Many Gods — Background and Themes

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Rice, Cale Young, 1872-1943 Project Gutenberg 2009 Not confirmed
Poetry Readers of public-domain and historical texts
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Edition facts

Words 12,147
Reading time 53 min
Text sections 3

The source record for Many Gods — Background and Themes measures this digital text at 12,147 words, 53 min estimated reading time, and 3 detected text sections.

The text analysis averages about 22.7 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 “Poetry,” connecting these edition facts with the source record’s subject description.

Cale Young Rice's 1910 poetry collection juxtaposes Eastern and Western spiritual landscapes, questioning faith through vivid travelogue lyrics. Poems set in Japan, India, and China contrast serene temples with existential doubt, while the sea becomes a metaphor for cosmic uncertainty.
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Dragon-fly, quickly, The priest is coming! Oh, the boom Of the bitter bell! Now you are gone And my tears fall thickly. How of Heaven Do the gods make Hell!

The sêmi is silent (Autumn rains!) The wind-bells tinkle (How chill it is!) The quick lights come On the shoji-panes. Come, O Baku, Eater of dreams!

The maple darkens (Pale grow I!) The near night shivers (The temple fades.)

Haunting love Will not cease to cry! Come, O Baku, Eater of dreams!

The wild mists gather (Ah, my tears!) The pane-lights vanish (For some there is rest.) But for me-- The remembered years! Come, O Baku, Eater of dreams!

MAPLE LEAVES ON MIYAJIMA

The summer has come, The summer has gone, And the maple leaves lift fairy hands That ripple upon the winds of dawn Where the dim pagoda stands. They ripple and beckon yearningly To their sister fairies over the sea, But help comes not, So they fall and flee From Autumn over the sands.

And down the mountain And into the tide, Some are blown where the sampans glide, And some are strewn by the temple's side, And some by the torii. But Autumn ever Pursues them till, As ever before, She has her will, And leaves them desolate, dead and still, Ravished afar and wide; Leaves them desolate; crying shrill, "No beauty shall abide!"

I was weary and slept on the Peak; The air clung close like a shroud, And ever the blue-fly's buzz in my ear Hung haunting and hot and loud; I awoke and the sky was dun With awe and a dread that soon Went shuddering thro my heart, for I knew That it meant typhoon! typhoon!

In the harbour below, far down, The junks like fowl in a flock Were tossing in wingless terror, or fled Fluttering in from the shock. The city, a breathless bend Of roofs, by the water strewn, Lay silent and waiting, yet there was none Within it but said typhoon!

Then it came, like a million winds Gone mad immeasurably, A torrid and tortuous tempest stung By rape of the fair South Sea. And it swept like a scud escaped From craters of sun or moon, And struck as no power of Heaven could, Or of Hell--typhoon! typhoon!

And the junks were smitten and torn, The drowning struggled and cried, Or, dashed on the granite walls of the sea, In succourless hundreds died. Till I shut the sight from my eyes And prayed for my soul to swoon: If ever I see God's face, let it Be guiltless of that typhoon!

I want to go back to Singapore And ship along the Straits, To a bungalow I know beside Penang; Where cocoanut palms along the shore Are waving, and the gates Of Peace shut Sorrow out forevermore. I want to go back and hear the surf Come beating in at night, Like the washing of eternity over the dead. I want to see dawn fare up and day Go down in golden light; I want to go back to Penang! I want to go back!

I want to go back to Singapore And up along the Straits To the bungalow that waits me by the tide. Where the Tamil and Malay tell their lore At evening--and the fates Have set no soothless canker at life's core. I want to go back and mend my heart Beneath the tropic moon, While the tamarind-tree is whispering thoughts of sleep. I want to believe that Earth again With Heaven is in tune. I want to go back to Penang! I want to go back!

I want to go back to Singapore And ship along the Straits To the bungalow I left upon the strand. Where the foam of the world grows faint before It enters, and abates In meaning as I hear the palm-wind pour. I want to go back and end my days Some evening when the Cross On the southern sky hangs heavily far and sad. I want to remember when I die That life elsewhere was loss. I want to go back to Penang! I want to go back!

When the wind is low, and the sea is soft, And the far heat-lightning plays On the rim of the West where dark clouds nest On a darker bank of haze; When I lean o'er the rail with you that I love And gaze to my heart's content; I know that the heavens are there above-- But you are my firmament.

The opening poem, 'All's Well,' establishes a tension that runs through the collection: a speaker standing on a ship's prow, feeling 'the awe upon my brow / Of death and destiny,' questions whether the world is a 'derelict that drifts' beyond divine care. The sea's 'illimitable leaping' and the sailor's cry of 'All's well' are met with skepticism, yet the poem resolves into a faith that 'God is, tho all unproved.' This pattern of doubt followed by tentative affirmation recurs across the volume, often anchored in specific geographic settings.

Geographic Specificity as Spiritual Crucible

Rice's poems are firmly located: 'Love in Japan,' 'Maple Leaves on Miyajima,' 'Penang,' 'By the Taj Mahal,' 'On the Yang-tse-kiang.' These are not mere backdrops but active participants in the speaker's spiritual reckoning. In 'The Proselyte Recants,' set in Japan, the speaker recalls 'the fair golden idols / Sit in darkness and in silence' and the 'temple drum beats solemnly and slow,' yet the poem's title signals a rejection of conversion. The landscape itself—'the mountains brim with mist and sun'—weaves a 'spell' that the speaker cannot escape. Similarly, 'The Christian in Exile' (Mandalay) depicts a lonely figure who 'cares not for old splendours' but longs for 'a simple Sabbath hymn,' while the surrounding 'Buddha-built pagodas skyward swim' evoke only pity. Place becomes the arena where competing faiths collide, and the speaker's stance is often one of unresolved tension.

The Sea as Unstable Metaphor

Water imagery pervades the collection, but it is rarely serene. In 'All's Well,' the sea is 'illimitable,' 'mouthing madness to the moon,' and 'seething' with 'endless sorcery.' 'The Sea-armies' personifies waves as 'wild sea-armies led by the wind,' a 'ravaging horde' that 'have many a ship to rend.' The speaker watches them 'beyond us in the bleak star-buried dawn,' yet the poem ends with the hope that 'Life will restore / Unto her world the hope they have withdrawn.' This oscillation between chaos and restoration is typical. 'Waves' and 'Navis Ignota' (unknown ship) likely continue the motif. The sea is never simply a setting; it is a force that mirrors the speaker's own doubts—'the old peace that God is, tho all unproved' comes only after the sea 'grew softer.'

Voices of the Displaced and the Doubting

Several poems adopt personae who are outsiders: 'The Proselyte Recants' (a convert who reneges), 'The Christian in Exile,' 'The Parsee Woman' (who refuses the sky burial for her child), 'The Conscript,' 'The Nun.' These figures embody cultural and spiritual dislocation. In 'The Parsee Woman,' the speaker cries, 'Cast me out from among you, I will not see my child / Laid aloft where the vultures / May clamour for him, wild!' The defiance is personal and visceral, rooted in a specific religious practice. 'The Christian in Exile' is 'a stranger lonely, / In a land strange to all his faith and dim.' Even the more abstract poems, like 'The Barren Woman' or 'Old Age,' use a first-person voice that feels isolated: 'I have heard the wild geese, / I have seen the leaves fall.' The collection's title, Many Gods, suggests polytheism, but the poems more often depict individuals struggling to find or keep a single god amid a cacophony of beliefs.

Readers will find that Rice's poems reward attention to their formal craft—regular rhyme and meter, varied stanza lengths—and to the way he embeds philosophical questions in concrete imagery. The collection does not argue a thesis but presents a series of spiritual encounters, each unresolved. Approaching the poems as dramatic monologues rather than autobiographical statements may clarify their tensions. The table of contents, with its juxtaposition of place names and abstract titles, itself suggests a mind moving between the particular and the universal.

There are days when Rice’s temples feel less like sanctuaries than beautiful, echoing rooms—and I find myself drifting back to Elizabeth Barrett Browning’s quieter certainties instead. Her faith wasn’t untroubled either, but it held a steadier flame than his oriental seas. That old The Poetical Works of Elizabeth Barrett Browning, Volume 2 — A Reader’s Guide has been a gentle companion on such afternoons. Strange how two poets can speak to the same longing, so differently.

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Luke Jackson
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4.5 out of 5 (10 User reviews )

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    Abigail Fox - 1 month ago
    This book purports to be deep and spiritual, but I found it shallow and self-indulgent. The writing is overly florid, with too many adjectives and not enough substance. The author's musings on polytheism are vague and fail to develop into a coherent argument. It feels like a series of rambling diary entries rather than a cohesive work. I struggled to stay engaged and ultimately felt unsatisfied. Not recommended for anyone seeking a serious exploration of religious ideas.

  • ...
    Denise Allison Thomas - 1 month ago
    A profound and beautifully written exploration of spirituality and human connection. The author weaves together themes of nature, love, and the search for the divine with such grace that every page feels like a meditation. The prose is lyrical without being pretentious, and the insights are both comforting and challenging. This book offers a fresh perspective on faith that will resonate with modern readers. I found it deeply moving and thought-provoking. Highly recommended for all.

  • ...
    Ebony Ware - 2 weeks ago
    A thoughtful and poetic work that examines the concept of divinity in everyday life. The author's writing style is elegant, and there are many impactful passages. However, the narrative is somewhat meandering, and some chapters feel disconnected from the central theme. If you prefer a more structured spiritual guide, this might not be the best fit. Still, for those open to a reflective and abstract approach, there is much to appreciate.


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