THE WILD RIDE
I hear in my heart, I hear in its ominous pulses,
All day, on the road, the hoofs of invisible horses,
All night, from their stalls, the importunate pawing and neighing.
Let cowards and laggards fall back! But alert to the saddle
Weatherworn and abreast, go men of our galloping legion,
With a stirrup-cup each to the lily of women that loves him.
The trail is through dolor and dread, over crags and morasses;
There are shapes by the way, there are things that appal or entice us:
What odds? We are Knights of the Grail, we are vowed to the riding.
Thought’s self is a vanishing wing, and joy is a cobweb,
And friendship a flower in the dust, and glory a sunbeam:
Not here is our prize, nor, alas! after these our pursuing.
A dipping of plumes, a tear, a shake of the bridle,
A passing salute to this world and her pitiful beauty;
We hurry with never a word in the track of our fathers.
I hear in my heart, I hear in its ominous pulses,
All day, on the road, the hoofs of invisible horses,
All night, from their stalls, the importunate pawing and neighing.
We spur to a land of no name, outracing the storm-wind;
We leap to the infinite dark like sparks from the anvil.
Thou leadest, O God! All’s well with Thy troopers that follow.
Bliss Carman
(William) Bliss Carman was born at Fredericton, New Brunswick, Canada, April 15, 1861, of a long line of United Empire Loyalists who withdrew from Connecticut at the time of the Revolutionary War. Carman was educated at the University of New Brunswick (1879–81), at Edinburgh (1882–3) and Harvard (1886–8). He took up his residence in the United States about 1889 and, with the exception of short sojourns in the Maritime Provinces, has lived there ever since.
In 1893, Carman issued his first book, Low Tide on Grand Pré: A Book of Lyrics. It was immediately successful, running quickly into a second edition. From the outset, it was evident that Carman possessed the true lyrical power: the ability to fuse thought in emotion, to interpret the external world through a personal intensity. Simple and direct in his choice of themes, his passion made them universal. A vivid buoyancy, new to American literature, made his worship of Nature frankly pagan as contrasted to the moralizing tributes of most of his predecessors. This freshness and irresponsible whimsy made Carman the natural collaborator for Richard Hovey, and when their first joint Songs from Vagabondia appeared in 1894 Carman’s fame was established. (See Preface.)
Although the three Vagabondia collections contain Carman’s best known poems, several of his other volumes (he has published almost twenty of them) vibrate with the same glowing pulse. An almost physical radiance rises from Ballads of Lost Haven (1897), From the Book of Myths (1902) and Songs of the Sea Children (1904).
Carman has also written several volumes of essays and, in conjunction with Mary Perry King, has devised several poem-dances (Daughters of Dawn, 1913) suggesting Vachel Lindsay’s later poem-games. In his collection April Airs (1916), although the strength is diluted and the music somewhat thinned, the old magic persists; the spell may be overfamiliar but it is not powerless.