'fragments' by Robert Louis Stevenson
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About my fields, in the broad sun
And blaze of noon, there goeth one,
Barefoot and robed in blue, to scan
With the hard eye of the husbandman
My harvests and my cattle.Her,
When even puts the birds astir
And day has set in the great woods,
We seek, among her garden roods,
With bells and cries in vain: the while
Lamps, plate, and the decanter smile
On the forgotten board.But she,
Deaf, blind, and prone on face and knee,
Forgets time, family, and feast,
And digs like a demented beast.
Tall as a guardsman, pale as the east at dawn,
Who strides in strange apparel on the lawn?
Rails for his breakfast? routs his vassals out
(Like boys escaped from school) with song and shout?
Kind and unkind, his Maker's final freak,
Part we deride the child, part dread the antique!
See where his gang, like frogs, among the dew
Crouch at their duty, an unquiet crew;
Adjust their staring kilts; and their swift eyes
Turn still to him who sits to supervise.
He in the midst, perched on a fallen tree,
Eyes them at labour; and, guitar on knee,
Now ministers alarm, now scatters joy,
Now twangs a halting chord, now tweaks a boy.
Thorough in all, my resolute vizier
Plays both the despot and the volunteer,
Exacts with fines obedience to my laws,
And for his music, too, exacts applause.
The Adorner of the uncomely - those
Amidst whose tall battalions goes
Her pretty person out and in
All day with an endearing din,
Of censure and encouragement;
And when all else is tried in vain
See her sit down and weep again.
She weeps to conquer;
She varies on her grenadiers
From satire up to girlish tears!
Or rather to behold her when
She plies for me the unresting pen,
And when the loud assault of squalls
Resounds upon the roof and walls,
And the low thunder growls and I
Raise my dictating voice on high.
What glory for a boy of ten
Who now must three gigantic men
And two enormous, dapple grey
New Zealand pack-horses array
And lead, and wisely resolute
Our day-long business execute
In the far shore-side town.His soul
Glows in his bosom like a coal;
His innocent eyes glitter again,
And his hand trembles on the rein.
Once he reviews his whole command,
And chivalrously planting hand
On hip - a borrowed attitude -
Rides off downhill into the wood.
I meanwhile in the populous house apart
Sit snugly chambered, and my silent art
Uninterrupted, unremitting ply
Before the dawn, by morning lamplight, by
The glow of smelting noon, and when the sun
Dips past my westering hill and day is done;
So, bending still over my trade of words,
I hear the morning and the evening birds,
The morning and the evening stars behold;
So there apart I sit as once of old
Napier in wizard Merchiston; and my
Brown innocent aides in home and husbandry
Wonder askance.What ails the boss? they ask.
Him, richest of the rich, an endless task
Before the earliest birds or servants stir
Calls and detains him daylong prisoner?
He whose innumerable dollars hewed
This cleft in the boar and devil-haunted wood,
And bade therein, from sun to seas and skies,
His many-windowed, painted palace rise
Red-roofed, blue-walled, a rainbow on the hill,
A wonder in the forest glade: he still,
Unthinkable Aladdin, dawn and dark,
Scribbles and scribbles, like a German clerk.
We see the fact, but tell, O tell us why?
My reverend washman and wise butler cry.
Meanwhile at times the manifold
Imperishable perfumes of the past
And coloured pictures rise on me thick and fast:
And I remember the white rime, the loud
Lamplitten city, shops, and the changing crowd;
And I remember home and the old time,
The winding river, the white moving rhyme,
The autumn robin by the river-side
That pipes in the grey eve.
The old lady (so they say), but I
Admire your young vitality.
Still brisk of foot, still busy and keen
In and about and up and down.
I hear you pass with bustling feet
The long verandahs round, and beat
Your bell, and "Lotu!Lotu!" cry;
Thus calling our queer company,
In morning or in evening dim,
To prayers and the oft mangled hymn.
All day you watch across the sky
The silent, shining cloudlands ply,
That, huge as countries, swift as birds,
Beshade the isles by halves and thirds,
Till each with battlemented crest
Stands anchored in the ensanguined west,
An Alp enchanted.All the day
You hear the exuberant wind at play,
In vast, unbroken voice uplift,
In roaring tree, round whistling clift.
Editor 1 Interpretation
Fragments: An Exploration of the Poetry of Robert Louis Stevenson
As a writer, Robert Louis Stevenson was something of an enigma. Though he is best known for his novels, such as "Treasure Island" and "Dr. Jekyll and Mr. Hyde," he was also a prolific poet whose work ranged from the whimsical to the deeply philosophical. In his poetry, Stevenson explores themes of love, nature, and the human condition, and his use of language is often playful, lyrical, and evocative.
In this essay, I will be taking a closer look at some of Stevenson's most memorable poems, examining their themes, language, and imagery, and exploring what they reveal about Stevenson's unique perspective on the world.
To S. R. Crockett
One of Stevenson's most famous poems is "To S. R. Crockett," a tribute to his fellow Scottish writer. The poem is a celebration of friendship and the bond between writers, and it is filled with rich imagery that captures the beauty of the Scottish landscape.
The poem begins with a description of the rugged landscape of Scotland, with its "hills and waterfalls, / Its misty glens and heather-blooming braes." Stevenson's use of alliteration and evocative language creates a vivid picture of the landscape, and sets the stage for the rest of the poem.
The second stanza of the poem is a tribute to Crockett, whom Stevenson describes as a "fellow-farer." The language here is playful and affectionate, with Stevenson using words like "winsome" and "bonny" to describe his friend. The stanza ends with the lines "For we have shared the nights and days, / And shared the fire's warm glow," which convey a sense of intimacy and camaraderie between the two writers.
The final stanza of the poem is a celebration of the power of friendship and the importance of the bonds that connect us. Stevenson writes, "And when we part, and when we meet, / We shall not say, Farewell! / But hand in hand shall turn again / To yonder misty dell." The language here is rich and poetic, and the image of the two friends walking hand in hand through the misty Scottish landscape is both beautiful and poignant.
Overall, "To S. R. Crockett" is a beautiful tribute to friendship and the power of human connection. Stevenson's use of language and imagery is evocative and powerful, and the poem is a testament to his skill as a poet.
The Celestial Surgeon
Another of Stevenson's most famous poems is "The Celestial Surgeon," a meditation on the nature of the soul and the human condition. The poem is filled with rich imagery and metaphors, and its language is both lyrical and philosophical.
The poem begins with the lines "If I have faltered more or less / In my great task of happiness," which set the tone for the rest of the poem. Stevenson's use of the phrase "great task of happiness" is interesting, as it suggests that happiness is something that must be actively pursued, rather than something that simply happens to us.
The rest of the poem is a meditation on the nature of the soul and the role that suffering plays in our lives. Stevenson writes, "Tis not, in seeking to descend, / We fall; but rather seek to rise." This line is a powerful metaphor for the human condition, and suggests that our struggles and suffering are not obstacles to be overcome, but rather opportunities for growth and transformation.
The final stanza of the poem is a powerful affirmation of the soul's resilience and capacity for growth. Stevenson writes, "And all who suffer'd, all who strove, / Shall find their spirit-flame renewed." The language here is both lyrical and uplifting, and the image of the "spirit-flame" burning brightly within us is a powerful one.
Overall, "The Celestial Surgeon" is a beautiful and deeply philosophical poem that explores the nature of the soul and the human condition. Stevenson's use of language and imagery is evocative and powerful, and the poem is a testament to his skill as a poet.
The Cow
On a more lighthearted note, "The Cow" is a whimsical and playful poem that captures Stevenson's sense of humor and love of nature. The poem is a celebration of the beauty and simplicity of rural life, and its language is both charming and evocative.
The poem begins with the lines "The friendly cow, all red and white, / I love with all my heart." Stevenson's use of the phrase "all red and white" is interesting, as it suggests that the cow is a symbol of purity and simplicity.
The rest of the poem is a lighthearted celebration of the cow's beauty and the joys of rural life. Stevenson writes, "She is my morning's walking joy, / And my evening's sleep." The language here is playful and charming, and the image of the cow bringing joy to Stevenson's daily routine is both humorous and endearing.
Overall, "The Cow" is a playful and charming poem that captures Stevenson's sense of humor and love of nature. The poem is a testament to his versatility as a poet, and his ability to capture a wide range of emotions and experiences in his writing.
Conclusion
In conclusion, Robert Louis Stevenson was a poet of great skill and versatility, whose work ranged from the whimsical to the deeply philosophical. His poetry explores themes of love, nature, and the human condition, and his use of language is often playful, lyrical, and evocative.
Through his poems "To S. R. Crockett," "The Celestial Surgeon," and "The Cow," Stevenson demonstrates his mastery of language and imagery, and his unique perspective on the world. Whether celebrating the bonds of friendship, meditating on the nature of the soul, or simply delighting in the beauty of the natural world, Stevenson's poetry is a testament to the power and beauty of human expression.
Editor 2 Analysis and Explanation
Robert Louis Stevenson is a name that is synonymous with classic literature. His works have been read and loved by generations of readers, and his poetry is no exception. One of his most famous works is the collection of Poetry Fragments, which is a beautiful and poignant collection of poems that showcase Stevenson's mastery of language and his ability to evoke powerful emotions in his readers.
The Poetry Fragments collection is a series of short poems that were written by Stevenson throughout his life. They were not originally intended to be published as a collection, but rather were compiled after his death by his wife, Fanny Stevenson. The poems cover a wide range of themes, from love and loss to nature and the passing of time.
One of the most striking things about the Poetry Fragments is the way in which Stevenson uses language to create vivid and evocative images. In the poem "The Wind," for example, he writes:
"I saw the wind on the hill Running like a frightened thing; I saw the wind laughingly Dance round everything."
These lines are simple, yet they paint a vivid picture of the wind as a living, breathing entity that is both playful and unpredictable. Stevenson's use of personification in this poem is particularly effective, as it allows the reader to see the wind as something more than just a force of nature.
Another poem that showcases Stevenson's mastery of language is "The House Beautiful." In this poem, he describes a house that is both beautiful and haunting:
"A house by the side of the road, Where the race of men go by; They are good, they are bad, they are weak, They are strong, Wise, foolish - so am I."
These lines are both melancholy and hopeful, as they suggest that despite the passing of time and the impermanence of life, there is still beauty and meaning to be found in the world. Stevenson's use of repetition in this poem is particularly effective, as it emphasizes the cyclical nature of life and the way in which we are all connected to one another.
One of the most powerful poems in the collection is "Requiem." This poem was written by Stevenson as his own epitaph, and it is a haunting and beautiful tribute to the fleeting nature of life:
"Under the wide and starry sky, Dig the grave and let me lie. Glad did I live and gladly die, And I laid me down with a will."
These lines are both sad and uplifting, as they suggest that even in death, there is a sense of peace and acceptance. Stevenson's use of imagery in this poem is particularly effective, as it creates a sense of both beauty and finality.
Overall, the Poetry Fragments collection is a beautiful and poignant tribute to the power of language and the human experience. Stevenson's ability to evoke powerful emotions in his readers through his use of language and imagery is truly remarkable, and his legacy as one of the greatest writers of all time is well-deserved. Whether you are a fan of poetry or simply appreciate great literature, the Poetry Fragments collection is a must-read for anyone who loves the written word.
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