William Ernest Henley

William Ernest Henley

1849–1903 · lived 53 years -- --

William Ernest Henley was a Scottish poet, critic, and editor whose work is often associated with the late Victorian era. Despite enduring significant personal hardship, including a lifelong battle with tuberculosis that led to the amputation of one leg and threatened the other, Henley produced poetry characterized by its strength, defiance, and patriotic fervor. His most famous poem, 'Invictus,' has become an anthem of resilience and willpower.

n. 1849-08-23, Gloucester · m. 1903-07-11, Woking

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O Gather Me the Rose

O Gather Me the Rose
O gather me the rose, the rose,
While yet in flower we find it,
For summer smiles, but summer goes,
And winter waits behind it.
For with the dream foregone, foregone,
The deed foreborn forever,
The worm Regret will canker on,
And time will turn him never.
So were it well to love, my love,
And cheat of any laughter
The fate beneath us, and above,
The dark before and after.
The myrtle and the rose, the rose,
The sunshine and the swallow,
The dream that comes, the wish that goes
The memories that follow!
Read full poem
Bio

Identification and basic context

William Ernest Henley was a Scottish poet, critic, and editor. He is best known for his poem 'Invictus,' which embodies themes of resilience and defiance. His work often reflects his personal struggles and a strong sense of national identity. He wrote in English and was a prominent figure in late Victorian literature.

Childhood and education

Born in Gloucester, England, Henley faced considerable health challenges from a young age, contracting tuberculosis as a boy. This illness led to the amputation of his left leg below the knee. He received his education at the Crypt School in Gloucester and later studied at the Edinburgh Collegiate School. Despite his physical limitations, he was an intellectually gifted and determined individual.

Literary trajectory

Henley's literary career began to take shape during his recovery from illness. He served as editor for various publications, including the "Scotch Edinburgh" and "Magazine of Art." His poetry, collected in volumes such as "A Book of Verses" (1888), "London Voluntaries" (1893), and "Poems" (1898), gained recognition for its robust and often patriotic themes. He also played a significant role as a literary critic and patron, supporting younger writers.

Works, style, and literary characteristics

Henley's poetry is known for its vigor, directness, and often martial tone. His most famous work, 'Invictus,' with its lines "Out of the night that covers me, / Black as the Pit from pole to pole, / I thank whatever gods may be / For my unconquerable soul," became an inspirational piece for many facing adversity. His work frequently explores themes of courage, endurance, loyalty, and patriotism, particularly in relation to London and the British Empire. His style is characterized by its strong rhythm and bold imagery.

Cultural and historical context

Henley lived during a period of significant imperial expansion and national pride in Britain. His work resonated with the prevailing sentiments of the late Victorian era. He was part of a literary circle that included figures like Robert Louis Stevenson, with whom he had a complex and influential friendship. Henley's experiences and outlook were shaped by the social and political climate of his time.

Personal life

Henley's life was marked by persistent illness and the struggle for survival. The loss of his leg and the constant threat to his health instilled in him a deep sense of fortitude. His friendship with Robert Louis Stevenson was a significant aspect of his personal and literary life; Stevenson based the character of Long John Silver on Henley.

Recognition and reception

Henley achieved considerable recognition during his lifetime, particularly for his poem 'Invictus,' which became widely popular. He was respected as a poet, critic, and editor, holding influential positions in the literary world. His work was seen as representative of a certain strain of late Victorian stoicism and patriotism.

Influences and legacy

Henley's primary legacy lies in his poem 'Invictus,' which continues to inspire readers with its message of self-mastery and resilience. His role as an editor and critic also had an impact on the literary landscape of his time, promoting a particular vision of national and artistic strength.

Interpretation and critical analysis

'Invictus' is often interpreted as a powerful statement of personal agency and control in the face of suffering. Critics have analyzed Henley's work for its nationalistic undertones and its portrayal of stoicism as a virtue. His poetry reflects a complex interplay between personal struggle and public expression.

Curiosities and lesser-known aspects

Henley's distinctive gait, resulting from his prosthetic leg, was a notable feature. He was also known for his strong opinions and his forthright manner in literary and public discourse.

Death and memory

William Ernest Henley died in 1903. His poem 'Invictus' remains his most enduring contribution, frequently quoted and admired for its powerful message of inner strength.

Poems

9

O Gather Me the Rose

O Gather Me the Rose
O gather me the rose, the rose,
While yet in flower we find it,
For summer smiles, but summer goes,
And winter waits behind it.
For with the dream foregone, foregone,
The deed foreborn forever,
The worm Regret will canker on,
And time will turn him never.
So were it well to love, my love,
And cheat of any laughter
The fate beneath us, and above,
The dark before and after.
The myrtle and the rose, the rose,
The sunshine and the swallow,
The dream that comes, the wish that goes
The memories that follow!
164

There's a Regret

There's a Regret
There's a regret
So grinding, so immitigably sad,
Remorse thereby feels tolerant, even glad. ...
Do you not know it yet?
For deeds undone
Rnakle and snarl and hunger for their due,
Till there seems naught so despicable as you
In all the grin o' the sun.
Like an old shoe
The sea spurns and the land abhors, you lie
About the beach of Time, till by and by
Death, that derides you too --
Death, as he goes
His ragman's round, espies you, where you stray,
With half-an-eye, and kicks you out of his way
And then -- and then, who knows
But the kind Grave
Turns on you, and you feel the convict Worm,
In that black bridewell working out his term,
Hanker and grope and crave?
"Poor fool that might --
That might, yet would not, dared not, let this be,
Think of it, here and thus made over to me
In the implacable night!"
And writhing, fain
And like a triumphing lover, he shall take,
His fill where no high memory lives to make
His obscene victory vain.
204

Madam Life's a Piece in Bloom

Madam Life's a Piece in Bloom
Madam Life's a piece in bloom
Death goes dogging everywhere:
She's the tenant of the room,
He's the ruffian on the stair.
You shall see her as a friend,
You shall bilk him once or twice;
But he'll trap you in the end,
And he'll stick you for her price.
With his kneebones at your chest,
And his knuckles in your throat,
You would reason -- plead -- protest!
Clutching at her petticoat;
But she's heard it all before,
Well she knows you've had your fun,
Gingerly she gains the door,
And your little job is done.
201

Invictus

Invictus
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll.
I am the master of my fate:
I am the captain of my soul.
136

I. M. R. T. Hamilton Bruce (-)

I. M. R. T. Hamilton Bruce (-)
Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.
In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.
Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.
It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.
297

England, My England

England, My England
WHAT have I done for you,
England, my England?
What is there I would not do,
England, my own?
With your glorious eyes austere,
As the Lord were walking near,
Whispering terrible things and dear
As the Song on your bugles blown,
England--
Round the world on your bugles blown!
Where shall the watchful sun,
England, my England,
Match the master-work you've done,
England, my own?
When shall he rejoice agen
Such a breed of mighty men
As come forward, one to ten,
To the Song on your bugles blown,
England--
Down the years on your bugles blown?
Ever the faith endures,
England, my England:--
'Take and break us: we are yours,
England, my own!
Life is good, and joy runs high
Between English earth and sky:
Death is death; but we shall die
To the Song on your bugles blown,
England--
To the stars on your bugles blown!'
They call you proud and hard,
England, my England:
You with worlds to watch and ward,
England, my own!
You whose mail'd hand keeps the keys
Of such teeming destinies,
You could know nor dread nor ease
Were the Song on your bugles blown,
England,
Round the Pit on your bugles blown!
Mother of Ships whose might,
England, my England,
Is the fierce old Sea's delight,
England, my own,
Chosen daughter of the Lord,
Spouse-in-Chief of the ancient Sword,
There 's the menace of the Word
In the Song on your bugles blown,


England--
Out of heaven on your bugles blown!
208

Croquis

Croquis
The beach was crowded. Pausing now and then,
He groped and fiddled doggedly along,
His worn face glaring on the thoughtless throng
The stony peevishness of sightless men.
He seemed scarce older than his clothes. Again,
Grotesquing thinly many an old sweet song,
So cracked his fiddle, his hand so frail and wrong,
You hardly could distinguish one in ten.
He stopped at last, and sat him on the sand,
And, grasping wearily his bread-winner,
Staring dim towards the blue immensity,
Then leaned his head upon his poor old hand.
He may have slept: he did not speak nor stir:
His gesture spoke a vast despondency.
172

Barmaid

Barmaid
Though, if you ask her name, she says Elise,
Being plain Elizabeth, e'en let it pass,
And own that, if her aspirates take their ease,
She ever makes a point, in washing glass,
Handling the engine, turning taps for tots,
And countering change, and scorning what men say,
Of posing as a dove among the pots,
Nor often gives her dignity away.
Her head's a work of art, and, if her eyes
Be tired and ignorant, she has a waist;
Cheaply the Mode she shadows; and she tries
From penny novels to amend her taste;
And, having mopped the zinc for certain years,
And faced the gas, she fades and disappears.
166

Ballade of Dead Actors

Ballade of Dead Actors
Where are the passions they essayed,
And where the tears they made to flow?
Where the wild humours they portrayed
For laughing worlds to see and know?
Othello's wrath and Juliet's woe?
Sir Peter's whims and Timon's gall?
And Millamant and Romeo?
Into the night go one and all.
Where are the braveries, fresh or frayed?
The plumes, the armours -- friend and foe?
The cloth of gold, the rare brocade,
The mantles glittering to and fro?
The pomp, the pride, the royal show?
The cries of war and festival?
The youth, the grace, the charm, the glow?
Into the night go one and all.
The curtain falls, the play is played:
The Beggar packs beside the Beau;
The Monarch troops, and troops the Maid;
The Thunder huddles with the Snow.
Where are the revellers high and low?
The clashing swords? The lover's call?
The dancers gleaming row on row?
Into the night go one and all.
131

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