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27 Sep 97 - 06:08 PM (#13342) Subject: RE: Face on the Barroom Floor From: Joe Offer Somebody was talking about this poem in another thread. I looked through my Robert W. Service books, and couldn't find it. I finally found the above (an inaccurate version) on the Web, and also in a book called "The Best Loved Poems of the American People." It's certainly written the style of Service. Is this the one you were talking about? There's a one-act opera with the same name, written in 1978 by Herny Mollicone. There's also a Charlie Chaplin movie with this name. So, who the heck is H. Antoine D'Arcy? -Joe Offer- click for related thread |
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27 Sep 97 - 06:43 PM (#13343) Subject: Lyr Add: THE FACE ON THE BARROOM FLOOR From: Joe Offer I decided I should clean this up and make it accurate. I think this is an almost perfect copy of the printed version:
THE FACE ON THE BARROOM FLOOR
'Twas a balmy summer evening and a goodly crowd was there
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27 Sep 97 - 07:51 PM (#13351) Subject: RE: Face on the Barroom Floor From: Bob Schwarer My memory says D'Arcy was a fellow that would recite the Service poem in various bars. Further, I recall a statement in a book I have, but can't find, to the effect that when sober D'Arcy would give a great performance. After a few drinks he was terrific. I'll keep looking for the book, but it may be a while before I find it. Also my memory may be completely wrong. Bob S. |
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27 Sep 97 - 08:34 PM (#13354) Subject: RE: Face on the Barroom Floor From: Dale Rose All I know is that I have it on a Hank Snow album attributed to Robert Service. To agree with Sheye, (as stated in the other thread) I have never seen it in print, but I only have one (large) volume of Service poetry. I listened to it just an hour or so ago, by the way. The words are just as Joe posted above. (or below if that is the way you sort entries!) I know record companies are not noted for complete accuracy, but I cannot imagine them making such a glaring error of authorship on something that would have been so easy for them to verify. |
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28 Sep 97 - 07:50 AM (#13373) Subject: RE: Face on the Barroom Floor From: Mark Pemburn When I was a kid, I was crazy about R. W. Service. "The Face" was one of the poems in the little collection I kept out of the school library long enough to rack up a sizeable fine. I will raise my right hand and swear to the association of the title with Service's name, but 40-odd years have blurred my recollection of the poem itself. The above seems to have the right flavor, though. Mark |
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28 Sep 97 - 09:37 AM (#13375) Subject: RE: Face on the Barroom Floor From: Art Ude I believe I have all of Service's published poems and I cannot find "Face" among them. If any of you would be interested in placing this question in the Guestbook on my Service page please feel free do do so. http://www.top.monad.net/~artude/service.html |
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28 Sep 97 - 02:07 PM (#13387) Subject: Lyr Add: THE FACE ON THE BARROOM FLOOR From: Gene I compared both of the versions of "FACE" posted above and compared them to Hank Snow's recording of it on - THE BEST OF HANK SNOW/1972 RCA LSP-4978. THE FACE ON THE BARROOM FLOOR 'Twas a balmy summer evening and a goodly crowd was there "Where did it come from?" Someone said. "The wind has blown it in?" This badinage the poor wretch took with stoical good grace "Give me a drink - that's what I want - I'm out of funds, you know "There, thanks - that's braced me nicely - God bless you one and all "Say, Give me another whiskey and I'll tell you what I'll do "Fill her up, Joe, I want to put some life into my frame "You've treated me pretty kindly and I'd like to tell you how "I was a painter - not one that daubed on bricks and wood "I made a picture perhaps you've seen, 'tis called the 'CHASE OF FAME' "Why don't you laugh? it's funny that the vagabond you see "Boys, did you ever see a girl for whom your soul you'd give "I was working on a portrait one afternoon in May "It didn't take long to know him and before the month had flown "That's why I took to drink, boys - why, I never saw you smile "Say, boys, if you'd give me just another whiskey, I'll really be glad Another drink and with chalk in hand the vagabond began |
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28 Sep 97 - 03:14 PM (#13388) Subject: RE: Face on the Barroom Floor From: Bo A favourite book of mine "Bawdy Ballads and Lusty Lyrics", Droke House Publ. Indianapolis, 1935, ,1950, has this poem. In the Introduction it says: This classic, by Hugh D'Arcy, was first printed in 1887, and titled "The Face upon the Floor." It is amusing to note that it was never intended to point out the perils of stron drink, but merely to portray the degradation of an artist tortured by the loss of his sweatheart. The poem was seized by the W.C.T.U., and later the Ani-Saloon League, the title altered, and millions of copies distributed as propaganda. |
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28 Sep 97 - 06:51 PM (#13399) Subject: RE: Face on the Barroom Floor From: Dale Rose Does this mean that all of us who are confused at to the authorship owe our confusion to the Hank Snow recording, or is there some other connection, as Mark suggests? |
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28 Sep 97 - 09:14 PM (#13411) Subject: RE: Face on the Barroom Floor From: Mark Pemburn Funny how memory is . . . I searched the web trying my damnedest to connect this Ballad with Service, but it seems it can't be done. Ah, well. I did discover that Charlie Chaplin made a (silent) movie of the story during "the Little Tramp's early days at Sennett". Mark |
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29 Sep 97 - 08:32 AM (#13451) Subject: RE: Face on the Barroom Floor From: Bill in Alabama I have always seen the poem attributed to D'Arcy. I have never heard the song, but I would like very much to hear it; it fits right in with some of the other stuff I do in my performances. |
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29 Sep 97 - 10:24 AM (#13457) Subject: RE: Face on the Barroom Floor From: Sheye Joe: THANK YOU THANK YOU THANK YOU!!!! Do I owe you a kiss, or a batch of cookies? (I can whip up a mean chocolate-chocolate chip.) The producers of Snow's album seem to have assumed this is a Service poem, and then so many of us took the attribution as being accurate. At any rate, it is an excellent work of art, beautifully told by Snow, written in the style of Service, created by (D'Arcy?). |
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29 Sep 97 - 04:27 PM (#13496) Subject: RE: Face on the Barroom Floor From: Joe Offer Here's a summary I found of the Charlie Chaplin movie: Face on the Bar Room Floor, The (1914) The plot is a satire derived from Hugh Antoine D'Arcy's poem of the same title. The painter courts Madeleine but loses to the wealthy client who sits for his portrait. The despairing artist draws the girl's portrait on the barroom floor and gets tossed out. Years later he sees her, her husband and their horde of children. Unrecognized by her, Charlie shakes off his troubles and walks off into the future. I spent a wonderful afternoon Sunday with an old guy who had tried to make a living as an artisan in Central City, Colorado. He says there is a face painted on the floor of a barroom there, and it's supposed to be "the" face. My friend isn't so sure of that. Central city has become a bit of a tourist trap, and the face is certainly good for business. Now, if Bo is correct and the poem was written by D'Arcy in 1887, that predates Robert W. Service (1874-1958) - that is, unless Service was some sort of child prodigy. So, Sheye, how do I qualify for both the kiss andthe cookies? -Joe Offer- |
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30 Sep 97 - 12:52 AM (#13541) Subject: RE: Face on the Barroom Floor From: Frank Phillips In one of the early Mad Magazine pocket books (ca. 1960) there is an illustrated version of this poem. The face as portrayed in the final frame of the strip would have killed anyone. Frank |
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30 Sep 97 - 12:44 PM (#13605) Subject: RE: Face on the Barroom Floor From: dick greenhaus There's a tendency to attribute authorship to the most prominent writer of that period who did similar material. "Face" is often (wrongly) attributed to Service, as is When the Ice-Worms Nest Again; nowadays, anything funny is attributed to Shel Silverstein. Since many of these attributions show up in print, it's hard to keep things straight. |
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12 Jan 98 - 01:29 PM (#19103) Subject: RE: Face on the Barroom Floor From: Phideaux Finally found my book during a garage cleaning that has needed to be done for a dozen years, or more. It is simply titled "America Ballads" editted by Charles O'Brien Kennedy. Kennedy says he knew D'Arcy and even refers to him as "Hughie". He also says that correct title is "The Face on the Floor". My memory wasn't worth a hoot, except I knew I had the book. Bob S. |
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12 Jan 98 - 10:04 PM (#19145) Subject: RE: Face on the Barroom Floor From: murray@mpce.mq.edu.au Thanks Art Ude, for calling my attention to your RWS page It is a good thing to know about. I looked at the guest book there, and the question seems to have been answered previously, namely that Service didn't write "The face on the x-room Floor" but this D'Arcy guy did. (Where x can stand for "bar" or "ball".) Murray |
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26 Nov 98 - 07:48 PM (#46901) Subject: RE: Face on the Barroom Floor From: Pauline What about Carson City Nevada? I remember visiting a museum there in the early 60s and there was a face there that was supposed to be the face.. Actually it was Joes bar converted to a museum and supposedly the "face". I knew the poem, but not the author... before going there was amazed to see it and believed it was real. |
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27 Nov 98 - 08:33 AM (#46960) Subject: RE: Face on the Barroom Floor From: SteveF To Frank Phillips - Yes, I recall reading Mad's illustrated version of the poem back about '53 or '54, when Mad was still in its comic book format. The strip was illustrated by Basil Wolverton, a talented artist now in the Comic Book Illustrators' Hall of Fame (this is not a joke). Wolverton was quite versatile; however, when he drew for Mad, his specialty was to create the ugliest, most hideous female imaginable. Thus, after the suspenseful build-up of the lovely Madeleine, the poem ends with Wolverton's masterpiece. No wonder our artist dropped dead! Blechh! -- Steve F. |
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27 Nov 98 - 11:25 AM (#46974) Subject: RE: Face on the Barroom Floor From: Pauline Doing some research on the internet.. Seems the "face" in Central City, CO was drawn by an artist of his wife in repsonse to the poem. |
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28 Nov 98 - 07:50 AM (#47069) Subject: RE: Face on the Barroom Floor From: T.R.Bishop Most Interesting. I have never heard that Service wrote the poem. All I have read indicates the poem was written by D'arcy. I have heard the record by Tex Ritter and that got me interested in the poem. I have been searching for a bio on D'Arcy but have not found it yet. Could use some help on this. |
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28 Nov 98 - 12:58 PM (#47079) Subject: RE: Face on the Barroom Floor From: gargoyle No doubt, there are hundreds of bars with faces painted on the floor in responce to the verse. Another one is located in Camarron, New Mexico...Joe's Ranch Bar features a face on the floor, a two headed calf and jalepino-pepper-pizza. The postcard correctly atributes the verse to D'Arcy. |
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29 Nov 98 - 01:59 AM (#47164) Subject: RE: Face on the Barroom Floor From: Joe Offer T.R., I did quite a bit of research on this, and all credible sources credited the poem to Hugh Antoine D'Arcy. It appears it was first printed in 1887, but I have not been able to confirm that date. The attribution to Robt. Service is clearly mistaken. -Joe Offer- |
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07 Mar 99 - 01:39 AM (#61680) Subject: RE: Face on the Barroom Floor From: truhill@aol.com I'm interested in obtaining a copy of the recording of The Face On The Barroom Floor by Stuart Hamblen. I had the record in the early 60's, but have misplaced it over the years/marriages/moves. I'd appreciate hearing from anyone that might have a copy. Don Truhill |
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31 Mar 99 - 06:14 PM (#67156) Subject: RE: Face on the Barroom Floor From: jbarber@radiks.net I have been a Robert Service Fan for years now and have wondered about The Face on the Barroom Floor, as it is in the same style that Service uses. I remimber reading one of Services pomes where he refers to the Face on the Barroom Floor and it is called "The Leather Medal" In that poem he referes to the Cramation of Sam McGee and the Face on the Barrom Floor as being by two different authors. |
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10 Apr 99 - 12:30 PM (#69697) Subject: RE: Face on the Barroom Floor From: Joe Eearl I have just found the `face` after searching for it, after being presented with the poem word for word which was written on some very ancient paper. However the footnote reads "This monologue was taken from a true story. It really happened in Montreal, and there is still the picture of a woman on the barroom floor of one of Montreal’s principal bars." This was about 1940. Joe |
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11 Apr 99 - 12:30 PM (#69934) Subject: RE: Face on the Barroom Floor From: Reiver #2 (inactive) I remember seeing the Face on the Barroom Floor in Central City, CO, as a ten year old, back in 1940. At that time, I knew nothing about a poem or song, there was just a written story about a down-on-his-luck miner who painted it in exchange for drinks. It was a very nicely done painting as I remember and certainly not drawn with chalk. It would be interesting to know more about the history of this painting and whether or not it was prompted by the poem, or had an entirely independent origin. Thanks to all of you who researched this thread. It's fascinating. Bryce |
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07 Sep 01 - 07:54 PM (#544856) Subject: RE: Face on the Barroom Floor From: Mark Clark Geoff the Duck gave put me in a notion to refresh this. |
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07 Sep 01 - 08:06 PM (#544866) Subject: RE: Face on the Barroom Floor From: Joe Offer As stated in this thread (click), the original version of this poem was published in the newspaper in Ashtabula, Ohio. We still haven't found the text of the original poem. Can anybody find it? In this thread (click), we're looking for the original text of Curley Fletcher's Strawberry Roan, Published in the Arizona Globe Record on December 16, 1915, under the title "The Outlaw Bronco." -Joe Offer- |
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09 Oct 04 - 10:08 PM (#1293519) Subject: RE: Face on the Barroom Floor From: GUEST,T. Smith Whitwoth H. Antoine D'Arcy isn't the only one to mimic Rovert Service -- "The Hermit of Shark Tooth Shoal" isn't by Service, either, but written by Edward Paramore Jr. |
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11 Nov 04 - 08:37 PM (#1324050) Subject: RE: Face on the Barroom Floor From: GUEST,LeRoy A. Titus LIFE OF JOHN HENRY TITUS Why And How He Wrote "The Face on The Bar Room Floor" By Elizabeth Pfleiderer Little has been published of his life and works. To quote his words "My writing are my life." Know the man, then no one will mistake his work for that of another ! The key to the understanding of his writings can be found in the manner he worked. "The Face on The Bar Room Floor" is an American scene and the fifth canto of "An Ideal Soul" in seven cantos. John Henry Titus, the author SPENT sixty years perfecting this poem. Its dawning followed the followed the civil war, in the late '60s, when inspiration and eloquence came fourth. TEMPERANCE was championed by eloquent speakers, and ABOLITION intensified by great writers, such as Harriet Beecher Stowe. Burning zeal glowed in fine expression borne on the spirit of the time...temperance, the fervor fever, was apparent in all things, no less in this poem. The young poet, Titus recognized the denizens of temperance, in the guise of righteousness: he saw and felt the hypocrisy of temperance. Jefferson, Ohio, his birthplace was a small town but its atmosphere was far from local. It was the home of many men, eminent, in state and national affairs; as Benjamin F. Wade, Vice President following Lincoln's administration; Congressman Giddings; A. B. Lampson, reader, House of Representatives, in Washington, for seventeen years; and the famous William D. Howells, with whom the poet's father, William K. Titus was associated for forty-five years in varied capacities--- furbishing of writings and publication of the "Sentinel" a Jefferson paper, owned by the Howells, in which the first printing of "the Face On The Bar Room Floor" appeared. William K. Titus, father of the poet, born at Greenwich, Conn. was a fine literary critic and his criticism of the poem was ever heeded by the son. " A poet should have written for fifty years and know that he is a poet before giving his writings to the world" said his father. This criticism has been as a restraining hand to the poet, until now, sixty years after it was begun... parodies written and translated into many languages. John Henry Titus, the poet was born in the "Old Pine Tavern" that his poem is immortalized. The environment of his boyhood home was ideal for a gifted youth. "That the meal hour was the best hour of the day" was an oft repeated saying of the mother: at the family table and home fireside he became familiar with the best literature; listening to discussions and conversations led by the father. The early associations of the father, in the east, were those high in letters and affairs and they were vividly imprinted on the sons mind. they included experiences he had with Washington Irving and Edger Allen Poe, the famous American authors, with whom he had taken holiday excursions, on the Hudson, in and about Sleepy Hollow. The first hand knowledge gleaned from early friendships passed on to the son---methods of creating and writing used by those famous writers. It was an intimate introduction to the writings of Titus and helped to stamp them, with the mark of high quality, and lofty ideals. The poem "The Awkward Boy" written by Titus at the age of twelve was published in the McGuffey Readers. The father told him interesting tales and legends, known in the east: of which he had enjoyed with Poe and Irving. These nuggets impressed the mind of the youth, as a chapter or a poem... the genius of his perception could see the golden train of thought. The original " Black Dove Legend" known to Poe, that influenced the writing of "The Raven" also influenced Titus in the writing of " The Face on The Bar Room floor." While as a youth he became an apprentice to the tannery trade in Jefferson. Here his first strong work began to eke out... in patches and bunches, written on bits of bark and leather. During his day's work messengers ( of thought ) hovered impressing inspirationally his mind with conditions of life that were conducive to moods, during the inception of his poem... moods that showed the soulful side of the youthful poet, that will never die! The web structure of his entire life and work were woven at this time: And in the sunset of life the poet tells For future youth the thought: Of worth in the tan unto making of fame, And where... father was taught. The vivid picture as drawn, in later years, by Titus, as he tells of the unfoldment of the poem, is evidence of his undeniable genius. In a state of unrest and frenzy, he worked, ever and anon! unmindful of return. To quote his own words, "I didn't and could not sleep, it stuck to me so. Walt Whitman was credited with having worked in the fields and forests, when he thrashed out his poem."Leaves of Grass"-- the dream of a great man which was also those of the people of the earth. Just so, Titus worked in the tannery with the hides, shaping "The face on The Bar Room Floor"... dreamed for the people a message on temperance reform. His power of moral discernment shines when compared to the immoral hypocrisy around him. The "clan" or political bunch, who labeled all outside of their inner circle; the beautiful truth that beamed in the lives of creatures, as Bob the artist, and Madgelene his sweetheart, seemed as romance, and nuggets he recognized at the inn ( The Tavern ). Legends handed down by the father (as that of Poe) had rooted deep into his nature. He, the boy poet, developed them in the tannery, as a photographer does his negatives, in a dark room. The entire poem was oralized, as he worked alone--- his spare time and working hours spent in happy musings. There are persons still living who recall the inspired tanner poet, oralizing and jotting down the nucleus of " The Face on The Bar Room floor" on bits of bark and leather. The townspeople recognized his genius, and often referred to the bits of writing on the leather, as "His Writings." Under vernal-elms old, the village tanner tans; As boys run at play anon or mark in picture-plans. So in life-idea as aye, ye village-tanner scans, As boys hie at play anon, or mark in picture-plans. Boys of favored circumstances, at play, often listened at the open windows, of the tannery, to his expressions and shaping of thought, into expressions; but were careful not to disturb his muses and moods... quietly unnoticed they would slip away remarking, sadly; "To bad John cannot have a chance." The truth was, that he was having his chance and making the most of it. "To organize a sentiment is a great task," he has said. His heights and flights, of expressions were strengthened by sensitiveness, to local conditions... a local option town, in the early '70s, a liquor traffic, and its hypocrisy, as practiced by the "godly lot" of the town, who had demijohns. He also remembered, finding empty whisky bottles hidden away, in the court house wood-pile--- as a youth he had often replenished the wood box, for the judges, lawyers and officials. Then, too, his father, a temperate man had been labeled by "the godly lot" because of an occasional drink. He was neither intemperate, nor a hypocrite--- the young poet resented the injustice to a great soul, his father; his soul had suffered from these insinuations. These conditions served as a background to his moods during inception, perception and conception of the poem. "The Face on The Bar Room Floor" contains a message of moral, clothed in beautiful romance of fact and legend, covering a period of more than 600 years. Artist Bob and Madgelene, his sweetheart and ideal soul, were in reality identified with the legend, which had its origin in an Alpine royal family mystery. The "Ole Pine Tavern" at Jefferson, Ohio was a Famous way-side inn, in the early stage days: "Astir the pine in somber lay.".... the pine was a favorite stopping place for the travelers. The Tavern room where the scene occurred was frequented by judges, juryman, lawyers, men of quality and those of national prominence. Above was a room ( ball-room ) used for court sessions during a period of rebuilding the court house: "that 'oversaw' Joes bar room as court on the square;" The term bar room used by Titus, does not refer to an ordinary saloon bar room, but to a tavern registry room, where guests of the tavern on arriving, by stage were received and registered. Beneath the desk was kept a supply of " whiskey, rum or gin " according to Federal Law requirements... guests could receive a certain quantity on arrival. It was necessary to keep the " whiskey score " : " fetch the char you mark the whiskey score "--- plagiarists and parody writers, in the versions wrote: " Bring the chalk you mark the baseball score score. " A baseball score had not yet come into existence. Those claiming authorship of the poem knew little of the place, and customs existing, at the time the poem was written. In like manner, the phrase, " Ten Nights in A Bar Room " was grossly misinterpreted. Titus told of Ten Knights ( Ten Nights ) meeting in upper room of the Tavern with demijohns, to settle difficult violation cases... difficult and hard cases which took ten consecutive nights, and until morning to complete. They were members of a fraternal order ( Knights of Templars ) and a part of the " godly lot ." Artist Bob, on the memorable night, of his returning to the tavern was recognized by a member of the secret order ( Knights of Templar ) hence, as given in poem: " As barinage the mystcreant took in static grace intact, as one of place; and doting low as embers fall---- nods inturn as secret call." The vagabond, known in earlier days in the town, as artist Bob, was known in the east before coming to Jefferson, by the poets father. artist Bob had won fame as an artist... had conceived the well known picture " The volunteer Choir. " he was present at the first funeral at " The Little Church around The corner " on twenty-ninth street, New York City, for the stage folks, when the volunteer choir supplied the music. This incident in the life of artist Bob, was told to the poet, by his father, as legend. That the soul of the young poet, or singer was craving for a larger life of greater expression can be recognized throughout the poem, and his susceptibility to the spirit of the age and local conditions, discerned... nothing was too local to have the ear marks of deduction, and the consciousness of the existence of an evil, that could become universal, is conspicuous throughout. He was gifted with a scholarly touch and an easy command of rhyme and rhythm: it must sound correctly to he ear... the euphony of tones, their shades and shapes is that of a poet of the highest rank; choice and use of words show the realm in which he dwelt: although he has said " My poems are the soliloquy of my soul--- technique gives way to divine passion." His art of poetry writing was applied in disputation of intemperance--- which resembles that of today. John Henry Titus was truly the discoverer of the immoral phases, existing in a liquor traffic, in the name of temperance. His fame today rests upon this poem, undoubtedly a masterpiece. The scene in The Pine Tavern, in the late '6os and the conditions of life--- a pious-role played by a "godly lot"... social conditions, good and evil, which underlined a distinctive period of our history. Who, that has read it, has ever forgotten it? It has truly niched itself into the world's utterances... its charm and moral purity charms the heart. However, one contribution does not make a poet. Titus has been wise and true, in aim of soul, and obedient to an inner voice, for sixty years. Having no set rules of diction, creed; religion, cult, isms or schisms. he has lived in the world and his poems carry the essence of great truths. The poem, " They Had no Poet and so They Died " is destined to fill a niche and need. Quoting from poem: " In the dim waste lands of the Orient stands The wreck of a race so old and vast That the great legend cannot lay hands On a single fact of its tongueless past; " This poem is a complete resume of his world travels. The opportunity came to him for world travel--- opened the way to live his life into his poems. A large leather concern commissioned him to look after their varied interests, in all parts of the globe, he being versatile with all angles of the leather industry. At different times, he traveled in all parts of the globe, while thus engaged... friendships were made that influenced the production of his finest poems. He has embodied his friendship with Edgar Bushnell, the famous actor, in the poem, " The Three Great Lessons of Life: Love, Pain and Hate. " Bushnell played with Sir Henry Irving on his famed tour to America, in 1903, at The Manhattan theatre, New York City. The meeting of Bushnell and learning of his domestic disappointment gave impetus to the birth of " Love, Pain and Hate "... in reality a mask for his own domestic unhappiness. Bushnell had married an actress, the daughter of Dean Hurd of Oxford University, England. His married life had been stormy and the parting scene, on leaving for America, between he and his wife was deeply strained and affected him: at which he turned to her and gave his feelings from the depths of his soul. This scene he reenacted when he called on Titus in New York. " The same old Story of Life," said Titus. Bushnell asked his meaning, Love, Pain and Hate was the reply. from this social hour, Titus gleaned the situation, and later, on his return handed to Bushnell the poem. " Love, Pain and Hate." The conflict of feelings that raged within his bosom throughout this painful parting scene, and after, are touchingly depicted in the lines written, and which though not mentioned, as addressed to her by name, were evidently for the heart of his loved one. You taught me the first great lesson of life, The terrible lesson of love; You came into my world of struggle and strife, As an angel of light from above. And you taught me the faith I never had known, Brought me sunshine as radiant dove; You taught me to trust you and call you my own; You taught me the lesson of love. You taught me the second great lesson of life, The terrible lesson of pain; You mocked at my anguish and soul-strife, And my cry for your love in vain. You came into my life step by step, And caused me to weep as the rain; You broke your word,---and feigning, you wept, You taught me the lesson of pain. Oh! the third great lesson you must not teach, The terrible lesson of hate; I'll go while I love, repent! I beseech--- I'll go, love. ere the hour's too late; Lest life's scars come, which time can't efface, Ere steps I might take be our fate, I leave,---but my love will enshadow your face; I go ere my love turns to hate. Unknown to Titus, he mailed the poem to his wife at Liverpool, England, and within a few weeks, Bushnell made another call...he flourished a letter, on which was a Liverpool postmark, saying, read that! The poem had had the desired effect, and Bushnell was sailing at once for England, having already resigned his engagement at the Theatre. Titus read the letter and incidently the poem " Her Lament "---between the lines was her anguish and lament. A year later Titus visited Bushnell, in his beautiful home at Liverpool, England, and for the first time met his wife. After dinner in the trellis of the arbor, in rustic chairs, Bushnell ( smoking a pipe ) refers again to his domestic life and pours out a soliloquy of his soul, in a strain of perpetrated feeling, instead of a soul's reconciliation. The recital was as if it were an outpouring of the constant feeling of a martyr... the third poem was then written " Truth and Error " ( or reconciliation ). The close intimacy of two strong characters, the actor and poet drew out the material for the companion poems; that show how clearly he could feel and relate the emotions of a romance. Throughout the years an enduring friendship existed between John Henry Titus and Elbert Hubbard, II. The following statement's taken from a letter dated, May 27th, 1915, and addressed to John Henry Titus. The letter was written after the sinking of the Lusitania, on which Elbert Hubbard and his wife Alice lost their lives: " I can only thank you with all my heart for your kind words of sympathy and cheer. They give me much comfort. Their spirits live and go gloriously down the corridors of time. With strength and courage I bear it all. You have helped me much. Signed Elbert Hubbard, II. In a letter dated October 4th, 1912, from Elbert Hubbard to Titus are the following words: " I must thank you for your good letter of the 1st. Your spelling is a bit original, but then, we must not expect conformity in a genius. My idea is that anyone who can write as good poetry as you should keep right at it." The 3 'Hs, which were used and referred to innumerable times, in the writings of Hubbard were taken from a poem by Titus: Head, Heart and Hand. Hubbard, after many reprints made a public statement, in his chapel---"that from that time on it would always appear in Quotes, thereby giving due credit to its author, John Henry Titus." The poem was written after a delightful visit to the Roycroft Shops, at East Aurora... while alone and reflecting on the beautiful work of Hubbard and his wife, Alice---comparing it with his earlier life, in the Larkin Soap Industry. The beauty and greatness of the Roycroft Shop was seen and felt through the eyes and soul of a poet...he saw the unison of "Head, Heart and Hand." The 3 'Hs were carved on the private door of Hubbard's office. At one time Hubbard was the guest speaker, at a banquet, at Boston, Mass. attended by the presidents of ten railroads. Mr. Daniels, Pres. of the New York Central Railroad saw such elegance and beauty in the words of the poem as given by Hubbard that he suggested use of them---to be used in marble, for the New York Terminal, where they are today---Head, Heart and Hand in marble. Hubbards interest and admiration for " The Spartan Warrior " and " The Litany " poems of Titus brought them to the attention of the same group of men. Hubbard's comment on the poem, " The Spartan Warrior " was, " It has more Spartan in it than have found in ten volumes of Grecian history." " Neither snow nor rain, nor heat nor gloom of night, stays these couriers ( corridors in the original ) from their appointed rounds " the inscription on the General Post Office, New York City, taken from " The Litany " and suggested by Elbert Hubbard. His travels in all the world, in different lands, under many conditions brought forth deductions, from his culture, that was broad and general; not that of a bookworm or student, but of a receptive and communicative mind. " They Had no Poet and so They Died " gives angles of his deductions, of the past, present and a prophetic message; he could see in the works of Socrates, Plato, Demosthenes, Diogenes and Aristotle, at Athens, that their souls pulsated to other men and their lives. In Carthage, Troy, Egypt, Japan, in the dim waste lands of the Orient, and regions of the dark Congo...all goes unrecorded and for nought: the Land of Tropics and our own sun crowned West, yes! even here as the earth waxed old, a race Titanic did once abide, their story too was left untold, as he observed, hence: They had no poet and so they died. Nothing has ever changed or obscured his deep sincerity and natural poetic expressions...thus, he has been a kind bard or singer of beautiful verses throughout a long period of years---giving poetry of grace and originality, and earned the title of a delightful evening with him and undergone the charm of his poetry. The essence of Titus writings might be defined thus: the romance is genuine, sentiment pure and heart-felt, with soulful heroism. The commonplace things of life reflect the worth of character and high ideals; yet, no tendency toward any creed, cult or schism. This is beautifully illustrated in his poem " Le Titusian." It answers the question of immortality for those of any creed. The wick pales.. Curls; bends--- "Tis nearer dawn, Its beam I see. I wake; I rouse; I yawn; I live: I am; "Tis I: Close not the door; "tis I! be not afraid. So be my bourn as dawn.. alway: True nobleness. Honorable man, citadel of God. While his poems were not written in the beginning with thought of publication, they soon found a way into all parts of the world. " The face on The Bar Room Floor " has a firm hold on the hearts of all English-speaking people, and brought fame. He has always written and given to the world utterances, unmindful of return. Incidents that agree in the progression of the poem " The Face on The Bar Room Floor " from the concept, to its completion have made the poem immortal. It could not have been written at another place or time. The descriptions of the Old Pine Tavern, a local option town, in the early '70s, the tavern bar room ( not a saloon in New York ), Artist Bob and Madgelene, can easily be identified; his descriptions are so accurate. He had the gift of preserving local characters, in the vernacular; preserving them in oral expression, for all ages and, in such a way, that they will never be merged into oblivion. It resolves itself into folk-lore and so it will ever be. He wrote around a local problem " temperance " and the control and regulation of liquor traffic, a problem that has become national in importance. The " godly lot " a term that serves well today, he used in irony, not in the absolute. The godly lot we still have playing pious-roles with demijohns, and engaged in a nefarious liquor traffic. This biographical sketch is given to the world, the world is entitled to it, that no injustice be done anyone, that the inner urge of his age---the ways of it, be known, and leave the author, unlabeled from any sophistry or creed. John Henry Titus, the author, now 80 and over is giving his famous poem to the world. It will be followed by many unpublished gems, destined to become a part of the world's utterances. Winfred P. Welden, President of the Anti-Cigarette League of America has started for publication, " that the poem The Face on The Bar Room Floor belongs with the literature of temperance reform as inevitable as 'Uncle Tom's Cabin' belongs to the literature of abolition." More About JOHN HENRY TITUS: Burial: 1947, Greenwood Cemetary, Brooklyn, New York |
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11 Nov 04 - 08:53 PM (#1324066) Subject: RE: Face on the Barroom Floor From: GUEST,.gargoyle Interesting, Interesting... with a touch of jaundiced tripidation.
Sincerely, |
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05 Apr 07 - 09:52 AM (#2017210) Subject: RE: Lyr Req: Face on the Barroom Floor From: GUEST,Daltiz If anyone reads this I have a copy of The Face on the Barroom Floor that is in Titus' original form. It is typewritten and is signed in ink by Titus. It is also marked as being copyrighted by Titus. Under the title it says -original 1872- Condition is good with some yellowing. No rips, one bent corner. Anyone with any information, other than what's on this link already, would be greatly appreciated. Great link by the way. |
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06 Apr 07 - 09:12 PM (#2018783) Subject: Lyr Add: FACE ON THE BAR-ROOM FLOOR (De Witt, Hope From: Jim Dixon Another version, from sheet music at The National Library of Australia: "Latest American Rage" THE FACE ON THE BAR-ROOM FLOOR Words, Maurice De Witt; music, Leonard Hope; Publisher: Dinsdales, Melbourne [190-?] 1. The barroom was crowded one calm summer's eve. The air filled with laughter and song. When a tramp old and ragged crept into the room, With sneers he was hailed by the throng. Said he, "If you'll listen, my story I'll tell, If you'll give me a drink, nothing more. I'm a broken-down artist and for you I'll paint A face on the barroom floor." CHORUS: Ah! That face on the barroom floor, The woman that I adored! What a different man I might have been If she were still my heart's own queen! But my dream of life is o'er; On the earth we'll meet no more. A cruel faithless wife That I loved as my life, The face on the barroom floor! 2. The crowd gathered round and stood greatly amazed At the beautiful face that he drew. He said, "Years ago we were wed, Nance and I. I ne'er thought that she'd prove untrue; But a tempter one day came and lured her away. My bright hopes in life are no more. Then with one fearful shudder he fell dead across The face on the barroom floor. |
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12 Apr 07 - 12:49 PM (#2023280) Subject: RE: Lyr Req: Face on the Barroom Floor From: GUEST,Daltiz I will try to post verbatim from the original copy that I have in front of me. It is not easy as his use of the language is odd and his typewrite had a habit of only partially printing some letters. Oh well, here goes............. COLUMN ONE Astir the pine in sombre lay. 'Twas a barmy autumn night, -and a-godly lot was there that oversaw Joe's bar-room, as Court on the square: And as song in wit as story ekes of oaken door, a vagabond stept lowly in asken on the floor: As someone, "ha" where's it from? Wind's blown it in: what does want? whiskey! rum or gin? See, Tobe! sic! Joe's can do the work I wouldn't touch with a fork: it's fetid as a Turk! "As barinage the myscreant took in static grace intact, as one of place, and doting lowas embers fall nods in turn cesret call: and Joe growls at hackman late, but heightens glee as glass to brim, as judge and jury wait: yet naught of tort pays to goad or hurl at pine beside the road, -as onesays, "he's clean..a gentleman too! who knows of scar(?) Joe, look in-side down'ur throat! Men Tom's hard: thousands bad but sees-' neith the coat the man. . "Yes Tom- tis so of a burly crowd: such on turn would make the deacon proud: a-dram I want, hardly fixed for snow; when as yore Bob was never slow; what! ascur as if or not this wallet had a-sou; once was up who knows as any one of you there: thanks; good! rock-n-rye; helps me some..God bless you all; perchance again would call; night, -goodnight, cold! what, a song(?) no, can't do that..singin days past; voice cracked! throat's worn! lungs are going fast; says a snook..and what'd do..a punny tale as ever knew; that I was any 'count,-who'd think(?) but 20 years back! turn a drink; fill- er-up Joe, want some life in my frame; such to "C" are miserly tame! there, five fingers the stuff and cracking whiskey too; well, here's and landlord, same to you-set down! U've used me well and won't blame as tell an- howas Joe and broken now. Once was a man of calling name and health..and but for gamble ought 've won fame as wealth; was a painter, not on brigand wood, but of Florence as alpine neighborhood wept at my canvas a mystcreant of dispise in the halo-heights of Switzerland on the winds of paradise! COLUMN TWO Made a picture few have seen..the Chaise of Fame:-fetched 1500 francs at Monte Carlo game; then a woman hear the stunning start, with eyes that turned my brain as life of art: not a nudess of garden-role, or stone, nor naughty, but an ideal soul: So changed-strange that a vagabond should love, seems wrong.. but 'tis so was ever neat and love was given, and in her ruby lips and mine..O God: 'twas heaven: -Ever see of pine for..own would give(?) of form as Goddess Vebus, too worshipful to live..and eyes afar in lays of raven jet hair? So! "twas she an '-never-'nother! Half so fair. I was groping at my canvass, out a task of shadow lay off Joe's tintype by mother at midnight sun as day..and own makes of it in toss of covet-prize ..and acts in accent of it and, such! dreamy eyes. Was't long for in the curfew moan Joe sat by her and I was left alone; and in the year of misery and ache of heart the jewel of my soul tales of pine as dead. 'Tis the story; but scarce a turn or smile..felt might be aver as something mean or vile; and what's wrong Tom, a tear..a-sigh(?) Ha, laugh.. but woman's cry! Say Joe, a -brace, and I'll feel better..glad, and draw right here in memory, the one that drove me mad-fetch the char you mark the whiskey score and see.. her face in fancy on the bar-room floor. So ashen alway as nun affright; and clarion as volunteer choir or person of mistook right; O image divine at pillow-pane as wont..and rogueishly shy, she comes in her girlish-caress and accent of solace goodbye. Who knows maybe I was at fault, and blind to tear, as sigh as sage of Mona Lisa wrought in Bob so bad as I!" Another as wil-o'clock dram..and knelt with char askan at sketch of one might stir the soul of any man: then a truant memory lock ..in accent low, "Madgelene" thou mistook one! struggles to rise and with cry as phantom of dread.. leaps as in her arms forgiven; and fell on the picture dead. To the best of my abilities this is the exact way it appears on this paper that is dated 1872 and is signed in ink by John Henry Titus. If anyone would like a photo of this, please let me know. |
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13 Apr 07 - 12:11 AM (#2023827) Subject: RE: Lyr Req: Face on the Barroom Floor From: M.Ted Thanks for posting that! It's great--and a good bit different than the version we are familiar with-- |
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31 Dec 07 - 07:18 PM (#2225850) Subject: RE: Lyr Req: Face on the Barroom Floor From: GUEST,Lee Titus Yes, I would like very much like a photo of this as I am a decendent of John Henry Titus, This would be greatly appreciated. My Email address is res0anv7@verizon.net. Thank You, LeRoy A. Titus Jr. |
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27 Jul 24 - 03:34 AM (#4206109) Subject: RE: Lyr Req: Face on the Barroom Floor From: Black belt caterpillar wrestler Sid Calderbank performs a parody of this, featuring Mabel the barmaid and the man from the Pru. Robin |
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01 Aug 24 - 06:26 PM (#4206401) Subject: RE: ADD: Face on the Barroom Floor (Monologue) From: GUEST,keberoxu As mentioned in the opening post: The Mollicone one-act opera is a very versatile thing, and can be taken on the road -- and has been done that way. Scored for soprano, tenor, and bass-baritone, the plot has two men fighting over one woman; there is a gun, and the soprano is shot and killed. AND there is a painted face on the floor. I've never had to learn this opera but I know some musicians/singers who have done it. |
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01 Aug 24 - 07:17 PM (#4206405) Subject: RE: ADD: Face on the Barroom Floor (Monologue) From: Catamariner Yes, this was recorded in the 1960s by Moultrie Patten, who gained some fame as an actor in Northern Exposure. He starts in with "You're Nobody 'til Somebody Loves You" but it becomes The Face on the Barroom Floor (Daltiz transcript, above): https://youtu.be/LB6Sck3ntLs?si=tqQcIcUB90KYD4qk |