Of a sudden there came to him now for the first time in many years the full charm of her girlish figure as he had known it in boyhood, the pleasing, sympathetic smile, the brown hair, the blue sash she had once worn about her waist at a picnic, her gay, graceful movements. He walked around the base of the tree, straining with his eyes, forgetting for once his cane and utensils, and following eagerly after. On she moved before him, a will-o’-the-wisp of the spring, a little flame above her head, and it seemed as though among the small saplings of ash and beech and the thick trunks of hickory and elm that she signaled with a young, a lightsome hand.
“O Phœbe! Phœbe!” he called. “Have yuh really come? Have yuh really answered me?” And hurrying faster, he fell once, scrambling lamely to his feet, only to see the light in the distance dancing illusively on. On and on he hurried until he was fairly running, brushing his ragged arms against the trees, striking his hands and face against impeding twigs. His hat was gone, his lungs were breathless, his reason quite astray, when coming to the edge of the cliff he saw her below among a silvery bed of apple-trees now blooming in the spring.
“O Phœbe!” he called. “O Phœbe! Oh, no, don’t leave me!” And feeling the lure of a world where love was young and Phœbe as this vision presented her, a delightful epitome of their quondam youth, he gave a gay cry of “Oh, wait, Phœbe!” and leaped.
Some farmer-boys, reconnoitering this region of bounty and prospect some few days afterward, found first the tin utensils tied together under the tree where he had left them, and then later at the foot of the cliff, pale, broken, but elate, a molded smile of peace and delight upon his lips, his body. His old hat was discovered lying under some low-growing saplings the twigs of which had held it back. No one of all the simple population knew how eagerly and joyously he had found his lost mate.
SOURCE: The Century Magazine (April 1916).
ROBERT FROST
Born in San Francisco in 1874, Frost moved east with his family at age eleven, and, through his poetry and persona, became associated with New England. Certainly the most popular and famous American poet of the twentieth century, Frost wrote in measured forms but with a spare, fresh colloquial voice. He died in 1963.
The Road Not Taken (1916)
Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I—
I took the one less traveled by,
And that has made all the difference.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
Meeting and Passing (1916)
As I went down the hill along the wall
There was a gate I had leaned at for the view
And had just turned from when I first saw you
As you came up the hill. We met. But all
We did that day was mingle great and small
Footprints in summer dust as if we drew
The figure of our being less than two
But more than one as yet. Your parasol
Pointed the decimal off with one deep thrust.
And all the time we talked you seemed to see
Something down there to smile at in the dust.
(Oh, it was without prejudice to me!)
Afterward I went past what you had passed
Before we met and you what I had passed.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
Birches (1916)
When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy’s been swinging them.
But swinging doesn’t bend them down to stay.
Ice-storms do that. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
Soon the sun’s warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust—
Such heaps of broken glass to sweep away
You’d think the inner dome of heaven had fallen.
They are dragged to the withered bracken by the load,
And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods
Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
(Now am I free to be poetical?)
I should prefer to have some boy bend them
As he went out and in to fetch the cows—
Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued his father’s trees
By riding them down over and over again
Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
Clear to the ground. He always kept his poise
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It’s when I’m weary of considerations,
And life is too much like a pathless wood
Where your face burns and tickles with cobwebs
Broken across it, and one eye is weeping
From a twig’s having lashed across it open.
I’d like to get away from the earth awhile
And then come back to it and begin over.
May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth’s the right place for love:
I don’t know where it’s likely to go better.
I’d like to go by climbing a birch tree,
And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
A Time to Talk (1916)
When a friend calls to me from the road
And slows his horse to a meaning walk,
I don’t stand still and look around
On all the hills I haven’t hoed,
And sho
ut from where I am, What is it?
No, not as there is a time to talk.
I thrust my hoe in the mellow ground,
Blade-end up and five feet tall,
And plod: I go up to the stone wall
For a friendly visit.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
The Line-Gang (1916)
Here come the line-gang pioneering by.
They throw a forest down less cut than broken.
They plant dead trees for living, and the dead
They string together with a living thread.
They string an instrument against the sky
Wherein words whether beaten out or spoken
Will run as hushed as when they were a thought.
But in no hush they string it: they go past
With shouts afar to pull the cable taut,
To hold it hard until they make it fast,
To ease away—they have it. With a laugh,
An oath of towns that set the wild at naught
They bring the telephone and telegraph.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
The Sound of the Trees (1916)
I wonder about the trees.
Why do we wish to bear
Forever the noise of these
More than another noise
So close to our dwelling place?
We suffer them by the day
Till we lose all measure of pace,
And fixity in our joys,
And acquire a listening air.
They are that that talks of going
But never gets away;
And that talks no less for knowing,
As it grows wiser and older,
That now it means to stay.
My feet tug at the floor
And my head sways to my shoulder
Sometimes when I watch trees sway,
From the window or the door.
I shall set forth for somewhere,
I shall make the reckless choice
Some day when they are in voice
And tossing so as to scare
The white clouds over them on.
I shall have less to say,
But I shall be gone.
SOURCE: Robert Frost. Mountain Interval. New York: Henry Holt and Company, 1916.
Fragmentary Blue (1920)
Why make so much of fragmentary blue
In here and there a bird, or butterfly,
Or flower, or wearing-stone, or open eye,
When heaven presents in sheets the solid hue?
Since earth is earth, perhaps, not heaven (as yet)—
Though some savants make earth include the sky;
And blue so far above us comes so high,
It only gives our wish for blue a whet.
SOURCE: Harper’s Magazine. July 1920.
Place for a Third (1920)
Nothing to say to all those marriages!
She had made three herself to three of his.
The score was even for them, three to three.
But come to die she found she cared so much:
She thought of children in a burial row;
Three children in a burial row were sad.
One man’s three women in a burial row
Somehow made her impatient with the man.
And so she said to Laban, “You have done
A good deal right; don’t do the last thing wrong.
Don’t make me lie with those two other women.”
Laban said, No, he would not make her lie
With anyone but that she had a mind to,
If that was how she felt, of course, he said.
She went her way. But Laban having caught
This glimpse of lingering person in Eliza,
And anxious to make all he could of it
With something he remembered in himself,
Tried to think how he could exceed his promise,
And give good measure to the dead, though thankless.
If that was how she felt, he kept repeating.
His first thought under pressure was a grave
In a new boughten grave plot by herself,
Under he didn’t care how great a stone:
He’d sell a yoke of steers to pay for it.
And weren’t there special cemetery flowers,
That, once grief sets to growing, grief may rest;
The flowers will go on with grief awhile,
And no one seem neglecting or neglected?
A prudent grief will not despise such aids.
He thought of evergreen and everlasting.
And then he had a thought worth many of these.
Somewhere must be the grave of the young boy
Who married her for playmate more than helpmate,
And sometimes laughed at what it was between them.
How would she like to sleep her last with him?
Where was his grave? Did Laban know his name?
He found the grave a town or two away,
The headstone cut with John, Beloved Husband,
Beside it room reserved; the say a sister’s;
A never-married sister’s of that husband,
Whether Eliza would be welcome there.
The dead was bound to silence: ask the sister.
So Laban saw the sister, and, saying nothing
Of where Eliza wanted not to lie,
And who had thought to lay her with her first love,
Begged simply for the grave. The sister’s face
Fell all in wrinkles of responsibility.
She wanted to do right. She’d have to think.
Laban was old and poor, yet seemed to care;
And she was old and poor—but she cared, too.
They sat. She cast one dull, old look at him,
Then turned him out to go on other errands
She said he might attend to in the village,
While she made up her mind how much she cared—
And how much Laban cared—and why he cared,
(She made shrewd eyes to see where he came in.)
She’d looked Eliza up her second time,
A widow at her second husband’s grave,
And offered her a home to rest awhile
Before she went the poor man’s widow’s way,
Housekeeping for the next man out of wedlock.
She and Eliza had been friends through all.
Who was she to judge marriage in a world
Whose Bible’s so confused up in marriage counsel?
The sister had not come across this Laban;
A decent product of life’s ironing-out;
She must not keep him waiting. Time would press
Between the death day and the funeral day.
So when she saw him coming in the street
She hurried her decision to be ready
To meet him with his answer at the door.
Laban had known about what it would be
From the way she had set her poor old mouth,
To do, as she had put it, what was right.
She gave it through the screen door closed between them:
“No, not with John. There wouldn’t be no sense.
Eliza’s had too many other men.”
Laban was forced to fall back on his plan
To buy Eliza a plot to lie alone in:
Which gives him for himself a choice of lots
When his time comes to die and settle down.
SOURCE: Harper’s Magazine. July 1920.
Fire and Ice (1920)
Some say the world will end in fire
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To know that for destruction ice
Is also great
&
nbsp; And would suffice.
SOURCE: Harper’s Magazine. December 1920.
ROSE COHEN
In these extraordinarily touching episodes from her memoir, Rose Cohen (1880–1925) narrates not her arrival in America but her family’s preparations for leaving Russia and her imaginings of what she has in store. Cohen wrote her book when she was thirty-eight, at the encouragement of her night-school teacher in Manhattan.
From Out of the Shadow: A Russian Jewish Girlhood on the Lower East Side (1918)
FATHER HAD BEEN in America but a short time when grandmother realised that his emigration had lessened Aunt Masha’s prospects of marriage. When she came to this conclusion her peace was gone. She wept night and day. “Poor Masha,” she moaned, “what is to become of her? Her chances had been small enough without a dowry. And now, burdened with an aged father and a blind helpless mother, the best she can expect is a middle-aged widower with half a dozen children!”
Mother tried to comfort her by telling her that she would remain in Russia as long as grandmother lived, so that she would not have to live with Masha. But this only irritated her. “You talk like a child,” she wept. “You stay here and wait for my death, while my son, at the other end of the world, will be leading a life of loneliness. And as for me, would I have any peace, knowing that I was the cause?”
The Dover Anthology of American Literature Volume II Page 68
