Poems New and Old — Context and Discussion

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Freeman, John, 1880-1929 Project Gutenberg 2004 Not confirmed
English poetry Readers of public-domain and historical texts
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Words 49,627
Reading time 216 min
Text sections 10

Poems New and Old — Context and Discussion can be approached with a clearer sense of reading commitment from its source measurements: 49,627 words, 3 hr 36 min estimated reading time, and 10 detected text sections.

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John Freeman's 1920 collection blends new poems with earlier work, marked by precise natural imagery, rhythmic experimentation, and a contemplative voice that explores memory, loss, and the interplay between inner and outer landscapes.
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here was no breath, no sigh, No wind lost in the sky Roamed the horizon round. The harsh dead leaf slept noiseless on the ground, By unseen mouse nor insect stirred Nor beak of hungry bird.

Then were voices heard Mingling as though each Earth and grass had individual speech. --Has evening fallen so soon, And yet no Moon? --No, but hark: so still Was never the Spring's voice adown the hill! I do not feel her waters tapping upon The culvert's under stone. --And if 'tis not yet night a thrush should sing. --Or if 'tis night the owl should his far echo bring Near, near.--And I Should know the hour by his long-shaking distant cry. --But how should echo be? The air is dead, No song, no wing, --No footfall overhead Of beast,--Or labourer passing, and no sound Of labourer's Good-night, good-night, good-night! --That we, here underground, Take to ourselves and breathe unheard Good-night! --O, it is lonely now with not one sound Neath that arched profound, --No throttled note Sweet over us to float, --No shadow treading light Of man, beast, bird. --If, earth in dumb earth, lie we here unstirred, --Why, brother, it were death renewed again If sun nor rain, --O death undying, if no dear human touch nor sound Fall on us underground!

Like the tide--knocking at the hollowed cliff And running into each green cave as if In the cave's night to keep Eternal motion grave and deep;--

That, even while each broken wave repeats Its answered knocking and with bruised hand beats Again, again, again, Tossed between ecstasy and pain;

Still in the folded hollow darkness swells, Sinks, swells, and every green-hung hollow fills, Till there's no room for sound Save that old anger rolled around;

So into every hollow cliff of life, Into this heart's deep cave so loud with strife, In tunnels I knew not, In lightless labyrinths of thought,

The unresting tide has run and the dark filled, Even the vibration of old strife is stilled; The wave returning bears Muted those time-breathing airs.

--How shall the million-footed tide still tread These hollows and in each cold void cave spread? How shall Love here keep Eternal motion grave and deep?

I will ask primrose and violet to spend for you Their smell and hue, And the bold, trembling anemone awhile to spare Her flowers starry fair; Or the flushed wild apple and yet sweeter thorn Their sweetness to keep Longer than any fire-bosomed flower born Between midnight and midnight deep.

And I will take celandine, nettle and parsley, white In its own green light, Or milkwort and sorrel, thyme, harebell and meadowsweet Lifting at your feet, And ivy blossom beloved of soft bees; I will take The loveliest-- The seeding grasses that bend with the winds, and shake Though the winds are at rest.

"For me?" you will ask. "Yes! surely they wave for you Their smell and hue, And you away all that is rare were so much less By your missed happiness." Yet I know grass and weed, ivy and apple and thorn Their whole sweet would keep Though in Eden no human spirit on a shining morn Had awaked from sleep.

In those old days you were called beautiful, But I have worn the beauty from your face; The flowerlike bloom has withered on your cheek With the harsh years, and the fire in your eyes Burns darker now and deeper, feeding on Beauty and the remembrance of things gone. Even your voice is altered when you speak, Or is grown mute with old anxiety For me.

Even as a fire leaps into flame and burns Leaping and laughing in its lovely flight, And then under the flame a glowing dome Deepens slowly into blood-like light:-- So did you flame and in flame take delight, So are you hollow'd now with aching fire. But I still warm me and make there my home, Still beauty and youth burn there invisibly For me.

Now my lips falling on your silver'd skull, My fingers in the valleys of your cheeks, Or my hands in your thin strong hands fast caught, Your body clutched to mine, mine bent to yours: Now love undying feeds on love beautiful, Now, now I am but thought kissing your thought ... --And can it be in your heart's music speaks A deeper rhythm hearing mine: can it be Indeed for me?

John Freeman's Poems New and Old (1920) opens with a note explaining that the volume gathers previously unprinted verses alongside selections from four earlier collections, arranged without strict chronology. The resulting juxtaposition invites attention to Freeman's evolving diction and formal choices across a decade of writing. In 'The Human Music,' a blackbird's call summons silence that 'closing and closing round like smoke round flame' — a simile that typifies Freeman's tendency to render psychological states through physical, often elemental, processes. The poem's speaker watches 'the trees and moon she could not bear / The silence and the presence everywhere,' where the enjambment and repeated 'silence' create a rhythmic suffocation that mirrors the content.

Rhythms of Restraint and Release

Freeman's verse frequently employs irregular line lengths and unexpected caesuras to mimic the hesitations of thought. In 'Memorial,' the short lines 'The wild October sky / Rises not so high' give way to the longer 'The tree's roots that creep / Into the earth's body thrust not so deep / As our high and dark thought.' The shift in pace enacts the very comparison it describes: thought's reach exceeds the physical. Elsewhere, in 'Bring Your Beauty,' anaphora ('Bring your beauty, bring your laughter, bring even your fears') builds a litany that collapses into the final, fragmented 'O love, love, your brightness, your beauty bring.' The repetition becomes a kind of incantation, but the truncated last line suggests exhaustion rather than resolution.

Landscape as Interior

Freeman's natural settings are never merely descriptive; they function as extensions of the speaker's emotional state. In 'The Human Music,' trees become 'evil,' their 'shape enlarged, their arms quivered, their thought / Stirring in the leaves a silent anguish wrought.' The personification is not decorative but diagnostic: the landscape absorbs and reflects the speaker's fear. Similarly, in the excerpt from the longer poem beginning 'Was it in mere happiness or pain?,' the river 'with his high clear music speaks / Sometimes of loneliness, of hills obscure' — the river's voice is the speaker's own, and the 'unknown near sea' toward which it flows remains a figure for an unattainable resolution. These landscapes are desolate, as the New Statesman notice observed, but they are also psychologically precise.

The Grammar of Uncertainty

Freeman's syntax often enacts doubt. The passage 'Was it in mere happiness or pain? / There were things said that spoke of naked pain... / But was that pain?' uses rhetorical questions and conditional constructions to resist fixed interpretation. The repetition of 'was it' and 'but was that' creates a circular logic that mirrors the speaker's inability to categorize experience. In 'Memorial,' the assertion 'O, never buried dead!' is immediately qualified by 'The living brain in the head / Is not so quick as you' — the dead are both absent and hyper-present. This grammatical oscillation between certainty and query is a hallmark of Freeman's voice, and it demands that the reader inhabit the same unsettled space as the speaker.

Echoes Across Collections

Because the volume reprints poems from 1909 to 1916, readers can trace Freeman's formal development. The earlier Fifty Poems (1911) pieces tend toward tighter stanzas and more regular meter, while the newer poems in Part I experiment with freer rhythms and longer, more discursive lines. The 'Memories of Childhood' sequence (Part II) uses a recurring first-person plural ('we') that contrasts with the solitary 'I' of later poems, suggesting a shift from communal to introspective voice. The note's admission that 'chronological order has not been carefully observed, or avoided' is itself a clue: Freeman wanted the poems to converse across time, not to be read as a linear autobiography.

Freeman's poetry rewards attention to its silences — the gaps between stanzas, the withheld resolutions, the questions left unanswered. Readers may find it useful to read the poems aloud, as the rhythms often depend on breath and pause rather than metrical regularity. The collection's arrangement, mixing new and old, invites comparison across poems; noticing how a phrase or image recurs in different contexts can reveal the persistent concerns beneath Freeman's varied surfaces.

That rain fell like a held breath, and Freeman’s lines about old griefs settling into the landscape stayed with me long after the page darkened. Later, restless, I picked up something else from the shelf, almost without thinking: Matthew Arnold's Sohrab and Rustum, and other poems — Key Ideas to Explore. There, too, was a son’s sorrow, vast and quiet, echoing the same unspoken ache.

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