With the Colors Songs of the American Service — Reading Notes
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Before opening With the Colors Songs of the American Service — Reading Notes, the edition data offers a quick orientation: 15,999 words, 1 hr 10 min estimated reading time, and 2 detected text sections.
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She was a pretty little thing, Round-headed, bronze-haired and trim As a yacht. And when she married a handsome, polished Prussian (Before the war was ours) Her friends all said She'd made no mistake. He had much money, and he wasn't arrogant-- To her. Their baby came-- Big and blue-eyed, Solemn and serious, With his father's arrogance in the small. She knew how wonderful a child he was And said so. The husband knew it, too-- Because the child looked like him, And they were happy Until the Nation roused itself, Stretched and yawned And got into the hellish game of kill. Then the man, Who had been almost human, Dropped his mask, And uncovered his ragged soul.
Having no sense of right or wrong-- No spiritual standards for measurements; Feeding upon that same egotism That swept his country Into the depths of hate-- He sneered and laughed At her pale patriotism And the country that inspired it. There was no open break between them, For a child's small hands Clung to both and kept them close. Shutting her eyes to all else Save that she was his wife, She played her part well. His work--his bluff at work, instead-- Was something big and important (Always he looked the importance) That had to do with ships-- Ships that idled at their docks to-day Because they were interned. And there was always money-- More money than she had ever known,-- Which he lavished--on himself And his desires.
Not that he gave her nothing, For he did.... They lived in a big hotel, And the child had everything it should have And much it should not. She, too, was cared for well, After his wants were satisfied.
Then-- The silent blow fell. Secret service men called upon him, And next day he was taken away To a detention camp For alien enemies. Interned like the anchor-chafing ships That once had flown his flag! The woman, up in arms, dinned at officials Until (so easy-going and so slow to learn) They told her what he had done. That night she stared long at their child, asleep, And at its father's picture, On her dresser.... Did the wife-courage that transcends All other kinds of bravery Keep her awake for hours, Planning, scheming, thinking?
A week later she and the child-- A blue-eyed, self-assertive mite-- Were at the camp, She carrying it (the nurse was left behind) And the passports that allowed her to see him One hour, with a guard five yards away. Some of his polite impudence was gone, Yet he threw back his head and shoulders And shrugged as his wife and boy came in. "Always late," said he, after a perfunctory kiss, "You--and your country!" She stared long at him, holding the child close, Her own round, bronze head bowed.
Then, with a swift glance at the guard Thoughtfully chewing a straw and looking At the city of shacks, She spoke. "Did you know, Karl," she whispered, "That my brother was on that transport-- My only brother--a soldier--my only blood? If it had gone down--that transport--been sunk--" "Well?" said he. That was all. "My brother--my only--Karl!" "Well?" said he again. "What of it?" Then--her little head lifted, her eyes gone mad-- "This!" she said. "Rather than give Life to another human scorpion like you-- Man in form only!--Lower than the floor of hell itself; Rather than have my blood mingle with The foul poison that is yours, To make a child of ours-- This: I give him back to you-- And recall my love--all of my love!" Again he shrugged his shoulders, Yawned--and saw, too late.
Swift as the eagle that drives a lamb to death She whipped a hat-pin from her dainty hat, Drove it with steady aim Into the baby's heart And handed back to the gulping man All that was left of what had once meant joy-- A dead baby with red bubbles on its lips!
Mighty little doin'--yet a lot to do-- While the navy's standin' guard, we are lookin' out; Patrol boats in shoals, good old craft and new Hustle here and skitter there--what's it all about?
Speed boats and slow boats Loaf around or run, But ev'ry unit of this fleet Mounts a wicked gun!
Pleasure craft a-plenty, all dolled up in gray Grim and ugly war-paint dress, we're a gloomy lot, Slidin' in and out, never in the way. Gosh! It's wearin' on the nerves, waitin' round--for what?
Some boats are bum boats, Layin' for the Hun-- But ev'ry boat that flies our Flag Mounts a wicked gun!
Appleton's With the Colors opens with a poem that insists the flag is not mere bunting but 'the soul of my country in sight,' a declaration that sets the collection's dual focus on patriotic sentiment and the everyday grit of service. The poems move between the voices of soldiers—a cook, a bugler, a hostler—and the quieter perspectives of those left behind, such as the mother in 'Little Mother' or the sandwich girl. This alternation between camp and home, between the collective 'we' and individual portraits, gives the book a documentary texture.
Colloquial Voices and Soldier Types
Appleton populates the first section with named or titled figures: Cookie Jim, Bugler Bill, Heinie the Hostler, Briggs of Base No. 8. Each poem adopts a distinct speaker, often in a rough, conversational idiom. In 'The Alien,' the speaker notes that 'the red and the blue and the white' are not just colors but something 'heaps better and finer.' The diction is deliberately unpolished—'half-baked patriots,' 'criticisin' chaps'—matching the persona of a plainspoken serviceman. This technique extends to the use of dialect and occupational slang, as in 'The 'Skeeter Fleet' or 'The Penguin Driver,' where the title itself hints at a specialized, slightly absurd job. The effect is a gallery of types rather than individuals, each defined by a single role or attitude.
Movement Between War and Home
The collection repeatedly shifts scenes from the front to domestic settings, often within a single poem. 'Her Johnny' imagines a woman at home reading a letter, while 'The First Fleet' describes ships departing. In 'Behind the Lines,' the speaker contrasts the soldier's experience with the civilian's ignorance. The second section, 'In Other Keys,' moves entirely away from war, offering love lyrics, nature poems, and humorous sketches—'The Bold Lover,' 'The Dog Confesses,' 'Br'er Rabbit in de Bresh Pile.' This structural pivot suggests that the war context is a frame rather than the sole subject. The romantic poems, such as 'We Rode at Night,' use a different, more lyrical register: 'We rode at night, and the cut-steel stars / Daggered the black of the quiet sky.' The juxtaposition of martial and pastoral imagery recurs throughout.
Recurring Images: Colors, Dawn, and the Unfinished
Certain images thread through both sections. The flag appears not only in the opening poem but also in 'Loyalty' and 'An American Creed,' where it is described as 'something that represents freedom.' Dawn and dusk recur as moments of transition: 'The radiant dawn flows up the empty sky' in 'Unfinished,' and later 'at the edge of dusk my love for you / Would speak.' The motif of incompleteness—unfinished morning, unfinished song, unfinished love—ties the war poems to the romantic ones. In 'Paid in Advance,' a day in spring is earned by 'gloomy days' endured with 'a shrug and a smile,' a logic of compensation that echoes the soldier's sacrifice. The physical scars of war appear obliquely: in 'We Rode at Night,' the speaker notes 'the scar is still there / On the brave little hand,' a mark that outlasts the passion.
Verse Forms and Rhythmic Variation
Appleton employs a range of metrical patterns, from the loose iambic tetrameter of 'The Colors' to the more regular ballad stanzas of 'We Rode at Night.' The poems often use couplets or alternating rhymes, but the line lengths vary: short, punchy lines in 'Beans' contrast with the longer, more meditative lines of 'Unfinished.' The collection also includes dialect poems like 'Br'er Rabbit in de Bresh Pile,' which adopts a Southern African American vernacular, and 'The Small Boy Explains,' which mimics a child's voice. This variety in form and register suggests an attempt to capture the diversity of American speech. The second section's shift to more conventional lyric forms—sonnets, quatrains—further distinguishes the home-front poems from the rougher service verses.
Readers approaching With the Colors will find a collection that resists easy categorization: part war poetry, part character sketch, part love lyric. The poems reward attention to their shifting speakers and the recurring motifs that link the two sections. Appleton's use of colloquial diction and varied verse forms gives the book a documentary quality, even as the romantic poems in 'In Other Keys' offer a counterpoint. The collection is best read as a series of snapshots rather than a unified narrative, each poem contributing to a mosaic of American voices in 1917.
That rainy afternoon, Appleton’s soldier voices lingered—homesick, wry, tender—until a footnote mentioned Australian diggers singing their own rough verses. I put the book down, curious, and found The Old Bush Songs — Themes and Context beside it. Same yearning, different dust. The rain kept falling, and I just listened.
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