Rural Tales, Ballads, and Songs — A Reader’s Guide

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Bloomfield, Robert, 1766-1823 Project Gutenberg 2005 Not confirmed
Country life -- Poetry Readers of public-domain and historical texts
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Words 15,845
Reading time 69 min
Text sections 2

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Robert Bloomfield's 1802 collection of narrative poems and ballads, focusing on rural life, virtue, and domestic affections. The excerpts reveal a poet attentive to the moral dimensions of village scenes, with a preface defending the poor man's right to speak of nature and a poem like 'The Widow to her Hour-Glass' using an object to meditate on time.
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Bright was the summer sky, the Mornings gay, And Jane was young and chearful as the Day. Not yet to Love but Mirth she paid her vows; And Echo mock'd her as she call'd her Cows. Tufts of green Broom, that full in blossom vied, And grac'd with spotted gold the upland side, The level fogs o'erlook'd; too high to share; So lovely JANE o'erlook'd the clouds of Care;

No meadow-flow'r rose fresher to the view, That met her morning footsteps in the dew; Where, if a nodding stranger ey'd her charms, The blush of innocence was up in arms, Love's random glances struck the unguarded mind, And Beauty's magic made him look behind. Duly as morning blush'd or twilight came, Secure of greeting smiles and Village fame, She pass'd the Straw-roof'd Shed, in ranges where Hung many a well-turn'd Shoe and glitt'ring _Share_; Where WALTER, as the charmer tripp'd along, Would stop his roaring Bellows and his Song.-- Dawn of affection; Love's delicious sigh! Caught from the lightnings of a speaking eye, That leads the heart to rapture or to woe, 'Twas WALTER'S fate thy mad'ning power to know; And scarce to know, ere in its infant twine, As the Blast shakes the tendrils of the Vine,

The budding bliss that full of promise grew The chilling blight of separation knew. Scarce had he told his heart's unquiet case, And JANE to shun him ceas'd to mend her pace, And learnt to listen trembling as he spoke, And fondly judge his words beyond a joke; When, at the Goal that bounds our prospects here, Jane's widow'd Mistress ended her career: Blessings attended her divided store, The Mansion sold, (Jane's peaceful home no more,) A distant Village own'd her for its Queen, Another service, and another scene; But could another scene so pleasing prove, Twelve weary miles from Walter and from Love? The Maid grew thoughtful: yet to Fate resign'd, Knew not the worth of what she left behind. He, when at Eve releas'd from toil and heat, Soon miss'd the smiles that taught his heart to beat,

_The Lover's-Journey._

Each sabbath-day of late was wont to prove Hope's liberal feast, the holiday of Love: But now, upon his spirit's ebbing strength Came each dull hour's intolerable length. The next had scarcely dawn'd when Walter hied O'er hill and dale, Affection for his guide: O'er the brown Heath his pathless journey lay, Where screaming Lapwings hail'd the op'ning day. High rose the Sun, the anxious Lover sigh'd; His slipp'ry soles bespoke the dew was dried: Her last farewell hung fondly on his tongue As o'er the tufted Furze elate he sprung; Trifling impediments; his heart was light, For Love and Beauty glow'd in fancy's sight; And soon he gaz'd on Jane's enchanting face, Renew'd his passion,--but, destroy'd his peace. Truth, at whose shrine he bow'd, inflicted pain; And Conscience whisper'd, '_Never come again_.'

For now, his tide of gladness to oppose, A clay-cold damp of doubts and fears arose; Clouds, which involve, midst Love and Reason's strife, The poor man's prospect when he takes a wife. Though gay his journeys in the Summer's prime, Each seem'd the repetition of a crime; He never left her but with many a sigh, When tears stole down his face, she knew not why. Severe his task those visits to forego, And feed his heart with voluntary woe. Yet this he did; the wan Moon circling found His evenings cheerless, and his rest unsound; And saw th' unquenched flame his bosom swell: What were his doubts, thus let the Story tell A month's sharp conflict only serv'd to prove The pow'r, as well as truth, of Walter's love. Absence more strongly on his mind portray'd His own sweet, injur'd, unoffending Maid.

_The renew'd Journey._

Once more he'd go; full resolute awhile, But heard his native Bells on every stile; The sound recall'd him with a pow'rful charm, The Heath wide open'd, and the day was warm; There, where a bed of tempting green he found, Increasing anguish weigh'd him to the ground; His well-grown limbs the scatter'd Daisies press'd, While his clinch'd hand fell heavy on his breast. 'Why do I go in cruel sport to say, "I love thee, Jane; appoint the happy day?" 'Why seek her sweet ingenuous reply, 'Then grasp her hand and proffer--poverty? 'Why, if I love her and adore her name, 'Why act like time and sickness on her frame? 'Why should my scanty pittance nip her prime, 'And chace away the Rose before its time? 'I'm young, 'tis true; the world beholds me free; 'Labour ne'er show'd a frightful face to me;

Robert Bloomfield's Rural Tales, Ballads, and Songs (1802) opens with a preface that is as much a personal statement as a literary one. Bloomfield, known for The Farmer's Boy, writes with a consciousness of his social position: 'a poor man in England may assert the dignity of Virtue, and speak of the imperishable beauties of Nature, and be heard, perhaps, with greater attention for his being poor.' This framing colors the poems that follow, which treat village manners and rural scenes not as pastoral clichés but as settings for moral and emotional drama.

The Preface as a Social Document

Bloomfield's preface is unusually personal. He thanks his patron Mr. Lofft, but also addresses anonymous well-wishers who sent 'letters without a name, but fill'd with the most cordial advice.' He acknowledges the 'extraordinary attention' given to The Farmer's Boy and hopes that 'Time' will give him 'my deserts, and no more.' The preface reveals a poet acutely aware of his public reception and the precariousness of his success. He insists on the 'moral merit' of his poems, suggesting that for him, poetry is a vehicle for virtue as much as for rural description.

Objects as Anchors for Emotion

In 'The Widow to her Hour-Glass,' Bloomfield uses a domestic object to structure a meditation on time and loss. The hour-glass has 'stood / In frame of wood, on Chest or Window by my side' for thirty years, marking births and deaths. The widow addresses it as 'friend' and 'companion of the lonely hour,' watching 'thy streaming sand' and seeing 'Life's hopes to stand / On props as weak in Wisdom's eyes.' The poem is notable for its sustained metaphor: the sand 'still sliding down, / Again heap'd up, then down again' mirrors the cycle of joy and pain. Bloomfield gives the hour-glass a personality—'Steady as Truth'—and even grants it a 'Holiday' during harvest, blending the mechanical with the human.

Narrative Resolution and Moral Reward

The excerpt from 'The Adopted Daughter' (or a similar narrative) shows Bloomfield's tendency toward resolved, morally instructive endings. A soldier finds his long-lost daughter Phoebe, and the miller who had sheltered her gives his blessing: 'Henceforth be this your home; and grieve no more.' The scene is crowded with gestures—'the gazing Veteran stood with hands uprais'd'—and the miller's speech is a catalogue of virtues: 'Integrity hath mark'd your favourite Youth; / Fair budding Honour, Constancy, and Truth.' The poem ends with a vision of domestic continuity: 'rosy Girls and Boys.' Bloomfield's rural tales often conclude with such tableaux of restored family and rewarded virtue, suggesting that his interest lies less in plot complexity than in moral clarity.

Readers approaching Rural Tales, Ballads, and Songs should attend to Bloomfield's careful construction of voice—the widow's intimate address, the miller's paternal authority, the preface's self-conscious humility. The poems reward attention to their small, concrete details: the hour-glass on the chest, the 'sounding Kitchen floor,' the 'shingled bed' of a stream. These are not merely decorative; they ground Bloomfield's moral vision in the physical world of rural life.

I’ve often turned to Bloomfield’s Rural Tales, especially the widow and her hour-glass ticking away quiet grief. There’s a kinship with that old volume of The World's Best Poetry, Volume 03: Sorrow and Consolation — Inside the Classic, where sorrow isn’t shouted but measured, like household time, patiently borne. Both know consolation lives in small, repeated things.

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