The Storm. An Essay. — Text and Context

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Defoe, Daniel, 1661?-1731 Project Gutenberg 2012 Not confirmed
Great Britain; Storms -- Great Britain -- Early works to 1800; Hurricanes -- Great Britain -- Early works to 1800; Cyclones -- Great Britain -- Early works to 1800 Readers of public-domain and historical texts
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Words 5,548
Reading time 25 min
Text sections 1

The catalog record for The Storm. An Essay. — Text and Context provides practical reading context through 5,548 words, 25 min estimated reading time, and 1 detected text section.

The text analysis averages about 25.6 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 “Great Britain,” connecting these edition facts with the source record’s subject description.

Daniel Defoe's 1704 poem uses a devastating storm as a metaphor for divine judgment and political reform, blending apocalyptic imagery with pointed commentary on English society and governance.
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  • Title & short description10 pts
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  • Text length15 pts
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For had they perish'd e'er they went, Where to no Purpose they were sent, The Ships might ha' been built again, 150 And we had sav'd the Money and the Men. There the Mighty Wrecks appear, _Hic Jacent_, Useless Things of War. Graves of Men, and Tools of State, There you lye too soon, there you lye too late. But O ye Mighty Ships of War! What in Winter did you there? Wild _November_ should our Ships restore To _Chatham_, _Portsmouth_, and the _Nore_, So it was always heretofore, 160 For Heaven it self is not unkind, If Winter Storms he'll sometimes send, Since 'tis suppos'd the Men of War Are all laid up, and left secure.

Nor did our Navy feell alone, The dreadful Desolation; It shook the _Walls of Flesh_ as well as Stone, And ruffl'd all the Nation. The Universal Fright Made Guilty _H----_ expect his Fatal Night; 170 His harden'd Soul began to doubt, And Storms grew high within, as they grew high without.

Flaming Meteors fill'd the Air, But _Asgil_ miss'd his _Fiery Chariot_ there; Recall'd his black blaspheming Breath, And trembling paid his Homage unto Death.

_Terror appear'd in every Face_, Even _Vile Blackbourn_ felt some shocks of Grace; Began to feel the Hated Truth appear, Began to fear, 180 After _he had Burlesqu'd a God_ so long, He should at last be in the wrong. Some Power he plainly saw, (And seeing, felt a strange unusual Awe;) Some secret Hand he plainly found, Was bringing some strange thing to pass, And he that neither God nor Devil own'd, Must needs be at a loss to guess. Fain he would not ha' guest the worst, But Guilt will always be with Terror Curst. 190

Hell shook, for Devils Dread Almighty Power, At every Shock they fear'd the Fatal Hour, The Adamantine Pillars mov'd, And Satan's _Pandemonium_ trembl'd too; The tottering _Seraphs_ wildly rov'd, Doubtful what the Almighty meant to do; For in the darkest of the black Abode, _There's not a Devil but believes a God_. Old _Lucifer_ has sometimes try'd _To have himself be Deify'd_; 200 But Devils nor Men the Being of God deny'd, Till Men of late found out New Ways to sin, And turn'd the Devil out to let the Atheist in. But when the mighty Element began, And Storms the weighty Truth explain, Almighty Power upon the Whirlwind Rode, And every Blast proclaim'd aloud _There is, there is, there is_, a God.

Plague, Famine, Pestilence, and War, Are in their Causes seen, 210 The true Originals appear Before the Effects begin: But Storms and Tempests are above our Rules, Here our Philosophers are Fools. The _Stagyrite_ himself could never show, From whence, nor how they blow. Tis all Sublime, 'tis all a Mystery, They see no Manner how, nor Reason why; _All Sovereign Being_ is the amazing Theme, 'Tis all resolv'd to Power Supreme; 220 From this First Cause our Tempest came, And let the Atheists spight of Sense Blaspheme, They can no room for Banter find, Till they produce another Father for the Wind.

_Satyr_, thy Sense of Sovereign Being Declare, He made the Mighty Prince o'th' Air, And Devils recognize him by their Fear.

Ancient as Time, and Elder than the Light, Ere the First Day, or Antecedent Night, Ere Matter into settl'd Form became, 230 And long before Existence had a Name; Before th' Expance of indigested Space, While the vast _No-where_ fill'd the Room of Place. Liv'd _the First Cause_ The First Great _Where_ and _Why_, Existing _to and from_ Eternity, Of His Great Self, and _of Necessity_. _This I call God_, that One great Word of Fear, At whose great sound, When from his Mighty Breath 'tis eccho'd round, Nature pays Homage with a trembling bow, 240 And Conscious Men would faintly disallow;

The Secret Trepidation racks the Soul, And while he says, no God, replies, thou Fool. _But call it what we will_, _First Being it had_, does Space and Substance fill. Eternal Self-existing Power enjoy'd, And whatsoe'er is so, _That same is God_.

If then it should fall out, as who can tell, But that there is a Heaven and Hell, Mankind had best consider well for fear 250 'T should be too late when their Mistakes appear; Such may in vain Reform, Unless they do't before another Storm.

They tell us _Scotland_ scap'd the Blast; No Nation else have been without a Taste: All _Europe_ sure have felt the Mighty Shock, 'T has been a Universal Stroke. But Heaven has other Ways to plague the _Scots_, As Poverty and Plots. Her Majesty Confirms it, what She said, 260 I plainly heard it, tho' I'm dead.

Daniel Defoe's The Storm. An Essay. (1704) is a poem that uses a catastrophic tempest as a vehicle for political and moral commentary. The work opens with a speaker who claims to have heard Heaven's voice in the storm, interpreting the natural disaster as a call for reform and repentance. Defoe weaves together vivid descriptions of the storm's fury with pointed references to contemporary politics, including the Queen and the nation's choices. The poem's structure alternates between narrative passages and direct addresses, creating a sense of urgency and moral weight.

The Storm as Divine Communication

Defoe presents the storm not merely as a meteorological event but as a direct message from Heaven. The speaker asserts, "Heaven lately spoke, but few knew what it said," and claims to have understood the divine language. The storm's blasts echo the word "REFORM," and the falling timbers cry "REPENT." This personification of natural forces as instruments of divine will is a central device. The poem describes "the stormy Crew, Newly commission'd from on high," suggesting a purposeful, almost military execution of judgment. The speaker's authority comes from having "heard the Voice, and knew the Language too," positioning himself as an interpreter of celestial signs. This framing allows Defoe to critique societal failings under the guise of religious admonition.

Political Allegory and the Nation's Choice

The poem explicitly links the storm to England's political state. Defoe references "the Queen, an Emblem of the soft, still, Voice" who had counseled peace, but the nation's "unhappy Genius" scorned this advice. The storm becomes a consequence of collective choice: "Since Storms are then the Nation's Choice, Be Storms their Portion, said the Heavenly Voice." This allegory extends to specific figures, such as "William, the Glorious, Great, and Good, and Kind," who appears as a heroic contrast. The poem warns against rebellion, stating, "He that Rebels Must be both Knave and Fool." Defoe's political stance is clear, using the storm as a metaphor for divine retribution against those who reject lawful authority and peace.

Poetic Structure and Rhetorical Strategy

The poem employs a mix of heroic couplets and irregular meter, shifting between narrative and direct address. The opening lines establish a conversational tone: "I'm told, for we have News among the Dead, / Heaven lately spoke." Defoe uses rhetorical questions and exclamations to engage the reader, such as "Think it not strange I heard it here." The imagery is concrete and visceral: "the blackning Clouds drew near, / And fill'd with loudest Storms the trembling Air." The speaker's personal fear—"I trembl'd as the Winds grew high"—adds a layer of vulnerability. The poem's conclusion returns to political admonition, framing rebellion as folly. This structure allows Defoe to move seamlessly from cosmic drama to partisan argument, making the storm a versatile rhetorical tool.

Readers should note that this edition includes extensive Project Gutenberg boilerplate, but the poem itself is brief—approximately 240 lines. The catalog subjects classify it under storms and hurricanes, but the text is primarily a political and moral allegory. Defoe's use of the storm as a divine message invites comparison with his other works, such as The True-Born Englishman. Approach the poem as a period piece that uses natural disaster to explore themes of governance, repentance, and national identity.

That afternoon, the rain against my window sounded just like Defoe’s storm—a reminder of how we read judgment into weather. His fury about governance felt oddly calming. Later, I found myself drifting toward a quieter, stranger pamphlet, A Discourse on the Evils of Dancing — Edition Insights, as if one moral panic naturally led to another.

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