I. THEIR BASIC SAVAGERY
Fat black bucks in a wine-barrel room,
Barrel-house kings, with feet unstable,
...
It is portentous, and a thing of state
That here at midnight, in our little town
A mourning figure walks, and will not rest,
Near the old court-house pacing up and down.
...
To be intoned, all but the two italicized lines, which are to be spoken in a snappy, matter-of-fact way.
Ding-dong, ding-dong, ding-dong.
...
Let not young souls be smothered out before
They do quaint deeds and fully flaunt their pride.
It is the world's one crime its babes grow dull,
Its poor are ox-like, limp and leaden-eyed.
...
Star of my heart, I follow from afar.
Sweet Love on high, lead on where shepherds are,
Where Time is not, and only dreamers are.
Star from of old, the Magi-Kings are dead
...
Factory windows are always broken.
Somebody's always throwing bricks,
Somebody's always heaving cinders,
Playing ugly Yahoo tricks.
...
(IN THE BEGINNING)
The sun is a huntress young,
The sun is a red, red joy,
...
No man should stand before the moon
To make sweet song thereon,
With dandified importance,
His sense of humor gone.
...
A Recitation for Martha Wakefield, Three Years Old
There was a little turtle.
...
The Moon's the North Wind's cooky.
He bites it, day by day,
Until there's but a rim of scraps
That crumble all away.
...
Too soon you wearied of our tears.
And then you danced with spangled feet,
Leading Belshazzar's chattering court
A-tinkling through the shadowy street.
...
Would that by Hindu magic we became
Dark monks of jeweled India long ago,
Sitting at Prince Siddartha's feet to know
The foolishness of gold and love and station,
...
This section is a Christmas tree:
Loaded with pretty toys for you.
Behold the blocks, the Noah's arks,
The popguns painted red and blue.
...
[Written to the Most Beautiful Woman in the World]
M< Sweetheart is the TRUTH BEYOND THE MOON,
...
The flower-fed buffaloes of the spring
In the days of long ago,
Ranged where the locomotives sing
...
A Song in Chinese Tapestries
"How, how," he said. "Friend Chang," I said,
...
Old Euclid drew a circle
On a sand-beach long ago.
He bounded and enclosed it
With angles thus and so.
...
True Love is founded in rocks of Remembrance
In stones of Forbearance and mortar of pain.
The workman lays wearily granite on granite,
And bleeds for his castle, 'mid sunshine and rain.
...
Sometimes we remember kisses,
Remember the dear heart-leap when they came:
Not always, but sometimes we remember
The kindness, the dumbness, the good flame
...
Nicholas Vachel Lindsay was born on November 10, 1879 in Springfield, Illinois. The second of six children and the only son of Dr. Vachel Thomas Lindsay and Esther Catharine Frazee Lindsay. Vachel did not attend school until he was eight. He was taught at home by his mother, who had been a teacher and artist before her marriage. Grimm’s Fairy Tales is said to have been his primer. He graduated from Stuart School in 1893, having skipped the seventh grade and winning several prizes for his writing compositions. During his youth, Vachel was encouraged to follow in his father’s footsteps, therefore as a dutiful son, he enrolled at Hiram College, as a premedical student in 1897. Three years later, he wrote home and asked his parents to allow him to attend art school. In 1901 he was accepted as a student at the Art Institute of Chicago and began his pursuit of a career as an illustrator. He spent time reading the works of English mystic poet William Blake and writing poetry in earnest. He moved in 1904 to continue his studies at the New York School of Art and, while there, began to combine poetry and art. After hearing Lindsay recite one of his illustrated poems, "The Tree of the Laughing Bells," Robert Henri, a painter and teacher at the New York School, suggested to Lindsay that he devote himself to poetry. It was a turning point in the poet’s life. The years 1906 through 1912 were Lindsay’s troubadour years as he took his poetry to the people. He ventured out into the world on walking tours of the countryside, taking no money with him, instead trading his poetry for food and shelter. In 1920, Lindsay became the first American poet invited to recite at Oxford University and undertook his first national lecturing tour. Nicholas Vachel Lindsay died in 1931, his funeral attended by hundreds. Cables expressing Lindsay’s popularity and people’s great sorrow at his death came from all over the nation.)
The Congo: A Study Of The Negro Race
I. THEIR BASIC SAVAGERY
Fat black bucks in a wine-barrel room,
Barrel-house kings, with feet unstable,
Sagged and reeled and pounded on the table,
A deep rolling bass.
Pounded on the table,
Beat an empty barrel with the handle of a broom,
Hard as they were able,
Boom, boom, BOOM,
With a silk umbrella and the handle of a broom,
Boomlay, boomlay, boomlay, BOOM.
THEN I had religion, THEN I had a vision.
I could not turn from their revel in derision.
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
More deliberate. Solemnly chanted.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
Then along that riverbank
A thousand miles
Tattooed cannibals danced in files;
Then I heard the boom of the blood-lust song
And a thigh-bone beating on a tin-pan gong.
A rapidly piling climax of speed & racket.
And "BLOOD" screamed the whistles and the fifes of the warriors,
"BLOOD" screamed the skull-faced, lean witch-doctors,
"Whirl ye the deadly voo-doo rattle,
Harry the uplands,
Steal all the cattle,
Rattle-rattle, rattle-rattle,
Bing.
Boomlay, boomlay, boomlay, BOOM,"
A roaring, epic, rag-time tune
With a philosophic pause.
From the mouth of the Congo
To the Mountains of the Moon.
Death is an Elephant,
Torch-eyed and horrible,
Shrilly and with a heavily accented metre.
Foam-flanked and terrible.
BOOM, steal the pygmies,
BOOM, kill the Arabs,
BOOM, kill the white men,
HOO, HOO, HOO.
Listen to the yell of Leopold's ghost
Like the wind in the chimney.
Burning in Hell for his hand-maimed host.
Hear how the demons chuckle and yell
Cutting his hands off, down in Hell.
Listen to the creepy proclamation,
Blown through the lairs of the forest-nation,
Blown past the white-ants' hill of clay,
Blown past the marsh where the butterflies play: --
"Be careful what you do,
Or Mumbo-Jumbo, God of the Congo,
All the "O" sounds very golden. Heavy accents very heavy. Light accents very light. Last line whispered.
And all of the other
Gods of the Congo,
Mumbo-Jumbo will hoo-doo you,
Mumbo-Jumbo will hoo-doo you,
Mumbo-Jumbo will hoo-doo you."
II. THEIR IRREPRESSIBLE HIGH SPIRITS
Wild crap-shooters with a whoop and a call
Rather shrill and high.
Danced the juba in their gambling-hall
And laughed fit to kill, and shook the town,
And guyed the policemen and laughed them down
With a boomlay, boomlay, boomlay, BOOM.
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
Read exactly as in first section.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
A negro fairyland swung into view,
Lay emphasis on the delicate ideas. Keep as light-footed as possible.
A minstrel river
Where dreams come true.
The ebony palace soared on high
Through the blossoming trees to the evening sky.
The inlaid porches and casements shone
With gold and ivory and elephant-bone.
And the black crowd laughed till their sides were sore
At the baboon butler in the agate door,
And the well-known tunes of the parrot band
That trilled on the bushes of that magic land.
A troupe of skull-faced witch-men came
With pomposity.
Through the agate doorway in suits of flame,
Yea, long-tailed coats with a gold-leaf crust
And hats that were covered with diamond-dust.
And the crowd in the court gave a whoop and a call
And danced the juba from wall to wall.
But the witch-men suddenly stilled the throng
With a great deliberation & ghostliness.
With a stern cold glare, and a stern old song: --
"Mumbo-Jumbo will hoo-doo you." ...
Just then from the doorway, as fat as shotes,
With overwhelming assurance, good cheer, and pomp.
Came the cake-walk princes in their long red coats,
Canes with a brilliant lacquer shine,
And tall silk hats that were red as wine.
And they pranced with their butterfly partners there,
With growing speed and sharply marked dance-rhythm
Coal-black maidens with pearls in their hair,
Knee-skirts trimmed with the jassamine sweet,
And bells on their ankles and little black-feet.
And the couples railed at the chant and the frown
Of the witch-men lean, and laughed them down.
(O rare was the revel, and well worth while
That made those glowering witch-men smile.)
The cake-walk royalty then began
To walk for a cake that was tall as a man
To the tune of "Boomlay, boomlay, BOOM,"
While the witch-men laughed, with a sinister air,
With a touch of negro dialect, and as rapidly as possible toward the end.
And sang with the scalawags prancing there: --
"Walk with care, walk with care,
Or Mumbo-Jumbo, God of the Congo,
And all the other
Gods of the Congo,
Mumbo-Jumbo will hoo-doo you.
Beware, beware, walk with care,
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay, boom.
Boomlay, boomlay, boomlay,
BOOM."
Oh rare was the revel, and well worth while
Slow philosophic calm.
That made those glowering witch-men smile.
III. THE HOPE OF THEIR RELIGION
A good old negro in the slums of the town
Heavy bass. With a literal imitation of camp-meeting racket, and trance.
Preached at a sister for her velvet gown.
Howled at a brother for his low-down ways,
His prowling, guzzling, sneak-thief days.
Beat on the Bible till he wore it out
Starting the jubilee revival shout.
And some had visions, as they stood on chairs,
And sang of Jacob, and the golden stairs,
And they all repented, a thousand strong
From their stupor and savagery and sin and wrong
And slammed with their hymn books till they shook the room
With "glory, glory, glory,"
And "Boom, boom, BOOM."
THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,
Exactly as in the first section. Begin with terror and power, end with joy.
CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.
And the gray sky opened like a new-rent veil
And showed the Apostles with their coats of mail.
In bright white steel they were seated round
And their fire-eyes watched where the Congo wound.
And the twelve Apostles, from their thrones on high
Thrilled all the forest with their heavenly cry: --
"Mumbo-Jumbo will die in the jungle;
Sung to the tune of "Hark, ten thousand harps and voices."
Never again will he hoo-doo you,
Never again will he hoo-doo you."
Then along that river, a thousand miles
With growing deliberation and joy.
The vine-snared trees fell down in files.
Pioneer angels cleared the way
For a Congo paradise, for babes at play,
For sacred capitals, for temples clean.
Gone were the skull-faced witch-men lean.
There, where the wild ghost-gods had wailed
In a rather high key -- as delicately as possible.
A million boats of the angels sailed
With oars of silver, and prows of blue
And silken pennants that the sun shone through.
'Twas a land transfigured, 'twas a new creation.
Oh, a singing wind swept the negro nation
And on through the backwoods clearing flew: --
"Mumbo-Jumbo is dead in the jungle.
To the tune of "Hark, ten thousand harps and voices."
Never again will he hoo-doo you.
Never again will he hoo-doo you.
Redeemed were the forests, the beasts and the men,
And only the vulture dared again
By the far, lone mountains of the moon
To cry, in the silence, the Congo tune: --
"Mumbo-Jumbo will hoo-doo you,
Dying down into a penetrating, terrified whisper.
"Mumbo-Jumbo will hoo-doo you.
Mumbo ... Jumbo ... will ... hoo-doo ... you."
if anyone knows where to get CD recordings of Vachel Lindsay reading email me: palamambron4@yahoo.com
I am sorry that I cannot find anywhere on the Internet Vachel Lindsay's poem, THE JAZZ OF THIS HOTEL