Col. Peter Augustus Porter (1827-1864) Image courtesy of Wikipedia Commons
An artist, underneath his sign, (a masterpiece, of course),
Had written, to prevent mistakes, ‘This represents a horse’;
So ere I send my Album Sketch, lest connoisseurs should err,
I think it well my Pen should be my Art’s interpreter.
A chieftain of the Iroquois, clad in a bison’s skin,
Had led two travelers through the wood, La Salle and Hennepin.
He points, and there they, standing, gaze upon the ceaseless flow
Of waters falling as they fell two hundred years ago.
Those three are gone, and little heed our worldly gain or loss—
The Chief, the Soldier of the Sword, the Soldier of the Cross.
One died in battle, one in bed, and one by secret foe;
But the waters fall as once they fell two hundred years ago.
Ah, me! what myriads of men, since then, have come and gone;
What states have risen and decayed, what prizes lost and won;
What varied tricks the juggler, Time, has played with all below:
But the waters fall as once they fell two hundred years ago.
What troops of tourists have encamped upon the river’s brink;
What poets shed from countless quills, Niagaras of ink;
What artist armies tried to fix the evanescent bow
Of the waters falling as they fell two hundred years ago.
And stately inns feed scores of guests from well replenished larder,
And hackmen drive their horses hard, but drive a bargain harder;
And screaming locomotives rush in anguish to and fro:
But the waters fall as once they fell two hundred years ago.
And brides of every age and clime frequent the island’s bower,
And gaze from off the stone-built perch—hence called the Bridal Tower—
And many a lunar belle goes forth to meet a lunar beau,
By the waters falling as they fell two hundred years ago.
And bridges bind thy breast, O, stream! and buzzing mill-wheels turn,
To show, like Samson, thou art forced thy daily bread to earn;
And steamers splash thy milk-white waves, exulting as they go,
But the waters fall as once they fell two hundred years ago.
Thy banks no longer are the same that early travelers found them,
But break and crumble now and then like other banks around them;
And on their verge our life sweeps on—alternate joy and woe:
But the waters fall as once they fell two hundred years ago.
Thus phantoms of a by-gone age have melted like the spray,
And in our turn we too shall pass, the phantoms of to-day:
But the armies of the coming time shall watch the ceaseless flow
Of waters falling as they fell two hundred years ago.
Source: Johnson, Richard L. (ed). Niagara: Its History, Incidents and Poetry. Washington, Walter Neale General Book Publisher, 1898
Also published in Holley, G. W., ed. Niagara: Its History and Geology, Incidents and Poetry. Toronto, Hunter, Rose and Company, 1872
Also Published in Holley, George W., ed. The Falls of Niagara and Other Famous Cataracts. Baltimore: A.C. Armstrong & Son, 1883
Holley says of this poem: “The most graceful verses on Niagara ever written by a resident are the following by the late Colonel Porter, who was an artist both with the pencil and the pen. They were written for a young relative in playful explanation of a sketch he had drawn at the top of a page in her album, representing the Falls in the distance, and an Indian chief and two Europeans in the foreground.”
Durfboger-LaCasse Wedding at Niagara Falls James Photography Studio, September 19, 1959 Image courtesy of Niagara Falls Public Library
I’VE seen them come, I’ve seen them go, ‡‡Too numerous to mention,
And I put on a mighty show ‡‡To capture their attention.
I hurl me boldly down the cliff ‡‡And thrash myself to spray,
Yet none of them would notice if ‡‡I ran the other way.
I think it’s very rude to me ‡‡That any groom and bride
Should come this distance just to be ‡‡So darned preoccupied !
Source: Saturday Evening Post, May 22, 1948
Biographical sketch of Norman R. Jaffray. Saturday Evening Post, March 28, 1942:
Jaffray, Just Jaffray
NORMAN JAFFRAY first appeared in Post Scripts sixteen years ago and he’s been appearing there with regularity ever since. You’ll even find him there this week, with WHODUNIT? Acceding to a deluge of requests from four readers (Hansel, Ole, Sergi and Tong Lee Jaffray), we are this week shaking down the fruit of Mr. Jaffray’s persistence.
Here he is:
“Yes, here I am—but guess which? Not the one in uniform—no-o. Not the one in the middle — no-o, but you’re getting warmer. . . . The scene is Santa Barbara, where I live, the friends. Flying Officer Robert French, RAF, and Mrs. Shreve Ballard, and the background is the blue Pacific (advt.).
“Where to start? Born? Yes. In Brooklyn, N. Y., and came to this country as a small boy.That was in 1904. Roosevelt was President—he still is; horse and buggy were the popular mode of transportation—nothing has changed.
” I went to Yale and then to Trinity College, Cambridge, and in 1926 I came out West. The country was filling up, and men sought new lands where they could start life afresh. I picked on Los Angeles, and it was there that Ted Cook, of the Examiner, printed my first piece in Cook-Coos. I’ve been freelancing ever since. I’m not even married.
” The other day I went to Los Angeles again, this time for a rendezvous with some fellow contributors to Post Scripts. Local No. 138 of the Curtis chain gang, comprising Ethel Jacobson, Kay Hosking and your correspondent, met and passed several resolutions, which were quickly tabled. Just to give you an idea of what shop talk among writers is like:
ETHEL: I liked that Christmas poem of yours—the one with the bad scansion.
KAY: Done anything lately, yourself?
ETHEL: Yes, something for Easter.
NORMAN (apprehensively): Nothing long, I hope?
ETHEL: Whole column.
KAY: Don’t you ever get sick or anything?
ETHEL; Do you like Y?
KAY AND NORMAN; Like that. (Gesture of cutting throat)
KAY: How about Z?
ETHEL AND NORMAN: Well, Z’s stuff is pretty good. Of course, it doesn’t rhyme and . . .
NORMAN; Well, I’ve got to drive back to Santa Barbara. (Goes to door, feeling for knife in shoulder blades.) And please . . . please don’t talk about me when I’m gone! (He goes. They do.)”
Lines suggested by a glance at the visitor’s Album, kept at the Museum, Niagara Falls.
Give up, ye would-be bards, your rhymes to tag here so,
In vain you rack your brains to paint Niagara.
A theme which even Milton’s muse might beggar, you
Had better let alone when at Niagara.
About Lodore right well could Southey swagger, tho’
‘Twould take ten thousand such to match Niagara.
To all who can stand boasting fit to stagger me,
I’d recommend a visit to Niagara.
Hear yon sleek slaver—not a bit in waggery—
Toasting the “Flag of Freedom” at Niagara!
“You Canucks,” quoth he, “need the starry flag o’er you
To make you worth your salt benorth Niagara!
You can’t too quickly have that British rag o’er you
To disappear entirely from Niagara!
He calculates some day to blast a crag or two
And drain Lake Erie all up from Niagara.
He speculates, just as myself I drag away,
How Ætna’s throat would like to gulp Niagara!
Oh, cousins, cousins! what a set for brag are you!
When will you learn mere froth is not Niagara?
But I must cease, lest they should lynch or dagger me;
Already they have fleeced me at Niagara.
Source: Evan MacColl. The English Poetical Works of Evan MacColl. 2nd Canadian edition. Toronto: Hunter, Rose & Co., 1885