Barclay of Ury, and other poems Part 3 From Volume I of The Works of John Greenleaf Whittier — Edition Insights
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Barclay of Ury, and other poems Part 3 From Volume I of The Works of John Greenleaf Whittier — Edition Insights can be approached with a clearer sense of reading commitment from its source measurements: 19,451 words, 1 hr 25 min estimated reading time, and 3 detected text sections.
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There was a lord of Galaway, A mighty lord was he; And he did wed a second wife, A maid of low degree.
But he was old, and she was young, And so, in evil spite, She baked the black bread for his kin, And fed her own with white.
She whipped the maids and starved the kern, And drove away the poor; "Ah, woe is me!" the old lord said, "I rue my bargain sore!"
This lord he had a daughter fair, Beloved of old and young, And nightly round the shealing-fires Of her the gleeman sung.
"As sweet and good is young Kathleen As Eve before her fall;" So sang the harper at the fair, So harped he in the hall.
"Oh, come to me, my daughter dear! Come sit upon my knee, For looking in your face, Kathleen, Your mother's own I see!"
He smoothed and smoothed her hair away, He kissed her forehead fair; "It is my darling Mary's brow, It is my darling's hair!"
Oh, then spake up the angry dame, "Get up, get up," quoth she, "I'll sell ye over Ireland, I'll sell ye o'er the sea!"
She clipped her glossy hair away, That none her rank might know; She took away her gown of silk, And gave her one of tow,
And sent her down to Limerick town And to a seaman sold This daughter of an Irish lord For ten good pounds in gold.
The lord he smote upon his breast, And tore his beard so gray; But he was old, and she was young, And so she had her way.
Sure that same night the Banshee howled To fright the evil dame, And fairy folks, who loved Kathleen, With funeral torches came.
She watched them glancing through the trees, And glimmering down the hill; They crept before the dead-vault door, And there they all stood still!
"Get up, old man! the wake-lights shine!" "Ye murthering witch," quoth he, "So I'm rid of your tongue, I little care If they shine for you or me."
"Oh, whoso brings my daughter back, My gold and land shall have!" Oh, then spake up his handsome page, "No gold nor land I crave!
"But give to me your daughter dear, Give sweet Kathleen to me, Be she on sea or be she on land, I'll bring her back to thee."
"My daughter is a lady born, And you of low degree, But she shall be your bride the day You bring her back to me."
He sailed east, he sailed west, And far and long sailed he, Until he came to Boston town, Across the great salt sea.
"Oh, have ye seen the young Kathleen, The flower of Ireland? Ye'll know her by her eyes so blue, And by her snow-white hand!"
Out spake an ancient man, "I know The maiden whom ye mean; I bought her of a Limerick man, And she is called Kathleen.
"No skill hath she in household work, Her hands are soft and white, Yet well by loving looks and ways She doth her cost requite."
So up they walked through Boston town, And met a maiden fair, A little basket on her arm So snowy-white and bare.
"Come hither, child, and say hast thou This young man ever seen?" They wept within each other's arms, The page and young Kathleen.
"Oh give to me this darling child, And take my purse of gold." "Nay, not by me," her master said, "Shall sweet Kathleen be sold.
"We loved her in the place of one The Lord hath early ta'en; But, since her heart's in Ireland, We give her back again!"
Oh, for that same the saints in heaven For his poor soul shall pray, And Mary Mother wash with tears His heresies away.
Sure now they dwell in Ireland; As you go up Claremore Ye'll see their castle looking down The pleasant Galway shore.
And the old lord's wife is dead and gone, And a happy man is he, For he sits beside his own Kathleen, With her darling on his knee. 1849.
THE WELL OF LOCH MAREE
Pennant, in his Voyage to the Hebrides, describes the holy well of Loch Maree, the waters of which were supposed to effect a miraculous cure of melancholy, trouble, and insanity.
CALM on the breast of Loch Maree A little isle reposes; A shadow woven of the oak And willow o'er it closes.
Within, a Druid's mound is seen, Set round with stony warders; A fountain, gushing through the turf, Flows o'er its grassy borders.
And whoso bathes therein his brow, With care or madness burning, Feels once again his healthful thought And sense of peace returning.
O restless heart and fevered brain, Unquiet and unstable, That holy well of Loch Maree Is more than idle fable!
Life's changes vex, its discords stun, Its glaring sunshine blindeth, And blest is he who on his way That fount of healing findeth!
The shadows of a humbled will And contrite heart are o'er it; Go read its legend, "TRUST IN GOD," On Faith's white stones before it. 1850.
THE CHAPEL OF THE HERMITS.
The incident upon which this poem is based is related in a note to Bernardin Henri Saint Pierre's Etudes de la Nature. "We arrived at the habitation of the Hermits a little before they sat down to their table, and while they were still at church. J. J. Rousseau proposed to me to offer up our devotions. The hermits were reciting the Litanies of Providence, which are remarkably beautiful. After we had addressed our prayers to God, and the hermits were proceeding to the refectory, Rousseau said to me, with his heart overflowing, 'At this moment I experience what is said in the gospel: Where two or three are gathered together in my name, there am I in the midst of them. There is here a feeling of peace and happiness which penetrates the soul.' I said, 'If Finelon had lived, you would have been a Catholic.' He exclaimed, with tears in his eyes, 'Oh, if Finelon were alive, I would struggle to get into his service, even as a lackey!'" In my sketch of Saint Pierre, it will be seen that I have somewhat antedated the period of his old age. At that time he was not probably more than fifty. In describing him, I have by no means exaggerated his own history of his mental condition at the period of the story. In the fragmentary Sequel to his Studies of Nature, he thus speaks of himself: "The ingratitude of those of whom I had deserved kindness, unexpected family misfortunes, the total loss of my small patrimony through enterprises solely undertaken for the benefit of my country, the debts under which I lay oppressed, the blasting of all my hopes,--these combined calamities made dreadful inroads upon my health and reason. . . . I found it impossible to continue in a room where there was company, especially if the doors were shut. I could not even cross an alley in a public garden, if several persons had got together in it. When alone, my malady subsided. I felt myself likewise at ease in places where I saw children only. At the sight of any one walking up to the place where I was, I felt my whole frame agitated, and retired. I often said to myself, 'My sole study has been to merit well of mankind; why do I fear them?'"
He attributes his improved health of mind and body to the counsels of his friend, J. J. Rousseau. "I renounced," says he, "my books. I threw my eyes upon the works of nature, which spake to all my senses a language which neither time nor nations have it in their power to alter. Thenceforth my histories and my journals were the herbage of the fields and meadows. My thoughts did not go forth painfully after them, as in the case of human systems; but their thoughts, under a thousand engaging forms, quietly sought me. In these I studied, without effort, the laws of that Universal Wisdom which had surrounded me from the cradle, but on which heretofore I had bestowed little attention."
Speaking of Rousseau, he says: "I derived inexpressible satisfaction from his society. What I prized still more than his genius was his probity. He was one of the few literary characters, tried in the furnace of affliction, to whom you could, with perfect security, confide your most secret thoughts. . . . Even when he deviated, and became the victim of himself or of others, he could forget his own misery in devotion to the welfare of mankind. He was uniformly the advocate of the miserable. There might be inscribed on his tomb these affecting words from that Book of which he carried always about him some select passages, during the last years of his life: 'His sins, which are many, are forgiven, for he loved much.'"
"I DO believe, and yet, in grief, I pray for help to unbelief; For needful strength aside to lay The daily cumberings of my way.
"I 'm sick at heart of craft and cant, Sick of the crazed enthusiast's rant, Profession's smooth hypocrisies, And creeds of iron, and lives of ease.
"I ponder o'er the sacred word, I read the record of our Lord; And, weak and troubled, envy them Who touched His seamless garment's hem;
"Who saw the tears of love He wept Above the grave where Lazarus slept; And heard, amidst the shadows dim Of Olivet, His evening hymn.
"How blessed the swineherd's low estate, The beggar crouching at the gate, The leper loathly and abhorred, Whose eyes of flesh beheld the Lord!
"O sacred soil His sandals pressed! Sweet fountains of His noonday rest! O light and air of Palestine, Impregnate with His life divine!
"Oh, bear me thither! Let me look On Siloa's pool, and Kedron's brook; Kneel at Gethsemane, and by Gennesaret walk, before I die!
"Methinks this cold and northern night Would melt before that Orient light; And, wet by Hermon's dew and rain, My childhood's faith revive again!"
So spake my friend, one autumn day, Where the still river slid away Beneath us, and above the brown Red curtains of the woods shut down.
Then said I,--for I could not brook The mute appealing of his look,-- "I, too, am weak, and faith is small, And blindness happeneth unto all.
"Yet, sometimes glimpses on my sight, Through present wrong, the eternal right; And, step by step, since time began, I see the steady gain of man;
"That all of good the past hath had Remains to make our own time glad, Our common daily life divine, And every land a Palestine.
"Thou weariest of thy present state; What gain to thee time's holiest date? The doubter now perchance had been As High Priest or as Pilate then!
"What thought Chorazin's scribes? What faith In Him had Nain and Nazareth? Of the few followers whom He led One sold Him,--all forsook and fled.
"O friend! we need nor rock nor sand, Nor storied stream of Morning-Land; The heavens are glassed in Merrimac,-- What more could Jordan render back?
"We lack but open eye and ear To find the Orient's marvels here; The still small voice in autumn's hush, Yon maple wood the burning bush.
"For still the new transcends the old, In signs and tokens manifold; Slaves rise up men; the olive waves, With roots deep set in battle graves!
"Through the harsh noises of our day A low, sweet prelude finds its way; Through clouds of doubt, and creeds of fear, A light is breaking, calm and clear.
"That song of Love, now low and far, Erelong shall swell from star to star! That light, the breaking day, which tips The golden-spired Apocalypse!"
Then, when my good friend shook his head, And, sighing, sadly smiled, I said: "Thou mind'st me of a story told In rare Bernardin's leaves of gold."
And while the slanted sunbeams wove The shadows of the frost-stained grove, And, picturing all, the river ran O'er cloud and wood, I thus began:--
. . . . . . . . . . . . .
In Mount Valerien's chestnut wood The Chapel of the Hermits stood; And thither, at the close of day, Came two old pilgrims, worn and gray.
One, whose impetuous youth defied The storms of Baikal's wintry side, And mused and dreamed where tropic day Flamed o'er his lost Virginia's bay.
His simple tale of love and woe All hearts had melted, high or low;-- A blissful pain, a sweet distress, Immortal in its tenderness.
Yet, while above his charmed page Beat quick the young heart of his age, He walked amidst the crowd unknown, A sorrowing old man, strange and lone.
A homeless, troubled age,--the gray Pale setting of a weary day; Too dull his ear for voice of praise, Too sadly worn his brow for bays.
Pride, lust of power and glory, slept; Yet still his heart its young dream kept, And, wandering like the deluge-dove, Still sought the resting-place of love.
And, mateless, childless, envied more The peasant's welcome from his door By smiling eyes at eventide, Than kingly gifts or lettered pride.
Until, in place of wife and child, All-pitying Nature on him smiled, And gave to him the golden keys To all her inmost sanctities.
Mild Druid of her wood-paths dim! She laid her great heart bare to him, Its loves and sweet accords;--he saw The beauty of her perfect law.
The language of her signs lie knew, What notes her cloudy clarion blew; The rhythm of autumn's forest dyes, The hymn of sunset's painted skies.
And thus he seemed to hear the song Which swept, of old, the stars along; And to his eyes the earth once more Its fresh and primal beauty wore.
Who sought with him, from summer air, And field and wood, a balm for care; And bathed in light of sunset skies His tortured nerves and weary eyes?
His fame on all the winds had flown; His words had shaken crypt and throne; Like fire, on camp and court and cell They dropped, and kindled as they fell.
Beneath the pomps of state, below The mitred juggler's masque and show, A prophecy, a vague hope, ran His burning thought from man to man.
For peace or rest too well he saw The fraud of priests, the wrong of law, And felt how hard, between the two, Their breath of pain the millions drew.
A prophet-utterance, strong and wild, The weakness of an unweaned child, A sun-bright hope for human-kind, And self-despair, in him combined.
He loathed the false, yet lived not true To half the glorious truths he knew; The doubt, the discord, and the sin, He mourned without, he felt within.
Untrod by him the path he showed, Sweet pictures on his easel glowed Of simple faith, and loves of home, And virtue's golden days to come.
But weakness, shame, and folly made The foil to all his pen portrayed; Still, where his dreamy splendors shone, The shadow of himself was thrown.
Lord, what is man, whose thought, at times, Up to Thy sevenfold brightness climbs, While still his grosser instinct clings To earth, like other creeping things!
So rich in words, in acts so mean; So high, so low; chance-swung between The foulness of the penal pit And Truth's clear sky, millennium-lit!
Vain, pride of star-lent genius!--vain, Quick fancy and creative brain, Unblest by prayerful sacrifice, Absurdly great, or weakly wise!
Midst yearnings for a truer life, Without were fears, within was strife; And still his wayward act denied The perfect good for which he sighed.
The love he sent forth void returned; The fame that crowned him scorched and burned, Burning, yet cold and drear and lone,-- A fire-mount in a frozen zone!
Like that the gray-haired sea-king passed,[9] Seen southward from his sleety mast, About whose brows of changeless frost A wreath of flame the wild winds tossed.
Far round the mournful beauty played Of lambent light and purple shade, Lost on the fixed and dumb despair Of frozen earth and sea and air!
A man apart, unknown, unloved By those whose wrongs his soul had moved, He bore the ban of Church and State, The good man's fear, the bigot's hate!
Forth from the city's noise and throng, Its pomp and shame, its sin and wrong, The twain that summer day had strayed To Mount Valerien's chestnut shade.
To them the green fields and the wood Lent something of their quietude, And golden-tinted sunset seemed Prophetical of all they dreamed.
The hermits from their simple cares The bell was calling home to prayers, And, listening to its sound, the twain Seemed lapped in childhood's trust again.
Wide open stood the chapel door; A sweet old music, swelling o'er Low prayerful murmurs, issued thence,-- The Litanies of Providence!
Then Rousseau spake: "Where two or three In His name meet, He there will be!" And then, in silence, on their knees They sank beneath the chestnut-trees.
As to the blind returning light, As daybreak to the Arctic night, Old faith revived; the doubts of years Dissolved in reverential tears.
That gush of feeling overpast, "Ah me!" Bernardin sighed at last, I would thy bitterest foes could see Thy heart as it is seen of me!
"No church of God hast thou denied; Thou hast but spurned in scorn aside A bare and hollow counterfeit, Profaning the pure name of it!
"With dry dead moss and marish weeds His fire the western herdsman feeds, And greener from the ashen plain The sweet spring grasses rise again.
"Nor thunder-peal nor mighty wind Disturb the solid sky behind; And through the cloud the red bolt rends The calm, still smile of Heaven descends.
"Thus through the world, like bolt and blast, And scourging fire, thy words have passed. Clouds break,--the steadfast heavens remain; Weeds burn,--the ashes feed the grain!
"But whoso strives with wrong may find Its touch pollute, its darkness blind; And learn, as latent fraud is shown In others' faith, to doubt his own.
"With dream and falsehood, simple trust And pious hope we tread in dust; Lost the calm faith in goodness,--lost The baptism of the Pentecost!
"Alas!--the blows for error meant Too oft on truth itself are spent, As through the false and vile and base Looks forth her sad, rebuking face.
"Not ours the Theban's charmed life; We come not scathless from the strife! The Python's coil about us clings, The trampled Hydra bites and stings!
"Meanwhile, the sport of seeming chance, The plastic shapes of circumstance, What might have been we fondly guess, If earlier born, or tempted less.
"And thou, in these wild, troubled days, Misjudged alike in blame and praise, Unsought and undeserved the same The skeptic's praise, the bigot's blame;--
"I cannot doubt, if thou hadst been Among the highly favored men Who walked on earth with Fenelon, He would have owned thee as his son;
"And, bright with wings of cherubim Visibly waving over him, Seen through his life, the Church had seemed All that its old confessors dreamed."
"I would have been," Jean Jaques replied, "The humblest servant at his side, Obscure, unknown, content to see How beautiful man's life may be!
"Oh, more than thrice-blest relic, more Than solemn rite or sacred lore, The holy life of one who trod The foot-marks of the Christ of God!
"Amidst a blinded world he saw The oneness of the Dual law; That Heaven's sweet peace on Earth began, And God was loved through love of man.
"He lived the Truth which reconciled The strong man Reason, Faith the child; In him belief and act were one, The homilies of duty done!"
So speaking, through the twilight gray The two old pilgrims went their way. What seeds of life that day were sown, The heavenly watchers knew alone.
Time passed, and Autumn came to fold Green Summer in her brown and gold; Time passed, and Winter's tears of snow Dropped on the grave-mound of Rousseau.
"The tree remaineth where it fell, The pained on earth is pained in hell!" So priestcraft from its altars cursed The mournful doubts its falsehood nursed.
Ah! well of old the Psalmist prayed, "Thy hand, not man's, on me be laid!" Earth frowns below, Heaven weeps above, And man is hate, but God is love!
No Hermits now the wanderer sees, Nor chapel with its chestnut-trees; A morning dream, a tale that's told, The wave of change o'er all has rolled.
Yet lives the lesson of that day; And from its twilight cool and gray Comes up a low, sad whisper, "Make The truth thine own, for truth's own sake.
Whittier's narrative poems in this collection display a deliberate modulation of pace, from the measured, stately quatrains of 'Barclay of Ury' to the urgent, clipped lines of 'The Ranger.' The opening poem establishes a pattern of contrast: the mob's 'foul of mouth and evil-eyed' is answered by Barclay's 'calm and stately mien,' a juxtaposition that Whittier reinforces through alternating short and long lines. In 'The Ranger,' the repeated exclamation 'Yet away, he's away!' creates a breathless, incantatory rhythm that mirrors the anxiety of waiting. These shifts are not merely decorative; they serve to underscore the moral and emotional stakes of each narrative.
Rhythmic Contrasts in Historical Ballads
The ballad 'Barclay of Ury' opens with a steady trochaic meter ('Up the streets of Aberdeen, / By the kirk and college green'), but Whittier disrupts this regularity when the mob's violence escalates. The line 'Came a troop with broadswords swinging' introduces a spondaic beat that mimics the clatter of hooves. Later, Barclay's speech shifts to a slower, more deliberate iambic rhythm ('Passive to His holy will, / Trust I in my Master still'), creating a sonic contrast between worldly aggression and spiritual composure. This technique recurs in 'The Angels of Buena Vista,' where the battle scenes are rendered in rapid, irregular lines, while moments of reflection return to a smoother meter. Whittier uses these rhythmic shifts to guide the reader's emotional response without explicit commentary.
Direct Speech as a Pacing Device
Whittier frequently breaks narrative momentum with direct quotations, altering the poem's tempo. In 'Barclay of Ury,' the comrade's outburst ('Barclay! Ho! a Barclay!') interrupts the descriptive flow, injecting urgency. Conversely, the extended dialogue in 'The Ranger' slows the narrative, as characters exchange news and lament. The repeated phrase 'Well-a-day! Hope and pray!' functions as a refrain that pauses action, emphasizing the emotional weight of waiting. In 'The Double-Headed Snake of Newbury,' the preacher's prayer is rendered in long, flowing lines that contrast with the surrounding narrative's shorter beats. These shifts in pacing are not arbitrary; they mirror the tension between public spectacle and private reflection that runs through the collection.
Regional Voice and Vernacular Rhythm
Whittier adapts his meter to evoke regional speech patterns. In 'The Sycamores,' the line 'From Spurwink, Pool, and Black Point, called to sermon and to prayer' mimics the cadence of a New England town crier. The poem 'Telling the Bees' employs a colloquial, almost conversational rhythm ('Here is the place; right over the hill / Runs the path I took'), which contrasts with the formal diction of 'The Legend of St Mark.' This vernacular pacing is most pronounced in 'Skipper Ireson's Ride,' where the repeated 'Curse of the women!' and the refrain 'Old Floyd Ireson, for his hard heart, / Tarred and feathered and carried in a cart' create a folk-ballad rhythm that feels spoken rather than read. Whittier's attention to regional voice extends to syntax: in 'The Garrison of Cape Ann,' the inverted word order ('Faintly thence, as pines far sighing') echoes the syntax of oral storytelling.
Readers attentive to Whittier's craft will find that his narrative voice is never static. The poems reward attention to how meter, line length, and direct speech shape the story's emotional arc. Rather than reading for plot alone, consider how the rhythm of each poem—whether the galloping urgency of 'The Ranger' or the solemn procession of 'Barclay of Ury'—creates a distinct atmosphere. These poems are best experienced aloud, where their sonic contrasts become most apparent.
I kept thinking about how Whittier lets his people just talk—the way their voices shift and pause like real memory. It stayed with me quietly. Then I found myself in The New Morning: Poems — A Closer Reading, and it felt like the same kind of company: unhurried, familiar, asking nothing but a moment's attention. That soft rhythm lingers long after the page turns.
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