Songs of love and empire — Inside the Classic

(1 User reviews)   327
Nesbit, E. (Edith), 1858-1924 Project Gutenberg 2015 Not confirmed
English poetry -- 19th century Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 22,463
Reading time 98 min
Text sections 5

Before opening Songs of love and empire — Inside the Classic, the edition data offers a quick orientation: 22,463 words, 1 hr 38 min estimated reading time, and 5 detected text sections.

The text analysis averages about 20.5 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 -- 19th century,” connecting these edition facts with the source record’s subject description.

E. Nesbit's 1898 collection pairs imperial odes with intimate love lyrics, using sharp contrasts in diction and setting—from Brighton's shrieking wind to Oxford gardens haunted by ghosts—to explore memory, loss, and national pride.
Share
Editorial Edition Score 4.6/5

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

triumph for our Lady and our Queen, More rich than any king in any land hath seen.

Clothed are your streets with scarlet, gold, and blue, Flowers under foot and banners over head, And while your people’s voice storms Heaven for you About your way are voiceless blessings shed, And over you are spread Wide wings of love, free love, tamed to your hand, Love that gold cannot buy, nor Majesty command.

Not these mere visible millions only, share Your triumph--here all English hearts beat high, Nations far off your royal colours wear, And swell with unheard voice this loyal cry That strikes the English sky: A cloud of unseen witnesses is here To testify how great is England’s Queen, and dear.

From out the grey-veiled past, long years away, Come visionary faces, vision-led, And splendid shapes that are not of our day, The spirits of the mute and mighty dead, To see how Time has sped The fortunes of their England, and behold How much more great she is than in the days of old.

The world can see them not; but you can see-- You the inheritor of all the past Wherein the dead, in noble heraldry, Blazoned the shield of England, and forecast The charge it bears at last-- More splendid than the azure and the or Of the French lilies lost--long lost and sorrowed for.

Here be the weaponed men, the English folk, Who in long ships across the swan’s bathfared, In whose rude tongue the voice of Freedom spoke, In whose rough hands the sword was bright and bared-- The men who did and dared, And to their sons bequeathed the fighting blood That drives to Victory and will not be withstood.

Here, in your ordered festival, O Queen, Mixed with the crowd and all unseen of these, On their long swords the wild Norse rovers lean And watch the progress of your pageantries, And on this young June breeze Float the bright pennons of the Cressy spears-- Shine shadowy shafts that fell, as snow falls, at Poitiers.

Here flutter phantom flags that once flew free Above the travail of the tournament; Here gleam old swords, once wet for Liberty; Old blood-stiff banners, worn with war and rent, Are with your fresh flowers blent, And by your crown, where love and fame consort, Shines the unvanquished cloven crown of Agincourt.

Upon your river where, by day and night, Your world-adventuring ships come home again, Glide ghostly galleons, manned by men of might Who plucked the wings and singed the beard of Spain; The men who, not in vain, Saved to the children of a world new-trod The birth-tongue of our land, her freedom, and her God.

Princes who lived to make our England great, Poets who wreathed her greatness with their song, Wise men who steered her heavy ship of State, Brave men who steered her battle-ships along, In spectral concourse throng To applaud the consummated power and pride Of that belovèd land for which they lived and died.

The thousand un-named heroes who, sword-strong, Ploughed the long acre wherein Empire grows Wide as the world, and long as Time is long-- These mark the crescence of the English rose Whose thorny splendour glows O’er far-off subject lands, by alien waves, A crown for England’s brow, a garland for her graves.

And faces out of unforgotten years, Faces long hidden by death’s misty screen, Faces you still can scarcely see for tears, Will smile on you to-day and near you lean, O Mother, Wife, and Queen! With whispered love too sacred and too dear For any ear than yours, Mother and Wife, to hear.

Lady, the crowd will vaunt to-day your fame, Daughter and heir of many mighty kings, The Queen of England, whose imperial name From England’s heart and lips tumultuous springs In prayers and thanksgivings, Because your greatness and her greatness shine Merged each in each, as stars their beams that intertwine.

Yet in the inmost heart, where folded close The richest treasures of the poorest lie, Love, whose clear eyes see many secrets, knows A nobler name than Queen to call you by, And breathes it silently; But, ’mid His listening crowd of angels, One Shall speak your name and say, “Faithful and good, well done!”

Ring, bells! flags, fly! and let the great crowd roar Its ecstasy. Let the hid heart in prayer Lift up your name. God bless you evermore, Lady, who have the noblest crown to wear That ever woman wore. A jewel, in the front of time, shall blaze This day, of all your days commemorate; With Time’s white bays your brows are laureate, And England’s love shall garland all your days.

E. Nesbit's Songs of Love and Empire (1898) juxtaposes public commemorations—Trafalgar Day, Waterloo, a song for the Queen—with private elegies and love poems. The collection's structure, dividing into five sections, sets patriotic verses alongside ballads of ghosts and enchantment, then turns to sonnets and songs of seasonal change. Nesbit's diction shifts markedly: the imperial poems employ formal, declarative language, while the love lyrics favor sensory detail and a conversational intimacy. The recurring motif of ghosts—both literal specters and memories of lost love—unifies these disparate modes, as in 'New College Gardens, Oxford,' where 'poor ghosts, who found this garden dear' walk beside the living.

Diction of Empire and Intimacy

Nesbit's imperial poems adopt a public, rhetorical voice. In 'To the Queen of England' and 'A Song of Trafalgar,' she uses elevated diction and regular meter to evoke national unity. By contrast, the love poems employ a more personal lexicon: 'the warm turf felt our feet' and 'bean-flowers scented all the enchanted summer night' from 'On the Downs' ground emotion in physical sensation. The juxtaposition is deliberate; the same poet who writes of 'the immortal thorny rose' in 'New College Gardens, Oxford' also composes lines for the Queen. This range suggests Nesbit saw no contradiction between public duty and private feeling, treating both as subjects worthy of careful craft.

Ghosts and Memory as Structural Motifs

Ghosts appear across multiple poems, not as gothic devices but as figures of memory and loss. 'The Ghost Bereft' and 'Haunted' treat spectral presence as emotional residue. In 'New College Gardens, Oxford,' the ghosts are 'poor ghosts, who found this garden dear, / And found the morning sweet'—they are gentle, nostalgic, inseparable from place. The ballad 'The Ballad of the White Lady' uses a more traditional supernatural frame. Nesbit's ghosts rarely frighten; they mourn. This consistent treatment of memory as haunting gives the collection a cohesive emotional logic, linking the imperial poems' commemorations to the love poems' elegies for lost relationships.

Seasonal Cycles and the Language of Waiting

Several poems track the turn of seasons as a metaphor for emotional states. 'February' depicts a barren landscape: 'The trees stand brown against the gray, / The shivering gray of field and sky.' The speaker waits for a lost love, and the season mirrors desolation. 'The Promise of Spring' counters this with anticipation: 'Just a whisper, half-heard, / But our heart knows the word.' Nesbit uses precise botanical details—'the daffodil's green (Half an inch, half-unseen)'—to mark time. 'To a Tulip-Bulb' personifies the bulb's dormancy as a 'sleep' that precedes awakening. This cycle of waiting and renewal structures the collection's emotional arc, suggesting that loss is not final but part of a recurring pattern.

Setting as Emotional Landscape

Nesbit anchors her poems in specific, named places: Brighton, Oxford, the Medway, the downs. These are not generic backdrops but active participants in the poem's mood. 'On the Downs' contrasts a remembered summer night with the present 'wet wind shrieks denial.' 'New College Gardens, Oxford' uses the garden's 'enchantment of the dreaming limes' to evoke timelessness. 'Medway Song' and 'Ebb-tide' employ river and coastal imagery to suggest flux. The settings are often solitary—'the empty house, all still and chill' in 'February'—reinforcing themes of absence. Nesbit's descriptive precision, such as 'the desolate and trembling boughs / Scratch at the dripping window sill,' makes place a carrier of emotion rather than mere decoration.

Readers will find that Nesbit's collection rewards attention to its structural pairings: the imperial ode beside the intimate lyric, the ghost poem beside the love song. The poems are best read in sequence, as the contrasts and echoes accumulate. The author's note on prior publication in periodicals like the Daily News and Pall Mall Gazette situates these poems in a public context, yet their emotional range—from public celebration to private grief—remains the collection's enduring strength.

Alexander Smith
3 weeks ago

5
5 out of 5 (1 User reviews )

Add a Review

Your Rating *
  • ...
    Cory Rivera - 1 month ago
    An exquisite blend of lyricism and patriotism. The poems in this collection transport you to an era where love and empire intertwined, evoking strong emotions and imagery. The language is rich and evocative, and each piece feels crafted with care. A wonderful addition to any poetry lover's library.

  • ...
    Jessica Acevedo - 3 weeks ago
    This collection offers a mix of passionate love poems and stirring patriotic verses. The contrast between personal and national themes is interesting, though some poems are stronger than others. The overall tone is elevated and earnest, but a few pieces feel overly sentimental. A decent read for those who appreciate classic imperial-era poetry.

  • ...
    Christina Simmons - 2 weeks ago
    While the poems are elegantly written, the content is steeped in Victorian-era imperialism that many will find uncomfortable today. The romanticization of empire, combined with exaggerated sentimentality, makes it hard to connect. There's little nuance or self-reflection. Readers may find it outdated and even off-putting in its glorification of colonial ideals.


Reader reflection

Your personal reading reflection

Build a private reading journal entry for this title.

Your progress 0 / 10
1

How far have you progressed with this book?

2

Was reading this book enjoyable?

3

Would you encourage someone else to read it?

4

How much effort did this book require?

Related eBooks