    The Project Gutenberg EBook of Up In Maine, by Holman F. Day

    This eBook is for the use of anyone anywhere in the United States and most
    other parts of the world at no cost and with almost no restrictions
    whatsoever.  You may copy it, give it away or re-use it under the terms of
    the Project Gutenberg License included with this eBook or online at
    www.gutenberg.org.  If you are not located in the United States, you'll have
    to check the laws of the country where you are located before using this ebook.

    Title: Up In Maine
           Stories of Yankee Life Told in Verse

    Author: Holman F. Day

    Commentator: C. E. Littlefield

    Release Date: August 11, 2017 [EBook #55341]

    Language: English

    Character set encoding: UTF-8

    *** START OF THIS PROJECT GUTENBERG EBOOK UP IN MAINE ***

    Produced by David Widger from page images generously
    provided by the Internet Archive

# UP IN MAINE

### Stories of Yankee Life Told in Verse

## By Holman F. Day

### With an Introduction by C. E. Littlefield

#### Boston: Small, Maynard & Company

### 1900

#####

#####

#####

         TO MY FRIEND

         AND FELLOW IN THE CRAFT OF LETTERS

         WINFIELD M. THOMPSON

         TO WHOM I AM INDEBTED
         FOR MORE THAN ONE OF THE STORIES
         TOLD HEREIN

         THIS VOLUME IS DEDICATED

CONTENTS

List of Illustrations

## PREFACE

I don’t know how to weave a roundelay,

I couldn’t voice a sighing song of love;

No mellow lyre that on which I play;

I plunk a strident lute without a glove.

The rhythm that is running through my stuff

Is not the whisp of maiden’s trailing gown;

The metre, maybe, gallops rather rough,

Like river-drivers storming down to town.

—It’s more than likely something from the

wood,

Where chocking axes scare the deer and

moose;

A homely rhyme, and easy understood

—An echo from the weird domain of Spruce.

Or else it’s just some Yankee notion, dressed

In rough-and-ready “Uncle Dudley” phrase;

Some honest thought we common folks suggest,

—Some tricksy mem’ry-flash from boyhood’s

days.

I cannot polish off this stilted rhyme

With all these homely notions in my brain.

A sonnet, sir, would stick me every time;

Let’s have a chat ’bout common things in

Maine.

Holman F. Day.

|ABOUT three thousand years ago the “Preacher” declared that “of making many books there is no end.” This sublimely pessimistic truism deserves to be considered in connection with the time when it was written; otherwise it might accomplish results not intended by its author.

It must be remembered that in the “Preacher’s” time books were altogether in writing. It should also be borne in mind that if the handwriting which we have in these days, speaking of the period prior to the advent of the female typewriter, is to be accepted as any criterion, —and inasmuch as all concede that history repeats itself, that may well be assumed,—is easy to understand how, by reason of its illegibility, he was also led to declare that “much study is a weariness of the flesh.” It is quite obvious that this was the moving cause of his delightfully doleful utterance as to books. Had he lived in this year nineteen hundred, at either the closing of the nineteenth or the dawning of the twentieth century,—as to whether it is closing or dawning I make no assertion,—he might well have made same criticism, but from an optimistic standpoint.

A competent litterateur informs me that there are now extant 3,725,423,201 books; that in America and England alone during the last year 12,888 books entered upon a precarious existence, with the faint though unexpressed hope of surviving “life’s fitful fever!” If the conditions of the “Preacher’s” time obtained to-day, the vocabulary of pessimism would be inadequate for the expression of similar views.

A careful examination by the writer, of all these well-nigh innumerable monuments of learning, discloses the fact that the work now being introduced to what I trust may be an equally innumerable army of readers has no parallel in literature. If justification were needed, that fact alone justifies its existence. This fact, however, is not necessary, as the all-sufficient fact which warrants the collection of these unique sketches in book form is that no one can read them without being interested, entertained, and amused, as well as instructed and improved. “The stubborn strength of Plymouth Rock” is nowhere better exemplified than on the Maine farm, in the Maine woods, on the Maine coast, or in the Maine workshop. From them, the author of “Up in Maine” has drawn his inspiration. Rugged independence, singleness of purpose, unswerving integrity, philosophy adequate for all occasions, the great realities of life, and a cheerful disregard of conventionalities, are here found in all their native strength and vigor. These peculiarities as delineated may be rough, perhaps uncouth, but they are characteristic, picturesque, engaging, and lifelike. His subjects are rough diamonds. They have the inherent qualities from which great characters are developed, and out of which heroes are made.

Through every chink and crevice of these rugged portrayals glitters the sheen of pure gold, gold of standard weight and fineness, “gold tried in the fire.” Finally it should be said that this is what is now known as a book with a purpose, and that purpose, as the author confidentially informs me, is to sell as many copies as possible, which he confidently expects to do. To this most worthy end I trust I may have, in a small degree, contributed by this introduction.

### C. LITTLEFIELD.

Washington, D.C., March 17,1900.

## ‘ROUND HOME

## AUNT SHAW’S PET JUG

Now there was Uncle Elnathan Shaw,

—Most regular man you ever saw!

Just half-past four in the afternoon

He’d start and whistle that old jig tune,

Take the big blue jug from the but’ry shelf

And trot down cellar, to draw himself

Old cider enough to last him through

The winter ev’nin’. Two quarts would do.

—Just as regular as half-past four

Come round, he’d tackle that cellar door,

As he had for thutty years or more.

And as regular, too, as he took that jug

Aunt Shaw would yap through her old

mug,

“Now, Nathan, for goodness’ sake take care

You allus trip on the second stair;

It seems as though you were just possessed

To break that jug. It’s the very best

There is in town and you know it, too,

And ’twas left to me by my great-aunt Sue.

For goodness’ sake, why don’t yer lug

A tin dish down, for ye’ll break that jug?”

Allus the same, suh, for thirty years,

Allus the same old twits and jeers

Slammed for the nineteenth thousand time

And still we wonder, my friend, at crime.

But Nathan took it meek’s a pup

And the worst he said was “Please shut up.”

You know what the Good Book says befell

The pitcher that went to the old-time well;

Wal, whether ’twas that or his time had come,

Or his stiff old limbs got weak and numb

Or whether his nerves at last giv’ in

To Aunt Shaw’s everlasting chin—

One day he slipped on that second stair,

Whirled round and grabbed at the empty air.

And clean to the foot of them stairs, ker-smack,

He bumped on the bulge of his humped old back

And he’d hardly finished the final bump

When old Aunt Shaw she giv’ a jump

And screamed downstairs as mad’s a bug

“Dod-rot your hide, did ye break my jug?”

Poor Uncle Nathan lay there flat

Knocked in the shape of an old cocked hat,

But he rubbed his legs, brushed off the dirt

And found after all that he warn’t much hurt.

And he’d saved the jug, for his last wild thought

Had been of that; he might have caught

At the cellar shelves and saved his fall,

But he kept his hands on the jug through all.

And now as he loosed his jealous hug

His wife just screamed, “Did ye break my

jug?”

Not a single word for his poor old bones

Nor a word when she heard his awful groans,

But the blamed old hard-shelled turkle just

Wanted to know if that jug was bust.

Old Uncle Nathan he let one roar

And he shook his fist at the cellar door;

“Did ye break my jug?” she was yellin’ still.

“No, durn yer pelt, but I swow I will.”

And you’d thought that the house was a-going

to fall

When the old jug smashed on the cellar wall.

## OLD BOGGS’S SLARNT

Old Bill Boggs is always sayin’ that he’d like to

but he carn’t;

He hain’t never had no chances, he hain’t never

got no slarnt.

Says it’s all dum foolish tryin’, ’less ye git the

proper start,

Says he’s never seed no op’nin’ so he’s never

had no heart.

But he’s chawed enough tobacker for to fill a

hogset up

And has spent his time a-trainin’ some all-fired

kind of pup;

While his wife has took in washin’ and his chil-

dren hain’t been larnt

’Cause old Boggs is allus whinin’ that he’s never

got no slarnt.

Them air young uns round the gros’ry hadn’t

oughter done the thing!

Now it’s done, though, and it’s over, ’twas a

cracker-jack, by jing.

Boggs, ye see, has been a-settin’ twenty years on

one old plank,

One end h’isted on a saw hoss, t’other on the

cistern tank.

T’other night he was a-chawin’ and he says, “I

vum-spt-ooo—

Here I am a-owin’ money—not a gol durn thing

to do!

’Tain’t no use er backin’ chances, ner er fightin’

back at Luck,

—Less ye have some way er startin’, feller’s

sartin to be stuck.

Needs a slarnt to git yer going”—then them

young uns give a carnt,

—Plank went up an’ down old Boggs went—

yas, he got it, got his slarnt.

Course the young uns shouldn’t done it—sent

mine off along to bed—

Helped to pry Boggs out the cistern—he warn’t

more’n three-quarters dead.

Didn’t no one ’prove the actions, but when all

them kids was gone,

Thunder mighty! How we hollered! Gab’rel

couldn’t heered his horn.

## CY NYE, PREVARICATOR

Gy

Nye

Thunder, how he’ll lie!

Never has to stop and think—never has to try.

Says he had a settin’ hen that acted clean pos-

sessed;

Says a kag o’ powder couldn’t shake her off her

nest;

Didn’t mind a flannel rag tied around her tail;

Ev’ry now and then he’d take ’er, souse ’er in

a pail;

Never had the least effect—feathers even friz;

Then she set and pecked the ice, but ’tended

right to biz.

’Peared to care for nothin’ else ’cept to set and

set;

Didn’t seem to care a tunket what she drunk

or et.

Cy he said he got so mad he thought he’d use

’er ha’ash,

So he went to feedin’ on ’er hemlock sawdust

mash.

Hen she gobbled down the stuff, reg’lar as

could be;

“Reely seemed to fat ’er up,” Cy says he to me.

Shows the power of the mind when it gets a

clutch.

Hen imagined it was bran—helped ’er just as

much.

Then she hid her nest away—laid a dozen eggs;

’Leven chickens that she hatched all had wooden

legs,

T’other egg it wouldn’t hatch—solid junk o’

wood,

Hen’s a-wrasslin’ with it yet—thinks the thing

is good.

Thunder, how he’ll lie!

But he’s dry,

—That Cy.

Cy

Nye

Tells another lie:

Claims to be the strongest man around here;

this is why:

Says he bought a side o’ beef up to Johnson’s store,

Tucked it underneath his arm—didn’t mind it

more

Than a pound o’ pickled tripe; sauntered down

the road,

Got to ponderin’ Bible texts—clean forgot his

load.

All to once he chanced to think he meant to get

some meat,

Hustled back to Johnson’s store t’other end the

street,

Bought another side o’ beef. The boys com-

menced to laugh,

—Vummed he hadn’t sensed till then he lugged

the other half.

Can’t deny

’T he can lie,

—That Cy.

## UNCLE BENJY AND OLD CRANE

Once there was a country lawyer and his name

was Hiram Crane,

And he had a reputation as the worst old file in

Maine.

And as soon’s he got a client, why, the first

thing that he’d do

Was to feel the critter’s pocket and then soak

him ’cordin’ to.

Well, sir, one day Benjy Butters bought a hoss,

and oh, ’twas raw

Way old Benjy he got roasted, and he said he’d

have the law.

So he gave the case to Hiram, and then Hiram

brought a suit

And got back the hoss and harness and what

Benjy gave to boot.

When he met him at the gros’ry Benjy asked

him for the bill,

And when Hiram named the figger, it was

steeper’n Hobson’s hill.

Poor old Benjy hammed and swallered—bill jest

sort of took his breath,

And the crowd that stood a-listenin’ thought

perhaps he’d choke to death.

But it happened that the squire felt like jokin’

some that day,

And he says, “Now, Uncle Benjy, there won’t be

a cent to pay

If you’ll right here on the instant make me up a

nice pat rhyme;

Hear you’re pretty good at them things—give

you jest three minutes’ time.”

And the squire grinned like fury, tipped the

crowd a knowing wink,

While old Benjy started in, sir, almost ’fore

you’d time to think:

“Here you see the petty lawyer leanin’ on his

corkscrew cane.

Sartin parties call him Gander, other people call

him Crane.

Though he’s faowl, it’s someways daoubtful

what he is, my friends, but still

You can tell there’s hawk about him by the

gaul-durned qritter’s bill.”

Crane got mad, he wanted money, but the crowd

let on to roar,

And they laughed the blamed old skinflint right

square out the gros’ry store.

## “PLUG”

For sixty years he had borne the name

Of “Plug”—plain “Plug.”

Those many years had his village fame

Published the shame of his old-time game,

Till all the folks by custom came

To call him “Plug.”

And so many years at last went by

They hardly knew the reason why;

At least they never stopped to think,

And dropped the old suggestive wink.

And he took the name quite matter-of-fact,

Till most of the folks had forgot his act;

But sometimes a stranger’d wonder at

The why of a nickname such as that,

—Of “Plug”—just “Plug.”

Then some old chap would shift his quid

And tell the story of what he did.

“He owned ten acres of punkin pine,

’Twas straight and tall, and there warn’t a sign

But what ’twas sound as a hickory nut,

And at last he got the price he sut.

They hired him for to chop it down.

He did.—By gosh, it was all unsoun’.

Was a rotten heart in every tree.

But there warn’t none there but him to see.

And quick as ever a tree was cut,

He hewed a saplin’ and plugged the butt.

—Plugged the butt, sir, and hid away

For about two months, for he’d got his pay.

But there warn’t no legal actions took,

They never tackled his pocket-book.

’Twould a-broke his heart, for he’s dretful snug;

But he never squirmed when they called him

’Plug.’

And over the whole of the country-side,

Up to the day that the critter died,

’Twas ‘Plug.’

Till some of the young folks scurcely knew

Which was the nickname, which was the true.

He left five thousand,—putty rich,—

But better less cash than a title sich

As ‘Plug.’”

## THE SONG OF THE HARROW AND PLOW

From the acres of Aroostook, broad and mellow

in the sun,

Down to rocky York, the chorus of the farmers

has begun.

They are riding in Aroostook on a patent sulky

plow,

—They are riding, taking comfort, for they’ve

learned the secret how.

They are planting their potatoes with a whirring

new machine,

—Driver sits beneath an awning; slickest thing

you’ve ever seen.

There is not a rock to vex ’em in the acres

spreading wide,

So they sit upon a cushion, cock their legs, and

smoke and ride.

Gee and Bright go lurching onward in the

furrow’s mellow steam;

Over there, with clank of whiffle, tugs a sturdy

Morgan team.

And the man who rides the planter or who plods

the broken earth

Joins and swells the mighty chorus of the

season’s budding mirth.

And they’ve pitched the tune to a jubilant

strain.

They are lilting it merrily now.

We wait for that melody up here in Maine,

—’Tis the song of the harrow and plow.

They are picking rocks in Oxford, and in Waldo

blasting ledge,

And they’re farming down in Lincoln on their

acres set on edge.

Down among the kitchen gardens of the slopes

of Cumberland

They’re sticking in the garden sass as thick as

it will stand.

And every nose is sniffing at the scent of fur-

rowed earth,

And every man is living all of life at what it’s

worth.

Though the farmer in Aroostook sails across a

velvet field,

And his mellow, crumbly acres vomit forth a

spendthrift yield,

All the rest are just as cheerful on their hillside

farms as he,

For there’s cosy wealth in gardens and a fortune

in a tree.

So they’re singing the song of the coming

of Spring,

And the song of the empty mow;

Of the quiver of birth that is stirring the earth,

—’Tis the song of the harrow and plow.

#####

## HOORAY FOR THE SEASON OF FAIRS

This is the season for fairs, by gosh, oh, this is

the season for fairs;

They’re thicker than spatter,

But what does it matter?

They scoop up the cash, but who cares?

From now till October they’ll swallow the

change,

These state fairs and town fairs and county and

grange,

But apples blush brighter arrayed on a plate,

And the cattle look scrumptious in dignified

state,

Enthroned in a stall and a-gazing with scorn

On the chaps going by without ribbon or horn.

And the trotters and nags of the blood-royal

strain

Are a-furnishing fun for the people of Maine;

While prouder than princes they prance to the

band,

And ogle the ladies arrayed on the stand.

Ah, every exhibit in stall or in hall,

From hooked rug to hossflesh and punkin and

all,

Takes on a new meaning, assumes a new light,

And is, for the moment, a wonderful sight.

And people hang over the stuff that’s displayed,

They swig up whole barrels of red lemonade,

And hark to the fakirs and tumble to snides,

And treat all the young ones to merry-go rides.

They sit on the grand stand, man crushed

against man,

All shouting acclaim to the track’s rataplan;

And all the delight is as fresh and as bright

As though the big crowd had not seen that same

sight.

And the people flock home with the dust in their

eyes,

But with hearts all a-fire with fun and surprise.

The girls are a-humming the tune of the band,

And dads are relating the sights from the stand;

The dames are discussing the fancy work part,

While bub hugs the Midway scenes close to his

heart.

The palms of the men folks still glow from a

grip,

And the women are thinking of lip pressed to

lip,

For all of the folks in the loud, happy throng

Have met with the friends “they’ve not seen

for so long.”

A hail and salute from the press of the mass,

Too brief, as the crowd jammed impatient to

pass,

A moment—that’s all—to renew the old tie,

A handgrasp, a lip-touch, “Hello,” and “Good-

by.”

Oh, this is the season of fairs, by gosh, the

season to lay off your cares,

Each fair is a wonder,

They’re thicker than thunder.

Hooray for the season of fairs!

## HAD A SET OF DOUBLE TEETH

Oh, listen while I tell to you a truthful little

tale

Of a man whose teeth was double all the solid

way around;

He could jest as slick as preachin’ bite in two a

shingle nail,

Or squonch a moulded bullet, sah, and ev’ry

tooth was sound.

I’ve seen him lift a kag of pork, a-bitin’ on the

chine,

And he’d clench a rope and hang there like a

puppy to a root;

And a feller he could pull and twitch and yank

upon the line,

But he couldn’t do no bus’ness with tha’

double-toothed galoot.

He was luggin’ up some shingles,—bunch, sah,

underneath each arm,—

The time that he was shinglin’ of the Baptist

meetin’-house;

The ladder cracked and buckled, but he didn’t

think no harm,

When all at once she busted and he started

down kersouse.

His head, sah, when she busted, it was jest

abreast the eaves;

And he nipped, sah, quicker’n lightnin’, and

he gripped there with his teeth,

And he never dropped the shingles, but he hung

to both the sheaves,

Though the solid ground was suttinly more’n

thirty feet beneath.

He held there and he kicked there and he

squirmed, but no one come.

He was workin’ on the roof alone—there

warn’t no folks around.

He hung like death to niggers till his jaws was

set and numb,

And he reely thought he’d have to drop them

shingles on the ground.

But all at once old Skillins come a-toddlin’ down

the street.

Old Skil is sort of hump-backed and he allus

looks straight down;

So he never see’d the motions of them Number

’Leven feet,

And he went a-amblin’ by him—the goramded

blind old clown!

Now this ere part is truthful—ain’t a-stretehin’

it a mite,—

When the feller see’d that Skillins was a-

walkin’ past the place,

Let go his teeth and hollered, but he grabbed

back quick and tight,

’Fore he had a chance to tumble, and he hung

there by the face.

And he never dropped the shingles and he never

missed his grip,

And he stepped out on the ladder when they

raised it underneath.

And up he went a-flukin’ with them shingles on

his hip,

—And there’s the satisfaction of a havin’

double teeth.

## GRAMPY’S LULLABY

Your marmy’s mixin’ cream o’ tartar biskit up

for tea;

Fie, deedle, deedle, leetle ba-a-arby!

And I reckon you had better come and roost

upon my knee;

Tumpy, dumpy, deedle, leetle barby!

I s’picion how ye never heard of Ebernezer

Cowles.

Tell ye what, he warn’t brung up to be afraid of

owls.

Reckon that a spryer critter never tailored

boots;

Allus up to monkey tricks and full o’ squirms

and scoots.

Once he done a curis thing, I vummy, on a

stump:

Set a larder up one end and gin’ a mighty jump;

Run right up the larder, jest as nimble as a

monkey,

Balarnced, I sh’d suttin say, a minit—all a-

hunky;

Then he straddled out on air and grabbed the

pesky larder

And run ’er up another length—another length,

suh, farder;

Skittered up that larder ’fore she had a chance

to teeter,

Quicker’n any pussy cat—lighter’n a mos-

keeter.

Soon’s he clambered to the top, grabbed the

upper rung,

Ketched hisself with t’other hand, and there the

critter hung.

Gaffled up his britches’ slack and took a resky

charnce

And thar’ he held hisself right out, arms-length,

suh, by his parnts.

Ye ought ter heerd, my barby dear, the cheerins

and the howls

The crowd let out when they’d obsarved that

trick of Mister Cowles.

Sing’lar thing of which I sing—might not

think ’twas true;

Fie, deedle, deedle, leetle ba-a-arby!

But ye know, my leetle snoozer, grampy wouldn’t

lie to you,

—To his dumpy, dumpy deedle, leetle

barby.

Hush, I guess that mammy isn’t done a-makin’

bread,

We ain’t at all pertic’lar how she overhears

what’s said.

Ye’re over-young, purraps, to hear of Sam’wel

Doubl’yer Strout,

—Weighed about two hundred pounds, and,

chowder, warn’t he stout!

Used to work for me one time as sort of extry

hand,

—Allus planned to ’gage him when I cleared up

any land;

Once I see him lug a rock with fairly mod’rit

ease

So hefty that at ev’ry step he sunk above his

knees.

Hain’t at all surprised to see the wonder in your

eye;

Fie, deedle, deedle, leetle ba-a-arby!

But ye know your poor old grampy wouldn’t

tell ye ary lie,

—To his tumpy, dumpy deedle, leetle

barby.

Course ye’ve never heerd ’em tell of Atha-ni-al

Prime,

For he was round a-raisin’ Cain so long afore

your time.

Used to run the muley saw down to Hopkins

mill,

—Allus euttin’ ding-does up—a master curis

pill!

Once the chaps that tended sluice stood upon a

log,

Got to argyin’ this and that, suthin’ ’bout a dog.

Clean forgot to start the log a-goin’ up the

sluice,

But shook their fists and hollered round and spit

torbarker juice.

Atha-ni-al heerd the towse and grabbed a pick-

pole up,

—Wasn’t goin’ to stop a mill to fight about a

pup,—

Tied a rope around the pole and then he let her

flam,

Speared the end of that air log and yanked her

quicker’n Sam.

Log, suh, come right out the bark, he twitched

the thing so quick;

Fellers never felt the yank, ’twas done so smooth

and slick.

Log come out and up the sluice and left behind

the bark,

—Fellers thought the log was there and stood

and chawed till dark.

Sing’lar things has come to pass when I was

young as you;

Fie, deedle, deedle, leetle ba-a-arby!

And best of all, what grampy sings you bet your

life is true,

Tumpy, deedle, dumpy, leetle barby.

## HOSKINS’S COW

Hoskins’s cow got into the pound and the notice

was tacked on the meetin’-house door:

“Come into my yard, one brindle cow with three

white feet, and her shoulders sore,

—Galled by a poke,—and the owner is asked

to call at the pound and take her away.”

Well, Hoskins knew she was his all right, but,

you see, he hadn’t wherewith to pay.

The cow was breachy—she wasn’t to blame,

for Hoskins had turned her abroad to roam;

She had to battle for daily grass, for the bovine

cupboard was bare at home.

So Hoskins had hitched on her withered neck a

wooden “regalia”—sort of a yoke,

Supposed to keep her from breachy tricks, but

the poor old creature employed the “poke”

To rip up fences and let down bars; her hunger

sharpened her slender wits,

And somehow she sneaked through the guarded

gates, and gave the garden sass regular fits.

The neighbors pitied her starving state, but at

last she stubbornly wouldn’t shoo;

They pounded tattoos on her skinny ribs till it

really seemed they would whack ’em through.

But she got so toughened and callous and hard,

and the stiffened frame of her mortised bones

Formed such an excellent armor-plate against

the broadsides of sticks and stones,

That they “pounded” her then in a different

way—in the village pound—whose walls

would hold

The breachiest cow that ever strayed—and the

notice was posted as I have told.

She stood there a day and she stayed there a

night; she cropped the scanty bushes and

grass,

And moo-ed and loo-ed in a yearning way, when-

ever a person chanced to pass.

—She ate the leaves from some alder sprouts

for a scanty breakfast the second day,

And munched the twigs for her dinner, alas,

and longed, oh, so much, for some meadow

hay.

That night she gnawed at her dry old poke,—

a painful meal, for the slivers ran

In her tongue; so she crouched by the high-

barred gate and seemed deserted of God and

man.

And Hoskins knew that they had his cow, and

Hoskins knew of her solemn fast,

For he’d gone up the highway and looked

through the gate in her dumb, reproachful eyes

as he passed.

Yet what, may I ask, could the poor man do?

He was right in a place where he couldn’t

Pay,

—He had three dollars, ’tis true enough,

and ‘twould square the bill, but, you see, that day

The catchers had come and taken his dogs: a

hound, a setter, and brindle-pup,

And a man like Hoskins would ne ’er endure to

have the dog-pound gobble them up,

For he gunned on Sundays behind the hound,

and the bull was entered and backed to fight.

And Hoskins, you see, as a sporting man had a

reputation to keep upright.

I wonder, friends, if you’ve ever thought, while

you’ve stormed at rum as the poor man’s curse,

There are chaps so built on the mental plan that

keeping dogs will warp them worse?

The “dog” man may be reclaimed, but I’ve

been compelled, alas, to see

That there doesn’t appear to be much hope for

the wretched critter condemned to three.

And Hoskins’s duty was plain to him: his

youngsters wailed for the milk they missed,

But Hoskins thought of his poor, poor dogs and

gripped his dollars tight in his fist.

He shut his ears to his children’s cries, he steeled

his heart when he passed the pound,

To the mute appeal in the old cow’s eyes; but

he smiled at last when his dogs were found.

And he gladly proffered the three lone plunks

to sate the greed of the legal hogs,

And proudly he took the highway back, a-lead-

ing his licensed, bailed-out dogs.

And they barked and yipped and yapped and

yawped at a poor old tottering cow they found

Absorbed in a desperate, hungry reach for a

thistle outside the village pound.

## AN OLD STUN’ WALL

If ye only knew the backaches in an old stun’

wall!

O, Lordy me,

I’m seventy-three!

—Begun amongst these boulders and I’ve lived

here through it all.

I wasn’t quite to bub’s age there, when dad

commenced to clear

The wust of ninety acres with a hoss team and

a steer.

And we’ve used the stun’s for fencin’ and we’ve

built around the lot,

O, I’ve tugged and worked there, sonny, ontil

gracious me, I’ve sot

And fairly groaned o’ evenings with the twinges

in my back;

Sakes, there warn’t no shirkin,’ them days; it

was tug and lift and sack,

For it needed lots of muscle, lots of gruntin’,

lots of sand

If a feller calculated for to clear a piece of

land.

Bub, it isn’t any wonder that our backs has got

a hump,

That our arms are stretched and awkward like

the handle on a pump,

That our palms are hard and calloused, that we

wobble in our gait

—There’s the reason right before you ’round

the medders in the State.

And I wonder sometimes, sonny, that we’ve

any backs at all

When I figer on the backaches in an

Old

Stun’

Wall.

If ye only knew the backaches in an old stun’

wall!

We read of men

Who with a pen

Have pried away the curses that have crushed

us in their fall.

I don’t begrudge them honor nor the splendor

of their name

For an av’rage Yankee farmer hasn’t any use

for fame,

But the man who lifted curses and the man

who lifted stones

Never’ll hear a mite of diff’runce in the

Heavenly Father’s tones.

For I have the humble notion, bub, that when

all kinds of men,

The chaps that pried with crowbar and the

chaps that pried with pen,

Are waitin’ to be measured for the things

they’ve done below

The angel with the girth-chain’s bound to give

us all fair show.

And the humble man who’s tussled with the

rocks of stubborn Maine

Won’t find that all his labor has been thankless

and in vain.

And while the wise and mighty get the glorious

credit due

The man who took the brunt of toil will be

remembered too.

The man who bent his aching back will earn

his crown, my child,

By the acres he made fertile and the miles of

rocks he piled.

That ain’t my whole religion, for I don’t propose

to shirk

What my duties are to Heaven,—but the gospel

of hard work

Is a mighty solid bed-rock that I’ve built on

more or less;

I believe that God Almighty has it in his heart

to bless

For the good they’ve left behind them rough old

chaps with humped-up backs

Who have gone ahead and smoothed things with

the crowbar and the axe.

For if all our hairs are numbered and He notes

the sparrow’s fall

He understands the backaches in an

Old

Stun’

Wall.

## THE STOCK IN THE TIE-UP

I’m workin’ this week in the wood lot; a hearty

old job, you can bet;

I finish my chores with a larntern, and marin has

the table all set

By the time I get in with the milkin’; and after

I wash at the sink,

And marm sets a saucer o’ strainin’s for the cat

and the kittens to drink.

Your uncle is ready for supper, with an appetite

whet to an edge

That’ll cut like a bush-scythe in swale-grass, and

couldn’t be dulled on a ledge.

And marm, she slats open the oven, and pulls

out a heapin’ full tin

Of the rippin’est cream-tartar biskit a man ever

pushed at his chin.

We pile some more wood on the fire, and open

the damper full blare,

And pull up and pitch into supper—and com-

fort—and taste good—wal, there!

And the wind swooshes over the chimbly, and

scrapes at the shingles cross grain,

But good double winders and bankin’ are mighty

good friends here in Maine.

I look ’crost the table to mother, and marm she

looks over at me,

And passes another hot biskit and says, “Won’t

ye have some more tea?”

And while I am stirrin’ the sugar, I relish the

sound of the storm.

For, thank the good Lord, we are cosy and the

stock in the tie-up is warm.

I tell ye, the song o’ the fire and the chirruping

hiss o’ the tea,

The roar of the wind in the chimbly, they sound

dreadful cheerful to me.

But they’d harrer me, plague me, and fret me,

unless as I set here I knew

That the critters are munchin’ their fodder and

bedded and comf’table too.

These biskits are light as a feather, but, boy,

they’d be heavier’n lead

If I thought that my hosses was shiv’rin’, if I

thought that my cattle warn’t fed.

There’s men in the neighborhood ’round me who

pray som’w’at louder than me,

They wear better clothes, sir, on Sunday—chip

in for the heathen Chinee,

But the cracks in the sides o’ their tie-ups are

wide as the door o’ their pew,

And the winter comes in there a-howlin’, with

the sleet and the snow peltin’ through.

Step in there, sir, ary a mornin’ and look at their

critters! ’Twould seem

As if they were bilers or engines, and all o’

them chock full o’ steam.

I’ve got an old-fashioned religion that calkalates

Sundays for rest,

But if there warn’t time, sir, on week days to

batten a tie-up, I’m blest

I’d use up a Sunday or such-like, and let the

durned heathen folks go

While I fastened some boards on the lintel to

keep out the frost and the snow.

I’d stand all the frowns of the parson before I’d

have courage to face

The dumb holler eyes o’ the critters hooked up

in a frosty old place.

And I’ll bet ye that in the Hereafter the men

who have stayed on their knees

And let some poor, fuzzy old cattle stand out in

a tie-up and freeze,

Will find that the heat o’ the Hot Place is keyed

to an extra degree

For the men who forgot to consider that critters

have feelin’s same’s we.

I dasn’t go thinkin’ o’ tie-ups where winter goes

whistlin’ through.

Where cattle are humped at their stanchions

with scarcely the gumption to moo.

But I’m glad for the sake of Hereafter that

mine ain’t the sin and the guilt,

And I tell you I relish my feelin’s when I pull

up the big patchwork quilt.

I can laugh at the pelt o’ the snowflakes, and

grin at the slat o’ the storm,

And thank the good Lord I can sleep now; the

stock in the tie-up is warm.

## EPHRUM WADE’S STAND-BY IN HAYING

Ephram Wade sat down in the shade

And took off his haymaker hat, which he laid

On a tussock of grass; and he pulled out the

plug

That jealously gagged the old iron-stone jug.

And cocking his jug on his elbow he rigged

A sort of a “horse-up,” you know, and he

swigged

A pint of hard cider or so at a crack,

And set down the jug with a satisfied smack.

“Aha!” said he, “that grows the hair on ye,

bub,

My rule durin’ hayin’s more cider, less grub.

I take it, sah, wholly to stiddy my nerves,

And up in the stow hole I pitch ’em some

curves

On a drink of straight cider, in harnsomer shape

Than a feller could do on the juice of the grape.

Some new folderinos come ’long every day,

All sorts of new jiggers to help git yer hay.

Improvements on cutter bars, hoss forks, and

rakes,

And tedders and spreaders and all of them fakes.

But all of their patents ain’t fixed it so yit

That hayin’ is done without git-up and git.

If ye want the right stuff, sah, to take up the

slack,

The stuff to put buckram right inter yer back,

The stuff that will limber and ile up yer j’ints,

Just trot out some cider and drink it by pints.

It ain’t got no patents—it helps you make hay

As it helped out our dads in their old-fashioned

way.

Molasses and ginger and water won’t do,

’Twill irrigate some, but it won’t see ye through.

And ice water’ll chill ye, and skim milk is durn

Mean stuff any place, sah, except in a churn.

I’m a temperate man as a general rule,

—The man who gits bit by the adder’s a fool,—

But when it comes hayin’ and folks have to strain,

I tell you, old cider’s a stand-by in Maine.”

Then Ephrum Wade reclined in the shade

And patiently gazed on the hay while it “made.”

## RESURRECTION OF EPHRUM WAY

Old Uncle Ephrum Isaac Way

—He had a fit the other day.

A sort of capuluptic spell;

He hasn’t been in no ways well

Since year ago come next July;

He had a sunstroke; come blamed nigh

To passin’ ’crost. And since, for him,

The poor old man’s been dretful slim.

And ’twarn’t surprisin’ none, I say,

That fit of his the other day.

By time that Dr. Blaisdell come

His legs and arms had growed all numb.

He didn’t sense things source at all,

His lower jaw commenced to fall,

And, jedged from looks, there warn’t no doubt

That Ephrum’s soul was passin’ out.

Fact is, they thought that he was dead;

They tied the bandage round his head,

Laid out his shroud—when first they knew,

Eph kicked awhile and then come to;

Got up and stared with all his eyes,

And said, “Why, this ain’t Paradise!

Gol durn the luck, they let me in;

Now here I’m back on earth agin.

I’ve been to Heaven! I’ve been dead,

I’ve seen it All,” so Ephrum said.

And while we gathered round with awe

He told us all the things he saw.

And while he yarned that tale of Death

The parson came, all out of breath,

Exclaiming o ’er and o ’er again,

“A vision! Wondrous! Blest of men!”

And asked, “Oh, tell us, Mr. Way,

How long were you allowed to stay?”

And then the crowd hung breathless round

A-harkin’ until Ephrum found

Some sort of language in his reach,

—For he was sort of dull in speech.

“Wal, friends,” he slowly said at last,

“I ricolleet that when I passed

The pearly gates and sills of gold

And see that blessed sight unfold

Before my dim old hazy eyes,

I got a shock of such surprise

I couldn’t move,—I couldn’t speak,

—Jest run my tongue down in my cheek

And sort of numbly pronged and pried

The chaw I took before I died.

—That’s been my habit all my days;

When I am nervous anyways

I don’t fly all to gosh. Instid

I simply, calmly shift my quid.

But jest as I had rolled her ’crost—

Wal, suthin’ dropped and I was lost.

And all of Heaven, friends, I saw

Was while I shifted that air chaw.”

I think, dear sir, I scarce need add

That seldom do you see so glad

A resurrection time as they

Who stood there gave old Ephrum Way.

The parson first he tried to screw

His face up solemn, but that crew

Broke out and howled like they was daft.

And so he laughed and laughed and laughed.

## LOOK OUT FOR YOUR THUMB

Hindsight is clearer than foresight,

But foresight is better and safer, old chap.

Experiment teaches, but common sense reaches

And tests the bright baubles in Dame Future’s

lap.

I’m telling you what Eph Landers did

The time that the critter lost his fid.

He was sort of a quick, impulsive man;

—When others walked, he always ran.

He never waited to calmly view,

But he got right up and slam-banged through.

Believed that the moments a feller took

To give the future a good square look

Was simply so much wasted time;

His plan was, “Never look up; just climb.”

He was yankin’ boulders a week ago

And things got balky and movin’ slow.

He strung the chain ’round a good big rock

And found that he lost the little block

To catch the link; it’s used instid

Of a hook and link, and it’s called a fid.

And Eph, he held the unhooked chain

By the ends, and he looked and he got profane.

But he couldn’t find it and wouldn’t wait,

—He was mad as a bug and desperate,

And the crack-brained critter—what do ye

think?

Why, he stuck his thumb in the unhooked link.

He didn’t consider that ’twarn’t his fid,

But the oxen started—and then he did!

He see’d his mistake, as most men do,

When the deed is done and the thing is through:

You stick your thumb where it don’t belong

And the world will yank it, good and strong.

Hindsight is clearer than foresight,

But you’d better ask foresight to give ye a

point;

Or, first thing you’re knowin’, Old World will be

goin’,

And he’ll laugh while you howl with your thumb

out of joint.

## THE TRIUMPH OF MODEST MARIA

Maria’s comb hung lopsy-wise

And flapped athwart her filmy eyes,

Exactly like a slattern’s hair

On washing day; and I declare

She was the slouchiest-looking hen

That pecked in T. B. Tucker’s pen.

Cah-dah! Cah-dut!

She was the butt

Of every sort of jibe and cut.

Maria was a Brahma dame,

Broad and squat and plucked and lame.

The Leghorns cast a pitying smile

Upon her queer, old-fashioned style.

The Plymouth Rocks would jeer and flout

Because her legs were feathered out.

The cocks would strut,

Pah-rutt! Pah-rutt!

And snigger at her bloomers’ cut.

The trim white Cochins tip-toed by

And froze her with disdainful eye;

Each tufted Houdan tossed her plume

And glared Maria’s social doom.

Where ’er she strolled in all the yard

Maria got it good and hard!

Cah-dut! Cah-dah!

Each social star

Just dropped Maria with a jar.

But she pursued her quiet way,

And picked and scratched the livelong day,

Kept early hours and ate bran mash,

Nor sought to cut a social dash.

And then one day she left her nest

With pallid comb and swelling breast.

Cah-dut! Cah-dah!

Hooray, hurrah!

Maria, you’re a queen, you are!

The news went cackling round the pen

—An egg! It measured twelve by ten.

And T. B. Tucker drove to town

To take that gor-rammed big egg down.

The editor put on his specs,

The villagers turned rubber necks,

And some collecting feller paid

Right smart for what Maria laid.

And European news was set

Aside that week by the Gazette

In order that a glowing pen

Might pay due praise to that old hen.

Cah-lip! Cah-lop!

You’ll find, sure pop,

That modest merit lands on top.

## SON HAS GOT THE DEED

Mother fights with Marshy, and Marshy fights

with her,

—Don’t give up yer proputty, I’m tellin’ on yer,

sir!

Don’t give up yer proputty to nary blessed one,

—Don’t keer whuther brother, sir, or nephy,

sir, or son.

Don’t make over northin’, sir, ontil you’re done

and through,

Or ye’ll cuss the day ye done it till the air is

black and blue..

Me and marm got feeble and we couldn’t run

the farm,

Son was newly married and we couldn’t see the

harm

In makin’ on it over, we to have the ell and shed,

Use the sittin’ room in common—and a room

for one spare bed.

And so we made the papers and we signed ’em,

me and wife,

’Lowin’ them the stand and stock, and us our

keep for life.

Twelvemonth isn’t finished, but the trouble has

begun,

An’ it’s one continyal rowin’ ’twixt us and her

and son.

Marshy dings at mother and mother dings at her,

’F things ain’t settled somehow, sir, they’ll git

to clawin’ fur.

Don’t give up yer proputty, I’m tellin’ on ye

straight.

Don’t keer who your family is, ye’ll rue it sure

as fate.

’Fore ye sign the papers they’ll come round ye

slicker’n cream,

But ye’ll notice little later, sir, that things ain’t

what they seem.

Man that’s got his proputty, he’s looked to with

respect;

Relations they come meechin’ round to

scratch, sir, where he’s pecked.

Ye see, he rules the family roost and leads the

family flock,

As proud and full of manners as a Cochin China

cock.

But if the years have loosened up his intellect

and grip,

And if he thinks his folks are straight, and lets

the old farm slip,

He’ll find the grin becomes a frown and sweet-

ness turns to greed,

For folks see things in different light when once

they’ve got a deed.

Now Marshy snarls at mother and mother sends

it back,

And all the time, from sun to sun, it’s clack and

clack and clack!

Don’t give up yer propputy, hang on till death,

I say;

It’s time when you are done with it to give your

all away.

Oh, how the devil snickers round when some

old codger drools

About “the laying down of cares”—and jines

the ranks of fools!

And how the lawyers laugh and joke, and how

the angels weep,

To see some old folks deed away their farm for

board and keep!

—Never see’d no better cook than Marshy

used to be,

When first along she’d ask us down to dinner

or to tea.

Used to sweeten grub with smiles when she

would pass a plate,

And me and marm, like two old coots, we swal-

lowed hook and bait.

You bet we git some diff’rent looks, we git some

different feed,

Jest like they’d throw it out to dogs, now son

has got the deed.

An’ Marshy growls at mother, and mother’s

growlin’ wuss,

An’ I—wal, I jest set and smoke and cuss—

and cuss—and cuss!

## AN IDYL OF COLD WEATHER

When all the sky seems blazing down, and sun-

shine curls the bricks,

And General Humidity puts in his biggest licks,

I welcome with a moist and dripping

palm,

A placid old philosopher who runs a little farm,

Who says imagination helps a deal in keeping

cool,

And who to comfort other men makes this his

simple rule:

To talk of piping, biting days, and drifting

winter storm

Whene ’er the weather pipes it up and gets too

thunderin’ warm.

They’re better far than fizz or smash or juleps,

sure’s you’re born,

—The honest little narratives of Frigid Weather

John.

For though the sizzling summer time may boil

and steam and hiss,

Who’d ever, ever think of it while listening to

this?

“I never see’d a winter have a durnder, sharper

aidge

Than in the year of Sixty-one, the year that I

drove stage.

I never had so hard a job attendin’ to my biz,

For everything was frizable, that year you bet

was friz.

At last I done a caper that I hadn’t done for

years:

I got a little careless and I friz up both my ears.

The roads was awful drifted and I trod ten

miles of snow,

And all the time that zippin’ wind did nothin’,

sah, but blow.

Them ears of mine was froze so hard, stuck out

so bloomin’ straight,

I thought the wind would snap ’em off, it blew

at such a rate.

And when at last I hauled up home, the missus

bust in tears

And hollered, ‘John, oh, massy me, you’re going

to lose your ears.’

But I—why, land o’ goodness, I was cooler’n I

be now,”

—And he passed his red bandanna up across

his steaming brow,—

“I jest got out my hatchet and I chopped two

cakes of ice

And held ’em on my friz-up ears—’twas

Granpy Jones’ advice.

I didn’t dast go in the house, but set there in

the shed

A-holdin’ them two chunks of ice to either

side my head.

The chunks weighed fifty pounds apiece—that

doctorin’ didn’t cost—

And so I got ’em big enough to take out all the

frost.

My wife came out at last to see what made me

keep so still,

And there I was, sound asleep and snorin’

fit to kill.

She got me in and gave me tea and helped me

inter bed,

With that ’ere ice a-frozen tight and solid to my

head.

’Twas sort of curi’s, I confess, but still I slept

complete,

A crystal palace on my head and soapstones on

my feet.

It wasn’t really what you’d call a calm and rest-

ful night,

But when the ice peeled off next day them ears

come out all right.”

They’re better far than fizz or smash or juleps,

sure’s you’re born,

—These honest little narratives from Frigid

Weather John.

## BUSTED THE “TEST YOUR STRENGTH”

When pa was down to Topsham fair

I snooped around and heard him swear

To Jotham Briggs that it seemed to him

That muscle nowadays was slim,

For he said he’d stood there quite a length,

Seein’ folks whang at the “test your strength,”

And there wasn’t a one in all that spell

Who’d hit a crack that had tapped the bell.

And pa talked loud and he sassed the crowd,

And the crowd sassed pa, and he allowed

He’d show ’em what; and so old Jote

Just held his hat and his vest and coat;

And pa he rolled his sleeves up tight,

Hauled out his plug and took a bite.

He whirled one arm in wind-mill style,

—Then whirled the other one awhile.

He picked his pessle out at length

And sassed the great, tall “test your strength.”

“I’m goin’ to soak ye now,” says pa,

“You’ll think it’s y’earthquakes by the jar.

Git out the way and giv’ me swing,

—I’ll bust the ha’slet out the thing.”

And pa he spit in both his fists

And give the handle two three twists,

And swung the beetle round and round

To give one big, gol-rippin’ pound.

One knee was right up’ginst his chin,

His eyes stuck out, his lips sucked in,

And down he fetched her with a jolt,

But pa—but pa—he missed his holt!

He lost his grip, the pessle flew,

And folks they scattered, I tell you.

Some chaps fell down and some they ducked,

And them fur off, by gosh, they hucked.

For that air pessle, sir, it come

Sky-hootin’ like a ten-inch bomb.

It landed more’n eight rods away

Right through the top of Drew’s new shay,

—Right ’twixt the gal and Ezry Drew,

And hully gee, it scart ’em blue.

While pa—wal, pa, he jest turned green

—Gawked fust at Drew, then that machine.

And hammed and stuttered out at length,

“I aimed ’er at that to test your strength’!”

“Good eye!” says Ez, as mad as sin,

And then he snorted, “Drunk agin!”

And pa—wal, warn’t a thing to say,

’Cept pull,—and ask Ez, “What’s to pay?”

## “WHEN A MAN GETS OLD”

The clash and the clatter of mowing-machines

Float up where the old man stands and leans

His trembling hands on the worn old snath,

As he looks afar in the broadening path,

Where the shivering grasses melt beneath

A seven-foot bar and its chattering teeth.

When a man gits old, says he,

When a man gits old,

He is mighty small pettaters

As I’ve just been told.

I used to mow at the head of the crew,

And I cut a swath that was wide as two.

—Covered a yard, sah, at every sweep;

The man that follered me had to leap.

I made the best of the critters squeal,

And nary a feller could nick my heel.

The crowd that follered, they took my road

As I walked away from the best that mowed.

But I can’t keep up with the boys no more,

My arms are stiff and my cords are sore:

And they’ve given this rusty scythe to me

—It has hung two years in an apple-tree—

And told me to trim along the edge

Where the mowing-machine has skipped the

ledge.

It seems, sah, skurcely a year ago

That I was a-showin’ ’em how to mow,

A-showin’ ’em how, with the tanglin’ grass

Topplin’ and failin’, to let me pass;

A-showing ’em how, with a five-foot steel,

And never a man who could nick my heel.

But now it’s the day of the hot young blood,

And I’m doin’ the job of the fuddy-dud;

Hacking the sides of the dusty road

And the corner clumps where the men ain’

mowed.

And that’s the way, a man gits told,

He’s smaller pettaters when he grows old.

## I’VE GOT THEM CALVES TO VEAL

It’s a jolly sort of season, is the spring—is the

spring,

And there isn’t any reason for not feeling like a

king.

The sun has got flirtatious and he kisses Mis-

tress Maine,

And she pouts her lips, a-saying, “Mister, can’t

you come again?”

The hens are all a-laying, the potatoes sprouting

well,

And fodder spent so nicely that I’ll have some

hay to sell.

But when I get to feeling just as well as I can feel,

All to once it comes across me that I’ve got

them calves to veal.

Oh! I can’t go in the stanchion, look them

mothers in the eye,

For I’m meditatin’ murder; planning how their

calves must die.

Every time them little shavers grab a teat, it

wrings my heart,

—Hate to see ’em all so happy, for them cows

and calves must part.

That’s the reason I’m so mournful; that’s the

reason in the spring

I go feeling just like Nero or some other wicked

thing,

For I have to slash and slaughter; have to set

an iron heel

On the feelings of them mothers; I have got

them calves to veal.

Spring is happy for the poet and the lover and

the girl,

But the farmer has to do things that will make

his harslet curl.

And the thing that hits me hardest is to stand

the lonesome moos

Of that stanchion full of critters when they find

they’re going to lose

Little Spark-face, Little Brindle—when the

time has come to part,

And the calves go off a-blatting in a butcher’s

rattling cart.

Though the cash the butcher pays me sort of

smooths things up and salves

All the really rawest feeling when I sell them

little calves,

Still I’m mournful in the springtime; knocks

me off my even keel,

Seeing suffering around me when I have them

calves to veal.

## THE OFF SIDE OF THE COW

Old Wendell Hopkins’ hired man is an absent-

minded chap,

He’ll start for a chair, and like as not set down

in some one’s lap.

I happened along where he stopped to bait his

hosses the other day,

—He’d given the hosses his luncheon pail and

was trying to eat their hay,

—A kind of a blame fool sort of a trick for even

a hired man,

But he tackled a different kind of a snag when

he fooled with Matilda Ann,

—When he fooled with Matilda Ann, by jinks,

he got it square in the neck,

And the doctors say, though live he may, he’s a

total human wreck.

He’s wrapped in batting and thinking now

Of the grief in insulting a brindle cow.

Matilda Ann gives down her milk and she

doesn’t switch her tail;

She gives ten quarts—week in, week out, and

she never kicks the pail.

She doesn’t hook and she doesn’t jump, but even

Matilda Ann

Ain’t called to stand all sorts of grief from a

dern fool hired man.

And when he stubbed to the milking-shed in

sort of a dream and tried

To make Matilda “So” and “Whoa” while he

milked on the wrong, off side,

She giv’ him a look to wilt his soul and pugged

him once with her hoof,

And I guess that at last his wits were jogged as

he slammed through the lintel roof.

He’s got a poultice on his brow

Of the size of the foot of a brindle cow.

Now study the ways of the world, my son; oh,

study the ways of life!

It’s the hustling chap that gets the cash, or the

girl he wants for a wife;

It’s the feller that spots the place to grab, when

Chance goes swinging by,

Who gets his dab in the juiciest place and the

biggest plum in the pie;

There’s always a chance to milk the world—

there’s a teat, a pail, and a stool;

There’s a place for the chap with sense and grip,

but a dangerous holt for a fool.

For while the feller that’s up to snuff drums a

merry tune in his pail,

The fool sneaks up on the left-hand side and

lands in the grave or in jail.

—It’s an awkard place, as you’ll allow,

The off-hand side of the world or a cow.

## THE LYRIC OF THE BUCK-SAW

Ur-r rick, ur-r raw,

Ur-r rick, ur-r raw!

Have you buckled your back to an old buck-saw?

Have you doubled your knee on a knotty stick

And bobbed to the tune of ur-r raw, ur-r rick?

Have you sawed till your eye-balls goggled and

popped,

Till your heart seemed lead and your breath was

stopped?

Have you yeaked her up and yawked her down,

—As doleful a lad as there was in town?

If so, we can talk of the back-bent woe

That followed the youngsters of long ago.

Ah, urban chap, with your anthracite,

Pass on, for you cannot fathom, quite,

The talk that I make with this other chap

Who got no cuddling in Comfort’s lap.

You’ll scarcely follow me when I sing

Of the rasping buck-saw’s dancing spring,

For the rugged rhythm is fashioned for

The ear that remembers ur-r rick, ur-r raw.

Ur-r raw, ur-r rick.

Ur-r raw, ur-r rick!

We pecked at our mountain stick by stick.

Our dad was a man who was mighty good

In getting the women-folks lots of wood.

And as soon as sledding came on to stay

Jack got all work and he got no play.

For daily the ox-sleds creaked and crawked

Till the yard was full and the buck-saws talked.

’Twas rugged toil and we humped our backs,

But we scarce kept pace with dad’s big axe.

There were bitter mornings of “ten below,”

There were days of bluster and days of snow,

But with double mittens, a big wool scarf,

And coon-skin ear-laps, we used to laugh

At the fussiest blast old Boreas shrieked,

And the nippingest pinches Jack Frost tweaked,

We were warm as the blade of the yanking saw

That steamed to the tune of ur-r rick, ur-r raw!

Ur-r raw, ur-r rick,

Ur-r raw, ur-r rick!

Ho, men at the desks, there, dull and sick!

You slap your hands to your stiff old backs

At thought of the days of the saw and axe;

And you press your palms to an aching brow,

And shiver to think of a saw-buck now.

But ah, old fellows, you can’t deny

You hanker a bit for the times gone by,

When the toil of the tasks that filled the day

Made bright by contrast our bits of play.

Oh, grateful the hour at set of sun,

When the tea was hot, and the biscuits “done;”

When chocking his axe in the chopping-block,

Dad sung, u Knock off, boys, five o’clock.”

Now tell me truly, ye wearied men,

Are you ever as happy as you were then,

When you straightened your toil-bent, weary

backs

At the welcome plop of dad’s old axe?

And tell me truly, can you forget

The sight of the table that mother set,

When dropping the saws in the twilight gloom,

We trooped to the cheer of the dear fore-room,

And there in the red shade’s mellow light

Made feast with a grand good appetite?

—Made feast at the sweet old homespun board

On the plum preserves and the “crab jell” stored

For demands like these; and made great holes

In the heaps of the cream o’ tartar rolls?

Ah, gusto! fickle and faint above

The savory viands you used to love,

What wouldn’t you give for the sharp-set tang

That followed those days when the steel teeth

sang?

—For zest was as keen as the bright, swift saw

When you humped to the tune of ur-r rick,

ur-r raw?

## MISTER KEAZLE’S EPITAPH

Foster the tinker traversed Maine

From Elkins town to Kittery Point,

With a rattling pack and a rattling brain,

And a general air of “out of joint.”

A gaunt old chap with a shambling gait,

A battered hat, and rusty clothes,

With grimy digits in sorry state,

And a smooch on the end of his big red nose.

That was the way that Foster went,

—Mixture of shrewdness and folly blent,

Mending the pots and the pans as ordered,

But leaving the leak in his nob unsoldered.

But Foster the tinker was no one’s fool;

He fired an answer every time.

’Twas either a saw or proverb or rule,

Or else a bit of home-made rhyme.

And while he knocked at a pot or a pan

And puffed the coals of his little blaze,

He was ready and primed for the jocose man

Who thought that the tinker was easy to

phase.

It chanced that Foster stopped one night

With a man who thought a master sight

Of being esteemed as smart’s a weasel

—Man by the name of Obed Keazle.

And he pronged at Foster the evening through

While the folks were having a merry laugh;

And they laughed the most when he said, “Now

you

Compose me a good nice epitaph,

And your lodging here shan’t cost a cent.”

So Foster snapped at the chance and said

He would have it ready before he went,

And would make one verse ere they went to

bed.

So Keazle listened with deep delight

While he heard the guileless chap recite,

With his head a-cock like a huge canary,

This sample of his obituary:

Thus he begun

Verse number one:

“A man there was who died of late,

Whom angels did impatient wait,

With outstretched arms and smiles of love

To bear him to the Realms Above.”

Foster the tinker slept that night

On a feather tick that was three feet thick,

And Keazle attended in calm delight

To warm the bed with a nice hot brick.

And the tinker sat at the breakfast board

And blandly smiled and ate and ate,

Then piled on his back his motley hoard

And took his stand at the front yard gate.

He said, “I’ll give ye the other half

Of that strictly fust-class epitaph.”

There are doubts you know as to how it

suited,

But the tinker didn’t wait—he scooted.

For thus ran—whew!

Verse number two:

While angels hovered in the skies

Disputing who should bear the prize,

In slipped the devil like a weasel

And Down Below he kicked old Keazle.”

## PLAIN OLD KITCHEN CHAP

Mother’s furnished up the parlor—got a full,

new haircloth set,

And there ain’t a neater parlor in the county,

now, I’ll bet.

She has been a-hoarding pennies for a mighty

tedious time;

She has had the chicken money, and she’s saved

it, every dime.

And she’s put it out in pictures and in easy

chairs and rugs,

—Got the neighbors all a-sniffin’ ’cause we’re

puttin’ on such lugs.

Got up curtains round the winders, whiter’n

snow and all of lace,

Fixed that parlor till, by gracious, I should never

know the place.

And she says as soon’s it’s settled she shall give

a yaller tea.

And invite the whole caboodle of the neighbors

in to see.

Can’t own up that I approve it; seems too much

like fubb and fuss

To a man who’s lived as I have—jest a blamed

old kitchen cuss.

Course we’ve had a front room always; tidy place

enough, I guess,

Couldn’t tell, I never set there, never opened it

unless

Parson called, or sometimes mother give a party

or a bee,

When the women come and quilted and the men

dropped round to tea.

Now we’re goin’ to use it common. Mother

says it’s time to start,

If we’re any better’n heathens, so’s to sweeten

life with art.

Says I’ve grubbed too long with plain things,

haven’t lifted up my soul.

Says I’ve denned there in the kitchen like a

woodchuck in his hole.

—It’s along with other notions mother’s getting

from the club;

But I’ve got no growl a-comin’, mother ain’t let

up on grub!

Still I’m wishin’ she would let me have my

smoke and take my nap

In the corner, side the woodbox; I’m a plain old

kitchen chap.

I have done my stent at farmin’; folks will tell

you I’m no shirk;

There’s the callus on them fingers, that’s the

badge of honest work.

And them hours in the corner when I’ve stum-

bled home to rest

Have been earnt by honest labor and they’ve

been my very best.

Land! If I could have a palace wouldn’t ask no

better nook

Than this corner in the kitchen with my pipe

and some good book.

I’m a sort of dull old codger, clear behind the

times, I s’pose;

Stay at home and mind my bus’ness; wear some

pretty rusty clothes;

’Druther set out here’n the kitchen, have for

forty years or more,

Till the heel of that old rocker’s gouged a holler

in the floor;

Set my boots behind the cook stove, dry my old

blue woolen socks,

Get my knife and plug tobacker from that dented

old tin box,

Set and smoke and look at mother clearing up

the things from tea;

—Rather tame for city fellers, but that’s fun

enough for me.

I am proud of mother’s parlor, but I’m feared

the thing has put

Curi’s notions her noddle, for she says I’m

underfoot;

Thinks we oughter light the parlor, get a crowd

and ontertain,

But I ain’t no city loafer,—I’m a farmer down in

Maine.

Course I can’t hurt mother’s feelin’s, wouldn’t

do it for a mint,

Yet that parlor business sticks me, and I guess

I’ll have to hint

That I ain’t an ontertainer, and I’ll leave that

job to son;

I’ll set out here in the kitchen while the folks

are having fun.

And if marm comes out to get me, I will pull

her on my lap,

And she’ll know—and she’ll forgive me, for I’m

jest a kitchen chap.

## TAKIN’ COMFORT

I wouldn’t be an emp’ror after supper’s cleared

away;

I wouldn’t be a king, suh, if I could.

So long as I’ve got health and strength, a home

where I can stay,

And a woodshed full of dry and fitted wood.

For Jimmy brings the bootjack, and mother trims

the light,

And pulls the roller curtains, shettin’ out the

stormy night.

And me and Jim and mother and the cat set

down—

Oh, who in tunket hankers for a crown?

Who wants to spend their ev’nin’s sittin’

starched and prim and straight,

A-warmin’ royal velvet on a throne?

It’s mighty tedious bus’ness settin’ up so

thund’rin’ late,

With not a minit’s time to call your own.

I’d rather take my comfort after workin’ through

the days

With my old blue woolen stockin’s nigh the

fire’s social blaze,

For me and Jim and mother and the old gray cat

Come mighty near to knowin’ where we’re at.

## EPHRUM KEPT THREE DOGS

Ephrum Eels he had to scratch durned hard to

keep ahead,

—But he always kept three dogs.

He couldn’t keep a dollar bill to save his life,

they said,

—But he always kept three dogs.

He said he might have been some one if he’d

had half a chance,

But getting grub from day to day giv’ Ephrum

such a dance,

He never got where he could shed the patches

off his pants;

—But he always kept three dogs.

Ephrum’s young ones never looked as though

they was half-fed,

—But he always kept three dogs.

The house would be so cold his folks would

have to go to bed;

—But Ephrum kept three dogs.

One was sort of setter dog and two of ’em was

houn’s,

Their skins was full of Satan; they was always

on their roun’s,

Till people durned their pictures in half a dozen

towns,

—But Ephrum kept his dogs.

They ’bated Ephrum’s poll-tax’cause he was too

poor to pay,

—But Ephrum kept his dogs.

How he scraped up cash to license ’em it ain’t

in me to say,

—But I know he kept his dogs.

And when a suff’rin’ neighbor ambuscaded ’em,

Eph swore—

Then in a kind of homesick way he hustled

round for more;

He struck a lucky bargain and, by thunder, he

bought four!

—Jest kept on a-keepin’ dogs.

## LAY OF DRIED-APPLE PIE

Sunning themselves on the southern porch,

Where the warm fall rays from the towering

torch

Of the great sun flash in the glowing noons,

The drying apples, in long festoons,

Drink the breath of the crisp fall days,

Borrow the blush of the warming rays;

Storing their sweetness, their rich bouquet,

Against that savage and wintry day

When the housewife’s fingers shall by and by

Mould them into dried-apple pie.

There they mellow and there they brown,

Homely enough to a man from town,

Merely strings of some shrunken fruit,

Swung in the sun. And yet they’re mute

Memory-ticklers to those who know

The ways of the farm in the long-ago:

—The kitchen table, the heaping store

Of round, red apples upon the floor.

The purr of the parer, the mellow snip

As the busy knives thro’ the apples slip.

The merry chatter of boys and girls,

The rosy clutter of paring curls,

As hurrying knives and fingers fly

O ’er the luscious fruit for dried-apple pie.

I’m idly thinking it sure must be

That the rollicking sport of the apple-bee,

—The sweetness of smiles, the touch of the

white

Hands flashing there in the candle-light,—

Must all in a mystic way be blent

In one grand flavor;—that such was lent

To those mellowing strings, those festoons dun

Swinging there in the late fall sun.

For lo, as I look I seem to see

A dream of the past, a fantasy,

—A laughing, black-eyed roguish girl

Whirling a writhing paring curl;

Chanting the words of the old mock spell

That all we children knew so well:

“Three times round and down you go!

Now who is the one that loves me so?”

Merely a fancy, a passing gleam

Of the old, old days;—a sudden dream

Beguiled by some prank of a blurring eye

And the tricking song of a big, blue fly;

—Merely a fancy, and yet, ah me,

How often I’ve wondered where she can be.

There they mellow and there they brown,

Homely objects to folks from town;

Only some apples hung to dry

And doomed to be finally tombed in a pie.

### ONLY HELD HIS OWN

Now there’s Hezekiall Adams—nicest man you

ever saw!

Never had a row with no one; never once got

into law;

Always worked like thunderation, but to save

his blessed life,

Never seemed to get forehanded—and I’ve laid

it to his wife,

For she always kept him meechin’; calls him

down with sour tone,

Till the critter hasn’t gumption for to say his

soul’s his own.

T’other day

Happened to ride along his way;

Heseki’,

Like a gingham rag hung out to dry,

Peak-ed and pale,

Lopped on the gate ’cross the upper rail.

“Howdy!” says I,

“Blamed if I know,” says Heseki’.

“Don’t feel sick,

But marm’s kept my back on a big hot brick

Till I can’t tell

Whuther I’m ailin’ or whuther I’m well.”

“Think,” says I,

“It’s too early to hoe when the ground’s so dry?”

Says he, “’Bout all

I’m sartin’ of is, I shall dig come fall.”

Says I, “Things look

Like we farmers can fatten the pocket-book.”

“Mebbe,” says he,

“But inarm vows there ain’t much she can see.”

“Ye can’t jest crawl,”

Says I, “but there’s money for folks with

sprawl.”

Old Hezekiah shifted legs and give a lonesome

groan;

“I begun with these two hands,” said he,

“And I’ve only held my own.”

He has always worked like blazes, but, has

always seemed to fail;

—Made his grabs at prancin’ Fortune, but has

caught the critter’s tail;

Never jumped and gripped the bridle—wouldn’t

darst to on his life;

Always acts too blasted meechin’—and I’ve laid

it to his wife.

## GRAMPY SINGS A SONG

Row-diddy, dow de, my little sis,

Hush up your teasin’ and listen to this:

’Tain’t much of a jingle, ’tain’t much of a tune,

But it’s spang-fired truth about Chester Cahoon.

The thund’rinest fireman Lord ever made

Was Chester Cahoon of the Tuttsville Brigade.

He was boss of the tub and the foreman of hose;

When the ’larm rung he’d start, sis, a-sheddin’

his clothes,

—Slung cote and slung wes’cote and kicked off

his shoes,

A-runnin’ like fun, for he’d no time to lose.

And he’d howl down the ro’d in a big cloud of

dust,

For he made it his brag he was allus there fust.

—Allus there fust, with a whoop and a shout,

And he never shut up till the fire was out.

And he’d knock out the winders and save all the

doors,

And tear off the clapboards, and rip up the

floors,

For he allus allowed ’twas a tarnation sin

To ’low ’em to burn, for you’d want ’em agin.

He gen’rally stirred up the most of his touse

In hustling to save the outside of the house.

And after he’d wrassled and hollered and pried,

He’d let up and tackle the stuff ’twas inside.

To see him you’d think he was daft as a loon,

But that was jest habit with Chester Cahoon.

Row diddy-iddy, my little sis,

Now see what ye think of a doin’ like this:

The time of the fire at Jenkins’ old place

It got a big start—was a desprit case;

The fambly they didn’t know which way to turn.

And by gracious, it looked like it all was to burn.

But Chester Cahoon—oh, that Chester Cahoon,

He sailed to the roof like a reg’lar balloon;

Donno how he done it, but done it he did,

—Went down through the scuttle and shet

down the lid.

And five minutes later that critter he came

To the second floor winder surrounded by

flame.

He lugged in his arms, sis, a stove and a bed,

And balanced a bureau right square on his head.

His hands they was loaded with crockery stuff,

China and glass; as if that warn’t enough,

He’d rolls of big quilts round his neck like a

wreath,

And carried Mis’ Jenkins’ old aunt with his

teeth.

You’re right—gospel right, little sis,—didn’t

seem

The critter’d git down, but he called for the

stream.

And when it comes strong and big round as my

wrist

He stuck out his legs, sis, and give ’em a

twist;

And he hooked round the water jes’ if ’twas a

rope

And down he come easin’ himself on the slope,

—So almighty spry that he made that ’ere

stream

As fit for his pupp’us’ as if ’twas a beam.

Oh, the thund’rinest fireman Lord ever made

Was Chester Cahoon of the Tuttsville Brigade.

## UNCLE MICAJAH STROUT

Guess that more’n a dozen lawyers, off and on,

from time to time,

Tried to settle down in Hudson, but they

couldn’t earn a dime.

Never got a speck of business, never had a single

case,

Said they never in their travels struck so

blimmed-blammed funny place.

People did a lot of hustling, town was flourish-

ing enough,

—Everybody but the lawyers had his fingers

full of stuff.

Lawyers stayed till they got hungry, then they’d

pull their shingles down

And go tearing off to somewhere, damning right

and left the town.

Told the lawyers round the county, “Hudson’s

bound to starve you out

Till some patriot up and poisons one old cuss

down there named Strout.

’Cause they won’t fork up a fee,

Long’s he’s round to referee.

’Case of difference or doubt

Folks say, 6 Wal, we’ll leave her out

To Uncle Micajah Strout.’”

If a farmer bought a heifer and she didn’t run

to milk,

If a dickerer in horse trades struck a snag or

tried to bilk,

If two parties got to haggling over what a farm

was worth,

Or if breeders split in squabbling over weight or

age or girth;

If a stubborn line-fence quarrel, right-of-way dis-

pute, or deed,

Claim of heirship or of debtor, honest error,

biassed greed,

Rose to foster litigation, no one scurried to the law,

No one belched out objurgations, sputtered oaths,

or threatened war,

For there was a ready resource in a certain plain

old gent,

Unassuming, blunt, and honest. When he said

a thing it went.

So there was no chance for wrangle, disputations,

snarls, or fray,

When the people of the village universally could

say,

“Oh, what’s the use to fuss?

We shall only make a muss.

We can fix it in about

Half a minute. Leave it out

To Uncle Micajah Strout.”

So no wonder all the lawyers banned and cursed

the place, and left;

For contention was but fleeting and the town

was never cleft

By a quarrel or dissension. Rows were always

settled young

By the pacifying magic of. Micajah’s ready

tongue.

When at last his days were ended and he passed

—well, now you bet

That he had the biggest funeral ever seen in

Somerset.

Miss him? Guess we miss Micajah, but if ever

dreams come true,

I’ve a sort of sneaking notion that he hasn’t yet

got through

Settling things for us in Hudson; for I dreamed

—and this is straight—

That I died and went to Heaven, but was yanked

up at the gate.

Peter showed me facts and figures, all the

records, and allowed

That I’d have to take my chances down below

with t’other crowd;

—Said the thing was pretty even, but he had to

draw it fine,

Then commenced to hunt the index for the next

shade in the line.

I protested, and we had it, this and that, and pro

and con,

And I hung and begged and argued when he

told me to move on.

Till at last he called a cherub, sent the little

chap inside,

Owning up that he was bothered as to how he

should decide.

“But I’ll give you all the show.

That I can,” said he. “You know,

I’ve arranged, in case of doubt,

—When it’s close,—to leave it out

To Uncle Micajah’s trout.”

## THE TRUE STORY OF A KICKER

There lived two frogs, so I’ve been told,

In a quiet wayside pool;

And one of those frogs was a blamed bright frog,

But the other frog was a fool.

Now a farmer man with a big milk can

Was wont to pass that way;

And he used to stop and add a drop

Of the aqua pure, they say.

And it chanced one morn in the early dawn,

When the farmer’s sight was dim,

He scooped those frogs in the water he dipped,

—Which same was a joke on him.

The fool frog sank in the swashing tank

As the farmer bumped to town.

But the smart frog flew like a tug-boat screw,

And he swore he’d not go down.

So he kicked and splashed and he slammed and

thrashed,

And he kept on top through all;

And he churned that milk in first-class shape

In a great big butter ball.

Now when the milkman got to town,

And opened the can, there lay

The fool frog drowned; but, hale and sound,

The kicker he hopped away.

## MORAL.

Don’t fret your life with needless strife,

Yet let this teaching stick:

You’ll find, old man, in the world’s big can

It sometimes pays to kick.

## ZEK’L PRATT’S HARRYCANE

’Twould make an ox curl up and die

To hear how Zek’l Pratt would lie.

—Why, that blamed Zeke

Could hardly speak

Without he’d let some whopper fly.

Come jest as natchrul to him, too,

—’Twas innocent, and them as knew

Zeke’s failin’s never took great stock,

But jest stood back and let him talk;

Jest let him thrash his peck o’ chart,

Then got behind his back to laugh.

Why, Zeke would—jest hold on and see

What that old liar told to me.

Last fall while gettin’ in his grain

He said he see’d a harrycane

—A cikerloon, as they say West—

A-boomin’ on like all possesst.

And Zekel see’d to his consarn

’Twas bound plumb straight for his new barn.

“’Twas crickitul,” says he. “Thinks I,

I’ve got to be almighty spry.

If somethin’ ain’t done kind o’ brash

That barn will get chawed inter hash.

It don’t take long for me to think,

And what I done was quicker’n wink.

Jest gafflin’ up a couple boards

I sashayed out deerectly to’ards

That howlin’, growlin’ harrycane

That come a-raisin’ merry Cain.

“When I’d got out as fur’s my wind

Would take me, I slacked up and shinned

That cob-piled monnyment o’ stones

Between my land and Bial Jones.

Though I don’t scare

I’ll own, I swear,

It sent a twitter through my bones

When I got where that I could see

The thing ’twas goin’ to tackle me.

’Twas big and round and blacker’n Zip,

—And powerful? My sakes, ’twould grip

A tree or bam or line o’ fence

And make ’em look like thirty cents.

While all the time it growled and chawed

And spit the slivers forty rod.

—As things looked then a bob-tailed darn

Was too much price for Pratt’s new barn.

“But let me tell ye this, my son,

Me’n them boards warn’t there for fun.

I held one underneath each arm;

The ends stuck out

In front about

Ten feet. I held ’em aidge to aidge

And made a fust-class kind of wedge.

I grit my teeth. There was a calm

For jest a minit, kind o’ ’s ef

That harrycane had stopped itse’f

And snickered, snorted, laughed, and yelled,

Then stopped again and sort o’ held

Its breath; then swellin’ up its breast

Swooped down to knock me galley-west.

“It grabbed them boards and then ’twas fight!

But scare me? Not a gol-durned mite!

It pulled and tugged and yanked and hauled

And tooted, howled, and squealed and squalled;

It picked up sculch and dirt, and threw,

And followed with a tree or two;

It hit me with a rotten squash,

And give me fits with Marm Jones’ wash.

But ’twarn’t no use, suh, Zek’l Pratt

Ain’t built to scare at things like that.

I jest let into that air tyke

And punched its innards reg’lar-like

With them ’ere boards, and honest true,

I split her square and plumb in two.

One half went yowlin’ by to right

And one to left—and out’ of sight.

While Zek’l Pratt was still on deck

With Marm Jones’ night-gown round his neck.”

## THOSE PICKLES OF MARM’S

It doesn’t need eyesight to tell that it’s fall,

Up here in Maine.

Though the glamor of yellow is over it all,

And the cold, swishing rain

Comes peltering down and goes stripping the

leaves,

And smokes in cold spray from the edge of the

eaves.

All, it’s wild out of doors, but come in here with

me

Where mother’s as busy as busy can be.

And you need not your eyes, sir, to know it is fall

In this stifle and stirring and steam like a pall.

For there’s savor of spices and odorous charms

When your nose gets a sniff of these pickles of

marm’s.

You know it is fall without using your eyes,

Up here in Maine.

There is fragrance that floats as the flower-pot

dies

In the tears of the rain.

And the hand of the frost strips the sheltering

leaves

From the pumpkins, those bombs of the sentinel

sheaves

That stiffly and starkly keep gnard in the field,

A desolate rank without weapon or shield.

And the fragrance of death like a delicate musk

Floats up from the field through the crispness of

dusk;

Yet out from the kitchen, more savory far,

Drifts the fragrance of pickles compounded by

ma.

The autumn sweeps past like a dame to a ball,

Up here in Maine.

Her perfumes would stagger shy Springtime, but

Fall,

Like a matron of Spain,

Puts musk in her bosom and scent on her hair,

And prinks her gay robe with elaborate care.

Yet the fragrance she sheds has the savor of

death,

The brain is turned giddy beneath her fierce

breath,

Till over it all floats the vigorous scent

Of spices and hot things and good things, all

blent.

It’s wonderful, friend, how it tickles and calms,

—That whiff from those simmering pickles of

marm’s.

## “THE MAN I KNEW I KILLED”

Ezra Saunders, of Hopkins’ Creek,

Was the next old soldier asked to speak.

He’d seen his share of the thousands slain

In the active days of the Umteenth Maine;

And we settled hack to hear him tell

His reasons for thinking that “War is Hell.”

“Dear comrades of Keesuncook Post and ladies

of the Corps,

I thank you for this invite and I’m proud to

take the floor.

I was thinkin’ as I set here of the battles that

I’ve fought,

Of the suff’rin’ and the slaughter—and the

sudden, awful thought

Come across me that I’d taken very likely scores

of lives,

—Taken fathers from their children, taken

husbands from their wives.

While mad with heat of battle I was pumping

reeking lead,

Not knowing, no, nor caring, where the bullet

found its bed.

Now people they will ask us if we really, truly

know

For a fact that while a-fightin’ we have ever

killed a foe.

But it’s rare you find a soldier who has seen, in

heat of strife,

That the bullet he had fired was the one to take

a life.

Now, to-night, I’m going to tell you, though I

hate to, boys, I swan,

That I know I’ve done my murder; that I know

I’ve killed my man.

“’Twas when we got our rapping at the fight of

Hatcher’s Run;

I was running hard as any;—yes, I threw away

my gun

And the rest of my equipment, and proceeded,

friends, to steer

Just as fast as legs would help me for protection

at the rear.

I was quite a nervy sprinter—‘bout as swift as

you will find,

But I couldn’t shake that Johnny who came

slammin’ on behind;

For he had the Georgy straddle and was sort of

razor-edged,

And if nothin’ special busted, I was spoke for,

so I jedged.

He was hanging to his rifle, but he didn’t try to

shoot,

—He see he had me solid,—but I give the

blame galoot

A standard mile or such-like and had druv him

in the list,’

When I stepped upon a hubble, fell, and give

my leg a twist.

And the tumble sort of stunned me so I laid

there quite a spell,

Expectin’ that he’d grab me; just a-harkin’ for

his yell.

But things stayed calm and quiet, so I peeked;

he laid there sprawled

’Bout a dozen yards behind me. And he looked

so queer I crawled

Slowly back to reconnoitre, got where I could

see his head,

Saw his face was black’s a stove-pipe. Apo-

plexy! He was dead.

And I stood and wept above him, stirred, dear

comrades, to the peth

With the awful, awful pity for that man I’d run

to death.

And my conscience always pricked me and my

heart with grief is filled,

For there ain’t no question, comrades, there’s a

man I know I killed.”

## ’LONG SHORE CRUISE OF THE “NANCY P.”

We was off Seguin with the “Nancy P.,”

From the Sheepscot bound for Boston way;

We was one day out, and massy me!

What a leak she’d sprung sence she left the bay!

Why, never knowed sech an awful leak,

Gad, we made her old pump squeak,

Gad, we made it whoop and hump,

—Two at a turn, on the stiddy jump,—

Ker-chonk, ker-chump,

With an up yo-ho and a down ker-bump.

But the more we pumped, the more she drawed,

And we all turned to for a mighty pull;

But when we giv’ her the soundin’ rawd,

Why, bless yer soul, she was jam, bang full.

Plumb, jamb full to the soaked old deck,

Full to her gol-durned tarred old neck;

Wonder was how she kept aflo’t,

With the sea a-gozzlin’ in her thro’t;

Ker-do’t, ker-do’t,

—And we couldn’t leave, ’cause there wam’t no

bo’t.

So we hung to the pump and we giv’ her Cain,

Though it didn’t seem to be no use.

We thought of the good dry ground in Maine,

And durned the pelt of that old caboose,

Durned the hide of a tops’l tub,

For we never thought we’d see the Hub;

—Got so scart we forgot to thank

Our lucky stars for a lo’d of plank,

Ker-clink, ker-chank,

And still we bounced that old pump crank.

So we woggled on like a bale of hay,

And we set our teeth and we pumped with

groans.

At last we got to Boston bay;

But our arms were stretched to our ankle bones,

Hands were the size of corn-fed hams,

Eyes bulged out like the horns o’ rams,

We humped like monkeys bound for war,

And ev’ry man had a raw, red paw,

Ker-haw, ker-haw,

We beached that tub—and then we saw—

The “Nancy P.,” she’d grown that old,

Her butts had rotted all away.

Her lo’d of planks still jammed the hold,

But we’d left her bottom in Sheepscot bay.

So there we’d made a tumble try

To pump old ’Lantic ocean dry.

Over our rail, ’twixt you and me,

We’d h’isted, suttin, a mile of sea;

Blame me! But we

Was a darn sick crowd on the “Nancy P.”

#####

## TALE OF THE SEA-FARING MAN

I purchased a glass of stiff Maine grog for a

salty son of the sea,

And he confidentially leaned on the bar and

spun this yarn for me:

” ’Twas down in the aidge of the Saragos’ in the

nineteenth latitood

That I think I see the dumdest sight that ever a

sailor viewed.

“We was dobbin’ along with dumpy sails in a

nigh-about dead calm,

When the forrard watch give a good long squint,

and he yapped a loud alarm.

“And there afloat, two points to port, was a

shark, a reg’lar he’un,

The biggest shark I’ve ever seen outside the

Caribbeun.

“The old man reckoned he’d have his pelt, and

he yelled to the second mate,

Sling over the biggest hook ye’ve got, with a

good big plug o’ bait.’

“We dragged her astern and his nobs come on,

and then with a mighty splosh,

He gulped the pork, he bit the rope, and away

he went, by gosh!

“But when he’d hipered two miles to lee, and

begun to wopse and wheel,

We figgered he found the lunch he had a rayther

too hearty meal.

“Yet right behind the quarter wash the critter

swum next day,

And though he gobbled the bait we threw, he

allus got away.

“And at last, do ye know, we liked the cuss for

the way he showed his spunk,

And we named him Pete, and shared salt hoss,

and tossed him a daily junk.

“He got the orts of the fish we caught and, all

in all, I’ll bet

A two-hoss waggin wouldn’t haul the stuff that

critter et.

“Then one day Jones, the heftiest man we had

in all the crew,

Went off the rail with a swinging sail, and Pete

he et him too.

“From that time on we tipped our caps to the

razor-backed old brute,

—We tipped our caps and pulled a bow in a

most profound salute;

“For ’twas only due from a decent crew to honor

a comrade’s grave,

Though ’twas odd, I’ll own, to have a tomb afloat

on the ocean wave.

“And the old man ordered the fish lines coiled,

for he ’lowed ’twarn’t proper game

To bob behind for a grave-yard lot; so Pete

swum on the same,

”—Swum on the same, though we come to see

that he didn’t act quite right.

For he grew as thin’s a belayin’ pin on that gol-

durned appetite.

“And we couldn’t figger the secret out, though

the second mate was firm

That stowed ’tween decks in the shark’s insides

was a bastin’ big tape-worm.

“As we didn’t have no vermifuge we could only

mourn for Pete,

And steal salt hoss when the mate wam’t round,

and give him lots to eat.

“But at last he rolled his glassy eyes and give

an awful chum,

And turned his belly up to view and drifted off

astern.

“He rolled and sogged on a logy swell like a

nut-cake dropped in fat,

And it ’peared to all there was suthin’ wrong

with the shark we was lookin’ at.

“So the old man ordered the gig crew up, and

the bos’n piped a tune,

And away we sploshed with the mate ahead

a-grippin’ a big harpoon.

“He slung the thing when we drew abreast and

we hacked like all-possessed;

But the shark was sleepin’ sound, you bet, for

we never broke his rest.

”—We never broke his peaceful snooze, though

plunk to the eyelet head

Went rippin’ in that big harpoon,—for, you see,

the shark was dead.

“And the old man ordered an ortopsy, for the

thing seemed mighty queer

That an able-bodied, hearty shark was deader’n

a door-knob here.

“So the mate was medical ’xaminer, and he

straddled the critter’s back

And laid him open from deck to keel with one

almighty whack.

“Now listen close while I tell the rest, for this is

the story’s peth,

—You may take my nob for a scuttle-butt if

the shark warn’t starved to death.

“Starved to death, though the sea was full of

the fattest kind of fish,

—Starved, though a seaman plump and sound

had tumbled in his dish,

”—Starved though he had in his gorged insides

I’ll bet a hundredweight

Of every kind of a floating thing from codfish

down to bait.

“And this was how: He’d spied, we judged, an

empty cask afloat,

And bein’ a glutten he grabbed the thing and

tucked it down his throat.

“The cask, we found, had an open end—the

bottom was good and stout

—The shark had swallowed the whole end fust

—the open end was out.

“And ev’ry mossel the critter et was scooped by

the cask inside;

His vittles failed to reach the spot, and so the

poor shark died.”

This is a sample of weird, wild yarns the marin-

ers relate

Under the spur of a glass of grog in a Prohibi-

tion State.

## CAP’N NUTTER OF THE “PUDDENTAME”

The foam bells tinkle at gilded prow

—There’s a creamy wake to the far horizon.

And she tiptoes along with a New York bow

To the curt’sying waves, and we’ll all allow,

She’s the daintiest yacht we have set our eyes

on.

While sneaking after, in grimy shame,

Rolls tops’l schooner, the “Puddentame.”

On the rocking surge swings the millionaire,

And about him splendor and music and

laughter;

The glint of jewels and ladies fair;

Jollity throned, and Old King Care

Drowned in the brine and dragging after.

But the billows lift and toss the same

Old Cap’n Nutter in the “Puddentame.”

Under the gloom of the Porcupines,

In the gleam of the lights of the summer city,

In a tapestried cabin the rich man dines,

And toasts his friends in his bubbling wines,

While the repartee and the careless ditty

Float from the lips of squire and dame

To Cap’n Nutter of the “Puddentame.”

And the old man munches his bread and cheese

In the gloom and grime of his little cuddy;

—Through the mirk of the dusty deadlight sees

This riot of riches; then on his knees

—This sea-stained, warped old fuddy-duddy—

He prays for their souls in the Saviour’s

name,

—-Does Cap’n Nutter of the u Puddentame.

And they?—Why, they neither know nor care

That the honest chap has knelt and pleaded.

For just at the edge of the dazzling glare

From the rocking yacht of the millionaire,

The old craft swings and sways unheeded.

Yet who’ll sleep better, jaded Fame

Or Cap’n Nutter of the “Puddentame”?

## GOOD-BY, LOBSTER

We’ve gazed with resignation on the passing of

the auk,

Nor care a continental for the legendary rok;

And the dodo and the bison and the ornith-o-

rhyn-chus

May go and yet their passing brings no shade of

woe to us.

We entertain no sorrow that the megatherium

Forever and forever is departed, dead and

dumb:

But a woe that hovers o ’er us brings a keen and

bitter pain

As we weep to see the lobster vanish off the

coast of Maine.

Oh, dear crustacean dainty of the dodge-holes

of the sea,

I tune my lute in minor in a threnody for thee.

You’ve been the nation’s martyr and ’twas wrong

to treat you so,

And you may not think we love you; yet we

hate to see you go.

We’ve given you the blazes and hot-potted you,

and yet

We’ve loved you better martyred than when

living, now you bet.

You have no ears to listen, so, alas, we can’t

explain

The sorrow that you bring us as you leave the

coast of Maine.

Do you fail to mark our feeling as we bitterly

deplore

The passing of the hero of the dinner at the

shore?

Ah, what’s the use of living if you also can’t

survive

Until you die to furnish us the joy of one

“broiled live”?

And what can e ’er supplant you as a cold dish

on the side?

Or what assuage our longings when to salads

you’re denied?

Or what can furnish thunder to the legislative

brain

When ruthless Fate has swept you from the rocky

coast of Maine?

I see, and sigh in seeing, in some distant, future

age

Your varnished shell reposing under glass upon

a stage,

The while some pundit lectures on the curios of

the past,

And dainty ladies shudder as they gaze on you

aghast.

And all the folks that listen will wonder vaguely

at

The fact that once lived heathen who could eat

a Thing like that.

Ah, that’s the fate you’re facing—but laments

are all in vain

—Tell the dodo that you saw us when you

lived down here in Maine.

## CURE FOR HOMESICKNESS

She wrote to her daddy in Portland, Maine, from

out in Denver, Col.,

And she wrote, alas, despondently that life had

commenced to pall;

And this was a woful, woful case, for she was

a six months’ bride

Who was won and wed in the State of Maine by

the side of the bounding tide.

And ah, alack, she was writing back that she

longed for Portland, Maine,

Till oh, her feelings had been that wrenched she

could hardly stand the strain!

Though her hubby dear was still sincere, she

sighed the livelong day

For a good old sniff of the sewers and salt from

the breast of Casco bay.

And she wrote she sighed, and she said she’d

cried, and her appetite fell off,

And she’d grown as thin’s a belaying-pin, with a

terrible hacking cough;

And she sort of hinted that pretty soon she’d

start on a reckless scoot

And hook for her home in Portland, Maine, by

the very shortest route.

But her daddy dear was a man of sense, and he

handles fish wholesale,

And he sat and fanned himself awhile with a

big broad codfish tail;

And he recollected the way he felt when he

dwelt in the World’s Fair whirl.

He slapped his head. “By hake,” he said, “I

know what ails that girl.”

And he went to a ten-cord pile of cod and he

pulled the biggest out,

A jib-shaped critter, broad’s a sail,—three feet

from tail to snout.

And he pasted a sheet of postage stamps from

snout clear down to tail,

Put on a quick delivery stamp, and sent the cod

by mail.

She smelled it a-coming two blocks off on the

top of the postman’s pack;

She rushed to meet him, and scared him blind by

climbing the poor man’s back.

But she got the fish, hit out a hunk, ate postage

stamps and all,

And a happy wife in a happy home lives out in

Denver, Col.

## ON THE OLD COAST TUB

Blast from the winter. Wrack-wood and splinter

Adrift in the smother of roaring lee shore:

And a blunt-nosed old coaster; some ancient

sea-wagon,

Sweeps in from the fog no more—no more,

Rolls in from the sea no more.

Bricks make her load and New York her destin-

ation.

(Dern yer hide, ye snoozer, keep a-pumping

there, I say!)

Bricks for a cargo and she leaks like thundera-

tion,

And the gulls a-trailin’ after like the buzzards

sniffin’ prey!

Pump away!

And ev’ry brick a-soakin’ in her innards growls

and grates;

She hesitates—she balks and waits,

And holy hawse-pipe, how she hates

To leave Penobscot Bay!

Pounce! On her bows leap the combers like

a tiger-cat,

(Lift ’er on the handle, there, you loafer,

pump away!)

Lurch! Reels her gait, and her sloshin’ scup-

pers hiccup at

The sight of drunken breakers fightin’ past

’er up the bay.

Pump, I say!

Oh, give her all the rotten sail her leary masts

will lug.

Ka-chig, ka-chug; her ugly mug

Rolls orkord as a driftin’ jug,

And so we slosh away.

Grub to last a week, a quadrant and an alma-

nick;

(Wag ’er there, you rascal, wag ’er lively

there, I say!)

Rotten are her sails and her hold a-roar with

shiftin’ brick,

—Ain’t we up ag’inst it if a norther comes

our way?

Pump, I say!

Stagger down, ye bloated drunkard, wheel and

take the starboard tack!

Ka-slup, ka-smack, now work ’er back,

Jest hear that old black canvas crack.

Ho! Davy Jones, hooray!

Black cordage tangled, dead features mangled,

Adrift in the smother of roaring lee shore.

And a blunt-nosed old coaster;

some broad-bellied wagon

Sweeps in from the sea no more

—Rolls in from the sea no more,

—no more.

## TALE OF THE KENNEBEC MARINER

Guess I’ve never told you, sonny, of the strandin’

and the wreck

Of the steamboat “Ezry Johnson” that run up

the Kennebec.

That was ’fore the time of steam-cars, and the

“Johnson” filled the bill

On the route between Augusty and the town of

Water ville.

She was built old-fashined model, with a

bottom’s flat’s your palm,

With a paddle-wheel behind her, druv’ by one

great churnin’ arm.

Couldn’t say that she was speedy—sploshed

along and made a touse,

But she couldn’t go much faster than a man

could tow a house.

Still, she skipped and skived tremendous, dodged

the rocks and skun the shoals,

In a way the boats of these days couldn’t do to

save their souls.

Didn’t draw no ’mount of water, went on top

instead of through.

This is how there come to happen what I’m go-

ing to tell to you.

—Hain’t no need to keep you guessing, for I

know you won’t suspect

How that thunderin’ old “Ez. Johnson” ever

happened to get wrecked.

She was overdue one ev’nin’, fog come down

most awful thick;

’Twas about like navigating round inside a

feather tick.

Proper caper was to anchor, but she seemed to

run all right,

And we humped her—though ’twas resky—

kept her sloshing through the night.

Things went on all right till morning, but along

’bout half-past three

Ship went dizzy, blind, and crazy—waves

seemed wust I ever see.

Up she went and down she scuttered; sometimes

seemed to stand on end,

Then she’d wallopse, sideways, cross-ways, in a

way, by gosh, to send

Shivers down your spine. She’d teeter, fetch a

spring, and take a bounce,

Then squat down, sir, on her haunches with a

most je-roosly jounce.

Folks got up and run a-screaming, forced the

wheelhouse, grabbed at me,

—Thought we’d missed Augusty landin’ and

had gone plum out to sea.

—Fairly shot me full of questions, but I said

’twas jest a blow;

Still, that didn’t seem to soothe ’em, for there

warn’t no wind, you know!

Yas, sir, spite of all that churnin’, warn’t a whis-

per of a breeze

—No excuse for all that upset and those strange

and dretful seas.

Couldn’t spy a thing around us—every way

’twas pitchy black,

And I couldn’t seem to comfort them poor crit-

ters on my back.

Couldn’t give ’em information, for ’twas dark’s

a cellar shelf;

—Couldn’t tell ’em nothing ’bout it—for I

didn’t know myself.

So I gripped the “Johnson’s” tiller, kept the

rudder riggin’ taut,

Kept a-praying, chawed tobacker, give her steam,

and let her swat.

Now, my friend, jest listen stiddy: when the sun

come out at four,

We warn’t tossin’ in the breakers off no stern

and rockbound shore;

But I’d missed the gol-durned river, and I swow

this ’ere is true,

I had sailed eight miles ’cross country in a heavy

autumn dew.

There I was clear up in Sidney, and the tossings

and the rolls

Simply happened ’cause we tackled sev’ral miles

of cradle knolls.

Sun come out and dried the dew up; there she

was a stranded wreck,

And they soaked me eighteen dollars’ cartage to

the Kennebec.

## DRIVE, CAMP, AND WANGAN

## THE LAW ’GAINST SPIKE-SOLE BOOTS

It’s a case of scuff in your stocking-feet, from

Seboomook down, my hearties;

Sling your spikers around your neck and swear

your way to town.

The dudes that we sent to legislate, and figger

at balls and parties,

Haye tinkered the laws to suit themselves, and

they’ve done us good and brown.

There’s a howl, you bet, from the Medway dam

across to the Caucmogummac,

For the laws came up in the tote-team mail, and

we’ve got the new statoots,

And of all the things that was ever planned to

give us a gripe in the stomach,

The worst is the corker that t’runs us down for

a-wearin’ our old calked boots.

You can’t chank on to a hotel floor,

You’ve got to leave calked boots at the door.

They make ye peel your hucks in the street

And walk to the bar in your stocking-feet.

It’s a blank of a note that a man with chink

Can’t prance to the rail and get his drink,

But it’s five and costs if ye mar the paint,

And ten if the feller that makes complaint

Gets mad at a playful push in the eyes

And goes into court with a lot of lies.

It’s ten if ye sliver a steam-bo’t’s deck

—There ain’t no argue—it’s right in the neck.

And they soak you, too, on the railroad train;

—Why, there’s hardly a loggin’ crew in Maine

But what has claimed, as a nat’ral right,

A chance to holler and heller and fight,

And knock the stuffin’ out of the seats,

Rip off the blinds and club with the cleats.

But now if the bloomin’ brakeman talks,

And you vaccinate him once with calks;

If you feel like a man with a royal flush

And, jest for the joke of it, rip some plush,

Oh, they take that law and they peel you sore;

You pay for the damage, and ten plunks more.

’Tain’t much like the days when we had some

rights,

When we roosters sharpened our spurs in fights,

When never a crowd put up galoots

That could scrap with the fellers with spike-sole

boots.

It’s a case of step to the wangan camp, and buy

some partent leathers;

And go a-snoopin’ along to town like a dude on

his weddin’-trip;

And the only thing you can do to a guy is to tickle

his nose with feathers,

And curl in your seats in the smokin’-car when

a drummer gives you lip.

There was fun, by gee, in the good old days

when we whooped ’er into the city,

And you trailed our way by the slivers we left

from the railroad down to the dives,

And we owned the town where we left our cash;

and now it’s a thunderin’ pity

If all of a sudden you’ve grown too good for the

boys who are off the drives.

Oh, make the laws, go make the laws with your

derned old Legislature,

Jest give us orders to wear plug hats and come

down in full dress suits.

We’ll wear the togs; but give us spikes, or

you’ve busted the laws of nature,

For angels can just as well shed wings as a

driver his spike-sole boots.

## THE CHAP THAT SWINGS THE AXE

Sing a song of paper; first the tall, straight

spruce,

Torn from off the mountains for the roaring

presses’ use.

—A shrieking laceration by the “barker” and

the saw;

A slow, grim maceration in the grinder’s grum-

bling maw;

A dizzy dash through calenders and over whir-

ring rolls,

—And the press can smut the paper so to save

or damn your souls;

The press has got the paper, it can give you lies

or facts

—That vexes not the fellow up in Maine who

swings the axe.

Chock!

Chock!

Chock!

The throb stuttered up from the heart of the

wood,

Erratic and faint, yet the trees understood,

—Though distant and dull like the tick of a

clock

It started a tremor through all the great flock.

King Spruce was a-shiver and rooted with dread,

While past him to safety the wood people fled;

The fox with his muzzle turned backward to

snuff

The bear trundling on like an animate muff,

And rabbits up-ending in wonder and fright,

Then scudding once more with the others in

flight.

Yet that which has reason most urgent to flee

Stands grim in the rout of the panic—the

Tree!

While up the long slope, glaring red ’gainst the

snow,—

His shirt of the hue of the butcher,—the foe,

Beating fierce at the trunks with relentless

attacks,

Comes on to the slaughter, the Man with the Axe.

Chock!

Chock!

Chock!

Shudder and totter and shiver and rock!

—Pygmy assailing with dull steady knock.

Trunk yawning wide with a hideous gash.

Snow-covered limbs thrown a-sprawl; and

then crash!

The pens and the presses are waiting, and eyes

That will glow with delight, or dilate with sur-

prise.

For there in the heart of the spruce there is

rolled

The fabric for thousands of stories untold.

And on the white paper may later be spread

The fall of a nation, or fame of one dead

Who now strides abroad in his health and suc-

cess,

But will pass to the tomb when that log meets

the press.

There under the bark of that spruce there is

furled

A web that will carry the news of a world,

That clamors and crowds at the swaying red

backs

Of the toilers of Maine, the rough men of the

axe.

## THE SONG OF THE WOODS’ DOG-WATCH

’Tis the weirdly witching hour of the woods’

“dog-watch,”

When the guide suspends the kettle in the ash

limb’s crotch,

Stirs the drowsy, drowsy embers till the cozy

fire beams

And flickers dance like gnomes and elves athwart

the glowing dreams

Of the sleeping town-bred fisher who is stretched

with placid soul

On the earth in sweeter slumber than his town

couch can cajole.

Ah, ’tis tough on bone and muscle, is this chas-

ing after fun—

And a sleeper gets to sleeping forty knots along

’bout one.

But the guide is up a-stirring—monstrous shape

with flaring torch,

Prodding up the dozing fire for the woods’ “dog-

watch.”

And the slow unclosing eyelids of the startled

dreamer see

This dreadful apparition thrown in shadows on a

tree.

And his heart for just a second goes to skirrup-

ing about

As it flopped when he was wrestling with that

five-three-quarter trout.

But the ogre leaves the shadows, leans against

a handy tree

And remarks: “The water’s bilin’; won’t ye

have a cup o’ tea?”

And he wakes to a night of the fisherman’s

June,

—Afar the weird lilt of the dolorous loon

Floats up from the heart of the fair, velvet

night—

A globule of sound winging slow in its flight.

As elfin a note as a gnome ever blew,

It wells from the waters, “Ah-loo-hoo-ah-hoo-

o-o-o.”

O spell of the forest! O glimmer and gleam

From the sheen of the lake and the mist-breath-

ing stream!

The night and the stars and the dolorous loon

Make mystic the spell of the fisherman’s June.

The spruces sing the lyric of the wood’s dog-

watch;

The kettle as it bubbles in the ash limb’s crotch,

The rustle of the spindles of the hemlock and

the pine,

The crackle where the licking tongues of ruddy

fire twine,

The oboe, in the distance, of the weird and lone-

some loon,

—This chorus sings the lyric of the blessed

month of June.

What June? Your June of meadows or your

June of scented breeze,

Or your June begirt with roses stretched in

hammock at her ease?

Such a deity for maidens! I can bow to no

such June!

I extol the mystic goddess of the Forest’s Silent

Noon.

—Noon of day or noon of night-time—in the

vast and silent deeps,

Where human care or human woe or human

envy sleeps,

Where rugged depths surround me, dim and

silent, deep and wide,

And no human shares my joy but that second

self, my guide.

—Here’s a June that one can worship. Here’s

a June by right a queen, 'Neath her hand eternal mountains, ’neath her

feet eternal green..

And here will I adore her, seeking out her

awful throne

With the Silence swimming round me, and

alone, thank God, alone!

#####

## FIDDLER CURED THE CAMP

Wal, things they was deader’n old Billy-be-darn,

The boss was pernickity, cook wouldn’t yam;

For we’d heard ev’ry story old Beans had to spin,

And we hadn’t no longin’s to hear ’em agin;

Old Pitts, the head chopper, we’d pumped him

out, too,

—And he swow’d that he’d sung ev’ry song

that he knew.

As the rest wasn’t gifted, a sort of a damp

Old glister of silence fell over Peel’s camp.

The deacon-seat doldrums were blacker’n old Zip,

We’d set there an hour with never a yip,

’Cept the suckin’ o’ lips at the quackin’ T.D.‘s,

With the oof and the woo of the lonesome pine

trees

Wistling over our smok’-hole. It grew on us,

too;

Our thoughts got as thick an’ as musty an’ blue

As the cloud o’ tobacker smoke, mixed with the

steams

From the woolens that dried on the stringers

and beams.

Old Attegat Peter said we was bewitched;

He said that he seed the Old Gal when she

twitched

A fistful o’ hair out the gray hosses’ tail

For a-makin’ witch tattin’. She’d hung on a nail

The queerisome web, so he said, an’ the holes

—They were fifty—they stood for the whole

of our souls.

An’ there we would swing, an’ hang there we

must,

Till the hoodoo was busted. Eternally cussed,

So he said, was the buffle-brained feller that

dared

To touch the witch-web that was holding us

snared.

Aw, we didn’t believe it—‘tain’t like that we

did!

But still we warn’t fussy! If we could get

rid

Of the dumps by a charm, we was ready to try,

And Peter said singin’ would knock ’em sky

high.

Wal, Peter said “singin’;” I can’t tell a lie,

’Twarn’t singin’, ’twarn’t nothin’—that mourn-

ful ki-yi!

That seemed like a beller in ev’ry man’s boot,

An’ ’twarn’t none surprisin’ the witch didn’t

scoot.

So there did we set in a stew an’ a cloud,

A grumpy old, lumpy old dob of a crowd.

But oh, landsy sake a-Peter, when the fiddle come

to camp,

W’y you wouldn’t know the place:

—Wuz a grin on ev’ry face

W’en we know’d the critter’d got it. An’ it

reely seemed the lamp

Had a ’leetric light attachment; an’ you

oughter heard us stamp

When that feller took his fiddle out an’ rosined

up the bow.

Then he yawked an’ yeaked an’ yawked

’Twistin’ keys ontil she squawked,

An’ we set there jest a-gawpin’; not a word to

say, but, oh,

We was right on pins an’ needles fer to have

him let ’er go.

Tweedle-weedle, yeaky, yawky, ’nother twist,

an’ pretty soon

He was waitin’ to begin,

With ’er underneath his chin;

He a-askin’, all a-grinnin’, “Wall, boys, name

it; what’s your tune?”

An’ we hollered all in concert, “Whoop ’er up

on ‘Old Zip Coon’!”

Oh, the deacon-seat had cushions an’ the bunks

were stuffed with down,

While the feller sawed the strings;

We could feel our sproutin’ wings,

An’ we wanted to go soarin’, go a-sailin’, wear a

crown,

Tear the ground up, whoop-ta-ra-ra, mix some

red and paint the town.

Oh, he played the “Lights o’ London” an’ he

played “The Devil’s Dream,”

—All the old ones—played ’em all;

Rode right on ’er—made ’er squall;

Didn’t stop to semi-quiver, tip-toe Nancy, pass

the cream;

No; he let ’er go Jerooshy, clear the track an’

lots o’ steam.

Thought I’d never heerd such playin’ sence the

Lord had giv’ me breath

An’ that P. I.—seems as if

He could put the bang an’ biff

In the chitter of a cat-gut like to touch the very

peth

In yer marrow; like to raise yer from the very

jaws of death.

So, oh, landsy sake a-Peter, when that fiddle

come our way,

Say, you wouldn’t know the place,

—Wus a grin on ev’ry face.

—Went to workin’ like the blazes an’ our vittles

set—an’ say,

Guess the Hoodoo flew to thunder when the

Haw-Haw come to stay.

## THE SONG OF THE SAW

The song is the shriek of the strong that are

slain,

—The monarchs that people the woodlands of

Maine;

—‘Tis the cry of a merciless war.

And it echoes by river, by lake, and by stream,

Wherever saws scream or the bright axes gleam,

—‘Tis keyed to the sibilant rush of the steam,

And the song is the song of the saw.

Come stand in the gloom of this clamorous

room,

Where giants groan past us a-drip from the

boom,

Borne here from the calm of the forest and hill,

—Aghast at the thunderous roar of the mill,

At rumble of pulley and grumble of shaft

And the tumult and din of the sawyer’s rude

craft.

Stand here in the ebb of the riotous blast,

As the saw’s mighty carriage goes thundering

past,

One man at the lever and one at the dog.

The slaughter is bloodless and senseless the

log,

Yet the anguish of death and the torment of

hell

Are quavering there in the long, awful yell,

That shrills above tumult of gearing and wheel

As the carriage rolls down and the timber meets

steel.

Scream! And a board is laid bare for a home.

Shriek! And a timber for mansion and dome,

For the walls of a palace, or toil’s homely use,

Is reft from the flanks of the prostrate King

Spruce.

And thus in the clamor of pulley and wheel,

In the plaint of the wood and the slash of the

steel,

Is wrought the undoing of Maine’s sturdy lords,

—The martyrs the woodlands yield up to our

swords.

The song is the knell of these strong that are

slain,

The monarchs that people the woodlands of

Maine.

And the Fury that whirls in the din of this

war,

With rioting teeth and insatiable maw, is the

saw!

And this is the song of the saw.

## DOWN THE TRAIL WITH GUM PACKS

Ev’ry nugget clean and sound,

Red’s a jewel, smooth and round,

Worth a dollar’n ten a pound;

Here’s your gum, ye giddy girls,

Here’s your Maine spruce gum.

The chaps that went off with the Klondike

diggers

For gold—jest gold,

Have slumped in the snow, and they work like

niggers,

And they haven’t got rich, we’re told.

We’re snowshoeing down from the north of

Katahdin,

See here! Yum, yum!

Here’s a tole to tease Maud to come into the

garden

—These rich, rosy lumps o’ spruce gum.

Our fires are dowsed in the lonesome old camps,

We’ve left them to wolves and the foxes and

damps.

The trail of our snowshoes lies snakin’ behind,

For we’re clawing for home with the treasures

we’ve mined.

We’ve no sort of use for the pick and the sluice;

Our Klondike has been the straight trunks of

the spruce.

Let them that elect grub the dirt for a “gleam,”

Our ore is the gum and our lode is the seam

That doesn’t go sneaking in mire and clay,

But grins at the sun and drinks deep of broad day.

Go grope for your gold in the bowels of mud!

We’ll cleave our fresh nuggets of resinous blood

Forced out from the heart through the fibre and

vein

Of the giants who lurk in the woodlands of

Maine.

Just squint through this bubble and gaze at the

blaze:

That red is the fire of hot summer days;

That glimmer is autumn; that glow is the tint

That was lent by some campfire’s guttering glint.

And here is a globe like the eye of a cat,

And this one is amber like honey; and that

Is a tear rosy red with the anger and shame

Of a king glooming down as the axe-heavers

came;

—Staring down as around him his kin roared

to earth

Midst the oaths of the swampers and Labor’s

rude mirth.

That tear of the spruce, may it go to the pearls

Flashing bright ’neath the lips of some sweetest

of girls!

These, then, are the treasures we bring in our

packs,

—Each round, rosy globule as sweet as the

smacks

We’ll get from the kids when they swoop with

a roar

At dad just the second he opens the door.

Clear out your old scraps, Mr. Druggist: we

come

With a good hefty jag of the season’s new gum.

Ey’ry nugget clear and sound,

Red’s a jewel, smooth and round,

Worth a dollar’n ten a pound.

Here’s your gum, ye giddy girls,

Here’s your Maine spruce gum.

## REAR O’ THE DRIVE

The rain has raised the river an’ she’s np to

driving pitch,

An’ it’s oh, an’ grab your peavies an’ go sloppin’

in the wet.

We’ve got ter send ’er whoopin’ now without a

ketch or hitch,

But it won’t be kid-glove bus’ness, oh, my

hearties, you can bet.

Empty the water out of your boots

And gaffle your peavies, you P.I. galoots.

There’s the rips at Rundy’s Corner, and the

sluice at Puzzle Gorge;

You can drive ’em and connive ’em, but the

timber’s bound to lodge.

An’ sticks will buck—with best of luck—as

offish-like as hogs,

For there ain’t no calkerlatin’ how you’ll run a

drive o’ logs.

Chase the heathen with a sword,

Run the cattle with a goad,

All we want’s our Oldtown peavies, when our

drives go overboard.

An’ we’ll foller, sloshin’ in,

Yes, we’ll waller to the chin,

An’ we’ll herd ’em through the wildest stream

that ever frothed and roared.

So, look alive,

It’s after five,

An’ the drouth is a-chasin’ the rear o’ the drive.

Foller down, foller down with your peavies on

your backs,

For the herd that runs ahead of us goes loafin’

’less it’s chased.

They know they’re off to market, an’ they dread

the saw an’ axe,

An’ you’ve got to go and welt ’em, though the

water’s to your waist,

For they balk on Depsconneagon when a sixty-

footer halts;

Ev’ry eddy stands a-ready for to swing ’em in a

waltz.

An’ ev’ry rock is chock-a-block with jack-strawed

pine an’ spruce,

Ontil you’ve got the devil’s job to try and turn

’em loose.

But our goadstick is the peavy, an’ our cant-dog

is the pup

That’ll worry ’em an’ hurry ’em an’ rush ’em,

chase ’em up.

Oh, the drouth is right behind us, but we’ve

passed the North Twin flume,

An’ we’ll beat the sun in heaven in the race for

Pea Cove boom.

## MATIN SONG OF PETE LONG’S COOK

It’s dark in the camp, and the woods outside

Are dark, dark, too!

And a hundred men still open wide

Their loud bay-zoo.

It’s sort of mean to rout ’em jus’

To work once more;

I’d like to let each tired cuss

Jus’ lay and snore.

But I’ve been up for an hour or two

And grub’s all on;

And now as the cook of Pete Long’s crew

I toot my horn.

The weirdest of all wood-sounds, by the way,

Is a cook’s queer cadence at break of day:

Whoo-e-e-e!

Git UP!

The grub is on the table, boys, the coffee’s on

the bile:

The swagon’s hotter’n Tophet and I swear ’twill

make you smile.

There’s whiskers on the gingerbread, the biskit

can’t be beat;

I’ve got molasses sinkers made from mother’s

old receipt.

—Oh, I’ve got molasses sinkers built around

some extra holes;

They’ll make you think of home and friends and

tickle up your souls.

The beans come out a-roarin’ when I boosted

up the lid;

They chuckled when I pried ’em out—they

laughed, I swear they did.

Don’t jolly me about your smells of Araby the

blest,

—Jus’ take a snuff of ground-baked beans all

hot from out their nest.

The grub is on the table, boys, hurroop, hurroop,

whoo-e-e-e!

Come, tumble out, git on a move! Good Lord,

it’s after three!

Rise up and shine, my gentle lambs, surround

your breakfast quick,

Or else you’ll git the sun’s ha-ha from over

Tumble Dick.

And if the timer heaves a growl and docks you

in his book,

Jus’ blame your own durn lazy luck—don’t

lay it on the cook.

For ev’ry man who’s et my cream-of-tartar bis-

kit knows

The cook of this ’ere camp, by smut, ’s the

earliest bird that crows.

For I’m old enough to spell a-a-a-ble!

The grub is all on the ta-a-a-ble!

Whoo-e-e-e!

Git UP!

## OFF FOR THE LUMBER WOODS

The duffle is packed, and the babies are smacked,

and the wife has a buss and a hug;

And she’s done it up brown in a-loading me

down with about all the grub I can lug,

So long! Good-by!

I’m off! Don’t cry!

—Just about a month of Sundays and you’ll

see my homely mug.

Now look ye, ye towzled-haired son of a gun,

Be good to your mother or you’ll see some

fun

When your daddy comes down on the drive in

the spring

And fetches a withe with a hornetty sting.

Ha! ha! you young rascal, you’d rather have

gum?

Well, be a good baby and pa’ll fetch you some.

Yes, mother, you’re right, it does seem kinder

wrong

To leave you alone here the whole winter

long.

And it’s tough that I have to pack dunnage and

break

For the big timber wrassle at Chamberlain lake.

But folks are a-waiting for lumber and boards,

They’ve picked up their saws, now they’ve laid

down their swords.

They’re wanting the timbers for new city domes,

They’re wanting the shingles for humble new

homes.

The hammers are waiting, the nails are on end,

And the chorus of clatter’ll commence when we

send

A billion of lumber down race-way and sluice,

From the lonesome dominions of gloomy King

Spruce.

The men who print papers are wanting fresh

sheets,

The folks who build ships will be launching new

fleets,

For, mark me, no matter what Uncle Sam

planned,

He finds he can’t reach his new back lots by

land.

Don’t smile at me, wife, but I feel when I swing

That sweaty old axe from the fall to the spring,

That I hear one grim cry swimming up on the air

Through the dim, silent forest,—a pleading

prayer.

The clank of the press, and the scream of the

saws.

The grunt of the grinder that slavers and chaws

At the fibre of pulp wood; the purr of the plane

Are blent in one chorus, attuned to one strain,

—That sighs in the breezes or throbs in the roar

Of the tempest; and ever the cry is for “More.‘’

And we men with our axes and horn-covered

palms

Hear the call as a man hears the summons “To

arms,”

And forward we plunge with no quarter, no

truce,

With axes a-gleam in the realms of King Spruce.

The duffle is packed, and the babies are smacked;

now wife, for a buss and a hug.

Save a smile ’gainst the spring, for I’m going to

bring just all the spruce gum I can lug.

I’m off! Good-bye!

So long! Don’t cry!

In about a month of Sundays you will see my

homely mug.

## HERE’S TO THE STOUT ASH POLE

Hooray for to-day, and hooray for to-night, and

forget all the rest of it, boys.

Hold on, Mister Barkeeper, close up your jaw,

we’re paying for all of this noise.

We won’t mosey out, and we won’t set down,

and you can’t keep a one of us still;

You can charge, if you want to, so much for a

yawp; we’ll settle all right in the bill.

For this is our very last evenin’ on earth; the

last night we’ll be here alive.

To-morrow at six we all cut sticks for the rear of

the West Branch drive.

Hooray!

For Seboomook, and rear of the drive.

Oh, bartender, say, can’t you hustle them up?

Come, push out your reddest of paint,

We’re here for to splatter the carnation on, now

blow us for fools if we ain’t!

So set out your varnish for coffins, my boy,—

that brand called the “Grave-diggers’ Boast.”

I’ve got enough chink—now down with your

drink! and I’ll give ye a riverman’s toast.

While you’re raising up your glasses,

Jest forget the giddy lasses

That have coaxed away your dollars, and have

given you the laugh.

Turn away from them connivers,

And as honest, hearty drivers

Drink a good, round jorum to the stout ash staff.

When the girls have filched your cash,

There is still the hearty ash,

It is waiting at Seboomook for to cheer your

foolish soul.

Ah, you know we love it most; and I give

you this, my toast,

The river driver’s darling, oh, his long ash pole.

We’ve ridden the gorges on rioting logs, and

we’ve always swept safe to the land.

So long as we rode with the spikes in our boots,

and the long, limber pole in our hand;

We’ve pried at the jams on the brink of the

dams, and the pole has stood by like a man,

And then in the dash for our lives in the crash

the pole braced us up as we ran,

Hooray!

As we yelled through the smother and ran.

And when in the bellow of up-ending logs it

looked like good-by to our souls

We rode back to life from out of the strife,

vaulting high on the end of our poles.

Ah, these are the friends that stand by you, my

boys: they’re truer than all of the host

Of the fair-spoken gang of the thieves of the

town! Crowd up here and drink to my toast!

The girls were sweeter’n honey

Till they gathered in our money,

And the barkeeps they were pleasant just as

long as we could spend.

Now it’s quite another story,

—Case of throwdown! But, by glory,

We can drink this final jorum to our stout old

friend.

Though the gang has swiped our cash, there is

still the hearty ash,

He is waiting at Seboomook for to cheer your

foolish soul.

After all, we love him most! and he’s still the

last, loud toast

—The driver’s honest helper, oh, the long ash

pole.

## MISTER WHAT’S-HIS-NAME OF SEBOOMOOK

Have you ever heard Seboomook with her April

dander up,

With the amber rushing river gorged to high-

est drivin’ pitch?

Have you heard her boom and bellow—rocky

lips a-froth with yellow—

When she spews and spumes the torrents—

oh, the wild and wicked witch?

She has menace in her breath,

And she roars the chant of death,

For the victim that she slavers never sees

the sun again.

And she clutches at the river,

With entreaty that it give her

The morsels for her longing, which are men—

men—men!

Here’s a tale to suit the cynic—’tis a satire from

the woods,

And concerns a certain hero who was hunt-

ing after Fame;

’Tis the grim and truthful story of a mighty

reach for glory,

But, alas, he didn’t get it, for we’ve clean

forgot his name!

He was one of Murphy’s crew,

And he swore that he’d go through

Where no other West Branch driver ever saved

the shirt he wore:

For he vowed he’d shoot the gorge

And allowed that he could dodge

The Death that knelt a-clutching at the prey

the waters bore.

When they said he couldn’t do it, why, he

laughed the crowd to scorn,

—Poled across the dimpling shallows with

a fierce and hoarse good-by

—He was Murphy’s top-notch driver, half a bird

and one-half diver,

But the best who brave Seboomook only

sound the depths to die.

And they found him miles below;

But his mother would not know

The mangled mass Seboomook belched from out

her vap’rous throat.

The first man coming down

Brought the story out to town,

Referring to the hero as a “dretful reckless

goat.”

Then he told the brisk reporters all the grim and

grisly tale,

And the deed was dressed in language in a

way to bring some fame.

But alas for human glory, the galoot who brought

the story,

Remembered all the details, but forgot the

fellow’s name.

Have you ever heard Seboomook roaring at you

in the night,

With her champing jaws a-frothing in a word-

less howl of hate?

’Tis a fierce vociferation to compel our admira-

tion,

For the chap who struck that rugged blow,

cross-countered thus by Fate.

When he lunged his pole at Death,

When the river sucked his breath,

Seboomook gravely listened when he screamed

his humble name;

For the honor of a foe

She would have the people know,

But she vainly dins her message in the deafened

ear of Fame.

## HA’NTS OF THE KINGDOM OF SPRUCE

The sheeted ghosts of moated grange

And misty wraiths are passing strange;

The gibbering spooks and elfin freaks

And cackling witches’ maudlin squeaks—

—They have terrified the nations, and have laid

the bravest low,

But intimidate a woodsman up in Maine? Why,

bless you, no!

Merely misty apparitions or some sad ancestral

spook

Serve to terrify a maiden or to warn a death-

marked duke.

But the P. I. scoffs their terrors, though he’ll

never venture loose

’Mongst the ha’nts that roam the woodlands in

the weird domains of Spruce.

—He’ll mock the fears of mystic and he’ll scorn

the bookish tales

Of the fearsome apparitions of the past, but

courage fails

In the night when he awakens, all a-shiver in

his bunk,

And with ear against the logging hears the

steady, muffled thunk

Of the hairy fists of monsters, beating there in

grisly play,

—Horrid things that stroll o’ night-times, never,

never seen by day,

For he knows that though the spectres of the

storied past are vain,

There is true and ghostly ravage in the forest

depths of Maine.

For even in these days P. I.‘s shake

At the great Swamp Swogon of Brassua Lake.

When it blitters and glabbers the long night

through,

And shrieks for the souls of the shivering crew.

And all of us know of the witherlick

That prowls by the shore of the Cup-sup-tic.

Of the Side Hill Ranger whose eyeballs gleam

When the moon hangs gibbous over Abol

stream;

—Of the Dolorous Demon that moans and calls

Through the mists of Abol-negassis falls.

And many a woodsman has felt his bunk

Tossed by the Phantom of Sourdna-hunk.

There’s the Giant Spook who ha’nted Lane’s

Old wangan camp and rended chains

—Great iron links of the snubbing cable—

As though they were straw—who was even

able

To twist the links in a mighty mat

With which he bent the forest flat

From Nahma-kanta to Depsiconneag

—Acres and acres—league after league;

Striding abroad from peak to dale

And laying on with his mighty flail.

Oh, fie for the shade of the manored hall,

A fig for a Thing in a grave-creased pall,

—For wraiths that flitter and flutter and sigh,

With flabby limbs and the sunken eye!

The woodsman recks not ye, frail ghosts,

But he knows and he bows to the deep wood’s

hosts,

Who sound their coming with giant breath,

Who mark their passing with storm and death,

Who shriek through blow-downs and howl o ’er

lakes,

—And he hides and trembles, he shivers and

shakes

When he hears the Desperate Demons loose

In the weird dominions of grim King Spruce.

## THE HERO OF THE COONSKIN CAP

When the blaze leaps forth from the camp’s

great hearth,

And the fitful shadows come and go;

When the ruddy beam lights the deacon-seat

And the silent faces in a row;

As the storm-gust drags at the sighing eaves

And moans at the shuddering window-pane,

Some droning voice from a shadowy bank

Intones a song to the wind’s long strain,

And like the soughing, ebbing blast

The gusty chorus bursts and swells;

And then one single, sighing voice

Drones plaintively the tale it tells.

They’re simple songs, they’re homely songs,

And yet they cling in heart and brain,——

Those songs of the darkling forest depths,

These songs of the lumber woods of Maine.

There’s the song of home and the song of love,

And the lilt of battle, bold and free;

There’s the song of the axe in the ringing wood,

And the sighing song of the distant sea.

Yet oft when the choruses are stilled

Some honest woodsman’s voice can wake

A tender thrill with the homely song

Of a nameless hero of Moosehead Lake.

## UP IN MAINE

A hero in leggings, he volunteered

—When the treacherous ice lay black as loam

In the melting spring—to risk his life

And bring to others the news from home.

He bore the mail for the lumber camp,

The missives for many an anxious man

Who toiled for the ones he loved so well,

In the wilds of the far Socatean.

He’d fingered each as he studied the names

And sorted the letters with kindly care;

While with honest heart of a friend he guessed

At the news that the precious notes might

hear.

There was one for Kane, and the last had said

That his little girl was sorely ill—

Poor man, he had worried the whole long week!

—And here was one for the Bluenose-Will,

Who had left a sweetheart to come to Maine,

And had looked for a line in a homesick way;

And here were a couple from Henry’s wife,

—And one bore “Forward without delay!”

A tiny message to “Pa John Booth”

Had a cross to show where a rousing smack

Had been pressed on the paper; and here, alas,

Was a letter fringed with a sombre black.

Freighted with sorrow or bringing the smiles,

Fresh from the homes so far away,

He tucked them all in his coon-skin cap

And breasted the sleet of the dreary day.

No one knew how it came about,

No man witnessed the fight for breath,

When the cruel clutch of the great black lake

Reached up and dragged him down to death.

But we always knew that his fiercest strength

Was spent in the supreme flash of life

When he, poor wanderer, thought alone

Of the news for others from home and wife.

For, as far on the edge of the broken ice

As his arm could reach, when he sank and

died,

We found the worn old coon-skin cap

With the letters carefully tucked inside.

## A HAIL TO THE HUNTER

Oh, we’re getting under cover, for the “sport” is

on the way,

—Pockets bulge with ammunition, and he’s

coming down to slay;

All his cartridges are loaded and his trigger’s on

the “half,”

And he’ll bore the thing that rustles, from a

deer to Jersey calf.

He will shoot the foaming rapids, and he’ll shoot

the yearling bull.

And the farmer in the bushes—why, he’ll fairly

get pumped full.

For the gunner is in earnest, he is coming down

to kill,

—Shoot you first and then inquire if he hurt

you—yes, he will!

For the average city feller he has big game on

the brain,

And imagines in October there is nothing else in

Maine!

Therefore some absorbed old farmer cutting corn

or pulling beans

Gets most mightily astonished with a bullet in

his jeans.

So, O neighbor, scoot for cover or get out your

armor plate,

—Johnnie’s got his little rifle and is swooping

on the State.

Oh, we’re learning, yes, we’re learning, and I’ll

warn you now, my son,

If you really mean to bore us you must bring a

bigger gun.

For the farmers have decided they will take no

further chance,

And progressive country merchants carry armor-

plated pants;

—Carry shirts of chain-plate metal, lines of coats

all bullet-proof,

And the helmets they are selling beat a Knight

of Malta’s “roof.”

So I reckon that the farmers can proceed to get

their crops,

Yes, and chuckle while the bullet raps their

trouser seats and stops;

And the hissing double-B shot as they criss-cross

over Maine

Will excite no more attention than the patter of

the rain.

And the calf will fly a signal and the Jersey

bull a sign,

And the horse a painted banner, reading “Hoss-,

Don’t Shoot; He’s Mine!”

And every fowl who wanders from the safety of

the pen

Will be taught to cackle shrilly, u Please don’t

plug me; I’m a hen.”

Now with all these due precautions we are ready

for the gang,

We’ll endure the harmless tumult of the rifles’

crack and bang,

For we’re glad to have you with us—shoot the

landscape full of holes;

We will back our brand-new armor for to save

our precious souls.

O you feller in the city, those ’ere woods is full

of fun,

We’ve got on our iron trousers—so come up

and bring your gun!

## HOSSES

## THEM OLD RAZOOS AT TOPSHAM TRACK

Won’t you poke your buzzin’ stop-watch,

Daddy Time, and click ’er back

To the days of spider high-wheels on the

dinky Topsham track?

When they raced there in October for per-

taters, corn, and oats—

Sometimes paid the purse in shotes—

Drivers wore their buff’ler coats,

And the weather was so juicy that the boys

would take a vote

As to which would drag the better, suh, a sulky

or a boat.

Still ’twas fun, when the sun

Got the moppin’ bus’ness done,

And the field went off a-skatin’, half the pelters

on the run.

There was’Liza, Old Keturah Ann, and Dough-

nut Boy and Pat,

Their pedigrees was barnyard, but we didn’t

care for that;

So hooray! So hooroo! Oh, ye ought to see

’em climb,

They was racers, suh, from ’way back—but no

matter ’bout the time!

There was goers in that pack—

Look at Toggle-jointed Jack

With an action like a windmill, but the critter

he could rack!

And I’d like to have him back,

For I tell you, bub, I stack

On the high-wheel, razoo-races of the good old

Topsham track.

Oh, you oughter seen the send-offs, and you

oughter seen the tricks!

For the stretch was chock-a-blocko when they

scored ’em down by six.

And the starter he would whang-o on a dented

strip of tin,

But the drivers never minded ’less he cussed the

gang like sin.

The hoss-whips that they carried reached away

beyond the manes,

And they larruped ’em with chains—

Tried to lift ’em by the reins.

’Twas muscle, suh, that won the race in them

old days—not brains!

And you’d think to see the sawin’ and the

jerkin’ and the h’ists,

The boys they was a-usin’ partent webbin’s

made of j’ists.

Their elbows flapped like flyin’ and they yow-

wowed through the dust,

And ’twarn’t through lack of hollerin’ that ev’ry

man warn’t fust.

’Twas “Hi-i yah, cut the corners!” and “Hi-i

yoop, take the pole!”

“Don’t ye keep me in this pocket—let me ont

there, darn yer soul!”

“Gimme room there! don’t ye pinch me or I’ll

bust yer blasted wheel!”

“Hi, you sucker, that’s a steal!”

“That’s a low-down trick, to squeal!”

“Oh, ye want some trouble, do ye? Wal, con-

sarn yer harslet, peel!”

It was tetchy, mister, tetchy, to go sassin’ on ’em

back,

When the crowd got interested at the good old

Topsham track.

There was Savage—Solly Savage—drivin’

Adeline Success—

He had speed to sell at auction, but they bribed

the cuss, I guess—

For he pulled her tight and good—

Pulled her settin’—then he stood.

Jest got up and braced his feet, suh, and he

pulled her all he could.

But the blamed old mare was fussy, wasn’t

posted on the deal,

H’isted up her skeeter-duster and let out one

mighty squeal.

She was leadin’ of ’em easy on the back stretch

at the turn,

And there wasn’t no mistakin’ that the race and

heat were her’n.

Ginger, ginger! She could go!

When she didn’t stub her toe,

Warn’t a horse in all the county stood a show

suh, stood a show!

Sol was madder’n snakes in hayin’—had a string

of catnip fits,

Just unfastened both the traces and she hauled

him by the bits.

And that rank old Adeline

She come snortin’ ’crost the line

Least a dozen lengths a leader, and they soaked

old Sol a fine.

Then the feller that had bribed him played tat-

too on Solly’s face,

And took back the dollar-fifty that he’d give him

for the race;

But the boys they licked the feller. Solly got

his money back,

For we stood for honest dealing at the good old

Topsham track.

Now come join me, all old timers,—hip, hooray

and tiger, too!

For the high-wheel days at Topsham and the

good old-time razoo—

For the days of spider sulkies and the days of

solid fun,

When we had a dozen knock-downs ’fore the

race could be begun;

When ’twas a Huddup, Uncle Eli,” and “H”

along there, John, or bust;”

And the man that finished fust,

Though he argued and he cussed,

Might not always get decisions—’twas accordin’

to the dust;

And ’twas therefore kind of needful, suh, right

after ev’ry heat,

To have another fight or so to settle who had

beat;

But they never left a grudge,

Even when they licked the judge.

And we wasn’t all teetotal, still we went it light

on “budge,”

For we never took no stronger than some good

New England rum—

Jest a mild and pleasant bev’rage—why, the

deacons they took some!

Then there wasn’t pedigrees,

And no chin-kerbumping knees,1

And an av’rage field would manage jest to keep

ahead the breeze.

But come join me, ye old-timers, in this pledge

and one hurrah,

For the spanking, wide-hoofed pelters of the old

days of “Hi yah-h-h,”

For a feller kinder feels

That he’d go without his meals

Jest to hear some more kiwhoopin’ from the old-

time trottin’ spiels.

When the wind was in the drivers—nowadays it’s

in the wheels.

When the tang was in the weather on those

autumn afternoons,

And the band got kind of dreamy in those good

old-fashioned tunes.

Oh, ’twas awful good to set there on the sunny

side the stand,

And to have your girl a-smilin’ and a-snugglin’,

hand in hand;

And to hear her, when you mentioned getting

started pretty soon,

Whisper, blushin’, “What’s the hurry? There

will be a lovely moon!”

Ah, there’s moisture on my eyelids and my voice

is gettin’ hoarse.

But ’tis prob’ly jest the mem’ry of the dust of

that old course.

Oh, Daddy Time, if somehow you could only

click your watch

And let a feller start again a race he’s made a

botch,

I wouldn’t ask no better place to start my life

anew.

Than on that stand that afternoon beside that

girl I knew,

With my arm behind her back,

And a hidden, bashful smack

To sweeten all the popcorn balls we munched

at Topsham track.

#####

## TO HIM WHO DRIV THE STAGE

Here’s a lyric for the man who’s “druv’ the

stage,”

For the hero of the webbin’s and the whip;

Who has faced the wind and weather, fingers

calloused by the leather,

And in twenty years has never lost a trip.

Here’s a tribute to the sway-back, spotted hoss,

Who has struggled up the stony, gullied hills;

And his dorsal corrugations show the nature of

his rations,

—When he stops, he has to lean against the

thills.

Here’s obituary notice of the stage,

Chief of hopeless and dilapidated wrecks;

With the cracked enamel awning, and its cush-

ions ripped and yawning,

And the body bumping down upon the “ex.”

Here’s alas and oh, the ancient “buff’ler robe,”

With the baldness of a golden-wedding

groom;

When the rain and snow descended, then some

wondrous smells were blended,

Till the stage was scented very like a tomb.

Here’s a word for all the weary miles he

ploughed,

When the drifts had piled the stage-road

mountain high,

When the night shut down around him and the

north wind sought and found him,

And the tempest chilled his blood and blurred

his eye.

There were only country letters in the bags,

And the bags were lank, and yet his word was

“Must.”

And he felt as if the nation knew his fierce

determination

That he’d have the mail sacks through on time

or bust.

Here’s rebuke to those contractors who have

skinned

The stipends of our Uncle Sam’s star routes,

Till the men who drive the stages hardly get

enough in wages

To keep their little shavers’ feet in boots.

Here’s a lyric, then, for him who drives the stage;

When you ride behind his ragged back, don’t

frown,

But endure the bang and slamming, for the

man who’s earned the damning

Is the contract-sharp who bid the wages down.

## HE BACKED A BLAMED OLD HORSE

The neighbors came a-nosing ’round and said the

horse could trot

—He oughter up and killed him then, right

there upon the spot;

A-killed him, yas, and tanned his hide and made

it into boots,

Then worn ’em out a-kicking’round them neigh-

borly galoots

Who set the bee to buzzing under Ezry Booker’s

hat,

And filled him up and chucked him full of non-

sense such as that

He’d got a hoss ’twas bound to make his ever-

lasting pile,

And what he got to do, of course, was handle

him in style;

That he must bandage up his legs and figger on

his feed,

And give him reg’lar exercise and work him out

for speed.,

His knees, his neck, his breast, his thighs, the

way he lugged his head,

And all his other symptoms looked to “speed,”

the neighbors said.

So Ezry he just sucked it in, as child-like as

could be,

—It cost him thirteen dollars to look np the

pedigree.

Then one day down to Laneses store he ribbled

off a mess

Of names that struck your Uncle Dud as so much

foolishness.

“I’ve traced him back,” so Ezry said, “to Mor-

gan blood ’nd Drew,”

To what’s-his-name and this and that, and which

and t’other, too.

And Ezry banged the counter, just excited as

could be,

A-arguing out the knots and kinks in that there

pedigree.

Land sakes! He couldn’t seem to think of

nothing but that plug:

—Neglected work, let slide his farm, went crazy

as a bug.

But there! The neighbors stood around and

said to go ahead,

And Ezra like a blamed old fool just swallowed

all they said.

Ef they’d turned to and burned his barn ’twould

been a prison crime,

But ’twould have been a better thing for Ezry

ev’ry time.

He could have got insurance then, but ’twas a

total loss

When they torched Ezry up to back

A Blamed

Old

Hoss!

Of course he had to put that horse in some good

trainer’s hands,

And trainers, as the man who’s tried deereckly

understands,

Ain’t driving just to take the air, for scenery or

for health,

But sort of grab a feller’s leg and milk him for

his wealth.

And there were blankets, straps, and girths, and

bandages and boots;

Pnoomatic sulkies, pads, and shoes, and hoods

and stable suits;

And lotions, too, and liniments—the best of

hay and oats,

And Lord knows what of this and that for trot-

ters’ backs and throats!

Then came the entrance fees, of course, and

travelling expense,

For Ezry lugged that trotter round, and didn’t

have the sense

To know when he was fairly licked, but always

would persist

That “that air hoss another year is going in the

list!”

The trainer said he’d have him there; the neigh-

bors thought so, too;

So Ezry pulled his pocketbook and said he’d see

him through.

So ’round the circuit went the hoss and, though

’tis sad to tell,

“The Flying Dutchman” didn’t fly—he never

got a smell.

And when he’d come a-puffing in behind the

whole blamed crowd

Then Ezry swore and shook his fist, and argued

’round, and vowed

That all the rest was down on him and had,

without a doubt,

Just pooled together in a scheme to shut The

Dutchman out.

The driver said so, anyway, and then, you know,

a few

Good neighbors took him out one side and said

they thought so too.

And so—but land, it’s plain enough how Ezry’s

money went

—He wound up his race-hoss career without a

blasted cent.

What’s more, he ain’t the only one who’s sunk

his little pot

In fubbing ’round from track to track with

horses that can’t trot.

—He ain’t the only man in Maine whose ever-

lasting curse

Has been some darn-fool neighbors, and his itch

to win a purse.

And, as I’ve said, if they’d turned to, and burnt

his barn instead

Of cracking up that hoss so much and turning

Ezry’s head,

He could have got insurance then, but ’twas a

total loss

When they torched Ezry up to back

A Blamed

Old

Hoss!

## B. BROWN—HOSS ORATOR

I’ve heerd of Demosthenes—b’longed down in

Greece,

—And Cicero, too!

But ’course, never knew

A great deal about ’em except through my niece,

Who’s tended the ’cademy,—lets on to know

’Bout most of the critters who lived years ago,

—Who’d talk to a standstill the chaps of their

day

With a broadside of words like a gatling, they

say.

And folks knuckle down, and praise up, and

kow-tow

To those hefty old tongue-lashing chaps even

now.

So I’m ready for brickbats, and hollers, and howls,

From the folks of the schools, and from hide-

bound old owls,

When I shin the high flag-staff of Fame to tear

down

All colors that flop there for rival renown,

And string up the banner of Bennington Brown.

Don’t think I’ll assert

What he knew ever hurt!

He was mostly considered an ornery squirt.

He traded old hosses, and cattle, and such,

And the sayin’ ’round town was: “Oh, Brown,

he ain’t much!”

But I read t’other day, in a volyum called

“Hints,”

That a speaker is gauged by his gifts to convince.

So I stand on that statement and solemnly swear

That as a star-actor convincer, I’d dare.

Back Bennington Brown up against the best

man

That ever tongue wrassled, grab holts, catch as

can.

Give Cicero Pointer, Directum, or Hanks,

And Brown an old pelter with wobbly shanks,

—Just leave ’em an hour, no odds, a clear field,

No matter how Cicero sputtered and spieled,

I’ll bet he would find himself talked to a stop,

And Brown would unload the old rip, even swap!

I can see how he’d look

When he carefully took

Old Cic by the gallus with “come-along” hook

Of that gnurly forefinger. And there Cic would

stand,

For he wouldn’t be yankin’ away from that hand,

Unless in his desperate efforts to skip

Cic dodged from his toga, and gave Brown the

slip.

And it’s likely that Brown would talk something

like this:

I ain’t at all anxious to shift with you, Cic.

Your hoss, I’ll admit, has got plenty of speed,

But you know, Cic, you know that he ain’t what

you need.

Outside of a show piece to stand in the barn,

That hoss he ain’t worth, Cic, a tinker’s gol-

darn.

What you want is that hoss of mine—want him

blame bad,

He don’t need no whip, crackers, cudgel, or gad.

’Thout strap, boot, or toeweights, he’s gone out

and showed

His quarters in thirty. He stands lots of road,

And I swow I dunno what I’m sellin’ him for,

—I need him myself. But I’ll sell! Have a

chaw?

And as I was sayin’, he’s just what you want;—

Oh, yes, have to own he’s a leetle dite gaunt!

Been a-drivin’ him hard, for he’ll stand lots of

work,

Never had a sick day, never shows the least

quirk.

He’s young: look yourself; jest you roll up his

lip;

By the way, ever smile? I’ve some stuff on my

hip.

Now as I was sayin’”—and on, and so on,

Till Cicero’d put his suspenders in pawn,

Hand oyer his steed for a wind-broken brute,

And sling in some golden sestertia to boot.

I tell you again,

That of all of the men

Who can slat the King’s English, I swear by

old Ben!

And you’ll never appreciate half of my praise

Till you’ve stood there yourself in the beller

and blaze

Of his thirteen-inch barker, and fust thing you

know

Discover you’ve bought an old bone yard or so,

I hardly expect, O ye hurrying throng,

Ye’ll bow to my hero, applaud my rude song,

But sling, if ye will, all your bouquets and praise

At the cut-and-dried speakers of pod-auger days,

I’ll go by myself and I’ll tenderly crown

With bay the bald brows of old Bennington;

Brown.

## “JEST A LIFT”

Feller was far as the foot of the hill in one of

those boggy places,

Had a first-class team,

As strong as a beam,

But the feller had busted his traces;

And the feller gave up when he saw he was

stuck.

He borrowed a chaw and consarned his luck,

—Admitted he didn’t know what to do;

Sat down on a bank and looked so blue

He worried the people that passed, and they

Just turned their noses the other way.

Old Ammi Simmons muttered that he

Was a dite afraid of his whiffle-tree;

It was slivered some, “and there warn’t much

doubt

’Twould bust if he pulled that feller out.”

And Ira Dorsey, regretful and smug,

Would have helped had he brought his heavier

tug,

So he simply beamed a bright “good day”

And clucked to his team and rode away.

So thus they passed for an hour or two;

Many not noticing, while a few

Assured him they’d like to help him out

“If the rigging they had was only stout.”

Feller had thought he was up a stump, when

along drove Ivory Keller;

Saw the sunken hub,

Yelled, “What’s the troub?

Don’t ye want a lift there, feller?”

And the feller said that he did, you bet,

But said he had begged while he’d set and set,

And he hadn’t discovered a single man

Who’d give him a boost with an extra span.

“Why,” Ivory said, “that’s jest my holt.

That off hoss there ain’t more’n a colt,

And it’s hardly an extry pulling pair,

But it’s youm for what it’s worth, I swear.

For I’ve got a home-made sort of a rule

—Won’t kick a cripple nor sass a fool,

And when I find that a feller’s stuck

—A side-tracked chap down on his luck—

Why, bless you, neighbor, in jest about

Two shakes of a sheep’s tail I yank him out.”

And the very next thing that the feller knew

Old Ivory busted a chain or two,

But the horse and the colt and the gay old man

Bent to the job till the clogged wheels ran,

—Tugged and buckled with hearty will

Till the cart rolled over the tough old hill.

Then the feller begged him to take some pay,

But the old man chuckled and shoved him

away;

“Why, bub, see here,” said Ivory Keller,

“I’m a tollable busy son of a gun,

And this is the way I squeeze in fun,

—Grab in same’s this and help a feller.”

## BART OF BRIGHTON

’Tis the tale of Bart of Brighton—meaning

Brighton up in Maine;

It’s the tale of Uncle Bart, sir, and his racker-

gaited mare;

I have toned it down a little where the language

was profane,

But the rest is as he told it—this remarkable

affair.

It is very wrong to swear;

Bart admits the fact—but there!

Times occur when human nature simply is

obliged to “r’ar.”

“It’s all along o’ givin’ lifts to Uncle Isr’el

Clark,

—His folks don’t like him stubbin’ round the

village after dark,—

And old Mis’ Clark has asked of folks that see

him on the road

To take him in and bring him home, if ’tain’t too

much a load.

The day this ’ere affair come off I’d took in

Uncle Pease,

With a pail of new molasses that he hugged be-

tween his knees.

We see old Clark ahead of us, a-lugging home

a gun.

Says I to Pease, ‘Now brace yerhat: we’ll have

a leetle fun.’

‘Set in behind, old Clark,’ I says. ‘Hop in be-

hind,’ says I.

‘Prowidin’ these ’ere tngs don’t bust I’ll take

you like a fly.’

He piled aboard, s’r, master quick, there warn’t

no need to tease,

And there he sot, the gun straight up, the butt

between his knees.

“I’ll tell you ’bout that mare of mine—the

more you holler ‘whoa,’

I’ve larnt the whelp to clench her teeth, and

h’ist her tail—and go!

And when we got clus’ down to Clark’s I thought

for jest a sell

I’d make believe we’d run away. So I com-

menced to yell,

And old man Pease he hugged his knees and

gaffled to his pail.

And now, my boy, purraps you think that turn-

out didn’t sail!

He hugged his gun, did Uncle Clark, and set and

hollered’ Oh!’

While I kep’ nudgin’ Uncle Pease and bellered,

’Durn ye, whoa!’

“I larfed, suh, like a lunytick, I larfed and

thought ’twas fun

To look around and see old Clark a-hangin’ to

his gun,-

Eor he was scart plum nigh to death, and so was

Uncle Pease,

Who doubled clus’ above that pail he clenched

between his knees.

But while I larfed I clean forgot the Jackson

corderoy,

And when we struck that on the run, we got

our h’ist, my boy.

Old Clark went up jest like a ball and, next the

critter knowed,

Come whizzlin’ down, s’r, gun and all, starn-

fust there in the road.

And when the gun-butt struck the ground, ker-

whango, off she went,

—Both barrels of her, all to onct, and then—

wal, ’twas—hell-bent!

The off-rein bust, the wheels r’ared up—the old

mare give a heave,

That runaway was on for sure—there warn’t

no make-believe;

With t’other rein I geed the mare up-hill to’ards

Clarkses yard,

—We struck the doorstep, struck her fair, and

struck her mighty hard!

And long as Lord shall give me breath I shan’t

forget the eye

That old Aunt Clark shot out at me as we went

whoopin’ by.

Then I went out and Pease went out and things

got kinder blue

—’Twas sev’ral minits by the clock ’fore this

old cock come to.

And there the old mare’d climbed the fence and

stood inside the gate,

With eyes stuck out and ears stuck back and

head and tail up straight.

And from the way she looked at me ’twas master

evident

She wasn’t catchin’ on to what this celebration

meant.

And I was clutchin’ jest about two feet of one

the reins,

While Uncle Pease was dodderin’ round, a-yellin’

‘Blood and brains!’

For, bless my soul, when he had lit he’d run

himself head-fust

Right down in that molasses pail;—he thought

his head had bust!

And that the stuff a-runnin’ down and gobbed

acrost his face

Was quarts of gore, and so old Pease had clean

give up his case.

And there he stood like some old hen a-drippin’

in the rain,

And hollered stiddy, ‘Blood and brain, I’m

dead; oh, blood and brain!’

Old Uncle Clark was on his back, a-listening to

the fuss,

And wonderin’ whuther that old gun had

murdered him or us.

“Now that’s the way the thing come off. Best

is,” concluded Bart,

“They warn’t nobody hurt a mite: three-fifty

fixed the cart.”

But as he spoke he sought to hide a poultice

with his hat

And curtly said, “Oh, jest a tunk! you see,

Aunt Clark done that.”

'Tis the tale of Bart of Brighton—mean-

ing Brighton up in Maine,

—It’s the tale of Uncle Bart, sir, and his

racker-gaited mare;

I have toned it down a little where the language

was profane,

But the rest is as he told it, this remarkable

affair.

## GOIN’ T’ SCHOOL

## THE PAIL I LUGGED TO SCHOOL

I know my confession is homely, but Yankees

are Yankees clean through,

Their dollars make shells like a turtle’s, but

their hearts, my dear fellow, are true

To the dear, sacred days of their childhood, and

luxury loses its charm:

—The only good things are the old things to

the fellow brought up on the farm.

And I’d trade all the cheer of a banquet, I’d

“swop” them, as grandpap would say,

For the tang of the infinite gusto that came to

me, when, after play,

I lifted the battered tin cover and squared my

brown arms to assail

The grub that this hearty young shaver had

carried to school in his pail.

God bless her, that darling old mother! She

cherished the honest conceit

That the groundwork of boyish good morals is,

first of all, plenty to eat.

And though I went barefoot in summer, with

trousers cut over from Jim’s,

We scampered to school every morning with

dinner pails filled to their brims.

There were doughnuts, both holed ones and

twisters, and always a bottle of cream,

And jell cakes and tarts and all such like—oh,

bow the kids’ eyes used to gleam!

I pitied the poor little shavers who slunk to a

corner to eat,

Who brought only bread and potatoes and never

had anything sweet;

And some carried grub in their pockets, and hid

with a child’s bitter shame

To choke down the crust and the cooky before

some rude fun-maker came.

But out of such manhood’s successes of which

I’ve a right to be proud

There never was one I’ve uncovered, with such

a delight, to the crowd

As that pail with its bountiful dinner, each

cake and each jelly-tipped tart

A dumb but an eloquent voucher of a thoughtful

and true mother-heart.

And, neighbors, from things I have noted, I

think it’s a pretty good rule

To size up a mother’s devotion by the grub her

child carries to school.

Those savors that float from my childhood dull

all the delights of my board;

The good things from mother’s old kitchen my

dollars can never afford,

And I’d trade all these delicate dishes—a clean

unconditional sale—

For the tang of the infinite gusto from the depths

of that old dinner pail.

## THE PADDYWHACKS

Mother says it’s something fearful—way this

pesky young one acts,

And she’s called the Johnson children by the

name of “Paddywhacks.”

And she keeps a-givin’ orders that I musn’t have

’em round;

But she thinks that Satan’s in me, for she says

I’m always bound

To go mixing with ’em somehow when she lets

me out to play;

And you bet I’m going to see ’em if I have to

run away.

I’ll never wear them blamed dude clothes

Nor boots with patent leather toes.

I like to stomp and scoff and kick

And holler round. It makes me sick

To have that Reynolds youngster call,

He’s primped up like a big wax doll.,

My mother says he’s just too sweet,

He always keeps his clothes so neat,

And wishes I’d spruce up a bit;

What! Look like that? Well, I guess not,

—They’ve duty mugs and ragged backs,

But just give me them Paddywhacks.

They can catch ye lots of suckers—know the

brook and shortest cut;

They have got a robber’s dungeon and a nice

browse Injun hut.

They can scrape ye lots of sly ver—juicy stuff

from little pines,

They can make a willow whistle, and they’re

posted on the signs

Of woodchucks, coons, and squirrels; and they

own a brindle houn’,

And they get to going barefoot first of any boys

in town.

That’s the stuff—oh, that’s the stuff,

Let a kid kick up and scuff!

Not go round with mouth all screwed

Goody, like that Reynolds dude.

Say, I’ll push him once, if he

Comes a-making mouths at me.

Yah, yah! See them corkscrew curls!

That’s right, let him play with girls.

Let him wear his ruffled shirt

—Give me one that won’t show dirt.

I’m the chap, you bet, that stacks

Up ’long-side them Paddywhacks.

## THAT MAYBASKET FOR MABEL FRY

Mother rigged the little basket, for I’d teased a

day or so,

—I was just a little shaver, and ’twas years and

years ago,—

And I blushed while I was teasing; I was young,

so mother said,

To be running ’round with baskets when I ought

to be in bed.

But she trimmed me up the basket and she asked

me whom ’twas for;

Ah, I didn’t dare to tell her; thought I’d better

hold my jaw,

For I wanted it for Mabel, not for Minnie on the

Hill;

—For a maid in rags and tatters, not a maid in

lace and frill.

Minnie rode behind her ponies; Mabel had a

wooden cart,

But to Mabel went the homage of my foolish

boyish heart.

True, her gown was frayed and ragged, and her

folks were sort of low,

And her brothers swore like demons,” and they

tagged where ’er we’d go,

And my father always scolded me and drove

them all away

Whene ’er they followed Mabel if I asked her np

to play.

But I saw not Mabel’s tatters; for I loved her

sun-browned face,

And I’d lick the kid that didn’t say she was the

handsomest girl in the place.

’Tis a tricksy prank that memory plays

Taking me back to those early days;

But the purest affection the heart can hold

Is the honest love of a nine-year-old.

It isn’t checked by the five-barred gate

Of worldly prudence and real estate.

And that, my friend, was the reason why

I hung my basket to Mabel Fry,

She’d a tattered dress, and a pink great toe

Stuck out through her shoe, but—I loved

her so—.

Though that was years and years ago.

#####

I sat down and looked at mother while she

trimmed the pasteboard box,

While she crimped the crinkly paper till it fluffed

like curly locks;

Till she fastened on the streamers, red and

yellow, white and blue,

And she held it up and twirled it, saying, “Sonny,

will that do?”

Would it do? It was a beauty! ’Twas a gem

in basket art;

And I piled it full of candy, put on top a big

red heart.

Then as soon as dusk could hide me I escaped

my mother’s eyes,

And I hung the grand creation on the door-latch

of the Frys.

How my youthful limbs were shaking! how my

dizzy noddle rocked!

And my heart was pounding louder than my

knuckles when I knocked.

So she caught me at the corner, for you see I

didn’t fly,

—Might have been I was so frightened; then

perhaps I didn’t try.

When I swung around to meet her, neither of

us dared to stir.

Mabel stood and watched the sidewalk and I

stood and gawked at her,

While those little imps of brothers gobbled every

blessed mite

Of the candy in that basket—Mabel didn’t get a

bite.

But I saved the little basket, gave each kid a

hearty cuff,

And I tried to comfort Mabel; told her she was

sweet enough,

—Said she didn’t need the candy; but my little

Mabel sighed,

Blushed and whispered that she wondered how

I knew—I hadn’t tried—

To-day—to-day from a long-gone May

This tricksy memory strays my way.

Just for a moment I close my eyes

And see that cracked old door of Fry’s.

And my heart is brushed, as the noon day

trees

Are touched with the whisp of the strolling

breeze.

Alas, that the heart mayn’t always hold

The honest love of the nine-year-old.

I haven’t a doubt you’re dreaming now

Of some frank maid with an honest brow

Who chose you out for she loved you so,

When Worth got “Yes,” and Wealth got

“No.”

But that was years and years ago.

## THE MYSTIC BAND

I’ve joined the orders that came our way,

—Been sort of a “jiner,” as one would say,—

And I’ve bucked the goat, and trudged the sands,

And taken the oaths in most secret bands,

Till now at last I seldom slip

On test or password, sign or grip.

And every day when I walk the street

I give the signs to the men I meet.

There’s the S. of T. and the K. of P.

And the League of the Order of Liberty;

Masons and Odd Fellows string along,

Thicker than flies in the moving throng.

Till it seems that every fellow could

Give you a sign of a brotherhood.

Oh, I like to meet them, every one,

From the Daughter of Peace to a Son of a Gun.

But I can’t quite feel the same delight

As I used to when, some summer night,

I’d take a few of the high degrees

In the O. K. K. B. W. P’s.

We had no lodge-room with locks and bars

—Our hall was the dome ’neath the winking

stars;

No lofty dais and tufted throne,

No crown or symbol or altar stone,

No velvet carpets or flashing lights

Were needed there in those old-time rites;

There was only the light from some honest eyes

Up-raised to the velvet evening skies;

And the only crown was the flower wreath

Set light on the curling locks beneath,

And the mystic grip was the tender squeeze

Of our hands as we roamed past the orchard

trees;

And the head of the lodge was an elfin chap

With roses heaped in his dimpled lap.

—With wings a-spread and his locks a-blow,

And the wand of his office a silver bow.

He welcomed the timid neophytes.

And into the hearts of his pure delights

He led each happy candidate

Who breathed Love’s password at the gate,

And happy he who sought degrees

In the O. K. K. B. W. P’s.

’Tis just a page from the dear conceit

That makes the volume of school life sweet;

—A bit of a jest from the callow days

When we bashfully trudged the self-same ways

As the girls from the evening meeting took,

And we carried their capes and the singing-book.

—Sauntered along the dim old lanes

With chirrup and chatter and gay refrains,

Shouting “Good-nights” as here and there,

Pausing by gate or stile, a pair

Loitered a bit on the threshold’s stone

For a sweet and fond good-night of their own.

It irks me, friend, that I must profane

The oath of the order and voice that chain

Of mystic letters: yet ’twere not kind

To take you thus far and leave you blind.

And I’ll whisper, you know, just heart to heart,

’Twas “One Kind Kiss Before We Part,”

The mystic grip was a warm hand-press,

The sign and the test a swift caress,

And the dearest and sweetest of Used-to-be’s

Were the O. K. K. B. W. P’s.

## AT THE OLD “GOOL”

“Ten, ten and a double ten, forty-five and then

fifteen!”

Stand you here, old friend of mine, close your

eyes the while you lean

Your silvered hair against the wood that’s silvered

too, by sun and rain,

—The butt of storms as well as we,—old aliens

crawling back to Maine.

The driving sleet, the drifting snows have filched

away the vivid red

That matched, as I remember it, the flaming top-

knot on your head.

And this—so gaunt, so bent, so small—it seems,

alas, a wooden ghost

Of what it was when it was “gool”: the school-

house’s old red hitching-post!

And ah, old friend, to lean your brow upon its

crest you have to stoop;

—You had to stretch to reach its top in those

old days of hide-and-coop.

“Ten, ten and a double ten,”

That’s the way we counted then;

—Counted hundreds rapidly,

Begged the happy days to flee.

Moments were not precious then.

What we hoard to-day as men,

Then we flung in careless way;

Counting life as when at play;

“Blinding” at the old red post,

We strove to see who’d count the most.

“Forty-five and then fifteen,—”

Lavish then: ah, now we glean

On our bended knees as men

What we flung uncounted then.

Friend, old friend, the past troops back

With all its smiles and all its sighs,

When I was “It,”

And the world was lit

By the star-shine of two soft brown eyes.

“Ten, ten, and a double ten, forty-five and then

fifteen!”

That talisman of boyhood days has brought a

sorrow that is keen.

And yet there’s joy along with pain; let me bow

my head here too,

And here with brow upon this wood I’ll tell you

what you never knew.

You’ve asked me many times, old friend, the

secret of an unwed life;

I’ll tell you now: I loved but once; that girl

loved you; she was your wife.

I loved her in those boyhood days, but in Life’s

game of counting out

Fate’s happy finger stretched to you, and I—

poor awkward, bashful lout—

Just stepped aside. But ’twas all right! I’m

not the sort to curse and whine,

My joy has been that she was yours, so long as

she could not be mine.

—My joy, old friend, is now to say, as here we

clasp this worn old post,

There is no heart-burn in my past, no shimmer of

a jealous ghost.

For boyhood’s lesson taught me this: ’Tis only

some egregious fool

Who rails at Fate and storms the skies because

some better man “tags gool.”

I’ve been content to stand there, friend, while

one by one the eager troop

Of boyhood’s chums have won their goal in Life’s

more earnest hide-and-coop.

Thank God, old chum, we still clasp hands and

pledge again our boyhood ties.

Though I’ve been “It,”

And your world is lit

By the star-shine of her soft brown eyes.

    End of the Project Gutenberg EBook of Up In Maine, by Holman F. Day

    *** END OF THIS PROJECT GUTENBERG EBOOK UP IN MAINE ***

    ***** This file should be named 55341-h.htm or 55341-h.zip *****
    This and all associated files of various formats will be found in:
            http://www.gutenberg.org/5/5/3/4/55341/

    Produced by David Widger from page images generously
    provided by the Internet Archive

    Updated editions will replace the previous one--the old editions will
    be renamed.

    Creating the works from print editions not protected by U.S. copyright
    law means that no one owns a United States copyright in these works,
    so the Foundation (and you!) can copy and distribute it in the United
    States without permission and without paying copyright
    royalties. Special rules, set forth in the General Terms of Use part
    of this license, apply to copying and distributing Project
    Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm
    concept and trademark. Project Gutenberg is a registered trademark,
    and may not be used if you charge for the eBooks, unless you receive
    specific permission. If you do not charge anything for copies of this
    eBook, complying with the rules is very easy. You may use this eBook
    for nearly any purpose such as creation of derivative works, reports,
    performances and research. They may be modified and printed and given
    away--you may do practically ANYTHING in the United States with eBooks
    not protected by U.S. copyright law. Redistribution is subject to the
    trademark license, especially commercial redistribution.

    START: FULL LICENSE

    THE FULL PROJECT GUTENBERG LICENSE
    PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

    To protect the Project Gutenberg-tm mission of promoting the free
    distribution of electronic works, by using or distributing this work
    (or any other work associated in any way with the phrase "Project
    Gutenberg"), you agree to comply with all the terms of the Full
    Project Gutenberg-tm License available with this file or online at
    www.gutenberg.org/license.

    Section 1. General Terms of Use and Redistributing Project
    Gutenberg-tm electronic works

    1.A. By reading or using any part of this Project Gutenberg-tm
    electronic work, you indicate that you have read, understand, agree to
    and accept all the terms of this license and intellectual property
    (trademark/copyright) agreement. If you do not agree to abide by all
    the terms of this agreement, you must cease using and return or
    destroy all copies of Project Gutenberg-tm electronic works in your
    possession. If you paid a fee for obtaining a copy of or access to a
    Project Gutenberg-tm electronic work and you do not agree to be bound
    by the terms of this agreement, you may obtain a refund from the
    person or entity to whom you paid the fee as set forth in paragraph
    1.E.8.

    1.B. "Project Gutenberg" is a registered trademark. It may only be
    used on or associated in any way with an electronic work by people who
    agree to be bound by the terms of this agreement. There are a few
    things that you can do with most Project Gutenberg-tm electronic works
    even without complying with the full terms of this agreement. See
    paragraph 1.C below. There are a lot of things you can do with Project
    Gutenberg-tm electronic works if you follow the terms of this
    agreement and help preserve free future access to Project Gutenberg-tm
    electronic works. See paragraph 1.E below.

    1.C. The Project Gutenberg Literary Archive Foundation ("the
    Foundation" or PGLAF), owns a compilation copyright in the collection
    of Project Gutenberg-tm electronic works. Nearly all the individual
    works in the collection are in the public domain in the United
    States. If an individual work is unprotected by copyright law in the
    United States and you are located in the United States, we do not
    claim a right to prevent you from copying, distributing, performing,
    displaying or creating derivative works based on the work as long as
    all references to Project Gutenberg are removed. Of course, we hope
    that you will support the Project Gutenberg-tm mission of promoting
    free access to electronic works by freely sharing Project Gutenberg-tm
    works in compliance with the terms of this agreement for keeping the
    Project Gutenberg-tm name associated with the work. You can easily
    comply with the terms of this agreement by keeping this work in the
    same format with its attached full Project Gutenberg-tm License when
    you share it without charge with others.

    1.D. The copyright laws of the place where you are located also govern
    what you can do with this work. Copyright laws in most countries are
    in a constant state of change. If you are outside the United States,
    check the laws of your country in addition to the terms of this
    agreement before downloading, copying, displaying, performing,
    distributing or creating derivative works based on this work or any
    other Project Gutenberg-tm work. The Foundation makes no
    representations concerning the copyright status of any work in any
    country outside the United States.

    1.E. Unless you have removed all references to Project Gutenberg:

    1.E.1. The following sentence, with active links to, or other
    immediate access to, the full Project Gutenberg-tm License must appear
    prominently whenever any copy of a Project Gutenberg-tm work (any work
    on which the phrase "Project Gutenberg" appears, or with which the
    phrase "Project Gutenberg" is associated) is accessed, displayed,
    performed, viewed, copied or distributed:

      This eBook is for the use of anyone anywhere in the United States and
      most other parts of the world at no cost and with almost no
      restrictions whatsoever. You may copy it, give it away or re-use it
      under the terms of the Project Gutenberg License included with this
      eBook or online at www.gutenberg.org. If you are not located in the
      United States, you'll have to check the laws of the country where you
      are located before using this ebook.

    1.E.2. If an individual Project Gutenberg-tm electronic work is
    derived from texts not protected by U.S. copyright law (does not
    contain a notice indicating that it is posted with permission of the
    copyright holder), the work can be copied and distributed to anyone in
    the United States without paying any fees or charges. If you are
    redistributing or providing access to a work with the phrase "Project
    Gutenberg" associated with or appearing on the work, you must comply
    either with the requirements of paragraphs 1.E.1 through 1.E.7 or
    obtain permission for the use of the work and the Project Gutenberg-tm
    trademark as set forth in paragraphs 1.E.8 or 1.E.9.

    1.E.3. If an individual Project Gutenberg-tm electronic work is posted
    with the permission of the copyright holder, your use and distribution
    must comply with both paragraphs 1.E.1 through 1.E.7 and any
    additional terms imposed by the copyright holder. Additional terms
    will be linked to the Project Gutenberg-tm License for all works
    posted with the permission of the copyright holder found at the
    beginning of this work.

    1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
    License terms from this work, or any files containing a part of this
    work or any other work associated with Project Gutenberg-tm.

    1.E.5. Do not copy, display, perform, distribute or redistribute this
    electronic work, or any part of this electronic work, without
    prominently displaying the sentence set forth in paragraph 1.E.1 with
    active links or immediate access to the full terms of the Project
    Gutenberg-tm License.

    1.E.6. You may convert to and distribute this work in any binary,
    compressed, marked up, nonproprietary or proprietary form, including
    any word processing or hypertext form. However, if you provide access
    to or distribute copies of a Project Gutenberg-tm work in a format
    other than "Plain Vanilla ASCII" or other format used in the official
    version posted on the official Project Gutenberg-tm web site
    (www.gutenberg.org), you must, at no additional cost, fee or expense
    to the user, provide a copy, a means of exporting a copy, or a means
    of obtaining a copy upon request, of the work in its original "Plain
    Vanilla ASCII" or other form. Any alternate format must include the
    full Project Gutenberg-tm License as specified in paragraph 1.E.1.

    1.E.7. Do not charge a fee for access to, viewing, displaying,
    performing, copying or distributing any Project Gutenberg-tm works
    unless you comply with paragraph 1.E.8 or 1.E.9.

    1.E.8. You may charge a reasonable fee for copies of or providing
    access to or distributing Project Gutenberg-tm electronic works
    provided that

    * You pay a royalty fee of 20% of the gross profits you derive from
      the use of Project Gutenberg-tm works calculated using the method
      you already use to calculate your applicable taxes. The fee is owed
      to the owner of the Project Gutenberg-tm trademark, but he has
      agreed to donate royalties under this paragraph to the Project
      Gutenberg Literary Archive Foundation. Royalty payments must be paid
      within 60 days following each date on which you prepare (or are
      legally required to prepare) your periodic tax returns. Royalty
      payments should be clearly marked as such and sent to the Project
      Gutenberg Literary Archive Foundation at the address specified in
      Section 4, "Information about donations to the Project Gutenberg
      Literary Archive Foundation."

    * You provide a full refund of any money paid by a user who notifies
      you in writing (or by e-mail) within 30 days of receipt that s/he
      does not agree to the terms of the full Project Gutenberg-tm
      License. You must require such a user to return or destroy all
      copies of the works possessed in a physical medium and discontinue
      all use of and all access to other copies of Project Gutenberg-tm
      works.

    * You provide, in accordance with paragraph 1.F.3, a full refund of
      any money paid for a work or a replacement copy, if a defect in the
      electronic work is discovered and reported to you within 90 days of
      receipt of the work.

    * You comply with all other terms of this agreement for free
      distribution of Project Gutenberg-tm works.

    1.E.9. If you wish to charge a fee or distribute a Project
    Gutenberg-tm electronic work or group of works on different terms than
    are set forth in this agreement, you must obtain permission in writing
    from both the Project Gutenberg Literary Archive Foundation and The
    Project Gutenberg Trademark LLC, the owner of the Project Gutenberg-tm
    trademark. Contact the Foundation as set forth in Section 3 below.

    1.F.

    1.F.1. Project Gutenberg volunteers and employees expend considerable
    effort to identify, do copyright research on, transcribe and proofread
    works not protected by U.S. copyright law in creating the Project
    Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm
    electronic works, and the medium on which they may be stored, may
    contain "Defects," such as, but not limited to, incomplete, inaccurate
    or corrupt data, transcription errors, a copyright or other
    intellectual property infringement, a defective or damaged disk or
    other medium, a computer virus, or computer codes that damage or
    cannot be read by your equipment.

    1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
    of Replacement or Refund" described in paragraph 1.F.3, the Project
    Gutenberg Literary Archive Foundation, the owner of the Project
    Gutenberg-tm trademark, and any other party distributing a Project
    Gutenberg-tm electronic work under this agreement, disclaim all
    liability to you for damages, costs and expenses, including legal
    fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
    LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
    PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
    TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
    LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
    INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
    DAMAGE.

    1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
    defect in this electronic work within 90 days of receiving it, you can
    receive a refund of the money (if any) you paid for it by sending a
    written explanation to the person you received the work from. If you
    received the work on a physical medium, you must return the medium
    with your written explanation. The person or entity that provided you
    with the defective work may elect to provide a replacement copy in
    lieu of a refund. If you received the work electronically, the person
    or entity providing it to you may choose to give you a second
    opportunity to receive the work electronically in lieu of a refund. If
    the second copy is also defective, you may demand a refund in writing
    without further opportunities to fix the problem.

    1.F.4. Except for the limited right of replacement or refund set forth
    in paragraph 1.F.3, this work is provided to you 'AS-IS', WITH NO
    OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
    LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

    1.F.5. Some states do not allow disclaimers of certain implied
    warranties or the exclusion or limitation of certain types of
    damages. If any disclaimer or limitation set forth in this agreement
    violates the law of the state applicable to this agreement, the
    agreement shall be interpreted to make the maximum disclaimer or
    limitation permitted by the applicable state law. The invalidity or
    unenforceability of any provision of this agreement shall not void the
    remaining provisions.

    1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
    trademark owner, any agent or employee of the Foundation, anyone
    providing copies of Project Gutenberg-tm electronic works in
    accordance with this agreement, and any volunteers associated with the
    production, promotion and distribution of Project Gutenberg-tm
    electronic works, harmless from all liability, costs and expenses,
    including legal fees, that arise directly or indirectly from any of
    the following which you do or cause to occur: (a) distribution of this
    or any Project Gutenberg-tm work, (b) alteration, modification, or
    additions or deletions to any Project Gutenberg-tm work, and (c) any
    Defect you cause.

    Section 2. Information about the Mission of Project Gutenberg-tm

    Project Gutenberg-tm is synonymous with the free distribution of
    electronic works in formats readable by the widest variety of
    computers including obsolete, old, middle-aged and new computers. It
    exists because of the efforts of hundreds of volunteers and donations
    from people in all walks of life.

    Volunteers and financial support to provide volunteers with the
    assistance they need are critical to reaching Project Gutenberg-tm's
    goals and ensuring that the Project Gutenberg-tm collection will
    remain freely available for generations to come. In 2001, the Project
    Gutenberg Literary Archive Foundation was created to provide a secure
    and permanent future for Project Gutenberg-tm and future
    generations. To learn more about the Project Gutenberg Literary
    Archive Foundation and how your efforts and donations can help, see
    Sections 3 and 4 and the Foundation information page at
    www.gutenberg.org Section 3. Information about the Project Gutenberg
    Literary Archive Foundation

    The Project Gutenberg Literary Archive Foundation is a non profit
    501(c)(3) educational corporation organized under the laws of the
    state of Mississippi and granted tax exempt status by the Internal
    Revenue Service. The Foundation's EIN or federal tax identification
    number is 64-6221541. Contributions to the Project Gutenberg Literary
    Archive Foundation are tax deductible to the full extent permitted by
    U.S. federal laws and your state's laws.

    The Foundation's principal office is in Fairbanks, Alaska, with the
    mailing address: PO Box 750175, Fairbanks, AK 99775, but its
    volunteers and employees are scattered throughout numerous
    locations. Its business office is located at 809 North 1500 West, Salt
    Lake City, UT 84116, (801) 596-1887. Email contact links and up to
    date contact information can be found at the Foundation's web site and
    official page at www.gutenberg.org/contact

    For additional contact information:

        Dr. Gregory B. Newby
        Chief Executive and Director
        gbnewby@pglaf.org

    Section 4. Information about Donations to the Project Gutenberg
    Literary Archive Foundation

    Project Gutenberg-tm depends upon and cannot survive without wide
    spread public support and donations to carry out its mission of
    increasing the number of public domain and licensed works that can be
    freely distributed in machine readable form accessible by the widest
    array of equipment including outdated equipment. Many small donations
    ($1 to $5,000) are particularly important to maintaining tax exempt
    status with the IRS.

    The Foundation is committed to complying with the laws regulating
    charities and charitable donations in all 50 states of the United
    States. Compliance requirements are not uniform and it takes a
    considerable effort, much paperwork and many fees to meet and keep up
    with these requirements. We do not solicit donations in locations
    where we have not received written confirmation of compliance. To SEND
    DONATIONS or determine the status of compliance for any particular
    state visit www.gutenberg.org/donate

    While we cannot and do not solicit contributions from states where we
    have not met the solicitation requirements, we know of no prohibition
    against accepting unsolicited donations from donors in such states who
    approach us with offers to donate.

    International donations are gratefully accepted, but we cannot make
    any statements concerning tax treatment of donations received from
    outside the United States. U.S. laws alone swamp our small staff.

    Please check the Project Gutenberg Web pages for current donation
    methods and addresses. Donations are accepted in a number of other
    ways including checks, online payments and credit card donations. To
    donate, please visit: www.gutenberg.org/donate

    Section 5. General Information About Project Gutenberg-tm electronic works.

    Professor Michael S. Hart was the originator of the Project
    Gutenberg-tm concept of a library of electronic works that could be
    freely shared with anyone. For forty years, he produced and
    distributed Project Gutenberg-tm eBooks with only a loose network of
    volunteer support.

    Project Gutenberg-tm eBooks are often created from several printed
    editions, all of which are confirmed as not protected by copyright in
    the U.S. unless a copyright notice is included. Thus, we do not
    necessarily keep eBooks in compliance with any particular paper
    edition.

    Most people start at our Web site which has the main PG search
    facility: www.gutenberg.org

    This Web site includes information about Project Gutenberg-tm,
    including how to make donations to the Project Gutenberg Literary
    Archive Foundation, how to help produce our new eBooks, and how to
    subscribe to our email newsletter to hear about new eBooks.