Poems From "A Shropshire Lad" - V

By Alfred Edward Housman

    Oh see how thick the goldcup flowers     Are lying in field and lane,     With dandelions to tell the hours     That never are told again.     Oh may I squire you round the meads     And pick you posies gay?     -'Twill do no harm to take my arm.     "You may, young man, you may."     Ah, spring was sent for lass and lad,     'Tis now the blood runs gold,     And man and maid had best be glad     Before the world is old.     What flowers to-day may flower to-morrow,     But never as good as new.     -Suppose I wound my arm right round-     " 'Tis true, young man, 'tis true."     Some lads there are, 'tis shame to say,     That only court to thieve,     And once they bear the bloom away     'Tis little enough they leave.     Then keep your heart for men like me     And safe from trustless chaps.     My love is true and all for you.     "Perhaps, young man, perhaps."     Oh, look in my eyes, then, can you doubt?     -Why, 'tis a mile from town.     How green the grass is all about!     We might as well sit down.     -Ah, life, what is it but a flower?     Why must true lovers sigh?     Be kind, have pity, my own, my pretty,-     "Good-bye, young man, good-bye."

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain

Analysis & Notes:
This poem captures the fleeting nature of youth, desire, and romantic promise through a dialogue between a persistent suitor and a wary maiden. The loose iambic rhythm and irregular rhyme scheme mirror the natural, unscripted cadence of courtship, while the expansive lineation allows the speaker’s urgency to spill into the reader’s space. The voice shifts between seductive proposition and defensive warning, with the woman’s terse, elliptical responses (You may... 'Tis true... Perhaps... Good-bye) signaling her retreat from the speaker’s increasingly desperate advances. The pastoral imagery goldcup flowers, dandelions, green grass contrasts with the poem’s undercurrent of predation, as the speaker’s insistence (wound my arm right round) darkens the scene. The volta arrives in the third stanza, where the speaker’s true intentions emerge, and the final stanza’s abrupt farewell underscores the woman’s escape. The poem’s power lies in its economy: a single, chilling observation about the vulnerability of trust.

Understanding Limerick

A limerick is a five-line poem known for its jaunty rhythm, playful tone, and a punchline twist. It’s built for humor—often sly, sometimes downright silly.


Common characteristics of limericks:

  • Five Lines & Rhyme: The standard scheme is AABBA—the first, second, and fifth lines rhyme; the shorter third and fourth lines rhyme with each other.
  • Bouncy Meter: Typically anapestic (two short, one long beat). Lines 1, 2, and 5 are longer; lines 3 and 4 are shorter.
  • Tone & Humor: Lighthearted, mischievous, and built around a final gag or reversal.
  • Subject & Setup: Often starts with “There once was a … from …,” setting place and character before the comic turn.
  • Sound Play: Internal rhyme, alliteration, and rhythmic snap heighten the joke’s delivery.

The best limericks land like a good toast: quick, musical, and clinched by a memorable last line.