At The Saturday Club

By Oliver Wendell Holmes

    This is our place of meeting; opposite     That towered and pillared building: look at it;     King's Chapel in the Second George's day,     Rebellion stole its regal name away, -     Stone Chapel sounded better; but at last     The poisoned name of our provincial past     Had lost its ancient venom; then once more     Stone Chapel was King's Chapel as before.     (So let rechristened North Street, when it can,     Bring back the days of Marlborough and Queen Anne!)     Next the old church your wandering eye will meet -     A granite pile that stares upon the street -     Our civic temple; slanderous tongues have said     Its shape was modelled from St. Botolph's head,     Lofty, but narrow; jealous passers-by     Say Boston always held her head too high.     Turn half-way round, and let your look survey     The white facade that gleams across the way, -     The many-windowed building, tall and wide,     The palace-inn that shows its northern side     In grateful shadow when the sunbeams beat     The granite wall in summer's scorching heat.     This is the place; whether its name you spell     Tavern, or caravansera, or hotel.     Would I could steal its echoes! you should find     Such store of vanished pleasures brought to mind     Such feasts! the laughs of many a jocund hour     That shook the mortar from King George's tower;     Such guests! What famous names its record boasts,     Whose owners wander in the mob of ghosts!     Such stories! Every beam and plank is filled     With juicy wit the joyous talkers spilled,     Ready to ooze, as once the mountain pine     The floors are laid with oozed its turpentine!     A month had flitted since The Club had met;     The day came round; I found the table set,     The waiters lounging round the marble stairs,     Empty as yet the double row of chairs.     I was a full half hour before the rest,     Alone, the banquet-chamber's single guest.     So from the table's side a chair I took,     And having neither company nor book     To keep me waking, by degrees there crept     A torpor over me, - in short, I slept.     Loosed from its chain, along the wreck-strown track     Of the dead years my soul goes travelling back;     My ghosts take on their robes of flesh; it seems     Dreaming is life; nay, life less life than dreams,     So real are the shapes that meet my eyes.     They bring no sense of wonder, no surprise,     No hint of other than an earth-born source;     All seems plain daylight, everything of course.     How dim the colors are, how poor and faint     This palette of weak words with which I paint!     Here sit my friends; if I could fix them so     As to my eyes they seem, my page would glow     Like a queen's missal, warm as if the brush     Of Titian or Velasquez brought the flush     Of life into their features. Ay de mi!     If syllables were pigments, you should see     Such breathing portraitures as never man     Found in the Pitti or the Vatican.     Here sits our POET, Laureate, if you will.     Long has he worn the wreath, and wears it still.     Dead? Nay, not so; and yet they say his bust     Looks down on marbles covering royal dust,     Kings by the Grace of God, or Nature's grace;     Dead! No! Alive! I see him in his place,     Full-featured, with the bloom that heaven denies     Her children, pinched by cold New England skies,     Too often, while the nursery's happier few     Win from a summer cloud its roseate hue.     Kind, soft-voiced, gentle, in his eye there shines     The ray serene that filled Evangeline's.     Modest he seems, not shy; content to wait     Amid the noisy clamor of debate     The looked-for moment when a peaceful word     Smooths the rough ripples louder tongues have stirred.     In every tone I mark his tender grace     And all his poems hinted in his face;     What tranquil joy his friendly presence gives!     How could. I think him dead? He lives! He lives!     There, at the table's further end I see     In his old place our Poet's vis-a-vis,     The great PROFESSOR, strong, broad-shouldered, square,     In life's rich noontide, joyous, debonair.     His social hour no leaden care alloys,     His laugh rings loud and mirthful as a boy's, -     That lusty laugh the Puritan forgot, -     What ear has heard it and remembers not?     How often, halting at some wide crevasse     Amid the windings of his Alpine pass,     High up the cliffs, the climbing mountaineer,     Listening the far-off avalanche to hear,     Silent, and leaning on his steel-shod staff,     Has heard that cheery voice, that ringing laugh,     From the rude cabin whose nomadic walls     Creep with the moving glacier as it crawls     How does vast Nature lead her living train     In ordered sequence through that spacious brain,     As in the primal hour when Adam named     The new-born tribes that young creation claimed! -     How will her realm be darkened, losing thee,     Her darling, whom we call our AGASSIZ!     But who is he whose massive frame belies     The maiden shyness of his downcast eyes?     Who broods in silence till, by questions pressed,     Some answer struggles from his laboring breast?     An artist Nature meant to dwell apart,     Locked in his studio with a human heart,     Tracking its eaverned passions to their lair,     And all its throbbing mysteries laying bare.     Count it no marvel that he broods alone     Over the heart he studies, - 't is his own;     So in his page, whatever shape it wear,     The Essex wizard's shadowed self is there, -     The great ROMANCER, hid beneath his veil     Like the stern preacher of his sombre tale;     Virile in strength, yet bashful as a girl,     Prouder than Hester, sensitive as Pearl.     From his mild throng of worshippers released,     Our Concord Delphi sends its chosen priest,     Prophet or poet, mystic, sage, or seer,     By every title always welcome here.     Why that ethereal spirit's frame describe?     You know the race-marks of the Brahmin tribe,     The spare, slight form, the sloping shoulders' droop,     The calm, scholastic mien, the clerkly stoop,     The lines of thought the sharpened features wear,     Carved by the edge of keen New England air.     List! for he speaks! As when a king would choose     The jewels for his bride, he might refuse     This diamond for its flaw, - find that less bright     Than those, its fellows, and a pearl less white     Than fits her snowy neck, and yet at last,     The fairest gems are chosen, and made fast     In golden fetters; so, with light delays     He seeks the fittest word to fill his phrase;     Nor vain nor idle his fastidious quest,     His chosen word is sure to prove the best.     Where in the realm of thought, whose air is song,     Does he, the Buddha of the West, belong?     He seems a winged Franklin, sweetly wise,     Born to unlock the secrets of the skies;     And which the nobler calling, - if 't is fair     Terrestrial with celestial to compare, -     To guide the storm-cloud's elemental flame,     Or walk the chambers whence the lightning came,     Amidst the sources of its subtile fire,     And steal their effluence for his lips and lyre?     If lost at times in vague aerial flights,     None treads with firmer footstep when he lights;     A soaring nature, ballasted with sense,     Wisdom without her wrinkles or pretence,     In every Bible he has faith to read,     And every altar helps to shape his creed.     Ask you what name this prisoned spirit bears     While with ourselves this fleeting breath it shares?     Till angels greet him with a sweeter one     In heaven, on earth we call him EMERSON.     I start; I wake; the vision is withdrawn;     Its figures fading like the stars at dawn;     Crossed from the roll of life their cherished names,     And memory's pictures fading in their frames;     Yet life is lovelier for these transient gleams     Of buried friendships; blest is he who dreams!

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Poem Details

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

Analysis & Notes:
This poem is a beautifully reflective and nostalgic piece that pays homage to a cherished past. The speaker conveys a deeply personal narrative, taking the reader on a journey through time and memories. The themes of the poem largely revolve around nostalgia, memory, and the passage of time, and the tone is both elegiac and celebratory in nature.

The poem uses vivid and picturesque imagery to describe a meeting place and the people who frequent it. The poet elegantly brings to life the historical and cultural significance of the setting, intertwined with personal anecdotes and interactions. The structure of the poem, which alternates between the present and the past, reinforces the theme of memory.

The poet employs a variety of literary devices to enrich the narrative, including metaphor, simile, and personification. The personification of the meeting place as a living entity that harbors memories and stories is particularly striking.

The poem also stands out for its nuanced characterization of the individuals within the narrative. The poet goes beyond mere physical descriptions to capture their personalities, their quirks, and their contributions to the collective memory of the group.

In conclusion, this is a poignant and evocative poem that explores the inextricable link between place, memory, and identity. It underscores the enduring power of shared experiences and friendships, even as they recede into the realm of memory.

Exploring Narrative Poetry

Narrative poetry is a form of poetry that tells a story, often making use of the voices of a narrator and characters as well. Unlike lyric poetry, which focuses on emotions and thoughts, narrative poetry is dedicated to storytelling, weaving tales that captivate readers through plot and character development.


Narrative poems are unique in their ability to combine the depth of storytelling with the expressive qualities of poetry. Here are some defining characteristics:

  • Structured Plot: Narrative poems typically have a clear beginning, middle, and end, following a plot that might involve conflict, climax, and resolution, much like a short story or novel.
  • Character Development: Characters in narrative poems are often well-developed, with distinct voices and personalities that drive the story forward.
  • Descriptive Language: The language used in narrative poetry is vivid and descriptive, painting a clear picture of the scenes and events, while also conveying the emotions and atmosphere of the story.

From ancient epics like "The Iliad" and "The Odyssey" to more modern narrative poems, this form continues to engage readers by blending the art of storytelling with the beauty and rhythm of poetry.