Ballads of Peace in War — A Reader’s Guide

(0 User reviews)   725
Earls, Michael, 1873-1937 Project Gutenberg 2002 Not confirmed
American poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 10,003
Reading time 44 min
Text sections 2

The source record for Ballads of Peace in War — A Reader’s Guide measures this digital text at 10,003 words, 44 min estimated reading time, and 2 detected text sections.

The text analysis averages about 29.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “American poetry,” connecting these edition facts with the source record’s subject description.

Michael Earls' 1905 collection of ballads juxtaposes martial imagery with domestic and sacred peace, using recurring motifs of light, countersigns, and natural cycles to explore tensions between war and tranquility.
Share
Editorial Edition Score 4.4/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

Produced by Alan Earls

BALLADS OF PEACE IN WAR

Gray mist on the sea, And the night coming down, She stays with sorrow In a far town.

He goes the sea-ways By channel lights dim, Her love, a true light, Watches for him.

They would be wedded On a fair yesterday, But the quick regiment Saw him away.

Gray mist in her eyes And the night coming down: He feels a prayer From a far town.

He goes the sea-ways, The land lights are dim; She and an altar light Keep watch for him.

Along Virginia's wondering roads While armies hastened on, To Beauregard's great Southern host, Manassas fields upon, Came Colonel Smith's good regiment, Eager for Washington.

But Colonel Smith must halt his men In a dangerous delay, Though well he knows the countryside To the distant host of grey. He cannot join with Beauregard For Bull Run's bloody fray.

And does he halt for storm or ford, Or does he stay to dine? Say, No! but death will meet his men, Onward if moves the line: He dares not hurry to Beauregard, Not knowing the countersign.

Flashed in the sun his waving sword; "Who rides for me?" he cried, "And ask of the Chief the countersign, Upon a daring ride; Though never the lad come back again With the good that will betide.

"I will send a letter to Beauregard," The Colonel slowly said; "The bearer dies at the pickets' line, But the letter shall be read When the pickets find it for the Chief, In the brave hand of the dead."

"Ready I ride to the Chief for the sign," Said little Dan O'Shea, "Though never I come from the picket's line, But a faded suit of grey: Yet over my death will the road be safe, And the regiment march away."

"In a mother's name, I bless thee, lad," The Colonel drew him near: "But first in the name of God," said Dan, "And then is my mother's dear-- Her own good lips that taught me well, With the Cross of Christ no fear."

Quickly he rode by valley and hill, On to the outpost line, Till the pickets arise by wall and mound, And the levelled muskets shine; "Halt!" they cried, "count three to death, Or give us the countersign."

Lightly the lad leaped from his steed, No fear was in his sigh, But a mother's face and a home he loved Under an Irish sky: He made the Sign of the Cross and stood, Bravely he stood to die.

Lips in a prayer at the blessed Sign, And calmly he looked around, And wonder seized his waiting soul To hear no musket sound, But only the pickets calling to him, Heartily up the mound.

For this was the order of Beauregard Around his camp that day-- The Sign of the Cross was countersign, (And a blessing to Dan O'Shea) And the word came quick to Colonel Smith For the muster of the grey.

Turn from Kerry crossroads and leave the wooded dells, Take the mountain path and find where Tip O'Leary dwells; Tip O'Leary is the name, I sing it all day long, And every bird whose heart is wise will have it for a song.

Tip O'Leary keeps the lights of many lamps aglow, Little matters it to him the seasons come or go, Sure if spring is in the air his hedges are abloom, And fairy buds like candles shine across his garden room.

Roses in the June days are light the miles around, Tapers of the fuchsias move along the August ground, Sumachs light the flaming torches by October's grave And like the campfires on the hills the oaks and maples wave.

All the lights but only one die out when summer goes, One that Tip O'Leary keeps is brighter than the rose, Through the window comes the bloom on any winter night, And every sense goes wild to it, soft and sweet and bright.

Lamps are fair that have the light from flowers all day long, When the birds are here and sing the Tip O'Leary song, But a winter window is the fairest rose of all, When Tip O'Leary's hearth is lit and lamps upon the wall.

In a little ship and down the bay, Out to the calling sea, A young brave lad sailed off today, To the one great war went he: The one long war all men must know Greater than land or gold, Soul is the prince and flesh the foe Of a kingdom Christ will hold.

Michael Earls' Ballads of Peace in War opens with a striking juxtaposition: a woman's sorrowful vigil in a far town while her lover sails under dim channel lights. The poem 'His Light' establishes a pattern of dual watchfulness—her prayer and an altar light mirror his love—that recurs throughout the collection. Earls repeatedly sets scenes of military urgency against images of domestic or sacred calm, as in 'The Countersign,' where a colonel halts his regiment not for storm or ford but to obtain a password, and a volunteer rides to certain death carrying a letter that will be read 'in the brave hand of the dead.'

Light and the Countersign

Earls builds his poems around two central symbols: light and the countersign. In 'His Light,' a woman's love and an altar light keep watch for a sailor, while 'The Countersign' literalizes the password as a matter of life or death. The volunteer Dan O'Shea makes the Sign of the Cross and stands unafraid, and the pickets, instead of firing, call to him—a moment where the expected violence is suspended. This pattern of withheld or transformed danger appears again in 'Preparedness,' where a drummer boy and a sailor face war's approach, and in 'The Time of Truce,' where conflict pauses. Light functions as a moral and emotional beacon: the woman's prayer is 'a true light,' and the altar light keeps watch. Earls rarely describes battle directly; instead, he focuses on the moments before or after, on waiting and signaling.

The Natural World as Counterpoint

Earls frequently sets war against seasonal or natural cycles. 'The Bonnie Prince o' Spring' imagines 'little green soldiers' marching with 'the drill of a thousand years,' driving away the Winter King. Here military language is repurposed for renewal: the prince gives rest 'where the twigs are red,' and the speaker follows him 'all the day.' In 'The Fountain of Youth,' youth is a 'fairy fire' that outlasts death, and the poem asserts that 'the grace of God is a magic thing / Abides with chivalrous youth.' The natural world also provides refuge: 'The Tree in the Tenement Yard' and 'Old Hudson Rovers' suggest pockets of peace within urban or historical landscapes. Even in 'The Dark Little Rose,' a symbol of Ireland's endurance, the rose survives 'under heels of wrong' because its 'heart-blood be not deathless strong.' Earls uses flora and seasonal change to imply that peace, like spring, returns despite war.

Voices of the Marginal and the Sacred

Several poems center on figures who are peripheral to grand military narratives: a woman waiting, a volunteer who rides to his death, a monk who grieves for a bird. 'The Monk Maelanfaid' hears a tiny bird's lament and fasts to understand its sorrow; he learns that 'MacOcha Molv is dead, / Who killed no creature great or small.' This poem, like 'The Storyteller' and 'My Father's Tunes,' values quiet, compassionate witness over heroic action. 'The Young Adventurers' invites readers to 'sail the seas of grass' with laughter for baggage, a playful counter to the regimented marches elsewhere. Earls also invokes the sacred explicitly: Dan O'Shea blesses himself 'in the name of God,' and 'A Vow-Day Flower' and 'Bethlehem' link peace to religious observance. The collection's title itself promises peace within war, and these poems deliver that promise by giving voice to those who wait, pray, or tend small griefs.

Readers approaching Ballads of Peace in War will find a collection that rewards attention to its recurring symbols—light, passwords, seasonal change—and to the quiet figures who embody its central tension. Earls rarely describes combat; instead, he explores the spaces around conflict: the vigil, the ride, the truce. The poems are best read as a sequence, where each ballad refines the same question: how does peace persist within or alongside war? The answer, for Earls, lies in small acts of faith, memory, and natural renewal.

That rainy afternoon, I kept returning to Earls’ countersigns—small lights passing between war and quiet. It felt less like reading than remembering something half-known. Later, idly, I found myself inside Poetic Sketches A Collection of Miscellaneous Poetry — Edition Insights, and there it was again: that same unhurried flicker, asking nothing of me but attention.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

Where are you in your reading?

2

Did this book hold your interest?

3

Would you pass this book on to a friend?

4

How demanding did the text feel?

Related eBooks