1912 - The Hill of Vision

Everything that I Can Spy
A Prelude and a Song
— The Prelude
— The Song
In the Poppy Field
The Fulness of Time
Light-o'-Love
Nucleolus
The Brute
Mount Derision
The Sootherer
The Spalpeen
Danny Murphy
The Tree of the Bird
Peadar Og Goes Courtir
Nora Criona
The Rune
Bessie Bobtail
The Tinker's Brat
Nothing at All
Why Tomas Cam Was Grumpy
Under the Bracken
The Girl I Left Behind Me
Shame
Said the Young-Young Man to the Old-Old Man
Said the Old-Old Man to the Young-Young Man
Secrets
Crooked-Heart
Mac Dhoul
The Merry Policeman
Treason
The Fairy Boy
What the Devil Said
The Tree
Ora Pro Nobis
Afterwards
The End of the Road
Wind and Tree
Eve
The Breath of Life
In the Cool of the Evening
New Pinions
Psychometrist
The Winged Tramp
Poles
Chopin's Funeral March
The Monkey's Cousin
The Lonely God
Hail and Farewell

1912.

Printer:

Dublin: Maunsel and Company, Ltd.
96 Middle Abbey Street, Dublin.

The title of this collection is taken from the second line of the poem The Spalpeen.

Dedication:

To My Wife

The following reviews of The Hill of Vision were on the back pages of 1st American Edition of The Rocky Road to Dublin/The Adventures of Seumas Beg 1915.

"'The Hill of Vision' is an unusual book. Stephens's point of view is thoughtful and thought compelling." — Brooklyn Eagle. 

"'Insurrections' — a booklet of brilliant verse. . . . 'The Hill of Vision ' — a fine result of the new Celtic movement." — San Francisco Chronicle. 

"A book has come to our desk called ' The Hill of Vision ' — a book that has about it an air of inspiration and a naive directness and intimacy that place it, in spirit, near to the work of William Blake." — Literary Digest. 

"No reader of poetry can afford to let 'The Hill of Vision' pass. It is one of the noteworthy volumes in the history of the Irish Literary Revival." — Boston Herald.

"What is most distinctive in Mr. Stephens's poetry is its unflinching view of life, its sheer penetration into the futility of solution or the comfort of compromise ... a new paganism, rigorous and unafraid." — Chicago Tribune.

"... An unusual sense of all the values of rhythm and a striking power in the manipulation of words in picture-making." — The Independent.

"Daring in occasional subjects and in untrammeled mode of expression." — Buffalo Express.