Poems, Vol. IV — A Closer Reading

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Howard, Hattie Project Gutenberg 2006 Not confirmed
American poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 25,523
Reading time 111 min
Text sections 7

Poems, Vol. IV — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 25,523 words, 1 hr 51 min estimated reading time, and 7 detected text sections.

The text analysis averages about 27.7 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.

Hattie Howard's fourth poetry volume moves from celestial invocations to domestic mishaps and urban encounters, using varied meters and recurring images of light, sight, and nature to explore human experience.
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Editorial Edition Score 4.6/5

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  • Text length15 pts
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ce had I such longings to be A sailor--those wishes are o'er, But ever in dreams of the sea My horoscope rests on the shore.

Oh, give me a home by the sea-- A cottage, a cabin, a tent! Existence should ecstasy be Till summer were joyfully spent.

Oh, sing me a merry song! My heart is sad tonight; The day has been so drear and long, The world has gone awry and wrong, Discouragements around me throng, And gloom surpassing night.

Oh, sing again the song for me My mother used to sing When I, a child beside her knee, Looked up for her sweet sympathy, Nor ever thought how I might be Her little hindering thing.

Oh, sing, as eventide draws near, The old-time lullabys Grandmother sang--forever dear, Though in her grave this many a year She lies who "read her title clear To mansions in the skies."

Oh, sing till all perplexing care Has vanished with the day! And angels ever bright and fair Come down the melody to share, And on their pinions lightly bear My happy soul away.

No, this is January, dear, The almanac's untrue; For roaring Boreas, 'tis clear, In sleet and snow and atmosphere, Will be the monarch of the year, And terror, too.

"Is it a blessing in disguise?" Of course, things always are; But Arctic blasts with ardent skies Somehow do not quite harmonize, That try to cheat by weather-lies The calendar.

Old Janus must be double-faced; He promised long ago The maple syrup not to taste, Nor steal the roses from the waist Of one, a damsel fair and chaste As April snow.

O winter of our discontent! Your reign was for a day; Behold! a scene of wonderment, A thousand tongues are eloquent, For spring, in bud and bloom and scent, Is on the way.

Let working-clothes be laid aside, And Industry in festal garb arrayed; Let busy brain and hand from toil and trade Relax at Christmas-tide.

As moments pass by dial, so Let gifts go round the happy circle where In giving and receiving each may share, And mutual kindness show.

The meaning deep, like mystery, That lies in holly-bough or mistletoe, May thousands never fathom--yet who know And hail the Christmas-tree.

So strong a hold on human thought Has this glad day that seasons all the year With the rich flavoring of hearty cheer, It ne'er shall be forgot.

It is the milestone on life's road Where we may lay our burdens down, and take A look at souvenirs, for love's dear sake So prettily bestowed.

Upon its shining tablet we may write-- If, like the good Samaritan, in deed-- A record that the angel band shall read With impulse of delight.

And this is why on Christmas morn The world should smile and wear its brightest glow: Because some nineteen hundred years ago A little child was born.

These winter days are passing fair! As if a breath of spring Had permeated all the air, And touched each living thing With thankfulness for such a boon-- Discounting with a scoff The almanac's report that "June Is yet a long way off!"

We quarrel with the calendar-- For May has been misplaced-- And doubt the tale oracular Of "Janus, double-faced;" For this "ethereal mildness" looks Toward shadowy delights Of roseate bowers, of cosy nooks, Of coming thermal nights.

Let robes diaphanous succeed Dense garments made of fur, And overcoats maintain the lead-- Among the things that were! The wisely-rented sealskin sacque, By many a dame possessed, Be quickly relegated back To its moth-haunted chest!

While every portly alderman, In linen suit arrayed, Manipulates the palm-leaf fan And seeks the cooling shade; And he perspires who not in vain Suggests his funny squibs, By poking his unwelcome cane In other people's ribs.

Who dares to fling opprobrium On January now? As to a potentate we come With reverential bow, Because it doth not yet appear That Time hath ever seen The ruler of th' inverted year In more benignant mien.

O Boreas! do not lie low-- That is, if "lie" thou must-- Upon our planet; do not blow With fierce and sudden gust, But come so gently, tenderly-- As come thou surely wilt-- That we may have sweet dreams of thee, Beneath "our crazy quilt!"

By helpful fingers taught to twine Around its trellis, grew A delicate and dainty vine; The bursting bud, its blossom sign, Inlaid with honeyed-dew.

Developing by every art To floriculture known, From tares exempt, and kept apart, Careful, as if in some fond heart Its legume germs were sown.

So thriving, not for me alone Its beauty and perfume-- Ah, no, to rich perfection grown By flower mission loved and known In many a darkened room.

The volume opens with a dedication to Harry Howard, student, and a line from the Beatitudes, framing the collection within a spiritual and intellectual context. The first poem, “The Salt of the Earth,” sets a tone of moral reflection, while the contents list reveals a wide range of subjects: from the natural world (“The Apple Tree,” “Lightning-bugs”) to social commentary (“The Subway,” “The Charity Ball”). Howard’s verse is marked by a direct, conversational voice and a fondness for playful rhymes and sudden shifts in tone, as seen in “Revenge,” where a morning glory’s destruction leads to a mischievous retaliation with a garden hose.

Recurring Images of Light and Sight

Throughout the excerpts, light and vision serve as both literal and metaphorical motifs. In “Receiving Sight,” a blind girl’s spiritual awakening is described through celestial imagery: “a brighter world than ours divined.” The poem contrasts physical blindness with inner illumination, a theme echoed in the opening epigraph. Conversely, “On the Common” uses light metaphorically to describe a chance meeting: “a beautiful, refulgent ray” on a dull October day. Even in lighter poems, such as “Lightning-bugs,” the natural glow of insects likely carries symbolic weight. This recurring focus on sight and insight suggests a deliberate structural pattern, though the excerpts do not reveal how consistently it appears across the full volume.

Domestic and Natural Settings as Stages

Howard frequently anchors her poems in specific, tangible settings that become backdrops for human emotion. “The Apple Tree” and “The Summer House” evoke rural or garden spaces, while “By the Sea” and “Bermuda” introduce coastal landscapes. In “Revenge,” the domestic scene of a morning glory vine trained around a door knob leads to a humorous conflict with a maid. The poem’s detailed description of the vine’s growth—“its tendrils reaching left and right”—grounds the narrative in a recognizable home environment. Similarly, “On the Common” uses Boston’s public park as a stage for a chance encounter, blending urban geography with personal reflection. These settings are not merely decorative; they actively shape the poems’ events and moods.

Varied Meter and Rhyme Schemes

Howard employs a range of metrical patterns across the collection. “Receiving Sight” uses alternating tetrameter and trimeter lines with an ABAB rhyme scheme, creating a solemn, hymn-like rhythm. In contrast, “Revenge” adopts a more playful, anapestic feel with shorter lines and a AABCCB rhyme pattern, matching its mischievous tone. “On the Common” shifts between iambic tetrameter and trimeter, with occasional feminine endings that lend a conversational ease. This metrical variety suggests a conscious effort to match form to content, though without the full text, it is impossible to assess the overall consistency or innovation of her prosody.

Movement Between the Personal and the Social

Many poems in the excerpts oscillate between private reflection and public commentary. “Receiving Sight” is a deeply personal account of a friend’s blindness and faith, yet it ends with a universal meditation on “Celestial Light.” “Revenge” begins as a personal anecdote about a ruined plant but expands into a comic social scene involving a maid and her beau. “On the Common” blends personal confession—the speaker’s sympathy for a man with knee troubles—with a wry observation of Boston’s medical profession. This movement from the intimate to the societal is a structural hallmark, suggesting that Howard uses individual experiences as entry points into broader human truths. The excerpts do not reveal whether this pattern persists throughout the entire volume.

Readers approaching Poems, Vol. IV will find a collection that rewards attention to its structural choices: the interplay of light and darkness, the grounding of emotion in place, and the shifting registers between the personal and the communal. Howard’s voice is consistent in its directness and humor, yet the poems vary enough in form and subject to sustain interest. The excerpts offer a representative sample of her range, from the earnest to the comic, but the full volume may reveal further patterns in her use of imagery and narrative voice.

The rain tapping the window made the verses about lamplight in Poems, Vol. IV — A Closer Reading feel particularly tender. Later, drying my hands on a tea towel, I remembered the warmth of hearthside imagery from another shelf, and pulled down Cottage Poems — A Closer Reading. Both seem to speak of the same small, steady glow we carry inward.

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