A March Voluntary (Wind And Cloud)

By Madison Julius Cawein

I.     Winds that cavern heaven and the clouds     And canyon with cerulean blue,     Great rifts down which the stormy sunlight crowds     Like some bright seraph, who,     Mailed in intensity of silver mail,     Flashes his splendor over hill and vale,     Now tramp, tremendous, the loud forest through:     Or now, like mighty runners in a race,     That swing, long pace to pace,     Sweep 'round the hills, fresh as, at dawn's first start,     They swept, dew-dripping, from     The crystal-crimson ruby of her heart,     Shouting the dim world dumb.     And with their passage the gray and green     Of the earth 's washed clean;     And the cleansing breath of their might is wings     And warm aroma, we know as Spring's,     And sap and strength to her bourgeonings. II.     My brow I bare     To the cool, clean air,     That blows from the crests of the clouds that roll,     Pearl-piled and berged as floes of Northern Seas,     Banked gray and thunder-low     Big in the heaven's peace;     Clouds, borne from nowhere that we know,     With nowhere for their goal;     With here and there a silvery glow     Of sunlight chasming deeps of sombre snow,     Great gulfs that overflow     With sky, a sapphire-blue,     Or opal, sapphire-kissed,     Wide-welled and deep and swiftly rifting through     Stratas of streaming mist;     Each opening like a pool,     Serene, cerule,     Set 'round with crag-like clouds 'mid which its eye gleams cool. III.     What blue is bluer than the bluebird's blue!     'T is as if heaven itself sat on its wings;     As if the sky in miniature it bore     The fields and forests through,     Bringing the very heaven to our door;     The daybreak of its back soft-wedded to     The sunset-auburn of its throat that sings.     The dithyrambics of the wind and rain     Strive to, but cannot, drown its strain:     Again, and yet again     I hear it where the maples tassel red,     And blossoms of the crab round out o'erhead,     And catkins make the willow-brake     A gossamer blur around the lake     That lately was a stream,     A little stream locked in its icy dream. IV.     Invisible crystals of aerial ring,     Against the wind I hear the bluebird fling     Its notes; and where the oak's mauve leaves uncurl     I catch the skyey glitter of its wing;     Its wing that lures me, like some magic charm,     Far in the woods     And shadowy solitudes:     And where the purple hills stretch under purple and pearl     Of clouds that sweep and swirl,     Its music seems to take material form;     A form that beckons with cerulean arm     And bids me see and follow,     Where, in the violet hollow,     There at the wood's far turn,     On starry moss and fern,     She shimmers, glimmering like a rainbowed shower,     The Spirit of Spring,     Diaphanous-limbed, who stands     With honeysuckle hands     Sowing the earth with many a firstling flower,     Footed with fragrance of their blossoming,     And clad in heaven as is the bluebird's wing. V.     The tumult and the booming of the trees,     Shaken with shoutings of the winds of March     No mightier music have I heard than these,     The rocking and the rushing of the trees,     The organ-thunder of the forest's arch.     And in the wind their columned trunks become,     Each one, a mighty pendulum,     Swayed to and fro as if in time     To some vast song, some roaring rhyme,     Wind-shouted from sonorous hill to hill     The woods are never still:     The dead leaves frenzy by,     Innumerable and frantic as the dance     That whirled its madness once beneath the sky     In ancient Greece, like withered Corybants:     And I am caught and carried with their rush,     Their countless panic borne away,     A brother to the wind, through the deep gray     Of the old beech-wood, where the wild Marchday     Sits dreaming, filling all the boisterous hush     With murmurous laughter and swift smiles of sun;     Conspiring in its heart and plotting how     To load with leaves and blossoms every bough,     And whispering to itself, "Now Spring's begun!     And soon her flowers shall golden through these leaves!     Away, ye sightless things and sere!     Make room for that which shall appear!     The glory and the gladness of the year;     The loveliness my eye alone perceives,     Still hidden there beneath the covering leaves,     My song shall waken! flowers, that this floor     Of whispering woodland soon shall carpet o'er     For my sweet sisters' feet to tread upon,     Months kinder than myself, the stern and strong,     Tempestuous-loving one,     Whose soul is full of wild, tumultuous song;     And whose rough hand now thrusts itself among     The dead leaves; groping for the flowers that lie     Huddled beneath, each like a sleep-closed eye:     Gold adder's-tongue and pink     Oxalis; snow-pale bloodroot blooms;     May-apple hoods, that parasol the brink,     Screening their moons, of the slim woodland stream:     And the wild iris; trillium, white as stars     And bluebells, dream on dream:     With harsh hand groping in the glooms,     I grasp their slenderness and shake     Their lovely eyes awake,     Dispelling from their souls the sleep that mars;     With heart-disturbing jars     Clasping their forms, and with rude finger-tips,     Through the dark rain that drips     Lifting them shrinking to my stormy lips, VI.     "Already spicewood and the sassafras,     Like fragrant flames, begin     To tuft their boughs with topaz, ere they spin     Their beryl canopies a glimmering mass,     Mist-blurred, above the deepening grass.     Already where the old beech stands     Clutching the lean soil as it were with hands     Taloned and twisted, on its trunk a knot,     A huge excrescence, a great fungous clot,     Like some enormous and distorting wart,     My eyes can see how, blot on beautiful blot     Of blue, the violets blur through.     The musky and the loamy rot     Of leaf-pierced leaves; and, heaven in their hue,     The little bluets, crew on azure crew,     Prepare their myriads for invasion too. VII.     "And in my soul I see how, soon, shall rise,     Still hidden to men's eyes,     Dim as the wind that 'round them treads,     Hosts of spring-beauties, streaked with rosy reds,     And pale anemones, whose airy heads,     As to some fairy rhyme,     All day shall nod in delicate time:     And now, even now, white peal on peal     Of pearly bells, that in bare boughs conceal     Themselves, like snowy music, chime on chime,     The huckleberries to my gaze reveal     Clusters, that soon shall toss     Above this green-starred moss,     That, like an emerald fire, gleams across     This forest-side, and from its moist deeps lifts     Slim, wire-like stems of seed;     Or, lichen-colored, glows with many a bead     Of cup-like blossoms: carpets where, I read,     When through the night's dark rifts     The moonlight's glimpsing splendor sifts,     The immaterial forms     With moonbeam-beckoning arms,     Of Fable and Romance,     Myths that are born of whispers of the wind     And foam of falling waters, music-twinned,     Shall lead the legendary dance;     The dance that never stops,     Of Earth's wild beauty on the green hill-tops." VIII.     The youth, the beauty and disdain     Of birth, death does not know,     Compel my heart with longing like to pain     When the spring breezes blow,     The fragrance and the heat     Of their soft breath, whose musk makes sweet     Each woodland way, each wild retreat,     Seem saying in my ear, "Hark, and behold!     Before a week be gone     This barren woodside and this leafless wold     A million flowers shall invade     With argent and azure, pearl and gold,     Like rainbow fragments scattered of the dawn,     Here making bright, here wan     Each foot of earth, each glen and glimmering glade,     Each rood of windy wood,     Where late gaunt Winter stood,     Shaggy with snow and howling at the sky;     Where even now the Springtime seems afraid     To whisper of the beauty she designs,     The flowery campaign that she now outlines     Within her soul; her heart's conspiracy     To take the world with loveliness; defy     And then o'erwhelm the Death that Winter throned     Amid the trees, with love that she hath owned     Since God informed her of His very breath,     Giving her right triumphant over Death.     And, irresistible,     Her heart's deep ecstasy shall swell,     Taking the form of flower, leaf, and blade,     Invading every dell,     And sweeping, surge on surge,     Around the world, like some exultant raid,     Even to the heaven's verge.     Soon shall her legions storm     Death's ramparts, planting Life's fair standard there,     The banner which her beauty hath in care,     Beauty, that shall eventuate     With all the pomp and pageant and the state,     That are apart of power, and that wait     On majesty, to which it, too, is heir." IX.     Already purplish pink and green     The bloodroot's buds and leaves are seen     Clumped in dim cirques; one from the other     Hardly distinguished in the shadowy smother     Of last year's leaves blown brown between.     And, piercing through the layers of dead leaves,     The searching eye perceives     The dog's-tooth violet, pointed needle-keen,     Lifting its beak of mottled green;     While near it heaves     The May-apple its umbrous spike, a ball,     Like to a round, green bean,     That folds its blossom, topping its tight-closed parasol:     The clustered bluebell near     Hollows its azure ear,     Low leaning to the earth as if to hear     The sound of its own growing and perfume     Flowing into its bloom:     And softly there     The twin-leaf's stems prepare     Pale tapers of transparent white,     As if to light     The Spirit of Beauty through the wood's green night. X.     Why does Nature love the number five?     Five-whorled leaves and five-tipped flowers?     Haply the bee that sucks i' the rose,     Laboring aye to store its hive,     And humming away the long noon hours,     Haply it knows as it comes and goes:     Or haply the butterfly,     Or moth of pansy-dye,     Flitting from bloom to bloom     In the forest's violet gloom,     It knows why:     Or the irised fly; to whom     Each bud, as it glitters near,     Lends eager and ardent ear.     And also tell     Why Nature loves so well     To prank her flowers in gold and blue.     Haply the dew,     That lies so close to them the whole night through,     Hugged to each honeyed heart,     Perhaps the dew the secret could impart:     Or haply now the bluebird there that bears,     Glad, unawares,     God's sapphire on its wings,     The lapis-lazuli     O' the clean, clear sky,     The heav'n of which he sings,     Haply he, too, could tell me why:     Or the maple there that swings,     To the wind's soft sigh,     Its winglets, crystal red,     A rainy ruby twinkling overhead:     Or haply now the wind, that breathes of rain     Amid the rosy boughs, it could explain:     And even now, in words of mystery,     That haunt the heart of me,     Low-whispered, dim and bland,     Tells me, but tells in vain,     And strives to make me see and understand,     Delaying where     The feldspar fire of the violet breaks,     And the starred myrtle aches     With heavenly blue; and the frail windflower shakes     Its trembling tresses in the opal air.

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Poem Details

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

Analysis & Notes:
This expansive poem is a rich tapestry of vivid, sensory imagery, and a celebration of nature's beauty and power. The poet intricately weaves together descriptions of the wind, clouds, forests, and numerous plants and flowers, presenting an almost cinematic panorama of changing seasons. The poem is marked by a profound respect for the natural world, its evocative descriptions revealing the depth of the poet's observations and the extent of his connection with nature.

The poem is structured in ten distinct sections, each exploring different elements of nature, from the grandeur of the sky and the vitality of wind to the delicate beauty of flowers and the mesmerizing sight of a bluebird. This careful compartmentalization provides the poem with a rhythmic balance, similar to the cyclic nature of seasons. The tone fluctuates between awe, reverence, joy, and anticipation, reflecting the poet's emotional responses to the shifting scenes of nature.

A notable feature of the poem is its application of personification, attributing human characteristics to natural elements. The winds are described as "mighty runners in a race," the Spring is portrayed as a "Spirit" with "honeysuckle hands," and the Marchday is said to be "dreaming." This technique helps to create a sense of intimacy and interaction between the poet and the natural world.

The poem also stands out for its exquisite use of color imagery. The poet doesn't merely mention colors; he attaches them to specific nouns, creating a vibrant, multi-sensory experience. This is seen in phrases such as "cerulean blue," "sunset-auburn," "rainbow fragments," "pale tapers of transparent white," and "irised fly." These vivid descriptions not only enhance the aesthetic appeal of the poem but also underline the sheer variety and brilliance of colors in nature.

In conclusion, this poem is an eloquent, deeply felt tribute to the marvels of nature. It encourages readers to open their senses, appreciate the beauty around them,

Understanding Reflective Poetry

Reflective poetry is a form of verse that explores the thoughts, emotions, and meditations of the poet. It often delves into personal experiences, memories, and philosophical musings, offering a window into the poet's inner world.


Reflective poems are characterized by their introspective nature, allowing readers to connect with the poet’s contemplations on life, existence, and the human condition. Here are some defining characteristics:

  • Personal Reflection: These poems often center on the poet's own thoughts and feelings, offering a deep dive into their emotional or intellectual state.
  • Philosophical Musings: Reflective poetry frequently addresses larger existential questions, providing a space for the poet to ponder life’s meaning, purpose, and the nature of reality.
  • Imagery and Symbolism: Poets use vivid imagery and rich symbolism to convey their reflections, often drawing on nature, art, or personal experiences to express complex ideas.
  • Quiet and Contemplative Tone: Reflective poems typically have a calm, meditative tone, inviting readers to pause and reflect alongside the poet.

Reflective poetry provides a unique avenue for exploring the poet’s inner world, inviting readers to engage in their own reflections as they journey through the verses.