The Golden Treasury of American Songs and Lyrics — A Closer Reading
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The Golden Treasury of American Songs and Lyrics — A Closer Reading can be approached with a clearer sense of reading commitment from its source measurements: 40,120 words, 2 hr 55 min estimated reading time, and 9 detected text sections.
The text analysis averages about 21.1 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 “American poetry,” connecting these edition facts with the source record’s subject description.
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Which were seven) Pauses in Heaven.
And they say (the starry choir And the other listening things) That Israfeli's fire Is owing to that lyre By which he sits and sings,-- The trembling living wire Of those unusual strings.
But the skies that angel trod, Where deep thoughts are a duty, Where Love's a grown-up God, Where the Houri glances are Imbued with all the beauty Which we worship in a star.
Therefore thou art not wrong, Israfeli, who despisest An unimpassioned song; To thee the laurels belong, Best bard, because the wisest: Merrily live, and long!
The ecstasies above With thy burning measures suit: Thy grief, thy joy, thy hate, thy love, With the fervor of thy lute: Well may the stars be mute!
Yes, Heaven is thine; but this Is a world of sweets and sours; Our flowers are merely--flowers, And the shadow of thy perfect bliss Is the sunshine of ours.
If I could dwell Where Israfel Hath dwelt, and he where I, He might not sing so wildly well A mortal melody, While a bolder note than this might swell From my lyre within the sky.
The shadows lay along Broadway,-- 'Twas near the twilight-tide,-- And slowly there a lady fair Was walking in her pride. Alone walked she; but, viewlessly, Walked spirits at her side.
Peace charmed the street beneath her feet, And Honor charmed the air; And all astir looked kind on her, And called her good as fair-- For all God ever gave to her She kept with chary care.
She kept with care her beauties rare From lovers warm and true, For her heart was cold to all but gold, And the rich came not to woo; But honored well are charms to sell, If priests the selling do.
Now walking there was one more fair,-- A slight girl, lily-pale; And she had unseen company To make the spirit quail,-- 'Twixt Want and Scorn she walked forlorn, And nothing could avail.
No mercy now can clear her brow For this world's peace to pray; For, as love's wild prayer dissolved in air, Her woman's heart gave way! But the sin forgiven by Christ in heaven By man is cursed alway.
In the greenest of our valleys By good angels tenanted, Once a fair and stately palace-- Radiant palace--reared its head. In the monarch Thought's dominion, It stood there; Never seraph spread a pinion Over fabric half so fair.
Banners yellow, glorious, golden, On its roof did float and flow (This--all this--was in the olden Time long ago), And every gentle air that dallied, In that sweet day, Along the ramparts plumed and pallid, A wingèd odor went away.
Wanderers in that happy valley Through two luminous windows saw Spirits moving musically, To a lute's well-tunèd law, Round about a throne where, sitting, Porphyrogene, In state his glory well befitting, The ruler of the realm was seen.
And all with pearl and ruby glowing Was the fair palace door, Through which came flowing, flowing, flowing, And sparkling evermore, A troop of Echoes, whose sweet duty Was but to sing, In voices of surpassing beauty, The wit and wisdom of their king.
But evil things, in robes of sorrow, Assailed the monarch's high estate; (Ah, let us mourn, for never morrow Shall dawn upon him desolate!) And round about his home the glory That blushed and bloomed Is but a dim-remembered story Of the old time entombed.
And travellers now within that valley Through the red-litten windows see Vast forms that move fantastically To a discordant melody; While, like a ghastly rapid river, Through the pale door A hideous throng rush out forever, And laugh--but smile no more.
Whither, midst falling dew, While glow the heavens with the last steps of day, Far, through their rosy depths dost thou pursue Thy solitary way?
Vainly the fowler's eye Might mark thy distant flight to do thee wrong, As, darkly painted on the crimson sky, Thy figure floats along.
Seek'st thou the plashy brink Of weedy lake, or marge of river wide, Or where the rocking billows rise and sink On the chafed ocean-side?
There is a Power whose care Teaches thy way along that pathless coast-- The desert and illimitable air-- Lone wandering, but not lost.
All day thy wings have fanned, At that far height, the cold, thin atmosphere, Yet stoop not, weary, to the welcome land, Though the dark night is near.
And soon that toil shall end; Soon shalt thou find a summer home, and rest, And scream among thy fellows; reeds shall bend, Soon, o'er thy sheltered nest.
Frederic Lawrence Knowles opens his 1899 anthology with a pointed critique: earlier collections of American verse, he argues, 'include too much.' His preface sets a deliberately selective tone, aiming to preserve 'about one hundred and fifty of the best lyrics' rather than a comprehensive survey. This editorial stance shapes the entire volume, which presents poems by authors such as Emerson and Thoreau in a sequence that rewards attention to shifts in voice and pace.
A Selective Principle
Knowles states plainly that 'in no case has a poem been included because it is widely known.' This rejection of popularity as a criterion distinguishes his anthology from many predecessors. He acknowledges the risk of personal judgment, calling his choices 'only personal,' yet insists that the effort toward careful estimation is 'in a good direction.' The preface contrasts American verse with Palgrave's English treasury, noting that a single century in a new country cannot match an older nation's wealth, but can be compared. This comparative framework invites readers to weigh each poem on its own merits rather than against canonical English works.
Voices of Nature and Reflection
The excerpts reveal a range of lyric voices. Emerson's 'The Humble-Bee' addresses the insect as a 'yellow-breeched philosopher,' blending natural observation with moral commentary in a compact, aphoristic style. Thoreau's 'The Summer Rain' shifts to a more personal, meditative pace: the speaker casts off books, finding richer feed in the meadow. The poem's structure mirrors the rain's gradual onset, from scattered drops to a drenching shower, ending with an elf-like self-portrait. James Russell Lowell's 'To the Dandelion' employs a more formal, expansive address, linking the flower to childhood memory and a 'warmer clime' of the heart. These three poems, placed in sequence, demonstrate the anthology's range from philosophical concision to intimate reverie to nostalgic ode.
Pace and Lyric Form
The pacing of individual poems varies markedly. Emerson's lines move briskly, with short, balanced phrases and a regular meter that suits the bee's busy motion. Thoreau's poem slows to a conversational drift, its enjambments and parenthetical asides mimicking the speaker's wandering attention. Lowell's dandelion poem builds through longer, more periodic sentences, its stanzas accumulating descriptive detail before arriving at the personal recollection. This variety in pace—from the quick moral epigram to the leisurely nature sketch to the sustained lyrical meditation—gives the anthology a dynamic rhythm when read sequentially. Knowles's selection thus offers not just a collection of lyrics but a study in how tempo shapes poetic effect.
Readers may find it useful to attend to the ordering of poems, which appears to be neither chronological nor strictly thematic. The juxtaposition of voices—Emerson's philosophical bee, Thoreau's rain-drenched elf, Lowell's nostalgic dandelion—creates a conversation about nature, perception, and memory. Knowles's editorial hand is light but deliberate; his preface provides the key to his method. Approach the anthology as a curated gallery of lyric moments, each chosen for its distinct quality rather than its fame.
I keep thinking about that old anthology, how the editor chose so carefully and questioned everything else. It made me wonder what gets left out when we curate our own lives. The same quiet feeling came back reading The Example of Vertu The Example of Virtue — Story, Setting & Ideas, something patient and deliberate, like a long walk where you notice one small thing at a time. It lingers without trying.
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