Lays of ancient Virginia, and other poems — Edition Insights

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Bartley, James Avis, 1830-1914 Project Gutenberg 2005 Not confirmed
American poetry -- 19th century Readers of public-domain and historical texts
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Words 37,091
Reading time 162 min
Text sections 8

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James Avis Bartley's 1855 collection blends historical ballads of colonial Virginia with lyrical nature poems and sentimental verses, marked by a formal, archaic diction and a consistent use of rhymed stanzas that shift between narrative sweep and intimate reflection.
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His was the towering mind, the mighty hand, On which, his feeble followers resting, still Would fear no peril from approaching ill. With him the strangers built their rugged home, And turned the soil, and eat, and drank their fill; Glad that to this fair Eden they had come, And reconciled became to their adopted home.

Thus pass'd away in peaceful happiness, A little space by yonder river's side, But now arose the wail of keen distress, Gaunt Famine, with his murderous eye, they spied, Stalk round the walls of those who wept and sighed, And when their venturous chieftain wandered forth, Ill hap betrayed him to the savage pride, The death-club rose, his head upon the earth, To perish there and thus, that man of kingly worth.

Not yet! before that last sad deed be done, An Indian maiden springs beneath the blow, And says her virgin blood shall freely run, For him, extended on the ground below, See! how, her face upturned, her tears do flow, See Love and anguish painted in her eyes, That, like a Seraph's, in their pity, glow, And surely Angels, looking from the skies Claimed this poor savage girl a sister in disguise.

Those eyes, those tears prevent the falling stroke, For Powhatan could not withstand her tears, His favorite child, who, charmed, beneath the oak, His savage spirit from her dawning years, The wondering white man now he kindly rears, And bids his menials haste the Indian's fare For him whom now his daughter's love endears, And lo! within the Lion's horrid lair, The Dove has brought her mate, and sees him unhurt there.

Oh Love! how powerful o'er all thou art, In dusky breasts or breasts of whiter hue, To thy delicious touch the human heart Throbs with respondent transport ever true. On Love's swift wings, this Indian virgin flew, To snatch from hateful death the lovely chief, Love drew her tears, like showers of pearly dew, Love filled her passionate breast with tender grief And love still drinks her soul, and naught can give relief.

She decks her long, black hair with gayest flowers And tries each girlish art to warm his breast, And, straying oft, among the leafy bowers, Whilst Luna's silvery smiles upon them rest, And Earth sleeps deeply, in that beauty drest, The lonely Muckawiss[B], with doleful strain, Pities her fate--alas, she is not blest, But hopes and doubts, and dares to hope again, That Smith may love, and ne'er is free from love's soft pain.

And fair was she, the dim wood's lustrous child, Though born amid a race of uncouth men, And gentle as the fawn, which, through the wild, Trembled with timorous haste, and fled, and when She stood within the rude and silent glen, Of deepest forests, she appear'd more bright, Than other nymphs who roamed these regions then, And now--for o'er her form and sylph-like waist, A native modesty entranced the most fastidious taste.

He whom she loved to all these charms was cold, Though well he saw her bosom's gentle fire, Stern is the soul that worships fame or gold, To all that softer ecstacies inspire. A stony heart these tyrants e'er require, Brave Smith ne'er thought of Pocahontas' love, But only that his name would glitter higher In coming centuries, others' names above, Whose soon contented souls an humbler distance rove.

To cheat her pining soul of this dear dream, They told a dreary tale that he had died, While to her father's hut, like some fair gleam Of sunlight, with some heavenly thought, she hied, And now both day and night, how sorely sighed, And inly groaned the poor bereaved maid, Nor could restrain strong nature's gushing tide, That in the dark, cold grave, her love was laid;-- Disconsolate, she moved along the leafy glade.

Pausing beside her Smith's imagined tomb, Weeping, by moonlight pale, she strewed fair flowers, To wither o'er him, emblems of his bloom So soon departed from these lovely bowers. Once plucked, these buds will never bless the showers, Sweet charities, by wearing wonted charms, But lose for aye their balm for summer hours; So all her showery grief him no more charms, To spring and rest a joy in her exulting arms.

She deems he sleeps within the envious ground, Which stole him early from her young, warm breast, No more her brow with wild flower wreaths is bound, And all her ornaments, neglected, rest; Since fled is now the dreamy hope which blest Her artless soul, she loathes her glance to fling On corals, braids, and flowers, and royal vest, And slowly wanders like some moon-struck thing, Through gloomy cypress groves, and by yon haunted spring.

James Avis Bartley's Lays of Ancient Virginia, and Other Poems (1855) opens with a prefatory letter that sets an unusual tone: the author addresses the public directly, promising to 'fight' unjust critics while hoping for kindness. This blend of defensive bravado and earnestness carries into the poems themselves, which oscillate between grand historical tableaux and private, sentimental lyrics. The collection's title poem, 'Pocahontas,' employs Spenserian stanzas to evoke a mythic Virginia landscape, while shorter pieces like 'Lilly May' and 'The Vow of Love' retreat into pastoral romance. Bartley's voice is consistently formal, favoring archaic constructions such as 'I ween' and 'erst,' and his verse often relies on conventional imagery of moonlight, dews, and sylphs. Yet within these constraints, the poems reveal a careful attention to rhythmic variation and a persistent tension between public legend and personal emotion.

Archaic Diction and Formal Address

Bartley's language deliberately reaches back to an earlier poetic tradition. In 'Pocahontas,' phrases like 'I ween it was a novel sight' and 'erst rose a Castle' signal a conscious archaism, as does the Spenserian stanza form itself—nine lines with an a-b-a-b-b-c-b-c-c rhyme scheme. This choice aligns the colonial past with a chivalric, almost medieval register. The prefatory letter's direct address to 'Dear Public' and the author's threat to 'fight' critics further personalize the formal frame. In contrast, the love poems adopt a simpler, ballad-like meter: 'The Vow of Love' uses alternating tetrameter and trimeter lines, while 'To Eleanor' employs a more elaborate six-line stanza with a consistent a-b-a-b-c-c pattern. This range shows Bartley adapting his diction to subject matter, yet always maintaining a measured, elevated tone.

Shifts in Pace: From Narrative Sweep to Lyric Stillness

The collection's pacing varies markedly between its longer historical pieces and its shorter lyrics. 'Pocahontas' unfolds in slow, descriptive stanzas that linger on landscape—'the forest wide, / Stretched from the main unto the setting sun'—before introducing human action. The verse moves deliberately, with enjambment rare; each stanza tends to close with a full stop. By contrast, 'Lilly May' and 'Disappointment' employ quicker, more repetitive rhythms. 'Lilly May' uses a refrain ('Oh Lilly May! Oh! Lilly May!') that accelerates emotional intensity, while 'Disappointment' opens with a dream sequence that shifts abruptly into waking regret. The most compressed pacing appears in 'Song' and 'Stanzas,' where four-line stanzas drive toward epigrammatic closure. This alternation between expansive historical narration and compressed lyric outburst gives the collection a varied internal rhythm.

Recurring Imagery and Emotional Register

Certain images recur across the poems, linking the historical and personal sections. Evening twilight, the evening star, and dewy landscapes appear in 'Pocahontas,' 'The Vow of Love,' and 'To Eleanor,' creating a consistent atmospheric backdrop. The 'moss-grown ruin' of the opening stanza finds an echo in the 'old, forsaken hands' of the castle, a figure of decay that contrasts with the 'fadeless beauty' of the dead child in 'The Holy Lady.' Bartley's emotional register is predominantly elegiac: poems mourn lost love, departed innocence, and the passage of time. Even the triumphant 'Prophecy of Columbia' looks forward to a future that redeems past sorrow. This melancholic undercurrent, expressed through stock romantic imagery, gives the collection a unified sentimental tone, though the historical poems occasionally break into more vigorous, patriotic strains.

Readers approaching Lays of Ancient Virginia will find a poet working within established conventions but with a distinctive personal voice. Bartley's willingness to address his audience directly, his careful manipulation of stanza forms, and his consistent use of nature imagery reward attention to craft. The collection is best read not as a unified narrative but as a series of experiments in tone and meter, where the same vocabulary of moons and dews serves both colonial epic and private grief. Pay particular attention to how the shorter poems reframe the imagery of the longer historical pieces—the 'crimson dew' of battle in 'Pocahontas' becomes the 'soft dew' of sleep in 'To Eleanor,' suggesting a deliberate thematic echo.

Reading Bartley’s lines about Virginia’s old forests set me thinking of another, distant homeland—its meadows and quiet griefs somehow mirroring his. Both authors held their land so tenderly, as if memory itself were a tune. I found myself reaching for Pan Tadeusz; or, The last foray in Lithuania a story of life among Polish gentlefolk in the years 1811 and 1812 — Reading Notes beside the lamp, a soft echo of that same longing.

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