The Old Man Of The Sea - A Nightmare Dream

By Oliver Wendell Holmes

    Do you know the Old Man of the Sea, of the Sea?     Have you met with that dreadful old man?     If you have n't been caught, you will be, you will be;     For catch you he must and he can.     He does n't hold on by your throat, by your throat,     As of old in the terrible tale;     But he grapples you tight by the coat, by the coat,     Till its buttons and button-holes fail.     There's the charm of a snake in his eye, in his eye,     And a polypus-grip in his hands;     You cannot go back, nor get by, nor get by,     If you look at the spot where he stands.     Oh, you're grabbed! See his claw on your sleeve, on your sleeve!     It is Sinbad's Old Man of the Sea!     You're a Christian, no doubt you believe, you believe     You're a martyr, whatever you be!     Is the breakfast-hour past? They must wait, they must wait,     While the coffee boils sullenly down,     While the Johnny-cake burns on the grate, on the grate,     And the toast is done frightfully brown.     Yes, your dinner will keep; let it cool, let it cool,     And Madam may worry and fret,     And children half-starved go to school, go to school;     He can't think of sparing you yet.     Hark! the bell for the train! "Come along! Come along!     For there is n't a second to lose."     "ALL ABOARD!" (He holds on.) "Fsht I ding-dong! Fsht! ding-dong!" -     You can follow on foot, if you choose.     There's a maid with a cheek like a peach, like a peach,     That is waiting for you in the church; -     But he clings to your side like a leech, like a leech,     And you leave your lost bride in the lurch.     There's a babe in a fit, - hurry quick! hurry quick!     To the doctor's as fast as you can!     The baby is off, while you stick, while you stick,     In the grip of the dreadful Old Man!     I have looked on the face of the Bore, of the Bore;     The voice of the Simple I know;     I have welcomed the Flat at my door, at my door;     I have sat by the side of the Slow;     I have walked like a lamb by the friend, by the friend,     That stuck to my skirts like a bur;     I have borne the stale talk without end, without end,     Of the sitter whom nothing could stir.     But my hamstrings grow loose, and I shake, and I shake,     At the sight of the dreadful Old Man;     Yea, I quiver and quake, and I take, and I take,     To my legs with what vigor I can!     Oh the dreadful Old Man of the Sea, of the Sea     He's come back like the Wandering Jew!     He has had his cold claw upon me, upon me, -     And be sure that he 'll have it on you!

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Poem Details

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

Analysis & Notes:
This poem employs a playful yet ominous tone to explore themes of persistence, relentlessness, and inevitability. Drawing on the legendary figure of the 'Old Man of the Sea' from the Sinbad tales, the poet personifies this figure as an unavoidable presence that clings to the speaker, disrupting daily life and causing distress. The repeated phrase "of the Sea, of the Sea" and the frequent usage of repetition in general, functions both as a structural device and a method to enhance the relentless nature of the Old Man.

The poem uses vivid, tactile imagery to illustrate the Old Man’s grip, such as "a polypus-grip in his hands," and "See his claw on your sleeve," which amplifies the feeling of being trapped or hindered. The poem's structure, characterized by quatrains with a consistent rhyme scheme, mirrors the repetitive and predictable nature of the Old Man's persistence.

The tone fluctuates between humor and frustration, contributing to the overall theme of life’s inevitabilities and annoyances. In the end, the poem serves as a sort of cautionary tale, warning the reader of their inevitable encounter with the Old Man, who could symbolize any unavoidable or inescapable aspect of life.

Understanding Ballads

A ballad is a form of verse, often a narrative set to music, that has been a cornerstone of storytelling across various cultures. Traditionally passed down orally, ballads are known for their rhythmic structure and often tell tales of love, adventure, and heroism.


Ballads are characterized by their strong rhythm and repetition, making them both memorable and engaging. Here are some defining features:

  • Narrative Structure: Ballads typically tell a story, often a dramatic or emotional tale that unfolds in a straightforward, chronological order.
  • Quatrain Stanzas: Most ballads are composed of quatrains (four-line stanzas) with a rhyme scheme of ABAB or ABCB, which adds to the musicality of the verse.
  • Repetition: Refrains or repeated lines are common in ballads, helping to emphasize key themes or emotions and making the ballad easier to remember.
  • Oral Tradition: Many ballads originated from oral traditions, which means they were passed down through generations by word of mouth before being written down.

From medieval minstrels to contemporary songwriters, ballads have continued to evolve, remaining a beloved form of expression that captures the human experience in a way that is both poetic and accessible.