The Lonely Dancer and Other Poems — Reading Companion

(0 User reviews)   960
Le Gallienne, Richard, 1866-1947 Project Gutenberg 2003 Not confirmed
Poetry Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 14,710
Reading time 64 min
Text sections 2

The Lonely Dancer and Other Poems — Reading Companion can be approached with a clearer sense of reading commitment from its source measurements: 14,710 words, 1 hr 4 min estimated reading time, and 2 detected text sections.

The text analysis averages about 28.6 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 “Poetry,” connecting these edition facts with the source record’s subject description.

Richard Le Gallienne's 1913 collection moves from a solitary dancer's refusal to join the waltz through seasonal lyrics, love poems, and ballads, using recurring images of dancing, flowers, and the sea to explore memory, nature, and the sacred in the everyday.
Share
Editorial Edition Score 4.5/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

But did you ever stand alone In a black, forsaken land? Then the wonderful things that God can do One comes to understand:

How He turns the desert dust to a dream, And the lonely wind to a friend, And makes a bright beginning Of what had seemed the end: 'Twas in such an hour God placed in mine The moonbeam hand of a friend.

"I THOUGHT, BEFORE MY SUNLIT TWENTIETH YEAR"

I thought, before my sunlit twentieth year, That I knew Love, and Death that goes with it; And my young broken heart in little songs, Dew-like, I poured, and waited for my end Wildly--and waited--being then nineteen. I walked a little longer on my way, Alive, 'gainst expectation and desire, And, being then past twenty, I beheld The face of all the faces of the world Dewily opening on its stem for me. Ah! so it seemed, and, each succeeding year, Thus hath some woman blossom of the divine Flowered in my path, and made a frail delay In my true journey--to my home in thee.

O bird that somewhere yonder sings, In the dim hour 'twixt dreams and dawn, Lone in the hush of sleeping things, In some sky sanctuary withdrawn; Your perfect song is too like pain, And will not let me sleep again.

I think you must be more than bird, A little creature of soft wings, Not yours this deep and thrilling word-- Some morning planet 'tis that sings; Surely from no small feathered throat Wells that august, eternal note.

As some old language of the dead, In one resounding syllable, Says Rome and Greece and all is said-- A simple word a child may spell; So in your liquid note impearled Sings the long epic of the world.

Unfathomed sweetness of your song, With ancient anguish at its core, What womb of elemental wrong, With shudder unimagined, bore Peace so divine--what hell hath trod This voice that softly talks with God!

All silence in one silver flower Of speech that speaks not, save as speaks The moon in heaven, yet hath power To tell the soul the thing it seeks. And pack, as by some wizard's art, The whole within the finite part.

To you, sweet bird, one well might feign-- With such authority you sing So clear, yet so profound, a strain Into the simple ear of spring-- Some secret understanding given Of the hid purposes of Heaven.

And all my life until this day, And all my life until I die, All joy and sorrow of the way, Seem calling yonder in the sky; And there is something the song saith That makes me unafraid of death.

Now the slow light fills all the trees, The world, before so still and strange, With day's familiar presences, Back to its common self must change, And little gossip shapes of song The porches of the morning throng.

Not yours with such as these to vie That of the day's small business sing, Voice of man's heart and of God's sky-- But O you make so deep a thing Of joy, I dare not think of pain Until I hear you sing again.

Only a breath--hardly a breath! The shore Is still a huddled alabaster floor Of shelving ice and shattered slabs of cold, Stern wreckage of the fiercely frozen wave, Gleaming in mailed wastes of white and gold; As though the sea, in an enchanted grave, Of fearful crystal locked, no more shall stir Softly, all lover, to the April moon: Hardly a breath! yet was I now aware Of a most delicate balm upon the air, Almost a voice that almost whispered "soon"!

Not of the earth it was--no living thing Moves in the iron landscape far or near, Saving, in raucous flight, the winter crow, Staining the whiteness with its ebon wing, Or silver-sailing gull, or 'mid the drear Rock cedars, like a summer soul astray, A lone red squirrel makes believe to play, Nibbling the frozen snow.

Not of the earth, that hath not scent nor song, Nor hope of aught, nor memory, nor dream, Nor any speech upon its sullen tongue, Nor any liberty of running stream; Not of the earth, that hath forgot to smile; But, strangely wafted o'er the frozen sea, As from some hidden Cytherean isle, Veil within veil, the sweetness came to me.

Beyond the heaving glitter of the floe, The free blue water sparkles to the sky, Losing itself in brightness; to and fro Long bands of mists trail luminously by, And, as behind a screen, on the sea's rim Hid softnesses of sunshine come and go, And shadowy coasts in sudden glory swim-- O land made out of distance and desire!-- With ports of mystic pearl and crests of fire.

The collection opens with a speaker who "had no heart to join the dance" yet remains entranced by its "leafy rustle" and "silken whisper." This tension between withdrawal and absorption sets a pattern: the poems often hover at the edge of experience, watching the world spin on. Le Gallienne builds his verses from repeated motifs—dancers, flowers, birds, the sea—that shift meaning as they recur. The title poem imagines "ghostly dancers of the rain" and "lonely dancers of the sea," turning natural phenomena into a shadowy counterpart to human celebration. Throughout the book, the poet moves between intimate scenes (a child at the breast, a letter from the dead) and broader meditations on time, beauty, and the sacred, often linking the two with a single image.

The Dance as Structure and Metaphor

The title poem establishes a choreographic logic that governs the whole volume. Its speaker refuses the actual dance but cannot escape its mental echo: "Another dance the dancers spin, / A shadow-dance of mystic pain." This doubleness—a real dance and a remembered one—recurs in poems like "The Shimmer of the Sound" and "A Ballad of Too Much Beauty," where movement becomes a figure for longing. Le Gallienne often uses dance vocabulary to describe natural scenes: the swaying of woodland, the rhythm of rain, the foam of waves. In "Summer Songs," the season itself seems to waltz. The structure of the collection mirrors this: sections alternate between personal lyrics and more public ballads, as if the poet were stepping in and out of a formal pattern.

Flowers, Birds, and the Passing of Time

Le Gallienne returns obsessively to flowers and birds as markers of transience. In "To a Rose," the bloom is addressed as a fleeting visitor; in "Blue Flower," it becomes a symbol of elusive beauty. Birds appear at dawn, in cherry trees, and as messengers of spring. The poem "To a Bird at Dawn" captures the moment when song and light merge, while "I Crossed the Orchard Walking Home" uses a bird's flight to pivot from daily labor to sudden wonder. These small creatures are never merely decorative: they carry the weight of the poet's meditation on mortality. The line "Simple as all mysterious things" (from the Fragoletta sequence) could serve as an epigraph for this recurring habit of finding depth in the ordinary.

Voices from the Dead and the Living

Several poems address the dead or receive messages from them. "At Last I Got a Letter from the Dead" literalizes this preoccupation, while "Resurrection" and "The Dead Arose" treat it as spiritual fact. The Easter Hymn declares "No soul descended deep in hell... but still to heaven again must rise," extending the promise beyond Christian doctrine to any "seed of love" or "lonely action." This interest in continuity across death appears also in the love poems: "Her Portrait Immortal" and "Face in the Tomb That Lies So Still" insist that the beloved persists beyond physical decay. The collection thus moves between elegy and affirmation, often in the same poem, as when the speaker finds a letter from the dead and treats it as a living voice.

The Ballad as a Vehicle for Social Comment

Le Gallienne uses the ballad form to address contemporary issues, most notably in "A Ballad of Woman," dedicated to Mrs. Pankhurst. The poem catalogues women's roles—mother, sister, wife, fay—and asks whether those who "bore the son of God" and "made the rose of Sappho's song" should be "serf of the rainbow, vassal flower." The repeated refrain "I wonder" builds a cumulative indictment. Other ballads, like "Ballad of the Seven O'Clock Whistle" and "A Ballad of the Kind Little Creatures," mix social observation with whimsy. These poems stand apart from the more private lyrics, but they share the same attention to rhythm and repetition, suggesting that for Le Gallienne, formal structure can carry both personal grief and public protest.

Readers will find that the poems reward attention to recurring images: the dancer who stands apart, the flower that blooms and fades, the letter that crosses the boundary of death. Le Gallienne's voice is most distinctive when he lets these motifs accumulate rather than explain them. The collection's movement between intimate lyrics and formal ballads creates a rhythm of its own, one that invites the reader to notice patterns across sections rather than treating each poem in isolation.

Years among the stacks taught me that even a solitary dancer, refusing the waltz, leaves room for a quiet smile. I often shelved Le Gallienne’s delicate verses beside that old A Humorous History of England — Key Ideas to Explore, finding both whisper that our most human moments — a pause, a jest — outlast any grand procession.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

Have you finished this book?

2

Did this book hold your interest?

3

Would you pass this book on to a friend?

4

How demanding did the text feel?

Related eBooks