Lyrics of Earth — Text and Context
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The source record for Lyrics of Earth — Text and Context measures this digital text at 11,646 words, 51 min estimated reading time, and 3 detected text sections.
The text analysis averages about 36.5 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.
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- Title & short description10 pts
- Source metadata20 pts
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Read the Text
Grief was my master yesternight; To-morrow I may grieve again; But now along the windy plain The clouds have taken flight.
The sowers in the furrows go; The lusty river brimmeth on; The curtains from the hills are gone; The leaves are out; and lo,
The silvery distance of the day, The light horizons, and between The glory of the perfect green, The tumult of the May.
The bobolinks at noonday sing More softly than the softest flute, And lightlier than the lightest lute Their fairy tambours ring.
The roads far off are towered with dust; The cherry-blooms are swept and thinned; In yonder swaying elms the wind Is charging gust on gust.
But here there is no stir at all; The ministers of sun and shadow Horde all the perfumes of the meadow Behind a grassy wall.
An infant rivulet wind-free Adown the guarded hollow sets, Over whose brink the violets Are nodding peacefully.
From pool to pool it prattles by; The flashing swallows dip and pass, Above the tufted marish grass, And here at rest am I.
I care not for the old distress, Nor if to-morrow bid me moan; To-day is mine, and I have known An hour of blessedness.
I passed through the gates of the city, The streets were strange and still, Through the doors of the open churches The organs were moaning shrill.
Through the doors and the great high windows I heard the murmur of prayer, And the sound of their solemn singing Streamed out on the sunlit air;
A sound of some great burden That lay on the world's dark breast, Of the old, and the sick, and the lonely, And the weary that cried for rest.
I strayed through the midst of the city Like one distracted or mad. "Oh, Life! Oh, Life!" I kept saying, And the very word seemed sad.
I passed through the gates of the city, And I heard the small birds sing, I laid me down in the meadows Afar from the bell-ringing.
In the depth and the bloom of the meadows I lay on the earth's quiet breast, The poplar fanned me with shadows, And the veery sang me to rest.
Blue, blue was the heaven above me, And the earth green at my feet; "Oh, Life! Oh, Life!" I kept saying, And the very word seemed sweet.
O doubts, dull passions, and base fears, That harassed and oppressed the day, Ye poor remorses and vain tears, That shook this house of clay:
All heaven to the western bars Is glittering with the darker dawn; Here with the earth, the night, the stars, Ye have no place: begone!
Long, long ago, it seems, this summer morn That pale-browed April passed with pensive tread Through the frore woods, and from its frost-bound bed Woke the arbutus with her silver horn; And now May, too, is fled, The flower-crowned month, the merry laughing May, With rosy feet and fingers dewy wet, Leaving the woods and all cool gardens gay With tulips and the scented violet.
Gone are the wind-flower and the adder-tongue And the sad drooping bellwort, and no more The snowy trilliums crowd the forest's floor; The purpling grasses are no longer young, And summer's wide-set door O'er the thronged hills and the broad panting earth Lets in the torrent of the later bloom, Haytime, and harvest, and the after mirth, The slow soft rain, the rushing thunder plume.
All day in garden alleys moist and dim, The humid air is burdened with the rose; In moss-deep woods the creamy orchid blows; And now the vesper-sparrows' pealing hymn From every orchard close At eve comes flooding rich and silvery; The daisies in great meadows swing and shine; And with the wind a sound as of the sea Roars in the maples and the topmost pine.
High in the hills the solitary thrush Tunes magically his music of fine dreams, In briary dells, by boulder-broken streams; And wide and far on nebulous fields aflush The mellow morning gleams. The orange cone-flowers purple-bossed are there, The meadow's bold-eyed gypsies deep of hue, And slender hawkweed tall and softly fair, And rosy tops of fleabane veiled with dew.
So with thronged voices and unhasting flight The fervid hours with long return go by; The far-heard hylas piping shrill and high Tell the slow moments of the solemn night With unremitting cry; Lustrous and large out of the gathering drouth The planets gleam; the baleful Scorpion Trails his dim fires along the droused south; The silent world-incrusted round moves on.
Archibald Lampman's Lyrics of Earth (1895) opens with a poem that stages a dialogue between the speaker and the natural world: 'Why are ye all so happy?' The meadow, roses, shadow, and brooklet each reply with the same refrain—'We dream, and are bright and happy, / But we cannot answer why.' This repeated answer establishes a central tension: nature's contentment is instinctive, not reasoned, and the speaker's own happiness is equally mysterious. The collection's voice moves from this buoyant inquiry to more subdued tones, as in 'In November,' where mulleins become 'a silent and forsaken brood' of 'hermit folk.' Lampman's language is precise and sensory, favoring concrete images over abstraction.
A Voice That Questions and Accepts
The narrative voice in Lyrics of Earth oscillates between wonder and resignation. In 'The Sweetness of Life,' the speaker addresses natural elements directly, anthropomorphizing them with a childlike curiosity. Yet the poem ends with a detached self-interrogation: 'Thou art born as the flowers, and wilt linger / Thine own short space and die.' This shift from exuberance to philosophical calm recurs throughout. In 'God-speed to the Snow,' the tone is affectionate and imperative—'Haste thee, speed thee, O kind snow'—while 'An Autumn Landscape' adopts a more observational stance, describing a 'ploughman urges his dull team' with 'furious cries.' The voice rarely judges; it records and reflects, allowing the landscape to speak through its own details.
Structure and the Shaping of Seasons
The collection is organized not by narrative but by seasonal progression, from spring's 'April in the Hills' through summer's 'June' to autumn's 'An Autumn Landscape' and winter's 'Snow.' Each poem functions as a discrete lyric moment, yet together they create a cumulative rhythm of growth, fullness, decay, and dormancy. Lampman often uses a consistent stanza form—quatrains or sestets with regular rhyme—but varies line length to mimic natural cadences. In 'The Meadow,' long, flowing lines evoke open space: 'What sayest thou, Oh meadow, / That stretches so wide, so far.' In contrast, 'In November' employs shorter, tighter lines to convey the 'bleak and sandy spot' and its 'haggard' mulleins. This structural flexibility mirrors the changing pace of the seasons themselves.
Recurring Details and the Poet's Gaze
Certain images recur across the collection, creating a cohesive sensory world. 'Gray' appears repeatedly—'gray stones,' 'gray figures,' 'gray goldfinches'—often paired with 'still' or 'silent.' The color palette is muted: 'blue-gray,' 'pale greenish,' 'silver.' Lampman frequently notes the quality of light: 'the sunlit summit,' 'the fathomless daylight seems to stand and dream.' He also attends to sound—or its absence. In 'An Autumn Landscape,' 'No wind there is that either pipes or moans,' while 'the river, curling softly by, / Whispers and dimples.' These details ground the poems in a specific, northern landscape. The poet's role, as stated in 'The Poet's Possession,' is to produce 'a second tilth and second harvest' from the farmer's fields—an imaginative reaping of 'images and curious thoughts.'
Readers approaching Lyrics of Earth will find a consistent, meditative voice that treats nature not as a backdrop but as a conversation partner. Lampman's poems reward attention to small shifts in tone and image—the way a 'long clean shadow' or a 'silken thistle' can carry emotional weight. Because the excerpts are incomplete, the full arc of the collection remains unknown, but the available poems suggest a deliberate, quiet artistry. Reading them in sequence may reveal how Lampman's seasonal structure deepens the interplay between joy and transience.
That afternoon, rain blurred the window while Lampman’s verses traced the same grey stillness, his joy undercut by melancholy—a mood that lingered as I shelved the book. My hand drifted to An Heroic Epistle to the Right Honourable the Lord Craven (3rd Ed.) — Context and Discussion, its dry, ironic tone somehow answering the weather’s quiet complaint with a different, older kind of restraint. Just a moment’s accident. It stayed with me.
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