The Tree an Old Man’s Story
Its roots are bristling in the airLike some mad Earth-god’s spiny hair;The loud south-wester’s swell and yellSmote it at midnight, and it fell.Thus ends the treeWhere Some One sat with me.
Its boughs, which none but darers trod,A child may step on from the sod,And twigs that earliest met the dawnAre lit the last upon the lawn.Cart off the treeBeneath whose trunk sat we!
Yes, there we sat: she cooed content,And bats ringed round, and daylight went;The gnarl, our seat, is wrenched and sunk,Prone that queer pocket in the trunkWhere lay the keyTo her pale mystery.
“Years back, within this pocket-holeI found, my Love, a hurried scrawlMeant not for me,” at length said I;“I glanced thereat, and let it lie:The words were three—‘Beloved, I agree.’
“Who placed it here; to what requestIt gave assent, I never guessed.Some prayer of some hot heart, no doubt,To some coy maiden hereabout,Just as, maybe,With you, Sweet Heart, and me.”
She waited, till with quickened breathShe spoke, as one who banishethReserves that lovecraft heeds so well,To ease some mighty wish to tell:“’Twas I,” said she,“Who wrote thus clinchingly.
“My lover’s wife—aye, wife!—knew noughtOf what we felt, and bore, and thought . . .He’d said: ‘I wed with thee or die:She stands between, ’tis true. But why?Do thou agree,And—she shalt cease to be.’
“How I held back, how love supremeInvolved me madly in his schemeWhy should I say? . . . I wrote assent(You found it hid) to his intent . . .She—died . . . But heCame not to wed with me.
“O shrink not, Love!—Had these eyes seenBut once thine own, such had not been!But we were strangers . . . Thus the plotCleared passion’s path.—Why came he notTo wed with me? . . .He wived the gibbet-tree.”
—Under that oak of heretoforeSat Sweetheart mine with me no more:By many a Fiord, and Strom, and FleuveHave I since wandered . . . Soon, for love,Distraught went she—’Twas said for love of me.
Words in this poem
- daylight n.
- The light of day as opposed to the darkness of night; the light of the sun, as opposed to that of the moon or to artificial light.
- went n.
- Course; way; path; journey; direction.
- gnarl v. i.
- To growl; to snarl. [From older gnar, prob. of imitative origin; cf. G. knarren, knurren. D. knorren, Sw. knorra, Dan. knurre.]
- scrawl v. t.
- To draw or mark awkwardly and irregularly; to write hastily and carelessly; to scratch; to scribble; as, to scrawl a letter. [Probably corrupted from scrabble.]
- thereat adv.
- At that place; there.
- maybe adv.
- Perhaps; possibly; peradventure. [For it may be.]
- spoke n.
- The radius or ray of a wheel; one of the small bars which are inserted in the hub, or nave, and which serve to support the rim or felly. [OE. spoke, spake, AS, spaca; akin to D. speek, LG. speke, OHG. speihha, G. speiche. sq. root170. Cf. Spike a nail.]
- wrote v. i.
- To root with the snout. See 1st Root. [OE. wroten. See 1st Root.]
- shalt
- 2d per. sing. of Shall.
- madly adv.
- In a mad manner; without reason or understanding; wildly. [From Mad, a.]
- fiord n.
- A narrow inlet of the sea, penetrating between high banks or rocks, as on the coasts of Norway and Alaska. [Dan. & Norw. fiord. See Frith.]
- distraught p. p.
- Torn asunder; separated. [OE. distract, distrauht. See Distract, a.]
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Tree an Old Man’s Story is in the public domain. This text is taken from Poems of the Past and the Present, Project Gutenberg ebook #3168; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Thomas Hardy, The Tree an Old Man’s Story, in Poems of the Past and the Present (1901), text of Project Gutenberg ebook #3168, Laurel, https://laurelpoetry.com/poem/hardy-past-and-present/the-tree-an-old-man-s-story.html, id L16933.
Form and metre
The Tree an Old Man’s Story is 60 lines in 10 stanzas of 6 lines each. The rhyme scheme is AABBCC, complete in 5 of its 10 stanzas. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 89%). 98% of its stressed syllables fall where the metre puts the beat. The lines average 7.0 syllables. 4 lines end on an unstressed syllable, a feminine ending. 37% of the lines run on without a stop at the line end.
See other poems in iambic tetrameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 AABBCC airA · hairA · yellB · fellB · treeC · meC
- 2 AABBCC trodA · sodA · dawnB · lawnB · treeC · weC
- 3 AABB-- contentA · wentA · sunkB · trunkB · key · mystery
- 4 --AABB hole · scrawl · iA · lieA · threeB · agreeB
- 5 AABB-- requestA · guessedA · doubtB · hereaboutB · maybe · me
- 6 AABB-- breathA · banishethA · wellB · tellB · she · clinchingly
- 7 AABBCC noughtA · thoughtA · dieB · whyB · agreeC · beC
- 8 AABBCC supremeA · schemeA · assentB · intentB · heC · meC
- 9 --AABB seen · been · plotA · notA · meB · treeB
- 10 AABBCC heretoforeA · moreA · fleuveB · loveB · sheC · meC
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| Its roots are bristling in the air | 8 | ···/˘··· |
| Like some mad Earth-god’s spiny hair; | 8 | ·····/˘· |
| The loud south-wester’s swell and yell | 8 | ···/˘··· |
| Smote it at midnight, and it fell. | 8 | ···/···· |
| Thus ends the tree | 4 | ···· |
| Where Some One sat with me. | 6 | ······ |
| Its boughs, which none but darers trod, | 8 | ········ |
| A child may step on from the sod, | 8 | ········ |
| And twigs that earliest met the dawn | 8 | ···/˘··· |
| Are lit the last upon the lawn. | 8 | ········ |
| Cart off the tree | 4 | ···· |
| Beneath whose trunk sat we! | 6 | ······ |
| Yes, there we sat: she cooed content, | 8 | ······/˘ |
| And bats ringed round, and daylight went; | 8 | ·····/·· |
| The gnarl, our seat, is wrenched and sunk, | 8 | ··/····· |
| Prone that queer pocket in the trunk | 8 | ···/˘··· |
| Where lay the key | 4 | ···· |
| To her pale mystery. | 6 | ···/˘˘ |
| “Years back, within this pocket-hole | 8 | ·····/˘· |
| I found, my Love, a hurried scrawl | 8 | ·····/˘· |
| Meant not for me,” at length said I; | 8 | ········ |
| “I glanced thereat, and let it lie: | 8 | ··˘/···· |
| The words were three— | 4 | ···· |
| ‘Beloved, I agree.’ | 5 | ˘/·˘/ |
| “Who placed it here; to what request | 8 | ······˘/ |
| It gave assent, I never guessed. | 8 | ··˘/·/˘· |
| Some prayer of some hot heart, no doubt, | 8 | ········ |
| To some coy maiden hereabout, | 8 | ···/˘/˘· |
| Just as, maybe, | 4 | ··/˘ |
| With you, Sweet Heart, and me.” | 6 | ······ |
| She waited, till with quickened breath | 8 | ·/˘··/˘· |
| She spoke, as one who banisheth | 8 | ·····/˘˘ |
| Reserves that lovecraft heeds so well, | 9 | ˘/······· |
| To ease some mighty wish to tell: | 8 | ···/˘··· |
| “’Twas I,” said she, | 4 | ···· |
| “Who wrote thus clinchingly. | 6 | ······ |
| “My lover’s wife—aye, wife!—knew nought | 8 | ·/˘····· |
| Of what we felt, and bore, and thought . . . | 8 | ········ |
| He’d said: ‘I wed with thee or die: | 8 | ········ |
| She stands between, ’tis true. But why? | 8 | ········ |
| Do thou agree, | 4 | ··˘/ |
| And—she shalt cease to be.’ | 6 | ······ |
| “How I held back, how love supreme | 8 | ······˘/ |
| Involved me madly in his scheme | 8 | ˘/·/˘··· |
| Why should I say? . . . I wrote assent | 8 | ······˘/ |
| (You found it hid) to his intent . . . | 8 | ······˘/ |
| She—died . . . But he | 4 | ···· |
| Came not to wed with me. | 6 | ······ |
| “O shrink not, Love!—Had these eyes seen | 8 | ········ |
| But once thine own, such had not been! | 8 | ········ |
| But we were strangers . . . Thus the plot | 8 | ···/˘··· |
| Cleared passion’s path.—Why came he not | 8 | ·/˘····· |
| To wed with me? . . . | 4 | ···· |
| He wived the gibbet-tree.” | 7 | ··˘·/˘· |
| —Under that oak of heretofore | 8 | ······˘/ |
| Sat Sweetheart mine with me no more: | 8 | ·/······ |
| By many a Fiord, and Strom, and Fleuve | 8 | ·/······ |
| Have I since wandered . . . Soon, for love, | 8 | ···/˘··· |
| Distraught went she— | 4 | ˘/·· |
| ’Twas said for love of me. | 6 | ······ |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.