For Francis Thompson was one of the few poets now or lately living in whom there was some trace of that divine essence which we best symbolize by fire. Emptiness he had and extravagances, but he was a poet, and he had made of many influences a form of new beauty. Much of his speech, which has a heaped imagery unique in our time, seems to have learned its technique from an almost indiscriminate quarrying among old quarries, and is sometimes so closely copied from that which was fantastically precise in Crashaw, Donne, Vaughan, that we wonder why it was not a few centuries ago that some one said:
Life is a coquetry Of Death, which wearies me, Too sure Of the armour;
A tiring-room where I Death's divers garments try, Till fit Some fashion sit.
No one since that time, when "conceits" could convey poetical substance, has touched so daintily on plain words, giving by the touch some transfiguring novelty. If it was a style learned, it was a style perfectly acquired, and at times equal to its original.
Words and cadences must have had an intoxication for him, the intoxication of the scholar; and "cloudy trophies" were continually falling into his hands, and half through them, in his hurry to seize and brandish them. He swung a rare incense in a censer of gold, under the vault of a chapel where he had hung votive offerings. The incense half obscures the offerings, and the dim figures of the saints painted on the windows. As he bows there in the chapel he seems to himself to be in "reverberant Eden-ways" or higher, at the throne of heaven, borne on "plumes night-tinctured, englobed and cinctured of saints." Passing beyond the world he finds strange shapes, full of pomp and wearing strange crowns; but they are without outline, and his words disguise, decorate, but do not reveal them.
When he chanted in his chapel of dreams, the airs were often airs which he had learned from Crashaw and Patmore. They came to life again when he used them, and he made for himself a music which was part strangely familiar and part his own, almost bewilderingly. Such reed-notes and such orchestration of sound were heard no where else; and people listened to the music, entranced as by a new magic.
When he put these dreams and this music into verse, with a craft which he had perfected for his own use, the poetry was for the most part a splendid rhetoric, imaginative and passionless, as if the moods went by, wrapped in purple, in a great procession. _The Hound of Heaven_ has the harmonies of a symphony, and there are delicacies among its splendors, and, among instants of falsely fanciful sentiment, such august moments as this: