Poems — A Closer Reading

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Hensley, Sophia Margaretta, 1866-1913 Project Gutenberg 2006 Not confirmed
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Words 6,202
Reading time 27 min
Text sections 1

The catalog record for Poems — A Closer Reading provides practical reading context through 6,202 words, 27 min estimated reading time, and 1 detected text section.

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Sophie M. Almon's 1889 collection of sonnets and rondeaux, marked by a shift from formal, nature-infused melancholy to intimate, present-tense declarations of love, with recurring motifs of crows, twilight, and the sea.
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Then was my heart, as ever, far away With you,--and I could see you as one sees A mirrored face,--and happiness and ease And hope were mine, in spite of long delay.

After these months of waiting, this is all! Hope, dead, lies coffined, shrouded in despair, With all the blessings of the outer air Forgot, 'neath the black covering of a pall. Only the darkening of the woodland ways, A heart's low moaning over wasted days.

The world to-day is radiant, as I ne'er Could picture it in wildest dreaming, when For long, long hours I lay in flowery glen Or wooded copse, and tried in vain to tear The glamour from my eyes, and face the glare And tumult of the busy world of men. I staked my all, and won! and ne'er again Can my blest spirit know a heart's despair.

And yet--and yet--why should it be that now, When all my heart has longed for is at last Within my grasp, and I should be at rest, A ghostly Something rising in the glow Of Love's own fire, an uninvited guest, Taunts me with just one memory of the past!

The sky, grown dull through many waiting days, Flashed into crimson with the sunrise charm, So all my love, aroused to vague alarm, Flushed into fire and burned with eager blaze. I saw thee not as suppliant, with still gaze Of pleading, but as victor,--and thine arm Gathered me fast into embraces warm, And I was taught the light of Love's dear ways.

This day of triumph is no longer thine, Oh conqueror, in calm exclusive power.-- As evermore, through storm, and shade, and shine, Your woe my pain, your joy my ecstasy, We breathe together,--so this blessed hour Of self-surrender makes my jubilee!

RONDEAU.--I WILL FORGET.

I will forget those days of mingled bliss And dear delicious pain,--will cast from me All dreams of what I know can never be, Even the remembrance of that parting kiss. I knew that some day it would come to this In spite of all our sworn fidelity, That I must banish even memory, And, sorrowing, learn to say, nor say amiss I will forget.

I register this vow, and am content That it be so. Ah me!--yet, if the door Shut on our heaven might be asunder rent Even now, and I could see the way we went, I might retract my vow, and say no more I will forget.

RONDEAU.--WHEN SUMMER COMES.

When summer comes, and when o'er hill and lea The sun's strong wooing glow hath patiently Shed o'er the earth long days his golden dower, And then, by force of his own loving power, Drawn the hard frost, and left it passive, free To give forth all its sweets untiringly, Shall not the day rise fair for thee and me, And all life seem but as an opening flower When summer comes?

The days move slowly, young hearts yearn to be Together always, cannot brook to see Their love-days pass, and void each sunny hour, Yet may we smile, e'en when fate's storm-clouds lower, Waiting fulfilment of our hearts' decree When summer comes.

RONDEAU.--IT MIGHT HAVE BEEN.

It might have been so different a year To what _has_ been; the summer's guileless play Not all a jest, comes back to me to-day In added sweetness, and provokes a tear. Strange pictures rise, pass on, and disappear. Drawn from your tender words of yesterday When, looking in my eyes in the old way You told me of your life, how passing dear It might have been.

Useless to dream, more useless to regret! We might have lived and loved, nor lost the glow Of Love's first sweet intensity;--to let These foolish fancies die I strive,--and yet I still must count it happiness to know It might have been.

RONDEAU.--BROTHER AND FRIEND.

Brother and friend I found thee in the hour Of need and day of trouble, strong and true.-- In June's fair mirth, and when the sunrise hue Shewed bright where joy had built his thoughtless bower, Thou wert a child to sport with, something lower Than a friend's need. I gave, methought, thy due,-- An elder sister's gentleness, nor knew That ere Spring dawned my soul would feel thy power. Brother and Friend!

A man, with a man's strength, and will, and fire, I know thee, my Alcides; thus a god For some fair soul to reverence, and desire To own and worship. _I_ can place thee higher To-day, in naming thee,--pain's paths just trod-- Brother and Friend.

Sophie M. Almon's Poems (1889) opens with a striking sonnet sequence in which crows stream across a fading sky, a sable cloud that becomes an augury of terror for a lone figure. The collection quickly establishes a voice attuned to natural decay and spiritual doubt—sonnets like “Futurity” and “There is No God” grapple with faith and perception, using the metaphor of blindness to question certainty. Yet as the volume moves into its rondeaux, the tone shifts: the later poems abandon the formal, argumentative structure of the sonnets for a more intimate, repetitive lyricism, often addressing a beloved directly. The change in pace is not merely a matter of form but of emotional register, from public meditation to private solace.

From Sonnet to Rondeau: A Shift in Structure and Speed

The collection is divided into two formal groups: sonnets and rondeaux. The sonnets, such as “Crows” and “Disappointment,” employ the Petrarchan rhyme scheme and a measured, end-stopped rhythm that mirrors their themes of loss and doubt. Lines like “The light has left the hill-side. Yesterday / These skies shewed blue” build a slow, cumulative melancholy. In contrast, the rondeaux adopt a shorter, more repetitive structure, with refrains that accelerate the pace. “I Will Forget” repeats its opening line, creating a circular, almost obsessive rhythm. This formal shift from the sonnet’s fourteen-line argument to the rondeau’s looping refrain marks a deliberate change in narrative voice—from a speaker who observes and reasons to one who feels and insists.

Recurring Motifs: Crows, Twilight, and the Sea

Across the collection, certain images recur with notable frequency. Crows appear not only in the opening poem but also as a symbol of foreboding, their “sable cloud” and “augury” linking nature to psychological terror. Twilight and darkness are persistent settings: “the fading western sky,” “the darkening twilight,” and “the darkening of the woodland way” create a consistent atmosphere of decline. The sea, too, is a constant presence—waves “danced in the bay” in “Disappointment” and later “spent their strength against the unheeding shore” in “Soothing.” These motifs are not merely decorative; they anchor the speaker’s emotional states, from hope to despair to a hard-won peace. The repetition of these images across poems suggests a deliberate, almost symbolic landscape.

The Turn Toward Intimacy in the Later Poems

While the early sonnets address abstract concepts—God, futurity, disappointment—the rondeaux increasingly focus on a specific “you.” Poems like “Brother and Friend” and “Tout pour L'Amour” shift to direct address, with lines such as “Since I am here” and “I care not,—be it so / Since I am here” emphasizing presence over reflection. The voice becomes more urgent and less mediated by nature imagery. In “Soothing,” the final poem, the speaker wanders aimlessly through woods and finds peace not in argument but in sensory immersion: “the woody scent of mosses and sweet ferns, / Mingled with the fresh brine.” This progression from public doubt to private comfort, from formal argument to lyrical repetition, gives the collection a quiet narrative arc, even if the excerpts do not reveal a full plot.

Readers approaching this slim volume may find it rewarding to track the evolution of its speaker’s voice across the two formal sections. The sonnets reward careful attention to their argumentative structure, while the rondeaux invite a more musical, emotional reading. The recurring imagery of crows, twilight, and the sea provides a unifying thread, but the real interest lies in the shift from doubt to devotion—a change that is as much about pace and form as about theme.

I keep returning to that old 1889 collection, especially the way twilight and crows linger there like habits. Sophie’s shift into the present tense felt like someone finally exhaling. It’s curious how those same tender uncertainties echo in Poems of Sentiment — Themes and Context, though from a different distance. I read them side by side on quiet evenings, and the sea always seems nearer afterward.

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