The Last West; and, Paolo's Virginia — Inside the Classic
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The source record for The Last West; and, Paolo's Virginia — Inside the Classic measures this digital text at 8,918 words, 39 min estimated reading time, and 2 detected text sections.
The text analysis averages about 23.4 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
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And said that he was not afraid To thrash the blooming crew, Their ancestors were not forgot, He hoped old Nick would make it hot For any that he knew. One parting curse did Jan call down, He hoped they all would surely drown Before they reached their goal; The waters be their winding sheet, That Hell would raise a double heat To welcome every soul. Then taking up his pack he set His face towards the trail that yet Along the river ran. But soon the blazes were no more, His path was barred by creeks, a score, Which now no bridges span. He felled the towering cottonwood, That graceful by the river stood, To bridge each torrent wide. But longest spans were swept away, By the wild waters in their play At the last creek he tried. So plunging in the torrent wild Which swept him helpless as a child, He braved its swollen tide. While raced along a branch he caught, That, waving from the shore long sought, Was like an arm outstretched. He pulled himself hand over hand Until his feet could feel the sand By eddying currents fetched. His pack was soaked with water through, There was no trail ahead he knew, But still kept on his way; And with determination strong Struggled the beach and cliffs along While held the light each day. At length he reached the little creek, The which he had set out to seek, And found some partners there. They had begun to pan the sand Which proved to be a golden strand At last to them laid bare. One day in camp the word went round That Jake and all his crew had drowned Between the canyon walls. Their staunch canoe was seen upturned Where white the boiling rapids churned Below the waterfalls.
Small wonder if Jan's conscience woke And if that moral guardian spoke In accusation strong Against the words he had let fall, Beyond the power of recall, To get revenge for wrong.
[1]Skookum--a Chinook word, meaning strong.
[2]Sourdough--a seasoned prospector.
Deep in the Sunset Valley Ill fortune had detained; Bacon and beans were finished; Of flour, none remained.
But now with tents and blankets, Facing the backward track, All hands were feeling cheerful Save the cook--his looks were black.
They'd packed across the mountains Where trails were never known, Through leagues of heavy timber And rock slides overgrown;
Had bridged the swollen torrents By felling trees across; And scrambled through the canyons That walled the river's course.
The horses of the pack train Had died in dark despair When brought to face the prospect Of using goat trails there;
So man a beast of burden Himself was forced to be; The crew packed grub and blankets And the cook the cutlery,
The dishpans and the kettles, The basins and a pot, A battered old reflector, Cups, bowls and plates, Great Scott!
Cymbals and drums weren't in it When cook did have a spill; The crash of warlike music Echoed from hill to hill
As down his pack came bounding, Spurning the canyon walls, Scattering pots and dishes, Leaping the waterfalls.
The packers looked in terror To see the cook come too As past their dizzy erie The clanging luggage flew;
When anxiously they hailed him, The cook, he only swore: "If I survive this picnic So help me--nevermore."
A Raid on the Seal Rookeries
The tale was told by a hunter bold Of a sealing schooner's crew, Of a midnight raid where the breakers played On reefs that the offing strew.
"In Behring Sea they tell," said he, "How Hansen, in the 'Adele,' Waiting for night, with never a light, Dared the reefs and ocean swell.
"A rascal bold, in misdeeds grown old, He had raided far and wide; But never before in the sealers' lore Had the Pribilof[1] reefs been tried.
"But an Aleut[2], by his sealskin boot And the grave of his father, swore For a keg of booze and a pair of shoes To sell their secret, and more.
"So Hansen knew to a yard or two Where the hidden ledges ran; And the breakers' roar on the reefs and shore Were guides to the daring man.
"The trailing kelp and a flash might help Where the phosphorus burned bright, For the deed was done past set of sun When the stars were hid from sight.
"The schooner's kedge to a rocky ledge, By a hempen cable tied, With silent stealth, for the raiders' health, Was lowered overside.
"Then with muffled oars they reached the shores Near a crowded rookery; Where the voice of seals, in loud appeals, Drowned the moan of wind and sea.
The two works in this 1919 collection—The Last West and Paolo's Virginia—differ sharply in form and pace, yet share a fascination with extreme landscapes. The first is a sequence of poems set in the mountains and coasts of British Columbia, written in a taut, descriptive style that dwells on physical exertion and natural grandeur. The second is a verse drama, subtitled “A Spring Phantasy,” in which the protagonist Paolo laments his unrequited love for Virginia while Frosties and Cupid intervene. The shift from the rugged, monosyllabic lines of “The Last Arete” to the flowing refrains of Paolo’s speeches marks a deliberate change in narrative voice and tempo.
Climbing and the Language of Exertion
In The Last West, Warren’s diction is concrete and action-oriented. The poem “The Last Arete” is structured as a dialogue between an Alpinist and a Guide, with short, imperative lines such as “Roped man to man we’ll scale the giddy height” and “Step after step cut up those slopes of snow.” The vocabulary is technical—corniced snow, crevasses, arete—and the rhythm mimics the labor of climbing: heavy stresses fall on monosyllables like “mass,” “peak,” and “steep.” This section builds tension through repeated obstacles: a “gap impassable,” an avalanche, and crumbling rocks. The pace is relentless, mirroring the climbers’ determination.
Lyrical Turn in Paolo’s Lament
Paolo’s Virginia opens with a refrain—“Last night my heart was all aglow, / I loved, I loved Virginia so”—that establishes a musical, repetitive structure. Paolo’s speeches are longer and more flowing than the Alpinist’s terse lines, using anapestic rhythms and end-stopped couplets. The voice shifts from imperative to wistful: “Ever my heart is yearning / For a voice that is far away.” The entry of Cupid introduces a lighter, more playful tone, with dialogue that echoes Shakespearean comedy. The Frosties’ chorus and the “Northern Lights” set-piece slow the pace further, offering descriptive passages that contrast with the earlier mountaineering urgency.
Pace as a Structural Device
Warren uses changes in pace to distinguish the two halves of the collection. The Last West moves quickly, with short lines, frequent enjambment, and a focus on physical movement: “Leaps forth,” “swoop,” “storming by.” In contrast, Paolo’s Virginia slows to a ballad-like tempo, with repeated refrains and longer, more meditative speeches. The Frosties’ description of the Northern Lights, for instance, unfolds in a series of similes (“Like mighty spokes of a revolving wheel; / Or organ pipes”) that linger on visual detail. This deliberate deceleration mirrors the thematic shift from external conquest to internal longing, making the collection feel like two distinct movements rather than a single work.
Readers may find it useful to approach the two sections as separate pieces, noting how Warren adapts his voice to different genres. The mountaineering poems reward attention to technical language and rhythm, while the drama invites a focus on character and lyrical repetition. The contrast in pace between the two works is not a flaw but a deliberate choice, highlighting Warren’s range as a poet.
That rainy afternoon, I kept returning to the frost spirits' chill, the way Warren’s climbing poems gave way to Paolo’s warm, clumsy longing. The shift felt like stepping indoors. Later, half-asleep, I reached for another book, quiet and patient, that seemed to understand that same pause between worlds — Something Else Again — Reading Companion — and simply held it close.
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