The poetry of Edward Thomas affects one morally as well as Æsthetically and intellectually. We have grown rather shy, in these days of pure Æstheticism, of speaking of those consoling or strengthening qualities of poetry on which critics of another generation took pleasure in dwelling. Thomas’s poetry is strengthening and consoling, not because it justifies God’s ways to man or whispers of reunions beyond the grave, not because it presents great moral truths in memorable numbers, but in a more subtle and very much more effective way. Walking through the streets on these September nights, one notices, wherever there are trees along the street and lamps close beside the trees, a curious and beautiful phenomenon. The light of the street lamps striking up into the trees has power to make the grimed, shabby, and tattered foliage of the all-but autumn seem brilliantly and transparently green. Within the magic circle of the light the tree seems to be at that crowning moment of the spring when the leaves are fully grown, but still luminous with youth and seemingly almost immaterial in their lightness. Thomas’s poetry is to the mind what that transfiguring lamplight is to the tired trees. On minds grown weary in the midst of the intolerable turmoil and aridity of daily wage-earning existence, it falls with a touch of momentary rejuvenation.

The secret of Thomas’s influence lies in the fact that he is genuinely what so many others of our time quite unjustifiably claim to be, a nature poet. To be a nature poet it is not enough to affirm vaguely that God made the country and man made the town, it is not enough to talk sympathetically about familiar rural objects, it is not enough to be sonorously poetical about mountains and trees; it is not even enough to speak of these things with the precision of real knowledge and love. To be a nature poet a man must have felt profoundly and intimately those peculiar emotions which nature can inspire, and must be able to express them in such a way that his reader feels them. The real difficulty that confronts the would-be poet of nature is that these emotions are of all emotions the most difficult to pin down and analyze, and the hardest of all to convey. In “October” Thomas describes what is surely the characteristic emotion induced by a contact with nature—a kind of exultant melancholy which is the nearest approach to quiet unpassionate happiness that the soul can know. Happiness of whatever sort is extraordinarily hard to analyze and describe. One can think of a hundred poems, plays, and novels that deal exhaustively with pain and misery to one that is an analysis and an infectious description of happiness. Passionate joy is more easily recapturable in art; it is dramatic, vehemently defined. But quiet happiness, which is at the same time a kind of melancholy—there you have an emotion which is inexpressible except by a mind gifted with a diversity of rarely combined qualities. The poet who would sing of this happiness must combine a rare penetration with a rare candour and honesty of mind. A man who feels an emotion that is very difficult to express is often tempted to describe it in terms of something entirely different. Platonist poets feel a powerful emotion when confronted by beauty, and, finding it a matter of the greatest difficulty to say precisely what that emotion is in itself, proceed to describe it in terms of theology which has nothing whatever to do with the matter in point. Groping after an expression of the emotions aroused in him by the contemplation of nature, Wordsworth sometimes stumbles doubtfully along philosophical byways that are at the best parallel to the direct road for which he is seeking. Everywhere in literature this difficulty in finding an expression for any undramatic, ill-defined emotion is constantly made apparent.

Thomas’s limpid honesty of mind saves him from the temptation to which so many others succumb, the temptation to express one thing, because it is with difficulty describable, in terms of something else. He never philosophizes the emotions which he feels in the presence of nature and beauty, but presents them as they stand, transmitting them directly to his readers without the interposition of any obscuring medium. Rather than attempt to explain the emotion, to rationalize it into something that it is not, he will present it for what it is, a problem of which he does not know the solution. In “Tears” we have an example of this candid confession of ignorance:

The emotion is nameless and indescribable, but the poet has intensely felt it and transmitted it to us who read his poem, so that we, too, feel it with the same intensity. Different aspects of this same nameless emotion of quiet happiness shot with melancholy are the theme of almost all Thomas’s poems. They bring to us precisely that consolation and strength which the country and solitude and leisure bring to the spirits of those long pent in populous cities, but essentialized and distilled in the form of art. They are the light that makes young again the tattered leaves.

Of the purely Æsthetic qualities of Thomas’s poetry it is unnecessary to say much. He devised a curiously bare and candid verse to express with all possible simplicity and clarity his clear sensations and emotions.... “This is not,” as Mr. de la Mare says in his foreword to Thomas’s Collected Poems, “this is not a poetry that will drug or intoxicate.... It must be read slowly, as naturally as if it were prose, without emphasis.” With this bare verse, devoid of any affectation, whether of cleverness or a too great simplicity, Thomas could do all that he wanted. See, for example, with what extraordinary brightness and precision he could paint a picture:

The same bare precision served him well for describing the interplay of emotions, as in “After you Speak” or “Like the Touch of Rain.” And with this verse of his he could also chant the praises of his English countryside and the character of its people, as typified in Lob-lie-by-the-fire: