The dog's book of verse — Themes and Context

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Clauson, J. Earl (James Earl), 1873-1937 [Compiler] Project Gutenberg 2006 Not confirmed
Dogs -- Poetry Readers of public-domain and historical texts
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Edition facts

Words 24,210
Reading time 106 min
Text sections 6

Before opening The dog's book of verse — Themes and Context, the edition data offers a quick orientation: 24,210 words, 1 hr 46 min estimated reading time, and 6 detected text sections.

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Project Gutenberg metadata also associates the work with “Dogs -- Poetry,” connecting these edition facts with the source record’s subject description.

This 1916 anthology collects dog-themed poems from various eras, emphasizing emotional bonds, loyalty, and canine character. The compiler's preface explains his selection principle of 'human appeal' over dialect or archaic diction, favoring accessible verse that resonates with dog lovers.
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Editorial Edition Score 4.6/5

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  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
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And was it fast To a tin pail? Little pup, Git up.

Say! little pup, Talk up. Were those bad boys All after you, With sticks and stones, And tin cans, too? Little pup, Speak up!

Say! little pup, Stand up! Let's look at you; You'd be all right If you was scrubbed And shined up bright. Little pup, Jump up!

Say! little pup, Bark up! Let's hear your voice. Say, you're a brick! Now try to beg And do a trick. Little pup, Sit up!

Say! little pup, Chime up! Why, you can sing-- Now come with me; Let's wash and eat And then we'll see, Little pup, What's up!

She sat on the sliding cushion, The dear, wee woman of four; Her feet, in their shiny slippers, Hung dangling over the floor. She meant to be good; she had promised, And so with her big, brown eyes, She stared at the meetinghouse windows And counted the crawling flies.

She looked far up at the preacher, But she thought of the honeybees Droning away at the blossoms That whitened the cherry trees. She thought of a broken basket, Where curled in a dusky heap, Four sleek, round puppies, with fringy ears. Lay snuggled and fast asleep.

Such soft, warm bodies to cuddle, Such queer little hearts to beat, Such swift round tongues to kiss, Such sprawling, cushiony feet; She could feel in her clasping fingers The touch of the satiny skin, And a cold, wet nose exploring The dimples under her chin.

Then a sudden ripple of laughter Ran over the parted lips So quick that she could not catch it With her rosy finger-tips. The people whispered "Bless the child," As each one waked from a nap, But the dear, wee woman hid her face For shame in her mother's lap.

They got a bran' new baby At Bud Hicks' house, you see. You'd think Bud Hicks had somethin' The way he talks to me! He comes around a-braggin', An' when he wouldn't quit I said: "What good's a baby? You can't hunt fleas on it."

Then Bud turned to me an' told me How loud that kid could yell, An' lots I can't remember, He had so much to tell. But I got tired o' hearin' An' so I ast him, quick, "If you wuz in a-swimmin' Could it go get a stick?"

There is no use a-talkin', Bud thinks their baby's fine! Huh! I'd a whole lot rather Jest have a pup like mine. I'll bet it's not bald-headed! But if Bud doesn't fail To let me hear it yellin', I'll let him pull Spot's tail.

Funniest little feller You'd ever want to see! Browner 'an the brownest leaf In the autumn tree. Shortest little bow legs! Jes' barely touch the floor-- And long--b'gosh, the longest dog I ever seen afore!

But he's mighty amusin', For all 'at he's so queer, Eyes so mighty solemn, Askin' like an' clear, And when he puts his paws up, Head stuck on one side-- Jes' naturally love every hair In his durn Dutch hide.

True and trustful, never doubting, Is my young and handsome friend; Always jolly, Full of fun, Bright eyes gleaming Like the sun-- Never see him blue or pouting From the day's break to its end.

Whether I am "flush" or "busted" Makes no difference to him! "Let's be gay, sir"-- He would say, sir-- "Won't have any Other way, sir!" Oh, he's never cross and crusted-- Light of heart and full of vim!

Often we go out together For a ramble far and wide-- Catch the breezes Fresh and strong Down the mountain Swept along-- For we never mind the weather When we two are side by side.

But my friend is sometimes quiet, And I've caught his clear brown eye Gazing at me, Mute, appealing-- Telling something, Yet concealing, Yes, he'd like to talk! Well, try it-- "Bow, wow, wow," and that's his cry!

I have a little brindle dog, Seal-brown from tail to head. His name I guess is Theodore, But I just call him Ted.

He's only eight months old to-day I guess he's just a pup; Pa says he won't be larger When he is all grown up.

He plays around about the house, As good as he can be, He don't seem like a little dog, He's just like folks to me.

And when it is my bed-time, Ma opens up the bed; Then I nestle down real cozy And just make room for Ted

And oh, how nice we cuddle! He doesn't fuss or bite, Just nestles closely up to me And lays there still all night.

We love each other dearly, My little Ted and me. We're just good chums together, And always hope to be.

The compiler J. Earl Clauson opens his preface with Matthew Arnold's observation that 'while comparatively few loved poetry, nearly everyone loved dogs,' establishing the anthology's guiding principle of human appeal. Clauson explicitly states he has omitted dialect and older poems with 'oddly striking' diction, instead favoring 'vagrant verse' that he considers the true flower of inspiration. This editorial stance shapes the collection's accessible tone, prioritizing emotional resonance over literary pedigree.

The book is divided into thematic parts: Puppyhood, The Human Relationship, and The Dog in Action, with later sections on death and miscellaneous topics. The excerpts show a mix of sentimental, humorous, and narrative poems, often using dialect or colloquial speech to convey authentic canine-human bonds.

Puppyhood and Early Impressions

The opening section, 'Puppyhood,' establishes a tone of affectionate observation. In 'The Lost Puppy' by Henry Firth Wood, the poem describes a child's search for a missing dog, using simple language and a repetitive structure to mirror the child's anxiety. Another poem, 'A Laugh in Church,' uses a humorous anecdote about a dog's misbehavior during a service, contrasting solemnity with canine mischief. The anonymous 'Treasures' lists a dog's favorite objects, from bones to slippers, in a catalog style that emphasizes the dog's perspective. These poems avoid sentimentality by grounding emotion in concrete details: a wet nose, a wagging tail, or a stolen shoe.

The Human Relationship: Loyalty and Loss

Part II, 'The Human Relationship,' explores the reciprocal bond between dogs and people. In 'My Dog and I' by Alice J. Chester, the speaker describes shared adventures with a dog, using a steady rhythm and end-rhymes to evoke companionship. 'The Dead Boy's Portrait and His Dog' by Gerald Massey juxtaposes a portrait of a deceased child with the dog's continued vigil, creating a poignant contrast between memory and presence. Jonathan Swift's 'Advice to a Dog Painter' offers satirical instructions on depicting dogs, revealing how even in humor, the dog's character is central. The section includes several anonymous poems that emphasize fidelity, such as 'A Dog's Loyalty,' which states that attachment is 'never to be weaned or changed / By any change of fortune.'

The Dog in Action: Work and Devotion

Part III, 'The Dog in Action,' shifts to narrative poems about dogs performing tasks or showing courage. The anonymous 'Told to the Missionary' is a dramatic monologue in which a dying costermonger defends his dog's loyalty, using Cockney dialect and a conversational tone. The speaker recounts how he refused to drown his dog despite pressure from authorities, and draws a parallel between the dog's forgiveness and Christ's sacrifice. This poem stands out for its raw emotion and vernacular authenticity. Other poems in this section describe hunting dogs, sheepdogs, and watchdogs, often emphasizing the dog's willingness to endure pain for its owner. The language is direct, with vivid action verbs and concrete imagery.

Structure and Selection: A Reader's Guide

The anthology's structure—moving from puppyhood to mature relationships to active roles—creates a chronological arc that mirrors a dog's life, though the excerpts do not include the later sections on death. Clauson's selection principle of 'human appeal' means that poems are chosen for their emotional accessibility rather than literary fame. This results in a mix of well-known authors (Burns, Cowper, Swift) and anonymous or lesser-known poets. The compiler's note that 'the place of such classics as may be missed is filled by that vagrant verse which is often most truly the flower of inspiration' suggests a deliberate preference for heartfelt over canonical works. Readers should expect a varied tone, from lighthearted to elegiac, with a strong emphasis on the dog's perspective.

This collection offers a window into early 20th-century attitudes toward dogs, emphasizing loyalty, companionship, and moral virtue. The poems often use dogs as mirrors for human behavior, praising fidelity and forgiveness. Readers may find the dialect poems particularly vivid, as they capture authentic voices. The anthology's structure rewards sequential reading, but individual poems can stand alone. Approach it as a curated sampler of dog-themed verse, not a comprehensive survey.

Reading these dog poems, I thought of my old terrier waiting by the gate, and how loyalty felt like a quiet language between us. The Works of Christopher Marlowe, Vol. 3 (of 3) — Edition Insights once gave me that same hush—not grand drama, but the weight of devotion beneath the words, patient and unspoken.

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