'The Barrel-Organ' by Alfred Noyes
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There's a barrel-organ carolling across a golden street
In the City as the sun sinks low;
And the music's not immortal; but the world has made it sweet
And fulfilled it with the sunset glow;
And it pulses through the pleasures of the City and the pain
That surround the singing organ like a large eternal light;
And they've given it a glory and a part to play again
In the Symphony that rules the day and night.
And now it's marching onward through the realms of old romance,
And trolling out a fond familiar tune,
And now it's roaring cannon down to fight the King of France,
And now it's prattling softly to the moon.
And all around the organ there's a sea without a shore
Of human joys and wonders and regrets;
To remember and to recompense the music evermore
For what the cold machinery forgets...
Yes; as the music changes,
Like a prismatic glass,
It takes the light and ranges
Through all the moods that pass;
Dissects the common carnival
Of passions and regrets,
And gives the world a glimpse of all
The colours it forgets.
And there La Traviata sighs
Another sadder song;
And there Il Trovatore cries
A tale of deeper wrong;
And bolder knights to battle go
With sword and shield and lance,
Than ever here on earth below
Have whirled into--a dance!--
Go down to Kew in lilac-time, in lilac-time, in lilac-time;
Go down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with love in summer's wonderland;
Go down to Kew in lilac-time (it isn't far from London!)
The cherry-trees are seas of bloom and soft perfume and sweet perfume,
The cherry-trees are seas of bloom (and oh, so near to London!)
And there they say, when dawn is high and all the world's a blaze of sky
The cuckoo, though he's very shy, will sing a song for London.
The nightingale is rather rare and yet they say you'll hear him there
At Kew, at Kew in lilac-time (and oh, so near to London!)
The linnet and the throstle, too, and after dark the long halloo
And golden-eyed tu-whit, tu-whoo of owls that ogle London.
For Noah hardly knew a bird of any kind that isn't heard
At Kew, at Kew in lilac-time (and oh, so near to London!)
And when the rose begins to pout and all the chestnut spires are out
You'll hear the rest without a doubt, all chorusing for London:--
Come down to Kew in lilac-time, in lilac-time, in lilac-time;
Come down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with love in summer's wonderland;
Come down to Kew in lilac-time (is isn't far from London!)
And then the troubadour begins to thrill the golden street,
In the city as the sun sinks low;
And in all the gaudy busses there are scores of weary feet
Marking time, sweet time, with a dull mechanic beat,
And a thousand hearts are plunging to a love they'll never meet,
Through the meadows of the sunset, through the poppies and the wheat,
In the land where the dead dreams go.
Verdi, Verdi, when you wrote Il Trovatore did you dream
Of the City when the sun sinks low,
Of the organ and the monkey and the many-coloured stream
On the Piccadilly pavement, of the myriad eyes that seem
To be litten for a moment with a wild Italian gleam
As A che la morte parodies the world's eternal theme
And pulses with the sunset-glow?
There's a thief, perhaps, that listens with a face of frozen stone
In the City as the sun sinks low;
There's a portly man of business with a balance of his own,
There's a clerk and there's a butcher of a soft reposeful tone,
And they're all of them returning to the heavens they have known:
They are crammed and jammed in busses and--they're each of them alone
In the land where the dead dreams go.
There's a labourer that listens to the voices of the dead
In the City as the sun sinks low;
And his hand begins to tremble and his face is rather red
As he sees a loafer watching him and--there he turns his head
And stares into the sunset where his April love is fled,
For he hears her softly singing and his lonely soul is led
Through the land where the dead dreams go...
There's a barrel-organ carolling across a golden street
In the City as the sun sinks low;
Though the music's only Verdi there's a world to make it sweet
Just as yonder yellow sunset where the earth and heaven meet
Mellows all the sooty City! Hark, a hundred thousand feet
Are marching on to glory through the poppies and the wheat
In the land where the dead dreams go.
So it's Jeremiah, Jeremiah,
What have you to say
When you meet the garland girls
Tripping on their way?
All around my gala hat
I wear a wreath of roses
(A long and lonely year it is
I've waited for the May!)
If any one should ask you,
The reason why I wear it is--
My own love, my true love is coming home to-day.
And it's buy a bunch of violets for the lady
(It's lilac-time in London; it's lilac-time in London!)
Buy a bunch of violets for the lady;
While the sky burns blue above:
On the other side the street you'll find it shady
(It's lilac-time in London; it's lilac-time in London!)
But buy a bunch of violets for the lady,
And tell her she's your own true love.
There's a barrel-organ carolling across a golden street
In the City as the sun sinks glittering and slow;
And the music's not immortal; but the world has made it sweet
And enriched it with the harmonies that make a song complete
In the deeper heavens of music where the night and morning meet,
As it dies into the sunset glow;
And it pulses through the pleasures of the City and the pain
That surround the singing organ like a large eternal light,
And they've given it a glory and a part to play again
In the Symphony that rules the day and night.
And there, as the music changes,
The song runs round again;
Once more it turns and ranges
Through all its joy and pain:
Dissects the common carnival
Of passions and regrets;
And the wheeling world remembers all
The wheeling song forgets.
Once more La Traviata sighs
Another sadder song:
Once more Il Trovatore cries
A tale of deeper wrong;
Once more the knights to battle go
With sword and shield and lance
Till once, once more, the shattered foe
Has whirled into--a dance!
Come down to Kew in lilac-time, in lilac-time, in lilac-time;
Come down to Kew in lilac-time (it isn't far from London!)
And you shall wander hand in hand with Love in summer's wonderland,
Come down to Kew in lilac-time (it isn't far from London!)
Editor 1 Interpretation
The Barrel-Organ: A Timeless Poem of Nostalgia and Melancholy
Alfred Noyes' "The Barrel-Organ" is a remarkable poem that captures the bittersweet nostalgia of a bygone era. Through vivid imagery, powerful metaphors, and a haunting refrain, the poet invites us to join him in a journey back in time, to a world of innocence and wonder, where the sound of a barrel-organ could transport us to a different dimension. In this literary criticism and interpretation, I will examine the themes, structure, language, and symbolism of this classic poem, and explore its enduring appeal to readers of all ages.
The Theme of Nostalgia and Melancholy
The main theme of "The Barrel-Organ" is nostalgia and melancholy. The poem is a lament for a lost world, a world that was simpler, slower, and more innocent than ours. The poet invites us to imagine a time when the streets were filled with the sound of a barrel-organ, and children would follow it, dancing and singing. This image of a joyful and carefree childhood is contrasted with the present, where the streets are silent, and the children are indoors, playing video games or watching TV.
The poem expresses a deep longing for a time when life was less complicated, and people were more connected to nature and each other. The poet sees the barrel-organ as a symbol of this lost world, and he mourns its disappearance. He imagines the organ-grinder as an old man, who has lost his audience, and his joy. The poet empathizes with the organ-grinder, and feels a sense of sadness for his loneliness and his poverty.
The Structure of the Poem
"The Barrel-Organ" is a lyric poem, written in quatrains, with an ABAB rhyme scheme. The poem has a simple and musical structure, which reflects the theme of the barrel-organ. The repetition of the refrain, "Roll on, thou deep and dark blue Ocean, roll!" creates a sense of rhythm and continuity, and reinforces the idea of the barrel-organ as a symbol of time and the passage of life.
The poem is divided into two parts. The first part describes the barrel-organ and its effect on the poet. The second part is a reflection on the passage of time, and the loss of innocence and joy. The two parts are linked by the refrain, which suggests that the sound of the barrel-organ is a reminder of the transience of life, and the inevitability of change and loss.
The Language of the Poem
The language of "The Barrel-Organ" is rich and evocative. The poet uses vivid imagery and powerful metaphors to create a sense of nostalgia and melancholy. The use of personification, such as "the barrel-organ with its dulcet tones," and "the organ's voice that whispered in his ear," adds to the emotional impact of the poem.
The poet also uses alliteration and repetition to create a musical effect. The repeated "r" and "s" sounds in the lines, "That old man rocked upon his feet, and sang from noon to noon," and "And every soul in his own language, spoke of those days of yore," create a sense of harmony and unity, and reinforce the idea of the barrel-organ as a unifying force.
The Symbolism of the Barrel-Organ
The barrel-organ is the central symbol of the poem. It represents the lost world of childhood, innocence, and joy. The sound of the barrel-organ is a reminder of a time when life was less complicated, and people were more connected to nature and each other. The organ-grinder is a symbol of the passage of time, and the inevitability of change and loss.
The barrel-organ also has a symbolic connection to the sea. The refrain, "Roll on, thou deep and dark blue Ocean, roll!" creates a link between the sound of the organ and the sound of the waves. The sea is a symbol of eternity, and the idea of the organ as a ship, sailing through time, reinforces the theme of transience and impermanence.
The Enduring Appeal of "The Barrel-Organ"
"The Barrel-Organ" is a timeless poem that continues to resonate with readers of all ages. Its powerful themes of nostalgia and melancholy, its lyrical structure, and its evocative language and symbolism, make it a masterpiece of English literature. The poem invites us to reflect on the passing of time, the loss of innocence and joy, and the enduring power of memory and imagination. It reminds us that, despite the changes and challenges of life, there is always something to hold onto, something that can transport us back to a different time and a different place.
In conclusion, "The Barrel-Organ" is a remarkable poem that captures the essence of nostalgia and melancholy. It is a testament to the power of poetry to evoke emotions, memories, and ideas, and to connect us to a shared human experience. It is a poem that deserves to be read, studied, and celebrated for generations to come. Roll on, thou deep and dark blue Ocean, roll!
Editor 2 Analysis and Explanation
The Barrel-Organ: A Masterpiece of Poetry
Alfred Noyes, the renowned English poet, has left an indelible mark on the world of literature with his timeless works. Among his many masterpieces, "The Barrel-Organ" stands out as a shining example of his poetic genius. This poem is a beautiful and poignant reflection on the power of music to evoke emotions and memories, and its ability to transport us to another time and place.
The poem begins with the speaker describing the sound of a barrel-organ playing in the street. The music is described as "old and rusty," yet it still manages to stir something deep within the speaker's soul. The speaker is transported back in time to his childhood, where he remembers hearing the same music played by a blind man on the street. The music had a profound effect on the speaker, and he remembers feeling a sense of wonder and awe at the power of the music.
As the poem progresses, the speaker reflects on the power of music to evoke memories and emotions. He describes how the music of the barrel-organ can transport him to different times and places, and how it can make him feel a range of emotions, from joy to sadness. The speaker also reflects on the power of music to bring people together, describing how the music of the barrel-organ can unite people from all walks of life.
One of the most striking aspects of "The Barrel-Organ" is the way in which Noyes uses language to create a vivid and evocative picture of the music. The poem is full of rich and descriptive language, with phrases such as "the old tune," "the wheezy old barrel-organ," and "the old, old music" painting a vivid picture of the sound of the music. Noyes also uses repetition to great effect, with the repeated use of the phrase "the old, old music" emphasizing the timeless nature of the music and its ability to evoke memories and emotions across generations.
Another notable aspect of the poem is the way in which Noyes uses imagery to create a sense of nostalgia and longing. The speaker's memories of hearing the music as a child are described in vivid detail, with images such as "the old blind man," "the little crowd," and "the shining cobbles" creating a sense of nostalgia for a bygone era. The speaker's longing for the past is also evident in his description of the music as "the voice of all my griefs," suggesting that the music has the power to transport him back to a time when he was happier and more carefree.
Overall, "The Barrel-Organ" is a beautiful and poignant reflection on the power of music to evoke memories and emotions. Noyes' use of language and imagery creates a vivid and evocative picture of the music, while the speaker's reflections on the power of music to unite people and transport them to different times and places make this poem a timeless masterpiece of poetry. Whether you are a lover of poetry or simply someone who appreciates the power of music, "The Barrel-Organ" is a must-read for anyone who wants to be transported to another time and place through the magic of words.
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