The Project Gutenberg eBook of Armazindy This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. Title: Armazindy Author: James Whitcomb Riley Release date: October 25, 2020 [eBook #63552] Language: English Credits: Produced by Juliet Sutherland and the Online Distributed Proofreading Team at https://www.pgdp.net *** START OF THE PROJECT GUTENBERG EBOOK ARMAZINDY *** Produced by Juliet Sutherland and the Online Distributed Proofreading Team at https://www.pgdp.net [Illustration] THE POEMS AND PROSE SKETCHES OF JAMES WHITCOMB RILEY ARMAZINDY CHARLES SCRIBNER’S SONS NEW YORK 1917 Copyright, 1894, 1898, by JAMES WHITCOMB RILEY ⁂ _The publication of this volume in the Homestead Edition of the works of James Whitcomb Riley is made possible by the courtesy of The Bowen-Merrill Company, of Indianapolis, the original publishers of Mr. Riley’s books._ TO HENRY EITEL CONTENTS PAGE ARMAZINDY ARMAZINDY 3 THE OLD TRUNDLE-BED 15 NATURAL PERVERSITIES 17 THE OLD SCHOOL-CHUM 20 WRITIN’ BACK TO THE HOME-FOLKS 22 THE BLIND GIRL 25 WE DEFER THINGS 28 THE MUSKINGUM VALLEY 29 FOR THIS CHRISTMAS 31 A POOR MAN’S WEALTH 32 THE LITTLE RED RIBBON 34 “HOW DID YOU REST, LAST NIGHT?” 35 A GOOD-BYE 37 WHEN MAIMIE MARRIED 38 “THIS DEAR CHILD-HEARTED WOMAN THAT IS DEAD” 40 TO A POET-CRITIC 41 AN OLD-TIMER 42 THE SILENT VICTORS 44 UP AND DOWN OLD BRANDYWINE 51 THREE SINGING FRIENDS 56 A NOON LULL 59 A WINDY DAY 60 MY HENRY 62 THE SONG I NEVER SING 64 TO EDGAR WILSON NYE 67 LITTLE DAVID 68 OUT OF THE HITHERWHERE 69 RABBIT IN THE CROSS-TIES 71 SERENADE—TO NORA 72 THE LITTLE WHITE HEARSE 74 WHAT REDRESS 76 DREAMER, SAY 77 WHEN LIDE MARRIED _HIM_ 79 MY BRIDE THAT IS TO BE 81 “RINGWORM FRANK” 85 AN EMPTY GLOVE 87 OUR OWN 89 MAKE-BELIEVE AND CHILD-PLAY _The Frog_ 93 “TWIGGS AND TUDENS” 95 DOLORES 113 WHEN I DO MOCK 114 MY MARY 115 _Eros_ 118 ORLIE WILDE 119 LEONAINIE 128 TO A JILTED SWAIN 130 THE VOICES 131 _A Barefoot Boy_ 134 THE YOUTHFUL PATRIOT 135 PONCHUS PILUT 136 A TWINTORETTE 139 SLUMBER-SONG 140 THE CIRCUS PARADE 141 FOLKS AT LONESOMEVILLE 143 THE THREE JOLLY HUNTERS 144 THE LITTLE DOG-WOGGY 146 CHARMS 148 A FEW OF THE BIRD-FAMILY 150 THROUGH SLEEPY-LAND 151 THE TRESTLE AND THE BUCK-SAW 153 THE KING OF OO-RINKTUM-JING 154 THE TOY PENNY-DOG 156 JARGON-JINGLE 157 THE GREAT EXPLORER 158 THE SCHOOL-BOY’S FAVORITE 159 ALBUMANIA 162 THE LITTLE MOCK-MAN 165 SUMMER-TIME AND WINTER-TIME 168 HOME-MADE RIDDLES 169 THE LOVELY CHILD 171 THE YELLOWBIRD 172 ENVOY 173 ARMAZINDY ARMAZINDY Armazindy;—fambily name _Ballenger_,—you’ll find the same, As her Daddy answered it, In the old War-rickords yit,— And, like him, she’s airnt the good Will o’ all the neighborhood.— Name ain’t down in _History_,— But, i jucks! it _ort_ to be! Folks is got respec’ fer _her_— Armazindy Ballenger!— ’Specially the ones ’at knows Fac’s o’ how her story goes From the start:—Her father blowed Up—eternally furloughed— When the old “Sultana” bu’st, And sich men wuz needed wusst.— Armazindy, ’bout fourteen- Year-old then—and thin and lean As a killdee,—but—_my la!_— Blamedest nerve you ever saw! The girl’s mother’d _allus_ be’n Sickly—wuz consumpted when Word came ’bout her husband.—So Folks perdicted _she’d_ soon go— (Kind o’ grief _I_ understand, Losin’ _my_ companion,—and Still a widower—and still Hinted at, like neighbers will!) So, app’inted, as folks said, Ballenger a-bein’ dead, Widder, ’peared-like, gradjully, Jes grieved after him tel _she_ Died, nex’ Aprile wuz a year,— And in Armazindy’s keer Leavin’ the two twins, as well As her pore old miz’able Old-maid aunty ’at had be’n Struck with palsy, and wuz then Jes a he’pless charge on _her_— _Armazindy Ballenger_. Jevver watch a primrose ’bout Minute ’fore it blossoms out— Kindo’ loosen-like, and blow Up its muscles, don’t you know, And, all suddent, bu’st and bloom Out life-size?—Well, I persume ’At’s the only measure I _Kin_ size Armazindy by!— Jes a _child_, _one_ minute,—nex’, _Woman-grown_, in all respec’s And intents and purposuz— ’At’s what Armazindy wuz! Jes a _child_, I tell ye! Yit She made things git up and git Round that little farm o’ hern!— Shouldered all the whole concern;— Feed the stock, and milk the cows— Run the _farm_ and run the _house_!— _Only_ thing she didn’t do Wuz to plough and harvest too— But the house and childern took Lots o’ keer—and had to look After her old fittified Grandaunt.—Lord! ye could’a’ cried, Seein’ Armazindy smile, ’Peared-like, sweeter all the while! And I’ve heerd her laugh and say:— “Jes afore Pap marched away, He says, ‘I depend on _you_, Armazindy, come what may— You must be a Soldier, too!’” Neighbers, from the fust, ’ud come— And she’d _let_ ’em help her _some_,— “Thanky, ma’am!” and “Thanky, sir!” But no charity fer _her_!— “_She_ could raise the means to pay Fer her farm-hands ever’ day Sich wuz needed!”—And she _could_— In cash-money jes as good As farm-produc’s ever brung Their perducer, _old_ er young! So folks humored her and smiled, And at last wuz rickonciled Fer to let her have her own Way about it.—But a-goin’ Past to town, they’d stop and see “Armazindy’s fambily,” As they’d allus laugh and say, And look sorry right away, Thinkin’ of her Pap, and how He’d indorse his “Soldier” now! ’Course _she_ couldn’t never be Much in _young-folks’_ company— Plenty of _in_-vites to go, But das’t leave the house, you know— ’Less’n _Sund’ys_ sometimes, when Some old _Granny_’d come and ’ten’ Things, while Armazindy _has_ Got away fer Church er “Class.” Most the youngsters _liked_ her—and ’Twuzn’t hard to understand,— Fer, by time she wuz sixteen, Purtier girl you never seen— ’Ceptin’ she lacked schoolin’, ner Couldn’t rag out stylisher— Like some _neighber_-girls, ner thumb On their blame’ melodium, Whilse their pore old mothers sloshed Round the old back-porch and washed Their clothes fer ’em—rubbed and scrubbed Fer girls’d ort to jes be’n clubbed! —And jes sich a girl wuz Jule Reddinhouse.—_She’d_ be’n to school At _New Thessaly_, i gum!— Fool before, but that he’pped _some_— ’Stablished-like more confidence ’At she _never_ had no sense. But she wuz a cunnin’, sly, Meek and lowly sort o’ lie, ’At men-folks like me and you B’lieves jes ’cause we ortn’t to.— Jes as purty as a snake, And as _pizen_—mercy sake! Well, about them times it wuz, Young Sol Stephens th’ashed fer us; And we sent him over to Armazindy’s place to do _Her_ work fer her.—And-sir! Well— Mighty little else to tell,— Sol he fell in love with her— Armazindy Ballenger! Bless ye!—’Ll, of all the love ’At I’ve ever yit knowed of, That-air case o’ theirn beat all! W’y, she _worshipped_ him!—And Sol, ’Peared-like, could ’a’ kissed the sod (Sayin’ is) where that girl trod! Went to town, she did, and bought Lot o’ things ’at neighbers thought Mighty strange fer _her_ to buy,— Raal chintz dress-goods—and ’way high!— Cut long in the skyrt,—also Gaiter-pair o’ shoes, you know; And lace collar;—yes, and fine Stylish hat, with ivy-vine And red ribbons, and these-’ere Artificial flowers and queer Little beads and spangles, and Oysturch-feathers round the band! Wore ’em, Sund’ys, fer a while— Kindo’ went to Church in style, Sol and Armazindy!—Tel It was noised round purty well They wuz _promised_.—And they wuz— Sich news travels—well it does!— Pity ’at _that_ did!—Fer jes That-air fac’ and nothin’ less Must ’a’ putt it in the mind O’ Jule Reddinhouse to find Out some dratted way to hatch Out _some_ plan to break the match— ’Cause she _done_ it!—_How?_ they’s none Knows adzac’ly _what_ she done; _Some_ claims she writ letters to Sol’s folks, up nigh Pleasant View Somers—and described, you see, “Armazindy’s fambily”— Hintin’ “ef Sol married _her_, He’d jes be pervidin’ fer Them-air twins o’ hern, and old Palsied aunt ’at couldn’t hold Spoon to mouth, and layin’ near Bedrid’ on to eighteen year’, And still likely, ’pearantly, To live out the century!” Well—whatever plan Jule laid Out to reach the p’int she made, It wuz _desper’t_.—And she won, Finully, by marryun Sol herse’f—_e-lopin’_, too, With him, like she _had_ to do,— ’Cause her folks ’ud allus swore “Jule should never marry pore!” This-here part the story I Allus haf to hurry by,— Way ’at Armazindy jes Drapped back in her linsey dress, And grabbed holt her loom, and shet Her jaws square.—And ef she fret Any ’bout it—never ’peared Sign ’at _neighbers_ seed er heerd;— Most folks liked her all the more— I know _I_ did—certain-shore!— (’Course _I’d_ knowed her _Pap_, and what _Stock_ she come of.—Yes, and thought, And think _yit_, no man on earth ’S worth as much as that girl’s worth!) As fer Jule and Sol, they had Their sheer!—less o’ good than bad!— Her folks let her go.—They said, “Spite o’ them she’d made her bed And must sleep in it!”—But she, ’Peared-like, didn’t sleep so free As she ust to—ner so _late_, Ner so _fine_, I’m here to state!— Sol wuz pore, of course, and she Wuzn’t ust to poverty— Ner she didn’t ’pear to jes ’Filiate with lonesomeness,— ’Cause Sol _he_ wuz off and out With his th’asher nigh about Half the time; er, season done, He’d be off mi-anderun Round the country, here and there, Swoppin’ hosses. Well, that-air Kind o’ livin’ didn’t suit Jule a bit!—and then, to boot, _She_ had now the keer o’ two Her own childern—and to do Her own work and cookin’—yes, And sometimes fer _hands_, I guess, Well as fambily of her own.— Cut her pride clean to the bone! So how _could_ the whole thing end?— She set down, one night, and penned A short note, like—’at she sewed On the childern’s blanket—blowed Out the candle—pulled the door To close after her—and, shore- Footed as a cat is, clumb In a rigg there and left home, With a man a-drivin’ who “Loved her ever fond and true,” As her note went on to say, When Sol read the thing next day. Raally didn’t ’pear to be Extry waste o’ sympathy Over Sol—pore feller!—Yit, Sake o’ them-air little bit O’ two _orphants_—as you might Call ’em _then_, by law and right,— Sol’s old friends wuz sorry, and Tried to hold him out their hand Same as allus: But he’d flinch— Tel, jes ’peared-like, inch by inch, He let _all_ holts go; and so Took to drinkin’, don’t you know,— Tel, to make a long tale short, He wuz fuller than he ort To ’a’ be’n, at work one day ’Bout his th’asher, and give way, Kindo’-like, and fell and ketched In the beltin’. ... Rid and fetched Armazindy to him.—He Begged me to.—But time ’at she Reached his side, he smiled and _tried_ To speak.—Couldn’t. So he died.... Hands all turned and left her there And went somers else—_some_where. Last, she called us back—in clear Voice as man’ll ever hear— Clear and stiddy, ’peared to me, As her old Pap’s ust to be.— Give us orders what to do ’Bout the body—he’pped us, too. So it wuz, Sol Stephens passed In Armazindy’s hands at last. More’n that, she claimed ’at she Had consent from him to be Mother to his childern—now ’Thout no parents anyhow. _Yes-sir!_ and she’s _got_ ’em, too,— Folks saw nothin’ else ’ud do— So they let her have _her way_— Like she’s doin’ yit to-day! Years now, I’ve be’n coaxin’ her— Armazindy Ballenger— To in-large her fambily Jes _one_ more by takin’ _me_— Which I’m feared she never will, Though I’m ’lectioneerin’ still. THE OLD TRUNDLE-BED O the old trundle-bed where I slept when a boy! What canopied king might not covet the joy? The glory and peace of that slumber of mine, Like a long, gracious rest in the bosom divine: The quaint, homely couch, hidden close from the light, But daintily drawn from its hiding at night. O a nest of delight, from the foot to the head, Was the queer little, dear little, old trundle-bed! O the old trundle-bed, where I wondering saw The stars through the window, and listened with awe To the sigh of the winds as they tremblingly crept Through the trees where the robin so restlessly slept: Where I heard the low, murmurous chirp of the wren, And the katydid listlessly chirrup again, Till my fancies grew faint and were drowsily led Through the maze of the dreams of the old trundle-bed. O the old trundle-bed! O the old trundle-bed! With its plump little pillow, and old-fashioned spread; Its snowy-white sheets, and the blankets above, Smoothed down and tucked round with the touches of love; The voice of my mother to lull me to sleep With the old fairy stories my memories keep Still fresh as the lilies that bloom o’er the head Once bowed o’er my own in the old trundle-bed. NATURAL PERVERSITIES I am not prone to moralize In scientific doubt On certain facts that Nature tries To puzzle us about,— For I am no philosopher Of wise elucidation, But speak of things as they occur, From simple observation. I notice _little_ things—to wit:— I never missed a train Because I didn’t _run_ for it; I never knew it rain That my umbrella wasn’t lent,— Or, when in my possession, The sun but wore, to all intent, A jocular expression. I never knew a creditor To dun me for a debt But I was “cramped” or “bu’sted”; or I never knew one yet, When I had plenty in my purse, To make the least invasion,— As I, accordingly perverse, Have courted no occasion. Nor do I claim to comprehend What Nature has in view In giving us the very friend To trust we oughtn’t to.— But so it is: The trusty gun Disastrously exploded Is always sure to be the one We didn’t think was loaded. Our moaning is another’s mirth,— And what is worse by half, We say the funniest thing on earth And never raise a laugh: ’Mid friends that love us overwell, And sparkling jests and liquor, Our hearts somehow are liable To melt in tears the quicker. We reach the wrong when most we seek The right; in like effect, We stay the strong and not the weak— Do most when we neglect.— Neglected genius—truth be said— As wild and quick as tinder, The more you seek to help ahead The more you seem to hinder. I’ve known the least the greatest, too— And, on the selfsame plan, The biggest fool I ever knew Was quite a little man: We find we ought, and then we won’t— We prove a thing, then doubt it,— Know _everything_ but when we don’t Know _anything_ about it. THE OLD SCHOOL-CHUM He puts the poem by, to say His eyes are not themselves to-day! A sudden glamour o’er his sight— A something vague, indefinite— An oft-recurring blur that blinds The printed meaning of the lines, And leaves the mind all dusk and dim In swimming darkness—strange to him! It is not childishness, I guess,— Yet something of the tenderness That used to wet his lashes when A boy seems troubling him again;— The old emotion, sweet and wild, That drove him truant when a child, That he might hide the tears that fell Above the lesson—“Little Nell.” And so it is he puts aside The poem he has vainly tried To follow; and, as one who sighs In failure, through a poor disguise Of smiles, he dries his tears, to say His eyes are not themselves to-day. 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 be’n _turned_ Er shore-enough a new-un!”— Er “ef Steve’s city-friend hain’t 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 wuz 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 famb’ly,—me and Pap And Madaline and Mother. THE BLIND GIRL If I might see his face to-day!— He is so happy now!—To hear His laugh is like a roundelay— So ringing-sweet and clear! His step—I heard it long before He bounded through the open door To tell his marriage.—Ah! so kind— So good he is!—And I—so blind! But thus he always came to me— Me, first of all, he used to bring His sorrow to—his ecstasy— His hopes and everything; And if I joyed with him or wept, It was not long _the music_ slept,— And if he sung, or if I played— Or both,—we were the braver made. I grew to know and understand His every word at every call,— The gate-latch hinted, and his hand In mine confessed it all: He need not speak one word to me— He need not sigh—I need not see,— But just the one touch of his palm, And I would answer—song or psalm. He wanted recognition—name— He hungered so for higher things,— The altitudes of power and fame, And all that fortune brings: Till, with his great heart fevered thus, And aching as impetuous, I almost wished sometimes that _he_ Were blind and patient made, like me. But he has won!—I knew he would.— Once in the mighty Eastern mart, I knew his music only could Be sung in every heart! And when he proudly sent me this From out the great metropolis, I bent above the graven score And, weeping, kissed it o’er and o’er.— And yet not blither sing the birds Than this glad melody,—the tune As sweetly wedded with the words As flowers with middle-June; Had he not _told_ me, I had known It was composed of love alone— His love for _her_.—And she can see His happy face eternally!— While _I_—O God, forgive, I pray!— Forgive me that I did so long To look upon his face to-day!— I know the wish was wrong.— Yea, I am thankful that my sight Is shielded safe from such delight:— I can pray better, with this blur Of blindness—both for him and her. WE DEFER THINGS We say and we say and we say, We promise, engage and declare, Till a year from to-morrow is yesterday, And yesterday is—Where? THE MUSKINGUM VALLEY The Muskingum Valley!—How longin’ the gaze A feller throws back on its long summer days, When the smiles of its blossoms and _my_ smiles wuz one- And-the-same, from the rise to the set o’ the sun: Wher’ the hills sloped as soft as the dawn down to noon, And the river run by like an old fiddle-tune, And the hours glided past as the bubbles ’ud glide, All so loaferin’-like, ’long the path o’ the tide. In the Muskingum Valley—it ’peared-like the skies Looked lovin’ on me as my own mother’s eyes, While the laughin’-sad song of the stream seemed to be Like a lullaby angels was wastin’ on me— Tel, swimmin’ the air, like the gossamer’s thread, ’Twixt the blue underneath and the blue overhead, My thoughts went astray in that so-to-speak realm Wher’ Sleep bared her breast as a piller fer them. In the Muskingum Valley, though far, far away, I know that the winter is bleak there to-day— No bloom ner perfume on the brambles er trees— Wher’ the buds ust to bloom, now the icicles freeze.— That the grass is all hid ’long the side of the road Wher’ the deep snow has drifted and shifted and blowed— And I feel in my life the same changes is there,— The frost in my heart, and the snow in my hair. But, Muskingum Valley! my memory sees Not the white on the ground, but the green in the trees— Not the froze’-over gorge, but the current, as clear And warm as the drop that has jes trickled here; Not the choked-up ravine, and the hills topped with snow, But the grass and the blossoms I knowed long ago When my little bare feet wundered down wher’ the stream In the Muskingum Valley flowed on like a dream. FOR THIS CHRISTMAS Ye old-time stave that pealeth out To Christmas revellers all, At tavern-tap and wassail-bout, And in ye banquet-hall.— Whiles ye old burden rings again, Add yet ye verse, as due: “_God bless you, merry gentlemen_”— _And gentlewomen, too!_ A POOR MAN’S WEALTH A poor man? Yes, I must confess— No wealth of gold do I possess; No pastures fine, with grazing kine, Nor fields of waving grain are mine; No foot of fat or fallow land Where rightfully my feet may stand The while I claim it as my own— By deed and title, mine alone. Ah, poor indeed! perhaps you say— But spare me your compassion, pray!— When I ride not—with you—I walk In Nature’s company, and talk With one who will not slight or slur The child forever dear to her— And one who answers back, be sure, With smile for smile, though I am poor. And while communing thus, I count An inner wealth of large amount,— The wealth of honest purpose blent With Penury’s environment,— The wealth of owing naught to-day But debts that I would gladly pay, With wealth of thanks still unexpressed With cumulative interest.— A wealth of patience and content— For all my ways improvident; A faith still fondly exercised— For all my plans unrealized; A wealth of promises that still, Howe’er I fail, I hope to fill; A wealth of charity for those Who pity me my ragged clothes. A poor man? Yes, I must confess— No wealth of gold do I possess; No pastures fine, with grazing kine, Nor fields of waving grain are mine; But ah, my friend! I’ve wealth, no end! For millionaires might condescend To bend the knee and envy me This opulence of poverty. THE LITTLE RED RIBBON The little red ribbon, the ring and the rose! The summer-time comes, and the summer-time goes— And never a blossom in all of the land As white as the gleam of her beckoning hand! The long winter months, and the glare of the snows; The little red ribbon, the ring and the rose! And never a glimmer of sun in the skies As bright as the light of her glorious eyes! Dreams only are true; but they fade and are gone— For her face is not here when I waken at dawn; The little red ribbon, the ring and the rose _Mine_ only; _hers_ only the dream and repose. I am weary of waiting, and weary of tears, And my heart wearies, too, all these desolate years, Moaning over the one only song that it knows,— The little red ribbon, the ring and the rose! “HOW DID YOU REST, LAST NIGHT?” “How did you rest, last night?”— I’ve heard my gran’pap say Them words a thousand times—that’s right— Jes them words thataway! As punctchul-like as morning dast To ever heave in sight Gran’pap ’ud allus haf to ast— “How did you rest, last night?” Us young-uns used to grin, At breakfast, on the sly, And mock the wobble of his chin And eyebrows helt so high And kind: “_How did you rest, last night?_” We’d mumble and let on Our voices trimbled, and our sight Wuz dim, and hearin’ gone. ... Bad as I ust to be, All I’m a-wantin’ is As puore and ca’m a sleep fer me And sweet a sleep as his! And so I pray, on Jedgment Day To wake, and with its light See _his_ face dawn, and hear him say— “How did you rest, last night?” A GOOD-BYE “Good-bye, my friend!” He takes her hand— The pressures blend: They understand But vaguely why, with drooping eye, Each moans—“Good-bye!—Good-bye!” “Dear friend, good-bye!” O she could smile If she might cry A little while!— She says, “I _ought_ to smile—but I— Forgive me—_There!_—Good-bye!” “‘Good-bye?’ Ah, no: I hate,” says he, “These ‘good-byes’ so!” “And _I_,” says she, “Detest them so—why, I should _die_ Were this a _real_ ‘good-bye!’” WHEN MAIMIE MARRIED When Maimie married Charley Brown, Joy took possession of the town; The young folks swarmed in happy throngs— They rang the bells—they carolled songs— They carpeted the steps that led Into the church where they were wed; And up and down the altar-stair They scattered roses everywhere; When, in her orange-blossom crown, Queen Maimie married Charley Brown. So beautiful she was, it seemed Men, looking on her, dreamed they dreamed; And he, the holy man who took Her hand in his, so thrilled and shook. The gargoyles round the ceiling’s rim Looked down and leered and grinned at him, Until he half forgot his part Of sanctity, and felt his heart Beat worldward through his sacred gown— When Maimie married Charley Brown. The bridesmaids kissed her, left and right— Fond mothers hugged her with delight— Young men of twenty-seven were seen To blush like lads of seventeen, The while they held her hand to quote Such sentiments as poets wrote.— Yea, all the heads that Homage bends Were bowed to her.—But O my friends, _My_ hopes went up—_my_ heart went down— When Maimie married—_Charley Brown!_ “THIS DEAR CHILD-HEARTED WOMAN THAT IS DEAD” I This woman, with the dear child-heart, Ye mourn as dead, is—where and what? With faith as artless as her Art, I question not,— But dare divine, and feel, and know Her blessedness—as hath been writ In allegory.—Even so I fashion it:— II A stately figure, rapt and awed In her new guise of Angelhood, Still lingered, wistful—knowing God Was very good.— Her thought’s fine whisper filled the pause; And, listening, the Master smiled, And lo! the stately angel was —A little child. TO A POET-CRITIC Yes,—the bee sings—I confess it— Sweet as honey—Heaven bless it!— Yit he’d be a _sweeter_ singer Ef he didn’t have no stinger. AN OLD-TIMER Here where the wayward stream Is restful as a dream, And where the banks o’erlook A pool from out whose deeps My pleased face upward peeps, I cast my hook. Silence and sunshine blent!— A Sabbath-like content Of wood and wave;—a free- Hand landscape grandly wrought Of Summer’s brightest thought And mastery.— For here form, light and shade, And color—all are laid With skill so rarely fine, The eye may even see The ripple tremblingly Lip at the line. I mark the dragon-fly Flit waveringly by In ever-veering flight, Till, in a hush profound, I see him eddy round The “cork,” and—’light! Ho! with the boy’s faith then Brimming my heart again, And knowing, soon or late, The “nibble” yet shall roll Its thrills along the pole, I—breathless—wait. THE SILENT VICTORS MAY 30, 1878 _“Dying for victory, cheer on cheer_ _Thundered on his eager ear.”_ CHARLES L. HOLSTEIN. I Deep, tender, firm and true, the Nation’s heart Throbs for her gallant heroes passed away, Who in grim Battle’s drama played their part, And slumber here to-day.— Warm hearts that beat their lives out at the shrine Of Freedom, while our country held its breath As brave battalions wheeled themselves in line And marched upon their death: When Freedom’s Flag, its natal wounds scarce healed, Was torn from peaceful winds and flung again To shudder in the storm of battle-field— The elements of men,— When every star that glittered was a mark For Treason’s ball, and every rippling bar Of red and white was sullied with the dark And purple stain of war: When angry guns, like famished beasts of prey, Were howling o’er their gory feast of lives, And sending dismal echoes far away To mothers, maids, and wives:— The mother, kneeling in the empty night, With pleading hands uplifted for the son Who, even as she prayed, had fought the fight— The victory had won: The wife, with trembling hand that wrote to say The babe was waiting for the sire’s caress— The letter meeting that upon the way,— The babe was fatherless: The maiden, with her lips, in fancy, pressed Against the brow once dewy with her breath, Now lying numb, unknown, and uncaressed Save by the dews of death. II What meed of tribute can the poet pay The Soldier, but to trail the ivy-vine Of idle rhyme above his grave to-day In epitaph design?— Or wreathe with laurel-words the icy brows That ache no longer with a dream of fame, But, pillowed lowly in the narrow house, Renown’d beyond the name. The dewy tear-drops of the night may fall, And tender morning with her shining hand May brush them from the grasses green and tall That undulate the land.— Yet song of Peace nor din of toil and thrift, Nor chanted honors, with the flowers we heap, Can yield us hope the Hero’s head to lift Out of its dreamless sleep: The dear old flag, whose faintest flutter flies A stirring echo through each patriot breast, Can never coax to life the folded eyes That saw its wrongs redressed— That watched it waver when the fight was hot, And blazed with newer courage to its aid, Regardless of the shower of shell and shot Through which the charge was made;— And when, at last, they saw it plume its wings, Like some proud bird in stormy element, And soar untrammelled on its wanderings, They closed in death, content. III O mother, you who miss the smiling face Of that dear boy who vanished from your sight, And left you weeping o’er the vacant place He used to fill at night,— Who left you dazed, bewildered, on a day That echoed wild huzzas, and roar of guns That drowned the farewell words you tried to say To incoherent ones;— Be glad and proud you had the life to give— Be comforted through all the years to come,— Your country has a longer life to live, Your son a better home. O widow, weeping o’er the orphaned child, Who only lifts his questioning eyes to send A keener pang to grief unreconciled,— Teach him to comprehend He had a father brave enough to stand Before the fire of Treason’s blazing gun, That, dying, he might will the rich old land Of Freedom to his son. And, maiden, living on through lonely years In fealty to love’s enduring ties,— With strong faith gleaming through the tender tears That gather in your eyes, Look up! and own, in gratefulness of prayer, Submission to the will of Heaven’s High Host:— I see your Angel-soldier pacing there, Expectant at his post.— I see the rank and file of armies vast, That muster under one supreme control; I hear the trumpet sound the signal-blast— The calling of the roll— The grand divisions falling into line And forming, under voice of One alone, Who gives command, and joins with tongue divine The hymn that shakes the Throne. IV And thus, in tribute to the forms that rest In their last camping-ground, we strew the bloom And fragrance of the flowers they loved the best, In silence o’er the tomb. With reverent hands we twine the Hero’s wreath And clasp it tenderly on stake or stone That stands the sentinel for each beneath Whose glory is our own. While in the violet that greets the sun, We see the azure eye of some lost boy; And in the rose the ruddy cheek of one We kissed in childish joy,— Recalling, haply, when he marched away, He laughed his loudest though his eyes were wet.— The kiss he gave his mother’s brow that day Is there and burning yet: And through the storm of grief around her tossed, One ray of saddest comfort she may see,— Four hundred thousand sons like hers were lost To weeping Liberty. ... But draw aside the drapery of gloom, And let the sunshine chase the clouds away And gild with brighter glory every tomb We decorate to-day: And in the holy silence reigning round, While prayers of perfume bless the atmosphere, Where loyal souls of love and faith are found, Thank God that Peace is here! And let each angry impulse that may start, Be smothered out of every loyal breast; And, rocked within the cradle of the heart, Let every sorrow rest. UP AND DOWN OLD BRANDYWINE Up and down old Brandywine, In the days ’at’s past and gone— With a dad-burn hook-and-line And a saplin’-pole—i swawn! I’ve had more fun, to the square Inch, than ever _any_where! Heaven to come can’t discount _mine_, Up and down old Brandywine! Hain’t no sense in _wishin’_—yit Wisht to goodness I _could_ jes “Gee” the blame’ world round and git Back to that old happiness!— Kindo’ drive back in the shade “The old Covered Bridge” there laid ’Crosst the crick, and sorto’ soak My soul over, hub and spoke! Honest, now!—it hain’t no _dream_ ’At I’m wantin’,—but _the fac’s_ As they wuz; the same old stream, And the same old times, i jacks!— Gimme back my bare feet—and Stonebruise too!—And scratched and tanned!— And let hottest dog-days shine Up and down old Brandywine! In and on betwixt the trees ’Long the banks, pour down yer noon, Kindo’ curdled with the breeze And the yallerhammer’s tune; And the smokin’, chokin’ dust O’ the turnpike at its wusst— _Saturd’ys_, say, when it seems Road’s jes jammed with country teams! Whilse the old town, fur away ’Crosst the hazy pastur’-land, Dozed-like in the heat o’ day Peaceful’ as a hired hand. Jolt the gravel th’ough the floor O’ the ole bridge!—grind and roar With yer blame’ percession-line— Up and down old Brandywine! Souse me and my new straw hat Off the foot-log!—what _I_ care?— Fist shoved in the crown o’ that— Like the old Clown ust to wear.— Wouldn’t swop it fer a’ old Gin-u-wine raal crown o’ gold!— Keep yer _King_ ef you’ll gim me Jes the boy I ust to be! Spill my fishin’-worms! er steal My best “goggle-eye!”—but you Can’t lay hands on joys I feel Nibblin’ like they ust to do! So, in memory, to-day Same old ripple lips away At my “cork” and saggin’ line, Up and down old Brandywine! There the logs is, round the hill, Where “Old Irvin” ust to lift Out sunfish from daylight till Dewfall—’fore he’d leave “The Drift” And give _us_ a chance—and then Kindo’ fish back home again, Ketchin’ ’em jes left and right Where _we_ hadn’t got “a bite”! Er, ’way windin’ out and in,— Old path th’ough the iurnweeds And dog-fennel to yer chin— Then come suddent, th’ough the reeds And cattails, smack into where Them-air woods-hogs ust to scare Us clean ’crosst the County-line, Up and down old Brandywine! But the dim roar o’ the dam It ’ud coax us furder still To’rds the old race, slow and ca’m, Slidin’ on to Huston’s mill— Where, I ’spect, “the Freeport crowd” Never _warmed_ to us er ’lowed We wuz quite so overly Welcome as we aimed to be. Still it ’peared-like ever’thing— Fur away from home as _there_— Had more _relish_-like, i jing!— Fish in stream, er bird in air! O them rich old bottom-lands, Past where Cowden’s School-house stands! Wortermelons!—_master-mine!_ Up and down old Brandywine! And sich pop-paws!—Lumps o’ raw Gold and green,—jes oozy th’ough With ripe yallar—like you’ve saw Custard-pie with no crust to: And jes _gorges_ o’ wild plums Till a feller’d suck his thumbs Clean up to his elbows! _My!_— _Me some more er lem me die!_ Up and down old Brandywine!... Stripe me with pokeberry-juice!— Flick me with a pizen-vine And yell “_Yip!_” and lem me loose! —Old now as I then wuz young, ’F I could sing as I _have_ sung, Song ’ud shorely ring _dee-vine_ Up and down old Brandywine! THREE SINGING FRIENDS I LEE O. HARRIS Schoolmaster and Songmaster! Memory Enshrines thee with an equal love, for thy Duality of gifts,—thy pure and high Endowments—Learning rare, and Poesy. These were as mutual handmaids, serving thee, Throughout all seasons of the years gone by, With all enduring joys ’twixt earth and sky— In turn shared nobly with thy friends and me. Thus is it that thy clear song, ringing on, Is endless inspiration, fresh and free As the old Mays at verge of June sunshine; And musical as then, at dewy dawn, The robin hailed us, and all twinklingly Our one path wandered under wood and vine. II BENJAMIN S. PARKER Thy rapt song makes of Earth a realm of light And shadow mystical as some dreamland Arched with unfathomed azure—vast and grand With splendor of the morn; or dazzling bright With orient noon; or strewn with stars of night Thick as the daisies blown in grasses fanned By odorous midsummer breezes and Showered over by all bird-songs exquisite. This is thy voiced beatific art— To make melodious all things below, Calling through them, from far, diviner space, Thy clearer hail to us.—The faltering heart Thou cheerest; and thy fellow-mortal so Fares onward under Heaven with lifted face. III JAMES NEWTON MATTHEWS Bard of our Western world!—its prairies wide, With edging woods, lost creeks and hidden ways; Its isolated farms, with roundelays Of orchard warblers heard on every side; Its cross-road school-house, wherein still abide Thy fondest memories,—since there thy gaze First fell on classic verse; and thou, in praise Of that, didst find thine own song glorified. So singing, smite the strings and counterchange The lucently melodious drippings of Thy happy harp, from airs of “Tempe Vale,” To chirp and trill of lowliest flight and range, In praise of our To-day and home and love— Thou meadow-lark no less than nightingale. A NOON LULL ’Possum in de ’tater-patch; Chicken-hawk a-hangin’ Stiddy ’bove de stable-lot, An’ cyarpet-loom a-bangin’! Hi! Mr. Hoppergrass, chawin’ yo’ terbacker, Flick ye wid er buggy-whirp yer spit er little blacker! Niggah in de roas’in’-yeers, Whiskers in de shuckin’; Weasel croppin’ mighty shy, But ole hen a-cluckin’! —What’s got de matter er de mule-colt now? Drapt in de turnip-hole, chasin’ f’um de cow! A WINDY DAY The dawn was a dawn of splendor, And the blue of the morning skies Was as placid and deep and tender As the blue of a baby’s eyes; The sunshine flooded the mountain, And flashed over land and sea Like the spray of a glittering fountain.— But the wind—the wind—Ah me! Like a weird invisible spirit, It swooped in its airy flight; And the earth, as the stress drew near it, Quailed as in mute affright; The grass in the green fields quivered— The waves of the smitten brook Chillily shuddered and shivered, And the reeds bowed down and shook. Like a sorrowful miserere It sobbed, and it blew and blew, Till the leaves on the trees looked weary, And my prayers were weary, too; And then, like the sunshine’s glimmer That failed in the awful strain, All the hope of my eyes grew dimmer In a spatter of spiteful rain. MY HENRY He’s jes a great, big, awk’ard, hulkin’ Feller,—humped, and sorto’ sulkin’- Like, and ruther still-appearin’— Kind-as-ef he wuzn’t keerin’ Whether school helt out er not— That’s my Henry, to a dot! Allus kindo’ liked him—whether Childern, er growed-up together! Fifteen year’ ago and better, ’Fore he ever knowed a letter, Run acrosst the little fool In my Primer-class at school. When the Teacher wuzn’t lookin’, He’d be th’owin’ wads; er crookin’ Pins; er sprinklin’ pepper, more’n Likely, on the stove; er borin’ Gimlet-holes up thue his desk— Nothin’ _that_ boy wouldn’t resk! But, somehow, as I was goin’ On to say, he seemed so knowin’, _Other_ ways, and cute and cunnin’— Allus wuz a notion runnin’ Thue my giddy, fool-head he Jes had be’n cut out fer me! Don’t go much on _prophesyin’_, But last night whilse I wuz fryin’ Supper, with that man a-pitchin’ Little Marthy round the kitchen, Think-says-I, “Them baby’s eyes Is my Henry’s, jes p’cise!” THE SONG I NEVER SING As when in dreams we sometimes hear A melody so faint and fine And musically sweet and clear, It flavors all the atmosphere With harmony divine,— So, often in my waking dreams, I hear a melody that seems Like fairy voices whispering To me the song I never sing. Sometimes when brooding o’er the years My lavish youth has thrown away— When all the glowing past appears But as a mirage that my tears Have crumbled to decay,— I thrill to find the ache and pain Of my remorse is stilled again, As, forward bent and listening, I hear the song I never sing. A murmuring of rhythmic words, Adrift on tunes whose currents flow Melodious with the trill of birds, And far-off lowing of the herds In lands of long ago; And every sound the truant loves Comes to me like the coo of doves When first in blooming fields of Spring I heard the song I never sing. The echoes of old voices, wound In limpid streams of laughter where The river Time runs bubble-crowned, And giddy eddies ripple round The lilies growing there; Where roses, bending o’er the brink, Drain their own kisses as they drink, And ivies climb and twine and cling About the song I never sing. An ocean-surge of sound that falls As though a tide of heavenly art Had tempested the gleaming halls And crested o’er the golden walls In showers on my heart.... Thus—thus, with open arms and eyes Uplifted toward the alien skies, Forgetting every earthly thing, I hear the song I never sing. O nameless lay, sing clear and strong, Pour down thy melody divine Till purifying floods of song Have washed away the stains of wrong That dim this soul of mine! O woo me near and nearer thee, Till my glad lips may catch the key, And, with a voice unwavering, Join in the song I never sing. TO EDGAR WILSON NYE O “William,”—in thy blithe companionship What liberty is mine—what sweet release From clamorous strife, and yet what boisterous peace! Ho! ho! it is thy fancy’s finger-tip That dints the dimple now, and kinks the lip That scarce may sing, in all this glad increase Of merriment! So, pray-thee, do not cease To cheer me thus;—for, underneath the quip Of thy droll sorcery, the wrangling fret Of all distress is stilled—no syllable Of sorrow vexeth me—no tear-drops wet My teeming lids save those that leap to tell Thee thou’st a guest that overweepeth, yet Only because thou jokest overwell. LITTLE DAVID The mother of the little boy that sleeps Has blest assurance, even as she weeps: She knows her little boy has now no pain— No further ache, in body, heart or brain; All sorrow is lulled for him—all distress Passed into utter peace and restfulness.— All health that heretofore has been denied— All happiness, all hope, and all beside Of childish longing, now he clasps and keeps In voiceless joy—the little boy that sleeps. OUT OF THE HITHERWHERE Out of the hitherwhere into the YON— The land that the Lord’s love rests upon; Where one may rely on the friends he meets, And the smiles that greet him along the streets: Where the mother that left you years ago Will lift the hands that were folded so, And put them about you, with all the love And tenderness you are dreaming of. Out of the hitherwhere into the YON— Where all of the friends of your youth have gone,— Where the old schoolmate that laughed with you, Will laugh again as he used to do, Running to meet you, with such a face As lights like a moon the wondrous place Where God is living, and glad to live, Since He is the Master and may forgive. Out of the hitherwhere into the YON!— Stay the hopes we are leaning on— You, Divine, with Your merciful eyes Looking down from the far-away skies,— Smile upon us, and reach and take Our worn souls Home for the old home’s sake.— And so Amen,—for our all seems gone Out of the hitherwhere into the YON. RABBIT IN THE CROSS-TIES Rabbit in the cross-ties.— Punch him out—quick! Git a twister on him With a long prong stick. Watch him on the south side— Watch him on the—Hi!— There he goes! Sic him, Tige! Yi! Yi!! Yi!!! SERENADE—TO NORA The moonlight is failin’— The sad stars are palin’— The black wings av night are a-dhroopin’ an’ trailin’; The wind’s miserere Sounds lonesome an’ dreary; The katydid’s dumb an’ the nightingale’s weary. Troth, Nora! I’m wadin’ The grass an’ paradin’ The dews at your dure, wid my swate serenadin’, Alone and forsaken, Whilst you’re never wakin’ To tell me you’re wid me an’ I am mistaken! Don’t think that my singin’ It’s wrong to be flingin’ Forninst av the dreams that the Angels are bringin’; For if your pure spirit Might waken and hear it, You’d never be draamin’ the Saints could come near it! Then lave off your slaapin’— The pulse av me’s laapin’ To have the two eyes av yez down on me paapin’. Och, Nora! It’s hopin’ Your windy ye’ll open And light up the night where the heart av me’s gropin’. THE LITTLE WHITE HEARSE As the little white hearse went glimmering by— The man on the coal-cart jerked his lines, And smutted the lid of either eye, And turned and stared at the business signs; And the street-car driver stopped and beat His hands on his shoulders, and gazed up-street Till his eye on the long track reached the sky— As the little white hearse went glimmering by. As the little white hearse went glimmering by— A stranger petted a ragged child In the crowded walks, and she knew not why, But he gave her a coin for the way she smiled; And a boot-black thrilled with a pleasure strange, As a customer put back his change With a kindly hand and a grateful sigh, As the little white hearse went glimmering by. As the little white hearse went glimmering by— A man looked out of a window dim, And his cheeks were wet and his heart was dry, For a dead child even were dear to him! And he thought of his empty life, and said:— “Loveless alive, and loveless dead— Nor wife nor child in earth or sky!” As the little white hearse went glimmering by. WHAT REDRESS I pray you, do not use this thing For vengeance; but if questioning What wound, when dealt your humankind, Goes deepest,—surely he will find Who wrongs _you_, loving _him_ no less— There’s nothing hurts like tenderness. DREAMER, SAY Dreamer, say, will you dream for me A wild sweet dream of a foreign land, Whose border sips of a foaming sea With lips of coral and silver sand; Where warm winds loll on the shady deeps, Or lave themselves in the tearful mist The great wild wave of the breaker weeps O’er crags of opal and amethyst? Dreamer, say, will you dream a dream Of tropic shades in the lands of shine, Where the lily leans o’er an amber stream That flows like a rill of wasted wine,— Where the palm-trees, lifting their shields of green, Parry the shafts of the Indian sun Whose splintering vengeance falls between The reeds below where the waters run? Dreamer, say, will you dream of love That lives in a land of sweet perfume, Where the stars drip down from the skies above In molten spatters of bud and bloom? Where never the weary eyes are wet, And never a sob in the balmy air, And only the laugh of the paroquet Breaks the sleep of the silence there? WHEN LIDE MARRIED _HIM_ When Lide married _him_—w’y, she had to jes dee-fy The whole popilation!—But she never bat’ an eye! Her parents begged, and _threatened_—she must give him up—that _he_ Wuz jes “a common drunkard!”—And he _wuz_, appearantly.— Swore they’d chase him off the place Ef he ever showed his face— Long after she’d _eloped_ with him and _married_ him fer shore!— When Lide married _him_, it wuz “_Katy, bar the door!_” When Lide married _him_—Well! she had to go and be A _hired girl_ in town somewheres—while he tromped round to see What _he_ could git that _he_ could do,—you might say, jes sawed wood From door to door!—that’s what he done—’cause that wuz best he could! And the strangest thing, i jing! Wuz, he didn’t _drink_ a thing,— But jes got down to bizness, like he someway _wanted_ to, When Lide married _him_, like they warned her _not_ to do! When Lide married _him_—er, ruther, _had_ be’n married A little up’ards of a year—some feller come and carried That _hired girl_ away with him—a ruther _stylish_ feller In a bran-new green spring-wagon, with the wheels striped red and yeller: And he whispered, as they driv To’rds the country, “_Now we’ll live!_”— And _somepin’ else_ she _laughed_ to hear, though both her eyes wuz dim, ’Bout “_trustin’ Love and Heav’n above_, sence Lide married _him_!” MY BRIDE THAT IS TO BE O Soul of mine, look out and see My bride, my bride that is to be!— Reach out with mad, impatient hands, And draw aside futurity As one might draw a veil aside— And so unveil her where she stands Madonna-like and glorified— The queen of undiscovered lands Of love, to where she beckons me— My bride, my bride that is to be. The shadow of a willow-tree That wavers on a garden-wall In summer-time may never fall In attitude as gracefully As my fair bride that is to be;— Nor ever Autumn’s leaves of brown As lightly flutter to the lawn As fall her fairy-feet upon The path of love she loiters down.— O’er drops of dew she walks, and yet Not one may stain her sandal wet— Ay, she might _dance_ upon the way Nor crush a single drop to spray, So airy-like she seems to me,— My bride, my bride that is to be. I know not if her eyes are light As summer skies or dark as night,— I only know that they are dim With mystery: In vain I peer To make their hidden meaning clear. While o’er their surface, like a tear That ripples to the silken brim, A look of longing seems to swim All worn and weary-like to me; And then, as suddenly, my sight Is blinded with a smile so bright, Through folded lids I still may see My bride, my bride that is to be. Her face is like a night of June Upon whose brow the crescent-moon Hangs pendent in a diadem Of stars, with envy lighting them.— And, like a wild cascade, her hair Floods neck and shoulder, arm and wrist, Till only through a gleaming mist I seem to see a Siren there, With lips of love and melody And open arms and heaving breast Wherein I fling myself to rest, The while my heart cries hopelessly For my fair bride that is to be. ... Nay, foolish heart and blinded eyes! My bride hath need of no disguise.— But, rather, let her come to me In such a form as bent above My pillow when, in infancy, I knew not anything but love.— O let her come from out the lands Of Womanhood—not fairy isles,— And let her come with Woman’s hands And Woman’s eyes of tears and smiles,— With Woman’s hopefulness and grace Of patience lighting up her face: And let her diadem be wrought Of kindly deed and prayerful thought, That ever over all distress May beam the light of cheerfulness.— And let her feet be brave to fare The labyrinths of doubt and care, That, following, my own may find The path to Heaven God designed.— O let her come like this to me— My bride—my bride that is to be. “RINGWORM FRANK” Jest Frank Reed’s his _real_ name—though Boys all calls him “Ringworm Frank,” ’Cause he allus _runs round_ so.— No man can’t tell where to bank _Frank_’ll be, Next you see Er _hear_ of him!—Drat his melts!— That man’s allus _somers else_! We’re old pards.—But Frank he jest _Can’t_ stay still!—Wuz _prosper’n’_ here, But lit out on furder West Somers on a ranch, last year: Never heard Nary a word _How_ he liked it, tel to-day, Got this card, reads thisaway:— “Dad-burn climate out here makes Me homesick all Winter long, And when Springtime _comes_, it takes Two pee-wees to sing one song,— One sings ‘_pee_,’ And the other one ‘_wee!_’ Stay right where you air, old pard,— Wisht _I_ wuz this postal card!” AN EMPTY GLOVE I An empty glove—long withering in the grasp Of Time’s cold palm. I lift it to my lips,— And lo, once more I thrill beneath its clasp, In fancy, as with odorous finger-tips It reaches from the years that used to be And proffers back love, life and all, to me. II Ah! beautiful she was beyond belief: Her face was fair and lustrous as the moon’s; Her eyes—too large for small delight or grief,— The smiles of them were Laughter’s afternoons; Their tears were April showers, and their love— All sweetest speech swoons ere it speaks thereof. III White-fruited cocoa shown against the shell Were not so white as was her brow below The cloven tresses of the hair that fell Across her neck and shoulders of nude snow; Her cheeks—chaste pallor, with a crimson stain— Her mouth was like a red rose rinsed with rain. IV And this was she my fancy held as good— As fair and lovable—in every wise As peerless in pure worth of womanhood As was her wondrous beauty in men’s eyes.— Yet, all alone, I kiss this empty glove— The poor husk of the hand I loved—and love. OUR OWN They walk here with us, hand-in-hand; We gossip, knee-by-knee; They tell us all that they have planned— Of all their joys to be,— And, laughing, leave us: And, to-day, All desolate we cry Across wide waves of voiceless graves— Good-bye! Good-bye! Good-bye! MAKE-BELIEVE AND CHILD-PLAY _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 black-snakes 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 sceptre, too, and a signet-ring,_ _As vassals and serfs declare:_ _And a voice, god wot, that is equalled 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!_ “TWIGGS AND TUDENS” If my old school-chum and room-mate John Skinner is alive to-day—and no doubt he _is_ alive, and quite so, being, when last heard from, the very alert and effective Train Dispatcher at Butler, Indiana,—he will not have forgotten a certain night in early June (the 8th) of 1870, in “Old Number ’Leven” of the Dunbar House, Greenfield, when he and I sat the long night through, getting ready a famous issue of our old school-paper, “The Criterion.” And he will remember, too, the queer old man who occupied, but that one night, the room just opposite our own, Number 13. For reasons wholly aside from any superstitious dread connected with the numerals, 13 was not a desirable room; its locality was alien to all accommodations, and its comforts, like its furnishings, were extremely meagre. In fact, it was the room usually assigned to the tramp-printer, who, in those days, was an institution; or again, it was the local habitation of the oft-recurring transient customer who was too incapacitated to select a room himself when he retired—or rather, when he was personally retired by “the hostler,” as the gentlemanly night-clerk of that era was habitually designated. As both Skinner and myself—between fitful terms of school—had respectively served as “printer’s devil” in the two rival newspaper offices of the town, it was natural for us to find a ready interest in anything pertaining to the newspaper business; and so it was, perhaps, that we had been selected, by our own approval and that of our fellow-students of The Graded Schools, to fill the rather exalted office of editing “The Criterion.” Certain it is that the rather abrupt rise from the lowly duties of the “roller” to the editorial management of a paper of our own (even if issued in handwriting) we accepted as a natural right; and, vested in our new power of office, we were largely “shaping the whisper of the throne” about our way. And upon this particular evening it was, as John and I had fairly squared ourselves for the work of the night, that we heard the clatter and shuffle of feet on the side-stairs, and, an instant later, the hostler establishing some poor unfortunate in 13, just across the hall. “Listen!” said John, as we heard an old man’s voice through the open transom of our door,—“listen at that!” It was an utterance peculiarly refined, in language as well as intonation. A low, mild, rather apologetic voice, gently assuring the hostler that “everything was very snug and comfortable indeed—so far as the _compartment_ was concerned—but would not the _attendant_ kindly supply a better light, together with pen-and-ink—and just a sheet or two of paper,—if he would be so very good as to find a pardon for so very troublesome a guest.” “Hain’t no writin’-paper,” said the hostler, briefly,—“and the big lamps is all in use. These fellers here in ’Leven might let you have some paper and—Hain’t _you_ got a lead-pencil?” “Oh, no matter!” came the impatient yet kindly answer of the old voice—“no matter at all, my good fellow!—Good night—good night!” We waited till the sullen, clumpy footsteps down the hall and stair had died away. Then Skinner, with a handful of foolscap, opened our door; and, with an indorsing smile from me, crossed the hall and tapped at 13—was admitted—entered, and very quietly closed the door behind him, evidently that I might not be disturbed. I wrote on in silence for quite a time. It was, in fact, a full half-hour before John had returned,—and with a face and eye absolutely blazing with delight. “An old printer,” whispered John, answering my look,—“and we’re in luck:—He’s a _genius_, ’y God! and an Englishman, and knows Dickens _personally_—used to write races with him, and’s got a manuscript of his in his ‘portmanteau,’ as he calls an old oil-cloth knapsack with one lung clean gone. Excuse this extra light.—Old man’s lamp’s like a sore eye, and he’s going to touch up the Dickens sketch for _us_! _Hear?_—_For us_—for ‘The Criterion.’ Says he can’t sleep—he’s in distress—has a presentiment—some dear friend is dying—or dead now—and he must write—_write_!” This is, in briefest outline, the curious history of the subjoined sketch, especially curious for the reason that the following morning’s cablegram announced that the great novelist, Charles Dickens, had been stricken suddenly and seriously the night previous. On the day of this announcement—even as “The Criterion” was being read to perfunctorily interested visitors of The Greenfield Graded Schools—came the further announcement of Mr. Dickens’s death. The old printer’s manuscript, here reproduced, is, as originally, captioned— TWIGGS AND TUDENS “Now who’d want a more cosier little home than me and Tude’s got here?” asked Mr. Twiggs, as his twinkling eyes swept caressingly around the cheery little room in which he, alone, stood one chill December evening as the great St. Paul’s was drawling six. “This ain’t no princely hall with all its gorgeous paraphanaly, as the play-bills says; but it’s what I calls a’ ‘interior,’ which for meller comfort and cheerful surroundin’s ain’t to be ekalled by no other ‘flat’ on the boundless, never-endin’ stage of this existence!” And as the exuberant Mr. Twiggs rendered this observation, he felt called upon to smile and bow most graciously to an invisible audience, whose wild approval he in turn interpreted by an enthusiastic clapping of his hands and the cry of “Ongcore!” in a dozen different keys—this strange acclamation being made the more grotesque by a great green parrot perched upon the mantel, which, in a voice less musical than penetrating, chimed in with “Hooray for Twiggs and Tudens!” a very great number of times. “Tude’s a queer girl,” said Mr. Twiggs, subsiding into a reflective calm, broken only by the puffing of his pipe, and the occasional articulation of a thought, as it loitered through his mind. “Tude’s a queer girl!—a werry queer girl!” repeated Mr. Twiggs, pausing again, with a long whiff at his pipe, and marking the graceful swoop the smoke made as it dipped and disappeared up the wide, black-throated chimney; and then, as though dropping into confidence with the great fat kettle on the coals, that steamed and bubbled with some inner paroxysm, he added, “And queer and nothink short, is the lines for Tude, eh? “Now s’posin’,” he continued, leaning forward and speaking in a tone whose careful intonation might have suggested a more than ordinary depth of wisdom and sagacity,—“s’posin’ a pore chap like me, as ain’t no property only this-’ere ‘little crooked house,’ as Tude calls it, and some o’ the properties I ’andles at the Drury—as I was a-sayin’,—s’posin’ now a’ old rough chap like me was jest to tell her all about herself, and who she is and all, and not no kith or kin o’ mine, let alone a daughter, as _she_ thinks—What do you reckon now ’ud be the upshot, eh?” And as Mr. Twiggs propounded this mysterious query he jabbed the poker prankishly in the short-ribs of the grate, at which the pot, as though humoring a joke it failed to comprehend wholly, set up a chuckling of such asthmatic violence that its smothered cachinnations tilted its copper lid till Mr. Twiggs was obliged to dash a cup of water in its face. “And Tude’s a-comin’ of a’ age, too,” continued Mr. Twiggs, “when a more tenderer pertecter than a father, so to speak, wouldn’t be out o’ keepin’ with the nat’ral order o’ things, seein’ as how she’s sorto’ startin’ for herself-like now. And it’s a question in my mind, if it ain’t my bounden duty as her father—or ruther, who has been a father to her all her life—to kindo’ tell her jest how things is, and all—and how _I_ am, and everythink,—and how I feel as though I ort’o stand by her, as I allus have, and allus _have_ had her welfare in view, and kindo’ feel as how I allus—ort’o kindo’—ort’o kindo’”—and here Mr. Twiggs’s voice fell into silence so abruptly that the drowsy parrot started from its trance-like quiet and cried “Ortokindo! Ortokindo!” with such a strength of seeming mockery that it was brushed violently to the floor by the angry hand of Mr. Twiggs and went backing awkwardly beneath the table. “Blow me,” said Mr. Twiggs, “if the knowin’ impidence of that-’ere bird ain’t astonishin’!” And then, after a serious controversy with the draught of his pipe, he went on with his deliberations. “Lor! it were jest scrumptious to see Tude in ‘The Iron Chest’ last night! Now, I ain’t no actur myself,—I’ve been on, of course, a thousand times as ‘fillin’,’ ‘sogers’ and ‘peasants’ and the like, where I never had no lines, on’y in the ‘choruses’; but if I don’t know nothin’ but ‘All hail!—All hail!’ I’ve had the experience of bein’ under the baleful hinfluence of the hoppery-glass, and I’m free to say it air a ticklish position and no mistake. But _Tude_! w’y, bless you, she warn’t the first bit flustered, was she? ’Peared-like she jest felt perfectly at home-like—like her mother afore her! And I’m dashed if I didn’t feel the cold chills a-creepin’ and a-crawlin’ when she was a-singin’ ‘Down by the river there grows a green willer and a-weepin’ all night with the bank for her piller’; and when she come to the part about wantin’ to be buried there ’while the winds was a-blowin’ close by the stream where her tears was a-flowin’, and over her corpse to keep the green willers growin’,’ I’m d—d if I didn’t blubber right out!” And as the highly sympathetic Mr. Twiggs delivered this acknowledgment, he stroked the inner corners of his eyes, and rubbed his thumb and finger on his trousers. “It were a tryin’ thing, though,” he went on, his mellow features settling into a look not at all in keeping with his shiny complexion—“it were a tryin’ thing, and it _air_ a tryin’ thing to see them lovely arms o’ hern a-twinin’ so lovin’-like around that-’ere Stanley’s neck and a-kissin’ of him—as she’s obleeged to do, of course—as the ‘properties’ of the play demands; but I’m blowed if she wouldn’t do it quite so nat’ral-like I’d feel easier. Blow me!” he broke off savagely, starting up and flinging his pipe in the ashes, “I’m about a-comin’ to the conclusion I ain’t got no more courage’n a blasted school-boy! Here I am old enough to be her father—mighty nigh it—and yet I’m actually afeard to speak up and tell her jest how things is, and all, and how I feel like I—like I—ort’o—ort’o—” “_Ortokindo! Ortokindo!_” shrieked the parrot, clinging in a reversed position to the under-round of a chair.—“_Ortokindo! Ortokindo! Tude’s come home!—Tude’s come home!_” And as though in happy proof of this latter assertion, the gentle Mr. Twiggs found his chubby neck encircled by a pair of rosy arms, and felt upon his cheek the sudden pressure of a pair of lips that thrilled his old heart to the core. And then the noisy bird dropped from its perch and marched pompously from its place of concealment, trailing its rusty wings and shrieking, “Tude’s come home!” at the top of its brazen voice. “Shet up!” screamed Mr. Twiggs, with a pretended gust of rage, kicking lamely at the feathered oracle; “I’ll ‘Tude’s-come-home’ ye! W’y, a feller can’t hear his _ears_ for your infernal squawkin’!” And then, turning toward the serious eyes that peered rebukingly into his own, his voice fell gentle as a woman’s: “Well, there, Tudens, I beg parding; I do indeed. Don’t look at me thataway. I know I’m a great, rough, good-for—”But a warm, swift kiss cut short the utterance; and as the girl drew back, still holding the bright old face between her tender palms, he said simply, “You’re a queer girl, Tudens; a queer girl.” “Ha! am I?” said the girl, in quite evident heroics and quotation, starting back with a theatrical flourish and falling into a fantastic attitude.—“‘Troth, I am sorry for it; me poor father’s heart is bursting with gratichude, and he would fain ease it by pouring out his thanks to his benefactor.’” “Werry good! Werry good, indeed!” said Mr. Twiggs, gazing wistfully upon the graceful figure of the girl. “You’re a-growin’ more wonderful’ clever in your ‘presence’ every day, Tude. You don’t think o’ nothink else but your actin’, do ye, now?” And, as Mr. Twiggs concluded his observations, a something very like a sigh came faltering from his lips. “Why, listen there! Ah-ha!” laughed Tude, clapping her hands and dancing gayly around his chair.—“Why, you old melancholy Dane, you! are you actually _sighing_?” Then, dropping into a tragic air of deep contrition, she continued: “‘But, believe me, I would not question you, but to console you, Wilford. I would scorn to pry into any one’s grief, much more yours, Wilford, to satisfy a busy curiosity.’” “Oh, don’t, Tude; don’t _rehearse_ like that at me!—I can’t a-bear it.” And the serious Mr. Twiggs held out his hand as though warding off a blow. At this appeal the girl’s demeanor changed to one of tenderest solicitude. “Why, Pop’m,” she said, laying her hand on his shoulder, “I did not mean to vex you—forgive me. I was only trying to be happy, as I ought, although my own heart is this very minute heavy—very heavy—very.—No, no; I don’t mean that—but, Father, Father, I have not been dutiful.” “W’y, yes, you have,” broke in Mr. Twiggs, smothering the heavy exclamation in his handkerchief. “You ain’t been ondutiful, nor nothink else. You’re jest all and everythink that heart could wish. It’s all my own fault, Tudens; it’s all my fault. You see, I git to thinkin’ sometimes like I was a-goin’ to _lose_ you; and now that you are a-comin’ on in years, and gittin’ such a fine start, and all, and position and everythink.—Yes-sir! _position_, ’cause everybody likes you, Tudens. You know that; and I’m that proud of you and all, and that selfish, that it’s onpossible I could ever, ever give you up;—never, never, _ever_ give you up!” And Mr. Twiggs again stifled his voice in his handkerchief and blew his nose with prolonged violence. It may have been the melancholy ticking of the clock, as it grated on the silence following, it may have been the gathering darkness of the room, or the plaintive sighing of the rising wind without, that caused the girl to shudder as she stooped to kiss the kind old face bent forward in the shadows, and turned with feigned gayety to the simple task of arranging supper. But when, a few minutes later, she announced that Twiggs and Tudens’s tea was waiting, the two smilingly sat down, Mr. Twiggs remarking that if he only knew a blessing, he’d ask it upon that occasion most certainly. “—For on’y look at these-’ere ’am and eggs,” he said, admiringly: “I’d like to know if the Queen herself could cook ’em to a nicer turn, or serve ’em up more tantaliz’in’er to the palate. And this-’ere soup,—or whatever it is, is rich as gravy; and these boughten rolls ain’t a bad thing either, split in two and toasted as you do ’em, air they, Tude?” And as Mr. Twiggs glanced inquiringly at his companion, he found her staring vacantly at her plate. “I was jest a-sayin’, Tudens—” he went on, pretending to blow his tea and glancing cautiously across his saucer. “Yes, Pop’m, I heard you;—we really _ought_ to have a blessing, by all means.” Mr. Twiggs put down his tea without tasting it. “Tudens,” he said, after a long pause, in which he carefully buttered a piece of toast for the second time,—“Tudens, I’m ’most afeard you didn’t grasp that last remark of mine: I was a-sayin’—” “Well—” said Tudens, attentively. “I was a-sayin’,” said Mr. Twiggs, averting his face and staring stoically at his toast—“I was a-sayin’ that you was a-gittin’ now to be quite a young woman.” “Oh, so you were,” said Tudens, with charming naïveté. “Well,” said Mr. Twiggs, repentantly, but with a humorous twinkle, “if I wasn’t a-sayin’ of it, I was _a-thinkin’_ it.”—And then, running along hurriedly, “And I’ve been a-thinkin’ it for days and days—ever sence you left the ‘balley’ and went in ‘chambermaids,’ and last in leadin’ rôles. Maybe _you_ ain’t noticed it, but I’ve had my eyes on you from the ‘flies’ and the ‘wings’; and jest betwixt us, Tudens, and not for me as ort to know better, and does know better, to go a-flatterin’, at my time o’—or to go a-flatterin’ anybody, as I said, after you’re a-gittin’ to be a young woman—and what’s more, a werry _’andsome_ young woman!” “_Why, Pop’m!_” exclaimed Tudens, blushing. “Yes, you are, Tudens, and I mean it, every word of it; and as I was a-goin’ on to say, I’ve been a-watchin’ of you, and a-layin’ off a long time jest to tell you summat that will make your eyes open wider ’an that! What I mean,” said Mr. Twiggs, coughing vehemently and pushing his chair back from the table—“what I mean is, you’ll soon be old enough to be a-settin’ up for yourself-like, and a-marry’—W’y, Tudens, what _ails_ you?” The girl had risen to her feet, and, with a face dead white and lips all tremulous, stood clinging to her chair for support. “What ails you, Tudens?” repeated Mr. Twiggs, rising to his feet and gazing on her with a curious expression of alarm and tenderness. “Nothing serious, dear Pop’m,” said Tudens, with a flighty little laugh,—“only it just flashed on me all at once that I’d clean forgotten poor ‘Dick’s’ supper.” And as she turned abruptly to the parrot, cooing and clucking to him playfully,—up, up from some hitherto undreamed-of depth within the yearning heart of Mr. Twiggs mutely welled the old utterance, “Tude’s a queer girl!” “Whatever made you think of such a thing, Father?” called Tudens, gayly; and then, without waiting for an answer, went on cooing to the parrot,—“Hey, old dicky-bird! do _you_ think Tudens is a handsome young woman? and do _you_ think Tudens is old enough to marry, eh?” This query delivered, she broke into a fit of merriment which so wrought upon the susceptibilities of the bird that he was heard repeatedly to declare and affirm, in most positive and unequivocal terms, that Tude had actually come home. “Yes—_sir_, Tudens!” broke in Mr. Twiggs at last, lighting a fresh churchwarden and settling into his old position at the grate; “have your laugh out over it now, but it’s a werry serious fact, for all that.” “I know it, Father,” said the girl, recovering her gravity, turning her large eyes lovingly upon him and speaking very tenderly. “I know it—oh, I know it; and many, many times when I have thought of it, and then again of your old kindly faith; all the warm wealth of your love; and our old home here, and all the happiness it ever held for me and you alike—oh, I have tried hard—indeed, indeed I have—to put all other thought away and live for you alone! But, Pop’m! dear old Pop’m—”And even as the great strong breast made shelter for her own, the woman’s heart within her flowed away in mists of gracious tears. “Couldn’t live without old Pop’m, could her?” half cried and laughed the happy Mr. Twiggs, tangling his clumsy fingers in the long dark hair that fell across his arm, and bending till his glad face touched her own.—“Couldn’t live without old Pop’m?” “Never! never!” sobbed the girl, lifting her brimming eyes and gazing in the kind old face. “Oh, may I always live with you, Pop’m? Always?—Forever?—” “—And a day!” said Mr. Twiggs, emphatically. “Even after I’m—” and she hid her face again. “Even after—_what_, Tudens?” “After I’m—after I’m—married?” murmured Tudens, with a longing pressure. “Nothink short!” said Mr. Twiggs;—“perwidin’,” he added, releasing one hand and smoothing back his scanty hair—“perwidin’, of course, that your man is a’ honest, straitforrerd feller, as ain’t no lordly notions nor nothink o’ that sort.” “Nor rich?” “Well, I ain’t so p’ticklar about his bein’ _pore_, adzackly.—Say a feller as works for his livin’, and knows how to ’usband his earnin’s thrifty-like, and allus ’as a hextry crown or two laid up against a rainy day—and a good perwider, of course,” said Mr. Twiggs, with a comfortable glance around the room.—“’Ll blow me if I didn’t see a face there a-peerin’ in the winder!” “Oh, no, you didn’t,” said the girl, without raising her head. “Go on—‘and a good provider—’” “—A good perwider,” continued Mr. Twiggs; “and a feller, of course, as has a’ eye out for the substantials of this life, and ain’t afeard o’ work—that’s the idear! that’s the idear!” said Mr. Twiggs, by way of sweeping conclusion. “And that’s all old Pop’m asks, after all?” queried the girl, with her radiant face wistful as his own. “W’y, certainly!” said Mr. Twiggs, with heartiness. “Ain’t that all and everythink to make home happy?”—catching her face between his great brown hands and kissing her triumphantly. “Hooray for Twiggs-and Twiggs-and Twiggs-and—” cootered the drowsy bird, disjointedly. The girl had risen.—“And you’ll forgive me for marrying such a man?” “Won’t I?” said Mr. Twiggs, with a rapturous twinkle. As he spoke, she flung her arms about his neck and pressed her lips close, close against his cheek, her own glad face now fronting the little window.... She heard the clicking of the latch, the opening of the door, and the step of the intruder ere she loosed her hold. “God bless you, Pop’m, and forgive me!—This is my husband.” The newcomer, Mr. Stanley, reached and grasped the hand of Mr. Twiggs, eagerly, fervidly, albeit the face he looked on then will haunt him to the hour of his death.—Yet haply, some day, when the Master takes the selfsame hand within his own and whispers, “Tude’s come home,” the old smile will return. DOLORES Lithe-armed, and with satin-soft shoulders As white as the cream-crested wave; With a gaze dazing every beholder’s, She holds every gazer a slave: Her hair, a fair haze, is outfloated And flared in the air like a flame; Bare-breasted, bare-browed and bare-throated— Too smooth for the soothliest name. She wiles you with wine, and wrings for you Ripe juices of citron and grape; She lifts up her lute and sings for you Till the soul of you seeks no escape; And you revel and reel with mad laughter, And fall at her feet, at her beck, And the scar of her sandal thereafter You wear like a gyve round your neck. WHEN I DO MOCK When I do mock the blackness of the night With my despair—outweep the very dews And wash my wan cheeks stark of all delight, Denying every counsel of dear use In mine embittered state; with infinite Perversity, mine eyes drink in no sight Of pleasance that nor moon nor stars refuse In silver largess and gold twinklings bright;— I question me what mannered brain is mine That it doth trick me of the very food It panteth for—the very meat and wine That yet should plump my starved soul with good And comfortable plethora of ease, That I might drowse away such rhymes as these. MY MARY My Mary, O my Mary! The simmer skies are blue: The dawnin’ brings the dazzle, An’ the gloamin’ brings the dew,— The mirk o’ nicht the glory O’ the moon, an’ kindles, too, The stars that shift aboon the lift.— But naething brings me you! Where is it, O my Mary, Ye are biding a’ the while? I ha’ wended by your window— I ha’ waited by the stile, An’ up an’ down the river I ha’ won for mony a mile, Yet never found, adrift or drown’d, Your lang-belated smile. Is it forgot, my Mary, How glad we used to be?— The simmer-time when bonny bloomed The auld trysting-tree,— How there I carved the name for you, An’ you the name for me; An’ the gloamin’ kenned it only When we kissed sae tenderly. Speek ance to me, my Mary!— But whisper in my ear As light as ony sleeper’s breath, An’ a’ my soul will hear; My heart shall stap its beating, An’ the soughing atmosphere Be hushed the while I leaning smile An’ listen to you, dear! My Mary, O my Mary! The blossoms bring the bees; The sunshine brings the blossoms, An’ the leaves on a’ the trees; The simmer brings the sunshine An’ the fragrance o’ the breeze,— But O wi’out you, Mary, I care naething for these! We were sae happy, Mary! O think how ance we said— Wad ane o’ us gae fickle, Or are o’ us lie dead,— To feel anither’s kisses We wad feign the auld instead, An’ ken the ither’s footsteps In the green grass owerhead. My Mary, O my Mary! Are ye dochter o’ the air, That ye vanish aye before me As I follow everywhere?— Or is it ye are only But a mortal, wan wi’ care, Sin’ I search through a’ the kirkyird An’ I dinna find ye there? _EROS_ _The storm of love has burst at last_ _Full on me: All the world, before,_ _Was like an alien, unknown shore_ _Along whose verge I laughing passed.—_ _But now—I laugh not any more,—_ _Bowed with a silence vast in weight_ _As that which falls on one who stands_ _For the first time on ocean sands,_ _Seeing and feeling all the great_ _Awe of the waves as they wash the lands_ _And billow and wallow and undulate._ ORLIE WILDE A goddess, with a siren’s grace,— A sun-haired girl on a craggy place Above a bay where fish-boats lay Drifting about like birds of prey. Wrought was she of a painter’s dream,— Wise only as are artists wise, My artist-friend, Rolf Herschkelhiem, With deep sad eyes of oversize, And face of melancholy guise. I pressed him that he tell to me This masterpiece’s history. He turned—_re_turned—and thus beguiled Me with the tale of Orlie Wilde:— “We artists live ideally: We breed our firmest facts of air; We make our own reality— We dream a thing and it is so. The fairest scenes we ever see Are mirages of memory; The sweetest thoughts we ever know We plagiarize from Long Ago: And as the girl on canvas there Is marvellously rare and fair, ’Tis only inasmuch as she Is dumb and may not speak to me!” He tapped me with his mahlstick—then The picture,—and went on again: “Orlie Wilde, the fisher’s child— I see her yet, as fair and mild As ever nursling summer day Dreamed on the bosom of the bay: For I was twenty then, and went Alone and long-haired—all content With promises of sounding name And fantasies of future fame, And thoughts that now my mind discards As editor a fledgling bard’s. “At evening once I chanced to go, With pencil and portfolio, Adown the street of silver sand That winds beneath this craggy land, To make a sketch of some old scurf Of driftage, nosing through the surf A splintered mast, with knarl and strand Of rigging-rope and tattered threads Of flag and streamer and of sail That fluttered idly in the gale Or whipped themselves to sadder shreds. The while I wrought, half listlessly, On my dismantled subject, came A sea-bird, settling on the same With plaintive moan, as though that he Had lost his mate upon the sea; And—with my melancholy trend— It brought dim dreams half understood— It wrought upon my morbid mood,— I thought of my own voyagings That had no end—that have no end.— And, like the sea-bird, I made moan That I was loveless and alone. And when at last with weary wings It went upon its wanderings, With upturned face I watched its flight Until this picture met my sight: A goddess, with a siren’s grace,— A sun-haired girl on a craggy place Above a bay where fish-boats lay Drifting about like birds of prey. “In airy poise she, gazing, stood A matchless form of womanhood, That brought a thought that if for me Such eyes had sought across the sea, I could have swum the widest tide That ever mariner defied, And, at the shore, could on have gone To that high crag she stood upon, To there entreat and say, ‘My Sweet, Behold thy servant at thy feet.’ And to my soul I said: ‘Above, There stands the idol of thy love!’ “In this rapt, awed, ecstatic state I gazed—till lo! I was aware A fisherman had joined her there— A weary man, with halting gait, Who toiled beneath a basket’s weight: Her father, as I guessed, for she Had run to meet him gleefully And ta’en his burden to herself, That perched upon her shoulder’s shelf So lightly that she, tripping, neared A jutting crag and disappeared; But left the echo of a song That thrills me yet, and will as long As I have being!... ... “Evenings came And went,—but each the same—the same: She watched above, and even so I stood there watching from below; Till, grown so bold at last, I sung,— (What matter now the theme thereof!)— It brought an answer from her tongue— Faint as the murmur of a dove, Yet all the more the song of love.... “I turned and looked upon the bay, With palm to forehead—eyes a-blur In the sea’s smile—meant but for her!— I saw the fish-boats far away In misty distance, lightly drawn In chalk-dots on the horizon— Looked back at her, long, wistfully,— And, pushing off an empty skiff, I beckoned her to quit the cliff And yield me her rare company Upon a little pleasure-cruise.— She stood, as loathful to refuse, To muse for full a moment’s time,— Then answered back in pantomime ‘She feared some danger from the sea Were she discovered thus with me.’ I motioned then to ask her if I might not join her on the cliff; And back again, with graceful wave Of lifted arm, she answer gave ‘She feared some danger from the sea.’ “Impatient, piqued, impetuous, I Sprang in the boat, and flung ‘Good-bye’ From pouted mouth with angry hand, And madly pulled away from land With lusty stroke, despite that she Held out her hands entreatingly: And when far out, with covert eye I shoreward glanced, I saw her fly In reckless haste adown the crag, Her hair a-flutter like a flag Of gold that danced across the strand In little mists of silver sand. All curious I, pausing, tried To fancy what it all implied,— When suddenly I found my feet Were wet; and, underneath the seat On which I sat, I heard the sound Of gurgling waters, and I found The boat aleak alarmingly.... I turned and looked upon the sea, Whose every wave seemed mocking me; I saw the fishers’ sails once more— In dimmer distance than before; I saw the sea-bird wheeling by, With foolish wish that _I_ could fly: I thought of firm earth, home and friends— I thought of everything that tends To drive a man to frenzy and To wholly lose his own command; I thought of all my waywardness— Thought of a mother’s deep distress; Of youthful follies yet unpurged— Sins, as the seas, about me surged— Thought of the printer’s ready pen To-morrow drowning me again;— A million things without a name— I thought of everything but—Fame.... “A memory yet is in my mind, So keenly clear and sharp-defined, I picture every phase and line Of life and death, and neither mine,— While some fair seraph, golden-haired, Bends over me,—with white arms bared, That strongly plait themselves about My drowning weight and lift me out— With joy too great for words to state Or tongue to dare articulate! “And this seraphic ocean-child And heroine was Orlie Wilde: And thus it was I came to hear Her voice’s music in my ear— Ay, thus it was Fate paved the way That I walk desolate to-day!” ... The artist paused and bowed his face Within his palms a little space, While reverently on his form I bent my gaze and marked a storm That shook his frame as wrathfully As some typhoon of agony, And fraught with sobs—the more profound For that peculiar laughing sound We hear when strong men weep.... I leant With warmest sympathy—I bent To stroke with soothing hand his brow, He murmuring—“’Tis over now!— And shall I tie the silken thread Of my frail romance?” “Yes,” I said.— He faintly smiled; and then, with brow In kneading palm, as one in dread— His tasselled cap pushed from his head;— “‘Her voice’s music,’ I repeat,” He said,—“’twas sweet—O passing sweet!— Though she herself, in uttering Its melody, proved not the thing Of loveliness my dreams made meet For me—there, yearning, at her feet— Prone at her feet—a worshipper,— For lo! she spake a tongue,” moaned he, “Unknown to me;—unknown to me As mine to her—as mine to her.” LEONAINIE Leonainie—Angels named her; And they took the light Of the laughing stars and framed her In a smile of white; And they made her hair of gloomy Midnight, and her eyes of bloomy Moonshine, and they brought her to me In the solemn night.— In a solemn night of summer, When my heart of gloom Blossomed up to greet the comer Like a rose in bloom; All forebodings that distressed me I forgot as Joy caressed me— (_Lying_ Joy! that caught and pressed me In the arms of doom!) Only spake the little lisper In the Angel-tongue; Yet I, listening, heard her whisper,— “Songs are only sung Here below that they may grieve you— Tales but told you to deceive you,— So must Leonainie leave you While her love is young.” Then God smiled and it was morning. Matchless and supreme Heaven’s glory seemed adorning Earth with its esteem: Every heart but mine seemed gifted With the voice of prayer, and lifted Where my Leonainie drifted From me like a dream. TO A JILTED SWAIN Get thee back neglected friends; And repay, as each one lends, Tithes of shallow-sounding glee Or keen-ringing raillery: Get thee from lone vigils; be But in jocund company, Where is laughter and acclaim Boisterous above the name.— Get where sulking husbands sip Ale-house cheer, with pipe at lip; And where Mol the barmaid saith Curst is she that marrieth. THE VOICES Down in the night I hear them: The Voices—unknown—unguessed,— That whisper, and lisp, and murmur, And will not let me rest.— Voices that seem to question, In unknown words, of me, Of fabulous ventures, and hopes and dreams Of this and the World to be. Voices of mirth and music, As in sumptuous homes; and sounds Of mourning, as of gathering friends In country burial-grounds. Cadence of maiden voices— Their lovers’ blent with these; And of little children singing, As under orchard trees. And often, up from the chaos Of my deepest dreams, I hear Sounds of their phantom laughter Filling the atmosphere: They call to me from the darkness; They cry to me from the gloom, Till I start sometimes from my pillow And peer through the haunted room; When the face of the moon at the window Wears a pallor like my own, And seems to be listening with me To the low, mysterious tone,— The low, mysterious clamor Of voices that seem to be Striving in vain to whisper Of secret things to me;— Of a something dread to be warned of; Of a rapture yet withheld; Or hints of the marvellous beauty Of songs unsyllabled. But ever and ever the meaning Falters and fails and dies, And only the silence quavers With the sorrow of my sighs. And I answer:—O Voices, ye may not Make me to understand Till my own voice, mingling with you, Laughs in the Shadow-land. _A BAREFOOT BOY_ _A barefoot boy! I mark him at his play—_ _For May is here once more, and so is he,—_ _His dusty trousers, rolled half to the knee,_ _And his bare ankles grimy, too, as they:_ _Cross-hatchings of the nettle, in array_ _Of feverish stripes, hint vividly to me_ _Of woody pathways winding endlessly_ _Along the creek, where even yesterday_ _He plunged his shrinking body—gasped and shook—_ _Yet called the water “warm,” with never lack_ _Of joy. And so, half enviously I look_ _Upon this graceless barefoot and his track,—_ _His toe stubbed—ay, his big toe-nail knocked back_ _Like unto the clasp of an old pocket-book._ THE YOUTHFUL PATRIOT O what did the little boy do ’At nobody wanted him to? Didn’t do nothin’ but romp an’ run, An’ whoop an’ holler an’ bang his gun An’ bu’st fire-crackers, an’ ist have fun— An’ _’at’s_ all the little boy done! PONCHUS PILUT Ponchus Pilut _ust_ to be Ist a _Slave_, an’ now he’s _free_. Slaves wuz on’y ist before The War wuz—an’ _ain’t_ no more. He works on our place fer us,— An’ comes here—_sometimes_ he does. He shocks corn an’ shucks it.—An’ He makes hominy “by han’!”— Wunst he bringed us some, one trip, Tied up in a piller-slip: Pa says, when Ma cooked it, “MY! This-here’s gooder’n you _buy_!” Ponchus _pats_ fer me an’ sings; An’ he says _funny_ things! Ponchus calls a dish a “_deesh_”— Yes, an’ _he_ calls fishes “_feesh_”! When Ma want him eat wiv us He says, “’Skuse me—’deed you mus’!— Ponchus know’ good manners, Miss.— He ain’ eat wher’ White-folks is!” ’Lindy takes _his_ dinner out Wher’ he’s workin’—roun’ about.— Wunst he et his dinner spread In our ole wheelborry-bed. _Ponchus Pilut_ says “_’at’s_ not His _right_ name,—an’ done fergot What his _sho’-’nuff_ name is now— An’ don’ matter none _no_how!” Yes, an’ Ponchus he’ps Pa, too, When our _butcherin’s_ to do, An’ scalds hogs—an’ says, “Take care ’Bout it, er you’ll _set the hair_!” Yes, an’ out in our back-yard He he’ps ’Lindy rendur lard; An’, wite in the fire there, he Roast’ a pigtail wunst fer me.— An’ ist nen th’ole tavurn-bell Rung, down-town, an’ he says, “Well!— Hear dat! _Lan’ o’ Caanan_, Son, Ain’t dat bell say ‘_Pigtail done!_’ —‘_Pigtail done!_ _Go call Son!—_ _Tell dat_ _Chile dat_ _Pigtail done!_’” A TWINTORETTE Ho! my little maiden With the glossy tresses, Come thou and dance with me A measure all divine; Let my breast be laden With but thy caresses— Come thou and glancingly Mate thy face with mine. Thou shalt trill a rondel, While my lips are purling Some dainty twitterings Sweeter than the birds’; And, with arms that fondle Each as we go twirling, We will kiss, with titterings, Lisps and loving words. SLUMBER-SONG Sleep, little one! The Twilight folds her gloom Full tenderly about the drowsy Day, And all his tinselled hours of light and bloom Like toys are laid away. Sleep! sleep! The noon-sky’s airy cloud of white Has deepened wide o’er all the azure plain; And, trailing through the leaves, the skirts of Night Are wet with dews as rain. But rest thou sweetly, smiling in thy dreams, With round fists tossed like roses o’er thy head, And thy tranc’d lips and eyelids kissed with gleams Of rapture perfected. THE CIRCUS PARADE The Circus!—The Circus!—The throb of the drums, And the blare of the horns, as the Band-wagon comes; The clash and the clang of the cymbals that beat, As the glittering pageant winds down the long street! In the Circus parade there is glory clean down From the first spangled horse to the mule of the Clown, With the gleam and the glint and the glamour and glare Of the days of enchantment all glimmering there! And there are the banners of silvery fold Caressing the winds with their fringes of gold, And their high-lifted standards, with spear-tips aglow, And the helmeted knights that go riding below. There’s the Chariot, wrought of some marvellous shell The Sea gave to Neptune, first washing it well With its fabulous waters of gold, till it gleams Like the galleon rare of an Argonaut’s dreams. And the Elephant, too, (with his undulant stride That rocks the high throne of a king in his pride,) That in jungles of India shook from his flanks The tigers that leapt from the Jujubee-banks. Here’s the long, ever-changing, mysterious line Of the Cages, with hints of their glories divine From the barred little windows, cut high in the rear, Where the close-hidden animals’ noses appear. Here’s the Pyramid-car, with its splendor and flash, And the Goddess on high, in a hot-scarlet sash And a pen-wiper skirt!—O the rarest of sights Is this “Queen of the Air” in cerulean tights! Then the far-away clash of the cymbals, and then The swoon of the tune ere it wakens again With the capering tones of the gallant cornet That go dancing away in a mad minuet. The Circus!—The Circus!—The throb of the drums, And the blare of the horns, as the Band-wagon comes; The clash and the clang of the cymbals that beat, As the glittering pageant winds down the long street. FOLKS AT LONESOMEVILLE Pore-folks lives at Lonesomeville— Lawzy! but they’re pore! Houses with no winders in, And hardly any door: Chimbly all tore down, and no Smoke in that at all— Ist a stovepipe through a hole In the kitchen-wall! Pump ’at’s got no handle on; And no woodshed—And, _wooh!_— Mighty cold there, choppin’ wood, Like pore-folks has to do!— Winter-time, and snow and sleet Ist fairly fit to kill!— Hope to goodness _Santy Claus_ Goes to Lonesomeville! THE THREE JOLLY HUNTERS O there were three jolly hunters; And a-hunting they did go, With a spaniel-dog, and a pointer-dog, And a setter-dog also. Looky there! And they hunted and they hal-looed; And the first thing they did find Was a dingling-dangling hornet’s-nest A-swinging in the wind. Looky there! And the first one said—“What is it?” Said the next, “We’ll punch and see”: And the next one said, a mile from there, “I wish we’d let it be!” Looky there! And they hunted and they hal-looed; And the next thing they did raise Was a bobbin’ bunny cottontail That vanished from their gaze. Looky there! One said it was a hot base-ball, Zipped through the brambly thatch, But the others said ’twas a note by post, Or a telegraph-dispatch. Looky there! So they hunted and they hal-looed; And the next thing they did sight Was a great big bulldog chasing them, And a farmer, hollerin’ “Skite!” Looky there! And the first one said, “Hi-jinktum!” And the next, “Hi-jinktum-jee!” And the last one said, “Them very words Had just occurred to me!” Looky there! THE LITTLE DOG-WOGGY A Little Dog-Woggy Once walked round the World: So he shut up his house; and, forgetting His two puppy-children Locked in there, he curled Up his tail in pink bombazine netting, And set out To walk round The World. He walked to Chicago, And heard of the Fair— Walked on to New York, where he _never_,— In fact, he discovered That many folks there Thought less of Chicago than ever, As he musing- Ly walked round The World. He walked on to Boston, And round Bunker Hill, Bow-wowed, but no citizen heerd him— Till he ordered his baggage And called for his bill, And then, bless their souls! how they cheered him, As he gladly Walked on round The World. He walked and walked on For a year and a day— Dropped down at his own door and panted, Till a teamster came driving Along the highway And told him that house there was ha’nted By the two starve- Dest pups in The World. CHARMS I FOR CORNS AND THINGS Prune your corn in the gray of the morn With a blade that’s shaved the dead, And barefoot go and hide it so The rain will rust it red: Dip your foot in the dew and put A print of it on the floor, And stew the fat of a brindle cat, And say this o’er and o’er:— Corny! morny! blady! dead! Gory! sory! rusty! red! Footsy! putsy! floory! stew! Fatsy! catsy! Mew! Mew! Come grease my corn In the gray of the morn! Mew! Mew! Mew! II TO REMOVE FRECKLES—SCOTCH ONES Gae the mirkest night an’ stan’ ’Twixt twa graves, ane either han’; Wi’ the right han’ fumblin’ ken Wha the deid mon’s name’s ance be’n,— Wi’ the ither han’ sae read Wha’s neist neebor o’ the deid; An it be or wife or lass, Smoor tha twa han’s i’ the grass, Weshin’ either wi’ the ither, Then tha faice wi’ baith thegither; Syne ye’ll seeket at cockcraw— Ilka freeckle’s gang awa! A FEW OF THE BIRD-FAMILY The Old Bob-white, and Chipbird; The Flicker, and Chewink, And little hopty-skip bird Along the river-brink. The Blackbird, and Snowbird, The Chicken-hawk, and Crane; The glossy old black Crow-bird, And Buzzard down the lane. The Yellowbird, and Redbird, The Tomtit, and the Cat; The Thrush, and that Red_head_-bird The rests all pickin’ at! The Jay-bird, and the Bluebird, The Sapsuck, and the Wren— The Cockadoodle-doo-bird, And our old Settin’-hen! THROUGH SLEEPY-LAND Where do you go when you go to sleep, Little Boy! Little Boy! where? ’Way—’way in where’s Little Bo-Peep, And Little Boy Blue, and the Cows and Sheep A-wandering ’way in there—in there— A-wandering ’way in there! And what do you see when lost in dreams, Little Boy, ’way in there? Firefly-glimmers and glow-worm gleams, And silvery, low, slow-sliding streams, And mermaids, smiling out—’way in where They’re a-hiding—’way in there! Where do you go when the Fairies call, Little Boy! Little Boy! where? Wade through the dews of the grasses tall, Hearing the weir and the waterfall And the Wee Folk—’way in there—in there— And the Kelpies—’way in there! And what do you do when you wake at dawn, Little Boy! Little Boy! what? Hug my Mommy and kiss her on Her smiling eyelids, sweet and wan, And tell her everything I’ve forgot, A-wandering ’way in there—in there— Through the blind-world ’way in there! THE TRESTLE AND THE BUCK-SAW The Trestle and the Buck-Saw Went out a-walking once, And staid away and staid away For days and weeks and months: And when they got back home again, Of all that had occurred, The neighbors said the gossips said They never said a word. THE KING OF OO-RINKTUM-JING Dainty Baby Austin! Your Daddy’s gone to Boston To see the King Of Oo-Rinktum-Jing And the whale he rode acrost on! Boston Town’s a city: But O it’s such a pity!— They’ll greet the King Of Oo-Rinktum-Jing With never a nursery ditty! But me and you and Mother Can stay with Baby-brother, And sing of the King Of Oo-Rinktum-Jing And laugh at one another! So what cares Baby Austin If Daddy _has_ gone to Boston To see the King Of Oo-Rinktum-Jing And the whale he rode acrost on? THE TOY PENNY-DOG Ma put my Penny-Dog Safe on the shelf, An’ left no one home but him, Me an’ myself; So I clumbed a big chair I pushed to the wall— But the Toy Penny-Dog Ain’t there at all! I went back to Dolly— An’ _she_ ’uz gone too, An’ little Switch ’uz layin’ there;— An’ Ma says “_Boo!_”— An’ there she wuz a-peepin’ Through the front-room door: An’ I ain’t goin’ to be a bad Little girl no more! JARGON-JINGLE Tawdery!—faddery! Feathers and fuss! Mummery!—flummery! wusser and wuss! All o’ Humanity—Vanity Fair!— Heaven for nothin’, and—nobody there! THE GREAT EXPLORER He sailed o’er the weltery watery miles For a tabular year-and-a-day, To the kindless, kinkable Cannibal Isles He sailed and he sailed away! He captured a loon in a wild lagoon, And a yak that weeps and smiles, And a bustard-bird, and a blue baboon, In the kindless Cannibal Isles And wilds Of the kinkable Cannibal Isles. He swiped in bats with his butterfly-net, In the kinkable Cannibal Isles, And got short-waisted and over-het In the haunts of the crocodiles; And nine or ten little Pygmy Men Of the quaintest shapes and styles He shipped back home to his old Aunt Jenn, From the kindless Cannibal Isles And wilds Of the kinkable Cannibal Isles. THE SCHOOL-BOY’S FAVORITE _“Over the river and through the wood_ _Now Grandmother’s cap I spy:_ _Hurrah for the fun!—Is the pudding done?_ _Hurrah for the pumpkin-pie!”_ SCHOOL READER. Fer any boy ’at’s little as me, Er any little girl, That-un’s the goodest poetry-piece In any book in the worl’! An’ ef grown-peoples wuz little ag’in I bet they’d say so, too, Ef _they’d_ go see _their_ ole Gran’ma, Like our Pa lets _us_ do! _Over the river an’ through the wood_ _Now Gran’mother’s cap I spy:_ _Hurrah fer the fun!—Is the puddin’ done?—_ _Hurrah fer the punkin-pie!_ An’ ’ll tell you _why_ ’at’s the goodest piece:— ’Cause it’s ist like _we_ go To _our_ Gran’ma’s, a-visitun there, When our Pa he says so; An’ Ma she fixes my little cape-coat An’ little fuzz-cap; an’ Pa He tucks me away—an’ yells “_Hoo-ray!_”— An’ whacks Ole Gray, an’ drives the sleigh Fastest you ever saw! _Over the river an’ through the wood_ _Now Gran’mother’s cap I spy:_ _Hurrah fer the fun!—Is the puddin’ done?—_ _Hurrah fer the punkin-pie!_ An’ Pa ist snuggles me ’tween his knees— An’ I he’p hold the lines, An’ peek out over the buffalo-robe;— An’ the wind ist _blows_!—an’ the snow ist _snows_!— An’ the sun ist shines! an’ shines!— An’ th’ ole horse tosses his head an’ coughs The frost back in our face.— An’ I ruther go to my Gran’ma’s Than any other place! _Over the river an’ through the wood_ _Now Gran’mother’s cap I spy:_ _Hurrah fer the fun!—Is the puddin’ done?—_ _Hurrah fer the punkin-pie!_ An’ all the peoples they is in town Watches us whizzin’ past To go a-visitun _our_ Gran’ma’s, Like we all went there last;— But _they_ can’t go, like ist _our_ folks An’ Johnny an’ Lotty, an’ three Er four neighber-childerns, an’ Rober-ut Volney, An’ Charley an’ Maggy an’ me! _Over the river an’ through the wood_ _Now Gran’mother’s cap I spy:_ _Hurrah fer the fun!—Is the puddin’ done?—_ _Hurrah fer the punkin-pie!_ ALBUMANIA _Some certain misty yet tenable signs_ _Of the oracular Raggedy Man,_ _Happily found in these fugitive lines_ _Culled from the album of ’Lizabuth Ann._ FRIENDSHIP O Friendship, when I muse on you, As thoughtful minds, O Friendship, do, I muse, O Friendship, o’er and o’er, O Friendship—as I said before. LIFE “What is Life?” If the _Dead_ might say, ’Spect they’d answer, under breath, Sorry-like yet a-laughin’:—A Poor pale yesterday of Death! LIFE’S HAPPIEST HOURS Best, I guess, Was the old “_Recess_.”— ’Way back there’s where I’d love to be— Shet of each lesson and hateful rule, When the whole round World was as sweet to me As the big ripe apple I brung to School. MARION-COUNTY MAN HOMESICK ABROAD I, who had hobnobbed with the shades of kings, And canvassed grasses from old masters’ graves, And in cathedrals stood and looked at things In niches, crypts and naves;— My heavy heart was sagging with its woe, Nor Hope to prop it up, nor Promise, nor One woman’s hands—and O I wanted so To be felt sorry for! BIRDY! BIRDY! The Redbreast loves the blooming bough— The Bluebird loves it same as he;— And as they sit and sing there now, So do I sing to thee— Only, dear heart, unlike the birds, I do not climb a tree To sing— I do not climb a tree. When o’er this page, in happy years to come, Thou jokest on these lines and on my name, Doubt not my love and say, “Though he lies dumb, He’s lying, just the same!” THE LITTLE MOCK-MAN The Little Mock-man on the Stairs— He mocks the lady’s horse ’at rares At bi-sickles an’ things,— He mocks the mens ’at rides ’em, too; An’ mocks the Movers, drivin’ through. An’ hollers, “Here’s the way _you_ do With them-air hitchin’-strings!” “Ho! ho!” he’ll say, Ole Settlers’ Day, When they’re all jogglin’ by,— “You look like _this_,” He’ll say, an’ twis’ His mouth an’ squint his eye An’ ’tend-like _he_ wuz beat the bass Drum at both ends—an’ toots an’ blares Ole dinner-horn an’ puffs his face— The Little Mock-man on the Stairs! The Little Mock-man on the Stairs Mocks all the peoples all he cares ’At passes up an’ down! He mocks the chickens round the door, An’ mocks the girl ’at scrubs the floor, An’ mocks the rich, an’ mocks the pore, An’ ever’thing in town! “Ho! ho!” says he, To you er me; An’ ef we turns an’ looks, He’s all cross-eyed An’ mouth all wide Like Giunts is, in books.— “Ho! ho!” he yells, “look here at _me_,” An’ rolls his fat eyes roun’ an’ glares,— “_You_ look like _this_!” he says, says he— The Little Mock-man on the Stairs! _The Little Mock—_ _The Little Mock—_ _The Little Mock-man on the Stairs,_ _He mocks the music-box an’ clock,_ _An’ roller-sofy an’ the chairs;_ _He mocks his Pa, an’ specs he wears;_ _He mocks the man ’at picks the pears_ _An’ plums an’ peaches on the shares;_ _He mocks the monkeys an’ the bears_ _On picture-bills, an’ rips an’ tears_ _’Em down,—an’ mocks ist all he cares,_ _An’ EVER’body EVER’wheres!_ SUMMER-TIME AND WINTER-TIME In the golden noon-shine, Or in the pink of dawn; In the silver moonshine, Or when the moon is gone; Open eyes, or drowsy lids, ’Wake or ’most asleep, I can hear the katydids,— “Cheep! Cheep! Cheep!” Only in the winter-time Do they ever stop, In the chip-and-splinter-time, When the backlogs pop,— Then it is, the kettle-lids, While the sparkles leap, Lisp like the katydids,— “Cheep! Cheep! Cheep!” HOME-MADE RIDDLES—ALL BUT THE ANSWERS I No one ever saw it Till I dug it from the ground; I found it when I lost it, And lost it when I found: I washed it, and dressed it, And buried it once more— Dug it up, and loved it then Better than before. I was paid for finding it— I don’t know why or how,— But I lost, found, and kept it, And haven’t got it now. II Sometimes it’s all alone— Sometimes in a crowd; It says a thousand bright things, But never talks aloud. Everybody loves it, And likes to have it call, But if you shouldn’t happen to, It wouldn’t care at all. First you see or hear of it, It’s a-singing,—then You may look and listen, But it never sings again. THE LOVELY CHILD Lilies are both pure and fair, Growing ’midst the roses there— Roses, too, both red and pink, Are quite beautiful, I think. But of all bright blossoms—best— Purest—fairest—loveliest,— Could there be a sweeter thing Than a primrose, blossoming? THE YELLOWBIRD Hey! my little Yellowbird, What you doing there? Like a flashing sun-ray, Flitting everywhere: Dangling down the tall weeds And the hollyhocks, And the lordly sunflowers Along the garden-walks. Ho! my gallant Golden-bill, Pecking ’mongst the weeds, You must have for breakfast Golden flower-seeds: Won’t you tell a little fellow What you have for _tea_?— ’Spect a peck o’ yellow, mellow Pippin on the tree. ENVOY When but a little boy, it seemed My dearest rapture ran In fancy ever, when I dreamed I was a man—a man! Now—sad perversity!—my theme Of rarest, purest joy Is when, in fancy blest, I dream I am a little boy. *** END OF THE PROJECT GUTENBERG EBOOK ARMAZINDY *** Updated editions will replace the previous one—the old editions will be renamed. Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution. START: FULL LICENSE THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license. Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works 1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8. 1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below. 1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others. 1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States. 1.E. Unless you have removed all references to Project Gutenberg: 1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed: This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook. 1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work. 1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™. 1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License. 1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1. 1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9. 1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that: • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.” • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works. • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work. • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below. 1.F. 1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment. 1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem. 1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. 1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions. 1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg™ Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life. Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org. Section 3. Information about the Project Gutenberg Literary Archive Foundation The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws. The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS. The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate. While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate. International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff. Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate. Section 5. General Information About Project Gutenberg™ electronic works Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support. Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition. Most people start at our website which has the main PG search facility: www.gutenberg.org. This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.