All the grace life brings to me:
Song of Mary, Mighty Mother;
Song of Whom she bore, my Brother
Silence of an ecstasy
Where I find Him, and none other.
Lionel Johnson's vocation to what Faber has called "the mystical apostolate of the inward life" was, to the last, unwavering; but with characteristic self-criticism he deemed himself better suited to a literary than to a priestly career. Thenceforth he served his art with almost cloistral consecration, finding in the long and painful service a "blessedness beyond the pride of kings."
The first publication of Johnson's poems seems to have been in 1892, when a selection of the earlier ones appeared in the Book of the Rhymers' Club. The beautiful lines "By the Statue of King Charles at Charing Cross" were included in the number, and attracted some attention from the poetically hopeful. That same year he completed his searching and admirable prose work on The Art of Thomas Hardy. The publication of this volume was delayed until 1894, but its final appearance was the signal for Lionel Johnson's immediate welcome. The name of the youthful critic (he was then only twenty-seven) was coupled with those of Arnold and Pater, and his words were thenceforth prized by the foremost literary journals of London.
The passing of another year added new laurels, for in 1895 his first complete volume of Poems was issued. The power of verses like "The Dark Angel" was recognised on all sides; but Johnson's intense subjectivity, his preoccupation with spiritual ideas and ideals, made the critics somewhat guarded in their praise. Meanwhile, with serene indifference, our poet was preparing a new volume,
