[Editor’s Note: This is the twentieth in a multi-part series on the unsung heroes of Christendom.]
I fled Him, down the nights and down the days; I fled Him, down the arches of the years; I fled Him, down the labyrinthine ways Of my own mind…
There was a time when the opening lines of Francis Thompson’s poem “The Hound of Heaven” would have been widely known. Today, as I discovered on a recent trip to England to film a documentary on Thompson, the poem and the poet are almost entirely forgotten. Nowhere was this crass disregard for one of England’s finest poets more evident than in the disgraceful neglect of the poet’s grave. The inscription on the tomb in the sprawling Catholic cemetery in Kensal Green had eroded to the point of illegibility. Ivy crawled creepily over the sarcophagus, covering the tomb in a blanket of oblivion. And, as if to add insult to the injury of neglect, another headstone had been placed so close to Thompson’s that it had eclipsed the poet’s epitaph.
Having paid my respects at Thompson’s grave, I tried in vain to find the grave of another great Victorian poet, Lionel Johnson, whose resting place I knew to be only a matter of yards from Thompson’s. Such ignorance of fine art and such forgetfulness of a priceless heritage say more about the demise of England than they say about the neglected legacy that Thompson has bequeathed to a heedless nation. In the light of such national amnesia, the film documentary on Thompson has become something of a crusade to make the poet and his work known to a new generation of cultured Christians on both sides of the Atlantic.
Francis Thompson was born in 1859 in Preston in Lancashire. Having failed in his efforts to train for the priesthood and then for the medical profession, he lived for a while in abject poverty in the squalor of post-Dickensian London. Homeless, penniless, addicted to laudanum, and sleeping on the streets, he befriended prostitutes at a time when the notorious Jack the Ripper was filling those same streets with terror. Such is the modern proclivity for conspiracy theories that the hapless poet has been listed among those suspected of being the world’s most mysterious serial killer. There are many reasons that Thompson could not have been the Ripper, not least of which are the innocent wisdom and religious serenity to be found in his poetry.
Thompson was saved from the streets by the charity of Wilfrid Meynell, editor of the magazine Merry England, in which Meynell had published some of Thompson’s verse. At Meynell’s instigation, Thompson spent some time recovering his health and overcoming his drug addiction at Storrington Priory in Sussex, which was immortalized a few years later by Hilaire Belloc in his poem “Courtesy”:
Of Courtesy, it is much less Than Courage of Heart or Holiness, Yet in my Walks it seems to me That the Grace of God is in Courtesy. On Monks I did in Storrington fall, They took me straight into their Hall; I saw Three Pictures on a wall, And Courtesy was in them all...
The recipient of the same courtesy that would so impress Belloc, Thompson recovered remarkably well at Storrington. He wrote some of his finest verse during his period of convalescence with the monks, including his most famous poem, the above-quoted “Hound of Heaven.” Although most revered as a poet, Thompson was also the author of “Finis Coronat Opus,” one of the finest short stories the present author has ever had the pleasure of reading.
A cautionary tale in the Faustian mode, it tells of a poet who sells his soul to the devil and sacrifices his marriage on the altar of “art.” It was a stinging sideswipe against the rising aesthetic movement with its mantra of “art for art’s sake” and its desire to divorce beauty from morality. Here, as elsewhere and always, Thompson’s art was always at the service of the Good, the True, and the Beautiful.
