Yorkshire Lyrics Poems written in the Dialect as Spoken in the West Riding of Yorkshire. To which are added a Selection of Fugitive Verses not in the Dialect — Context and Discussion

The Dialect as a Lens

The West Riding dialect is not merely decorative in Hartley's hands; it is the primary instrument through which he renders character and emotion. In 'Contrasts,' the speaker describes a London policeman who 'fling[s] yo wi a bump, / Flat o' yor back'—the dialect verb 'fling' and the pronoun 'yo' root the scene in a specific regional voice. Similarly, 'To Mally' uses the repeated 'tha' and 'aw' to create an intimate address between long-married partners: 'Tha grummeld o' thi weddin day,— / Tha's nivver stopt it yet.' The dialect here conveys both affection and gentle exasperation. Readers unfamiliar with the vocabulary will find that context often clarifies meaning; for instance, 'nop' (head of hair) and 'freat' (worry) become clear through the surrounding lines. Hartley's phonetic spelling—'shoo' for 'she,' 'aght' for 'out'—requires a slight adjustment but rewards with a vivid sense of spoken rhythm.

Domestic Affection and Mutual Dependence

Several poems in the excerpts center on marriage and household partnership, presenting them as practical, enduring bonds rather than romantic ideals. In 'To Mally,' the speaker acknowledges his wife's constant grumbling but values her reliability: 'Aw've proved 'at tha'rt booath true an kind,— / Ther's lots 'at's war nor thee.' The poem balances humor ('Tha tawks enuff for two') with genuine gratitude for her domestic labor: 'Tha cooks mi vittals, maks mi bed, / An finds me clooas to don.' Another excerpt describes a neighbor woman who 'sends what shoo can an allus her best' and 'sympathises as tho they were bairns ov her own.' These portraits emphasize mutual support within the community, where a good wife or neighbor is praised for practical kindness rather than beauty. The repeated phrase 'owd lad' in 'To Mally' and the closing of another poem suggests a tone of seasoned companionship.

Social Observation and Satirical Edge

Hartley's observational eye extends beyond the domestic sphere to social contrasts and human foibles. In 'Contrasts,' the speaker recounts a trip to London where a policeman's 'staff' leaves 'a lump' and 'fling[s] yo wi a bump.' The poem juxtaposes wealth and poverty: 'Virtues an vices side bi side,— / Poverty slinkin after pride.' The speaker questions whether 'all's just square,' admitting 'It's hard to mak sich things agree; / It isn't fair.' This direct, unadorned critique is characteristic of Hartley's style. 'Th' State o' th' Poll' offers a lighter satire: Sal Sanguine is distressed by her red hair, and a 'silly fop' jokes about pulling carrots from her head. The poem mocks vanity while sympathizing with the girl's frustration. These pieces show Hartley using dialect to voice opinions that might seem blunt in standard English, lending them an earthy authenticity.

Structure and Reading Path

The collection's arrangement—dialect poems first, followed by 'Fugitive Verses'—invites the reader to experience the regional voice as the primary mode, with the standard English pieces as a contrast or appendix. The excerpts suggest that Hartley often uses the same themes in both sections, but the dialect poems feel more immediate and personal. A first-time reader might begin with the shorter, anecdotal pieces like 'To Mally' or 'Contrasts' to acclimate to the dialect before tackling longer narratives. The poems vary in length from brief lyrics to extended stories; the table of contents includes titles like 'A Strange Stooary' and 'Billy Bumble's Bargain,' which promise narrative interest. The epigraph's claim to find poetry in 'plain and common things' is borne out by the subject matter: daisies, butterflies, weaving sheds, and Christmas puddings. Readers should expect a consistent voice rather than stylistic variety, and a worldview that values hard work, honesty, and community.

Hartley's Yorkshire Lyrics rewards readers who take the time to hear the dialect as spoken poetry. The poems are best read aloud, letting the rhythms of West Riding speech shape the experience. Pay attention to the recurring figures—the grumbling but devoted wife, the helpful neighbor, the skeptical observer of city life—as they build a coherent social world. The non-dialect verses offer a useful comparison, but the heart of the collection lies in the dialect pieces, where Hartley's voice is most distinctive. Approach the book as a series of encounters with a community, not as a unified narrative, and let the specific details of each poem accumulate into a portrait of a place and its people.

I found myself smiling over Hartley’s Yorkshire verses, those precise, homely reckonings of rain and ale and stubborn pride. It put me in mind of older voices, plucked from musty volumes, whose griefs and jests sound startlingly familiar. We borrow their words, yet the ache remains ours. There is a quiet kinship in Quaint Gleanings from Ancient Poetry A Collection of Curious Poetical Compositions of the XVIth, XVIIth, and XVIIIth Centuries — Background and Themes, a fellow traveller across centuries.