Now, I am not going to disparage old Walt. He was big himself, and he had an extraordinary feeling of the bigness of America with its swarming multitudes, millions of the plain people, whom God must have loved, said Lincoln, since he made so many of them. But all this in the mass. As to any dramatic power to discriminate among individuals and characterize them singly, as Riley does, Whitman had none. They are all alike, all “leaves of grass.”
Well, my friend, and Walt Whitman’s, promised to read Riley’s poems. And shortly I got a letter from him saying that he had read them with much enjoyment, but adding, “Surely you would not call him a great national poet.” Now since his death, the newspaper critics have been busy with this question. His poetry was true, sweet, original; but was it great? Suppose we leave aside for the moment this question of greatness. Who are the great poets, anyway? Was Robert Burns one of them? He composed no epics, no tragedies, no high Pindaric odes. But he made the songs of the Scottish people, and is become a part of the national consciousness of the race. In a less degree, but after the same fashion, Riley’s poetry has taken possession of the popular heart. I am told that his sales outnumber Longfellow’s. This is not an ultimate test, but so far as it goes it is a valid one.
Riley is the Hoosier poet, but he is more than that: he is a national poet. His state and his city have honored themselves in honoring him and in keeping his birthday as a public holiday. The birthdays of nations and of kings and magistrates have been often so kept. We have our fourth of July, our twenty-second of February, our Lincoln’s birthday; and we had a close escape from having a McKinley day. I do not know that the banks are closed and the children let out of school—Riley’s children, for all children are his—on each succeeding seventh of October; but I think there is no record elsewhere in our literary history of a tribute so loving and so universal to a mere man of letters, as the Hoosier State pays annually to its sweet singer. Massachusetts has its poets and is rightly proud of them, but neither Bryant nor Emerson nor Lowell nor Holmes, nor the more popular Longfellow or Whittier, has had his natal day marked down on the calendar as a yearly state festa. And yet poets, novelists, playwriters, painters, musical composers, artists of all kinds, have added more to the sum of human happiness than all the kings and magistrates that ever lived. Perhaps Indianians are warmer hearted than New Englanders; or perhaps they make so much of their poets because there are fewer of them. But this is not the whole secret of it. In a sense, Riley’s poems are provincial. They are intensely true to local conditions, local scenery and dialect, childish memories and the odd ways and characters of little country towns. But just for this faithfulness to their environment these “poems here at home” come home to others whose homes are far away from the Wabash, but are not so very different after all.
America, as has often been said, is a land of homes: of dwellers in villages, on farms, and in small towns. We are common people, middle-class people, conservative, decent, religious, tenacious of old ways, home-keeping and home-loving. We do not thrill to Walt Whitman’s paeans to democracy in the abstract; but we vibrate to every touch on the chord of family affections, of early friendships, and of the dear old homely things that our childhood knew. Americans are sentimental and humorous; and Riley abounds in sentiment—wholesome sentiment—and natural humor, while Whitman had little of either.
To all Americans who were ever boys; to all, at least who have had the good luck to be country boys and go barefoot; whether they dwell in the prairie states of the Middle West, or elsewhere, the scenes and characters of Riley’s poems are familiar: Little Orphant Annie and the Raggedy Man, and the Old Swimmin’ Hole and Griggsby’s Station “where we ust to be so happy and so pore.” They know when the frost is on the “punkin,” and that the “Gobble-uns’ll git you ef you don’t watch out”; and how the old tramp said to the Raggedy Man:—
You’re a purty man!—You air!—
With a pair o’ eyes like two fried eggs,
An’ a nose like a Bartlutt pear!
They have all, in their time, followed along after the circus parade, listened to the old village band playing tunes like “Lily Dale” and “In the Hazel Dell my Nellie’s Sleeping” and “Rosalie, the Prairie Flower”; have heard the campaign stump speaker when he “cut loose on monopolies and cussed and cussed and cussed”; have belonged to the literary society which debated the questions whether fire or water was the most destructive element; whether town life was preferable to country life; whether the Indian or the negro had suffered more at the hands of the white man; or whether the growth of Roman Catholicism in this country is a menace to our free institutions. And was the execution of Charles the First justifiable? Charles is dead now; but this good old debate question will never die. They knew the joys of “eatin’ out on the porch” and the woes of having your sister lose your jackknife through a crack in the barn floor; or of tearing your thumb nail in trying to get the nickel out of the tin savings bank.
The poets we admire are many; the poets we love are few. One of the traits that endear Riley to his countrymen is his cheerfulness. He is “Sunny Jim.” The south wind and the sun are his playmates. The drop of bitterness mixed in the cup of so many poets seems to have been left out of his life potion. And so, while he does not rouse us with “the thunder of the trumpets of the night,” or move us with the deep organ tones of tragic grief, he never fails to hearten and console. And though tragedy is absent from his verse, a tender pathos, kindred to his humor, is everywhere present. Read over again “The Old Man and Jim,” or “Nothin’ to Say, my Daughter,” or any of his poems on the deaths of children; for a choice that poignant little piece, “The Lost Kiss,” comparable with Coventry Patmore’s best poem, “The Toys,” in which the bereaved father speaks his unavailing remorse because he had once spoken crossly to his little girl when she came to his desk for a good-night kiss and interrupted him at his work.