Central High School - EN EM Yearbook (North Manchester, IN)

Page 10 text:

4 MAPLE LEAVES. As old maids they will live and prosper, Live and love their maidish life. But when yet quite young and giddish, They will catch two willing suckers, Catch two old and love-worn bachelors, Of the grass and widow type. But they will love their married life, And how sad ’twill be to leave us, Leave us when they are called above, Then will the old men whisper, Whisper in their sad bewailing, Carrie-Minnie! Carrie-Minnie! Now, O smoke, pray rise and tell us, Teach us of our Coryn’s prospect, Teach us of his future interests, What a praise he’ll win for classmates, He’ll become our billionaire, Man of money and affair; He will have his beads and ponies, Have them of all shapes and sizes; But of all the things he’ll own. Our old friendship will be greatest. And when at last he will wander from us. When he will leave us all forever, In the ringing of the church bells, We will hear his name resounding, Cor-yn! Cor yn! ‘Tis of Mamye we’ll now speak of, Mayme, the one whom all adore, Of her future we will tell little, For little’s all we know. This is that she will be a lady, Simply that and nothing more. And when the sun rises o’er the hill tops, Rises at the early morn. We will hear the golden robin, Hear the morning oriole, Chirping ’mong the trees and blossoms, Singing to her nearest mate, Whisper, softly whisper, Mayme! Mayme! Now, again, I ask attention, While I tell you of another, Tis of Lloyd I’ll speak and mention, Speak and tell you of his future, He will be our greatest member, One far greater than all others, Take heed, lest he thine ear abuse, In praising stereoscopic views, An M. D. will be his profession, An M. D. or a Medicine Doctor, But better still he’ll serve his country, Better far than as a doctor, For he will be the originator, Establisher or maker, Of a new sort of asylum, For waifs of the canine tribe. Here the dogs and cats and others. He will nurse and feed and care for, And. at last, when they are cured, When from ailments they are recovered, He will start them in the world aright, Start them Christianized and bettered. This will be his noble life work, And we’ll hear the cats at midnight, Quarreling, scratching, near the wigwams, Hissing, say to one another, Moy-moy-oid! Scroid! ’Tis now Fern that calls attention, And of her we will say a word, This is that a business woman, Or a twentieth century man she'll be; Make the money, do the voting, And receive a public office, And perhaps a President be. And when witches through the heavens Through the air and sky and ether, Drive and guide their broom stick horses, We will hear them whispering wildly, Whispering to their tire-worn steeds, “Sail, oh sail!’’ for thou are nearing, Coming closer to the Fern land, Closer to the land of Women. Now all’s finished, save but one, One whom even I can not tell, All the sages of our nations Can not tell one single jot. So we will leave it thus unfinished, Time alone will make it known, Though these be the circumstances, Yet he’ll love his dear old classmates, And when at last he’s passed away, ’Tis, perhaps, that some might mention, Some might think of times gone by. Oh, 1903, may there be, A long and prosperous life for thee. No cowardly deed disgrace thy name, Thou art a child well known to fame. Thy virtue none surpass! No class in High School is thy peer, Thy praise to us is very dear. And long years hence, though scattered wide. Our memories will recall with pride. Thy name, our noble class.

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MAPLE LEAVES. 3 And when life’s departed from him, Departed to a better world, Rippling waters, dancing waters, Of his praises they will sing. Paul, the Poet! Paul, the Poet! May I tell you, show you, teach you, Of the one I see here now? Owen’s future lies here open, Open to the world around; But, perchance, if some might mention, Say to you that he is slow, In response, I’ll only answer, Answer, slow, but sure to go. Brightest mind of all our class, Brighter far than fast. He will calculate, we say, Calculate, learn or know, How much Mary’s lamb did grow, When the lamb did follow her to school, Follow, when ’twas against the rule. But the smoke here answers, tells us, Says he’ll lead a farmer’s life, Farmer for the great Pearl Father, Maker of you all. my children. And the whispering, murmuring pine trees. In their songs of praise will sing, Farmer Owen! Owen! Owen! Now the future of another, One to be both bright and fair Rises; comes to tell you, For the work that she’ll prepare. She will be a female dentist, Extractor of teeth, you know. Pulling, twisting, filling, making. For the jaws of you who are here. And when Edna’s work is done, Completed, finished, naught for fun, We will hear the West wind Walking lightly o’er the prairie, Whispering to the leaves and blossoms Edna! Edna! Now another of our number Comes to see for what he’s destined. Destined ere to rise or fall in this flood surrounding all. Raymond, we perceive to be. One of many, sad and free; To be speaker is his lot, A speaker, teacher or preacher. Spreader of God’s word divine. Is the life work of his time. At last, when he’s stolen from us, Stolen from us in the mist, We will hear the angels whisper, Whisper, ’tis our Raymond! Raymond! And the smoke that you here see, Tells it, makes it known to me, Lulu’s future, what she’ll be. All life’s work will not be pleasure, But she’ll strive and overcome, As a teacher she will triumph. Win money, praise and glory. And when Lulu’s time is past, We will hear the owl at midnight. Hooting, hooting, in the forest, Lu-lu! Lu-lu! Now we beg to ask of Albert, What this one so strong will be, And in response receive this answer, This reply that comes to me. When a youth he’ll go far westward. Go to where there is always summer, Always pleasure, joy and mirth, ’Twill be there he’ll make his fortune, Win his many belts of wampum. And when life draws near a close, Back he’ll come for sweet repose, And we will hear the little fire-fly, Flitting through the dusk of evening, With the twinkle of its candle. Lighting up the breaks and bushes, Whisper, Albert! Albert! Again we ask the smoke to tell us, Ask this smoke so lazily curling. Of the fortune of our Gracie, Grace, the Right Arm, or hard hitter, And ’tis said she’ll be a singer, One far sweeter than all robins, Sweeter far than lark or bobbin. She will sing of all the wide world, Sing of things she’s seen and heard of, Sing for us, her loving classmates, And when at last we have no Gracie, When from us her life will go. We will hear the breezes whisper, Whisper to us, soft and low, Grace, the singer! Singer! Singer! Listen now of these I’ll tell you, Of the ones whom we all know, Know and call the twins or equals, Inseparable pair, who always go, Go and come together ever, ’Twill thus be through all their lives.

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 MAPLE LEAVES. MYTHOLOGY OF MILTON. ASIIER R. COTTRELL. The mythological gods and goddesses of Olympus have been for twenty centuries the possession of lovers of art and letters. To Milton the classic mythology was a means to an end, a way by which he might give body and form to poetic ideas. All serious belief in the deities of Olympus had long since passed away,but the beauty and strength of the conceptions themselves gave them a lasting power in the minds of all who loved the beautiful in form and expression. They were for one thing a means of personification. Personification is the poetic way of looking at things, and especially was it Milton’s method. It was early in the period of his retirement at Horton, while enjoying the unbroken leisure and solitude indispensable to poetical meditation, that he wrote the ...companion poems of “L’Allegro” and “II Penseroso.” In these poems, which in a marked degree reflect the poet and his surroundings, we find a wealth of mythical allusions, the learning of books transmitted into lively imagery. Especially are his allusions and personifications numerous in the first forty or fifty lines of these poems. In the “L’Allegro” they average about one reference to each two lines; in the “II Pen-seroso,” one to each three lines. And yet, lavish as is their use, his mastery over the rich treasury of his education enabled him to make them an integral part of the poems, not merely citations and appendages. The first few lines of the “L’Allegro” offer a good example of this freedom in using the classical mythology. Melancholy, he says, is “of Cerebus and blackest midnight born,” but in the “II Penseroso” (line 23), the nobler Melancholy Is called the child of Vesta and Saturn. This may at first seem inconsistent, though on looking at it from Milton’s point of view we find neither inaccuracies nor inconsistencies. We have a mode of expression most natural to a mind filled with the conceptions of classic poetry. At the present day the classic mythology is no longer universally familiar to the reading public. The select, cultured audience for which Milton wrote was familiar with the mythology of Homer, of Virgil, of Horace, and with the legends and attributes of their characters. It must also be understood that the two poems represent dispositions, different but not opposed to each other. The word Melancholy itself had a different significance when taken into the language than it has at the present day. In the “L’Allegro” he has used it with the earlier signification of a pain fully depressed state of mind and body, almost approaching insanity. As understood today, with the 5 sense of moderate and, perhaps, not wholly unpleasant sadness he has used it in the “II Penseroso.” When a few lines further on, in “L’Allegro” 17-24, he says that Mirth is the child of Zephyr and Aurora, he says something that no Greek ever said, but which every Greek and every man of education would have understood, not as a matter of information, but as a matter of course. Just so here, Melancholy, personified, is to be banished. Milton is thinking of her as some pernicious being, fatal to the enjoyment of life and thought, and when he says that she was born of darkness and some strange, hellish monster, his readers understood him perfectly and knew that he had given it the earlier attributes. But in the “II Penseroso” it was the nobler Melan choly whose presence he invoked, and when he said that she was born of Saturn, grave, reverend and kindly, and Vesta, goddess of the hearth, home, and domestic virtues, his readers understood equally well that he had in mind a character, grave, thoughtful, and of meditative disposition. Instead of coining words, as is the custom today, Milton created characters. An idea of the number of allusions he makes may be gathered from the fact that in the one hundred and fifty-two lines of the “L’Allegro,” he mentions the following mythological characters: Cerberus, Mirth, Venus, Bacchus, The Graces, Zephyr, Aurora, Hebe, Hymen, Orpheus, Pluto and Eurydice. Melancholy, Darkness, Jest and Jollity are among the personifications. “Haste thee. Nymph, and bring with thee Jest, and youthful Jollity, Quips and Cranks and wanton Wiles, Nods and Becks and wreathed Smiles, Such as hang on Hebe’s cheek, And love to live in dimple sleek; Sport that wrinkled Care derides. And Laughter holding both his sides. And in thy right hand lead with thee The mountain-nymph, sweet Liberty.” In classic geography he refers to the Styx in Hades, the Cimmerian desert, far to the north in a region of eternal dusk, Mount Ida, and Elysium. In his magnificent masque, Comus, that immortal apotheosis of virtue, Milton has again created a character, that of Comus himself. This production is strictly in accordance with the mythological beliefs in that the Greeks and Romans believed their gods and goddesses to be often near them in an invisible form, sometimes visible in a changed form, just as Comus and the Attendant Spirit were present and ready, the one to destroy, the other to protect hapless mortals. Here we also find another phase of Milton’s marvelous genius, namely his exceptional ability to write charming little songs. Especially in his songs to