At The Lanes End

By Madison Julius Cawein

I.     No more to strip the roses from     The rose-boughs of her porch's place!     I dreamed last night that I was home     Beside a rose her face.     I must have smiled in sleep who knows?     The rose aroma filled the lane;     I saw her white hand's lifted rose     That called me home again.     And yet when I awoke so wan,     An old face wet with icy tears!     Somehow, it seems, sleep had misdrawn     A love gone thirty years. II.     The clouds roll up and the clouds roll down     Over the roofs of the little town;     Out in the hills where the pike winds by     Fields of clover and bottoms of rye,     You will hear no sound but the barking cough     Of the striped chipmunk where the lane leads off;     You will hear no bird but the sapsuckers     Far off in the forest, that seems to purr,     As the warm wind fondles its top, grown hot,     Like the docile back of an ocelot:     You will see no thing but the shine and shade     Of briers that climb and of weeds that wade     The glittering creeks of the light, that fills     The dusty road and the red-keel hills     And all day long in the pennyroy'l     The grasshoppers at their anvils toil;     Thick click of their tireless hammers thrum,     And the wheezy belts of their bellows hum;     Tinkers who solder the silence and heat     To make the loneliness more complete.     Around old rails where the blackberries     Are reddening ripe, and the bumble-bees     Are a drowsy rustle of Summer's skirts,     And the bob-white's wing is the fan she flirts.     Under the hill, through the iron weeds,     And ox-eyed daisies and milkweeds, leads     The path forgotten of all but one.     Where elder bushes are sick with sun,     And wild raspberries branch big blue veins     O'er the face of the rock, where the old spring rains     Its sparkling splinters of molten spar     On the gravel bed where the tadpoles are,     You will find the pales of the fallen fence,     And the tangled orchard and vineyard, dense     With the weedy neglect of thirty years.     The garden there, where the soft sky clears     Like an old sweet face that has dried its tears;     The garden plot where the cabbage grew     And the pompous pumpkin; and beans that blew     Balloons of white by the melon patch;     Maize; and tomatoes that seemed to catch     Oblong amber and agate balls     Thrown from the sun in the frosty falls:     Long rows of currants and gooseberries,     And the balsam-gourd with its honey-bees.     And here was a nook for the princess-plumes,     The snap-dragons and the poppy-blooms,     Mother's sweet-williams and pansy flowers,     And the morning-glories' bewildered bowers,     Tipping their cornucopias up     For the humming-birds that came to sup.     And over it all was the Sabbath peace     Of the land whose lap was the love of these;     And the old log-house where my innocence died,     With my boyhood buried side by side.     Shall a man with a face as withered and gray     As the wasp-nest stowed in a loft away,     Where the hornets haunt and the mortar drops     From the loosened logs of the clap-board tops;     Whom vice has aged as the rotting rooms     The rain where memories haunt the glooms;     A hitch in his joints like the rheum that gnats     In the rasping hinge of the door that jars;     A harsh, cracked throat like the old stone flue     Where the swallows build the summer through;     Shall a man, I say, with the spider sins     That the long years spin in the outs and ins     Of his soul returning to see once more     His boyhood's home, where his life was poor     With toil and tears and their fretfulness,     But rich with health and the hopes that bless     The unsoiled wealth of a vigorous youth;     Shall he not take comfort and know the truth     In its threadbare raiment of falsehood? Yea!     In his crumbled past he shall kneel and pray,     Like a pilgrim come to the shrine again     Of the homely saints that shall soothe his pain,     And arise and depart made clean from stain! III.     Years of care can not erase     Visions of the hills and trees     Closing in the dam and race;     Not the mile-long memories     Of the mill-stream's lovely place.     How the sunsets used to stain     Mirror of the water lying     Under eaves made dark with rain!     Where the red-bird, westward flying,     Lit to try one song again.     Dingles, hills, and woods, and springs,     Where we came in calm and storm,     Swinging in the grape-vine swings,     Wading where the rocks were warm,     With our fishing-nets and strings.     Here the road plunged down the hill,     Under ash and chinquapin,     Where the grasshoppers would drill     Ears of silence with their din,     To the willow-girdled mill.     There the path beyond the ford     Takes the woodside, just below     Shallows that the lilies sword,     Where the scarlet blossoms blow     Of the trumpet-vine and gourd.     Summer winds, that sink with heat,     On the pelted waters winnow     Moony petals that repeat     Crescents, where the startled minnow     Beats a glittering retreat.     Summer winds that bear the scent     Of the iron-weed and mint,     Weary with sweet freight and spent,     On the deeper pools imprint     Stumbling steps in many a dent.     Summer winds, that split the husk     Of the peach and nectarine,     Trail along the amber dusk     Hazy skirts of gray and green,     Spilling balms of dew and musk.     Where with balls of bursting juice     Summer sees the red wild-plum     Strew the gravel; ripened loose,     Autumn hears the pawpaw drum     Plumpness on the rocks that bruise:     There we found the water-beech,     One forgotten August noon,     With a hornet-nest in reach,     Like a fairyland balloon,     Full of bustling fairy speech.     Some invasion sure it was;     For we heard the captains scold;     Waspish cavalry a-buzz,     Troopers uniformed in gold,     Sable-slashed, to charge on us.     Could I find the sedgy angle,     Where the dragon-flies would turn     Slender flittings into spangle     On the sunlight? or would burn     Where the berries made a tangle     Sparkling green and brassy blue;     Rendezvousing, by the stream,     Bands of elf-banditti, who,     Brigands of the bloom and beam,     Drunken were with honey-dew.     Could I find the pond that lay     Where vermilion blossoms showered     Fragrance down the daisied way?     That the sassafras embowered     With the spice of early May?     Could I find it did I seek     The old mill? Its weather-beaten     Wheel and gable by the creek?     With its warping roof; worm-eaten,     Dusty rafters worn and weak.     Where old shadows haunt old places,     Loft and hopper, stair and bin;     Ghostly with the dust that laces     Webs that usher phantoms in,     Wistful with remembered faces.     While the frogs' grave litanies     Drowse in far-off antiphone,     Supplicating, till the eyes     Of dead friendships, long alone     In the dusky corners, rise.     Moonrays or the splintered slip     Of a star? within the darkling     Twilight, where the fire-flies dip     As if Night a myriad sparkling     Jewels from her hands let slip:     While again some farm-boy crosses,     With a corn-sack for the meal,     O'er the creek, through ferns and mosses     Sprinkled by the old mill-wheel,     Where the water drips and tosses.

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Poem Details

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

Analysis & Notes:
This is a deeply evocative and nostalgic piece that basks in the radiant glow of memory and the painful sting of realization that comes with time's passage. It is a testimony to the power of place and the indelible mark it imprints on our identity. The three-part structure of the poem allows for a progression from a dreamlike reminisce to a more grounded depiction of reality, and finally to an exploration of specific, cherished memories.

In the first part, the theme of longing and loss is evident as the speaker recounts a dream of returning home, only to awake to the harsh reality of a love lost in time. The repeated use of the rose as a symbol enhances the tone of nostalgic yearning. The second part takes us on a vivid journey through the speaker's childhood landscape, where detailed and sensorial imagery of nature and rural life evoke a sense of longing for a simpler, idyllic past. There is a bitter-sweet undertone, as the speaker acknowledges the decay of the past, yet finds comfort and redemption in these memories. The third part delves deeper into specific memories, furthering the theme of reflection and reminiscence. The speaker asks whether they could find these places again, marking a profound yearning for reconnection with the past.

The recurring motifs of nature - the roses, the fields, the mill-stream, the summer winds, the dragon-flies - all serve to create a pastoral painting brimming with life and nostalgia. The poem is steeped in rich, evocative language and employs a range of literary devices, such as similes, metaphors, and personification, to bring the past alive. The rhythm and rhyme scheme add a lyrical quality, further enhancing the emotional impact of the poem. Overall, this is a poignant exploration of memory, time, and the enduring connection to one's roots.

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.