New Poems — Text and Context
Edition facts
For New Poems — Text and Context, the stored edition analysis reports 28,378 words, 2 hr 4 min estimated reading time, and 4 detected text sections.
The text analysis averages about 25.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “English poetry,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
te sufficing woman: Light most heavenly-human— Like the unseen form of sound, Sensed invisibly in tune,— With a sun-derivèd stole Did inaureole All her lovely body round; Lovelily her lucid body with that light was interstrewn.
The sun which lit that garden wholly, Low and vibrant visible, Tempered glory woke; And it seemèd solely Like a silver thurible Solemnly swung, slowly, Fuming clouds of golden fire, for a cloud of incense-smoke.
But woe’s me, and woe’s me, For the secrets of her eyes! In my visions fearfully They are ever shown to be As fringèd pools, whereof each lies Pallid-dark beneath the skies Of a night that is But one blear necropolis. And her eyes a little tremble, in the wind of her own sighs.
Many changes rise on Their phantasmal mysteries. They grow to an horizon Where earth and heaven meet; And like a wing that dies on The vague twilight-verges, Many a sinking dream doth fleet Lessening down their secrecies. And, as dusk with day converges, Their orbs are troublously Over-gloomed and over-glowed with hope and fear of things to be.
There is a peak on Himalay, And on the peak undeluged snow, And on the snow not eagles stray; There if your strong feet could go,— Looking over tow’rd Cathay From the never-deluged snow— Farthest ken might not survey Where the peoples underground dwell whom antique fables know.
East, ah, east of Himalay, Dwell the nations underground; Hiding from the shock of Day, For the sun’s uprising-sound: Dare not issue from the ground At the tumults of the Day, So fearfully the sun doth sound Clanging up beyond Cathay; For the great earthquaking sunrise rolling up beyond Cathay.
Lend me, O lend me The terrors of that sound, That its music may attend me. Wrap my chant in thunders round; While I tell the ancient secrets in that Lady’s singing found.
On Ararat there grew a vine, When Asia from her bathing rose; Our first sailor made a twine Thereof for his prefiguring brows. Canst divine Where, upon our dusty earth, of that vine a cluster grows?
On Golgotha there grew a thorn Round the long-prefigured Brows. Mourn, O mourn! For the vine have we the spine? Is this all the Heaven allows?
On Calvary was shook a spear; Press the point into thy heart— Joy and fear! All the spines upon the thorn into curling tendrils start.
O, dismay! I, a wingless mortal, sporting With the tresses of the sun? I, that dare my hand to lay On the thunder in its snorting? Ere begun, Falls my singed song down the sky, even the old Icarian way.
From the fall precipitant These dim snatches of her chant Only have remainèd mine;— That from spear and thorn alone May be grown For the front of saint or singer any divinizing twine.
Her song said that no springing Paradise but evermore Hangeth on a singing That has chords of weeping, And that sings the after-sleeping To souls which wake too sore. ‘But woe the singer, woe!’ she said; ‘beyond the dead his singing-lore, All its art of sweet and sore, He learns, in Elenore!’
Where is the land of Luthany, Where is the tract of Elenore? I am bound therefor.
‘Pierce thy heart to find the key; With thee take Only what none else would keep; Learn to dream when thou dost wake, Learn to wake when thou dost sleep. Learn to water joy with tears, Learn from fears to vanquish fears; To hope, for thou dar’st not despair, Exult, for that thou dar’st not grieve; Plough thou the rock until it bear; Know, for thou else couldst not believe; Lose, that the lost thou may’st receive; Die, for none other way canst live. When earth and heaven lay down their veil, And that apocalypse turns thee pale; When thy seeing blindeth thee To what thy fellow-mortals see; When their sight to thee is sightless; Their living, death; their light, most lightless; Search no more— Pass the gates of Luthany, tread the region Elenore.’
Where is the land of Luthany, And where the region Elenore? I do faint therefor. ‘When to the new eyes of thee All things by immortal power, Near or far, Hiddenly To each other linkèd are, That thou canst not stir a flower Without troubling of a star; When thy song is shield and mirror To the fair snake-curlèd Pain, Where thou dar’st affront her terror That on her thou may’st attain Persean conquest; seek no more, O seek no more! Pass the gates of Luthany, tread the region Elenore.’
Francis Thompson's New Poems (1907) opens with a dedication to Coventry Patmore, whose 'crested and prevailing Name' Thompson invokes as a shield against oblivion. The collection immediately establishes a voice that is both reverent and audacious, blending archaic diction with startling sensory images. In 'The Mistress of Vision,' the garden is 'Set i' the pathless awe / Where no star its breath can draw,' a line that typifies Thompson's tendency to yoke the abstract with the physical. His syntax often twists into inversions ('Mine eyes saw not, and I saw'), creating a rhythm that feels both liturgical and urgent. The poems are organized into thematic sections—'Sight and Insight,' 'A Narrow Vessel,' 'Miscellaneous Odes'—suggesting a deliberate architecture of spiritual and emotional exploration.
Diction and the Sacred-Sensual Blend
Thompson's vocabulary draws heavily on Latinate and theological terms ('inimitable,' 'immitigable,' 'inaureole'), yet he grounds them in concrete, often bodily imagery. In 'The Mistress of Vision,' the Lady's tears are 'divine conservers' that wash the lily, and her blood flows through the flowers' 'nervures.' This fusion of the sacred and the organic recurs throughout: the moon is a 'white sufficing woman,' and light is 'heavenly-human.' The poet does not shy from paradox—'sweet-panged singing' and 'fair weeping'—to express experiences that transcend simple emotion. Such word choices create a texture that is both ornate and visceral, inviting the reader to linger on each phrase.
Voice and the Persona of the Suffering Poet
Several poems adopt a first-person voice that is at once confessional and defiant. In 'Against Urania,' the speaker laments that Song, a goddess, has deceived him: 'worse than other women she can deceive.' He describes casting 'Life, love, and health, / Content, and wealth' before her, only to be left 'to implore / Remembered boon in bitterness of blood.' This persona—the poet as a devoted but betrayed lover of his art—is further developed in 'A Captain of Song,' where Coventry Patmore is portrayed as one who has 'trod the ways afar, / The fatal ways of parting and farewell.' The speaker warns that only those who have 'trod the self-same way' can truly approach such a soul. Thompson's voice here is intimate yet oracular, blending personal anguish with a broader meditation on poetic vocation.
Structure and the Use of Refrains and Repetition
Thompson employs structural devices that echo liturgical and incantatory traditions. In 'The Mistress of Vision,' the refrain 'Mine eyes saw not, and I saw' recurs, emphasizing the paradox of visionary experience. The poem 'Any Saint' uses a repeated line 'What word hadst thou for me?' to frame its inquiry. In 'A Captain of Song,' the phrase 'the words abhorred of comfortable men' is repeated with slight variation, hammering home the isolation of the poet. These repetitions are not mere ornament; they create a rhythmic insistence that mirrors the speaker's obsessive themes. The section 'A Narrow Vessel' presents a sequence of love poems with titles like 'A Girl's Sin—in her Eyes' and 'The End of it,' suggesting a narrative arc told through contrasting perspectives—a structural choice that adds dramatic tension.
Imagery of Light, Darkness, and the Cosmos
Thompson's imagery frequently draws on celestial and elemental forces. In 'The Mistress of Vision,' the Lady's body is 'with that light was interstr[...]' (the excerpt cuts off), and the moon is a 'white sufficing woman.' The 'Anthem of Earth' addresses 'Immeasurable Earth' moving through 'the loud vast and populacy of Heaven, / Tempested with gold schools of ponderous orbs.' Light is often described as a garment or a substance: 'a sun-derivèd stole' and 'light most heavenly-human.' Conversely, darkness and hell are rendered with physical intensity: 'the travel-heats of hell' and 'the moonless mere of sighs.' This cosmic scale does not diminish the personal; rather, it amplifies the speaker's inner drama, making his spiritual struggles feel as vast as the universe itself.
Readers approaching New Poems should attend to Thompson's idiosyncratic punctuation and lineation, which often disrupt conventional syntax to mimic the hesitations and rushes of thought. The poems reward slow reading; many are built around a central paradox or image that unfolds gradually. The collection's arrangement—from visionary odes to intimate lyrics—invites comparison across sections, revealing a poet who consistently tests the boundaries between the earthly and the divine. Let the language itself guide your interpretation: Thompson's words are not merely vehicles for meaning but objects of contemplation in their own right.
Reading Thompson's New Poems — Text and Context, I kept returning to those muddy paradoxes—light tangled in dirt, grace with a limp. It reminded me of a quieter afternoon spent with The Ducks and Frogs, a Tale of the Bogs. — A Closer Reading, where the same odd tenderness lives in wet, common places. Something about finding the holy crouched low.
There are no reviews for this eBook.
Record your reading impressions
A brief reflection can help important ideas stay with you longer.