Mrs. Leary's Cow: A Legend of Chicago — Context and Discussion
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The source record for Mrs. Leary's Cow: A Legend of Chicago — Context and Discussion measures this digital text at 4,602 words, 21 min estimated reading time, and 1 detected text section.
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Presented By The Black River Insurance Co., Watertown, N. Y.
[Shortly after the Chicago fire, there appeared a dismal-looking photograph card of this celebrated bovine, on the reverse of which was printed this remarkable legend:
"ORIGIN OF THE CHICAGO FIRE.
"On the other side of this card will be found a life-like picture of Mrs. Leary and the cow that kicked over the lamp that caused the great fire in Chicago.
"Mrs. Leary got her living by selling milk; she had five cows, and kept them in her barn on De Koven street, on the west side of the river. A neighbor woman called on her for a pint of milk at nine o'clock Sunday night, October 8th, and Mrs. Leary, having sold all she had, went to the barn with her lamp to make a further draft on her best cow. The cow, as seen by the picture, being a spirited animal, became indignant at the attempt, kicked over the lamp, setting the barn on fire, and thus inaugurated the greatest fire the world has ever seen."]
|THIS is the Cow, at the Leary back gate,
Where she stood on the night of October the 8,
With her old crumpled horn and belligerent hoof,
Warning all "neighbor women" to keep well aloof.
Ah! this is the cow with the crumpled horn
That kicked over the lamp that set fire to the barn
That caused the Great Fire in Chicago!
|THIS is Chicago, all blasted and burned,
The Paradise whither insurance men turned;
But from which they now bring sad faces away,
Sorely vexed with the losses they're called on to pay,
Since the fire-fiend encircled the city that day.
And they swear at the cow with the crumpled horn
That kicked over the lamp that set fire to the barn
That caused the Great Fire in Chicago!
|THIS is the Frame Range of best northern pine,
The banquet on which hungry flames love to dine,
Which agents so oft manage _not_ to decline,
But write (in their slop-bowls) a "moderate line,"
Because--don't you see--the commish is so fine.
Ha! this is the range which delighted to carry
The passenger flames o'er the devil's own ferry,
And utilize mischief by spreading it faster
Than men could compete with the fearful disaster.
How sad and how strange are the memories now
Which hang round the heels of that old Leary cow--
That wretched old cow with the crumpled horn
That kicked over the lamp that set fire to the barn
That caused the Great Fire in Chicago!
|THIS is the Company, gloomy and glum,
Which admits that it has some few (?) losses, yes _some!_
But its officers think their best motto is "mum,"
As they stroke their gray chins and look wise and sing dumb;
While inside they are praying, "Good Lord, please deliver
Our souls from the fear of old Miller's receiver."
And they view with the most acrimonious hate
That regurgitant cow at O'Leary's back gate,
As she stood on the night of October the 8,
When she kicked at the lamp that set fire to the barn
That caused the Great Fire in Chicago!
|THIS is the Statement the Company made:
(Directors and Officers thickly arrayed,
To soften the jar as they strike the up grade,
Where the millions of losses will have to be paid.)
"Our agency records, we deeply regret,
Are burned at Chicago, are out in the wet,
Or else there is, h--m, there is some slight impediment,
Some something-or-other, some sand or some sediment
Has got in the keyhole, disordered the lock,
Or razeed the dividends, watered the stock,
Or some trifling thing not yet quite in sight;
But the _Company_, sir, is all right, is all right;
Our surplus is safe, and our stock is intact,
Our losses are all reinsured--why, in fact,
We never, in all our official career,
Felt more gay and festive, more full of good cheer.
Just put up the rates and go on with the biz,
These losses will all be arranged with a whiz.
The thing we will have straightened out in a jiffy,
And the next that you'll hear will be ten per cent, divvy."
But you ought to have seen them when, in the back room,
They poured out anathemas like a mill-flume
On that old Leary cow with the crumpled horn
That kicked over the lamp that set fire to the barn
That caused the Great Fire in Chicago!
|THIS is November, a month from the fire;
And the ascertained losses reach higher and higher.
As the figures go up the long faces go down,
Till the month-ago-boaster appears like a clown.
The trick of deception is voted a sham;
The people say _fraud_, and the agents say --------,
This poem adopts the cumulative structure of 'The House That Jack Built' to narrate the Great Chicago Fire as a chain reaction set off by a cow. The opening stanzas introduce the cow with a 'crumpled horn' and 'belligerent hoof,' establishing a mock-heroic tone that persists throughout. The verse quickly pivots from the fire itself to the insurance industry, personifying companies as 'gloomy and glum' and agents who write policies in 'slop-bowls.' The author, C. C. Hine, uses repetition and incremental variation to build a comic rhythm, each stanza adding a new element—the frame range, the company, the adjuster—while the refrain anchors the blame on the cow.
Cumulative Verse and Mock-Heroic Diction
The poem's form is its most conspicuous feature. Each stanza begins with 'This is the...' and adds a new link in the causal chain, mimicking the nursery rhyme's additive logic. Hine elevates mundane objects—a cow, a barn, a frame range—by placing them in a grand narrative of disaster. The cow is described with epic epithets: 'spirited animal,' 'old crumpled horn,' 'belligerent hoof.' This mock-heroic treatment undercuts the seriousness of the fire, turning catastrophe into farce. The repetition of the refrain—'That kicked over the lamp that set fire to the barn / That caused the Great Fire in Chicago'—becomes a comic incantation, each iteration reinforcing the absurdity of blaming a single animal.
Satirical Portrayal of Insurance and Commerce
Hine directs his sharpest satire at the insurance industry. Companies are 'gloomy and glum,' officers 'stroke their gray chins and look wise and sing dumb.' Agents write policies with 'a moderate line' because 'the commish is so fine.' The poem personifies the 'Frame Range' as a 'banquet on which hungry flames love to dine,' a metaphor that conflates building materials with appetite. Later stanzas depict adjusters as 'slimy' and 'smooth,' and the 'Great Fire Fiend' as an arsonist who 'sets the whole town in a blaze.' The cumulative structure allows Hine to expand the circle of blame from the cow to the entire commercial apparatus that profited from risk. The refrain's repetition of 'cow' becomes a running joke against those who seek a single scapegoat.
Diction of Blame and Evasion
The poem's language consistently shifts agency away from human actors. The cow 'kicked over the lamp,' but the fire 'caused' by that act is described as a 'fire-fiend' that 'encircled the city.' Insurance men 'swear at the cow' and view it with 'acrimonious hate,' yet their own role is passive: they 'admit that it has some few (?) losses, yes some!' The parenthetical question mark after 'few' hints at understatement. Hine uses verbs of evasion—'mum,' 'praying,' 'view with hate'—to suggest that the industry's real response is to deflect responsibility. The poem's final stanzas (not fully excerpted) likely extend this critique, but even in the available text, the diction consistently frames blame as a comic, circular exercise.
Setting and Temporal Specificity
The poem is anchored to a specific time and place: 'the night of October the 8' in Chicago, on 'De Koven street, on the west side of the river.' This precision contrasts with the fantastical cumulative form. Hine includes a prose preface that purports to give the 'true' origin of the fire, complete with a neighbor woman requesting milk at nine o'clock Sunday night. This blending of documentary detail with nursery-rhyme structure creates a tension between fact and legend. The poem itself never mentions the neighbor woman again, focusing instead on the cow as a symbolic figure. The setting—a barn, a frame range, an insurance office—grounds the satire in recognizable urban and commercial spaces, making the absurdity feel pointed rather than arbitrary.
Readers should attend to how Hine manipulates the cumulative refrain to shift the target of blame from a literal cow to the systems of insurance and speculation that the poem satirizes. The mock-heroic diction and nursery-rhyme structure are not merely decorative; they serve to deflate the official narrative of the fire's cause. The poem rewards attention to its incremental variations—each new stanza adds not just a new element but a new layer of comic indictment.
That rainy afternoon, tracing Mrs. O'Leary's cow through insurance greed, I kept thinking how every story hides another. The lamp tipped, the city burned, but the legend obscured older, quieter tales. Later, thumbing through The Hidden Servants and Other Very Old Stories — Edition Insights, I found that same feeling—the forgotten voices beneath familiar ruins.
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