Poems of Progress and New Thought Pastels — Inside the Classic

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Wilcox, Ella Wheeler, 1850-1919 Project Gutenberg 2002 Not confirmed
American poetry Readers of public-domain and historical texts
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Words 23,074
Reading time 101 min
Text sections 4

This digital edition of Poems of Progress and New Thought Pastels — Inside the Classic is described by source-level measurements including 23,074 words, 1 hr 41 min estimated reading time, and 4 detected text sections.

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Ella Wheeler Wilcox's 1913 collection pairs poems of social and spiritual progress with a second section of concise, affirmative verses. The preface frames love as linguistically inadequate, while poems like 'The Breaking of Chains' and 'The Way' advocate for personal liberation and self-trust. The 'New Thought Pastels' section offers brief, mantra-like affirmations.
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me, So good a sailor on so fair a sea. With favouring winds and blue unshadowed skies, Led by the faithful beacon of Love’s eyes, Past reef and shoal, my life-boat bounded free And fearless of all changes that might be Under calm waves, where many a sunk rock lies.

A golden dawn; yet suddenly my barque Strained at the sails, as in a cyclone’s blast; And battled with an unseen current’s force, For we had entered when the night was dark That old tempestuous Gulf Stream of the Past. But for love’s eyes, I had not kept the course.

His art was loving; Eres set his sign Upon that youthful forehead, and he drew The hearts of women, as the sun draws dew. Love feeds love’s thirst as wine feeds love of wine; Nor is there any potion from the vine Which makes men drunken like the subtle brew Of kisses crushed by kisses; and he grew Inebriated with that draught divine.

Yet in his sober moments, when the sun Of radiant summer paled to lonely fall, And passion’s sea had grown an ebbing tide, From out the many, Memory singled one Full cup that seemed the sweetest of them all— _The warm red mouth that mocked him and denied_.

ON THE ISLE OF CRANAE

The world an abject vassal to her charms, And kings competing for a single smile, Yet love she knew not, till upon this isle She gave surrender to abducting arms. Not Theseus, who plucked her lips’ first kiss, Not Menelaus, lawful mate and spouse, Such answering passion in her heart could rouse, Or wake such tumult in her soul as this. Let come what will, let Greece and Asia meet, Let heroes die and kingdoms run with gore; Let devastation spread from shore to shore— Resplendent Helen finds her bondage sweet. The whole world fights her battles, while she lies Sunned in the fervour of young Paris’ eyes.

ON THE ISLE OF RHODES

The battles ended, ardent Paris dead, Of faithful Menelaus long bereft, Time is the only suitor who is left: Helen survives, with youth and beauty fled. By hate remembered, but by love forgot, Dethroned and driven from her high estate, Unhappy Helen feels the lash of Fate And knows at last an unloved woman’s lot. The Grecian marvel, and the Trojan joy, The world’s fair wonder, from her palace flies The furies follow, and great Helen dies, A death of horror, for the pride of Troy.

Yet Time, like Menelaus, all forgives. Helen, immortal in her beauty, lives.

Lais when young, and all her charms in flower, Lais, whose beauty was the fateful light That led great ships to anchor in the night And bring their priceless cargoes to her bower, Lais yet found her cup of sweet turned sour. Great Plato’s pupil, from his lofty height, Zenocrates, unmoved, had seen the white Sweet wonder of her, and defied her power.

She snared the world in nets of subtle wiles: The proud, the famed, all clamoured at her gate; Dictators plead, inside her portico; Wisdom sought madness, in her favouring smiles; Now was she made the laughing-stock of fate: One loosed her clinging arms, and bade her go.

Lais, when old and all her beauty gone, Lais, the erstwhile courted pleasure queen, Walked homeless through Corinth. One mocked her mien— One tossed her coins; she took them and passed on. Down by the harbour sloped a terraced lawn, Where fountains played; she paused to view the scene. A marble palace stood in bowers of green ’Twas here of old she revelled till the dawn.

Through yonder portico her lovers came— Hero and statesman, athlete, merchant, sage; They flung the whole world’s treasures at her feet To buy her favour and exalt her shame.

She spat upon her dole of coins in rage And faded like a phantom down the street.

You are here, and you are wanted, Though a waif upon life’s stair; Though the sunlit hours are haunted With the shadowy shapes of care. Still the Great One, the All-Seeing Called your spirit into being— Gave you strength for any fate. Since your life by Him was needed, All your ways by Him are heeded— You can trust and you can wait.

You can wait to know the meaning Of the troubles sent your soul; Of the chasms intervening ’Twixt your purpose and your goal; Of the sorrows and the trials, Of the silence and denials, Ofttimes answering to your pleas; Of the stinted sweets of pleasure, And of pain’s too generous measure— You can wait the _why_ of these.

Ella Wheeler Wilcox's Poems of Progress and New Thought Pastels (1913) opens with a preface that immediately establishes a central tension: the inadequacy of language to capture love. The speaker declares, 'There are no words with Love commensurate,' a claim that sets the stage for a collection that repeatedly tests the limits of poetic expression. The volume is divided into two distinct sections: the longer 'Poems of Progress,' which includes narrative poems, meditations on social reform, and personal reflections, and the shorter 'New Thought Pastels,' a series of compact, affirmative verses that read almost like mantras. This structural shift itself signals a change in pace and purpose, from expansive argument to concentrated suggestion.

The Preface as Manifesto

The preface, titled 'Love's Language,' is not a conventional introduction but a poem that interrogates the very medium of the book. Wilcox asks whether Love speaks 'in couplets, or in epics grand' and answers that 'His varying moods all forms of speech employ.' Yet she concludes that all speech is 'inadequate.' This self-consciousness about language recurs throughout the collection. In 'The Way,' the speaker warns against following any leader, insisting that each soul must find its own path: 'Follow no man, and by no man be led.' The poem's imperative tone—'Awake, and go ahead'—mirrors the preface's insistence on the limits of received forms. Together, they frame the book as a search for a voice that can match the urgency of its message, even as that message remains elusive.

Rhythms of Reform and Restraint

Several poems in 'Poems of Progress' adopt a prophetic, almost incantatory rhythm. 'The Breaking of Chains' repeats the phrase 'the thought of the world' in a driving anaphora: 'Now the thought of the world and the wish of the world and the song of the world will make / A force so strong that the fetters forged for a million years must break.' The poem links personal liberation to social change, condemning 'superstitious fear' and 'greed and pride.' Yet this fervor is tempered by quieter pieces. 'December' personifies the Old Year in a melancholic dialogue, its pace slowed by enjambment and a resigned tone: 'I, too, shall sink full soon to rest,' he sighs. The contrast between these two modes—the urgent, collective chant and the intimate, reflective monologue—creates a deliberate alternation of pace that shapes the reader's experience of the collection.

The Compressed Voice of 'New Thought Pastels'

The second section, 'New Thought Pastels,' marks a sharp departure in form and tone. Where the earlier poems often unfold over multiple stanzas, these pieces are brief, sometimes only four lines. 'Affirm' commands: 'I am the master of my fate; / I am the captain of my soul.' The directness and repetition of 'I am' create a mantra-like effect, stripped of narrative or metaphor. 'Strength' similarly reduces its message to a single assertion: 'Strength is the power to stand alone.' This compression reflects the 'New Thought' movement's emphasis on affirmative thinking and self-reliance. The section's title—'Pastels'—suggests softness, but the verses are hard-edged and declarative. The shift from the discursive, often rhyming progress poems to these terse affirmations alters the reading pace dramatically, inviting the reader to pause and absorb each statement as a discrete unit of wisdom.

Readers approaching this collection will find two distinct experiences within a single cover. The 'Progress' poems reward those who enjoy narrative sweep and social commentary, while the 'Pastels' offer a more meditative, almost devotional reading. Wilcox's preface warns that no language can fully capture love; the book itself becomes a demonstration of that limitation, moving restlessly between modes in search of a form adequate to its convictions. Pay attention to how the poems shift between collective and individual voices, and how the pace of the verse mirrors the urgency or stillness of its subject.

There are evenings when I shelve Ella Wheeler Wilcox’s gentle affirmations, her plea for self-trust, and think of an older, sterner voice asking similar questions of conscience. Both whisper of breaking chains—one through hope, the other through somber reflection. They never met, yet share a quiet kinship, like two candles in different windows. An Essay on War, in Blank Verse; Honington Green, a Ballad; the Culprit, an Elegy; and Other Poems, on Various Subjects — Text and Context holds that older flame.

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