Greenwood, November 13, 1865

Edmund Clarence Stedman (1833–1908) · 1860–1897

iambic pentameter · ABAB · 48 lines · from The Poetical Works of Edmund Clarence Stedman

We stood around the dreamless formWhose strength was so untimely shaken,Whose sleep not all our love could warm,Nor any dearest voice awaken;

And while the Autumn breathed her sighs,And dropped a thousand leafy glories,And all the pathways, and the skies,Were mindful of his songs and stories,

Nor failed to wear the mingled huesHe loved, and knew so well to render,But wooed,—alas, in vain!—their MuseFor one more tuneful lay and tender,

We paused awhile,—the gathered fewWho came, in longing, not in duty,—With eyes that full of weeping grew,To look their last upon his beauty.

Death would not rudely rob that face,Nor dim its fine Arcadian brightness,But gave the lines a clearer grace,And sleep’s repose, and marble’s whiteness.

And, gazing there on him so young,We thought of all his ended mission,The broken links, the songs unsung,The love that found no ripe fruition;

Till last the old, old question cameTo hearts that beat with life around him,Why Death, with downward torch aflame,Had searched our number till he found him?

Why passed the one who poorly knows,That blithesome spell for either fortune,Or mocked with lingering menace thoseWhose pains the final thrust importune;

Or left the toiling ones who bearThe crowd’s neglect, the want that presses,The woes no human soul can share,Nor look, nor spoken word, confesses.

And from the earth no answer came,The forest wore a stillness deeper,The sky and lake smiled on the same,And voiceless as the silent sleeper.

And so we turned ourselves away,By earth and air and water chidden,And left him with them, where he lay,A sharer of their secret hidden.

And each the staff and shell againTook up, and marched with memories haunted;But henceforth, in our pilgrim-strain,We’ll miss a voice that sweetly chaunted!

Words in this poem 16
dreamless a.
Free from, or without, dreams. Camden.
mindful a.
Bearing in mind; regardful; attentive; heedful; observant.
tuneful a.
Harmonious; melodious; musical; as, tuneful notes.
awhile adv.
For a while; for some time; for a short time. [Adj. a + while time, interval.]
arcadian a.
Of or pertaining to Arcadia; pastoral; ideally rural; as, Arcadian simplicity or scenery. [L. Arcadius, Arcadicus, fr. Arcadia: cf. F. Arcadien, Arcadique.]
clearer n.
One who, or that which, clears.
fruition n.
Use or possession of anything, especially such as is accompanied with pleasure or satisfaction; pleasure derived from possession or use. [OF. fruition, L. fruitio, enjoyment, fr. L. frui, p. p. fruitus, to use or enjoy. See Fruit, n.]
aflame adv.
Inflames; glowing with light or passion; ablaze. G. Eliot. [Pref. a- + flame.]
blithesome a.
Cheery; gay; merry.
importune a.
Inopportune; unseasonable. [F. importun, L. importunus; pref. im- not + a derivative from the root of portus harbor, importunus therefore orig. meaning, hard of access. See Port harbor, an]
stillness n.
The quality or state of being still; quietness; silence; calmness; inactivity.
voiceless a.
Having no voice, utterance, or vote; silent; mute; dumb.
sleeper n.
One who sleeps; a slumberer; hence, a drone, or lazy person.
sharer n.
One who shares; a participator; a partaker; also, a divider; a distributer.
haunted a.
Inhabited by, or subject to the visits of, apparitions; frequented by a ghost.
henceforth adv.
From this time forward; henceforward.

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

Greenwood, November 13, 1865 is in the public domain. This text is taken from The poetical works of Edmund Clarence Stedman, Project Gutenberg ebook #70763; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Edmund Clarence Stedman, Greenwood, November 13, 1865, in The Poetical Works of Edmund Clarence Stedman (1860–1897), text of Project Gutenberg ebook #70763, Laurel, https://laurelpoetry.com/poem/stedman-poems/greenwood-november-13-1865.html, id L10717.

Form and metre

Greenwood, November 13, 1865 is 48 lines in 12 stanzas of 4 lines each. Every stanza rhymes ABAB. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 94%). 93% of its stressed syllables fall where the metre puts the beat. The lines average 8.9 syllables. 19 lines end on an unstressed syllable, a feminine ending. 17% of the lines run on without a stop at the line end.

See other poems in iambic pentameter.

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. 1 ABAB formA · shakenB · warmA · awakenB
  2. 2 ABAB sighsA · gloriesB · skiesA · storiesB
  3. 3 ABAB huesA · renderB · museA · tenderB
  4. 4 ABAB fewA · dutyB · grewA · beautyB
  5. 5 ABAB faceA · brightnessB · graceA · whitenessB
  6. 6 ABAB youngA · missionB · unsungA · fruitionB
  7. 7 ABAB cameA · himB · aflameA · himB
  8. 8 ABAB knowsA · fortuneB · thoseA · importuneB
  9. 9 ABAB bearA · pressesB · shareA · confessesB
  10. 10 ABAB cameA · deeperB · sameA · sleeperB
  11. 11 ABAB awayA · chiddenB · layA · hiddenB
  12. 12 ABAB againA · hauntedB · strainA · chauntedB
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 pentameter. How this is done.

LineSyl.Stress
We stood around the dreamless form8·····/˘·
Whose strength was so untimely shaken,9····˘/˘/˘
Whose sleep not all our love could warm,9····/˘···
Nor any dearest voice awaken;9·/˘/˘·˘/˘
And while the Autumn breathed her sighs,9···/˘·˘··
And dropped a thousand leafy glories,10··˘·/˘/˘/˘
And all the pathways, and the skies,8···/····
Were mindful of his songs and stories,9·/˘····/˘
Nor failed to wear the mingled hues10··˘···/˘˘·
He loved, and knew so well to render,10··˘·····/˘
But wooed,—alas, in vain!—their Muse9··˘˘/····
For one more tuneful lay and tender,9···/˘··/˘
We paused awhile,—the gathered few10··˘˘/·/˘˘·
Who came, in longing, not in duty,—9···/˘··/˘
With eyes that full of weeping grew,8·····/˘·
To look their last upon his beauty.9·······/˘
Death would not rudely rob that face,8···/˘···
Nor dim its fine Arcadian brightness,10·····/˘˘/˘
But gave the lines a clearer grace,8·····/˘·
And sleep’s repose, and marble’s whiteness.9··˘/·/˘/˘
And, gazing there on him so young,8·/˘·····
We thought of all his ended mission,9·····/˘/˘
The broken links, the songs unsung,8·/˘···˘/
The love that found no ripe fruition;9······˘/˘
Till last the old, old question came8·····/˘·
To hearts that beat with life around him,9·········
Why Death, with downward torch aflame,8···/˘·˘/
Had searched our number till he found him?10··/˘/˘····
Why passed the one who poorly knows,9··˘···/˘·
That blithesome spell for either fortune,9·/˘··/˘/˘
Or mocked with lingering menace those10··˘·/˘˘/˘·
Whose pains the final thrust importune;9···/˘····
Or left the toiling ones who bear8···/˘···
The crowd’s neglect, the want that presses,9··˘/···/˘
The woes no human soul can share,8···/˘···
Nor look, nor spoken word, confesses.9···/˘·˘/˘
And from the earth no answer came,8·····/˘·
The forest wore a stillness deeper,9·/˘··/˘/˘
The sky and lake smiled on the same,9·····˘···
And voiceless as the silent sleeper.9·/˘··/˘/˘
And so we turned ourselves away,10····˘˘˘/˘/
By earth and air and water chidden,9·····/˘··
And left him with them, where he lay,8········
A sharer of their secret hidden.9·/˘··/˘/˘
And each the staff and shell again8······˘/
Took up, and marched with memories haunted;10·····/˘˘/˘
But henceforth, in our pilgrim-strain,9·//·/˘/˘·
We’ll miss a voice that sweetly chaunted!9·····/˘··

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.

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