The Deacons Masterpiece Or, The Wonderful One-Hoss Shay - A Logical Story

By Oliver Wendell Holmes

    Have you heard of the wonderful one-hoss shay,     That was built in such a logical way     It ran a hundred years to a day,     And then, of a sudden, it - ah, but stay,     I 'll tell you what happened without delay,     Scaring the parson into fits,     Frightening people out of their wits, -     Have you ever heard of that, I say?     Seventeen hundred and fifty-five.     Georgius Secundus was then alive, -     Snuffy old drone from the German hive.     That was the year when Lisbon-town     Saw the earth open and gulp her down,     And Braddock's army was done so brown,     Left without a scalp to its crown.     It was on the terrible Earthquake-day     That the Deacon finished the one-hoss shay.     Now in building of chaises, I tell you what,     There is always somewhere a weakest spot, -     In hub, tire, felloe, in spring or thill,     In panel, or crossbar, or floor, or sill,     In screw, bolt, thoroughbrace, - lurking still,     Find it somewhere you must and will, -     Above or below, or within or without, -     And that 's the reason, beyond a doubt,     That a chaise breaks down, but does n't wear out.     But the Deacon swore (as Deacons do,     With an "I dew vum," or an "I tell yeou ")     He would build one shay to beat the taown     'n' the keounty 'n' all the kentry raoun';     It should be so built that it couldn' break daown     "Fur," said the Deacon, "'t 's mighty plain     Thut the weakes' place mus' stan' the strain;     'n' the way t' fix it, uz I maintain,     Is only jest     T' make that place uz strong uz the rest."     So the Deacon inquired of the village folk     Where he could find the strongest oak,     That couldn't be split nor bent nor broke, -     That was for spokes and floor and sills;     He sent for lancewood to make the thills;     The crossbars were ash, from the straightest trees,     The panels of white-wood, that cuts like cheese,     But lasts like iron for things like these;     The hubs of logs from the "Settler's ellum," -     Last of its timber, - they could n't sell 'em,     Never an axe had seen their chips,     And the wedges flew from between their lips,     Their blunt ends frizzled like celery-tips;     Step and prop-iron, bolt and screw,     Spring, tire, axle, and linchpin too,     Steel of the finest, bright and blue;     Thoroughbrace bison-skin, thick and wide;     Boot, top, dasher, from tough old hide     Found in the pit when the tanner died.     That was the way he "put her through."     "There!" said the Deacon, "naow she 'll dew!"     Do! I tell you, I rather guess     She was a wonder, and nothing less!     Colts grew horses, beards turned gray,     Deacon and deaconess dropped away,     Children and grandchildren - where were they?     But there stood the stout old one-hoss shay     As fresh as on Lisbon-earthquake-day!     EIGHTEEN HUNDRED; - it came and found     The Deacon's masterpiece strong and sound.     Eighteen hundred increased by ten; -     "Hahnsum kerridge" they called it then.     Eighteen hundred and twenty came; -     Running as usual; much the same.     Thirty and forty at last arrive,     And then come fifty, and FIFTY-FIVE.     First of November, 'Fifty-five!     This morning the parson takes a drive.     Now, small boys, get out of the way!     Here comes the wonderful one-hoss shay,     Little of all we value here     Wakes on the morn of its hundredth year     Without both feeling and looking queer.     In fact, there 's nothing that keeps its youth,     So far as I know, but a tree and truth.     (This is a moral that runs at large;     Take it. - You 're welcome. - No extra charge.)     FIRST OF NOVEMBER, - the Earthquake-day, -     There are traces of age in the one-hoss shay,     A general flavor of mild decay,     But nothing local, as one may say.     There couldn't be, - for the Deacon's art     Had made it so like in every part     That there was n't a chance for one to start.     For the wheels were just as strong as the thills,     And the floor was just as strong as the sills,     And the panels just as strong as the floor,     And the whipple-tree neither less nor more,     And the back-crossbar as strong as the fore,     And spring and axle and hub encore.     And yet, as a whole, it is past a doubt     In another hour it will be worn out!     Drawn by a rat-tailed, ewe-necked bay.     "Huddup!" said the parson. - Off went they.     The parson was working his Sunday's text, -     Had got to fifthly, and stopped perplexed     At what the - Moses - was coming next.     All at once the horse stood still,     Close by the meet'n'-house on the hill.     First a shiver, and then a thrill,     Then something decidedly like a spill, -     And the parson was sitting upon a rock,     At half past nine by the meet'n'-house clock, -     Just the hour of the Earthquake shock!     What do you think the parson found,     When he got up and stared around?     The poor old chaise in a heap or mound,     As if it had been to the mill and ground!     You see, of course, if you 're not a dunce,     How it went to pieces all at once, -     All at once, and nothing first, -     Just as bubbles do when they burst.     End of the wonderful one-hoss shay.     Logic is logic. That's all I say.

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Poem Details

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

Analysis & Notes:
This richly textured narrative poem explores themes of time, impermanence, and the folly of human attempts to defy natural decay. The poet employs humor and a conversational tone, punctuated by colloquial language and various exclamation points, to underscore the absurdity of the Deacon's ambition to build an indestructible "one-hoss shay," or one-horse carriage. The poem's structure, a mix of quatrains and couplets, mirrors the haphazard and unpredictable nature of life and decay, which the Deacon attempts to resist.

The poet uses vivid imagery and detailed descriptions to depict the meticulous construction of the shay, highlighting the Deacon's determination. However, despite the Deacon's efforts, the shay disintegrates exactly a century after its creation, underscoring the inescapable reality of time and wear. The phrase "Logic is logic" serves as a powerful refrain, encapsulating the inevitable logic of time and decay.

The poem's tone shifts from an almost mocking humor to a more reflective and philosophical mood as the poet contemplates the fleeting nature of all things. This shift is marked by the introduction of natural elements, such as the "tree and truth," which the poet suggests are the only things that can truly maintain their youth. This subtle shift gives depth to the poem, inviting readers to reflect on their own mortality and the transitory nature of human endeavors.

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.