Wild Flowers; or, Pastoral and Local Poetry — Key Ideas to Explore

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Bloomfield, Robert, 1766-1823 Project Gutenberg 2005 Not confirmed
Pastoral poetry, English Readers of public-domain and historical texts
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Words 17,344
Reading time 76 min
Text sections 2

The catalog record for Wild Flowers; or, Pastoral and Local Poetry — Key Ideas to Explore provides practical reading context through 17,344 words, 1 hr 16 min estimated reading time, and 2 detected text sections.

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Robert Bloomfield's 1806 collection of pastoral and local poetry, structured around rural scenes and movements between village, hill, and river. The poems shift from intimate observations of nature to broader reflections on health, mortality, and the poet's place in the landscape, using recurring images of flowers, Thames, and the Mole.
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That had perplex'd him long ago, When busy folks and fools contriv'd To make his Mary answer--_no_.

But whether, freed from recent vows, _Her_ heart had back to Abner flown, And mark'd him for a second spouse, In truth is not exactly known.

Howbeit, as he came in sight, She turn'd her from the garden stile, And downward look'd with pure delight, With half a sigh and half a smile.

She heard his sounding step behind, The blush of joy crept up her cheek, As cheerly floated on the wind, "Hoi! Mary Jones--what wont you speak?"

Then, with a look that ne'er deceives, She turn'd, but found her courage fled; And scolding sparrows from the eaves Peep'd forth upon the stranger's head.

Down Abner sat, with glowing heart, Resolv'd, whatever might betide, To speak his mind, no other art He ever knew, or ever tried.

And gently twitching Mary's hand, The bench had ample room for two, His first word made her understand The plowman's errand was to woo.

"My Mary--may I call thee so? For many a happy day we've seen, And if not mine, aye, years ago, Whose was the fault? you might have been!

"All that's gone by: but I've been musing, And vow'd, and hope to keep it true, That she shall be my own heart's choosing Whom I call wife.--Hey, what say you?

Past Thoughts stated.

"And as I drove my plough along, And felt the strength that's in my arm, Ten years, thought I, amidst my song, I've been head-man at Harewood farm.

"And now, my own dear Mary's free, Whom I have lov'd this many a day, Who knows but she may think on _me?_ I'll go hear what she has to say.

"Perhaps that little stock of land She holds, but knows not how to till, Will suffer in the widow's hand, And make poor Mary poorer still

"That scrap of land, with one like her, How we might live! and be so blest! And who should Mary Jones prefer? Why, surely, him who loves her best!

"Therefore I'm come to-night, sweet wench, I would not idly thus intrude,"-- Mary look'd downward on the bench, O'erpower'd by love and gratitude.

And lean'd her head against the vine, With quick'ning sobs of silent bliss, Till Abner cried, "You must be mine, You must,"--and seal'd it with a kiss.

The Interest of an old Horse asserted.

She talk'd of shame, and wip'd her check, But what had shame with them to do, Who nothing meant but truth to speak, And downright honour to pursue?

His eloquence improv'd apace, As manly pity fill'd his mind; "You know poor Bayard; here's the case,-- He's past his labour, old, and blind:

"If you and I should but agree To settle here for good and all, Could you give all your heart to me, And grudge that poor old rogue a stall?

"I'll buy him, for the dogs shall never Set tooth upon a friend so true; He'll not live long, but I for ever Shall know I gave the beast his due.

"'Mongst all I've known of plows and carts, And ever since I learn'd to drive, He was not match'd in all these parts; There was not such a horse alive!

"Ready, as birds to meet the morn, Were all his efforts at the plough; Then, the mill-brook with hay or corn, Good creature! how he'd spatter through!

"He was a horse of mighty pow'r, Compact in frame, and strong of limb; Went with a chirp from hour to hour; Whip-cord! 'twas never made for him.

"I left him in the shafts behind, His fellows all unhook'd and gone, He neigh'd, and deem'd the thing unkind. Then, starting, drew the load alone!

"But I might talk till pitch-dark night, And then have something left to say; But, Mary, am I wrong or right, Or, do I throw my words away?

Something like Consent.

"Leave me, or take me and my horse; I've told thee truth, and all I know: Truth _should_ breed truth; that comes of course; If I sow wheat, why wheat will grow."

"Yes, Abner, but thus soon to yield, Neighbours would fleer, and look behind 'em; Though, with a husband in the field, Perhaps, indeed, I should not mind 'em.

"I've known your generous nature well, My first denial cost me dear; How this may end we cannot tell, But, as for Bayard, bring him here."

Parting of the Lovers.--Sad News.

"Bless thee for that," the plowman cried, At once both starting from the seat, He stood a guardian by her side, But talk'd of home,--'twas growing late.

Then step for step within his arm, She cheer'd him down the dewy way; And no two birds upon the farm E'er prated with more joy than they.

What news at home? The smile he wore One little sentence turn'd to sorrow; An order met him at the door. "Take Bayard to the dogs to-morrow."

Yes, yes, thought he; and heav'd a sigh, Die when he will he's not your debtor: I must obey, and he must die,-- That's if I can't contrive it better.

He left his Mary late at night, And had succeeded in the main, No sooner peep'd the morning light But he was on the road again!

Suppose she should refuse her hand? Such thoughts will come, I know not why; Shall I, without a wife or land, Want an old horse? then wherefore buy?

From bush to bush, from stile to stile, Perplex'd he trod the fallow ground, And told his money all the while And weigh'd the matter round and round.

"I'll borrow," that's the best thought yet; Mary shall save the horse's life.-- Kind-hearted wench! what, run in debt Before I know she'll be my wife?

These women wo'nt speak plain and free.-- Well, well, I'll keep my service still; She has not _said_ she'd marry me, But yet I dare to say she will.

A fresh Thought--Turns back.

But while I take this shay brain'd course, And like a fool run to and fro, Master, perhaps, may sell the horse! Therefore this instant home I'll go.

The nightly rains had drench'd the grove, He plung'd right on with headlong pace; A man but half as much in love Perhaps had found a cleaner place.

The day rose fair; with team a-field, He watch'd the farmer's cheerful brow; And in a lucky hour reveal'd His secret at his post, the plough.

Coming to the Point--Generosity

And there without a whine began, "Master, you'll give me your advice; I'm going to marry--if I can-- And want old Bayard; what's his price!

"For Mary Jones last night agreed, Or near upon't, to be my wife: The horse's value I don't heed, I only want to save his life."

"Buy him, hey! Abner! trust me I Have not the thought of gain in view; Bayard's best days we've seen go by; He shall be cheap enough to you."

Symptoms of good Feelings.

The wages paid, the horse brought out, The hour of separation come; The farmer turn'd his chair about, "Good fellow, take him, take him home.

"You're welcome, Abner, to the beast, For you're a faithful servant been; They'll thrive I doubt not in the least, Who know what work and service mean."

The maids at parting, one and all, From different windows different tones; Bade him farewel with many a bawl, And sent their love to Mary Jones.

He wav'd his hat, and turn'd away, When loud the cry of children rose; "Abner, good bye!" they stopt their play; "There goes poor Bayard! there he goes!"

Half choak'd with joy, with love, and pride, He now with dainty clover fed him, Now took a short triumphant ride, And then again got down and led him.

And hobbling onward up the hill, The widow's house was full in sight, He pull'd the bridle harder still, "Come on, we shan't be there to-night."

She met them with a smile so sweet, The stable-door was open thrown; The blind horse lifted high his feet, And loudly snorting, laid him down.

O Victory! from that stock of laurels You keep so snug for camps and thrones, Spare us _one twig_ from all their quarrels For Abner and the Widow Jones.

Friend of my peaceful days! substantial friend, Whom wealth can never change, nor int'rest bend, I love thee like a child. Thou wert to me The dumb companion of my misery, And oftner of my joys;--then as I spoke, I shar'd thy sympathy, Old Heart of Oak! For surely when my labour ceas'd at night, With trembling, feverish hands, and aching sight, The draught that cheer'd me and subdu'd my care, On thy broad shoulders thou wert proud to bear O'er thee, with expectation's fire elate, I've sat and ponder'd on my future fate: On thee, with winter muffins for thy store, I've lean'd, and quite forgot that I was poor.

Where dropp'd the acorn that gave birth to thee? Can'st thou trace back thy line of ancestry? We're match'd, old friend, and let us not repine, Darkness o'erhangs thy origin and mine; Both may be truly honourable: yet, We'll date our honours from the day we met; When, of my worldly wealth the parent stock, Right welcome up the Thames from Woolwich Dock Thou cam'st, when hopes ran high and love was young; But soon our olive-branches round thee sprung; Soon came the days that tried a faithful wife, The noise of children, and the cares of life. Then, midst the threat'nings of a wintry sky, _That cough_ which blights the bud of infancy, The dread of parents, Rest's inveterate foe, Came like a plague, and turn'd my songs to woe.

Rest! without thee what strength can long survive, What spirit keep the flame of Hope alive? The midnight murmur of the cradle gave Sounds of despair; and chilly as the grave. We felt its undulating blast arise, Midst whisper'd sorrows and ten thousand sighs. Expiring embers warn'd us each to sleep, By turns to watch alone, by turns to weep, By turns to hear, and keep from starting wild, The sad, faint wailings of a dying child. But Death, obedient to Heav'n's high command, Withdrew his jav'lin, and unclench'd his hand; The little sufferers triumph'd over pain, Their mother smil'd, and bade me hope again. Yet Care gain'd ground, Exertion triumph'd less, Thick fell the gathering terrors of Distress; Anxiety, and Griefs without a name, Had made their dreadful inroads on my frame; The creeping Dropsy, cold as cold could be, Unnerv'd my arm, and bow'd my head to thee. Thou to thy trust, old friend, hast not been true; These eyes the bitterest tears they ever knew Let fall upon thee; now all wip'd away; But what from memory shall wipe out that day? The great, the wealthy of my native land, To whom a guinea is a grain of sand, I thought upon them, for my _thoughts_ were free, But all unknown were then my woes and me.

Still, Resignation was my dearest friend, And Reason pointed to a glorious end; With anxious sighs, a parent's hopes and pride, I wish'd to live--I trust I could have died! But winter's clouds pursu'd their stormy way, And March brought sunshine with the length'ning day, And bade my heart arise, that morn and night Now throbb'd with irresistible delight. Delightful 'twas to leave disease behind, And feel the renovation of the mind! To lead abroad upborne on Pleasure's wing, Our children, midst the glories of the spring; Our fellow sufferers, our only wealth, To gather daisies in the breeze of health!

'Twas then, too, when our prospects grew so fair, And Sabbath bells announc'd the morning pray'r; Beneath that vast gigantic dome we bow'd, That lifts its flaming cross above the cloud; Had gain'd the centre of the checquer'd floor;-- That instant, with reverberating roar Burst forth the pealing organ----mute we stood;-- The strong sensation boiling through my blood, Rose in a storm of joy, allied to pain, I wept, and worshipp'd GOD, and wept again; And felt, amidst the fervor of my praise, The sweet assurances of better days.

In that gay season, honest friend of mine, I mark'd the brilliant sun upon thee shine; Imagination took her flights so free, _Home_ was delicious with my book and thee, The purchas'd nosegay, or brown ears of corn, Were thy gay plumes upon a summer's morn, Awakening memory, that disdains control, They spoke the darling language of my soul: They whisper'd tales of joy, of peace, of truth, And conjur'd back the sunshine of my youth: Fancy presided at the joyful birth, I pour'd the torrent of my feelings forth; Conscious of _truth_ in Nature's humble track, And wrote "The Farmer's Boy" upon thy back! Enough, old friend:--thou'rt mine; and shalt partake, While I have pen to write, or tongue to speak, Whatever fortune deals me.--Part with thee! No, not till death shall set my spirit free; For know, should plenty crown my life's decline, A most important duty may be thine: Then, guard me from Temptation's base control, From apathy and littleness of soul The sight of thy old frame, so rough, so rode, Shall twitch the sleeve of nodding Gratitude; Shall teach me but to venerate the more Honest Oak Tables and their guests--the poor: Teach me unjust distinctions to deride, And falsehoods gender'd in the brain of Pride; Shall give to Fancy still the cheerful hour, To Intellect, its freedom and its power; To Hospitality's enchanting ring A charm, which nothing but thyself can bring. The man who would not look with honest pride On the tight bark that stemm'd the roaring tide, And bore him, when he bow'd the trembling knee, Home, through the mighty perils of the sea, I love him not.--He ne'er shall be my guest; Nor sip my cup, nor witness how I'm blest; Nor lean, to bring my honest friend to shame, A sacrilegious elbow on thy frame; But thou through life a monitor shalt prove, Sacred to Truth, to Poetry, and Love.

THE HORKEY. A Provincial Ballad.

In the descriptive ballad which follows, it will be evident that I have endeavoured to preserve the style of a gossip, and to transmit the memorial of a custom, the extent or antiquity of which I am not acquainted with, and pretend not to enquire.

In Suffolk husbandry the man who, (whether by merit or by sufferance I know not) goes foremost through the harvest with the scythe or the sickle, is honoured with the title of "_Lord_," and at the Horkey, or harvest-home feast, collects what he can, for himself and brethren, from the farmers and visitors, to make a "frolick" afterwards, called "the largess spending." By way of returning thanks, though perhaps formerly of much more, or of different signification, they immediately leave the seat of festivity, and with a very long and repeated shout of "a largess," the number of shouts being regulated by the sums given, seem to wish to make themselves heard by the people of the surrounding farms. And before they rejoin the company within, the pranks and the jollity I have endeavoured to describe, usually take place. These customs, I believe, are going fast out of use; which is one great reason for my trying to tell the rising race of mankind that such were the customs when I was a boy.

I have annexed a glossary of such words as may be found by general readers to require explanation. And will add a short extract from Sir Thomas Brown, of Norwich, M. D. who was born three years before Milton, and outlived him eight years.

"It were not impossible to make an original reduction of many words of no general reception in _England_, but of common use in _Norfolk_, or peculiar to the _East-Angle_ counties; as, Bawnd, Bunny, Thurck, Enemis, Matchly, Sainmodithee, Mawther, Kedge, Seele, Straft, Clever, Dere, Nicked, Stingy, Noneare, Fett, Thepes, Gosgood, Kamp, Sibrit, Fangast, Sap, Cothish, Thokish, Bide-owe, Paxwax. Of these, and some others, of no easy originals, when time will permit, the resolution shall be attempted; which to effect, the Danish language, new, and more ancient, may prove of good advantage: which nation remained here fifty years upon agreement, and have left many families in it, and the language of these parts had surely been more commixed and perplex, if the fleet of _Hugo de Bones_ had not been cast away, wherein three-score thousand souldiers, out of Britany and Flanders, were to be wafted over, and were, by King _John's_ appointment, to have a settled habitation in the counties of _Norfolk_ and _Suffolk_." Tract the viii. on Languages, particularly the Saxon. Folio, 1686, page 48.

What gossips prattled in the sun, Who talk'd him fairly down, Up, memory! tell; 'tis Suffolk fun, And lingo of their own.

Ah! _Judie Twitchet!_[A] though thou'rt dead, With thee the tale begins; For still seems thrumming in my head The rattling of thy pins.

[Footnote A: Judie Twitchet was a real person, who lived many years with my mother's cousin Bannock, at Honnington.]

Thou Queen of knitters! for a ball Of worsted was thy pride; With dangling stockings great and small, And world of clack beside!

"We did so laugh; the moon shone bright; "More fun you never knew; "'Twas Farmer Cheerum's _Horkey night_, "And I, and Grace, and Sue----

"But bring a stool, sit round about, "And boys, be quiet, pray; "And let me tell my story out; "'Twas _sitch_ a merry day!

"The butcher whistled at the door, "And brought a load of meat; "Boys rubb'd their hands, and cried, 'there's more,' "Dogs wagg'd their tails to see't.

"On went the boilers till the _hake_[Footnote: A sliding pot-hook] "Had much ado to bear 'em; "The magpie talk'd for talking sake, "Birds sung;--but who could hear 'em?

"Creak went the jack; the cats were _scar'd_, "We had not time to heed 'em, "The _owd hins_ cackled in the yard, "For we forgot to feed 'em!

"Yet 'twas not I, as I may say, "Because as how, d'ye see; "I only help'd there for the day; "They cou'dn't lay't to me.

"Now Mrs. Cheerum's best lace cap "Was mounted on her head; "Guests at the door began to rap, "And now the cloth was spread.

"Then clatter went the earthen plates-- "'Mind Judie,' was the cry; "I could have _cop't_[Footnote: Thrown] them at their pates; "'Trenchers for me,' said I.

"'That look so clean upon the ledge, "'And never mind a fall; "'Nor never turn a sharp knife's edge;-- "'But fashion rules us all.'

"Home came the jovial _Horkey load_, "Last of the whole year's crop; "And Grace amongst the green boughs rode "Right plump upon the top.

"This way and that the waggon reel'd, "And never queen rode higher; "_Her_ cheeks were colour'd in the field, "And ours before the fire.

"The laughing harvest-folks, and John, "Came in and look'd askew; "'Twas my red face that set them on, "And then they leer'd at Sue.

"And Farmer Cheerum went, good man, "And broach'd the _Horkey beer_; "And _sitch a mort_[Footnote: Such a number.] of folks began "To eat up our good cheer.

"Says he, 'Thank God for what's before us; "'That thus we meet agen,' "The mingling voices, like a chorus, "Join'd cheerfully, 'Amen.'--

"Welcome and plenty, there they found 'em, "The ribs of beef grew light; "And puddings--till the boys got round 'em, "And then they vanish'd quite!

"Now all the guests, with Farmer Crouder, "Began to prate of corn; "And we found out they talk'd the louder, "The oftner pass'd the Horn.

"Out came the nuts; we set a cracking; "The ale came round our way; "_By gom_ we women fell a clacking "As loud again as they.

"John sung 'Old Benbow' loud and strong, "And I, 'The Constant Swain,' "'Cheer up my Lads,' was Simon's song, "'We'll conquer them again.'

"Now twelve o'clock was drawing nigh, "And all in merry cue; "I knock'd the cask, 'O, ho!' said I, "'We've almost conquer'd you.'

"_My Lord_[Footnote: The leader of the reapers.] begg'd round, and held his hat, "Says Farmer Gruff, says he, "There's many a Lord, Sam, I know that, "Has begg'd as well as thee.'

"Bump in his hat the shillings tumbl'd "All round among the folks; "'Laugh if you wool,' said Sam, and mumbl'd, "'You pay for all your jokes.'

"Joint stock you know among the men, "To drink at their own charges; "So up they got full drive, and then "Went out to _halloo largess_.[Footnote: See advertisement.]

Robert Bloomfield's Wild Flowers; or, Pastoral and Local Poetry (1806) opens with a preface that defends his choice of humble subjects—'most of my heroines servant maids'—and asserts that 'nature in a village is very much like nature every where else.' The collection itself moves through a series of poems that alternate between close-up natural observation and wider geographical sweeps, from the 'fox-glove's pendant bells' to the 'winding Thames' and the 'romantic Mole.' Bloomfield repeatedly positions himself as a solitary walker, measuring 'vales with straining eyes' and climbing 'brown heaths, abrupt that rise,' a structural pattern that gives the volume a restless, exploratory energy.

Walking as Structural Principle

The poems in Wild Flowers are held together by the act of walking. Bloomfield's speaker is almost always in motion—'I took my staff and wander'd here'—and the verse follows the contours of his route. In the opening poem, he moves 'o'er eastward uplands, gay or rude,' then down to 'Erith's ivied spire,' then 'climb brown heaths' to overlook the Thames. This peripatetic structure allows the collection to shift between scenes without abrupt transitions: a hilltop view gives way to a churchyard, a riverbank to a valley path. The walking also serves as a framing device for meditation; the speaker's physical progress mirrors his mental journey from 'care' to 'joyful song.'

Recurring Images: Flowers, Rivers, and Towers

Three images recur across the excerpts. Flowers appear as precise botanical details—the 'fox-glove's pendant bells'—and as metaphors for the poems themselves, as the title Wild Flowers suggests. Rivers anchor the geography: the Thames is a constant presence ('I watch thy flowing tides'), while the Mole becomes a private emblem of peace ('where the Mole all silent glides / Dwells Peace'). Towers and monuments introduce a historical dimension; the speaker notes a 'far-seen monumental tower' that 'Records th' achievements of the brave' and contrasts it with his own wish for a 'broad cool shade' rather than a grand tomb. These repeated motifs create a layered sense of place that is both local and reflective.

Movement Between Public and Private Spheres

Bloomfield's poems frequently pivot between crowded, public spaces and solitary retreats. In the preface, he acknowledges the 'public eye' and the 'higher walks of literature,' but the verse itself often seeks concealment: 'To hide me from the public eye, / To keep the throne of Reason clear.' The poem 'A Visit to Ranelagh' (partially excerpted) introduces a social setting—the famous London pleasure garden—but the speaker's tone suggests irony or reluctance ('By good-natur'd force I was driv'n'). This tension between engagement and withdrawal shapes the collection's emotional arc, as the speaker repeatedly 'nestle[s] in the honied leaves' of solitude while remaining aware of the wider world.

The Poet's Mortality and Ambition

Several passages in Wild Flowers confront the possibility of an early death. Bloomfield writes, 'If not, with dauntless soul I meet / The deep solemnity of death,' and imagines his bones laid under a 'monumental tower' that might offer shade to a 'wandering bard.' Yet he also expresses a modest ambition: to be 'readily and generally understood' and to earn 'female approbation.' The preface admits that 'some reputation is hazarded in a third attempt,' and the poems themselves oscillate between hope and resignation. This frank acknowledgment of literary risk, combined with the recurring image of the solitary walker facing his own mortality, gives the collection a quiet, unpretentious gravity.

Readers approaching Wild Flowers will find a collection best taken in sequence, as the poems build a cumulative portrait of a landscape and a mind in motion. Bloomfield's attention to specific place-names—Erith, Box-Hill, the Mole—invites the reader to trace his routes on a map, while his shifts between observation and introspection reward slow, attentive reading. The volume's structure, with its repeated returns to walking, rivers, and the tension between public and private life, offers a coherent vision of pastoral poetry as a form of sustained, grounded reflection.

That rainy afternoon, Wild Flowers kept me company while the Thames blurred into grey outside. I lingered on Bloomfield’s quiet lines about aging, how a hill or a river holds steady while we don’t. Later, half-dreaming, I reached for something else and found The kings and queens of England, with other poems — Edition Insights, its monarchs just as mortal, just as rooted in their own small seasons.

Gabriel Clark
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