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MICHAEL OAKTREE by Alfred Noyes

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A narrator visits his old friend and mentor, Michael Oaktree, on the evening of the elderly man's passing.

Poet
Alfred Noyes
Era
Modernist (1922)
Themes
death, faith, love
The PoemFull text

MICHAEL OAKTREE

Alfred Noyes, 1922

Under an arch of glorious leaves I passed Out of the wood and saw the sickle moon Floating in daylight o'er the pale green sea. It was the quiet hour before the sun Gathers the clouds to prayer and silently Utters his benediction on the waves That whisper round the death-bed of the day. The labourers were returning from the farms And children danced to meet them. From the doors Of cottages there came a pleasant clink Where busy hands laid out the evening meal. From smouldering elms around the village spire There soared and sank the caw of gathering rooks. The faint-flushed clouds were listening to the tale The sea tells to the sunset with one sigh. The last white wistful sea-bird sought for peace, And the last fishing-boat stole o'er the bar, And fragrant grasses, murmuring a prayer, Bowed all together to the holy west, Bowed all together thro' the golden hush, The breathing hush, the solemn scented hush, The holy, holy hush of eventide. And, in among the ferns that crowned the hill With waving green and whispers of the wind, A boy and girl, carelessly linking hands, Into their golden dream drifted away. On that rich afternoon of scent and song Old Michael Oaktree died. It was not much He wished for; but indeed I think he longed To see the light of summer once again Blossoming o'er the far blue hills. I know He used to like his rough-hewn wooden bench Placed in the sun outside the cottage door Where in the listening stillness he could hear, Across the waving gilly-flowers that crowned His crumbling garden wall, the long low sigh Of supreme peace that whispers to the hills The sacred consolation of the sea. He did not hope for much: he longed to live Until the winter came again, he said; But on the last sweet eve of May he died. I wandered sadly through the dreaming lanes Down to the cottage on that afternoon; For I had known old Michael Oaktree now So many years, so many happy years. When I was little he had carried me High on his back to see the harvest home, And given me many a ride upon his wagon Among the dusty scents of sun and hay. He showed me how to snare the bulky trout That lurked under the bank of yonder brook. Indeed, he taught me many a country craft, For I was apt to learn, and, as I learnt, I loved the teacher of that homely lore. Deep in my boyish heart he shared the glad Influence of the suns and winds and waves, Giving my childhood what it hungered for-- The rude earth-wisdom of the primal man. He had retained his childhood: Death for him Had no more terror than his bed. He walked With wind and sunlight like a brother, glad Of their companionship and mutual aid. We, toilers after truth, are weaned too soon From earth's dark arms and naked barbarous breast. Too soon, too soon, we leave the golden feast, Fetter the dancing limbs and pluck the crown Of roses from the dreaming brow. We pass Our lives in most laborious idleness. For we have lost the meaning of the world; We have gone out into the night too soon; We have mistaken all the means of grace And over-rated our small power to learn. And the years move so swiftly over us: We have so little time to live in worlds Unrealised and unknown realms of joy, We are so old before we learn how vain Our effort was, how fruitlessly we cast Our Bread upon the waters, and how weak Our hearts were, but our chance desires how strong! Then, in the dark, our sense of light decays; We cannot cry to God as once we cried! Lost in the gloom, our faith, perhaps our love, Lies dead with years that never can return. But Michael Oaktree was a man whose love Had never waned through all his eighty years. His faith was hardly faith. He seemed a part Of all that he believed in. He had lived In constant conversation with the sun, The wind, the silence and the heart of peace; In absolute communion with the Power That rules all action and all tides of thought, And all the secret courses of the stars; The Power that still establishes on earth Desire and worship, through the radiant laws Of Duty, Love and Beauty; for through these As through three portals of the self-same gate The soul of man attains infinity, And enters into Godhead. So he gained On earth a fore-taste of Nirvana, not The void of eastern dream, but the desire And goal of all of us, whether thro' lives Innumerable, by slow degrees, we near The death divine, or from this breaking body Of earthly death we flash at once to God. Through simple love and simple faith, this man Attained a height above the hope of kings. Yet, as I softly shut the little gate And walked across the garden, all the scents Of mingling blossom ached like inmost pain Deep in my heart, I know not why. They seemed Distinct, distinct as distant evening bells Tolling, over the sea, a secret chime That breaks and breaks and breaks upon the heart In sorrow rather than in sound, a chime Strange as a streak of sunset to the moon, Strange as a rose upon a starlit grave, Strange as a smile upon a dead man's lips; A chime of melancholy, mute as death But strong as love, uttered in plangent tones Of honeysuckle, jasmine, gilly-flowers, Jonquils and aromatic musky leaves, Lilac and lilies to the rose-wreathed porch. At last I tapped and entered and was drawn Into the bedroom of the dying man, Who lay, propped up with pillows, quietly Gazing; for through his open casement far Beyond the whispers of the gilly-flowers He saw the mellow light of eventide Hallow the west once more; and, as he gazed, I think I never saw so great a peace On any human face. There was no sound Except the slumbrous pulsing of a clock, The whisper of the garden and, far off, The sacred consolation of the sea. His wife sat at his bed-side: she had passed Her eightieth year; her only child was dead. She had been wedded more than sixty years, And she sat gazing with the man she loved Quietly, out into that unknown Deep. A butterfly floated into the room And back again, pausing awhile to bask And wink its painted fans on the warm sill; A bird piped in the roses and there came Into the childless mother's ears a sound Of happy laughing children, far away. Then Michael Oaktree took his wife's thin hand Between his big rough hands. His eyes grew dark, And, as he turned to her and died, he spoke Two words of perfect faith and love--_Come soon_! O then in all the world there was no sound Except the slumbrous pulsing of a clock, The whisper of the leaves and far away, The infinite compassion of the sea. But, as I softly passed out of the porch And walked across the garden, all the scents Of mingling blossoms ached like inmost joy, Distinct no more, but like one heavenly choir Pealing one mystic music, still and strange As voices of the holy Seraphim, One voice of adoration, mute as love, Stronger than death, and pure with wedded tones Of honeysuckle, jasmine, gilly-flowers, Jonquils and aromatic musky leaves, Lilac and lilies to the garden gate. O then indeed I knew how closely knit To stars and flowers we are, how many means Of grace there are for those that never lose Their sense of membership in this divine Body of God; for those that all their days Have walked in quiet communion with the Life That keeps the common secret of the sun, The wind, the silence and the heart of man. There is one God, one Love, one everlasting Mystery of Incarnation, one creative Passion behind the many-coloured veil. We have obscured God's face with partial truths, The cause of all our sorrow and sin, our wars Of force and thought, in this unheavened world. Yet, by the battle of our partial truths, The past against the present and the swift Moment of passing joy against the deep Eternal love, ever the weaker truth Falls to the stronger, till once more we near The enfolding splendour of the whole. Our God Has been too long a partial God. We are all Made in His image, men and birds and beasts, Mountains and clouds and cataracts and suns, With those great Beings above our little world, A height beyond for every depth below, Those long-forgotten Princedoms, Virtues, Powers, Existences that live and move in realms As far beyond our thought as Europe lies With all its little arts and sciences Beyond the comprehension of the worm. We are all partial images, we need What lies beyond us to complete our souls; Therefore our souls are filled with a desire And love which lead us towards the Infinity Of Godhead that awaits us each and all. Peacefully through the dreaming lanes I went. The sun sank, and the birds were hushed. The stars Trembled like blossoms in the purple trees. But, as I paused upon the whispering hill The mellow light still lingered in the west, And dark and soft against that rosy depth A boy and girl stood knee-deep in the ferns. Dreams of the dead man's youth were in my heart, Yet I was very glad; and as the moon Brightened, they kissed; and, linking hand in hand, Down to their lamp-lit home drifted away. Under an arch of leaves, into the gloom I went along the little woodland road, And through the breathless hedge of hawthorn heard Out of the deepening night, the long low sigh Of supreme peace that whispers to the hills The sacrament and sabbath of the sea.

Public domain

Sourced from Project Gutenberg

§01Quick summary

What this poem is about

A narrator visits his old friend and mentor, Michael Oaktree, on the evening of the elderly man's passing. He witnesses Michael depart peacefully, hand in hand with his wife. The poem captures the beauty of a single English summer evening — the songs of birds, the calming sea, and the fragrances of the garden — to suggest that a life spent in genuine connection with nature and love is the most fulfilling life one can lead. By the end, the narrator returns home transformed, realizing that death and life, sorrow and joy, are intricately linked.

§02Themes

Recurring themes

§03Line by line

Stanza by stanza, with notes

  1. Under an arch of glorious leaves I passed / Out of the wood and saw the sickle moon

    Editor's note

    The poem begins with the narrator emerging from the woods into the fresh air, where they spot a thin crescent moon lingering in the daytime sky over a pale green sea. This moment marks a threshold — transitioning from shadow to light — subtly establishing the poem's broader exploration of life and death, darkness and illumination.

  2. It was the quiet hour before the sun / Gathers the clouds to prayer and silently

    Editor's note

    Noyes captures the final hour of a May afternoon with vivid, almost ceremonial detail: workers making their way home, children rushing to greet them, rooks flying around the village church, and fishing boats navigating the harbor bar. The language has a distinctly religious tone—words like 'benediction', 'prayer', and 'holy hush' transform an ordinary English evening into a kind of sacred ritual. The repeated use of 'hush' at the end of the stanza slows the reader down significantly, setting the stage for the death that comes next.

  3. And, in among the ferns that crowned the hill / With waving green and whispers of the wind,

    Editor's note

    Two young lovers stroll hand-in-hand into the ferns, completely absorbed in their own world, while inside a cottage, old Michael Oaktree is nearing death. Noyes juxtaposes youth and death without any commentary, allowing the stark contrast to speak for itself. Michael's simple final wish — to catch a glimpse of summer light on the distant hills one last time — is presented here, and it feels quietly heartbreaking in its simplicity.

  4. I wandered sadly through the dreaming lanes / Down to the cottage on that afternoon;

    Editor's note

    The narrator transitions from merely observing to actively participating, sharing his deep connection with Michael. The old man once carried him on his back as a child, taught him how to fish, and introduced him to the rhythms of farm life and the countryside. This stanza anchors the poem's philosophy in tangible experiences: the 'rude earth-wisdom of the primal man' is not just a theoretical concept but a collection of memories that the narrator holds within him.

  5. He had retained his childhood: Death for him / Had no more terror than his bed.

    Editor's note

    Here, Noyes presents his main argument. Michael retains the child's natural connection to the world, while educated, ambitious individuals ("we, toilers after truth") sever that connection too soon. The stanza transforms into a lament for contemporary intellectual life — hectic, anxious, and ultimately unfulfilling — concluding with the worry that faith and love may wither away before death.

  6. But Michael Oaktree was a man whose love / Had never waned through all his eighty years.

    Editor's note

    This is the poem's philosophical heart. Michael's faith wasn't just a collection of doctrines; it was a way of living—he was so in tune with the world that belief and existence blended together. Noyes taps into both Christian and Buddhist concepts (Nirvana, Godhead, 'the death divine') to imply that Michael's straightforward, loving life accomplished what mystics and philosophers spend their whole lives seeking.

  7. Yet, as I softly shut the little gate / And walked across the garden, all the scents

    Editor's note

    Walking through the garden to the cottage, the narrator is engulfed by the mixed fragrances of honeysuckle, jasmine, lilac, and lilies. He reaches for a string of similes — evening bells ringing over the sea, a rose resting on a starlit grave, a smile lingering on a dead man’s lips — to express a feeling that blends grief and beauty, inseparable from one another. The garden transforms into a sensory threshold between the living world and the dying man within.

  8. At last I tapped and entered and was drawn / Into the bedroom of the dying man,

    Editor's note

    The narrator steps into the bedroom. Michael is propped up on pillows, looking out through an open window at the evening light—the very sight he had wished to see one last time. His face carries a calmness the narrator has never witnessed on any other human. The clock ticks softly, the garden rustles, and the sea murmurs in the distance. Everything is quiet.

  9. His wife sat at his bed-side: she had passed / Her eightieth year; her only child was dead.

    Editor's note

    Two quiet facts — she is eighty, and their only child is gone — carry a heavy weight in just two lines. The couple have outlived their child, yet they sit together, gazing out at the same unknown horizon. Their shared loss and resilience make the love between them feel profound and deeply earned.

  10. A butterfly floated into the room / And back again, pausing awhile to bask

    Editor's note

    A butterfly flutters in and out of the window; a bird chirps among the roses; a mother without children listens to the distant sounds of laughter. These small, vibrant moments intruding into the death-room aren't cruel — they seem like the world softly acknowledging what's unfolding. The butterfly, especially, is a classic symbol of the soul, and its effortless movement in and out of the room reflects Michael's own approaching journey.

  11. Then Michael Oaktree took his wife's thin hand / Between his big rough hands.

    Editor's note

    Michael's final gesture is to hold his wife's hand and say two words: *Come soon*. This isn’t a goodbye but an invitation—he’s beckoning her to follow, sure that she will join him wherever he goes. The difference between his 'big rough hands' and her 'thin hand' beautifully encapsulates a lifetime of both disparity and intimacy in one moment. These two words represent the emotional high point of the entire poem.

  12. O then in all the world there was no sound / Except the slumbrous pulsing of a clock,

    Editor's note

    After Michael's death, the narrator strolls through the garden again. The scents that once brought pain now evoke joy—not because the world has changed, but because the narrator has. The garden's fragrance swells into 'one heavenly choir', and Noyes repeats the same list of flowers from the earlier stanza, word for word, to illustrate how the same experience can carry completely different meanings based on what the heart contributes.

  13. O then indeed I knew how closely knit / To stars and flowers we are, how many means

    Editor's note

    The narrator comes to a conclusion: there is one God, one Love, one mystery that connects everything — flowers, stars, people, the sea. The 'partial truths' that lead to wars and sorrow are merely pieces of a bigger picture that Michael, in his simplicity, somehow understood completely. The stanza reaches out to a cosmic scale, envisioning hierarchies of existence that stretch far beyond human understanding, each of them partial reflections of the same infinite God.

  14. Peacefully through the dreaming lanes I went. / The sun sank, and the birds were hushed.

    Editor's note

    The poem concludes by revisiting its opening scene: the narrator walking through the leafy lanes, with the sea sighing softly in the background. The young couple from the previous stanza makes another appearance — this time kissing under the moonlight and then strolling home hand in hand. Life goes on. Instead of ending in sorrow, the poem finishes with a sense of quiet happiness, reflecting the same rhythm of love and nature that has supported Michael for eighty years, now guiding the narrator on their journey ahead.

§04Tone & mood

How this poem feels

The tone is respectful and unhurried—the poem flows like a long summer evening, and Noyes takes his time with it. There’s a real sense of grief beneath the surface, but it’s the kind of grief that has found a sense of acceptance for what it mourns. The narrator speaks in a warm, personal voice, sometimes rising to a near-sermon when Noyes shares his philosophical insights, yet always returning to vivid details—a butterfly, a pair of weathered hands, the scent of gilly-flowers. By the last stanza, the tone has transformed from sorrow to something resembling gratitude.

§05Symbols & metaphors

Symbols & metaphors

The sea
The sea serves as a voice of 'supreme peace' and 'infinite compassion' — it's the sound of something greater than human life, always lingering at the periphery. It's present when Michael is dying, when the narrator walks home, and its 'long low sigh' surrounds the entire poem. It represents the eternal, the unknowable, and the comforting.
The garden scents
The blended scents of honeysuckle, jasmine, lilac, and lilies emerge twice — first as a painful reminder when the narrator nears the dying man, and again as a joyful ache following Michael's death. The repeated mention of these flowers, evoking contrasting emotions, illustrates that beauty and sorrow are not opposites; rather, they represent the same feeling seen from different perspectives.
The butterfly
The butterfly that flits into the death-room and then back out again is a classic symbol of the soul. Its lightness and effortless journey through the open window reflect how Noyes envisions Michael's death — not as a harsh separation but as a gentle transition from one room to another.
The young couple in the ferns
The boy and girl who show up at the start and finish of the poem, holding hands and floating into their 'golden dream', symbolize the ongoing nature of love and youth. They don’t know about Michael's death, but their presence isn’t meant to be ironic — Noyes uses them to illustrate that life and love continue on, which echoes Michael's final words ('Come soon').
Michael's rough hands
His 'big rough hands' cradling his wife's 'thin hand' in those final moments capture a lifetime of hard work, care, and companionship in just one gesture. The roughness of his hands reflects the same connection that grounded him to the earth throughout his life — they belong to someone who always stayed in touch with the physical world.
The arch of leaves
The poem begins and ends with the narrator moving under an arch of leaves as they enter the woods. This arch symbolizes a threshold — separating the human realm from nature, life from whatever comes next. When the narrator returns through it at the end, they bring Michael's death with them into the darkness, but this moment feels more like a journey than a conclusion.

§06Historical context

Historical context

Alfred Noyes wrote this poem in the early twentieth century, when English poetry was still deeply rooted in the Romantic tradition before the rise of modernism. At that time, Noyes was one of the most popular poets in both Britain and America, celebrated for his lengthy narrative poems that featured strong musical rhythms and a fondness for the English countryside. 'Michael Oaktree' embodies this tradition, drawing on the pastoral elegy—a poetic form originating in ancient Greece—where the poet mourns a death against the backdrop of the natural world's beauty. The poem also showcases the late-Victorian fascination with blending Christian faith and other spiritual traditions, including Buddhism, which Noyes hints at with his mention of Nirvana. The wise old countryman, a figure who understands life more profoundly than any scholar, was a well-known and cherished character in English literature of this period, appearing in the works of authors like Thomas Hardy and Richard Jefferies.

§07FAQ

Questions readers ask

It tells the story of an old man named Michael Oaktree, recounted by a narrator who has cherished him since childhood. It's also a reflection: that a life lived simply, connected to nature and love, is more spiritually fulfilling than one spent pursuing knowledge or ambition. Michael passes away in perfect peace, and the narrator uses his death to explore what a good life truly means.

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