book I shall retain the original phrase, which Coventry

would have objected to have altered in permanent record. He accepted and justified my use of the phrase, in a poem drawing only an aspect of his character. But where it was connected with him as a funeral poem, I would certainly have wished it replaced by something else. About all things I trust soon to have personal talk with you. Always yours affectionately,

FRANCIS THOMPSON."

The high-pitched phrases of the obituary poems confess the strain he put upon himself to publish his grief. He dropped into private prose while he was at the task. "Age alone will grasp in some dim measure what must have been the unmanifested powers of a mind from which could go forth this starry manifestation; and what 'silence full of wonders' interspaced his opulent frugality of speech." "It remains a personal (and wonderful) memory that to me sometimes, athwart the shifting clouds of converse, was revealed by glimpses the direct vision of that oceanic vast of intellect." "The basic silence of our love" and the "under-silence of love" are other phrases that tell of something not to be expressed in the obituary column. There are scraps, also, of private verse which tell his sorrow:--

O how I miss you any casual day! And as I walk Turn, in the customed way, Towards you with the talk Which who but you should hear? And know the intercepting day Betwixt me and your only listening ear; And no man ever more my tongue shall hear, And dumb amid an alien folk I stray.

He grieved for Patmore as a wife grieves for the husband who dies before the birth of her child. "This latest, highest, of my work," he says of a portion of _New Poems_, "is now born dumb. It had been sung into his sole ears. Now there is none who speaks its language." His loss made a visit to his friends in London desirable.

Of the dedication he had previously written to Patmore:--

"The book (A. M.'s _The Colour of Life_) is dedicated to you, and just a fortnight ago I sent to London a volume of poems--the product of the last three years--which I had also (knowing nothing then of her intention, or even that she had a book on the point of appearing) taken the liberty of dedicating to you."

That dedication to Patmore runs:--

Lo, my book thinks to look Time's leaguer down, Under the banner of your spread renown! Or if these levies of impuissant rhyme Fall to the overthrow of assaulting Time, Yet this one page shall fend oblivion's shame Armed with your crested and prevailing name.

The tribute is handsomely conceived without any of the insincerity that cowered behind the handsomeness of eighteenth century dedications. It was an occasion for setting forth the humility which was a very real part of Thompson's character. In a printed note the author explains:--

"This dedication was written while the dear friend and great Poet to whom it was addressed yet lived. It is left as he saw it--the last verses of mine that were ever to pass under his eye."

To Francis, Mrs. Patmore wrote just before the publication of the book:--

"In to-day's _Register_ I see that you have decided to retain the dedication of the poems you are now bringing out to my husband. I cannot resist thanking you and also letting you know how much pleasure the mark of your friendship gave him before he died. He was also looking forward to your visit to him with great delight."

Before the publication of _New Poems_ a preface was written and cancelled, and a dozen titles mooted and rejected. In one MS. the name _Poems, partly mystical_ is followed by an Introduction:--

"This book represents the work of the three years which have elapsed since my first volume was prepared for the press, my second volume having been a poem of comparatively early date. The first section exhibits mysticism in a limited and varying degree. I feel my instrument yet too imperfect to profane by it the higher ranges. Much is transcendental rather than truly mystic. The opening poem ("The Mistress of Vision") is a fantasy with no more than an illusive tinge of psychic significance. And of the other poems some are as much science as mysticism! but it is the science of the Future, not the science of the scientist."

And since the science of the Future is the science of the Past, the outlook on the universe of the "Orient Ode," for instance, is nearer the outlook of Ecclesiastes than of, say, Professor Norman Lockyer. The "Orient Ode," on its scientific side, must wait at least fifty years for understanding. For there was never yet poet, beyond a certain range of insight, who could not have told the scientists what they will be teaching a hundred years hence. Science is a Caliban, only fit to hew wood and draw water for Prospero; and it is time Ariel were released from his imprisonment by the materialistic Sycorax."[54] In a letter to Patmore, he had written:--

"The bits of science that crop up in your essays remind me of little devils dancing among rose trees."

The list of possible titles insists upon his regard for one aspect of his later work:--_Songs of the Inner Life_; _Odes and other Poems_; _New Things and Old_; _Songs of a Sun-worshipper_; _Music of the Future_; _Night before Light_; _At the Orient Gates_; _The Dawn before the Day-Star_. In the event _New Poems_ was chosen; and on the eve of publication, F. T. writes to W. M.:--

"Herewith I send the book. Now, if Alice and you, after you have read it in proof, say 'this is bad poetry,' I will cut out half the book; but not half a line to please a publisher's whim for little books and big margins. I was cabined and confined over my first book; with my spurs won, I should be at liberty to make the book comprehensive. It will be a book as long as the _Unknown Eros_, for if the _Unknown Eros_ has about twenty more poems, none of them are so long as one half-dozen of mine. Treated in the sumptuous style, it would make a book about the size of Rossetti's first volume; but there is no reason why it should be got up more than just well and simply. I believe it will be my last volume of poetry--in any case my last for some years--and I am determined to make it complete, that I may feel all my work worth anything is on record for posterity, if I die. . . . I have sacrificed something to the levity of the critics. I have put a whole section of the lightest poems I ever wrote after the first terribly trying section, to soothe the critics' gums. If they are decent to the measure of their slight aim, that is all I care for; they aimed little at poetry. That they are true to girl-nature I have a woman's certificate, besides the fact that I studied them--with one exception--from an actual original. . . . Again I have put a batch of four 'simple' poems at the opening of the miscellaneous section to catch the critical eye, though their importance is not such as to give them a place so prominent. So I have done what artifice could do to lighten a very stern, sober, and difficult volume. 'Tis more varied in range than my former work; and by my arrangement I have done my best to emphasize and press into service this, the solitary redeeming fact from the popular standpoint.

"From the higher standpoint I have gained, I think, in art and chastity of style; but have greatly lost in fire and glow. 'Tis time that I was silent. This book carries me quite as far as my dwindling strength will allow; and if I wrote further in poetry, I should write down my own fame."

_New Poems_ found the critics, in 1897, more hostile than before. Perhaps the _Saturday Review_ was the most severe:--

"He has been, from the first, unfortunate in being shielded from sincere criticism. He has been persuaded by his friends that he is a genius, divinely inspired, whose wildest utterances are his best. . . . In no poet of reputation is it (order) more strikingly absent than in Mr. Thompson. Beautiful fancy, sonorous and picturesque diction we find here, indeed, but no motive power. These odes begin on one key, are shifted to another, take up a fresh subject, drop it, and, at length, as if merely wearied of their aimless flight, drop suddenly, and cease in the air."

"These, and the rest, are nonsense-verses," the same writer says of "The Mistress of Vision," but finds elsewhere "a touch of genuine sublimity." The former _British Review_ picks out several examples of "his barbarous jargon" (a phrase also used by Horne of Meredith's "Song of Queen Theodolinda") and prescribes for him Ben Jonson's pill for the poetaster and that he be shaken free of "the praises with which his friends now mislead him." The _Literary World_ also sees need of doctoring, saying, "Nothing can be stronger than his language, nothing weaker than the impression it leaves on the mind. . . . It is like a dictionary of obsolete English suffering from a fierce fit of delirium tremens." _The Critic_, of New York, takes Thompson's ignorance of religion and symbolism for granted; the _Times_ finds fault with both his poetry and Catholicism; the _Morning Post_ is unfavourable; the _Daily Chronicle_, the _Speaker_, and the _Guardian_ all begin severely but leave scolding before they ended to give generous praise. The _Sheffield Daily Telegraph_ was handsome. The poet's obscurity was the chief cause of displeasure, since from thinking a man's meanings difficult it is fatally easy to go on to say he is meaningless. The case they make is startlingly good; one reaches for one's Thompson from the shelves to see if he is in truth so great as one had thought before spending an hour with his early critics. If one pauses before quoting them, it is not for fear of dealing unkindly with them. They are convincing; only the Thompson of scraps they condemn is not the Thompson we know by the book. When the _Pall Mall_ says

"There is a terrible poem called 'The Anthem of Earth' without form and void, rhymeless and the work of a mediæval and pedantic Walt Whitman,"

the point may be conceded, as between that particular critic and his particular Thompson; it is even possible to share with the _Pall Mall_ its "deep-rooted irritability" when one has to contemplate on its pages tortuous and steep passages torn from their text.

Against the adverse may be set many good criticisms. Mr. Richard Whiteing wrote finely in the _Daily News_, for he cleared the hurdle of initial distaste--"It is idle to throw the book to the other end of the room. You have to pick it up again." He hates such "outrageous conceits" as "The world's unfolded blossom smells of God"; or "Soul fully blest to feel God whistle thee at heel." It is the old hatred, probably, of overhearing the "little language" of lovers or whispered prayers. But Mr. Whiteing admits that "to put him in order might only be to spoil him. He must have his way."

In the _Speaker_, Sir A. T. Quiller-Couch, after commenting, as usual, on the precipitate and defiant eulogies of the poet's "friends," continued:--

". . . On the other hand, to be stung into denying that he is a poet, and an extraordinarily fine one, is to lose one's head just as wildly and less pardonably. . . . Of 'The Mistress of Vision,' I can only say that it recalls, after many days, the wonder and delight with which as a boy I first read 'Kubla Khan.'"

The _Daily Chronicle_, where Mr. Le Gallienne had given place to Mr. Archer, on a first reading, recognised "a man of imagination all compact, a seer and singer of rare genius"; the _Athenæum_ "a singular mastery of verse"; the _Edinburgh_, with ponderous speed, "a great poet," and the _Academy_ and _Bookman_ gave handsome welcomes. Notwithstanding these, the impression on public and poet was discouraging. The book sold badly, and soon died, so that for the first half of the year in 1901 it brought in six shillings' worth of royalties: four copies had been sold. During the first half of 1902 the book found five buyers.

F. T. so far felt depressed by the bulk of adverse criticism as to write his thanks to one of the few kindly reviewers of the new book. He got in answer, June 7, 1897:--

"I simply expressed (very inadequately) the pleasure your work had given me, without the least thought as to what anyone else thought or might think. That, however, is not strictly true. Your letter reminds me that I read some extracts to a friend, and then said, 'This is not work which can possibly be _popular_ in the wide sense; but it is work that will be read and treasured centuries hence by those who really care for poetry.' This comes back to me as you speak of the reaction. I assure you no conceivable reaction can wipe out or overlay such work as yours. It is firm based on the rock of absolute beauty; and this I say all the more confidently because it does not happen to appeal to my own speculative, or even my own literary, prejudices.--Yours very truly,

WILLIAM ARCHER."

Later F. T. met Mr. Archer casually at Mr. Doubleday's house in Westminster, and his poetry and portrait figured in Mr. Archer's _Poets of the Younger Generation_.

He was not put out of humour by small royalties:--

"DEAR WILFRID,--It strikes me that the cheque (2/11) has a very unseemly tail, which would be much improved by a piece grafted on to it, to give it a trifle more handsome proportions. Perhaps the thing might not be impossible to a patient operator (to speak ex-medical-studently).--Yours ever,

F. T."

He could be tragic too. His interruption during a reading of "Othello" at our house is never to be forgotten. Desdemona was in death agony, when an emphatic voice proclaimed:--"Here's a go, Mrs. Meynell; I have lost my _Athenæum_ cheque." But he found it in another pocket.

If buffers had been needed between the unfavourable reception of _New Poems_ and the sensibility of the author they were supplied at this time by Mr. Garvin's splendid appreciation of his previous works, _Poems_ and _Sister Songs_, in the _Bookman_, March 1897:--

"Even with the greatest pages of _Sister Songs_ sounding in one's ears, one is sometimes tempted to think the 'Hound of Heaven' Mr. Thompson's high-water mark for unimaginable beauty and tremendous import--if we do damnably iterate Mr. Thompson's tremendousness, we cannot help it, he thrusts the word upon us. We do not think we forget any of the splendid things of an English anthology when we say that the 'Hound of Heaven' seems to us, on the whole, the most wonderful lyric (if we consider _Sister Songs_ as a sequence of lyrics) in the language. It fingers all the stops of the spirit, and we hear now a thrilling and dolorous note of doom and now the quiring of the spheres and now the very pipes of Pan, but under all the still sad music of humanity. It is the return of the nineteenth century to Thomas à Kempis. In _Sister Songs_ Mr. Thompson has passed from agonies to exultations. Of pure power he had not more to reveal. But _Sister Songs_ has the very sense of Spring: there is some lovely renaissance of spirit in the book, a melting of snows and all dewy germinations of delight. What rhythms are so lissome and persuasive as those of the first part? In dainty and debonair invention it is altogether incomparable. _Sister Songs_ opens with all the lyrical _élan_ of Shelley perfectly married with the full and definite vision, the pure and vivid phrase of Keats. Thus in two of Mr. Thompson's many passages on childhood--

Or if white-handed light Draw thee yet dripping from the quiet pools, Still lucencies and cools, Of sleep, which all night mirror constellate dreams;

and again--

. . . bubbles from the calyces Of the lovely thoughts that breathe, Paving like water-flowers thy spirit's floor beneath.

"The second part of _Sister Songs_ is in a greater mood. It is the high ritual of beauty, a very apocalypse of poetry, and one should only labour the futility of terms in attempting to praise it. The primary things of poetry are newly and immortally said. But Mr. Thompson's receptive mind is saturated with modern thought, and he uses it in a singular way to deepen the ancient interpretations. He touches Darwinism, and it becomes transmutable in a lovely and poignant lyric--

In pairing-time, we know, the bird Kindles to its deepmost splendour, And the tender Voice is tenderest in its throat.

"May we not dare to say of this passage (beginning--'Wild Dryad! all unconscious of thy tree' in _Sister Songs_) that it almost arrives at that ultimate thing, that 'one thought, one grace, one wonder at the least,' which for Marlowe was beyond the furthest reach of words, and which poets have been seeking to declare from the beginning of song? Mr. Thompson's poetry scarcely comes by way of the outward eye at all. He scarcely depends upon occasions. In a dungeon one imagines that he would be no less a poet. The regal air, the prophetic ardours, the apocalyptic vision, the supreme utterance--he has them all. A rarer, more intense, more strictly predestinate genius has never been known to poetry. To many this may well appear the simple delirium of over-emphasis. The writer signs for those others, nowise ashamed, who range after Shakespeare's very Sonnets the poetry of a living poet, Francis Thompson."

FOOTNOTES:

[51] "Mrs. Meynell's Essays" in the _National Review_, Aug. 1896.

[52] _Poetry of Pathos and Delight_, being selections made by Alice Meynell from the poetry of Coventry Patmore.

[53] "A Captain of Song," addressed to Patmore before his death, and at his death published in the _Athenæum_, December 5, 1896.

[54] "Many a bit of true seeing I have had to learn again, through science having sophisticated my eye, inward or outward. And many a bit I have preserved, to the avoidance of a world of trouble, by concerning myself no more than any child about the teachings of science. Especially is this the case in regard to light. I never lost the child's instinctive rightness of outlook upon light because I flung the scientific theories aside as so much baffling distortion of perspective. 'Here is cart for horse,' I felt rather than saw, and would nothing with them. . . . Though scientists in camp stand together against me, I would not challenge the consensus of the poets."