The Annotated Edition
PROF. VERE DE BLAW by Eugene Field
A Colorado mining-camp restaurant owner named Casey hires a struggling piano professor named Vere de Blaw to elevate the atmosphere.
- Poet
- Eugene Field
- Themes
- exile, home, memory
§01Quick summary
What this poem is about
§02Themes
Recurring themes
§03Line by line
Stanza by stanza, with notes
Achievin' sech distinction with his moddel tabble dote / Ez to make his Red Hoss Mountain restauraw a place uv note,
Editor's note
Field sets the scene in the mock-heroic style he enjoyed: Casey has turned his rugged mountain restaurant into a well-known spot with a solid table d'hôte menu, and now he aims to take it even further. The phonetic spellings ('tabble dote,' 'restauraw') immediately indicate that this is a tall tale told in a miner's voice, rather than a literary endeavor.
His hair wuz long an' dishybill, an' he had a yaller skin,
Editor's note
The professor arrives looking disheveled—unkempt, with a thin neck and no collar—but his eyes radiate 'the fire of inspiration.' Field embodies the classic broke-genius archetype. The fact that no one inquires about his real name or background highlights an important aspect of frontier culture: out West, you get a fresh start without anyone digging into your past.
At evenin', when the work wuz done, an' the miners rounded up / At Casey's,
Editor's note
This stanza captures the nightly routine: miners come together after their shifts for cards, drinks, and the table d'hôte, while De Blaw performs from his spot near the kitchen. The humorous detail that he plays his best after having 'whiskey straight, with seltzer on the side' adds a human touch — here, inspiration flows from a bottle.
Oh, you that live in cities where the gran' piannies grow,
Editor's note
Field steps back and speaks directly to the city readers, expanding the poem's emotional range. The metaphor of memory as a mountain creek stands out as the most poetic moment in the piece: it begins beautifully, full of song, but without the 'lovin' rains' from home to nourish it, it dries up, leaving only bleached rocks. This vivid imagery contrasts sharply with the poem's comic tone.
The toons wich the perfesser would perform with sech eclaw / Would melt the toughest mountain gentleman I ever saw,
Editor's note
Field lists the professor's high-culture repertoire — Il Trovatore ('Trovytory'), Miserere ('Mizer Reery'), La Grande Duchesse — all twisted into phonetic humor. The punchline is that these grand opera titles sound absurd coming from a miner, yet the emotions they evoke are genuine. The stanza concludes by dismissing the pretentiousness: it's not the fancy titles that truly resonate with the crowd.
'T wuz 'Dearest May,' an' 'Bonnie Doon,' an' the ballard uv 'Ben Bolt,'
Editor's note
Here's the real playlist: Victorian parlor songs and sentimental ballads that every miner would have recognized since childhood. Field names them with affection and detail. The message is clear — opera may appeal to those who can afford it, but for a miner, the music that resonates is the music of his upbringing. Nostalgia always trumps sophistication.
One evenin' down at Casey's De Blaw wuz at his best,
Editor's note
The narrative shifts to a particular scene. Everyone is relaxed and at ease—cards in hand, drinks flowing, and light conversation filling the air—when De Blaw surprises them by playing an old, familiar tune instead of his usual songs. The narrator pauses his card game, Hoover leans against the bar, and Casey halts at the till. The entire room goes still. Field expertly builds the tension before the reveal.
Perfesser Vere de Blaw for once eschewed his opry ways,
Editor's note
The professor is lost in thought, 'grappling like an' wrestler' with an old tune. The narrator playfully challenges the reader — you might think you know the song, but Field never reveals its name. Instead, the narrator shares his own memory: his sister Lucy being sent back to practice the piano. This unnamed tune transforms into a vessel for everyone's personal history.
You've guessed it? No, you hav n't; for it wuzn't that there song
Editor's note
Field deliberately keeps the song's title a secret — it’s never mentioned. This is the poem's smartest choice: by leaving it unnamed, the tune transforms into whatever song *you* connect with home. The narrator's memory of his sister Lucy practicing is both tender and vivid, offering a rare moment of sincerity in an otherwise humorous poem.
And then uprose a stranger wich had struck the camp that night;
Editor's note
A newcomer, looking pale and hollow-eyed, gives a dramatic speech about leaving home to escape his sorrow, only to discover that the music has followed him eighteen hundred miles. Field leans into the humor — the speech is exaggerated frontier talk — yet the emotion beneath it is genuine: you can't escape your memories.
Then, like a man whose mind wuz sot on yieldin' to his fate,
Editor's note
The dark punchline hits with the precise tone of a coroner's report. The stranger drinks, leaves, and is later discovered hanging from a tree. The coroner's verdict — 'first, deceast wuz dead; and, second, previously had got involved beyond all hope / In a knotty complication with a yard or two uv rope' — is a classic example of black comedy. Field maintains a light tone even while addressing the topic of suicide, which adds to the poem's unsettling nature.
§04Tone & mood
How this poem feels
§05Symbols & metaphors
Symbols & metaphors
- The unnamed tune
- The song "De Blaw" that brings the room to a halt is never named. That silence is intentional — it represents the music each listener personally associates with home and childhood. By leaving it unnamed, Field makes it relatable to everyone.
- The Steinway grand piano
- A concert grand piano in a rugged mining-camp restaurant is a funny mismatch, yet it also reflects the miners' true desire for beauty and culture. Casey brings it in as a status symbol, but it ultimately becomes a way for them to express their homesickness.
- The mountain creek
- Field's extended simile for memory compares it to a creek nourished by snow and rain, which is both beautiful and musical. However, when cut off from its source, it dries up to bare rocks. Memory operates similarly — without the vibrant connections of home, it dwindles into a mere shadow of what it once was.
- The stranger
- He arrives without a name and departs lifeless. He embodies an exaggerated version of every miner present—a man who attempted to escape his past but discovered he couldn't. His fate elicits dark humor, yet he also serves as a cautionary tale about the consequences of unresolved homesickness.
- Opera vs. parlor songs
- High culture, like opera and 'opry airs', symbolizes aspiration and sophistication—it's what people often perform to appear refined. In contrast, the old parlor songs evoke genuine emotional memories. The poem straightforwardly argues that this second type of music is the one that truly matters.
§06Historical context
Historical context
§07FAQ
Questions readers ask
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