Maurine and Other Poems — Key Ideas to Explore

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Wilcox, Ella Wheeler, 1850-1919 Project Gutenberg 2003 Not confirmed
American poetry Readers of public-domain and historical texts
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Edition facts

Words 33,919
Reading time 148 min
Text sections 4

For Maurine and Other Poems — Key Ideas to Explore, the stored edition analysis reports 33,919 words, 2 hr 28 min estimated reading time, and 4 detected text sections.

The text analysis averages about 21.5 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.

Ella Wheeler Wilcox's narrative poem 'Maurine' uses a first-person female speaker whose sewing and singing frame a love triangle. The verse shifts between intimate dialogue and descriptive passages, with recurring motifs of letters, flowers, and guilt.
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and she never yet Has been denied one boon for which she pleaded. A fragile thing, her lightest wish was heeded. Would she pluck roses? They must first be shorn, By careful hands, of every hateful thorn, And loving eyes must scan the pathway where Her feet may tread, to see no stones are there. She’ll grow dull here, in this secluded nook, Unless you aid me in the pleasant task Of entertaining. Drop in with your book— Read, talk, sing for her sometimes. What I ask, Do once, to please me: then there’ll be no need For me to state the case again, or plead. There’s nothing like a woman’s grace and beauty To waken mankind to a sense of duty.”

“I bow before the mandate of my queen: Your slightest wish is law, Ma Belle Maurine,” He answered, smiling, “I’m at your command; Point but one lily finger, or your wand, And you will find a willing slave obeying. There goes my dinner bell! I hear it saying I’ve spent two hours here, lying at your feet, Not profitable, maybe—surely sweet. All time is money; now were I to measure The time I spend here by its solid pleasure, And that were coined in dollars, then I’ve laid Each day a fortune at your feet, fair maid. There goes that bell again! I’ll say good-bye, Or clouds will shadow my domestic sky. I’ll come again, as you would have me do, And see your friend, while she is seeing you. That’s like by proxy being at a feast; Unsatisfactory, to say the least.”

He drew his fine shape up, and trod the land With kingly grace. Passing the gate, his hand He lightly placed the garden wall upon, Leaped over like a leopard, and was gone.

And, going, took the brightness from the place, Yet left the June day with a sweeter grace, And my young soul, so steeped in happy dreams, Heaven itself seemed shown to me in gleams. There is a time with lovers, when the heart First slowly rouses from its dreamless sleep, To all the tumult of a passion life, Ere yet have wakened jealousy and strife. Just as a young, untutored child will start Out of a long hour’s slumber, sound and deep, And lie and smile with rosy lips and cheeks, In a sweet, restful trance, before it speaks. A time when yet no word the spell has broken, Save what the heart unto the soul has spoken, In quickened throbs, and sighs but half suppressed A time when that sweet truth, all unconfessed, Gives added fragrance to the summer flowers, A golden glory to the passing hours, A hopeful beauty to the plainest face, And lends to life a new and tender grace. When the full heart has climbed the heights of bliss, And, smiling, looks back o’er the golden past, I think it finds no sweeter hour than this In all love-life. For, later, when the last Translucent drop o’erflows the cup of joy, And love, more mighty than the heart’s control, Surges in words of passion from the soul, And vows are asked and given, shadows rise Like mists before the sun in noonday skies, Vague fears, that prove the brimming cup’s alloy; A dread of change—the crowning moment’s curse, Since what is perfect, change but renders worse: A vain desire to cripple Time, who goes Bearing our joys away, and bringing woes. And later, doubts and jealousies awaken, And plighted hearts are tempest-tossed and shaken. Doubt sends a test, that goes a step too far, A wound is made, that, healing, leaves a scar, Or one heart, full with love’s sweet satisfaction, Thinks truth once spoken always understood, While one is pining for the tender action And whispered word by which, of old, ’twas wooed.

But this blest hour, in love’s glad, golden day, Is like the dawning, ere the radiant ray Of glowing Sol has burst upon the eye, But yet is heralded in earth and sky, Warm with its fervour, mellow with its light, While Care still slumbers in the arms of night. But Hope, awake, hears happy birdlings sing, And thinks of all a summer day may bring.

In this sweet calm, my young heart lay at rest, Filled with a blissful sense of peace; nor guessed That sullen clouds were gathering in the skies To hide the glorious sun, ere it should rise.

The narrative poem 'Maurine' opens with a speaker seated on a portico, sewing and singing on a June morning. The scene is established through sensory details—sunlight, blossoms, a climbing rose—and the arrival of a male visitor, Roy, whose step she recognizes without turning. Their banter about letters reveals the speaker's character: she reads character from handwriting, calling a tinted, perfumed note 'tissuey' and linking it to a 'creature formed to pet and kiss.' Roy's teasing response, comparing all young ladies' letters to 'twenty copies of one book,' introduces a playful yet knowing dynamic. The excerpt's voice is conversational, with dashes and exclamations mimicking speech, while the meter (iambic pentameter) and rhyme scheme (couplets and quatrains) lend a formal structure to the intimate exchange.

Letters as Character and Plot Device

In the opening passage, letters serve as both a plot mechanism and a means of characterization. The speaker interprets Helen Trevor's note—'petite and dainty, tender, loving, pure'—as a direct reflection of her friend's nature. Roy's mockery of this habit ('Then all young ladies must be formed for that!') underscores a gendered critique of how women are read through their correspondence. Later, the speaker's own guilt is tied to a kiss that echoes one given to Helen, described as a 'guilt-joy' and 'sweet sin.' The letter motif recurs when Helen recounts her engagement, using direct speech framed by dashes and italics ('He is mine alone'). This reliance on written and spoken testimony—letters, confessions, whispered vows—creates a layered narrative where truth is mediated through documents and memory.

Shifts in Pace and Voice

The poem's rhythm alternates between leisurely description and compressed emotional revelation. The opening lines move slowly, with enjambment ('I sat and sewed, and sang some tender tune, / Oh, beauteous was that morn in early June!') and a catalog of sensory impressions. Dialogue accelerates the pace, as in Roy's rapid-fire speech ('I’m welcome? so I thought! / I’ll figure by the letters that I brought / How glad you are to see me.'). The most dramatic shift occurs when the speaker enters her room and finds Helen: the narrative halts on a tableau—'Her whole face lit as by an inward flame'—then breaks into fragmented, breathless lines ('Maurine, Maurine! she murmured, and again, / Maurine, my own sweet friend, Maurine!'). This contrast between static description and urgent dialogue mirrors the speaker's internal conflict between composure and desire.

Guilt and the Gaze

A recurring tension in the excerpt is the speaker's awareness of being watched—and watching others. Roy's 'large eyes, of that strange hue we see in ocean dyes' are described with a simile that blurs color categories, suggesting an unsettling depth. The speaker later feels 'a sense of shame—yet mixed with satisfaction' after kissing where Roy had kissed Helen. Helen's entrance is framed as a visual spectacle: 'her starry eyes uplifted, she did seem / Like some unearthly creature of a dream.' The speaker's gaze is possessive ('I leaned and kissed her dainty mouth') yet guilty. This triangulation of looks—Roy observing the speaker, the speaker observing Helen, Helen confessing her joy—creates a network of desire and deception. The poem's voice remains tightly controlled, even as it narrates emotional chaos, using formal verse to contain the speaker's turmoil.

Readers attentive to shifts in tempo will notice how Wilcox uses line length, punctuation, and stanza breaks to signal changes in mood. The poem's reliance on direct speech and interior monologue rewards close attention to who speaks and how. Because only the first part of 'Maurine' is excerpted here, the resolution of the love triangle remains unknown; the speaker's guilt and the tension between loyalty and desire are left unresolved. The shorter poems that follow in this collection may offer contrasts in tone and subject, from the philosophical ('All Roads that Lead to God are Good') to the satirical ('The Coquette').

I keep thinking about how Maurine follows a woman threading her loneliness into plain, daily acts—sewing, singing, guilt. That quiet ache made me recall another old volume, Wit and Mirth: or Pills to Purge Melancholy, Vol. 5 of 6 — Text and Context, where laughter is prescribed like medicine, yet still carries that same human weight underneath. Both left me sitting still for a while.

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