Dreams and Images: An Anthology of Catholic Poets — Key Ideas to Explore

(0 User reviews)   855
Kilmer, Joyce, 1886-1918 [Editor] Project Gutenberg 2021 Not confirmed
English poetry -- Catholic authors; American poetry -- Catholic authors Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 58,930
Reading time 257 min
Text sections 220

The source record for Dreams and Images: An Anthology of Catholic Poets — Key Ideas to Explore measures this digital text at 58,930 words, 4 hr 17 min estimated reading time, and 220 detected text sections.

The text analysis averages about 25.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “English poetry -- Catholic authors,” connecting these edition facts with the source record’s subject description.

Joyce Kilmer's 1917 anthology gathers English-language Catholic poets from the mid-19th century onward, emphasizing that Catholic identity permeates all poetic subjects, not only devotional ones. The collection includes love songs, war poems, and religious verse, with a preface distinguishing it from earlier thematic anthologies.
Share
Editorial Edition Score 4.8/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

wild, Over the camel’s ford.

And a long song She sang to Him And a short story told: And She wrapped Him in a woolen cloak To keep Him from the cold.

But when Our Lord was grown a man The Rich they dragged Him down, And they crucified Him in Golgotha, Out and beyond the Town.

They crucified Him on Calvary, Upon an April day; And because He had been her little Son She followed Him all the way.

Our Lady stood beside the Cross, A little space apart, And when She heard Our Lord cry out A sword went through Her Heart.

They laid Our Lord in a marble tomb, Dead, in a winding sheet. But Our Lady stands above the world With the white Moon at Her feet.

TO THE BALLIOL MEN STILL IN AFRICA

Years ago when I was at Balliol, Balliol men--and I was one-- Swam together in winter rivers, Wrestled together under the sun. And still in the heart of us, Balliol, Balliol, Loved already, but hardly known, Welded us each of us into the others: Called a levy and chose her own.

Here is a House that armours a man With the eyes of a boy and the heart of a ranger, And a laughing way in the teeth of the world And a holy hunger and thirst for danger: Balliol made me, Balliol fed me, Whatever I had she gave me again: And the best of Balliol loved and led me, God be with you, Balliol men.

I have said it before, and I say it again, There was treason done, and a false word spoken, And England under the dregs of men, And bribes about, and a treaty broken: But angry, lonely, hating it still, I wished to be there in spite of the wrong. My heart was heavy for Cumnor Hill And the hammer of galloping all day long.

Galloping outward into the weather, Hands a-ready and battle in all: Words together and wine together And song together in Balliol Hall. Rare and single! Noble and few!... Oh! they have wasted you over the sea! The only brothers ever I knew, The men that laughed and quarrelled with me.

Balliol made me, Balliol fed me, Whatever I had she gave me again; And the best of Balliol loved and led me, God be with you, Balliol men.

When I am living in the Midlands That are sodden and unkind, I light my lamp in the evening: My work is left behind; And the great hills of the South Country Come back into my mind.

The great hills of the South Country They stand along the sea; And it’s there walking in the high woods That I could wish to be, And the men that were boys when I was a boy Walking along with me.

The men that live in North England I saw them for a day: Their hearts are set upon the waste fells, Their skies are fast and grey; From their castle-walls a man may see; The mountains far away.

The men that live in West England They see the Severn strong, A-rolling on rough water brown, Light aspen leaves along. They have the secret of the Rocks, And the oldest kind of song.

But the men that live in the South Country Are the kindest and most wise, They get their laughter from the loud surf, And the faith in their happy eyes Comes surely from our Sister the Spring When over the sea she flies; The violets suddenly bloom at her feet, She blesses us with surprise.

I never get between the pines But I smell the Sussex air; Nor I never come on a belt of sand But my home is there. And along the sky the line of Downs So noble and so bare.

A lost thing could I never find, Nor a broken thing mend: And I fear I shall be all alone When I get towards the end. Who will there be to comfort me Or who will be my friend?

I will gather and carefully make my friends Of the men of the Sussex Weald, They watch the stars from silent folds, They stiffly plough the field. By them and the God of the South Country My poor soul shall be healed.

If I ever become a rich man, Or if ever I grow to be old, I will build a house with deep thatch To shelter me from the cold, And there shall the Sussex songs be sung And the story of Sussex told.

I will hold my house in the high wood Within a walk of the sea, And the men that were boys when I was a boy Shall sit and drink with me.

Joyce Kilmer's 1917 anthology opens with a clear editorial stance: it is not a collection of devotional poems but a gathering of the editor's favorite English poems by Catholic writers since the mid-19th century. Kilmer asserts that a Catholic poet's faith informs all subjects, from love songs to war songs, making the book a record of Catholic sensibility rather than a thematic treasury. The introduction explicitly distances the work from earlier anthologies like Orby Shipley's Carmina Mariana, signaling a broader, more inclusive approach.

The excerpts reveal a range of voices: Thomas MacDonagh's lyrical wishes for his son, a passionate address to a symbolic 'Dark Rosaleen,' and a reflective resignation by Seumas MacManus. These selections, drawn from different sections of the book, illustrate the anthology's mix of personal, political, and spiritual themes.

Kilmer's Editorial Framework

In the introduction, Kilmer explains his criteria: poems he likes best, written by Catholics after 1850. He rejects the label 'devotional,' arguing that a Catholic's entire life—including poetic reflection on beauty—is inherently religious. This framing shapes the anthology's contents, which include war poems and love lyrics alongside explicitly religious works. Kilmer also acknowledges the Pre-Raphaelite movement's indirect influence, noting its attempt to restore pre-Reformation artistic glory. The editor's acknowledgments list numerous publishers and individuals, indicating the breadth of permissions secured for the collection.

Poems of Personal and Political Devotion

The excerpt from 'Dark Rosaleen' (by James Clarence Mangan) employs intense, repetitive address to a beloved figure who is both a woman and a symbol of Ireland. Phrases like 'My life of life, my saint of saints' and 'My dark Rosaleen!' recur, creating a litany-like structure. The poem blends martial imagery ('I could scale the blue air') with religious language ('pray for me'), reflecting the anthology's fusion of the personal and the political. Similarly, Thomas MacDonagh's 'Wishes for My Son' balances hopes for 'glorious deed' and 'martyr's blood' with simpler prayers for 'courage, innocence and truth,' showing the range of Catholic poetic expression.

Formal and Thematic Variety

The anthology includes short lyrics like Thomas MacDonagh's 'What is White?'—a compact, question-and-answer poem that defines whiteness through abstract concepts: 'the soul of the sage, faith-lit' and 'the face of Truth made known.' This contrasts with the longer, narrative-driven 'Dark Rosaleen' and the meditative 'Resignation' by Seumas MacManus, which counsels the soul to 'be still' and trust in divine revelation. The excerpts demonstrate the editor's preference for poems that employ traditional forms—rhyme, meter, stanzaic repetition—while addressing a wide emotional spectrum, from longing to acceptance.

Reading the Anthology Sequentially

Kilmer's arrangement does not follow a strict thematic or chronological order; instead, the poems appear to be grouped loosely by poet or mood. A first-time reader might note how the opening poems establish a tone of spiritual and national yearning, while later selections shift toward consolation and reflection. The anthology's 220 text sections suggest a substantial collection, and the excerpts hint at recurring motifs: light and darkness, prayer and battle, childhood and martyrdom. Readers should attend to the poets' varied treatments of Catholic identity—some overt, others subtle—and consider how Kilmer's editorial choices create a cumulative portrait of Catholic poetic imagination in the late 19th and early 20th centuries.

This anthology rewards readers who approach it as a curated conversation among poets rather than a doctrinal statement. Kilmer's selections invite comparison across poems: how does MacDonagh's 'Wishes for My Son' echo or diverge from Mangan's 'Dark Rosaleen' in its use of repetition and address? The editor's own voice, though limited to the introduction, shapes the collection's identity. For a first reading, sample poems from different sections to gauge the anthology's range, then return to the introduction to see how Kilmer's criteria play out in practice.

Sometimes a book stays with you less for what it says than for how it opens a door. That 1917 anthology made me feel how faith can quietly live inside any poem, not just the pious ones. Reading The Vigil of Brunhild: A Narrative Poem — A Closer Reading brought back that same hush—like watching a familiar story hold something sacred underneath, almost without trying.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

What did you think of this book?

Answer a few questions and save a private reflection on this device.

Your progress 0 / 10
1

Where are you in your reading?

2

What was your overall reaction to the book?

3

How likely are you to recommend this book?

4

Did the language feel accessible?

Related eBooks