The Poet — Key Ideas to Explore

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Nicholson, Meredith, 1866-1947, Booth, Franklin, 1874-1948 [Illustrator], Dwiggins, W. A. (William Addison), 1880-1956 [Illustrator] Project Gutenberg 2020 Not confirmed
Girls -- Fiction; Man-woman relationships -- Fiction; Poets -- Fiction; Riley, James Whitcomb, 1849-1916 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 33,346
Reading time 145 min
Text sections 6

Before opening The Poet — Key Ideas to Explore, the edition data offers a quick orientation: 33,346 words, 2 hr 25 min estimated reading time, and 6 detected text sections.

The text analysis averages about 20.2 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Girls -- Fiction,” connecting these edition facts with the source record’s subject description.

Meredith Nicholson's 1914 novel centers on a poet's encounter with a solemn child, Marjorie, and later a mysterious admirer who sends verses to a young woman at a lake resort. The excerpts reveal a narrative focused on social observation, romantic intrigue, and the interplay between real and imagined identities.
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Editorial Edition Score 4.7/5

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  • Text length15 pts
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tripped away with Marjorie, and joined with her in the mazes of a dance that enmeshed the whole company of children in bright ribbons and then freed them again. The Poet, beating time to the music with his hat, wished that Herrick might have been there; it was his habit to think, when something pleased him particularly, that “Keats would have liked that!”--“Shelley would have made a golden line of this!” He felt songs beating with eager wings at the door of his own heart as his glance followed the fair girl who had so easily turned a child’s tears to laughter. For Marjorie was laughing with the rest now; in ten minutes she was one of them--had found friends and seemed not to mind at all when her good angel dropped out to become a spectator of her happiness.

“I have saved my trousers,” remarked the Poet to Mrs. Waring, who had watched the transformation in silence; “but that girl has spoiled her frock kneeling to Marjorie. I suppose I couldn’t with delicacy offer to reimburse her for the damage. If there were any sort of gallantry in me I would have sacrificed myself, and probably have scared Marjorie to death. If a child should put its arms around me that way and cry on my shoulder and then run off and play, I should be glad to endow laundries to the limit of my bank account. If the Diana who rescued Marjorie has another name--”

“I thought you knew! That’s Marian Agnew, Marjorie’s aunt.”

“I’ve read of her in many books,” said the Poet musingly, “but she’s an elusive person. I might have known that if I would sit in a pleasant garden like this in June and watch children at play, something beautiful would pass this way.”

Mrs. Waring glanced at him quickly, as people usually did to make sure he was not trifling with them.

“You really seem interested in the way she hypnotized Marjorie! Well, to be quite honest, I sent for her to come! She was playing tennis a little farther up the street, but she came running when I sent word that Marjorie was here and that we had all given her up in despair.”

“My first impression was that she had dropped down from heaven or had run away from Olympus. Please don’t ask me to say which I think likelier!”

“I’m sorry to spoil an illusion, but after all Marian is one of the daughters of men; though I remember that when she was ten she told me in solemn confidence that she believed in fairies, because she had seen them--an excellent reason! She graduated from Vassar last year, and I have an idea that college may have shaken her faith in fairies. She’s going to begin teaching school next fall,--she has to do something, you know. She’s an eminently practical person, blessed with a sound appetite, and she can climb a rope, and swim and play tennis all day.”

“The Olympians ate three meals a day, I imagine; and we shouldn’t begrudge this fair-haired Marian her daily bread and butter. Let me see; she’s Marjorie’s aunt; and Marjorie’s father is Miles Redfield. I know Redfield well; his wife was Elizabeth Agnew. I saw a good deal of them in their early married days. They’ve agreed to quit--is that the way of it?”

“How fortunate you are that people don’t tell you gossip! I suppose it’s one of the rewards of being a poet! The whole town has been upset by the Redfields’ troubles;--they have separated. I’ve sent Elizabeth up to Waupegan to open my house--made an excuse to get her away. Marjorie’s with her grandmother, waiting for the courts to do something about it;--as though courts could do anything about such cases!” she ended with feeling.

The Poet, searching for Marjorie in the throng of children, made no reply.

“You are a poet,” Mrs. Waring resumed tauntingly, with the privilege of old friendship, “and have a reputation for knowing the human heart. Why can’t you do something about the Redfields’ troubles?--there’s a fine chance for you! It begins to look as though sentiment, romance, love--all those things you poets have been writing about for thousands of years--have gone out with the old-fashioned roses. I confess that it’s because I’m afraid that’s true that I’m clinging to all the flowers my grandmother used to love--and I’m nearly seventy and a grandmother myself.”

The opening scene of Meredith Nicholson's The Poet (1914) introduces a child, Marjorie, whose stillness at a garden party draws the attention of a celebrated figure called "the Poet All the People Loved." The Poet's remark—"The lonesomeness of that little girl over there is becoming painful"—sets up a pattern of observation that recurs throughout the excerpts. Mrs. Waring's explanation that Marjorie's parents "can't hit it off" frames the child as a casualty of domestic discord, a detail that aligns with the catalog subject of girls and family tension. Yet the excerpts quickly shift focus to a different kind of attention: the arrival of unsigned poems addressed to a young woman, Marian, at a lake resort. The verses, quoted in part, describe a canoeist and an orchard sprite named Pomona, blending classical allusion with local scenery.

The Poet as Observer and Catalyst

The Poet is introduced not through his own verses but through his role as a commentator. His self-mocking line—"Oh, little child that never smiled"—is immediately dismissed: "Somebody might build a poem around that line, but I hope nobody ever will!" This suggests a deliberate distance between the character and the sentimental poetry his public might expect. Later, the Poet orchestrates the arrival of a young man by canoe, telling Marian that the author of the blue sheets "would arrive shortly." The excerpts do not confirm whether the Poet wrote the verses or merely facilitated a meeting; his function is to set events in motion rather than to produce art himself. The narrative voice treats him with a mixture of reverence and irony, noting that "his philosophy was not quite equal to forecasting the destiny of little Marjorie."

The Lake Setting and Its Conventions

The action moves to Waupegan Lake, where Marian and Marjorie build a sand castle while waiting for a mysterious visitor. The setting is rendered with specific details: canoes, a casino, tennis courts, and orchards. The unsigned poems describe a figure who "sped Pomona down orchard aisles catching at the weighted boughs for the joy of hearing the thump of falling apples." This pastoral imagery is undercut by Marian's practical concerns—she counts a dozen canoes and wonders whether her own activities could have inspired the verses. The child Marjorie, now speaking in a playful idiolect ("Ums can go 'way!"), provides comic contrast to the romantic tension. The excerpts suggest a world where social rituals are performed with self-awareness: Marian tells Marjorie, "We must pretend it's play, and keep pretending that they will be kind and considerate gentlemen."

The Limits of the Catalog Subjects

The catalog lists "Girls -- Fiction" and "Man-woman relationships -- Fiction" as primary subjects, and the excerpts do involve a child and a potential romance. However, the treatment of these themes is oblique. Marjorie's situation is introduced but not developed in the available text; the romance is mediated through anonymous poetry and a delayed meeting. The catalog also lists "Poets -- Fiction" and a specific real poet, James Whitcomb Riley, as a subject. The excerpts never name Riley; the Poet is referred to only by his epithet. The connection to Riley is an external attribution, not something the text itself makes explicit. Readers should note that the novel's engagement with these subjects may be more indirect than the catalog suggests, and that the excerpts emphasize social comedy and literary play over straightforward plot development.

Readers approaching The Poet through these excerpts will find a narrative that values indirection: the Poet's identity is deliberately vague, the romance is conducted through verse, and the child's story remains unresolved. Pay attention to how the novel uses its lake resort setting to stage encounters that are both artificial and sincere. The excerpts reward close reading of dialogue and description, where characters often say less than they mean.

Reading about the poet and that solemn child, Marjorie, I remembered a long train ride where a stranger’s half-finished letter made me invent a whole life for them. Jungle Tales once gave me that same ache of half-known people, of stories whispered rather than told. Jungle Tales — A Reader’s Guide holds that quiet, waiting feeling—like an old photograph whose faces I almost recognize.

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