The Wood-Cutter

By Gilbert Keith Chesterton

Ballad
    We came behind him by the wall,     My brethren drew their brands,     And they had strength to strike him down--     And I to bind his hands.     Only once, to a lantern gleam,     He turned his face from the wall,     And it was as the accusing angel's face     On the day when the stars shall fall.     I grasped the axe with shaking hands,     I stared at the grass I trod;     For I feared to see the whole bare heavens     Filled with the face of God.     I struck: the serpentine slow blood     In four arms soaked the moss--     Before me, by the living Christ,     The blood ran in a cross.     Therefore I toil in forests here     And pile the wood in stacks,     And take no fee from the shivering folk     Till I have cleansed the axe.     But for a curse God cleared my sight,     And where each tree doth grow     I see a life with awful eyes,     And I must lay it low.

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Poem Details

Language: English
Keywords: Public Domain
Source: Public Domain Collection
Rights/Permissions: Public Domain
Analysis & Notes:
The poem weaves a narrative of guilt, redemption, and the struggle with divine judgment. The protagonist, along with his brethren, is involved in a violent act, the consequences of which he carries throughout the poem. The theme of guilt is vividly manifested in the protagonist's fear of seeing "the whole bare heavens filled with the face of God," which suggests a sense of moral and religious accountability.

The structure of the poem, with its consistent four-line stanzas, provides a rhythmic regularity that starkly contrasts with the turmoil of the protagonist's emotions. The imagery of the "accusing angel's face," the "serpentine slow blood," and "a life with awful eyes" lends a vivid, haunting quality to the piece.

The tone is one of remorse and fear, reflected in the protagonist's actions to atone for his guilt by toiling in the forest, not taking any fee for his work until he has "cleansed the axe." This suggests a need to purify himself of the sin he committed. The use of the cross as a symbol of redemption and the repeated religious references reinforce this theme.

Moreover, the poem also explores the theme of divine judgment and punishment. The protagonist is cursed with the ability to see "a life with awful eyes" in every tree, and he is compelled to "lay it low." This could be interpreted as a metaphor for his perpetual guilt and the burden of his sin, illustrating a harsh, judgmental view of divinity.

In conclusion, this poem illustrates a complex interplay of guilt, redemption, and divine judgment through its vivid imagery, consistent structure, and somber tone. It portrays a protagonist struggling with his guilt and striving for redemption in a world where divinity is an ever-watchful, condemning presence.

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.