Poems (1828) — Story, Setting & Ideas
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ine was a princely heart, a joyous soul, The charm of reason, and the sprightly wit Which kept dull letter'd ignorance in awe, Shook the pretender on his tinsel throne, And claim'd the glorious dignity of mind!
Alas! that in thy prime, when time began To make thee nearly all the World could wish, The spoiler Death should unrelenting come (As though in envy of thy wondrous skill) And stop the fountain of a noble heart.
Rest, anxious spirit! from life's feverish dream, From all its sad realities and cares: Be this thy Epitaph, thy honour'd boast-- Thine was the fame, which thine own mind achieved!
[Footnote 1: Dr. Abel was greatly distinguished in his profession for his love of it, and for the ardour of his pursuits in useful knowledge. --He published many ingenious Papers on Medical Science and Natural History. His account of the Embassy to China, under Lord Amherst, has been generally admired. He practised with increasing respect as a Physician, at Brighton, previous to his leaving England for India; and meditated (as the Author of this article knows) one or two works, which, from the activity of his mind, may yet be anticipated. Dr. Abel was a native of Bungay, in Suffolk (where his father was a banker), and it is supposed was about 35 years of age when he died. It is worthy of remark, that the present eminent and estimable Dr. Gooch, Librarian to His Majesty, and Dr. Abel, should both have been pupils of Mr. Borrett, Surgeon, of Yarmouth.]
Now when dun Night her shadowy veil has spread, See want and infamy, as forth they come, Lead their wan daughter from her branded home, To woo the stranger for unhallow'd bread. Poor outcast! o'er thy sickly-tinted cheek And half-clad form, what havoc want hath made; And the sweet lustre of thine eye doth fade, And all thy soul's sad sorrow seems to speak. O! miserable state! compell'd to wear The wooing smile, as on thy aching breast Some wretch reclines, who feeling ne'er possess'd; Thy poor heart bursting with the stifled tear! Oh! GOD OF MERCY! bid her woes subside, And be to her a friend, who hath no friend beside.
Dearest love! when thy God shall recall thee, Be this record inscribed on thy tomb: Truth, and gratitude, well may applaud thee, And all thy past virtues relume.
It shall tell--to thy sex's proud honour, Of sufferings and trials severe, While still, through protracted affliction, Not a murmur escaped; but the tear
Of resignment to Heaven's high dictates, 'Twas thine, like a martyr, to shed: That heart--all affection for others-- For thyself, uncomplainingly, bled.
Midst the storms, which misfortune had gather'd, What an angel thou wert unto me; In that hour, when all friendship seem'd sever'd, Thou didst bloom like the ever-green tree!
All was gloom; and in vain had I striven, For hope ceased a ray to impart; When thou cam'st, like a meteor from heaven, And gave peace to my desolate heart!
Give me the wreath of friendship true, Whose flowerets fade not in a breath: From memory gaining many a hue, To bloom beyond the touch of death.
And I will send it to thy home-- Thy home beloved, my faithful friend! And pray for its perpetual bloom And every bliss that earth can send.
Within its magic wreath I'd place Hearts'-ease and every lovely flower; To win thee by their matchless grace, And cheer and bless the lonely hour.
When at the world's unkind return Of all thy worth, and all thy care, Thou may'st in spite of manhood turn, And shed the sad, the bitter, tear.
Then, midst this holy grief of thine, The thought of some true friend may bless, And cheer the gloom like angel's smile, Or sunbeam in a wilderness.
And could I hope I had a claim On thee in such a rapturous hour? Oh! that, indeed, I'd own were fame. The saving ark of friendship's power.
Or that, in future years, thy babes Should o'er this frail memorial bend, (For first affection rarely fades!) And boast that I was once the friend
Whose wit, or worth, possess'd a charm, By Parents loved, and them caress'd. That spell would every sorrow calm, And bid my anxious spirit rest!
HERE IN OUR FAIRY BOWERS WE DWELL.
Sung by Messrs. GOULDEN, PYNE, and NELSON.--Composed by Mr. ROOKE.
Here, in our fairy bowers, we dwell, Women our idol, life's best treasure! Echo enchanted joys to tell, Our feast of laugh, of love, and pleasure. Say, is not this then bliss divine, Beauty's smiles and rosy wine?
Thomas Gent's Poems (1828) opens with an advertisement that is itself a small document of literary ambition and personal catastrophe. Gent thanks critics for measuring his verses 'by their pretensions,' then announces that during printing he suffered 'the severest calamity that domestic life can sustain'—the death of his wife, a woman he describes as deeply learned in science and literature. The volume that follows is not a unified collection but a miscellany of tones: a grieving husband's midnight address to his infant daughter, a Horatian celebration of food and drink at Hornsey, and a venomous epigram on a wealthy cripple. The catalog subject 'Poetry' is accurate but thin; the excerpts reveal a poet who shifts abruptly from elegy to burlesque, often within a few pages.
Grief and the Domestic Muse
The most striking piece in the excerpts is the untitled elegy for Gent's wife. Its language is direct and unguarded: 'Thy dying look of love can I forget; / The last fond pressure of thy hand, for ever! / Thrills in my veins, I see thy struggles yet.' The poem does not reach for metaphysical consolation; it stays with the physical memory of suffering. In the advertisement, Gent had praised his wife's 'Lectures on the Physiology of the External Senses' as 'a splendid proof of her acquirements.' That scientific interest may echo in the poem's focus on sensory detail—the sound of her struggle, the pressure of her hand. The companion piece 'To Mary,' written at midnight to his daughter, is calmer but equally personal: 'And may no care disturb that breast, / Nor sorrow dim that brow serene.' Together, these poems suggest that Gent's most urgent subject was domestic loss, not the public themes one might expect from a poet of the 1820s.
Convivial Verse and Comic Excess
In sharp contrast, the Hornsey passage is a rollicking catalogue of bodily pleasures. Gent invokes Horace, then lists 'substantial beef, pies, puddings, ducks, and peas' and 'wine! generous wine! that drowns corroding care.' The tone is deliberately coarse: 'For my coarse palate coarser food must please.' He even includes a mock-heroic address to the 'Fair' who preside over tea, complete with 'nods, and winks, and whispers, and all that.' This is not the language of a poet who takes himself too seriously. The epigram 'Auri Sacra Fames' goes further into satire, describing a miser with 'one shilling, and one fourteen-penny leg' and a back shaped 'from the dromedary.' When fortune gives him twenty thousand pounds a year, the same women who once shrieked now find his face 'not the finest' but forgive his faults. The humor is broad, even cruel, and it sits uneasily beside the elegies—a reminder that Gent's volume contains multiple, sometimes contradictory, poetic selves.
Translation and Light Occasions
Gent also includes translations, such as 'Black Eyes and Blue. From the Italian,' a dialogue between blue eyes and jet eyes that Cupid resolves by declaring 'Give me eyes that can speak / From the depths of the heart.' The poem is slight, a social trifle, but it shows Gent engaging with European verse forms. The advertisement notes that some pieces 'have been separately published, at different times,' and the collection feels assembled rather than designed. The catalog subject 'Poetry' does not capture the volume's internal variety: it is part elegy, part tavern song, part Juvenalian satire. Readers should expect shifts in register that can be jarring—the same poet who writes 'Oh! my lost love, thou patient Being' also writes of 'quickening cyder, and with fattening ale.' The excerpts give no evidence of a unifying theme or a consistent persona. Gent presents himself as a man of feeling, a convivial companion, and a sharp-tongued moralist, sometimes on adjacent pages.
Because the excerpts represent only a fraction of the 26,013-word volume, readers should be cautious about generalizing. The poems sampled here are vivid but may not be typical of the whole. Gent's own advertisement warns that he has added 'many others, which are now first printed,' and the range of subjects could be wider still. Approach the collection as a period miscellany, not a unified work, and pay attention to the dates and occasions of individual pieces. The grief-stricken advertisement is a powerful frame, but it may not govern every poem that follows.
The rain pressed against the window as I turned from Thomas Gent’s sharp grief to his quieter, slyer verses. That same strange taste—centuries of voices catching light—sent me later, almost by accident, to Quaint Gleanings from Ancient Poetry A Collection of Curious Poetical Compositions of the XVIth, XVIIth, and XVIIIth Centuries — Background and Themes. Odd corners, both; the rain never seemed heavy.
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