in pairs,
Everything that a dandy wears;
Socks and collars, and shoes and ties,
Everything that a dandy buys.
Chums looked at him with wondering stare,
Fancied they'd seen him before somewhere;
A Brummell, a D'Orsay, a beau so fine,
A shining, immaculate Philistine.


Home she went in a raptured daze,
Looked in a mirror with startled gaze,
Didn't seem to be pleased at all;
Savagely muttered: "Insipid Doll!"
Clutched her hair and a pair of shears,
Cropped and bobbed it behind the ears;
Aimed at a wan and willowy-necked
Sort of a Holman Hunt effect;
Robed in subtile and sage-green tones,
Like the dames of Rossetti and E. Burne-Jones;
Girdled her garments billowing wide,
Moved with an undulating glide;
All her frivolous friends forsook,
Cultivated a soulful look;



Gushed in a voice with a creamy throb
Over some weirdly Futurist daub --
Did all, in short, that a woman can
To be a consummate Bohemian.


A year went past with its hopes and fears,
A year that seemed like a dozen years.
They met once more. . . . Oh, at last! At last!
They rushed together, they stopped aghast.
They looked at each other with blank dismay,
They simply hadn't a word to say.
He thought with a shiver: "Can this be she?"
She thought with a shudder: "This can't be he?"
This simpering dandy, so sleek and spruce;
This languorous lily in garments loose;
They sought to brace from the awful shock:
Taking a seat, they tried to talk.
She spoke of Bergson and Pater's prose,
He prattled of dances and ragtime shows;
She purred of pictures, Matisse, Cezanne,
His tastes to the girls of Kirchner ran;
She raved of Tchaikovsky and Caesar Franck,
He owned that he was a jazz-band crank!
They made no headway. Alas! alas!
He thought her a bore, she thought him an ass.
And so they arose and hurriedly fled;
Perish Illusion, Romance, you're dead.
He loved elegance, she loved art,
Better at once to part, to part.


And what is the moral of all this rot?
Don't try to be what you know you're not.
And if you're made on a muttonish plan,
Don't seek to seem a Bohemian;
And if to the goats your feet incline,
Don't try to pass for a Philistine.
218

The Parson's Son

The Parson's Son

This is the song of the parson's son, as he squats in his shack alone,
On the wild, weird nights, when the Northern Lights shoot up from the frozen zone,
And it's sixty below, and couched in the snow the hungry huskies moan:


"I'm one of the Arctic brotherhood, I'm an old-time pioneer.
I came with the first -- O God! how I've cursed this Yukon -- but still I'm here.
I've sweated athirst in its summer heat, I've frozen and starved in its cold;
I've followed my dreams by its thousand streams, I've toiled and moiled for its gold.


"Look at my eyes -- been snow-blind twice; look where my foot's half gone;
And that gruesome scar on my left cheek, where the frost-fiend bit to the bone.
Each one a brand of this devil's land, where I've played and I've lost the game,
A broken wreck with a craze for `hooch', and never a cent to my name.


"This mining is only a gamble; the worst is as good as the best;
I was in with the bunch and I might have come out right on top with the rest;
With Cormack, Ladue and Macdonald -- O God! but it's hell to think
Of the thousands and thousands I've squandered on cards and women and drink.


"In the early days we were just a few, and we hunted and fished around,
Nor dreamt by our lonely camp-fires of the wealth that lay under the ground.
We traded in skins and whiskey, and I've often slept under the shade
Of that lone birch tree on Bonanza, where the first big find was made.


"We were just like a great big family, and every man had his squaw,
And we lived such a wild, free, fearless life beyond the pale of the law;
Till sudden there came a whisper, and it maddened us every man,
And I got in on Bonanza before the big rush began.


"Oh, those Dawson days, and the sin and the blaze, and the town all open wide!
(If God made me in His likeness, sure He let the devil inside.)
But we all were mad, both the good and the bad, and as for the women, well --
No spot on the map in so short a space has hustled more souls to hell.


"Money was just like dirt there, easy to get and to spend.
I was all caked in on a dance-hall jade, but she shook me in the end.
It put me queer, and for near a year I never drew sober breath,
Till I found myself in the bughouse ward with a claim staked out on death.


"Twenty years in the Yukon, struggling along its creeks;
Roaming its giant valleys, scaling its god-like peaks;
Bathed in its fiery sunsets, fighting its fiendish cold --
Twenty years in the Yukon . . . twenty years -- and I'm old.


"Old and weak, but no matter, there's `hooch' in the bottle still.
I'll hitch up the dogs to-morrow, and mush down the trail to Bill.
It's so long dark, and I'm lonesome -- I'll just lay down on the bed;
To-morrow I'll go . . . to-morrow . . . I guess I'll play on the red.


". . . Come, Kit, your pony is saddled. I'm waiting, dear, in the court . . .
. . . Minnie, you devil, I'll kill you if you skip with that flossy sport . . .
. . . How much does it go to the pan, Bill? . . . play up, School, and play the game . . .



. . . Our Father, which art in heaven, hallowed be Thy name . . ."


This was the song of the parson's son, as he lay in his bunk alone,
Ere the fire went out and the cold crept in, and his blue lips ceased to moan,
And the hunger-maddened malamutes had torn him flesh from bone.
214

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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.