Poems — A Reader’s Guide
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The catalog record for Poems — A Reader’s Guide provides practical reading context through 39,671 words, 2 hr 53 min estimated reading time, and 5 detected text sections.
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Its thought makes June of barren bush And empty wood?
And then I think how young she died-- Straight, barren Death stalks down the trees, The hard-eyed Hours by his side, That kill and freeze.
When orchards are in bloom again My heart will bound, my blood will beat, To hear the redbird so repeat, On boughs of rosy stain, His blithe, loud song,--like some far strain From out the past,--among the bloom,-- (Where bee and wasp and hornet boom)-- Fresh, redolent of rain.
When orchards are in bloom once more, Invasions of lost dreams will draw My feet, like some insistent law, Through blossoms to her door: In dreams I'll ask her, as before, To let me help her at the well; And fill her pail; and long to tell My love as once of yore.
I shall not speak until we quit The farm-gate, leading to the lane And orchard, all in bloom again, Mid which the bluebirds sit And sing; and through whose blossoms flit The catbirds crying while they fly: Then tenderly I'll speak, and try To tell her all of it.
And in my dream again she'll place Her hand in mine, as oft before,-- When orchards are in bloom once more,-- With all her young-girl grace: And we shall tarry till a trace Of sunset dyes the heav'ns; and then-- We'll part; and, parting, I again Shall bend and kiss her face.
And homeward, singing, I shall go Along the cricket-chirring ways, While sunset, one long crimson blaze Of orchards, lingers low: And my dead youth again I'll know, And all her love, when spring is here-- Whose memory holds me many a year, Whose love still haunts me so!
I would not die when Springtime lifts The white world to her maiden mouth, And heaps its cradle with gay gifts, Breeze-blown from out the singing South: Too full of life and loves that cling; Too heedless of all mortal woe, The young, unsympathetic Spring, That Death should never know.
I would not die when Summer shakes Her daisied locks below her hips, And naked as a star that takes A cloud, into the silence slips: Too rich is Summer; poor in needs; In egotism of loveliness Her pomp goes by, and never heeds One life the more or less.
But I would die when Autumn goes, The dark rain dripping from her hair, Through forests where the wild wind blows Death and the red wreck everywhere: Sweet as love's last farewells and tears To fall asleep when skies are gray, In the old autumn of my years, Like a dead leaf borne far away.
When you and I in the hills went Maying, You and I in the bright May weather, The birds, that sang on the boughs together, There in the green of the woods, kept saying All that my heart was saying low, "I love you! love you!" soft and low,-- And did you know? When you and I in the hills went Maying.
There where the brook on its rocks went winking, There by its banks where the May had led us, Flowers, that bloomed in the woods and meadows, Azure and gold at our feet, kept thinking All that my soul was thinking there, "I love you! love you!" softly there-- And did you care? There where the brook on its rocks went winking.
Whatever befalls through fate's compelling, Should our paths unite or our pathways sever, In the Mays to come I shall feel forever The wildflowers thinking, the wild birds telling, In words as soft as the falling dew, The love that I keep here still for you, Both deep and true, Whatever befalls through fate's compelling.
Awake! the dawn is on the hills! Behold, at her cool throat a rose, Blue-eyed and beautiful she goes, Leaving her steps in daffodils.-- Awake! arise! and let me see Thine eyes, whose deeps epitomize All dawns that were or are to be, O love, all Heaven in thine eyes!-- Awake! arise! come down to me!
Behold! the dawn is up: behold! How all the birds around her float, Wild rills of music, note on note, Spilling the air with mellow gold.-- Arise! awake! and, drawing near, Let me but hear thee and rejoice! Thou, who keep'st captive, sweet and clear, All song, O love, within thy voice! Arise! awake! and let me hear!
Madison Cawein's Poems, selected by the author and introduced by William Dean Howells, offers a concentrated view of a poet who worked at the intersection of Romantic nature lyric and a more somber, Gothic sensibility. The collection, drawn largely from his five-volume 1907 edition, spans a quarter-century of Cawein's output, excluding his dramatic work. Howells's foreword frames Cawein as a poet of the Kentucky landscape, but the poems themselves reveal a persistent tension between pastoral beauty and images of decay, loss, and the supernatural.
Nature as a Double-Edged Force
Cawein's nature is not merely picturesque; it is animated by a restless, often threatening energy. In the excerpt, the autumn landscape is described through a series of violent transformations: the wind that 'shook the leaves' and 'Rumbled the flickering flue,' the storm that 'streamed from the dripping eaves,' and the forest that 'leapt like startled deer.' The natural world is personified as a 'sorcerer' distilling 'rank rain and death' into 'aromas' of 'wood-decay.' This is a nature that consoles only through shared grief—'a kindness, alien to the deep / Glad blue of sunny days.' The poet's eye is drawn to the 'withered' and 'bleached,' to 'the outcast Year' with 'melancholy eyes.' Such details suggest that Cawein's attentiveness to the natural world is also an attentiveness to its capacity for ruin.
Gothic Imagery and the Supernatural
Throughout the excerpts, Cawein invokes a Gothic register that transforms the Kentucky woods into a stage for spectral encounters. The 'wood-witch of the wild perfumes' moves among 'elfin owls,' and the night-hawk flies 'like a dead leaf.' The poem 'The Black Knight' (new to this volume) hints at chivalric darkness, while 'The Garden of Dreams' and 'The Path to Faery' suggest liminal spaces between the real and the imagined. In the passage describing the rain-gusts, the storm is imagined as 'the witches' Sabboth galloping past.' This overlay of the supernatural onto the natural landscape creates a persistent unease, as if the woods are haunted by forces that are both beautiful and menacing. Cawein's use of words like 'ghostly,' 'phantom,' and 'sorcerer' is not decorative; it structures the poems' emotional logic.
Formal Craft and Sensory Precision
Cawein's verse is marked by a careful attention to sound and image, often employing regular rhyme and meter to contain his volatile subjects. The excerpt shows a preference for quatrains and couplets, with a rich vocabulary of color and texture: 'purple parchment scrawled with fire,' 'silver-blue to amethyst,' 'crimson with long calms.' He is attentive to the specific flora of his region—'sweet-gum,' 'milkweed,' 'persimmon tree,' 'teasel and bur-marigold'—and to the sounds of the natural world: 'the cricket tuned a plaintive lyre,' 'insect violins that sing.' This precision grounds the poems in a particular place, even as they reach toward the mythic. The interplay between the concrete and the abstract, the local and the legendary, is a defining feature of Cawein's craft.
Readers approaching Cawein's Poems will find a body of work that rewards attention to its tonal shifts—from the celebratory to the elegiac, the luminous to the grim. The poet's self-selection, combined with Howells's endorsement, offers a curated entry into a substantial oeuvre. Pay particular attention to the way Cawein handles transitions between stanzas, often pivoting from a specific natural detail to a broader meditation on time or loss. The collection's strength lies in its refusal to settle into a single mood, instead holding beauty and decay in unresolved tension.
Years shelving poetry taught me how Cawein's Kentucky twilight holds the same trembling hush I find waiting inside the louder, more visited Poems — Inside the Classic — both trust a fallen petal or a fading bird-song to say what prose cannot. They keep quiet company, like two old friends nodding across a dim reading room.
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