TEACHING POETRY & AMERICAN ART

  • Introduction
    • Why Poetry and American Art?
    • Strategies
    • Disclaimer
    • About Me
  • Romanticism
    • Intro to American Romanticism (1820-1900)
    • John James Audubon
    • Thomas Cole
    • Asher Durand
    • Daniel Chester French
    • Winslow Homer
    • Albert Pinkham Ryder
    • Augustus Saint-Gaudens
    • "Illuminated Gems of Sacred Poetry"
    • "Indian Summer: Autumn Poems and Sketches"
  • Realism / Social Realism
    • Realism >
      • Intro to Realism (1900-1920)
      • George Bellows
      • Edwin Dawes
      • Thomas Eakins
      • Edward Hopper
      • Thomas Hovenden
      • John Sloan
    • Social Realism >
      • Intro to Social Realism (1920-1940)
      • Walker Evans
      • Dorothea Lange
      • Ben Shahn
  • Regionalism
    • Intro to Regionalism (1920-1940)
    • Thomas Hart Benton
    • Maynard Dixon
    • Grant Wood
  • Modernism
    • Intro to Modernism (1910-1940)
    • Stuart Davis
    • Charles Demuth
    • Marsden Hartley
    • Georgia O'Keeffe
  • Harlem Renaissance
    • Intro to Harlem Renaissance (1920-1940)
    • Aaron Douglas
    • Meta Warrick Fuller
    • Jacob Lawrence
    • Faith Ringgold
    • Carl Van Vechten
    • Hale Woodruff
  • Abstract Expressionism
    • Intro to Abstract Expressionism / New York School (1940-1960)
    • Morris Graves
    • Red Grooms
    • Philip Guston
    • Grace Hartigan
    • Kenneth Patchen
    • Dorothea Tanning
    • Walasse Ting
    • Cy Twombly
  • Postmodern/Contemporary
    • Intro to Postmodern / Contemporary Art (1950-present)
    • Visual Poetry
    • Louise Bourgeois
    • Joseph Goldyne
    • Elizabeth Murray
    • Jeff Schlanger
    • Kiki Smith
    • Jaune Q. Smith
  • More Resources
  • Introduction
    • Why Poetry and American Art?
    • Strategies
    • Disclaimer
    • About Me
  • Romanticism
    • Intro to American Romanticism (1820-1900)
    • John James Audubon
    • Thomas Cole
    • Asher Durand
    • Daniel Chester French
    • Winslow Homer
    • Albert Pinkham Ryder
    • Augustus Saint-Gaudens
    • "Illuminated Gems of Sacred Poetry"
    • "Indian Summer: Autumn Poems and Sketches"
  • Realism / Social Realism
    • Realism >
      • Intro to Realism (1900-1920)
      • George Bellows
      • Edwin Dawes
      • Thomas Eakins
      • Edward Hopper
      • Thomas Hovenden
      • John Sloan
    • Social Realism >
      • Intro to Social Realism (1920-1940)
      • Walker Evans
      • Dorothea Lange
      • Ben Shahn
  • Regionalism
    • Intro to Regionalism (1920-1940)
    • Thomas Hart Benton
    • Maynard Dixon
    • Grant Wood
  • Modernism
    • Intro to Modernism (1910-1940)
    • Stuart Davis
    • Charles Demuth
    • Marsden Hartley
    • Georgia O'Keeffe
  • Harlem Renaissance
    • Intro to Harlem Renaissance (1920-1940)
    • Aaron Douglas
    • Meta Warrick Fuller
    • Jacob Lawrence
    • Faith Ringgold
    • Carl Van Vechten
    • Hale Woodruff
  • Abstract Expressionism
    • Intro to Abstract Expressionism / New York School (1940-1960)
    • Morris Graves
    • Red Grooms
    • Philip Guston
    • Grace Hartigan
    • Kenneth Patchen
    • Dorothea Tanning
    • Walasse Ting
    • Cy Twombly
  • Postmodern/Contemporary
    • Intro to Postmodern / Contemporary Art (1950-present)
    • Visual Poetry
    • Louise Bourgeois
    • Joseph Goldyne
    • Elizabeth Murray
    • Jeff Schlanger
    • Kiki Smith
    • Jaune Q. Smith
  • More Resources
The Last Leaf
(by Oliver Wendell Holmes, 1809 - 1894)

​
I saw him once before, 
As he passed by the door, 
     And again 
The pavement stones resound, 
As he totters o’er the ground 
    With his cane. 

They say that in his prime, 
Ere the pruning-knife of Time 
    Cut him down, 
Not a better man was found 
By the Crier on his round 
    Through the town. 

But now he walks the streets, 
And looks at all he meets 
     Sad and wan, 
And he shakes his feeble head, 
That it seems as if he said, 
     “They are gone.” 

The mossy marbles rest 
On the lips that he has prest 
     In their bloom, 
And the names he loved to hear 
Have been carved for many a year 
     On the tomb. 

My grandmamma has said— 
Poor old lady, she is dead 
     Long ago— 
That he had a Roman nose, 
And his cheek was like a rose 
     In the snow; 

But now his nose is thin, 
And it rests upon his chin 
    Like a staff, 
And a crook is in his back, 
And a melancholy crack 
     In his laugh. 

I know it is a sin 
For me to sit and grin 
     At him here; 
But the old three-cornered hat, 
And the breeches, and all that, 
Are so queer! 

And if I should live to be 
The last leaf upon the tree 
     In the spring, 
Let them smile, as I do now, 
At the old forsaken bough 
     Where I cling.

​Discussion points / questions / activities

  • Stanzas 5, 6, and 7 were cut out in Indian Summer. Why do you think these were cut for inclusion in the anthology? Do the deleted stanzas add something essential to the poem? Or are they replaceable? What do they contribute to the poem? 
​
  • Holmes wrote this about his poem: "I have lasted long enough to serve as an illustration of my own poem. I am one of the very last of the leaves which still cling to the bough of life that budded in the spring of the nineteenth century. The days of my years are threescore and twenty, and I am almost half way up the steep incline which leads me toward the base of the new century so near to which I have already climbed."
  • Comprehension questions:
      → To whom does the "last leaf" refer?
      → What was the office of the 'Crier'? What was its function? What has done away with the necessity for such service?
      → Explain "the pruning-knife of Time" in your own words.
      → What words in this poem are used to compare the old versus the young? 
      → Abraham Lincoln recited this poem from memory as one of his favorites. What do you think it is about the poem               that appealed to Lincoln?
      → How does the speaker resemble "the last leaf on the tree"?
​
Comprehension questions derived from http://poetry.literaturelearning.org/?q=node/605
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