Debris Selections from Poems — Reading Companion

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Wagner, Madge Morris, 1862-1924 Project Gutenberg 2005 Not confirmed
Poetry Readers of public-domain and historical texts
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Words 17,108
Reading time 75 min
Text sections 3

Before opening Debris Selections from Poems — Reading Companion, the edition data offers a quick orientation: 17,108 words, 1 hr 15 min estimated reading time, and 3 detected text sections.

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

Madge Morris Wagner's 1881 collection 'Debris' presents poems of loss, social critique, and Gothic atmosphere, with vivid imagery of California missions and urban despair. The catalog subject 'Poetry' understates the narrative and dramatic elements evident in excerpts.
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Each was a letter in rhyming run, Written over and over, in tenderest strain, By fingers that never will write again. I strung them together, a tale to tell, And named it "The Mystery of Carmel." And these are the letters I found that day, In the mission ruin, old and gray-- The Mission Carmel of Monterey:

TO THE HOLY FATHER SANSON

Oh, holy father, list thee to my prayer! I may not kneel to thee as others kneel, And tell my heart-aches with the suppliant's air, But fiercer burns the fire I must conceal.

My soul is groping in the mists of doubt, The sunlight and the shadows all are gone, Only a cold, gray cloud my life's about, Nor ever vision of a fairer dawn.

A father ne'er my brow in loving smoothed, Nor taught my baby tongue to lisp his name; No mother's voice my childish sorrows soothed, Nor sought my wild, imperious will to tame.

Yet ran my life, like some bright bubbling spring, Too full of thoughtless happiness to care If that the future might more gladness bring, Or might its skies be clouded or be fair.

Afar upon the purple hills of Spain-- Since waned the moons of half a year ago-- I sported, reckless as the laughing main, Nor dreamed in life a thought of grief to know.

To-day I pine here in a chain whose gall Is bitterer than drop of wormwood brought From that salt sea where nothing lives, and all The recompense my willfulness has brought.

Oh, holy father, list thee to my prayer! And though I may not kneel as others kneel, And tell my heart-aches with a suppliant air, I crave they grace a sickened soul to heal.

Here, close beside this sacred font of gold, My humble prayer, oh, father, I will lay, With all its weight of misery untold; And wait impatient that which thou wilt say REVENITA.

When to the font, this morn, my lips I pressed, A fairy's gift my fingers trembled o'er; A sweeter prayer ne'er smile of angel blessed, Nor gemmed a tiar that the priesthood wore.

The secret of they grief I may not know, Since that thy lips refuse the tale to tell; Methinks, dear child, it was the sound of woe That woke an echo in my heart's deep well.

The wail of a spirit that a-yearning gropes In darkness for the sunlight that is fled; A broken idol in secret wept, and hopes-- Crushed hopes--that are to thee as are the dead.

A tender memory ling'ring yet of when Each bounding pulse beat faster with its joy; A something that allured, and won, and then With waking fled, and years may not destroy

The impress which it left upon thy brain But seek thee, child, grief's ravaging to stay? Thy tears might fall as falls the show'ring rain, They could not wash the heart's deep scars away.

Repine thee not; shroud not they faith in gloom; Shrink not to meet a disappointment's frown; Away beyond the narrow bordered tomb, Who here have borne the cross may wear the crown. SANSON.

Whisper to him, fairies, whisper-- Whisper softly in his ear That some one is waiting, waiting, Listening his step to hear.

Fairies, if he knew his presence Would a demon's spell allay, Would he heed your timid whisperings? Would he--will he come to-day? REVENITA.

Fairies whisper, every whisper, In the silence of the night, And he catches the soft murmurs Floating in the starry light.

And they tell him; yes, they tell him, All in accents sweet and clear, Of the beautiful Hereafter That is ever drawing near.

There are loved ones, waiting, waiting, For his footfall on the shore; They will welcome his appearing-- They will greet him o'er and o'er. SANSON.

Oh, would the fairies to her whisper The truths which they to him impart, Teach her a beautiful hereafter, A Heaven to bless a tired heart.

Yet thinks she that the dear ones waiting Would envy not the boon she craves-- To rear fair friendship's sacred alter Where love and hope sleep in their graves.

She knows not that a loving welcome Will wait her in a realm of light, Nought of a future meeting whispers, No faith illumes her soul's dark night.

But oh! she knows, has by experience, The saddest of all lessons learned; Knows that she gathered dead-sea apples, Which in her hands to ashes turned.

She knows into a trammelled torrent, Is changed her life's free flowing tide; Knows that her hand no oar is holding, With which her drifting bark to guide.

She knows, yes, knows that, like the mirage, Which for the thirsty traveler gleamed, The sweet ideal she fondly cherished Was never there; it only seemed.

Madge Morris Wagner's 1881 collection Debris opens with a dedication that frames the poems as driftings that may contain 'a grain of gold,' a metaphor that recurs throughout. The preface warns critics to 'touch it gently,' signaling the author's awareness of the work's fragile, experimental nature. Despite the catalog classification as 'Poetry,' the excerpts reveal a strong narrative impulse, particularly in the dramatic monologue 'Mystery of Carmel' and the social commentary of 'Out in the Cold.' The poems employ varied meters and rhyme schemes, from the ballad-like quatrains of 'Watching the Shadows' to the irregular lines of 'Out in the Cold,' suggesting a deliberate craft that resists easy categorization.

Gothic Landscapes and the California Mission

The poem 'Mystery of Carmel' establishes a Gothic atmosphere through its setting: a decaying mission with 'crumbling and shaky its walls of stone' and a roof that 'had stood the storms of a hundred years.' The speaker encounters an owl whose 'mournful cry' echoes through the building, and later a mysterious figure who claims the place is haunted. Wagner uses sensory details—the 'rhythmic voice of the breaking waves' singing a 'lonesome dirge'—to create a mood of isolation and dread. The poem's structure, with its repeated refrain 'The Mission Carmel at Monterey,' anchors the reader in a specific California locale, blending regional specificity with Gothic conventions. This poem stands out for its sustained narrative and descriptive power, contrasting with the more lyrical pieces in the collection.

Social Critique and Urban Despair

'Out in the Cold' offers a stark portrayal of a woman driven to suicide, described as 'she who rushes, with white lips dumb.' The poem traces her fall from a 'sunny home' to 'the haunts of the low and vile,' culminating in a splash in the waves. Wagner employs a shifting perspective, moving from the woman's internal memories to the external scene of her body left on the sand. The repeated phrase 'Out in the cold' emphasizes social abandonment. The poem's language is direct and unflinching, with lines like 'A story of weakness, shame, and wrong / Mutely the frozen features tell.' This piece aligns with the catalog subject of poetry but also functions as social commentary, addressing themes of poverty, judgment, and the fate of the 'nameless dead.'

Recurring Motifs: Shadows, Hearts, and Farewells

Several poems in the excerpts share motifs of shadows, hearts, and parting. 'Watching the Shadows' uses fire-light shadows as a metaphor for memory and existential uncertainty, with the speaker 'Wondering if heart-shadows vanish like shadows / When life's fitful flame has gone out.' 'I Give Thee Back Thy Heart' employs a dramatic voice of rejected love, returning a 'fickle heart' and 'faithless vows.' 'To Jennie' is a farewell poem that expresses a singular devotion: 'But I have nothing, darling, left— / You're all the world to me.' These poems demonstrate Wagner's interest in emotional states—grief, betrayal, longing—and her use of simple, repetitive structures to convey intensity. The consistency of these motifs suggests a deliberate thematic unity within the collection.

Readers approaching Debris should note that the catalog subject 'Poetry' does not fully capture the range of modes present: narrative, lyric, dramatic monologue, and social critique. The poems reward attention to their formal choices—meter, rhyme, and refrain—as well as their historical context, including references to California missions and urban poverty. The collection's title, 'Debris,' invites readers to sift through fragments of experience, finding both the 'grain of gold' and the weight of loss.

There’s something about Wagner’s Debris that stayed with me—the way it holds sorrow and mission ruins together, quietly. It reminded me of an old verse anthology that lingers in a similar register, less about poems themselves than the ache between them. English Verse: Specimens Illustrating its Principles and History — Themes and Context feels like that same kind of company; I keep turning it over long after closing it.

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