The Hound of Heaven Part 1

The Hound of Heaven.

by Francis Thompson.

INTRODUCTION

The Rev. Mark J. McNeal, S. J., who was one of the successors of Lafcadio Hearn in the chair of English Literature at the Tokyo Imperial University, in an interesting article recounts the following incident of his experience in that inst.i.tution. "I was seated on the examining board with Professor Ichikawa, the dean of the English department...

There entered the room a student whom I recognized as among the best in the cla.s.s, a sharp young chap with big Mongolian eyes, and one who had never to my knowledge given any hint of even a leaning toward Christianity. I remembered, however, that his thesis submitted for a degree had been a study of Francis Thompson. Following the usual custom, I began to question him about his thesis.

"'Why did you choose Thompson?'

"'Well, he is quite a famous poet.'

"'What kind of poet is he?'

"'We might call him a mystic.'

"'Is he a mystic of the orthodox sort, like Cynewulf or Crashaw; or an unorthodox mystic, like Blake or Sh.e.l.ley?'

"'Oh, he's orthodox.'

"'Well, now, what do you consider his greatest production?'

"'Why, I should say "The Hound of Heaven."

"'Well, what on earth does Thompson mean by that Hound?'

"'He means G.o.d.'

"'But is not that a rather irreverent way for Thompson to be talking about G.o.d, calling Him a hound? What does he mean by comparing G.o.d to a hound?'

"'Well, he means the pursuit of G.o.d.'

"'Oh, I see, Thompson is pursuing G.o.d, is he?'

"'Oh, no. He is rather running away from G.o.d.'

"'Well, then, G.o.d is pursuing Thompson, is that it?'

"'Yes, that's it.'

[Ill.u.s.tration: t.i.tanic glooms of chasmed fears _Page 45_]

'"But, see here; according to Thompson's belief G.o.d is everywhere, isn't He?'

"'Yes.'

"'Well, then, how can G.o.d be going after Thompson? Is it a physical pursuit?'

"'No. It is a moral pursuit.'

"'A moral pursuit! What's that? What is G.o.d after?'

"'He is after Thompson's love.'

"And then we, the Jesuit and the Buddhist, began to follow the windings and turnings of that wondrous poem, the most mystic and spiritual thing that has been written since St. Teresa laid down her pen. What the other member of the examining board thought of it all I never heard.

But I think I acquired a satisfactory answer to that question so often put to me: Can the j.a.panese really grasp a spiritual truth? Do they really get at the meaning of Christianity? This, of a race that has produced more martyrs than any other nation since the fall of Rome and that kept the Faith for two centuries without a visible symbol or doc.u.ment!"

The incident supplies matter for other conclusions more germane to the subject of this essay. The late Bert Leston Taylor, a journalist whose journalism had a literary facet of critical brilliance, once declared that he could not perceive the excellence of Francis Thompson's poetry.

When someone suggested that it might be that he was not spiritual enough, the retort was laconic and crus.h.i.+ng, "Or, perhaps, not ecclesiastical enough." Like most good retorts Taylor's had more wit than truth. He was obsessed by the notion, prevalent among a certain cla.s.s of literary critics, that Francis Thompson's fame was the artificially stimulated applause of a Catholic coterie, whose enthusiasm could hardly be shared by readers with no particular curiosity about Catholic ideas or modes of religion. It was probably this obsession which prompted that able critic, Mr. H. D. Traill, to write to Mr. Wilfrid Meynell when the "Hound of Heaven" first appeared: "I quite agree with you in thinking him a remarkable poet, but, if he is ever to become other than a 'poet's poet' or 'critic's poet'--if indeed it is worth anyone's ambition to be other than that--it will only be by working in a different manner. A 'public' to appreciate the 'Hound of Heaven' is to me inconceivable." Mr. William Archer, an experienced judge of popular likes, was of the same opinion. "Yet,"

Francis Thompson's biographer tells us, "in the three years after Thompson's death the separate edition of the 'Hound of Heaven' sold fifty thousand copies; and, apart from anthologies, many more thousands were sold of the books containing it." When the "Hound of Heaven" is selected for study, and explained in words of one syllable, by a young j.a.panese student in the Tokyo Imperial University almost thirty years after the poem was published, one can hardly maintain that it calls for certain ecclesiastical affiliations before it can be understood and felt, or that its "public" is necessarily circ.u.mscribed.

It must be owned indeed that Francis Thompson was a puzzle to his contemporaries of the nineties. He paid the usual penalty of vaulting originality. The decade is famous for its bold experiments and s.h.i.+ning successes in the art of poetry. One might expect that a public, grown accustomed to exquisitely wrought novelties and eager to extend them a welcome, would have been preordained to recognize and hail the genius of Thompson. But it was not so. The estheticism of the nineties, for all its sweet and fragile flowers, was rooted in the dark pa.s.sions of the flesh. Its language was the language of death and despair and annihilation and the Epicurean need of exhausting the hedonistic possibilities of life ere the final engulfing in darkness and silence.

When the speech of Thompson, laden with religion and spirituality and Christian mystery, broke with golden turbulence upon the world of the nineties, the critics were abashed and knew not what to think of it.

The effect was somewhat like that produced by Att.w.a.ter, in Stevenson's "The Ebb-Tide," when he began suddenly to discourse on Divine Grace to the amazement of Herrick and his crew of scoundrels from the stolen _Farallone_. "Oh," exclaimed the unspeakable Huish, when they had recovered breath, "Oh, look 'ere, turn down the lights at once, and the Band of 'Ope will oblige! This ain't a spiritual seance." It had something akin to the madness of poor Christopher Smart when he fell into the habit of dropping on his knees and praying in the crowded London streets. There was incongruity, verging on the indecent, in this intrusion of religion into art, as if an archangel were to attend an afternoon tea in Mayfair or an absinthe session in a Bohemian cafe.

It was, in Dr. Johnson's phrase, "an unnecessary deviation from the usual modes of the world" which struck the world dumb.

The poetry of Francis Thompson appeared in three small volumes: "Poems," published in 1893; "Sister Songs," in 1895; and "New Poems,"

in 1897. The first of these volumes contained the "Hound of Heaven"; though it staggered reviewers at large, they yielded dubious and carefully measured praise and waited for developments. The pack was unleashed and the hue-and-cry raised on the coming of "Sister Songs"

and "New Poems." Andrew Lang and Mr. Arthur Symons led the chorus of disapproval. It is amusing to read now that Francis Thompson's "faults are fundamental. Though he uses the treasure of the Temple, he is not a religious poet. The note of a true spiritual pa.s.sion never once sounds in his book." Another critic of the poet declares that "nothing could be stronger than his language, nothing weaker than the impression it leaves on the mind. It is like a dictionary of obsolete English suffering from a severe fit of delirium tremens." A prominent literary periodical saw, in the attempt to foist Thompson on the public as a genuine poet, a sectarian effort to undermine the literary press of England. In the course of a year the sale of "Sister Songs" amounted to 349 copies. The "New Poems" fared worse; its sale, never large, practically ceased a few years after its appearance, three copies being sold during the first six months of 1902.

[Ill.u.s.tration: Across the margent of the world I fled _Page 47_]

And all this despite strong recommendations from fastidious quarters.

George Meredith's recognition was instantaneous and unreserved.

Henley's was accompanied by reproofs. Mr. Richard LeGallienne was enthusiastic. Mr. William Archer said to a friend, "This is not work which can possibly be _popular_ in the wide sense; but it is work that will be read and treasured centuries hence by those who really care for poetry." And he wrote to Thompson, "I a.s.sure you no conceivable reaction can wipe out or overlay such work as yours. It is firm-based on the rock of absolute beauty; and this I say all the more confidently because it does not happen to appeal to my own speculative, or even my own literary, prejudices." The most extravagant admirer of all, and the one who will probably turn out to have come nearer the mark than any of Francis Thompson's contemporaries, was Mr. J. L. Garvin, the well known English leader-writer in politics and literature. "After the publication of his second volume," he wrote in the English _Bookman_, March 1897, "when it became clear that the 'Hound of Heaven'

and 'Sister Songs' should be read together as a strict lyrical sequence, there was no longer any comparison possible except the highest, the inevitable comparison with even Shakespeare's Sonnets.

The Sonnets are the greatest soliloquy in literature. The 'Hound of Heaven' and 'Sister Songs' are the second greatest; and there is no third. In each case it is rather consciousness imaged in the magic mirror of poetry than explicit autobiography.... Even with the greatest pages of 'Sister Songs' sounding in one's ears, one is sometimes tempted to think the 'Hound of Heaven' Mr. Thompson's high-water mark for unimaginable beauty and tremendous import--if we do d.a.m.nably iterate Mr. Thompson's tremendousness, we cannot help it, he thrusts the word upon us. We do not think we forget any of the splendid things of an English anthology when we say that the 'Hound of Heaven' seems to us, on the whole, the most wonderful lyric (if we consider 'Sister Songs' as a sequence of lyrics) in the language. It fingers all the stops of the spirit, and we hear now a thrilling and dolorous note of doom and now the quiring of the spheres and now the very pipes of Pan, but under all the still sad music of humanity. It is the return of the nineteenth century to Thomas a Kempis.... The regal air, the prophetic ardors, the apocalyptic vision, Mr. Thompson has them all. A rarer, more intense, more strictly predestinate genius has never been known to poetry. To many this will seem the simple delirium of over-emphasis. The writer signs for those others, nowise ashamed, who range after Shakespeare's very Sonnets the poetry of a living poet, Francis Thompson."

We do not a.s.sociate Mr. Arnold Bennett with any of the ideas in religion or literature which supplied impulse to Francis Thompson. It is a surprise of the first magnitude to find him carried away into the rapture of prophecy by the "Sister Songs." "I declare," he says in an article appearing in July, 1895, "that for three days after this book appeared I read nothing else. I went about repeating s.n.a.t.c.hes of it--s.n.a.t.c.hes such as--

'The innocent moon, that nothing does but s.h.i.+ne, Moves all the labouring surges of the world.'

My belief is that Francis Thompson has a richer natural genius, a finer poetical equipment, than any poet save Shakespeare. Show me the divinest glories of Sh.e.l.ley and Keats, even of Tennyson, who wrote the 'Lotus Eaters' and the songs in the 'Princess,' and I think I can match them all out of this one book, this little book that can be bought at an ordinary bookseller's shop for an ordinary prosaic crown. I fear that in thus extolling Francis Thompson's work, I am grossly outraging the canons of criticism. For the man is alive, he gets up of a morning like common mortals, not improbably he eats bacon for breakfast; and every critic with an atom of discretion knows that a poet must not be called great until he is dead or very old. Well, please yourself what you think. But, in time to come, don't say I didn't tell you." A whole generation of men has pa.s.sed away since these words appeared; but they do not seem to be so fantastic and whimsical now as they seemed to be then.

[Ill.u.s.tration: I said to dawn: Be sudden _Page 47_]

It can scarcely be claimed that the prophecies of Meredith, Mr. Garvin, and Mr. Arnold Bennett were of the kind which ultimately a.s.sures the event. The reading-world dipped curiously into the pages about which there was so much conflict of opinion; it was startled and bewildered by a novel and difficult form of verse; and finally it agreed with the majority of critics that it was mostly nonsense--too Catholic to be catholic. The poems sold badly, the 'Hound of Heaven' faring best. It is a common mark of genius to be ahead of its time. Even Thompson's coreligionists were cold. Indeed, it may be said they were the coldest. If the general reading-public of the nineties suspected Thompson of being a Victorian reactionary of ultra-montane mould, the Catholic public feared him for his art. It was a wild unfettered thing which took strange liberties with Catholic pieties and could not be trusted to run in divine grooves. One can afford to extenuate the att.i.tude of reserve. It was a period when brilliant heterodoxies and flaunting decadence were in the air. The fact is, that critics and public delivered Thompson over to the Catholics; and the Catholics would have nothing to do with him. Canon Sheehan could write of Thompson in 1898:

"Only two Catholics--literary Catholics--have noticed this surprising genius--Coventry Patmore and Wilfrid Meynell. The vast bulk of our coreligionists have not even heard his name, although it is already bruited amongst the Immortals; and the great Catholic poet, for whose advent we have been straining our vision, has pa.s.sed beneath our eyes, sung his immortal songs, and vanished." This was written almost ten years before Thompson died, but after his resolve to write no more poetry.

It is easily within the probabilities that, small as was Thompson's audience during his lifetime, it would have been still smaller but for the extraneous interest excited by the strange story of his life. He was born on December 16, 1859, in Preston, Lancas.h.i.+re, whence he went at the age of eleven to Ushaw College, a Catholic boarding school for boys. This is the college where Lafcadio Hearn received his education; he had left the school a year or two before young Thompson's arrival.

Both boys were designed for the priesthood. Hearn lost his faith then or shortly afterwards: Thompson's irregular habits of dreamy abstraction rendered him unfit for a sacerdotal career. When he had completed his course at college, where he had distinguished himself in English composition and attained respectable standing in the cla.s.sics, his father, a hard-working physician, entered the lad, now eighteen, as a student of medicine in Owen College, Manchester. The Thompson family had moved from Preston to Ashton-under-Lyne, where proximity to Manchester made it possible for the young medical student to spend his nights at home.

Francis was of the silent and secretive sort where he could not hope to find intelligent sympathy. This, and some cloudy compromise with his sense of filial dutifulness, will perhaps explain why he pa.s.sed six years as a student of medicine without any serious purpose of becoming a physician and without informing his father of his disinclination.

Three examinations and three failures at intervals of a year were necessary to convince the father of the true state of affairs. Stern measures were adopted; and, although the consequences were pitifully tragical, it is hard to blame the father of Francis. How are we to discover the extraordinary seal in a case that requires special and extraordinary treatment?

Francis was twenty-four years old with no more idea than a child's of how life is planned on practical lines of prosperity. The senior Thompson thought it time for him to learn and issued orders to find employment of some remunerative kind. Accordingly during the next two years Francis served indifferently for brief periods as a clerk in the shop of a maker of surgical instruments and as a canva.s.ser of an encyclopedia. Both experiments in the art of making a living were failures, increasing paternal dissatisfaction. The desperate young man then enlisted in the army, and after a few weeks' of drilling was rejected on the score of physical weakness.