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The Old Soldier's Story: Poems and Prose Sketches

Chapter 9: WHY
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A varied collection of lyrical poems and short prose sketches that shifts between homespun humor and quiet melancholy. Several pieces employ colloquial and dialect speech to recreate small-community scenes and comic monologues, while others offer pastoral imagery and intimate meditations on love, faith, aging, and mortality. The book mixes ballads, holiday and commemorative verses, playful parodies, and tender domestic portraits, balancing storytelling with reflective lyricism and a conversational, rhythmic voice that moves readily from comic anecdote to wistful observation.

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Title: The Old Soldier's Story: Poems and Prose Sketches

Author: James Whitcomb Riley

Release date: May 11, 2010 [eBook #32335]

Language: English

Credits: Produced by David Clarke, Chandra Friend and the Online
Distributed Proofreading Team at http://www.pgdp.net (This
file was produced from images generously made available
by The Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK THE OLD SOLDIER'S STORY: POEMS AND PROSE SKETCHES ***

Transcriber's Note: Dialect has been retained as it appears in the original publication.


THE
OLD SOLDIER'S STORY

Poems and Prose Sketches


JAMES WHITCOMB RILEY


Indianapolis

THE BOBBS-MERRILL COMPANY
PUBLISHERS


Copyright 1913, 1914, 1915

James Whitcomb Riley

PRESS OF
BRAUNWORTH & CO.
BOOKBINDERS AND PRINTERS
BROOKLYN, N. Y.

TO

GEORGE THOMPSON, ESQ.


"Apples ben ripe in my gardayne"


CONTENTS

PAGE
The Old Soldier's Story 1
Somep'n Common-like 5
Monsieur le Secretaire 6
A Phantom 7
In the Corridor 8
Louella Wainie 9
The Text 11
William Brown 12
Why 14
The Touch of Loving Hands 15
A Test 16
A Song for Christmas 17
Sun and Rain 19
With Her Face 20
My Night 21
The Hour Before the Dawn 22
Good-by, Old Year 23
False and True 24
A Ballad from April 25
Brudder Sims 27
Deformed 28
Faith 30
The Lost Thrill 31
At Dusk 32
Another Ride from Ghent to Aix 33
In the Heart of June 36
Dreams 37
Because 42
To the Cricket 43
The Old-fashioned Bible 44
Uncomforted 46
What They Said 48
After the Frost 50
Charles H. Phillips 51
When It Rains 53
An Assassin 55
Best of All 56
Bin a-Fishin' 57
Uncle Dan'l in Town Over Sunday 59
Soldiers Here To-day 61
Shadow and Shine 65
That Night 66
August 67
The Guide 68
Sutter's Claim 71
Her Light Guitar 73
While Cigarettes to Ashes Turn 74
Two Sonnets to the June-bug 77
Autographic 79
An Impromptu on Roller Skates 80
Written in Bunner's "Airs from Arcady" 81
In the Afternoon 82
At Madame Manicure's 84
A Caller from Boone 86
Lord Bacon 98
My First Womern 99
As We Read Burns 101
To James Newton Matthews 102
Song 103
When We Three Meet 105
Josh Billings 106
Which Ane 108
The Earthquake 111
A Fall-crick View of the Earthquake 112
Lewis D. Hayes 114
In Days to Come 116
Luther A. Todd 117
When the Hearse Comes Back 121
Our Old Friend Neverfail 124
Dan O'sullivan 126
John Boyle O'reilly 127
Meredith Nicholson 129
God's Mercy 130
Christmas Greeting 131
To Rudyard Kipling 132
The Gudewife 133
Tennyson 134
Rosamond C. Bailey 135
Mrs. Benjamin Harrison 136
George A. Carr 138
To Elizabeth 139
To Almon Keefer 140
To—"The J. W. R. Literary Club" 142
Little Maid-o'-dreams 143
To the Boy with a Country 145
Claude Matthews 146
To Lesley 147
The Judkins Papers 148
To the Quiet Observer—erasmus Wilson 165
America's Thanksgiving 166
William Pinkney Fishback 168
John Clark Ridpath 170
New Year's Nursery Jingle 173
To the Mother 174
To My Sister 175
A Motto 176
To a Poet on His Marriage 177
Art and Poetry 178
Her Smile of Cheer and Voice of Song 179
Old Indiany 180
Abe Martin 183
O. Henry 185
"Mona Machree" 186
William Mckinley 187
Benjamin Harrison 190
Lee O. Harris 192
The Highest Good 194
My Conscience 195
My Boy 197
The Object Lesson 198

THE OLD SOLDIER'S STORY

AS TOLD BEFORE THE NEW ENGLAND SOCIETY IN NEW YORK CITY

Since we have had no stories to-night I will venture, Mr. President, to tell a story that I have heretofore heard at nearly all the banquets I have ever attended. It is a story simply, and you must bear with it kindly. It is a story as told by a friend of us all, who is found in all parts of all countries, who is immoderately fond of a funny story, and who, unfortunately, attempts to tell a funny story himself—one that he has been particularly delighted with. Well, he is not a story-teller, and especially he is not a funny story-teller. His funny stories, indeed, are oftentimes touchingly pathetic. But to such a story as he tells, being a good-natured man and kindly disposed, we have to listen, because we do not want to wound his feelings by telling him that we have heard that story a great number of times, and that we have heard it ably told by a great number of people from the time we were children. But, as I say, we can not hurt his feelings. We can not stop him. We can not kill him; and so the story generally proceeds. He selects a very old story always, and generally tells it in about this fashion:—

I heerd an awful funny thing the other day—ha! ha! I don't know whether I kin git it off er not, but, anyhow, I'll tell it to you. Well!—le's see now how the fool-thing goes. Oh, yes!—W'y, there was a feller one time—it was durin' the army, and this feller that I started in to tell you about was in the war, and—ha! ha!—there was a big fight a-goin' on, and this feller was in the fight, and it was a big battle and bullets a-flyin' ever' which way, and bombshells a-bu'stin', and cannon-balls a-flyin' 'round promiskus; and this feller right in the midst of it, you know, and all excited and het up, and chargin' away; and the fust thing you know along come a cannon-ball and shot his head off—ha! ha! ha! Hold on here a minute!—no sir; I'm a-gittin' ahead of my story; no, no; it didn't shoot his head off—I'm gittin' the cart before the horse there—shot his leg off; that was the way; shot his leg off; and down the poor feller drapped, and, of course, in that condition was perfectly he'pless, you know, but yit with presence o' mind enough to know that he was in a dangerous condition ef somepin' wasn't done fer him right away. So he seen a comrade a-chargin' by that he knowed, and he hollers to him and called him by name—I disremember now what the feller's name was....

Well, that's got nothin' to do with the story, anyway; he hollers to him, he did, and says, "Hello, there," he says to him; "here, I want you to come here and give me a lift; I got my leg shot off, and I want you to pack me back to the rear of the battle"—where the doctors always is, you know, during a fight—and he says, "I want you to pack me back there where I can get med-dy-cinal attention er I'm a dead man, fer I got my leg shot off," he says, "and I want you to pack me back there so's the surgeons kin take keer of me." Well—the feller, as luck would have it, ricko-nized him and run to him and throwed down his own musket, so's he could pick him up; and he stooped down and picked him up and kindo' half-way shouldered him and half-way helt him betwixt his arms like, and then he turned and started back with him—ha! ha! ha! Now, mind, the fight was still a-goin' on—and right at the hot of the fight, and the feller, all excited, you know, like he was, and the soldier that had his leg shot off gittin' kindo fainty like, and his head kindo' stuck back over the feller's shoulder that was carryin' him. And he hadn't got more'n a couple o' rods with him when another cannon-ball come along and tuk his head off, shore enough!—and the curioust thing about it was—ha! ha!—that the feller was a-packin' him didn't know that he had been hit ag'in at all, and back he went—still carryin' the deceased back—ha! ha! ha!—to where the doctors could take keer of him—as he thought. Well, his cap'n happened to see him, and he thought it was a ruther cur'ous p'ceedin's—a soldier carryin' a dead body out o' the fight—don't you see? And so he hollers at him, and he says to the soldier, the cap'n did, he says, "Hullo, there; where you goin' with that thing?" the cap'n said to the soldier who was a-carryin' away the feller that had his leg shot off. Well, his head, too, by that time. So he says, "Where you goin' with that thing?" the cap'n said to the soldier who was a-carryin' away the feller that had his leg shot off. Well, the soldier he stopped—kinder halted, you know, like a private soldier will when his presidin' officer speaks to him—and he says to him, "W'y," he says, "Cap, it's a comrade o' mine and the pore feller has got his leg shot off, and I'm a-packin' him back to where the doctors is; and there was nobody to he'p him, and the feller would 'a' died in his tracks—er track ruther—if it hadn't a-been fer me, and I'm a-packin' him back where the surgeons can take keer of him; where he can get medical attendance—er his wife's a widder!" he says, "'cause he's got his leg shot off!" Then Cap'n says, "You blame fool you, he's got his head shot off." So then the feller slacked his grip on the body and let it slide down to the ground, and looked at it a minute, all puzzled, you know, and says, "W'y, he told me it was his leg!" Ha! ha! ha!


SOMEP'N COMMON-LIKE

Somep'n 'at's common-like, and good
And plain, and easy understood;
Somep'n 'at folks like me and you
Kin understand, and relish, too,
And find some sermint in 'at hits
The spot, and sticks and benefits.
We don't need nothin' extry fine;
'Cause, take the run o' minds like mine,
And we'll go more on good horse-sense
Than all your flowery eloquence;
And we'll jedge best of honest acts
By Nature's statement of the facts.
So when you're wantin' to express
Your misery, er happiness,
Er anything 'at's wuth the time
O' telling in plain talk er rhyme—
Jes' sort o' let your subject run
As ef the Lord wuz listenun.

MONSIEUR LE SECRETAIRE

[JOHN CLARK RIDPATH]

Mon cher Monsieur le Secretaire,
Your song flits with me everywhere;
It lights on Fancy's prow and sings
Me on divinest voyagings:
And when my ruler love would fain
Be laid upon it—high again
It mounts, and hugs itself from me
With rapturous wings—still dwindlingly—
On!—on! till but a ghost is there
Of song, Monsieur le Secretaire!

A PHANTOM

Little baby, you have wandered far away,
And your fairy face comes back to me to-day,
But I can not feel the strands
Of your tresses, nor the play
Of the dainty velvet-touches of your hands.
Little baby, you were mine to hug and hold;
Now your arms cling not about me as of old—
O my dream of rest come true,
And my richer wealth than gold,
And the surest hope of Heaven that I knew!
O for the lisp long silent, and the tone
Of merriment once mingled with my own—
For the laughter of your lips,
And the kisses plucked and thrown
In the lavish wastings of your finger-tips!
Little baby, O as then, come back to me,
And be again just as you used to be,
For this phantom of you stands
All too cold and silently,
And will not kiss nor touch me with its hands.

IN THE CORRIDOR

Ah! at last alone, love!
Now the band may play
Till its sweetest tone, love,
Swoons and dies away!
They who most will miss us
We're not caring for—
Who of them could kiss us
In the corridor?
Had we only known, dear,
Ere this long delay,
Just how all alone, dear,
We might waltz away,
Then for hours, like this, love,
We are longing for,
We'd have still to kiss, love,
In the corridor!
Nestle in my heart, love;
Hug and hold me close—
Time will come to part, love,
Ere a fellow knows;
There! the Strauss is ended—
Whirl across the floor:
Isn't waltzing splendid
In the corridor?

LOUELLA WAINIE

Louella Wainie! where are you?
Do you not hear me as I cry?
Dusk is falling; I feel the dew;
And the dark will be here by and by:
I hear no thing but the owl's hoo-hoo!
Louella Wainie! where are you?
Hand in hand to the pasture bars
We came loitering, Lou and I,
Long ere the fireflies coaxed the stars
Out of their hiding-place on high.
O how sadly the cattle moo!
Louella Wainie! where are you?
Laughingly we parted here—
"I will go this way," said she,
"And you will go that way, my dear"—
Kissing her dainty hand at me—
And the hazels hid her from my view.
Louella Wainie! where are you?
Is there ever a sadder thing
Than to stand on the farther brink
Of twilight, hearing the marsh-frogs sing?
Nothing could sadder be, I think!
And ah! how the night-fog chills one through.
Louella Wainie! where are you?
Water-lilies and oozy leaves—
Lazy bubbles that bulge and stare
Up at the moon through the gloom it weaves
Out of the willows waving there!
Is it despair I am wading through?
Louella Wainie! where are you?
Louella Wainie, listen to me,
Listen, and send me some reply,
For so will I call unceasingly
Till death shall answer me by and by—
Answer, and help me to find you too!
Louella Wainie! where are you?

THE TEXT

The text: Love thou thy fellow man!
He may have sinned;—One proof indeed,
He is thy fellow, reach thy hand
And help him in his need!
Love thou thy fellow man. He may
Have wronged thee—then, the less excuse
Thou hast for wronging him. Obey
What he has dared refuse!
Love thou thy fellow man—for, be
His life a light or heavy load,
No less he needs the love of thee
To help him on his road.

WILLIAM BROWN

"He bore the name of William Brown"—
His name, at least, did not go down
With him that day
He went the way
Of certain death where duty lay.
He looked his fate full in the face—
He saw his watery resting-place
Undaunted, and
With firmer hand
Held others' hopes in sure command.—
The hopes of full three hundred lives—
Aye, babes unborn, and promised wives!
"The odds are dread,"
He must have said,
"Here, God, is one poor life instead."
No time for praying overmuch—
No time for tears, or woman's touch
Of tenderness,
Or child's caress—
His last "God bless them!" stopped at "bless"—
Thus man and engine, nerved with steel,
Clasped iron hands for woe or weal,
And so went down
Where dark waves drown
All but the name of William Brown.

WHY

Why are they written—all these lovers' rhymes?
I catch faint perfumes of the blossoms white
That maidens drape their tresses with at night,
And, through dim smiles of beauty and the din
Of the musicians' harp and violin,
I hear, enwound and blended with the dance,
The voice whose echo is this utterance,—
Why are they written—all these lovers' rhymes?
Why are they written—all these lovers' rhymes?
I see but vacant windows, curtained o'er
With webs whose architects forevermore
Race up and down their slender threads to bind
The buzzing fly's wings whirless, and to wind
The living victim in his winding sheet.—
I shudder, and with whispering lips repeat,
Why are they written—all these lovers' rhymes?
Why are they written—all these lovers' rhymes?
What will you have for answer?—Shall I say
That he who sings the merriest roundelay
Hath neither joy nor hope?—and he who sings
The lightest, sweetest, tenderest of things
But utters moan on moan of keenest pain,
So aches his heart to ask and ask in vain,
Why are they written—all these lovers' rhymes?

THE TOUCH OF LOVING HANDS

IMITATED

Light falls the rain-drop on the fallen leaf,
And light o'er harvest-plain and garnered sheaf—
But lightlier falls the touch of loving hands.
Light falls the dusk of mild midsummer night,
And light the first star's faltering lance of light
On glimmering lawns,—but lightlier loving hands.
And light the feathery flake of early snows,
Or wisp of thistle-down that no wind blows,
And light the dew,—but lightlier loving hands.
Light-falling dusk, or dew, or summer rain,
Or down of snow or thistle—all are vain,—
Far lightlier falls the touch of loving hands.

A TEST

'Twas a test I designed, in a quiet conceit
Of myself, and the thoroughly fixed and complete
Satisfaction I felt in the utter control
Of the guileless young heart of the girl of my soul.
So—we parted. I said it were better we should—
That she could forget me—I knew that she could;
For I never was worthy so tender a heart,
And so for her sake it were better to part.
She averted her gaze, and she sighed and looked sad
As I held out my hand—for the ring that she had—
With the bitterer speech that I hoped she might be
Resigned to look up and be happy with me.
'Twas a test, as I said—but God pity your grief,
At a moment like this when a smile of relief
Shall leap to the lips of the woman you prize,
And no mist of distress in her glorious eyes.

A SONG FOR CHRISTMAS

Chant me a rhyme of Christmas—
Sing me a jovial song,—
And though it is filled with laughter,
Let it be pure and strong.
Let it be clear and ringing,
And though it mirthful be,
Let a low, sweet voice of pathos
Run through the melody.
Sing of the hearts brimmed over
With the story of the day—
Of the echo of childish voices
That will not die away.—
Of the blare of the tasselled bugle,
And the timeless clatter and beat
Of the drum that throbs to muster
Squadrons of scampering feet.—
Of the wide-eyed look of wonder,
And the gurgle of baby-glee,
As the infant hero wrestles
From the smiling father's knee.
Sing the delights unbounded
Of the home unknown of care,
Where wealth as a guest abideth,
And want is a stranger there.
But O let your voice fall fainter,
Till, blent with a minor tone,
You temper your song with the beauty
Of the pity Christ hath shown:
And sing one verse for the voiceless;
And yet, ere the song be done,
A verse for the ears that hear not,
And a verse for the sightless one:
And one for the outcast mother,
And one for the sin-defiled
And hopeless sick man dying,
And one for his starving child.
For though it be time for singing
A merry Christmas glee,
Let a low, sweet voice of pathos
Run through the melody.

SUN AND RAIN