CHAPTER XXIX

THE LATER POETRY

All of the calculated activities for the promotion of the stage during the last few years in America have as yet been limited and indirect in their results. Among them it is very possible that there was a blazing of the way for another development of great importance which has taken place without any leagues or schools or organized propaganda. This has been the restoration of poetry as a living language. Not only have authors' readings taken the place of dramatic interpretations in the lecture market but the audiences who flock to hear Tagore and Noyes and Masefield and Gibson and Bynner and Lindsay and Frost go to listen to poems with which they are already familiar and to get that sense of personal acquaintance with poets which ten years ago they coveted with playwrights and, further back, with novelists. The dominant fact about the contemporary reading public is its reawakened zest for poetry.

In 1890 the English poetry-reading world was chiefly conscious of the passing of its leading singers for the last half century. It was a period when they were recalling Emerson's "Terminus" and Longfellow's "Ultima Thule," Whitman's "November Boughs" and Whittier's "A Lifetime," Tennyson's "Crossing the Bar" and Browning's "Asolando." There was no group in the prime of life who were adequate successors to this greater choir. Stedman, Aldrich, and Stoddard had courted the muse as a kind of alien divinity and enjoyed excursions into the distant land of her dwelling-place. But their poetry was a poetry of accomplishment; an embellishment of life, and not an integral part of it (see pp. 324-326). It was a period when people were tempted with some reason to dwell on the "good old days," and for a while it seemed as though it would be long before the world would see their like again.

The spirit of the times seemed to be expressed by a group of younger artists who were in conscious revolt against Victorian literature and rather noisily assertive on their favorite theme of art for art's sake. They were occupied in composing intricate and ingenious poems. They were engrossed like Masters's "Petit, the Poet" in inditing

Triolets, villanelles, rondels, rondeaus, Seeds in a dry pod, tick, tick, tick, Tick, tick, tick, what little iambics, While Homer and Whitman roared in the pines!

Some of them did pastels in prose, and many edited transitory little periodicals like _The Yellow Book_, _The Chap Book_, _The Lark_, and _Truth in Boston_. Fourteen of these came into existence in the United States in the first two months of 1897, and almost none of them survived till the Fourth of July of that year. Probably the only lines in any of them recalled by the readers of to-day are Gelett Burgess's quatrain on the purple cow. The burden of these young poets was many words fairly spoken of "organic growth," "development," "progress," "liberalism," "freedom of speech," and "independent thought"; and the chief product of their thinking was a frank and free Bohemianism, an honest unconventionality much more real than the diluted thing about which Stedman and Aldrich had rimed thirty years before.

The most vigorous and enduring of the new group was Richard Hovey (1864-1900). He was Western-born, schooled at Washington, and a graduate of Dartmouth in 1885. His next years included study in the General Theological Seminary in New York, an assistantship in a New York ritualistic church, excursions into journalism and acting, and then, after some years as poet and dramatist, a professorship of English literature in Barnard College, Columbia University. Hovey grew perceptibly during his eager enjoyment of these various pursuits. For a while he seemed content to sing the praises of convivial comradeship:

For we know the world is glorious And the goal a golden thing, And that God is not censorious When his children have their fling;

but he passed before long to the stage in which the good fellowship of youth was a symbol of something far larger than itself--nothing less than the promise of humankind. The ode delivered before his fraternity convention in 1896 quite transcends the sort of effusion usually evoked by such occasions. The spring in the air, in the world, and in the heart of youth culminate in the oft-sung "Stein Song"; and after it the poem goes on to "The first low stirring of that greater spring,"

Of something potent burning through the earth, Of something vital in the procreant air.

This potent something is the "unceasing purpose" of Tennyson, but with a difference, for in Hovey's mind it is not the purpose of a detached God who imposes his will benevolently on mankind from without, but the creative impulse which is inherent in life itself, the evidence of the divine spirit in the heart of man. Comradeship, then, became to Hovey a symbol of altruism, and he looked beyond this springtide of the year and of the youthful collegians to the time when science, art, and religion should emancipate men in the truth that should set them free and bring them, in spite of delays, in the fullness of time to "the greater to-morrow."

Yet while Hovey was uplifted by the fine fervor of such a faith, he experienced a reaction with the outbreak of the Spanish-American War. In the sudden self-righteousness of an inflamed patriotism he nationalized God and deified war. Excited beyond measure by the immediate issue, he not only justified America against Spain but, forgetting all the lessons of evolution, he declared that the race could develop only through the repetition of old experiences.

By strife as well as loving--strife, The Law of Life,-- In brute and man the climbing has been done And shall be done hereafter. Since man was No upward-climbing cause Without the sword has ever yet been won.

His mistake lay in justifying all wars in order to justify the national altruism of the war with Spain, and his fallacy came in his assumption that biological and physical life were governed by the same laws. For the moment Hovey turned "jingo," as most of his countrymen did, yet even then he invoked the sword for the suppression of tyranny and not in the name of nationalistic ambition.

The home of Hovey's imagination was where the true poet's always is--"far in the vast of sky, ... too high for sound of strife, or any violation of the town." From this high vantage point he sang the glories of the things he loved the best, but with maturity he moved from the world of material pleasure to the realms of spiritual adventure. In 1893 he wrote

Down the world with Marna! That's the life for me! Wandering with the wandering wind, Vagabond and unconfined!

Five years later he could no longer catalogue his places on the map, for his goal was "the unknown" and "the wilderness" in pursuit of the high human adventure which Moody was to celebrate in his "Road Hymn for the Start." In a parallel way Hovey's first conception of fellowship rose from the early relish for beer and song to the fellowship of kindred souls of which the fine flowering is the love of man and woman.

Spirit to spirit finds its voiceless way, As tone melts meeting in accordant tone,-- Oh, then our souls, far in the vast of sky, Look from a tower, too high for sound of strife Or any violation of the town, Where the great vacant winds of God go by, And over the huge misshapen city of life Love pours his silence and his moonlight down.

At the age of thirty-six, just on the threshold of maturity, Hovey died.

William Vaughn Moody (1869-1910) was another son of the Middle West. Born in southern Indiana, he lost his mother in his fifteenth year and his father, a river-steamboat captain, in his seventeenth. By alternate study and teaching he prepared himself for Harvard, and entering at somewhat more than the average age he completed his college work in three years and followed these with a year in Europe as private tutor. In addition to a receptiveness for learning he had the capacity for a rich and varied culture which is sometimes mistakenly thought to belong only to blue-blooded inheritors of family tradition. From the close of his residence in Cambridge till his death, seventeen years later, Moody's life included long and extended travels, varied and profound study, eight years' teaching at the University of Chicago, from which President Harper was reluctant to accept his resignation, and distinguished work as painter, poet, and dramatist. Suddenly stricken with a fatal illness, he died in 1910.

Mention has already been made of his work as playwright (see pp. 445, 446). His lyric and narrative poems all have the same breadth of view which is inherent in his poetic dramas. He was familiar with a wide range of the world's art and literature, but in the work which he chose to collect for republication he was imitative of none. His imagination roved freely through all time and space. "Gloucester Moors" were the vantage point from which he conceived the earth as a "vast, outbound ship of souls"; "Old Pourquoi" challenged the scheme of creation from beneath the Norman sky; "The Death of Eve" is derived from the Hebrew past, "The Masque of Judgment" from the Greek, "A Dialogue in Purgatory" from the Italian, "The Fountain" from early American legend, "On a Soldier Fallen in the Philippines" from a current event. Thus he did not maintain his citizenship of the world by any denial of allegiance to America. In the third section of "An Ode in Time of Hesitation" he sketched as splendid a pageant of America as has ever been devised. The Cape Ann children seeking the arbutus, the hill lads of Tennessee harking to the wild geese on their northern flight, are one with the youth of Chicago, the renewing green of the wheat fields, the unrolling of the rivers from the white Sierras, the downward creep of Alaskan glaciers, and the perennial palm-crown of Hawaii. It is in very truth

the eagle nation Milton saw, Mewing its mighty youth.

Moody's love of America did not lead him to embrace the "manifest destiny" illusion. He was quite as conscious of the misdirection of human leadership as he was of the riches with which God had endowed the natural land. "Gloucester Moors" is deeply solicitous for a future which seems to be insured for the grasping capitalist; "The Brute" is both more vigorous and more hopeful in its certitude that the factory system in its worst forms is a short-lived social abortion. The demon of the machine is sure to be caught and subdued:

He must give each man his portion, each his pride and worthy place; He must batter down the arrogant and lift the weary face. On each vile mouth set purity, on each low forehead grace.

These poems were of life within America or without it, but in "An Ode in Time of Hesitation" and "On a Soldier Fallen in the Philippines" Moody warned the rulers in Washington that the country, now awake to its duties in the world, would forgive blindness, but baseness it would smite. Finally, in "The Quarry" he cried out in pride at America's fine part in preventing the partitioning of helpless China by the grasping European empires,--the achievement of the poet-diplomat, John Hay.

Throughout all Moody's work is a constant undercurrent of evolutionary thought--not the brutal mechanism associated with the term "Darwinism," but the aspiring impulse within all life which makes it rise not through struggle against outer forces so much as through the innate impulse to develop. In the sardonic "Menagerie" the idea is ironically stated:

Survival of the fittest, adaptation, And all their other evolution terms, Seem to omit one small consideration,

which is no less than the existence of souls:

Restless, plagued, impatient things, All dream and unaccountable desire;

and these souls are expressions of the universal soul which finds its own salvation in unceasing "groping, testing, passing on,"--the creative struggle described by Raphael in "The Masque of Judgment" as

The strife of ripening suns and withering moons, Marching of ice-floes, and the nameless wars Of monster races laboring to be man.

In his attitude toward and his literary treatment of woman Moody was emphatically modern. He was far beyond the supercilious and hollow amenities with which eighteenth-century poetry was filled, and he was not satisfied with the sincerer expression of deep personal tributes to individual women. In his philosophy woman was the dominant influence in the development of humankind. Eve and Prometheus were one in seeking the knowledge and power to lift man above brute creation and in producing the clash between God and man which was the price of knowledge and the cost of progress. But Prometheus was a poor and defeated character in comparison; for Moody, in Eve and Pandora, presented woman not only as the donor and the fulfillment of love but as the final agent of reconciliation between the human and the divine. In the various poems there are acknowledgments of awe, of reverence, of spiritual love, and of passion; taken together they show the same breadth of view that belongs to the human equation in which Moody regards woman as the greatest factor. It is most significant that the dramatic trilogy was planned to conclude with a song of Eve, and that twice--in "I am the Woman" and part five of "The Death of Eve"--Moody composed studies toward that final song that was never perfected. Both progress through the ages when woman was subtly molded by man's conception of her, so that her happiness and her very being consisted in conforming herself to him.

Still, still with prayer and ecstasy she strove To be the woman they did well approve, That narrowed to their love, She might have done with bitterness and blame.

And in both she appears as the indomitable Promethean spirit who in the end was to fulfill that plan which in the beginning she had endangered. There is no reference to any woman in any of Moody's poems which is out of harmony with this dominating and progressive idea.

For several reasons Moody's poetry is not easy to read and is therefore undestined to wide popularity (see pp. 263, 264). He was not interested to compose simple lyrics or narratives. Seldom does he aid the reader by means of even an implied narrative thread. The poems inspired by history are not self-explanatory nor accompanied by footnotes. Moody consistently employed events, whether actual or imagined, as mere avenues of approach to emotional and spiritual experiences, and he expected the reader to contribute to the poems from his own resourceful imagination. It is because the whole meaning is not laid out on the surface of his verses--like Christmas-card sentiments--that Moody has become very largely a poet's poet. Their instinctive grasp of the figurative deeper meanings, their immediate response to elusive metaphor, and their understanding of his vigorous, exact, but sometimes recondite diction make them his best audience. For they too can most nearly appreciate the distinguished beauties of his work--his wide and intimate knowledge of world literature, the opulence of his style, the firmness of his structure, the scrupulousness of his detail. Through the rising and the risen poets of the present generation Moody's influence is exerted on thousands who are all unconscious of it.

An approach to contemporary American poetry in a fraction of a chapter at the end of a general history can be justified on only one ground: it serves the purpose of a guideboard on a transcontinental highway. American literature was not concluded with the deaths of the great New England group nor has it come to an end since then. The student should recognize this in his respect for the fine promise of what is now being written, and he should recognize that the study of our past literature can bear no richer fruit than a sane understanding of the literature of the day. Furthermore he should be intelligent enough to see that literature need not be old to be fit for study--that it is not only absurd but vicious to assume (as used to be said, with a difference, of the Indian) that there is no good poet but a dead poet. These few pages are therefore devoted to a half-dozen writers who represent tendencies. They are arbitrarily selected as the contemporary dramatists in the preceding chapter were. Yet their weight is greatly reënforced by the many others to whom no allusion can be made. A comparison of the three books on recent American poetry suggests the speed of the literary current. Miss Rittenhouse's "The Younger American Poets" (1904) includes eighteen poets of whom thirteen were born before 1865. Miss Lowell's "Tendencies in Modern American Poetry" (1917) includes six poets, none of whom were mentioned in the earlier book, and the oldest of whom was born in the closing days of 1869. Of the sixteen poets indicated by name in the chapter headings of Mr. Louis Untermeyer's "New Era in American Poetry" (1919), only three were born before 1875.

The reading of contemporary poetry should be done with zest and without calculation, but the study of the same material must be approached with self-conscious deliberateness and with a definite resolve not to be carried away by the cheap and easy generalizations current on the lips of the careless talker. Contemporary poetry is not all of one kind nor is it chiefly characterized by defiant revolt against old forms and old ideas. It is true that in all branches of artistic endeavor new methods and new points of view are being advanced. In music Debussy and Schoenberg, in painting Cézanne and Matisse, in sculpture Rodin and his disciples, in stage setting and costuming Gordon Craig and Leon Bakst, have shocked and surprised quite as many as they have edified, and have given rise to the same sort of querulous protest indulged in by those who talk as if all modern poetry were typified by the most extravagant verses of Alfred Kreymborg, or "Anne Knish." But in poetry most of the recent work has not been wantonly bizarre, most of the more distinguished verse has not been "free," and most of the men and women who have written free verse have shown and have practiced a firm mastery of the established forms. The point, then, is to maintain an open mind and to make sure of conclusions before adopting them, and the surest method of doing these two student-like things is to read and study authors by the bookful and not by the pseudo-royal road of anthologies and eclectic magazines. If you want to become acquainted with a man you will sit down at leisure with him in his study, instead of forming snapshot judgments from contact at afternoon teas, and you will form your own opinion in preference to gleaning it from the conversation of others.

Edwin Arlington Robinson (1869- ), the oldest of this latter group, was born in the same year with Moody and is now in the prime of life. The Tilbury of many of his poems is really the town of his upbringing--Gardiner, Maine. It is an unusual but not a unique village in America--a colonial old-world village. The atmosphere of Puritanism had not been blown away from it, and it still felt the subtle influence of a preëminent family. When "the squire" passed,

We people on the pavement looked at him; He was a gentleman from sole to crown, Clean-favored, and imperially slim.

It is easy to think of Tilbury as an English town; it is utterly different from Lindsay's Springfield or Masters's Spoon River. It is not without significance that the clearest single picture presents a little boy of twelve as the companion of "Isaac and Archibald," two old men on the ominous verge of superannuation. It was life in Gardiner that gives so real a sense of the town on the Avon in "Ben Jonson Entertains a Man from Stratford." In 1891 Mr. Robinson entered Harvard, withdrawing at the end of two years and entering business in New York City. Here he remained till 1910, the last five years as an appointee of President Roosevelt in the New York Customhouse, and since the latter date he has lived again in Gardiner, bearing some resemblance in his mellowed maturity, perhaps, to Larry Scammon in his play "The Porcupine."

As a matter of literary history the most striking fact about Mr. Robinson is that the poetry-reading public has been redeveloped since he began to write. Although his first volume, "The Children of the Night," appeared in 1897, and his second, "Captain Craig," in 1902, it was possible for him to be omitted from "The Younger American Poets" of 1904. With "The Town down the River" in 1910 his recognition began to come, and with the republication of "Captain Craig" the public became aware of a volume which they could have been reading for full thirteen years.

Miss Lowell displays a mild contempt for the title poem of this book, and Mr. Phelps--in his "Advance of English Poetry in the Twentieth Century"--echoes her verdict. Yet for many readers there is a splendor in it and a richness that brings them back to it again and again. It is doubtless long, discursive, and condensible. In fact it is already condensed in such a bit as "Flammonde." It is an elaboration of the title lyric for "The Children of the Night"; but only a wanton perversion of criticism will discount a philosophical poem for not submitting to lyric standards. It is a poem of childhood, sunlight, laughter, and hope declaimed by an indomitable old vagabond of eternity who is invincible in death and is fittingly borne to the grave while the trombones of the Tilbury band blare the Dead March in "Saul." Captain Craig is a character who would not be his complete self without his verbosity. His type, in fact, is never succinct. They are extravagant of time, of gesture, of vocal and rhetorical emphasis, of words themselves. Out of the abundance of their hearts their mouths speak all sorts of irresponsible, whimsical, exalted, and splendid extravagance. They give voice to the dumb, and they amuse and stimulate the good listeners, but they bore the cleverly communicative, who dislike any consecutive talk but their own. Thus, for example, the captain writes on one May day:

I have yearned In many another season for these days, And having them with God's own pageantry To make me glad for them,--yes, I have cursed The sunlight and the breezes and the leaves To think of men on stretchers and on beds,

* * * * *

Or of women working where a man would fall-- Flat-breasted miracles of cheerfulness Made neuter by the work that no man counts Until it waits undone; children thrown To feed their veins and souls with offal.... Yes, I have had half a mind to blow my brains out Sometimes; and I have gone from door to door Ragged myself, trying to do something-- Crazy, I hope.--But what has this to do With Spring? Because one half of humankind Lives here in hell, shall not the other half Do any more than just for conscience' sake Be miserable? Is this the way for us To lead these creatures up to find the light, Or the way to be drawn down to find the dark Again?

Captain Craig, in a word, is self-expression in very being and condemns in joyous scorn the man who believes that life is best fulfilled through discipline and renunciation. Instead he offers something positive:

Take on yourself But your sincerity, and you take on Good promise for all climbing; fly for truth, And hell shall have no storm to crush your flight, No laughter to vex down your loyalty.

This is the note throughout all Robinson's poems and plays. His disbelief in negativism leads him often to be impatient and caustic and leads the cloudy minded to timid deprecation of his cynicism, not knowing the difference between this and irony; but Mr. Robinson is never cynical toward the things that are more excellent. He is only convinced that people's Puritan convictions as to what is more excellent result in a perverted estimate; he is only attempting to substitute light for shadow, laughter for gloom; he is only saying with Larry Scammon:

"Stop me if I am too cheerful; but at the same time, if I can instil the fertile essence of Hope into this happy household, for God's sake, let me do it.... You had far better--all of you--begin to get yourselves out of your own light, and cease to torment your long-bedevilled heads with the dark doings of bogies that have no real existence."

As a craftsman Mr. Robinson has won distinction by his simple, direct realism. He employs for the most part the old iambic measures, a sentence structure which is often conversational, and a diction which is severe in its restraint. There are few "purple patches" in his poetry, but there are many clear flashes of incisive phrasing. His work is like a May day in his own seacoast town--not balmy, but bracing, with lots of sparkle on the blue, and the taste of the east wind through it all.

Robert Frost (1875- ) is known as the author of three books of verse: "A Boy's Will," 1913, "North of Boston," 1914, and "Mountain Interval," 1916. He is known also--and rightly--as the voice and embodiment of rural New England. Yet he was born in San Francisco, his mother was born in Edinburgh, he first came to New England at the age of ten, and he lived for the next eight schoolboy years in a mill town, Lawrence, Massachusetts. Nevertheless, in his capacity for receiving impressions, he seemed to have a selective memory which made him sensitive to the aspects of country life in the regions north of Boston--the regions trod by nine generations of forbears on his father's side of the family. And so it was that though his first two volumes were published in London, there is no local trace of the old country in them, nothing in them that he had not known in farm or village between 1885 and 1912, when he set sail with his wife and children toward a residence of two and a half years in England. On his return to America he bought a farm in New Hampshire. Since 1916 he has taught in Amherst College.

The common statement that Mr. Frost is content solely to present the appearances of New England life should be given distinct qualifications in two respects: the first is that his earliest book, "A Boy's Will," is wholly subjective and analytical, completely falling outside the generalization. And the second is that while "North of Boston" and "Mountain Interval" are objective pictures of New England life, the truth in them is by no means limited to New England, but is pertinent to human kind, although deeply tinged with the hue of that particular district.

"A Boy's Will," a little volume, is made up of thirty-two lyrics, each of them complete and most of them lovely. They are not, however, detached, although it is an open question how many readers would see their relationship if this were not indicated in the table of contents. It is the record of a young artist's experience who marries, withdraws to the country, revels in the isolation of winter, in the coming of spring, and in the farm beauties of summer. This isolation, however, cannot satisfy him long. Let the contents for Part Two show what happens: "'Revelation'--He resolves to become intelligible, at least to himself, since there is no help else--'The Trial by Existence'--and to know definitely what he thinks about the soul; 'In Equal Sacrifice'--about love; 'The Tuft of Flowers'--about fellowship; 'Spoils of the Dead'--about death; 'Pan with Us'--about art (his own); 'The Demiurge's Laugh'--about science." With the five lyrics of Part Three, the youth and his bride return to the world with misgivings:

Out through the fields and the woods And over the walls I have wended; I have climbed the hills of view And looked at the world, and descended; I have come by the highway home, And lo, it is ended.

* * * * *

Ah, when to the heart of man Was it ever less than a treason To go with the drift of things, To yield with a grace to reason, And bow and accept the end Of a love or a season?

This book does not represent the work of Frost as it appears in his later volumes, but it does represent the poet himself:

A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth.

The second volume, "North of Boston," is twice as long as "A Boy's Will" and contains half as many titles. There would be nothing in this mathematical formula if it did not carry with it a real difference in content. But this second book is made up not of lyrics, but of unimpassioned vignettes of New England life. This is the grim New England which the poet attempted to shut out in "Love and a Question":

But whether or not a man was asked, To mar the love of two By harboring woe in the bridal house, The bridegroom wished he knew.

The book presents the death of a farm laborer, the maddened bereavement of a mother whose child is buried within sight of the house, the black prospect faced by a household drudge who faces the insanity which is an inherited blight in her blood. They are not amiable pictures, and they offer neither problem nor solution, only the life itself. They are not, however, all equally grim. "The Mountain" tells of a township of sixty voters with only a fringe of level land around the looming pile. It dominates life, limits it, and rises above it, for few have either time or curiosity to reach the top. "The Black Cottage" presents a widowed relict of the Civil War who knew only her sacrifice and whose unthinking orthodoxy was as hazy as her political creed. With liberalism in the parish, the preacher was inclined to omit "descended into Hades" from the ritual:

... We could drop them Only--there was the bonnet in the pew, Such a phrase couldn't have meant much to her. But suppose she had missed it from the Creed As a child misses the unsaid Good-night, And falls asleep with heartache--how should I feel?

Of another sort are the poems which have most of outdoor in them: "Mending Wall," the symbol of barriers between properties which the winters throw down; "Blueberries," which indicates the complex of ownership in a countryside filled with nature's gifts of uncultivated fruit; "After Apple Picking," the weariness forced upon the farmer in his effort to husband an embarrassment of orchard riches; and "The Woodpile" with its suggestion of the slow processes of nature contrasted with the temporal efforts of man. The woodpile is discovered far out in a swamp, long abandoned and vine-covered:

... I thought that only Someone who lived in turning to fresh tasks Could so forget his handiwork on which He spent himself, the labour of his axe, And leave it there far from a useful fireplace To warm the frozen swamp as best it could With the slow smokeless burning of decay.

The last volume, "Mountain Interval," is something of a composite, with elements in both the former two. One reads Mr. Frost's pages thoughtfully and leaves them in a thoughtful mood. Not all are grim, but very few are gay. They have the rock-ribbed austerity of the country from which they spring and some of its beauty, too. They are suffused with the smoky haze of an Indian-summer day.

Edgar Lee Masters (1869- ) was born in Kansas in the same year with Moody and Robinson. In the next year his family moved to Illinois, which is his real "native" state. As a boy he had wide opportunities for reading. At the age of twenty-one he entered Knox College and plunged with zest into the study of the classics, but was forced to withdraw at the end of the year because Mr. Masters, Sr., would acknowledge no value in these studies for the practice of law, toward which he was directing his son. After a brief experiment in independence the young man surrendered and eventually entered on a successful career as a Chicago attorney. Yet the law did not take complete possession of him; he has always been a devoted reader of Greek literature. "Songs and Satires," published in 1916, contains a few lyrics from a volume of 1898 which was printed, but through an accident of the trade never published. One of these ends with the significant stanza:

Helen of Troy, Greek art Hath made our heart thy heart, Thy love our love. For poesy, like thee, Must fly and wander free As the wild dove.

Mr. Masters's next venture was a poetic drama in 1900, "Maximilian," a tragedy in verse which was accorded a few sympathetic reviews but no wide reading. Other works followed in the next fifteen years, some in law and some in literature. And finally, in 1915, appeared the "Spoon River Anthology." This is in all probability the most widely circulated book of new poems in the history of American literature; others may have achieved a greater total of copies during a long career, but it is doubtful whether any others have equaled fifty thousand within three years of publication.

The most valuable single utterance on this much-discussed work is the richly compacted preface of Mr. Masters in "Toward the Gulf," with its inscription to William Marion Reedy. Mr. Masters had submitted various contributions to Reedy's _Mirror_, but had received most of them back with friendly appeals for something fresh. The first five Spoon River epitaphs were written almost casually in answer to this repeated challenge. At the same time they were a more than casual application of a hint from the Greek: a "resuscitation of the Greek epigrams, ironical and tender, satirical and sympathetic," assembled into an ultimate collection of nearly two hundred and fifty brief units, each a self-inscribed epitaph by one of the Spoon River townsfolk. These represent the chief types in an American country town and recognize in particular the usual line of cleavage between those who choose to be considered virtuous and those who do not care what they are considered. Unfortunately the first of these classes includes both the idealist and the hypocrite; and the second, both the conscious radical and the confirmed reprobate. A typical issue which might arise in such a town, as well as a typical alignment of forces, is described in "The Spooniad," the closing mock-heroic fragment and the longest unit in the book.

The "Anthology" has been violently assailed as a wantonly cynical production, each assault on this ground carrying within itself a proof that the censor either had not read the book through or did not understand it. As a matter of fact the most impressive element in the book and the one which bulks largest in the last quarter of it are the victorious idealists. There is Davis Matlock, who decided to live life out like a god, sure of immortality. There is Tennessee Claflin Shope, who asserted the sovereignty of his own soul, and Samuel Gardiner, who determined to live largely in token of his ample spirit, and the Village Atheist, who knew that only those who strive mightily could possess eternal life, and Lydia Humphrey, who in her church found the vision of the poets. In spite of the protests of readers who were so disgusted with the Inferno of the earlier portion that they never progressed to the concluding Paradiso, the book achieved its great circulation among a tolerant public and enviable applause from the most discriminating critics.

"Spoon River" established Mr. Masters's reputation and prepared the public for further thrills and shocks in the volumes to follow. This expectation has been only half fulfilled. The certainty of a public hearing has naturally encouraged the poet to more rapid production, but the subsequent books--"Songs and Satires" and "The Great Valley" of 1916 and "Toward the Gulf" of 1918--have been divided both in tone and content between the caustic informality for which Mr. Masters was known in his earlier work and the classic finish which is a return to his unknown, earliest style.

In his treatment of sex, however, Mr. Masters has supplied the shocks and thrills expected, dealing with various aspects of passion with a frank minuteness which is sometimes distasteful and sometimes morbid. Unusually his discussions of passion are more analytical than picturesque. He assumes its existence as a dominant factor in life and discusses not the experience itself so much as its influence. Frequently whole poems are concerned with it. He takes for granted passionate love without benefit of clergy, recording it without either idealizing it or defending it. Doubtless life has included the material for the "Dialogue at Perko's," for "Victor Rafolski on Art," and for "Widow La Rue," and certainly modern poetry supplies parallels in the works of other men. In a more significant way the sex psychology of Freud crops out in many poems not ostensibly devoted to it, as, for example, in "To-morrow is my Birthday." This soliloquy attributed to Shakespeare in his tercentenary year stands in striking contrast to Mr. Robinson's "Ben Jonson Entertains a Man from Stratford." In these two poems (of about four hundred lines each) Mr. Robinson writes in the manner of Ben Jonson, paying his tribute to Shakespeare at the height of his powers in London, touching on his susceptibility to women but passing this to dilate on his almost superhuman wisdom; Mr. Masters devotes the last two thirds of Shakespeare's monologue on the night of his last carousal to sex confessions which become increasingly gross as the bard becomes increasingly drunk. Mr. Robinson's passage is only a few lines in length and concludes:

There's no long cry for going into it, However, and we don't know much about it.

Mr. Masters's approaches two hundred and fifty lines, begins with "The thing is sex," continues with

Give me a woman, Ben, and I will pick Out of this April, by this larger art Of fifty-two, such songs as we have heard, Both you and I, when weltering in the clouds Of that eternity which comes in sleep, Or in the viewless spinning of the soul When most intense,

and ends with common brothel profanity. The popular method of justifying the Masters treatment is to gibe at the Robinson reticence as Puritan prudishness, but it is a gibe which for many enforces the value of reticence even in modern art.

So much for the negative side of Mr. Masters's work--the so-called cynicism declaimed at by the inattentive reader and the preoccupation with sex which is fairly open to criticism. On the positive side the greater weight of his work lies in poems of searching analysis. "So We Grew Together" is the changing relations of an adopted son for his Bohemian father; "Excluded Middle," an inquiry into the mystery of inheritance; "Dr. Scudder's Clinical Lecture," the study of a paranoiac--dramatic monologues suggestive of Browning in execution as well as content. The reader of Mr. Masters as a whole is bound to discover in the end that all these analyses are searchings into the mystery of life. It appears in "The Loom" as it does in "The Cry":

There's a voice in my heart that cries and cries for tears. It is not a voice, but a pain of many years. It is not a pain, but the rune of far-off spheres.

* * * * *

Deep in darkness the bulb under mould and clod Feels the sun in the sky and pushes above the sod; Perhaps this cry in my heart is nothing but God!

And he is bound to confess that Mr. Masters, instead of being a cynic, is a sober optimist. Take the last lines of the opening and closing poems in "Toward the Gulf":

And forever as long as the river flows toward the Gulf Ulysses reincarnate shall come To guard our places of sleep, Till East and West shall be one in the west of heaven and earth!

* * * * *

"And after that?" "Another spring--that's all I know myself, There shall be springs and springs!"

Nicholas Vachel Lindsay (1879- ), born in Springfield, Illinois, of which he is the most devoted and distinguished citizen since Lincoln, studied for three years at Hiram College and then for five years as an art student in Chicago and New York. Unfortunately his drawings are accessible only in a quarto pamphlet--"A Letter to Program Managers"--which is not for sale. They show the same vigor and the same antic play of fancy inherent in his verse. In 1906 he took his first long tramp through Florida, Georgia, and the Carolinas, and in 1908 a second through the northeastern states. During these two, as in his latest like excursion through the Western wheat belt, he traveled as a minstrel, observing the following rules:

(1) Keep away from the cities.

(2) Keep away from the railroads.

(3) Have nothing to do with money. Carry no baggage.

(4) Ask for dinner about quarter after eleven.

(5) Ask for supper, lodging and breakfast about quarter of five.

(6) Travel alone.

(7) Be neat, truthful, civil and on the square.

(8) Preach the Gospel of Beauty.

These appeared at the head of a little pamphlet entitled "Rhymes to be Traded for Bread," the only baggage he carried besides a further printed statement called "The Gospel of Beauty." In smiling defense of his course Mr. Lindsay has said that up to date there has been no established method for implanting beauty in the heart of the average American. "_Until such a way has been determined upon by a competent committee_, I must be pardoned for taking my own course and trying any experiment I please." Mr. Lindsay has not limited himself to this way of circulating his ideas. He has posted his poems on billboards, recited them from soap boxes and on the vaudeville stage, and has even descended to select club audiences. He has, however, not allowed the calls of the lyceum managers to convert him from a poet to an entertainer.

His books have been six in number and, according to his own advice, are to be read in the following order: "A Handy Guide for Beggars," "Adventures while Preaching the Gospel of Beauty," "The Art of the Moving Picture," "General William Booth Enters into Heaven," "The Congo," and "The Chinese Nightingale." The first three are prose statements of his social and religious philosophy; the second three are poems. His seventh volume is announced as "The Golden Book of Springfield." In its title it is a reaffirmation of what appears in many of his poems and of what he stated in "The Gospel of Beauty" (1912): "The things most worth while are one's own hearth and neighborhood. We should make our own home and neighborhood the most democratic, the most beautiful, and the holiest in the world."

The obvious first point about the poetry of Mr. Lindsay is that in it he lives up to his own instructions. He keeps quite as close to his own district as Mr. Masters and Mr. Frost do and he indulges in as wide a play of imagination as does Mr. Robinson. In the rôle of an apostle he tries to implant beauty in the heart of the average American. Yet "implant" is not the proper word; his own word is "establish," for he re-enforces a latent sense of beauty in hearts that are unconscious of it and he reveals it in the lives of those whom the average American overlooks or despises. On the one hand, he carries whole audiences into an actual participation in his recitals and, on the other, he discloses the "scum of the earth" as poets and mystics.

Thus "General William Booth Enters into Heaven" tells of Booth's apotheosis as it is seen and felt by a Salvation Army sympathizer. Booth with his big bass drum, followed by a motley slum crowd, leads to the most impressively magnificent place within the ken of a small-town Middle Westerner. This is an Illinois courthouse square. As a matter of fact, it is bleak, treeless, dust-blown, mud-moated--the dome of the courthouse in the middle, flanked on all sides with ugly brick blocks and alternating wooden shacks with corrugated iron false fronts; but this is splendor to the mind of the narrator. And so in all reverence he says:

(_Sweet flute music_)

Jesus came from out the court-house door, Stretched his hands above the passing poor. Booth saw not, but led his queer ones there Round and round the mighty court-house square.

From this scene General Booth ascends into heaven. "The Congo" is a similar piece of interpretation. Few types could seem more hopeless than the levee negroes, yet through them Mr. Lindsay makes a study of their race. In a drunken saloon crowd he sees the basic savagery which back in the Congo forests displays itself in picturesque poetry stuff. In a group of crapshooters who laugh down a police raid he finds the irrepressible high spirits which carry the negroes in imagination back to a regal Congo cakewalk, and in the exhortations of an African evangelist he sees the same hope of religion which the slave brought with him from his native soil. Once again, "The Chinese Nightingale" is written in the same spirit, this time accounting for the Chinese laundry-man's tireless industry through the fact that while his iron pounds in the dead of night he is living in a world of oriental romance.

Mr. Lindsay's poetry has two chief aspects, sometimes separated, sometimes compounded. One of these is an ethical seriousness. He might be called an ideally provincial character. He chooses to express himself in terms of his home and neighborhood, but his interests move out through a series of concentric circles which include his city, his state, America, and the world federation. The poems on Springfield, therefore, are of a piece with the poems on "America Watching the War" and those on "America at War." "The Soul of the City," with Mr. Lindsay's own drawings, is quite as interesting as any of the poems above mentioned. "Springfield Magical" suggests the source of his inspiration:

In this, the City of my Discontent, Sometimes there comes a whisper from the grass, "Romance, Romance--is here. No Hindu town Is quite so strange. No Citadel of Brass By Sinbad found, held half such love and hate; No picture-palace in a picture-book Such webs of Friendship, Beauty, Greed and Fate!"

"The Proud Farmer," "The Illinois Village," and "On the Building of Springfield"--three poems which conclude the General William Booth volume--are all on his favorite thesis and were favorites with his farmhouse auditors.

His poems related to the war reveal him as an ardent democrat, a hater of tyranny, a peace-loving socialist, and, in the end, like millions of his countrymen, a combatant pacifist, but none the less a pacifist in the larger sense. A pair of stanzas, "Concerning Emperors," are a very pretty cue both to himself and his convictions. The first in fervent seriousness prays for new regicides; the second states the case unsmilingly, but as it might be put to any newsboy, concluding:

And yet I cannot hate the Kaiser (I hope you understand). Yet I chase the thing he stands for with a brickbat in my hand.

This leads naturally to his verses of fancy and whimsy, like the group called the "Christmas Tree," "loaded with pretty toys," or the twenty poems in which the moon is the chief figure of speech. And these lead naturally to his distinctive work in connection with poetic form, his fanciful and often whimsical experiments in restoring the half-chanted Greek choral odes to modern usage--what W. B. Yeats calls "the primitive singing of music" (expounding it charmingly in the volume "Ideas of Good and Evil"). Mr. Lindsay, in the "Congo" volume has indicated on some of the margins ways in which the verses might be chanted. Before many audiences he has illustrated his intent with awkwardly convincing effectiveness. And with the Poem Games, printed with "The Chinese Nightingale," he has actually enlisted unsuspecting audiences as choruses and sent them home thrilled and amused at their awakened poetic susceptibility. Mr. Lindsay's theories are briefly indicated in the two books just mentioned, in Miss Harriet Monroe's introduction to the former and in the poet's explanation of Poem Games in the latter. They are briefly stated and should be read by every student of his work. Like most of the developments in modern poetry they are very new only in being a revival of something very old, but in their application they are local, and they partake of their author's genial, informal, democratic nature in being very American. Among the contemporary poets who are likely to leave an individual impress on American literature, Mr. Lindsay, to use a good Americanism, is one of the few who "will certainly bear watching."

Miss Amy Lowell (1874- ) was born in Brookline, Massachusetts. James Russell Lowell was a cousin of her grandfather, and she numbers among her relatives her mother's father, Abbott Lawrence, minister to England, and a brother, Abbott Lawrence Lowell, president of Harvard. In her education general reading and wide travel were the most important factors. In 1902, at the age of twenty-eight, she decided to devote herself to poetry, and for the next eight years she studied and wrote without attempting publication. Her first verse was printed in the _Atlantic Monthly_ in 1910, and her first volume, "A Dome of Many-Colored Glass," was published in 1912. Her further volumes have been "Sword Blades and Poppy Seed" (1914), "Six French Poets" (1915), "Men, Women and Ghosts" (1916), "Tendencies in Modern American Poetry" (1917), and "Can Grande's Castle" (1919),--in all, four volumes of verse and two of prose criticism. She has been a conspicuous personality among contemporary poets in France, England, and America, and though she has not been lacking in self-assertiveness she has been without question chiefly interested in the progress of contemporary poetry and finely generous in both theory and practice in the support of her fellow-poets.

As one of her most recent critics has pointed out, she has been notable and notably American in her zest for argument and in her love of experiment--"a female Roosevelt among the Parnassians." She has championed the cause of modern poetry and has fought the conventions of Victorian verse wherever she has encountered them, and in her liking for experiment and her absorption in technique she has taken up the cudgels successively for free verse, for the tenets of Imagism, and for polyphonic prose. She has been most closely identified with the activities of the Imagist poets,--three Englishmen, two Anglicized Americans, and herself,--and it is therefore well to summarize the six objects to which they committed themselves: (1) to use the language of common speech, but to employ always the exact word, (2) to create new rhythms as the expression of new moods, (3) to allow absolute freedom in the choice of subject (within the limits of good taste), (4) to present an image (hence the name "Imagist"), (5) to produce poetry that is hard and clear, (6) to insist on concentration as the essence of poetry. A stanza from "Before the Altar," the opening poem in her first book, serves to illustrate her technique as an Imagist:

His sole condition Love and poverty. And while the moon Swings slow across the sky, Athwart a waving pine tree, And soon Tips all the needles there With silver sparkles, bitterly He gazes, while his soul Grows hard with thinking of the poorness of his dole.

The fourth section of "Spring Day," the poem in "Men, Women and Ghosts" which begins with the much-discussed "Bath," is an example of her "polyphonic prose":

MIDDAY AND AFTERNOON

Swirl of crowded streets. Shock and recoil of traffic. The stock-still brick façade of an old church, against which the waves of people lurch and withdraw. Flare of sunshine down side-streets. Eddies of light in the windows of chemists' shops, with their blue, gold, purple jars, darting colors far into the crowd. Loud bangs and tremors, murmurings out of high windows, whirring of machine belts, blurring of horses and motors. A quick spin and shudder of brakes on an electric car, and the jar of a church-bell knocking against the metal blue of the sky. I am a piece of the town, a bit of blown dust, thrust along with the crowd. Proud to feel the pavement under me, reeling with feet. Feet tripping, skipping, lagging, dragging, plodding doggedly or springing up and advancing on firm, elastic insteps. A boy is selling papers, I smell them clean and new from the press. They are fresh like the air, and pungent as tulips and narcissus.

The blue sky pales to lemon, and great tongues of gold blind the shop-windows, putting out their contents in a flood of flame.

In her essay on John Gould Fletcher, in "Tendencies in Modern American Poetry," Miss Lowell has defined the æsthetic intent of this poetic form: "'Polyphonic' means--many-voiced--and the form is so-called because it makes use of all the 'voices' of poetry, namely: metre, _vers libre_, assonance, alliteration, rhyme and return. It employs every form of rhythm, even prose rhythm at times, but usually holds no particular one for long.... The rhymes may come at the ends of the cadences, or may appear in close juxtaposition to each other, or may be only distantly related." These two forms, with the aid of the two formulas, may be tested at leisure from an abundance of passages; they correspond with their recipes, are distinct from each other, and have certain distinctive beauties. But a further experiment--the attempt to make the cadences of free verse harmonize with the movements of natural objects--is by no means so successful. "If the reader will turn," says Miss Lowell, in the preface to "Men, Women and Ghosts," "to the poem 'A Roxbury Garden,' he will find in the first two sections an attempt to give the circular movement of a hoop bowling along the ground, and the up-and-down, elliptical curve of a flying shuttlecock." The following, presumably, is a segment of the circular movement:

"I will beat you Minna," cries Stella, Hitting her hoop smartly with her stick. "Stella, Stella, we are winning," calls Minna, As her hoop curves round a bed of clove-pinks.

It is an example, in fact, of the fruitlessness of dwelling on a matter of artistic form till it becomes more important than the artistic content. Miss Lowell admits in this connection that there flashed into her mind "the idea of using the movement of poetry." The student, therefore, should not regard the resultant verses as anything more than experiments in technique, and at the same time he should speculate as to whether a vital artistic form can ever be imposed upon a subject instead of springing spontaneously from it.

Yet, although Miss Lowell's reputation rests mainly on her experiments in novel and striking poetic forms, most of her work has been written in conformity with classic traditions. The opening volume is all in common rhythms, and so is most of the second, and quite half of the third. The last alone is devoted to a new form; "Can Grande's Castle" contains four long poems in polyphonic prose. The tendency is clearly in the direction of the innovations, but thus far the balance is about even between the new and the old.

As to subject matter, Miss Lowell's thesis is Poe's: that poetry should not teach either facts or morals, but should be dedicated to beauty; it is a stained-glass window, a colored transparency. And the poet is a nonsocial being who

spurns life's human friendships to profess Life's loneliness of dreaming ecstacy.

Like Poe she limits herself to the production of lyrics and tales and resorts not infrequently to grotesques and arabesques. Unlike Poe her resort to horror leads her to the composition of sex infidelities which are sometimes boring, sometimes foul, and rarely interesting. On this point (rule three for the Imagists) Miss Lowell falters awkwardly. "'How can the choice of subject be absolutely unrestricted?'--horrified critics have asked. The only reply to such a question is that one had supposed one were speaking to people of common sense and intelligence." The bounds of taste are assumed; yet these, she hastens to state, differ for different judges, and she illustrates her contention by the extreme extensiveness of her own. Finally, and again like Poe, Miss Lowell is to a high degree bookishly literary in her choice and treatment of subjects.

After all, for the attentive reader of contemporary poetry Miss Lowell's most distinguished service has been in her two books of criticism. In the concourse of present-day poets she is a kind of drum major. One cannot see the procession without seeing her or admiring the skill with which she swings and tosses the baton. But when the parade is past, one can easily forget her until the trumpets blare again. She leads the way effectively, and one is glad to have her do it,--glad that there are those who enjoy being excellent drum majors. Then one pays farewell to her in the words with which she salutes Ezra Pound in her verses headed "Astigmatism": "Peace be with you, [Sister]. You have chosen your part."

Witter Bynner (1881- ) was born in Brooklyn and is a graduate of Harvard in the class of 1902. He took the impress of his university and recorded it not only in an "Ode to Harvard" (1907)--reprinted in "Young Harvard and Other Poems"--but also in the two plays that followed, "Tiger" (1913) and "The Little King" (1914), neither of which have anything to do with Harvard, but both of which reflect the intelligent interest in drama encouraged at that seat of learning. Aside from "Iphigenia in Tauris" (1915), his remaining work, in which his real distinction lies, is the single poem "The New World" (1915) and the collection "Grenstone Poems" (1917). Into both of these are woven threads of the same story,--the poet's love and marriage to Celia, the inspiration which comes to him from her finer nature, the birth and loss of their child, the death of Celia, his dull bereavement, the dedication of his life to the democracy which Celia had taught him to understand.

"Grenstone Poems" is a series of little idyls comparable in some respects to Frost's "A Boy's Will." They are wholly individual in tone, presenting in brief lyrics, nearly two hundred in number, the quaint and lovely elements in the humor and the tragedy of life. "The New World," in contrast, contains by implication much of this, but is constructed in nine sections which trace the progressive steps in the poet's idealization of America. Always Celia's imagination leads far in advance of his own. Again and again as he strives to follow, his triumphant ascent reaches as its climax what to her is a lower round in the ladder. Two passages suggest the theme in the abstract, though the beauty of the poem lies chiefly in the far implications of definite scenes and episodes. The first is a speech of Celia's:

It is my faith that God is our own dream Of perfect understanding of the soul. It is my passion that, alike through me And every member of eternity, The source of God is sending the same stream. It is my peace that when my life is whole, God's life shall be completed and supreme.

The second, with which this volume may well conclude, is in the poet's own words:

In temporary pain The age is bearing a new breed Of men and women, patriots of the world And one another. Boundaries in vain, Birthrights and countries, would constrain The old diversity of seed To be diversity of soul. O mighty patriots, maintain Your loyalty!--till flags unfurled For battle shall arraign The traitors who unfurled them, shall remain And shine over an army with no slain, And men from every nation shall enroll And women--in the hardihood of peace! What can my anger do but cease? Whom shall I fight and who shall be my enemy When he is I and I am he?

Let me have done with that old God outside Who watched with preference and answered prayer, The Godhead that replied Now here, now there, Where heavy cannon were Or coins of gold! Let me receive communion with all men, Acknowledging our one and only soul! For not till then Can God be God, till we ourselves are whole.

BOOK LIST

=_General References_=

The Younger American Poets. Jessie B. Rittenhouse, 1904.

Tendencies in Modern American Poetry. Amy Lowell, 1917.

The Advance of English Poetry in the Twentieth Century. W. L. Phelps, 1918. (Latter half, American Poetry.)

Convention and Revolt in Poetry. G. L. Lowes, 1919.

The New Era in American Poetry. L. Untermeyer, 1919.

=Collections=

A Little Book of Modern Verse. Edited by Jessie B. Rittenhouse.

Some Imagist Poets (three annual volumes in a completed series) 1915, 1916, 1917.

An Anthology of Magazine Verse (annual volumes in a continuing series). Edited by W. S. Braithwaite, since 1915.

The Poetry of the Future. Edited by W. T. Schnittkin.

A Book of Princeton Verse. Edited by Alfred Noyes and Others.

=_Works of Individual Men_=

WITTER BYNNER. Ode to Harvard, 1907; Tiger, 1913; The Little King, 1914; Iphigenia in Tauris, 1915; The New World, 1915; Grenstone Poems, 1917; Any Girl, 1917.

ROBERT FROST. A Boy's Will, 1913; North of Boston, 1914; Mountain Interval, 1916.

RICHARD HOVEY. Plays (uniform edition), 1907-1908.

NICHOLAS VACHEL LINDSAY. General William Booth Enters into Heaven, 1913; Adventures while Preaching the Gospel of Beauty, 1914; The Congo, 1914; The Art of the Moving Picture, 1915; A Handy Guide for Beggars, 1916; The Chinese Nightingale, 1917.

AMY LOWELL. A Dome of Many-Colored Glass, 1912; Sword Blades and Poppy Seed, 1914; Six French Poets, 1915; Men, Women and Ghosts, 1916; Tendencies in Modern American Poetry, 1917; Can Grande's Castle, 1919.

EDGAR LEE MASTERS. Poems, 1898; Maximilian, 1900; The Spoon River Anthology, 1915; Songs and Satires, 1916; The Great Valley, 1916; Toward the Gulf, 1918.

WILLIAM VAUGHN MOODY. Poems and Plays. 1912. 2 vols.

EDWIN ARLINGTON ROBINSON. The Children of the Night, 1897; Captain Craig, 1902 and 1915; The Town down the River, 1910; The Man against the Sky, 1916; Prose plays: Van Zorn, 1914; The Porcupine, 1915; Merlin, 1917.

=_Magazine Articles_=

The magazine articles on poetry are extremely numerous. From among those since 1900 the following are of special interest:

1900-1904. Poetry and the Stage. H. W. Boynton. _Atlantic_, Vol. XCII pp. 120-126. July, 1903.

Poetry of a Machine Age. G. S. Lee. _Atlantic_, Vol. LXXXV, pp. 756-763. June, 1900.

1905-1909. Certain Vagaries of the Poets. _Atlantic_, Vol. C, pp. 431-432. September, 1907.

On the Slopes of Parnassus. A. Repplier. _Atlantic_, Vol. CII, pp. 397-403. September, 1908.

Our Strepitous Poets. _Nation_, Vol. LXXXV, pp. 277-278. Sept. 26, 1907.

Poetry and Elocution. F. B. Gummere. _Nation_, Vol. LXXXIX, pp. 453-454. Nov. 11, 1909.

State of Pseudo-Poetry at the Present Time. J. A. Macy. _Bookman_, Vol. XXVII, pp. 513-517. July, 1908.

1910-1914. Democracy and Poetry. _Nation_, XCIII, pp. 413-414. Nov. 2, 1911.

New Poetry. R. M. Alden. _Nation_, Vol. XCVI, pp. 386-387. April 17, 1913.

1910-1914. New Poets and Old Poetry. B. Hooker. _Bookman_, Vol. XXXI, pp. 480-486. July, 1910.

Taking Poetry too Seriously. _Nation_, Vol. XCVI, pp. 173-174. Feb. 20, 1913.

1915. Imagism, Another View. W. S. Braithwaite. _New Republic_, Vol. III, pp. 154-155. June 12, 1915.

Limits to Imagism. C. Aiken. _New Republic_, Vol. III, pp. 204-205. June 26, 1915.

New Movement in Poetry. O. W. Firkins. _Nation_, Vol. CI, pp. 458-461. Oct. 14, 1915.

Place of Imagism. C. Aiken. _New Republic_, Vol. III, pp. 75-76. May 22, 1915.

1916. New Manner in Modern Poetry. A. Lowell. _New Republic_, Vol. VI, pp. 124-125. March 4, 1916.

New Naïveté. L. W. Smith. _Atlantic_, Vol. CXVII, pp. 487-492. April, 1916.

Poetry To-day. C. A. P. Comer. _Atlantic_, Vol. CXVII, pp. 493-498. April, 1916.

Poetry under the Fire Test. J. N. Hall. _New Republic_, Vol. IX, pp. 93-96. Nov. 25, 1916.

1917. From Florence Coates to Amy Lowell: a Glance at Modernity. O. W. Firkins. _Nation_, Vol. CIV, pp. 522-524. May 3, 1917.

Poetry, Education, and Slang. M. Eastman. _New Republic_, Vol. IX, pp. 151-152, 182-184. Dec. 9, 16, 1916.

Singers and Satirists. O. W. Firkins. _Nation_, Vol. CIV, pp. 157-158. Feb. 8, 1917.

Critical Notes on American Poets. E. Garnett. _Atlantic_, Vol. CXX, pp. 366-373. Sept., 1917.

See also the periodicals _Poetry, a Magazine of Verse_ (see p. 497), as well as _The Poetry Journal_, _The Poetry Review of America_, and _Poet Lore_, entire.

INDEX TO LEADING NINETEENTH-CENTURY PERIODICALS

The following list of periodicals represents a small fraction of those which were established and throve for longer or shorter periods in the United States between 1800 and the present time. The basis of selection has been to include only those which published a generous amount of literature which is still remembered or those of which leading men of letters were editors.

It was intended at first to make the list identical with the periodicals mentioned in the text, but this proved not to be practical. On some of the earlier ones it was not possible to secure exact data concerning length of life, editors, and contributors. Some others mentioned in the text were not of importance enough to justify inclusion. Still others, though not mentioned in the text, were too important to be omitted. The list as it stands, therefore, represents the judgment of the author and would not coincide with that of any other compiler of a list of equal length. It will serve, however, as a fairly representative list and will, perhaps, move some other student of American literature to what is greatly needed--a relatively complete and compact "Who's Who" of American periodicals.

As yet such material is very meager and unsatisfactory. The great number of magazines and the bewildering consolidations, changes of editorship, title, form, period of publication, and place of publication have apparently discouraged anyone's attempting a definitive piece of work. On this account and with this explanation the following brief appendix has been prepared.

AMERICAN MAGAZINE, THE, 1875----. A New York monthly.

Founded in 1875. From 1884 to 1888 the _Brooklyn Magazine_, then resumed its own name, continuing without important developments till it entered on its present régime in 1905. This came with the absorption of _Leslie's_ and the assumption of control by Ray Stannard Baker, Lincoln Steffens, and Ida Tarbell, all former staff writers for _McClure's_. In this latter period it has been specially successful in recognizing younger authors. It has printed much by Bynner, O. Henry, Lindsay, Whitlock, and Poole; by Eaton and Hamilton on the drama; by F. P. Dunne ("Mr. Dooley"), George Ade, and Irvin Cobb; and, among foreign authors, by Wells, Bennett, Kipling, and Locke. It is popular in policy and content.

ATLANTIC MONTHLY, THE, 1857----. A Boston monthly.

Founded in 1857, Francis H. Underwood the prime mover, with the intention of setting new standards for a literary magazine of American authorship. Lowell was first editor; the first notable essay series Holmes's "Autocrat of the Breakfast Table"; the first popular serial story, Mrs. Stowe's "Dred." The field has been consistently divided among fiction, essay, and poetry, and the book reviewing has always been scrupulous. The editors have been Lowell, James T. Fields, W. D. Howells, T. B. Aldrich, Horace Scudder, W. H. Page, Bliss Perry, and the present editor and chief owner, Ellery Sedgwick. Early important contributors were Emerson, Holmes, Longfellow, Lowell, Thoreau, Whittier, Hawthorne, Wendell Phillips. Later issues have included Lafcadio Hearn, Edith Wharton, Frank Norris, Agnes Repplier, Gerald Stanley Lee, S. M. Crothers, William Vaughn Moody, Richard Hovey, and most of the contributors to the best traditions in American literature. (See "The Atlantic Monthly and its Makers," by M. A. De Wolfe Howe.)

BALTIMORE SATURDAY VISITER, 1833----(?). A Baltimore weekly.

Started by Lambert A. Wilmer, who continued with it for only six months. In October of this year Poe's "MS. Found in a Bottle" was published as the winner of a prize competition. This was Poe's one contribution and the _Visiter's_ sole apparent title to fame.

BROADWAY JOURNAL, 1845. A New York weekly.

Founded by C. F. Briggs ("Harry Franco") in January, 1845. So named according to the first editorial from "the first street in the first city of the New World.... We shall attempt to make it entirely original, and instead of the effete vapors of English magazines ... give such thoughts as may be generated among us." Poe and Briggs were associate editors in the spring, until in July, 1845, it went under the sole charge of Poe, who bought it from Briggs for $50. During this year it was Poe's chief vehicle, printing or reprinting some fifteen of his prose tales and two poems. Its business failure took place at the end of the first year. (See "Life of Poe," by George E. Woodberry.)

BROOKLYN DAILY EAGLE, 1841. A Brooklyn daily.

Isaac Van Anden, first editor and publisher. A democratic newspaper with independent judgment. From 1844 (?) to 1848 Walt Whitman was its editor. From 1885, until his recent death, it was under charge of St. Clair McKelway, a brilliant writer and speaker and a constructive educator.

BURTON'S GENTLEMAN'S MAGAZINE (see _Gentleman's Magazine_).

CASKET, THE (_Graham's Magazine_), 1826-1840. A Philadelphia monthly.

Called _Atkinson's Casket_, 1831-1840. Was combined with _Gentleman's Magazine_ and became _Graham's Magazine_.

CENTURY MAGAZINE, THE, 1881----. A New York monthly.

A continuation of the older _Scribner's Monthly_ (1870-1881) on the assumption of control by Roswell Smith. R. W. Gilder was editor from the second number, till his death in 1907. Its policy was to publish articles, singly and in series, related to broad aspects of American life, exposition and poetry playing a larger part in the earlier years than of late. In travel it published Lowell's "Impressions of Spain" and van Dyke's "Sicily"; in biography later portions of Hay and Nicolay's "Lincoln," Jefferson's autobiography, and a Napoleon series. Riis, Bryce, Darwin, Tolstoy, and Burroughs have contributed from their own fields. Notable fiction series have been contributed by Howells, Mark Twain, Crawford, Weir Mitchell, Garland, London, and Mrs. Wharton; and verse by Emerson, Whitman, Gilder, Moody, Markham, and Cawein. (See also _Scribner's Monthly_, p. 499.)

CONGREGATIONALIST AND CHRISTIAN WORLD, THE, 1849----. A Boston weekly.

Founded in 1816 as the _Boston Recorder_ by Nathaniel Willis, father of the more famous Nathaniel Parker Willis, and conducted by him until 1844. From then till about 1890 it was the sectarian organ of the Congregationalists, playing a rôle similar to that of the _Independent_ and the _Christian Union_. In the latter part of the nineteenth century it was under the editorship of W. A. Dunning, who was succeeded by the present editor, Horace Bridgman. It has had a consistent career as a religious weekly, changing with the times, but not modifying itself for the sake of a secular circulation so frankly as the other two have done.

CONSERVATOR, THE, 1890. A Philadelphia monthly.

Founded in 1890 by Horace Traubel, an independent exponent of the world movement in ethics. In 1892 W. H. Ketler, Joseph Gilbert, W. Thornton Innes, and James A. Brown added to the editorial staff and enlarged to contain articles of timely interest, a book-review section, and a "Budget" for the reports of the ethical societies. The chief contributors: Stanton Coit, William Salter, Robert Ingersoll, and M. M. Mangasarian. The magazine gradually dropped its study of ethical questions and became an exponent of "the Whitman argument," treated by Bucke, Harned, Kennedy, Platt, and Helena Born. In 1890 Traubel added extensive dramatic criticism and enlarged the book-review department. Since 1898 the magazine has been an expression of Traubel's radical theories. It contains a long editorial "Collect," which is an uncompromising criticism of the times, a long poem by Traubel, and reviews of current books of socialistic tendencies. During the Great War it was frankly pacific, before the entrance of the United States.

CRITIC, THE, 1881-1906. A New York bi-weekly (1881-1882), weekly (1883-1898), and monthly.

Founded as a "fortnightly review of literature, the fine arts, music, and the drama." The best known of its editors were the latest--J. L. and J. B. Gilder. After the first four years art and music notes were dropped and book reviews were made the leading feature, original essays giving place to extracts from other magazines. In 1900 the design was stated to be "an illustrated monthly review of literature, art, and life." From 1905 politics and technical science were dropped. In 1906 it was absorbed by _Putnam's_. Best-known contributors: E. C. Stedman, Edith M. Thomas, R. W. Gilder, John Burroughs, E. E. Hale, F. B. Sanborn, J. C. Harris, Brander Matthews.

DEMOCRATIC REVIEW, THE UNITED STATES, 1837-1859 (?). A Washington and New York quarterly.

A note in Vol. XXXVIII stated that with Vol. XXXIX it would be issued as a newspaper. At the outset it was the most successful political magazine in the country. It was characterized by Carlyle as "_The Dial_ with a beard." It was at first partisan, until, with payment for its articles, it became broader. Early contributors and best known were Orestes Augustus Brownson, Bancroft, Whittier, Bryant, and Hawthorne.

DIAL, THE, 1840-1844. A Boston quarterly.

Founded as a quarterly organ for the group of Transcendentalists centering about Emerson. Editors: 1840-1842, Margaret Fuller; 1842-1844, Emerson. The issues of 128 pages contained philosophical essays, discussions of German and oriental thought, comments on contemporary art and literature, book reviews, and poetry. The circulation never reached 300 copies, and at the end of the fourth year it was discontinued, the final debts being paid by Emerson. Leading contributors were the editors: Thoreau, Bronson Alcott, Theodore Parker, George Ripley, C. P. Cranch, J. F. Clarke, and Ellery Channing. There was a reprint by the Rowfant Club, Cleveland, in 1901-1902, with the addition of a historical and biographical introduction. (See introduction to the reprint of _The Dial_, Vol. II, George Willis Cooke, 1902.)

DIAL, THE, 1881----. A Chicago (1881-1918) and New York fortnightly.

Founded and edited for a third of a century by Francis F. Browne as a literary review, and able to refer to itself on its thirtieth birthday as "the only journal in America given up to the criticism of current literature" and "the only literary periodical in the country not owned or controlled by a book publishing house or a newspaper." After one or two changes of control, following the death of its founder, _The Dial_ was transferred to New York in July, 1918, extending its editorial policy to include, besides the literary features, discussions of internationalism and of industrial and educational reconstruction.

EVERYBODY'S MAGAZINE, 1899----. A New York monthly.

Founded by John Wanamaker and for the first four years a miscellany best characterized by the purchasers in 1903. The Ridgway-Thayer Company on taking control announced their purpose to do away with the "mawkish, morbid, and unreal," to repress questionable advertising, and in general to transform the magazine. Since then _Everybody's_ has attempted in content to satisfy all sorts of intellectual tastes and at the same time to have a hand in the social and economic investigation of the period. The most celebrated series, which multiplied the circulation, was Thomas W. Lawson's "Frenzied Finance." Literary contributors in recent years have included Mary E. Wilkins Freeman, O. Henry, Frank Norris, Booth Tarkington, Ernest Poole, Dorothy Canfield, and in poetry Margaret Widdemer, Witter Bynner, and others.

EVERY SATURDAY, 1865-1874. A Boston weekly.

A Ticknor and Field publication; one of the numerous "eclectic" mid-century periodicals made up of selected materials chiefly from English magazines. It is of interest partly as a type and partly because Thomas Bailey Aldrich was editor for the nine years of its life. In 1874 it was merged with _Littell's Living Age_(see p. 493).

GALAXY, THE, 1866-1878. A New York monthly.

"An illustrated magazine of entertaining reading." The first volume illustrated the practice of the day in featuring English authors with a leading serial by Anthony Trollope. The American contributors include Bayard Taylor, Howells, Stedman, and William Winter. Later Charles Reade was accompanied by Henry James, John Burroughs, E. R. Sill, and Paul Hamilton Hayne. With contributors of this substantial secondary rank, later still supplemented by Sidney Lanier and Joaquin Miller, the _Galaxy_ completed and died with its twelfth year.

GENTLEMAN'S MAGAZINE, Burton's (1837-1841). A Philadelphia monthly.

Founded by William E. Burton, the actor. Poe was an early, important contributor and in the second year the editor. Although he and Burton separated in 1839, the proprietor saw to it that Poe was reëmployed when in 1841 George R. Graham bought out its circulation of 3500 and merged it with _Atkinson's Casket_ as _Graham's Magazine_.

GODEY'S LADY'S BOOK, 1830-1898. A Philadelphia monthly.

Founded by Louis A. Godey, July, 1830, and managed by him as a monthly until 1877. In 1837 it absorbed the Boston _Lady's Magazine_ and took over its editor, Sarah J. Hale. Its chief distinction and highest circulation (150,000) came under its first manager. It printed much early work of Longfellow, Holmes, Poe, Bayard Taylor, Mrs. Sigourney, and Harriet Beecher Stowe. In its last years it was renamed _Godey's Magazine_. In 1898 it was absorbed by the _Puritan_.

GRAHAM'S MAGAZINE, 1841-1859. A Philadelphia monthly.

Founded by George R. Graham by combining his _Atkinson's Casket_ with his purchase of Burton's _Gentleman's Magazine_. Within a year, largely through Poe's editorial work, the circulation rose from 5000 to 30,000. By 1850 it had reached a circulation of 135,000. Among the later editors were R. W. Griswold, Bayard Taylor, and Charles Godfrey Leland, and among the contributors, Cooper, Longfellow, Poe, Hawthorne, Lowell, N. P. Willis, E. P. Whipple, the Cary sisters, William Gilmore Simms, Richard Penn Smith, and Thomas Dunn English. In January, 1859, _Graham's_ became the _American Monthly_ (see "Philadelphia Magazines and their Contributors," A. H. Smyth, 1892, and the _Critic_, Vol. XXV, p. 44).

HARPER'S NEW MONTHLY MAGAZINE, 1850----. A New York monthly.

Founded by Harper Brothers in order "to place within the reach of the great mass of the American people the unbounded treasures of the periodical literature of the present day"; thus it was an "eclectic" magazine, and in the early years it supplemented this borrowed magazine material with serials by the most popular English novelists. Within four years it had a circulation of 125,000. During the 1860's it became more American in content, and in the 1870's it included a notable series on the transformed South. In the last thirty years it has drawn on the best-known American authors for single articles and serials: Aldrich, Howells, Lowell, Wister, Mrs. Deland, Mark Twain, James, Harte, Mrs. Wharton, Tarkington, Allen; and it has shared in the publication of recent significant poetry by Cawein, Le Gallienne, Untermeyer, Bynner, and the Misses Thomas, Teasdale, Widdemer, and Lowell. (See "The House of Harper," J. H. Harper, 1912, and "The Making of a Great Magazine," Harper & Brothers, 1889.)

HOME JOURNAL, THE, 1847----. A New York monthly.

Jointly founded and conducted by George P. Morris and N. P. Willis as a continuation of their _National Press_ (founded 1845). Both remained with it till death--Willis, the survivor, till 1865. "It was and is," wrote H. A. Beers in his Life of N. P. Willis (1885), "the organ of 'japonicadom,' the journal of society, and gazette of fashionable literature, addressing itself with assiduous gallantry to 'the ladies.'"

INDEPENDENT, THE, 1848----. A New York weekly.

A periodical "Conducted by Pastors of Congregational Churches"; Leonard Bacon, the first editor; Reverend George B. Cheever and Reverend Henry Ward Beecher, contributing editors. Its purpose was to be a progressive religious journal, particularly for Congregationalists, who protested against conservatism in theology and proslavery politics. Eventually it became an open forum for the liberally minded of all sects, being carefully nonpartisan in politics. From 1870 to 1890 it printed good verse, notably poems by Joaquin Miller and Sidney Lanier. The religious and political viewpoints broadened out from 1873. By 1898 an evident attempt was made to popularize the magazine. Since 1914 it has absorbed the _Chautauquan_, the _Countryside_, and _Harper's Weekly_.

KNICKERBOCKER MAGAZINE, THE, 1833-1865. A New York monthly.

The first editor was Charles Fenno Hoffman. From 1839 to 1841 Irving wrote monthly articles for a salary of $2000. Bryant, Whittier, Longfellow, Holmes, Halleck, and most of the secondary writers contributed. The second editor, from 1841 to 1861, was Lewis Gaylord Clark. In its later years the magazine declined, chiefly because it was carrying the tradition of polite and aimless literature into Civil-War times. During its period it stood in the North for the same interests that its contemporary, the _Southern Literary Messenger_, did in the South (see "The Knickerbocker Gallery," 1855, and _Harper's Magazine_, Vol. XLVIII, p. 587).

LIBERATOR, THE, 1831-1865. A Boston weekly.

The most famous and effective abolition journal, founded and edited throughout by William Lloyd Garrison. It was proscribed in the South and denounced in the North. Wendell Phillips and Henry Ward Beecher praised it, but Mrs. Stowe criticized and Horace Greeley misrepresented it. The financial straits it passed through were augmented by the rivalry of other abolition papers. After the Emancipation Proclamation and Lincoln's second Inaugural, announcement of discontinuance was made. The last issue appeared December 29, 1865.

LIPPINCOTT'S MAGAZINE, 1868-1916. A Philadelphia monthly.

One of three magazines founded near 1870--the others _Scribner's Monthly_ and the _Galaxy_--that made an active market for American writers. _Lippincott's_, "a magazine of literature, science, and education," made an unpretentious start and throughout its career published little prose of distinction. Its poetry, however, was excellent. Bayard Taylor and Paul Hamilton Hayne appeared in the first and following numbers. Margaret Preston, Emma Lazarus, Thomas B. Read, George H. Boker, Thomas Dunn English, and Christopher P. Cranch contributed frequently. Whitman, rare in the magazines, wrote in prose, and, most important of all, Lanier found here a channel for much of his verse from 1875 on. In later years a feature of many issues was a complete short novel. In 1916 _Lippincott's_ was absorbed by _Scribner's Magazine_.

LITTELL'S LIVING AGE, 1844----. A Boston monthly.

This is the longest-lived of the eclectic, or "scissors and paste-pot," magazines. It has been made up of reprints from foreign periodicals, sometimes quoting from English apparent sources articles which had been borrowed there from original American publications. In 1874 it absorbed _Every Saturday_ (see p. 491) and in 1898 the _Eclectic Magazine_. It still survives.

MCCLURE'S MAGAZINE, 1893----. A New York monthly.

S. S. McClure publisher and editor. Fiction and poetry have been the dominant features. Contributors (fiction): Kipling, Stevenson, Arnold Bennett, Bret Harte, Mark Twain, Booth Tarkington, Robert Chambers, O. Henry, Jack London; (verse): Wordsworth, Browning, Walt Whitman (reprints), Kipling, Witter Bynner, Edgar Lee Masters, Hermann Hagedorn, Louis Untermeyer. It was the first magazine to sell at the popular price of fifteen cents. The nonliterary articles on affairs of the day were prepared on assignment by expert writers such as Ida Tarbell, Ray Stannard Baker, and Lincoln Steffens, years sometimes being spent on a single series. In 1905 these three assumed control of the _American_, but the policy has been continued to the present.

MIRROR, THE NEW YORK, 1823-1846. A New York weekly.

Founded by George P. Morris and Samuel Woodworth (remembered respectively for "Woodman, Spare that Tree" and "The Old Oaken Bucket"). In 1831 the _Mirror_ absorbed the _Boston American Monthly_ together with its editor, Nathaniel Parker Willis. In the next year Willis wrote for it the first of his travel series, "Pencillings by the Way," continuing with weekly letters for four years. In 1839 Hawthorne became a contributor. In 1844-1845 Poe was subeditor and critic, his most famous contribution being "The Raven," January, 1845. In 1845 the weekly became a daily--the _Evening Mirror_--and in 1846 it was discontinued.

NATION, THE, 1865----. A New York weekly.

Publishers: Joseph H. Richards, 1865; Evening Post Publishing Co., 1871; E. L. Godkin Co., 1874; _Evening Post_, 1881; _New York Evening Post_, 1902; Nation Press, Inc., New York, 1915. Editors have changed frequently, the most famous being the first, E. L. Godkin, who was in the chair from 1865 to 1881. Oswald Garrison Villard, present editor. It has been devoted to discussions of politics, art, and literature and to reviews of the leading books in these fields. Representative contributors have been Francis Parkman, T. R. Lounsbury, B. L. Gildersleeve, J. R. Lowell, Carl Schurz, James Bryce, William James, Paul Shorey, and Stuart Sherman. (See "Fifty Years of American Idealism," edited by Gustav Pollak. 1915. Also the "Semicentenary Number," 1915.)

NEW ENGLAND COURANT, THE, 1721-1727. A Boston weekly.

Founded by James Franklin and carried on by him and a group of friends known as the Hell-Fire Club. The _Courant_ represents a violent and somewhat coarse reaction against the domination of the New England clergy. It was written after the manner of the _Spectator_ with frequent paraphrased and a few quoted passages. After the imprisonment of James the paper was carried on by the youthful Benjamin Franklin, who had already contributed the fourteen "Do-Good Papers." The _Courant_ gave evidence of much wit and enterprise, but quite lacked the urbanity of its English model.

NEW ENGLAND MAGAZINE, THE, 1831-1835. A Boston monthly.

Founded by Joseph T. Buckingham, former editor of the _Polyanthus_,1805-1807 and 1812-1814, the _Ordeal_,1809, the _New England Galaxy_,1817-1828, and the _Boston Courier,_, a daily, 1814-1848. The _New England Magazine_, superior to any of these, was the project of Edwin, a son, who gave it distinction in a single year of editorship before his death, at the age of twenty-two. The father continued in charge for eighteen months, relinquishing it for the final year to Charles Fenno Hoffman and Park Benjamin. These latter took the magazine to New York in January, 1836, renaming it the _American Monthly Magazine_. The younger Buckingham showed enterprise in enlisting well-known contributors and acuteness in securing copy from Longfellow, Whittier, Holmes, and Hawthorne before they were widely known. It was in the _New England_ that Holmes originated "The Autocrat of the Breakfast Table" in two numbers of 1832, reviving the theme in his first _Atlantic_ series twenty-five years later; and here also Hawthorne printed many stories now in "Twice-Told Tales" and "Mosses from an Old Manse." (See "The First _New England Magazine_ and its Editor," by George Willis Cooke, _New England Magazine_ (N. S.), March, 1897.)

NEW YORK EVENING POST, THE, 1801----. A New York daily.

A Federal paper at first. Alexander Hamilton and John Jay aided in its establishment. William Coleman, first editor. Bryant began to write for the _Post_ in 1826. He was editor from 1829 to 1878.

NEW YORK REVIEW AND ATHENÆUM MAGAZINE, THE, (?)-1827. A New York monthly.

A type of the short-lived magazine which rose and then combined with or absorbed others in a succession of changes. This was first the _Review_, then in March, 1826, it was merged with another periodical into the _New York Literary Gazette or American Athenæum_, and a little later it combined with Parson's old paper, the _United States Literary Gazette_, to form the _United Stales Review and Literary Gazette_. It is mentioned because of Bryant's contributions and his editorship from 1826 until its discontinuation.

NEW YORK TRIBUNE, THE, 1841----. A New York daily.

Started by Horace Greeley as a reform newspaper in support of President Harrison. In 1847 Greeley enlisted the support of several of the Brook Farm group--George Ripley, Margaret Fuller, Charles A. Dana, and George William Curtis--and secured as later contributors Carl Schurz, John Hay, Henry James, William Dean Howells, Bayard Taylor, Whitelaw Reid, E. C. Stedman, and others. The _Tribune_ made much of its literary side, not only in book reviews and discussions of contemporary art and letters but in the inclusion of much significant verse. The _Tribune_ was an important ally in securing the election of Lincoln and supporting his policies. It has continued to be one of the leading New York dailies, but its great days were concluded with the resignation of Greeley in 1872.

NEW REPUBLIC, THE, 1914----. A New York weekly.

A "journal of opinion" founded with the assistance of Mr. Willard Straight by Herbert Croly and associates. As its subtitle indicates, it is chiefly concerned with problems of national and international import, but, in addition to the articles by editors and contributors on affairs of the day, it includes papers on the art, music, and literature of the present and the recent past, occasional light essays, discriminating book reviews, and verse. Representative contributors have been John Graham Brooks, John Dewey, William Hard, Elizabeth Shipley Sargent, Louis Untermeyer, Robert Frost, Edwin Arlington Robinson, and, from England, Norman Angell, H. M. Brailsford, and H. G. Wells.

NORTH AMERICAN REVIEW, THE, 1815----. A Boston and New York quarterly.

Successor to the _Boston Monthly Anthology_, 1803-1811, being founded by an editor, William Tudor, and several contributors who had been members of the Anthology Club. After three years as a general literary bimonthly it became a quarterly review. Among early contributors, besides well-known leaders in political thinking, were George Ticknor, George Bancroft, Bryant, and Longfellow. Until the founding of the _Atlantic_ it was the leading organ of conservative thought in New England. For the decade from 1864 it was under the joint editorship of James Russell Lowell and Charles Eliot Norton. Since 1878 it has been in New York, changing in editorship and periods of publication. It became settled as a monthly under George Harvey. The more purely literary American contributors of the last few years have been Howells, Mabie, Matthews, Woodberry, Miss Repplier, Miss Teasdale, Miss Lowell, Hagedorn, Robinson, Mackaye, and Ficke. (See _North American_, Vol. C, p. 315, and Vol. CCI.)

OUTLOOK, THE, 1870----. A New York weekly.

Founded in 1870 as the _Christian Union_, an undenominational paper, by Henry Ward Beecher. In 1876 he shared his duties as editor with Lyman Abbott, present editor. In 1884 Hamilton Wright Mabie was added as associate editor. Title was changed to _The Outlook_ in 1893. Mabie secured contributions from men like James Bryce and Edward Dowden, translations from the works of Daudet and François Coppée. Recent American literary contributors: Ernest Poole, Vachel Lindsay, Cawein, Oppenheim. New political impetus came with contributions from Theodore Roosevelt, beginning 1909. The paper has had more or less of ecclesiastical character all along, but at present may be characterized as seeking to mold public opinion and interpret current events. One number of each month is enlarged to contain special departments; called Illustrated Magazine Number from 1896 to 1905.

PENNSYLVANIA GAZETTE, THE, 1729-1821. A Philadelphia weekly.

The new name and new periodical founded by Benjamin Franklin when he purchased Samuel Keimer's _Universal Instructor_ in October, 1729. The news element was slight and unreliable, but the literary, Addisonian essays gave the paper character at once. These gave way later to essays more distinctly peculiar to Franklin's own point of view and kind of humor. The book advertisements supplemented this essay material in contributing to the broader culture of the readers. After Franklin's personal withdrawal the traditions of the _Gazette_ were continued. In 1765 Franklin sold out to his partner David Hall. With the death of his grandson, also David Hall, the paper passed into the hands of Atkinson and Alexander and was renamed the _Saturday Evening Post_ (p. 498).

POETRY, 1912----. A Chicago monthly.

A magazine of verse. Harriet Monroe, editor. Ralph Fletcher Seymour Co., Chicago, publishers. Advisory committee: H. B. Fuller, Edith Wyatt, and H. C. Chatfield Taylor. It was guaranteed for five years by endowment fund and contained no advertisements at the beginning. It has been a vehicle for poetry from all parts of the world by poets with or without fame. Now it contains book-list awards, reviews, and poetry announcements and advertisements. The original staff is almost unchanged. It seems to be on a sound financial footing.

POOR RICHARD'S ALMANAC, 1733-1748.

Founded by Benjamin Franklin. Its chief feature was its inclusion in the reading matter of the proverbial sayings, the best of which were combined in "The Way to Wealth." It was characterized by a French critic of the day as "the first popular almanac which spoke the language of reason." It was conducted by Franklin until 1748.

PORT FOLIO, THE, 1806-1827. A Philadelphia weekly and monthly.

Founded by Joseph Dennie as a weekly newspaper. From 1806 to 1809, though continuing as a weekly, it assumed the character of a literary magazine, and in the latter year became a monthly. Its most distinctive period was in the first eleven years before the death of Dennie. While he was editor the _Port Folio_ was a vehicle of "polite letters." It was imitative in style and reminiscent in point of view, but it was wholesome in its honesty about American matters and manners and exerted a strong and healthy influence. The best-known contributors were the editor, "Oliver Oldschool," John Quincy Adams, and Charles Brockden Brown.

PUTNAM'S, 1853-1858, 1868-1870, 1906-1910. A New York monthly.

Publishers, G. P. Putnam and Co., New York. _Putnam's Monthly Magazine_ of American literature, science, and art. Established by George P. Putnam with the assistance of George William Curtis and others. In 1857 merged into _Emerson's United States Magazine_, which was continued as _Emerson's Magazine and Putnam's Monthly_. Discontinued November, 1858. January, 1868-November, 1870, _Putnam's Monthly Magazine_. Original papers on literature, science, art, and national interests. Merged into _Scribner's Monthly_, December, 1870. October, 1906-March, 1910, reëstablished and merged with the _Critic_, founded in 1881; issued by Messrs. Putnam since 1898. An illustrated monthly of literature, art, and life. Absorbed the _Reader_, March, 1908. Titles vary during this period. A large number of full-page and smaller illustrations. One serial running, small proportion of verse, special articles, comments, and criticisms on literature and the fine arts, science, travel, statesmanship. Alternating emphasis with successive issues on the different arts. Typical contributors and contributions, with illustrations concerning: Lafcadio Hearn, Mark Twain, William Dean Howells, Stedman, Stoddard, Henry James, Longfellow, Franklin, Margaret Deland, Maeterlinck, Thomas Edison, Binet, Corot, Helen Keller, Nazimova, Gladstone, the Bonapartes. Absorbed by the _Atlantic Monthly_, April, 1910.

ROUND TABLE, THE, 1864-1869. A New York monthly.

A literary journal founded in New York in emulation of Boston's _Atlantic_ and supported with great interest by Aldrich, Stedman, Bayard Taylor, and their circle. It was suspended during parts of 1864-1865 and discontinued in July, 1869, in spite of the efforts to secure a subsidy for it from the wealthy men of New York.

RUSSELL'S MAGAZINE, 1857-1860. A Charleston monthly.

Founded by John Russell, Charleston bookseller, with Paul Hamilton Hayne as editor. A monthly periodical for the literary group centering around William Gilmore Simms. Contained fiction, sketches, addresses, reviews, and essays on various topics--political, historical, literary, artistic, scientific. These were mainly unsigned, but the leading contributors were Simms, Hayne, Timrod, James L. Petigru, John D. Bruns, and Basil Gildersleeve. With the approach of the Civil War it was discontinued March, 1860. (Lives of P. H. Hayne and W. G. Simms. Three Notable Ante-Bellum Magazines of South Carolina, Sidney J. Cohen, University of South Carolina, _Bulletin 42_.)

SATURDAY EVENING POST, THE, 1821----. A Philadelphia weekly.

A lineal descendant of Franklin's _Pennsylvania Gazette_(see p. 496). It was given its present name in 1821 when Samuel C. Atkinson and Charles Alexander took control, Atkinson being the surviving partner of David Hall, grandson and namesake of Franklin's partner to whom the _Gazette_ was sold in 1765. In one hundred and eighty years the only interruption to consecutive issues was during the British occupation of Philadelphia. The _Post_ of recent years has been one of the American weeklies of largest circulation. It contains fiction, up-to-date personalia, and brisk articles on the affairs of the moment. Its attitude toward thrift, industry, and the way to wealth is completely consistent with the ethics of Franklin. It is conducted by the Curtis Publishing Company and edited by George H. Lorimer.

SATURDAY PRESS, THE, 1858-1860. A New York weekly.

The special organ of the "Bohemians"--a group of New Yorkers who acknowledged Henry M. Clapp as their leader. Other contributors were Fitz-James O'Brien, Thomas Bailey Aldrich, R. H. Stoddard, William Winter, and E. C. Stedman, The _Press_ was brilliant but short-lived, announcing in its last number in early 1860 that it was "discontinued for lack of funds which [was], by a coincidence, precisely the reason for which it was started." (See H. M. Clapp in Winter's "Other Days," and "The Life of Stedman," by Stedman and Gould.)

SCRIBNER'S MAGAZINE, 1886----. A New York monthly.

Founded December, 1886, by Messrs. Scribner (entirely distinct from old _Scribner's Monthly_), with E. L. Burlingame as editor. Illustrated. Typical contributors, in the early years: H. C. Bunner, Joel Chandler Harris, Sarah Orne Jewett, Barrett Wendell, E. H. Blashford, Richard Henry Stoddard, Thomas Bailey Aldrich, T. W. Higginson, W. C. Brownell, Charles Edwin Markham, Robert Louis Stevenson; in recent years: Winston Churchill, J. L. Laughlin, W. C. Brownell, Meredith Nicholson, John Galsworthy, etc. Articles of popular interest on art, music, nature, travel, and since 1914 a section given to the World War. Aim and policy unchanged.

SCRIBNER'S MONTHLY, 1870-1881. A New York monthly.

Founded by Roswell Smith, manager, and J. G. Holland, editor, and published as _Scribner's_, but not like _Harper's_ as a publishing-house magazine. The design from the first was to deal with matters of social and religious opinion from the liberal viewpoint. At the outset it absorbed _Hours at Home_ and _Putnam's_ and in 1873 Edward Everett Hale's _Old and New_. It was the first to undertake a series on the new South and to encourage Southern contributors, including Lanier, Thomas Nelson Page, George W. Cable, and Joel Chandler Harris. Most notable among its series were portions of Grant's Memoirs and Hay and Nicolay's "Life of Lincoln," George Kennan's Siberian papers, and Hay's anonymous novel "The Breadwinners." _Scribner's Monthly_ was a pioneer in the use of illustrations made by the new mechanical methods of reproduction. The magazine never printed or sold less than 40,000 copies, and when in 1881 it changed ownership and became the _Century_ it had a circulation of 125,000. (See Tassin's "The Magazine in America," pp. 287-301.)

SOUTHERN LITERARY MESSENGER, 1834-1865. A Richmond monthly.

Founded at Richmond, Virginia, in August, 1834, by Thomas W. White, as a semimonthly, but changed to a monthly almost at once. Poe contributed to the seventh number and from then on in each number till he became assistant editor from July, 1835, to January, 1837. During this period the circulation increased from 700 to 5000. Well established by this time, it continued as the most substantial and longest lived of the Southern magazines. A vehicle for literature between the too heavy and the frivolous, and an honest review. Poe's contributions outrank those of any other writer, but the list of contributors includes N. P. Willis, C. F. Hoffman, R. W. Griswold, J. G. Holland, R. H. Stoddard, W. M. Thackeray, Charles Dickens, G. P. R. James, John Randolph, R. H. Bird, Philip P. Cooke, J. W. Legare, P. H. Hayne, Henry Timrod, John P. Kennedy, and Sidney Lanier. (See "The Southern Literary Messenger," by B. B. Minor.)

SOUTHERN MAGAZINE, THE, 1871-1875. A Baltimore monthly.

The most distinguished of the several short-lived Southern magazines established in the Civil War reconstruction period. It was a continuation of the _New Eclectic_, but included, in addition to the English reprints, original work by many Southern authors. These were, among others, Margaret Preston, Malcolm Johnson, Sidney Lanier, Paul Hamilton Hayne, and Professors Gildersleeve and Price. It could pay nothing for manuscript, however, and the new interest in Southern writing awakened by _Scribner's_ in 1873, and responded to by _Harper's_, the _Atlantic_, _Lippincott's_, the _Independent_, and others, furnished support as well as stimulation to its best contributors and hastened its death at the end of five years.

WESTERN MESSENGER, THE (Cincinnati), 1835-1841.

Begun by Reverend Ephraim Peabody. Published by Western Unitarian Society aided by American Unitarian Association. Purposed to make it a vehicle for clear, rational discussion of important and interesting topics. Discussed reform movements, religious questions and creeds, and encouraged expression of all cultural ideas,--literary articles, poetry, book reviews, etc. Contributors: Mann Butler, W. D. Gallagher, James H. Perkins, R. W. Emerson, J. S. Dwight, Elizabeth P. Peabody, Jones Very, James Freeman Clarke, Dr. Lyman Beecher, Professor Calvin E. Stowe, Margaret Fuller, C. P. Cranch. Sought to make it Western in spirit with many Western contributors and articles on history of the West. 1836-1839 in Louisville, under J. F. Clarke, then back to Cincinnati, under William H. Channing, till April, 1841.

WESTERN MONTHLY MAGAZINE, THE (Cincinnati), 1833-1836.

Edited for two and one-half years by James Hall and for six months by Joseph R. Foy. Thirty-seven contributors, of whom six were women and only three from east of the Alleghenies. Harriet Beecher won "the prize tale" in April, 1834, and contributed another story in July. The contents made up largely of expository articles on art, history, biology, travel, education, economics, and modern sociology. The book notices were independent and discriminating.

YALE REVIEW, THE, 1892-1911, 1911----. Issued quarterly.

Continued _New Englander and Yale Review_. G. P. Fisher and others, editors. In 1900 changed from a "journal of history and political science" to a "Journal for the Scientific Discussion of Economic, Political, and Social Questions"; 1911---- "a quarterly magazine devoted to Literature, Science, History, and Public Opinion." Yale Publishing Association, Inc., Wilbur D. Cross, chief editor. Not an official publication of Yale University. Made up of serious articles and essays, some light essays and verse, and literary criticism. Leading contributors, prose: W. H. Taft, Norman Angell, Walter Lippman, Simeon Strunsky, Vida D. Scudder; verse: Witter Bynner, Louis Untermeyer, Sara Teasdale, Edgar Lee Masters, Robert Frost, John Masefield. Thus its place as a literary periodical has been assumed only within the last decade. The old _New Englander_ (1843-1892) was a substantial and dignified journal but included the work of no writer of even minor literary achievement.

INDEX

"Abraham Davenport" (Whittier), 261

"Acknowledgment" (Lanier), 355, 356

Adams, John, 68, 69, 343

Addison, Joseph, 45, 47, 48, 102, 116, 123, 163, 166, 191, 254, 317, 343

"Adios" (Miller), 407

Agassiz, Louis, 229, 294

"Agile Sonneteer, The" (Sill), 401

"Al Aaraaf, Tamerlane, and Minor Poems" (Poe), 176

Alcott, Bronson, 195, 196

Aldrich, Thomas Bailey, 324, 327-331, 332, 411, 453

"Alectryon" (Stedman), 333

"Algerine Captive, The" (Tyler), 103

Allan, John, 174, 175, 176, 179

Allston, Washington, 313

Almanacs, colonial, 50, 51

"American Anthology, An" (Stedman), 332

American Anti-Slavery Society, 257, 258

"American Claimant, The" (Twain), 383

American deference to Old World culture, 70, 78, 79,94, 108, 111-114, 120, 121, 133, 142, 143, 152, 153, 154, 163, 168, 177, 190, 201, 204, 268, 272, 292, 333, 336, 367, 389, 419, 433, 438

American isolation, 111

"American Literature, Library of" (Stedman), 332

_American Magazine, The_, 487

_American Manufacturer, The_, 255

_American Monthly Magazine, The_, 239

"American Notebooks" (Hawthorne), 241

"American Register, The" (Brown), 102

"American Scholar, The" (Emerson), 204

"American, The" (James), 423

Ames, Nathaniel, 50, 51

Amesbury (Mass.), 253

"Among my Books" (Lowell), 289

"Among the Redwoods" (Sill), 399

Andover (Mass.), 22, 304

"André" (Dunlap), 96

Andros, Governor, 27

"Annabel Lee" (Poe), 179

"Annie Kilburn" (Howells), 419

"Antiquity of Freedom, The" (Whittier), 166

"April Hopes" (Howells), 418

_Arcturus_, 283

Arnold, Matthew, 213, 216

"Arrow and the Song, The" (Longfellow), 272

"Arthur Mervyn" (Brown), 105, 106

_Atlantic Monthly, The_, 232, 265, 267, 288, 305, 314, 317, 327, 329, 345, 381, 397, 415, 416, 478, 488

Austen, Jane, 107, 249

"Autocrat of the Breakfast Table, The" (Holmes), 316-318

"Autumn" (Thoreau), 230

"Awkward Age, The" (James), 423

Bakst, Leon, 184

"Ballad of Babie Bell, The" (Aldrich), 330

"Ballad of the Oysterman, The" (Holmes), 315

"Ballads and other Poems" (Longfellow), 271

_Baltimore Saturday Visiter, The_, 176, 488

"Barbara Frietchie" (Whittier), 260

Barlow, Joel 65, 76, 86, 111

"Baroness of New York, The" (Miller), 404, 406

"Battlefield, The" (Whittier), 166

"Bay Psalm Book," 5, 19, 21

"Beat! Beat! Drums!" (Whitman), 366

Beaumont and Fletcher, 92

"Bee, The" (Lanier), 354

Beecher, Henry Ward, 299

"Bells, The" (Poe), 179, 183

"Bells: a Collection of Chimes, The" (Aldrich), 330

Bennett, James Gordon, 385

Bierce, Ambrose, 187

"Biglow Papers" (Lowell), 284, 285, 286

"Bill and Joe" (Holmes), 320

Bird, Robert M., 93, 97

"Black Cat, The" (Poe), 186

Blake, William, 182

"Blithedale Romance, The," (Hawthorne), 241, 244, 245

Bohemia, 328, 335, 345, 363

Boker, George H., 93

Book Lists, 13, 24, 37, 57, 58, 67, 84-87, 98, 108, 137-139, 155, 156, 171, 188, 197, 218, 233, 249, 265, 279, 296, 308, 321, 340, 358, 377, 393, 408, 434, 451, 484

Boston, 5, 8, 28, 34, 42, 50, 77, 91, 173, 199, 240, 252, 261, 267, 306, 307, 310, 332, 343, 416

_Boston Miscellany, The_, 283

Boucicault, Dion, 437

Bowdoin College, 238, 268, 301, 325

"Bracebridge Hall" (Irving), 117, 417

Brackenridge, H. H., 97, 103

Bradford, William, 7, 8

Bradstreet, Anne, 21-26, 83, 301

Bradstreet, Simon, 21

"Brahma" (Emerson), 214

"Bravo, The" (Cooper), 153

Bridge, Horatio, 240

"Bridge, The" (Longfellow), 272

_Broadway Journal, The_, 178, 488

"Broker of Bogota, The" (Bird), 97

Brook Farm, 196, 197, 240

_Brooklyn Daily Eagle, The_, 363, 488

"Broomstick Train, The" (Holmes), 320

"Brother Jonathan's Lament for Sister Caroline" (Holmes), 319

Brown, Charles Brockden, 100-109, 412

Brown, John, "of Harper's Ferry," 232

Brownell, Henry Howard, 331

Browning, Robert, 261, 358

"Brutus" (Payne), 97

Bryant, William Cullen, 110, 158-171, 190, 191, 269, 277, 292, 324, 325, 357, 414

_Buffalo Express, The_, 384

Bunyan, John, 47, 274

Burke, Edmund, 58

Burns, Robert, 255, 256, 262, 264

Burroughs, John, 229, 364, 375

_Burton's Gentleman's Magazine_, 177, 491

Bynner, Witter, 453, 482-484

Byron, Lord, 175, 256, 370, 405, 406

Cable, George W., 412, 424, 425

California, 380, 381, 383, 396, 397, 398, 399, 400, 403, 406

Cambridge, England, 10

Cambridge (Mass.), 50, 211, 267, 282, 310, 397

Campbell, Thomas, 316, 317

Carlyle, Thomas, 191, 202, 228, 253, 275, 364

"Cask of Amontillado, The" (Poe), 179, 182, 183, 186

"Cassandra Southwick" (Whittier), 261

"Celestial Pilot, The" (Longfellow), 271

_Century, The_, 336, 489

Century Club, 170

"Chambered Nautilus, The" (Holmes), 319

Channing, William Ellery, 229, 231

Charles I, 47

Charles II, 30

"Charles II" (Payne-Irving), 97

Charleston (S. C.), 45, 77, 89, 91, 344, 345

"Charlotte" (Rowson), 103

Chaucer, Geoffrey, 22

Chesterfield, Lord, 53, 95

Chesterton, Gilbert, 187

"Christmas in California" (Sill), 399

"Christus: a Mystery" (Longfellow), 274, 278

Chronological charts, 90

Church of England, 10, 27, 33

Churchill, Winston, 420, 431, 432

Cincinnati, 300

_Citizen of the World_, 116

Civil War, 73, 94, 168

Clemm, Virginia, 179

"Clocks of Gnoster Town, The" (Sill), 398

Coleridge, Samuel Taylor, 191, 202, 405

Collins, Wilkie, 187

Colonization, 4, 5, 61, 66

Columbia University (Oregon), 402

"Columbiad, The" (Barlow), 76 "Comet, The" (Holmes), 315

"Commemoration Ode" (Lowell), 289, 294

"Compensation" (Emerson), 212

"Concord Centennial, The" (Lowell), 289

"Concord Hymn, The" (Emerson), 214

_Conservator, The_, 489

Concord (Mass.), 191, 192-194, 202, 210, 221, 236, 245, 267, 282, 283, 332

_Congregationalist and Christian World_, 489

"Conqueror Worm, The" (Poe), 185

"Conquest of Granada" (Irving), 117

Consular service, 118, 241, 416

"Contentment" (Holmes), 320

"Contrast, The" (Tyler), 91, 94-96

"Conversations on some of the Old Poets" (Lowell), 283

"Coplas de Don Jorge Manrique, The" (Longfellow), 271

Cooper, James Fenimore, 6, 75, 94, 108, 110, 130, 141-157, 170, 190, 200, 269, 292

"Corn" (Lanier), 354

"Cotton Boll, The" (Timrod), 346

Cotton, Reverend John, 11

Craig, Gordon, 184

Crawford, F. Marion, 424, 426

"Credo" (Gilder), 340

Crèvecoeur, M. G. St. J., 59-68, 69, 83, 227, 229

"Crisis, The" (Churchill), 259, 427

_Critic, The_, 490

"Croaker Papers" (Halleck and Drake), 134, 314

"Culprit Fay, The" (Drake), 135-136, 181

"Daily Trials" (Holmes), 315

Dante, 267, 271, 277

Dartmouth College, 312

"Dawn" (Gilder), 337

"Day is Done, The" (Longfellow), 272

"Day of Doom, The" (Wigglesworth), 18-21, 51, 83

"Deacon's Masterpiece, The" (Holmes), 305, 315, 318, 320

"Death of Slavery, The" (Bryant), 168

"Deerslayer, The" (Cooper), 144

Deland, Margaret, 307, 428, 430

"Demagogue, The" (Gilder), 338

Democracy, 27, 65, 116

"Democracy" (Lowell), 293

_Democratic Review, The_, 362, 490

Defoe, Daniel, 47

"Departure of the Pilot, The" (Sill), 399

De Quincey, Thomas, 202, 415

"Destiny" (Aldrich), 331

Detective story, the, 186

_Dial, The_ (Boston), 195, 196, 314, 345

_Dial, The_ (Chicago), 490

Dickens, Charles, 119, 186, 381, 416, 418

Diction, literary, 10-11, 49, 81, 106, 119, 130, 131, 212, 263, 370, 400, 406

Diplomatic service, 117, 118, 290

"Divinity School Address" (Emerson), 206

"Doctor Grimshaw's Secret" (Hawthorne), 241

"Dolliver Romance, The" (Hawthorne), 241

"Domestic Life" (Emerson), 223

"Dorothy Q." (Holmes), 320

Doyle, Sir Arthur Conan, 187

Drake, Joseph Rodman, 134-136, 164, 176

Drama, 89-99, 338, 344, 437-452

Dramatic producers, 91, 96, 437, 443-444

"Dred, a Tale of the Great Dismal Swamp" (Stowe), 305

"Drum-Taps" (Whitman), 365

Dryden, John, 78

Dunlap, William, 91, 96, 100, 437, 439

Dwight, James S., 313

Dwight, Timothy, 65, 75, 85, 103, 111

"Earth" (Bryant), 168

"Earth Song" (Emerson), 253

"Edgar Huntly" (Brown), 106

_Edinburgh Review, The_, 119

Edwards, Jonathan, 41, 43, 56, 102, 103

Egan, Pierce, 95, 103

Eliot, George, 307, 416

Elizabeth, Queen, 2, 4, 24

"Elsie Venner" (Holmes), 312, 315

Emerson, Ralph Waldo, 60, 136, 190, 191, 195, 196, 199-220, 221, 222, 223, 225, 227, 229, 230, 232, 236, 252, 279, 287, 288, 293, 311, 339, 340, 364, 369, 375, 453

"Emigrants, The" (Imlay), 103

English recognition of American authors, 107, 111, 118, 119, 150

"Essay for the recording of Illustrious Providences, An" (I. Mather), 29, 30, 31

"Essays to Do Good" (C. Mather), 47

"Ethiopia Saluting the Colors" (Whitman), 368

"Ethnogenesis" (Timrod), 346

European travel, 115, 132, 151, 202, 241, 268, 269, 286, 383, 389

"Evangeline" (Longfellow), 273, 274, 276

Evelyn, John, 33

_Evening Mirror, The_, 178, 327

_Every Saturday_, 327, 328, 491

_Everybody's Magazine_, 491

"Excelsior" (Longfellow), 271

"Eye of a Needle, The" (Howells), 419

"Fable for Critics, A" (Lowell), 151, 284, 285

"Fall of the House of Usher, The" (Poe), 182

"Familiar Portraits" (Stevenson), 228

"Fanny" (Halleck), 134, 135, 334

"Fanshawe" (Hawthorne), 239

"Farewell to Agassiz" (Holmes), 320

"Fashion" (Mowatt), 95

"Fearful Responsibility, A" (Howells), 417

Fielding, Henry, 415, 418

Fields, James T., 238, 241, 288, 328, 333

Fitch, Clyde, 438, 439, 440, 444

"Five Lives" (Sill), 400

"Flood of Years, The" (Bryant), 169

"Fool's Errand, A" (Tourgée), 348

"Force" (Sill), 400

"Foregone Conclusion, A" (Howells), 417

"Franklin, Autobiography of," 49, 50, 51, 52-55

Franklin, Benjamin, 43-57, 69, 83, 254, 387

"Freedom of the Will" (Edwards), 42

Freneau, Philip, 69, 72-82, 83, 85, 100, 163, 168, 261

"Fringed Gentian, The" (Bryant), 162

Frost, Robert, 453, 466-469

Fuller, Margaret, 195, 196

Garland, Hamlin, 412, 429-430, 441

_Galaxy, The_, 491

Garrison, William Lloyd, 254, 255, 256, 302

"Garrison of Cape Ann" (Whittier), 261

George III, 66

German influence, 97, 127, 191, 271, 272

"Gilded Age, The" (Twain and Warner), 382

Gilder, Richard Watson, 324, 336-340

Gilman, President Daniel C., 397

_Godey's Lady's Book_, 178, 180, 491

Godfrey, Thomas, 91, 92, 96

Godwin, William, 101, 104, 105, 106, 107

"Gold Bug, The" (Poe), 178, 186

"Golden Legend, The" (Longfellow), 274

Goldsmith, Oliver, 116, 123, 163, 191, 249, 262, 268, 316, 317, 416, 441

Goodrich, S. G., 239

"Good Shepherd, The" (Longfellow), 271

Gothic romance, 104, 107

_Graham's Magazine_, 178, 283, 492

"Grandissimes, The" (Cable), 425

"Grave, The" (Longfellow), 271

Greeley, Horace, 325, 328, 385

"Greenfield Hill" (Dwight), 75

"Guardian Angel, The" (Holmes), 313

"Gulliver's Travels," 122, 274

"Hail Columbia," 96

Halleck, Fitz-Greene, 113, 133-137, 181, 324, 325, 328, 330, 334

"Hampton Beach" (Whittier), 261

"Happiest Land, The" (Longfellow), 271

Hardy, Thomas, 187

_Harper's Magazine_, 419, 492

Harris, Joel Chandler, 412, 424, 425

Harte, Bret, 49 (note), 151, 380, 381, 411, 412, 415

Hartford (Conn.), 261, 299, 305, 332, 384

Harvard College, 28, 29, 33, 42, 200, 204, 206, 207, 221, 268, 269, 270, 280, 287, 310, 312, 315, 325, 327

Haverhill, 252, 253, 332

_Haverhill Gazette, The_, 255, 256

Hawthorne, Nathaniel, 36, 108, 118, 190, 191, 196, 200, 236-251, 252, 411, 412

Hay, John, 118, 431

Hayne, Paul Hamilton, 347-349, 350

"Hazard of New Fortunes, A" (Howells), 419

"Headsman, The" (Cooper), 153

"Heartsease and Rue" (Lowell), 291

"Heidenmauer, The" (Cooper), 153

"Her Explanation" (Sill), 400

"Heredity" (Aldrich), 331

"Hermitage, The" (Sill), 397, 398, 400

"Heroic Age, The" (Gilder), 338

"Hiawatha, The Song of" (Longfellow), 273, 275, 276, 364, 369

Histories, American, 7, 29, 32

"History of the Life and Voyages of Christopher Columbus, The" (Irving), 117

"History of Plimouth Plantation, A" (Bradford), 7

Holmes, Oliver Wendell, 170, 190, 228, 252, 267, 310-323, 325, 328, 329, 333, 412, 431

"Home Acres" (Gilder), 337

"Home as Found" (Cooper), 75, 153, 190

_Home Journal, The_, 492

"Homeward Bound" (Cooper), 153, 190

Hopkinson, Francis, 68, 69, 70, 84, 92

Hopkinson, Joseph, 96

_Hours at Home_, 336

"House of the Seven Gables" (Hawthorne), 241, 242, 245, 246

Hovey, Richard, 93, 444, 445, 454-457

"How Love Looked for Hell" (Lanier), 355

"How to Tell a Story" (Twain), 386

Howard, Bronson, 437

Howe, Julia Ward, 93

Howells, William Dean, 49 (note), 118, 249, 293, 328, 339, 384, 393, 413-422, 427

"Hugh Wynne" (Mitchell), 426

"Hymn of the City" (Bryant), 165

"Hymn to Death" (Bryant), 161

"Hyperion" (Longfellow), 270

"I'll not Confer with Sorrow" (Aldrich), 331

"Image of God, The" (Longfellow), 271

Imagists, 231, 479

Imlay, G., 103

Immigration to America, 61

"Imp of the Perverse, The" (Poe), 185

"In Helena's Garden" (Gilder), 337

"In School Days" (Whittier), 261

"In Times of Peace" (Gilder), 338

"In War Time" (Stedman), 333

_Independent, The_, 492

"Indian Burying-Ground, The" (Freneau), 80

Indians, 8, 66, 93, 94, 143, 144, 146

"Innocents Abroad, The" (Twain), 383, 388

"Inside of the Cup, The" (Churchill), 420, 431

International copyright, 119, 139, 302 (note)

Internationalism, 56

"Iron Woman, The" (Deland), 307

Irving, Washington, 6, 115-133, 170, 190, 249, 269, 292, 324, 325, 385, 411, 416

"Isles of the Amazons" (Miller), 404

"Italian Journeys" (Howells), 417

"Italian Notebooks" (Hawthorne), 241

James I, 30

James II, 47

James, Henry, 417, 418, 422-424

James, William, 372

"Janice Meredith" (Ford), 426

Jefferson, Thomas, 343

"Joan of Arc" (Twain), 388

"Joaquin et al." (Miller), 403

"John Marvel, Assistant" (Page), 420

"John Phoenix," 385, 388

Johnson, Dr. Samuel, 53, 73, 163

Jonson, Ben, 22

"Journey from Patapsco to Annapolis, A" (Lewis), 81

"Jumping Frog, The" (Twain), 384

"June" (Bryant), 182

"Jungle, The" (Sinclair), 420

"Justice and Expediency" (Whittier), 257

"Kavanagh" (Longfellow), 270

Keats, John, 338

Kennedy, Charles Rann, 447-450

"Kentons, The" (Howells), 422

Kipling, Rudyard, 187

"Knickerbocker's History of New York" (Irving), 117

_Knickerbocker Magazine, The_, 239, 493

Knickerbocker school, 177

Knight, Mrs. Sarah Kemble, 35-36, 83

"Lakeside, The" (Whittier), 261

Lanier, Sidney, 168, 349-358

"Last of the Mohicans, The" (Cooper), 144, 150

"Last Leaf, The" (Holmes), 314

"Last Taschastas, The" (Miller), 404

"Last Walk in Autumn, The" (Whittier), 261

"Latter-Day Warnings" (Holmes), 315

Leacock, John, 97

"Leatherstocking" series, the (Cooper), 143

"Leatherwood God, The" (Howells), 422

"Leaves of Grass" (Whitman), 363

Lee, Gerald Stanley, 131

"Legend of Sleepy Hollow, The" (Irving), 129

"Leon" (Drake), 176

"Letters from an American Farmer" (Crèvecoeur), 59

"Letter from a Missionary of the Methodist Episcopal Church, South," etc. (Whittier), 259

Lewis, "Monk," 104

Lewis, R., 81

_Liberator, The_, 257, 493

"Life on the Mississippi" (Twain), 382

"Life Amongst the Modocs" (Miller), 404

"Life of Washington, The" (Irving), 118

"Lifetime, A" (Bryant), 169

"Ligeia" (Poe), 185

"Light" (Miller), 405

"Light of Stars, The" (Longfellow), 270

Lincoln, Abraham, 168, 254, 294, 310, 343, 350, 366, 385, 387, 416

Lindsay, Vachel, 453, 474-478

_Lippincott's Magazine_, 493

"Literary Importation" (Freneau), 78

_Literary Magazine and American Register, The_, 101

"Literati, The" (Poe), 179, 284, 285

_Littell's Living Age_, 493

Locke, John, 47

London, 8, 9, 45, 46, 56, 66, 91, 93

Longfellow, Henry Wadsworth, 179, 190, 240, 252, 267-281, 293, 348, 349, 369, 399, 414, 416, 419, 437, 453

"Lost Occasion, The" (Whittier), 259

"Lovers of Louisiana" (Cable), 425

Low, Samuel, 97

Lowell, Amy, 461, 478-482

Lowell, James Russell, 21, 112, 118, 151, 155, 168, 170, 179, 182, 190, 211, 213, 252, 262, 267, 277, 282-298, 306, 316, 317, 325, 328, 333, 349, 385, 419

"Luck of Roaring Camp, The" (Harte), 381

"Lyrics and Epics" (Aldrich), 331

Macaulay, Thomas B., 11, 417

_McClure's Magazine_, 494

"M'Fingal" (Trumbull), 71

MacKaye, Percy, 446-447

"Madame Delphine" (Cable), 425

"Magnalia Christi Americana" (Mather), 29, 31, 32, 34

"Mahomet and his Successors" (Irving), 118

"Man that Corrupted Hadleyburg, The" (Twain), 388

Map of Concord (Mass.), 223

Map of New England, 42

"Marble Faun, The" (Hawthorne), 241, 242, 245

"Marble Pool, The" (Gilder), 337

Mark Twain, 49 (note), 150, 290, 293, 294, 362, 367, 380-395, 396, 407, 408, 411, 412, 419, 426, 441

"Marshes of Glynn, The" (Lanier), 26, 354, 357-359

Massachusetts, 5, 8

"Massachusetts to Virginia" (Whittier), 253

"Mason and Slidell: a Yankee Idyll" (Lowell), 289

"Masque of the Red Death, The" (Poe), 182

Masters, Edgar Lee, 454, 469-473

Mather, Cotton, 28-32, 35, 47, 83, 129

Mather Increase, 28-31, 35, 83, 380

Medicine, practice of, 29, 30

"Memories" (Whittier), 261

"Memory" (Aldrich), 331

"Merlin" (Emerson), 213

Merry Mount, 8, 242

Metropolitan poets, 324-342

"Midnight Consultations, The" (Freneau), 73

"Miles Standish, The Courtship of" (Longfellow), 273, 276

Miller, Joaquin, 367, 401-410, 419

Milton, John, 26, 47, 48, 70, 78, 80, 165, 200, 238, 245, 254, 264, 275, 415

"Minister's Wooing, The" (Stowe), 305

_Mirror, The_ (N. Y.), 362, 494

_Mirror, The_ (Reedy's, St. Louis), 470

Mitchell, Weir, 320

"Modern Chivalry" (Brackenridge), 103

"Modern Instance, A" (Howells), 417

"Momentous Words" (Sill), 401

_Monthly Magazine and American Review, The_, 101

Moody, William Vaughn, 330, 445, 446, 457-461

"Moral Bully, The" (Holmes), 319

"Morning" (Sill), 398

"Mortal Antipathy, A" (Holmes), 313

Morton, Mrs. Sarah Wentworth, 103

Morton, Thomas, 8, 9, 21, 32, 83

Motley, John Lothrop, 118

Mowatt, Anna C. O., 95, 181

"Mr. Britling sees it Through" (Wells), 72

"MS. Found in a Bottle" (Poe), 176

Muir, John, 229

"Murders in the Rue Morgue, The" (Poe), 186

Murray, John, 118

Murray, John, 3d, 403

Music, 338, 349, 351, 405, 462

"Music Grinders, The" (Holmes), 315

"My Aunt" (Holmes), 315, 320

"My First Literary Venture" (Twain), 382

"My Life Among the Indians" (Miller), 404

"My Literary Passions" (Howells), 419

"My Own Story" (Miller), 404

"Myself and Mine" (Whitman), 367

"Mysterious Illness, The" (Holmes), 312

"Mystery of Marie Rogêt, The" (Poe), 186

"My Study Windows" (Lowell), 289

_Nation, The_, 494

_National Advocate, The_, 134

_National Era, The_, 302

_National Gazette, The_, 77

"Nature" (Emerson), 203

"New English Canaan" (Thomas Morton), 8, 32

_New England Courant, The_, 45, 494

_New England Magazine, The_, 239, 317, 495

_New England Review, The_, 256

"New England Tragedies" (Longfellow), 273, 277

"New Politician, The" (Gilder), 338

_New Republic, The_, 496

"New Roof, The" (Hopkinson), 70

New York City, 45, 50, 89, 91, 100, 110, 165, 170, 190, 222, 325, 327, 328, 332, 334, 336, 351, 363, 418, 444

_New York Evening Post, The_, 134, 160, 192, 495

_New York Review and Athenæum Magazine, The_, 160, 495

_New York Tribune, The_, 306 (note), 332, 495

"Nigger, The" (Sheldon), 94

"Night and Day" (Lanier), 355

"Non-Resistance" (Holmes), 319

Norris, Frank, 432

_North American Review, The_, 159, 160, 163, 289, 496

Norton, Charles Eliot, 215, 277, 290, 292

"Nux Postcoenatica" (Holmes), 312

"O Captain! My Captain!" (Whitman), 368

"O Mother of a Mighty Race" (Bryant), 168, 170

"Octoroon, The" (Boucicault), 94

"Ode in Time of Hesitation" (Moody), 330

Odell, Jonathan, 73

"Old Clock on the Stairs, The" (Longfellow), 272

"Old Creole Days" (Cable), 425

"Old Ironsides" (Holmes), 314, 319

"Old Place, The" (Gilder), 337

"Oldtown Folks" (Stowe), 306

"Oliver Goldsmith" (Irving), 118

"On a Honey Bee" (Freneau), 80

"Ormond" (Brown), 105

"Our Country's Call" (Bryant), 168

"Our Old Home" (Emerson), 241, 417

"Out of the Cradle Endlessly Rocking" (Whitman), 369

_Outlook, The_, 496

"Outre-Mer" (Longfellow), 269, 270, 417

_Overland Monthly, The_, 381, 397

"Over the Teacups" (Holmes), 318

Oxford University, 384

"Pacific Poems" (Miller), 403

Page, Thomas Nelson, 118, 412

Parker, Theodore, 195, 196

"Pathfinder, The" (Cooper), 144

"Pauline Pavlovna" (Aldrich), 330

Payne, John Howard, 91, 97, 98, 437, 439

Peabody, Elizabeth, 313, 314

Peabody, Sophia, 240

"Pearl of Orr's Island, The" (Stowe), 306

Pennsylvania, 45, 46

_Pennsylvania Freeman, The_, 283

_Pennsylvania Gazette, The_, 45, 50, 496, 497

Periodical editorship, 45, 72, 73, 77, 101, 160, 168, 173, 176, 253, 257, 283, 327, 332, 347, 363, 397, 487-501

Periodicals, leading nineteenth-century, 487-501

Perry, Bliss, 427, 433

"Petroleum V. Nasby," 385, 388

Pfaff's restaurant, 328, 345

Philadelphia, 45, 50, 91, 100, 110

_Philadelphia Saturday Courier, The_, 176

Phillips, Wendell, 313

"Philosophy of Composition, The" (Poe), 180, 186

"Physiology of Versification, The" (Holmes), 312

"Pictures of Columbus" (Freneau), 76

_Pierce's Almanack_, 50

Pierce, Franklin, 240, 241

"Pillared Arch and Sculptured Tower" (Aldrich), 331

"Pilot, The" (Cooper), 144

Pinkney, William, 65

"Pioneer, The" (Cooper), 143, 152, 190, 283

Place-names, 4, 5

"Planting of the Apple Tree, The" (Bryant), 169

Plymouth, 5, 7, 8, 42

"Pocahontas" (Custis), 94

Poe, Edgar Allan, 108, 173-189, 242, 343, 411, 481, 482

"Poems on Slavery" (Longfellow), 273

"Poems of Two Friends" (Howells-Piatt), 415

"Poet of the Breakfast Table, The" (Holmes), 318

"Poetic Principal, The" (Poe), 180

_Poetry_, 497

"Poetry" (Holmes), 315, 316

"Poetry, The Nature and Elements of" (Stedman), 332

Poetry, folk, 1

Poetry of the South, 343-361

"Poets of America" (Stedman), 332

"Political Balance, The" (Freneau), 74, 77

"Political Justice" (Godwin), 104

"Ponteach" (Rogers), 91, 93, 94, 96

_Poor Richard's Almanac_, 45, 50-52, 497

Pope, Alexander, 47, 48, 78, 102, 163, 164, 191, 254, 279, 316, 317, 343, 356, 414, 416

Popular poetry, 20-21, 263, 274, 278

_Port Folio, The_, 497

"Power of Fancy, The" (Freneau), 80

"Power of Sympathy, The" (Morton), 103

"Prairie, The" (Cooper), 144, 190

"Precaution" (Cooper), 143, 151, 153

"Present Crisis, The" (Lowell), 283

"President Lincoln's Burial Hymn" (Whitman), 366

"Pretty Story, A" (Hopkinson), 70

"Prince of Parthia, The" (Godfrey), 91, 92

Princeton College, 72

Printing and authorship, 48, 49, 381

"Prisoner's Thought, The" (Gilder), 338

"Private History of a Campaign that Failed, The" (Twain), 383

"Proem" (Whittier), 262

"Progress of Balloons, The" (Freneau), 77

"Progress of Dulness, The" (Trumbull), 71, 103

Progress in thought, 7, 128, 166, 167

"Prophecy, A" (Hopkinson), 70

Providence, Personal, 6, 46, 47

Providence (R. I.), 5, 42

"Psalm of Life, A" (Longfellow), 270

Puritans, 4-16, 17-26, 27-40, 41-42, 82-83, 161, 166, 191, 194, 203, 216, 228, 237, 245, 277, 299, 305

Purpose novel, the, 108, 247, 303, 427

_Putnam's Magazine_, 497

"Quality of Mercy, The" (Howells), 419

Radcliffe, Mrs. Anne, 104

"Raven, The" (Poe), 178, 180, 183, 185, 186

"Rebellion: its Cause and Consequences, The" (Lowell), 289

"Red Rock" (Page), 348

"Reform" (Gilder), 338

"Remonstrance" (Lanier), 355

Restoration, the, 27

"Retirement" (Freneau), 79

"Revenge of Hamish, The" (Lanier), 355

Revolution, Period of, 6, 56, 69-88

"Richard Carvel" (Churchill), 426

Richardson, Samuel, 103, 104, 418

Richmond (Va.), 174, 176

Ripley, Reverend George, 196, 311

"Rip van Winkle" (Irving), 127-129, 306

"Rise of Silas Lapham, The" (Howells), 416, 418

"Rising Glory of America, The" (Freneau), 76

"Rival Suitors for America, The" (Freneau), 96

"Robert of Lincoln" (Whittier), 169

Robinson, Edwin Arlington, 462-466

Rogers, Robert, 91, 93, 96

"Roughing It" (Twain), 383

_Round Table, The_, 350, 498

Rowson, Susanna, 103

Royalists, 5, 21

Ruskin, John, 303

_Russell's Magazine_, 345, 498

_Sacramento Union, The_, 383

Salem, 5, 28, 34, 42, 236, 237, 238, 239, 332

_Salmagundi Papers_ (Washington Irving et al.), 116

Saturday Club, The, 267, 332

_Saturday Evening Post, The_, 498

_Saturday Press, The_, 327

"Scarlet Letter, The" (Hawthorne), 36, 241, 242, 245

"School for Scandal, The" (Sheridan), 95

Scott, Sir Walter, 108, 118, 279, 405, 406, 415, 416

_Scribner's Magazine_, 499

_Scribner's Monthly_, 336, 499

"Seaweed" (Longfellow), 272

"Self-Reliance" (Emerson), 208

"Selling of Joseph, The" (Sewall), 34

Sentimentalism, 126, 162, 163, 345

"Septimius Felton" (Hawthorne), 241

Sewall, Samuel, 32, 35, 65, 83, 91

Shakespeare, William, 48, 92, 164, 184, 238, 355, 356, 363, 387, 414, 463, 472

"Shaw Memorial Ode" (Aldrich), 330

Sheldon, Edward, 94

Shelley, Percy B., 108, 175

Sill, Edward Rowland, 396-401

Simms, William Gilmore, 344, 412

"Simple Cobler of Aggawam, The" (Ward), 9-11

Sinclair, Upton, 432

"Singer in the Prison, The" (Whitman), 368

"Sinners in the Hands of an Angry God" (Edwards), 42

"Skeleton in Armor, The" (Longfellow), 271

"Sketch Book, The" (Irving), 117-131, 191, 403

"Sketches New and Old" (Twain), 382

"Skipper Ireson's Ride" (Whittier), 261

Slavery, discussion of, 34, 65, 73, 167, 257-259, 273

Smith, John, 6

Smith, Sidney, 118

Smollett, Tobias, 106

"Snow-Bound" (Whittier), 261, 263

"Society and Solitude" (Emerson), 209

"Song of the Banner at Daybreak, The" (Whitman), 366

"Song of the Chattahoochee, The" (Lanier), 355

"Song of Early Autumn, A" (Gilder), 339

"Song of Myself" (Whitman), 368

"Song of the South, The" (Miller), 404

"Songs of the Sierras" (Miller), 403

"Sonnet, The" (Gilder), 339

"South Carolina to the States of the North" (Hayne), 348

_Southern Literary Messenger, The_, 176, 177, 180, 344, 499

_Southern Magazine, The_, 500

"Specimens" (Miller), 403

_Spectator, The_, 47, 49, 116

"Spring in Massachusetts" (Thoreau), 230

"Spring in New England" (Aldrich), 330

"Spy, The" (Cooper), 143, 150

Standish, Miles, 9

"Statesman's Secret, The" (Holmes), 319

Stedman, Edmund Clarence, 135, 279, 324, 329, 331-336, 385, 399, 453

Steele, Richard, 71, 116, 343

"Stethoscope Song, The" (Holmes), 312, 315

Stevenson, Robert Louis, 187, 228

"Stirrup Cup, The" (Lanier), 355, 356

Stoddard, Richard Henry, 324, 453

Stowe, Harriet Beecher, 108, 299-309, 412, 416, 431

Stowe, Reverend Calvin E., 300

"Stricken South to the North, The" (Hayne), 348

Structure, literary, 104, 150, 180, 211, 213, 248, 249, 274, 294-296, 318, 320, 356, 368, 369, 386

"Summer" (Thoreau), 230

Sumner, Charles, 273, 284, 313

"Sun-Day Hymn, A" (Holmes), 319

"Sundial, The" (Gilder), 337

Superstition, 29, 30, 31, 129

Swedenborg, Emanuel, 209

Swinburne, Algernon Charles, 375

"Symphony, The" (Lanier), 355, 356

"System of General Geography" (Brown), 102

"Tales of a Traveller" (Irving), 117

"Tales of a Wayside Inn" (Longfellow), 273

"Tamerlane and Other Poems" (Poe), 175

_Tatler, The_, 116

Taylor, Bayard, 118, 181, 277, 324, 350, 385, 431

Tennyson, Alfred, 260, 274, 275, 333, 416, 453

"Terrestrial Paradise, The," 271

Thacher, Anthony, 6

Thackeray, William Makepeace, 249, 416, 418, 423

"Thanatopsis" (Bryant), 22, 26, 161, 163, 182, 357, 358

"Thistledown" (Gilder), 337

Thomas, Augustus, 439, 440-442, 444

Thoreau, Henry David, 190, 191, 195, 196, 200, 221-235, 244, 252, 311, 364

"Three Memorial Poems" (Lowell), 289

Ticknor, George, 314, 346

Ticknor and Field's, 288, 314

"Tiger Lilies" (Lanier), 349, 350

Timrod, Henry, 168, 176, 345-347

"To a Caty-did" (Freneau), 80

"To Canaan" (Holmes), 319

"To Have and to Hold" (Johnston), 426

"To Helen" (Poe), 179, 184, 185

"To Sir Toby," 77

"To a Waterfowl" (Bryant), 162, 182

_Token, The_, 239

Tolstoi, Lyof, 217, 419

"Tom Sawyer" (Twain), 382

"Tool, The" (Gilder), 338

Topics and Problems, 15, 26, 39, 58, 67, 68, 87, 88, 99, 109, 139-140, 156, 157, 172, 189, 219, 234, 250, 266, 280, 297, 309, 322, 341, 361, 378, 395, 409

"Tramp Abroad, A" (Twain), 384

Transcendentalism, 194, 195

Transcendentalists, 190-197, 431

"Traveler from Altruria, A" (Howells), 419, 420-422

Trollope, Anthony, 106, 418

Trumbull, John, 71, 72, 85, 103, 111, 119, 141, 164

"Turn of the Balance, The" (Whitlock), 420

"Twice-Told Tales" (Hawthorne), 240, 241

Tyler, Royall, 91, 94, 103

"Ulalume" (Poe), 179, 183, 184, 185

"Uncle Remus, his Songs and Sayings" (Harris), 425

"Uncle Tom's Cabin" (Stowe), 72, 94, 299, 300-304

University of California, 397

University of Missouri, 384

University of Pennsylvania, 45

University of Virginia, 174, 344

Untermeyer, Louis, 462

"Unwritten History, Paquita" (Miller), 404

"Urania" (Holmes), 315, 316

"Vale! America" (Miller), 403

"Venetian Life" (Howells), 417

"Verse, The Science of English" (Lanier), 350

"Victor and Vanquished" (Longfellow), 273

"Victorian Anthology, A" (Stedman), 332

"Victorian Poets" (Stedman), 332

"Violet, The" (Gilder), 337

_Virginia City Enterprise, The_, 383

"Vision of Poesy, A" (Drake), 176

"Vision of Sir Launfal, The" (Lowell), 284

"Voice of the Pine, The" (Gilder), 339

"Voyager, The" (Gilder), 338

"Voyages and Discoveries of the Companions of Columbus, The" (Irving), 117

"Waiting, The" (Whittier), 260

"Walden" (Thoreau), 224, 232

"Walden Pond," 224-227

Wallace, Lew, 108

Walpole, Horace, 104

Ward, Nathaniel, 9-11, 21, 83, 380

Ware, Reverend Henry, 207

Warner, Charles Dudley, 384

Warren, Mercy, 97

Washington (D. C.), 110

Washington, George, 111, 118, 127

"Way to Wealth, The" (Franklin), 51

Webster, Daniel, 259, 301, 319

"Week on the Concord and Merrimac Rivers, A" (Thoreau), 224

Wells, H. G., 187

West Point Military Academy, 174, 176

_Western Messenger, The_, 500

_Western Monthly Magazine, The_, 300, 500

Wharton, Edith, 428, 429

"Whisperers, The" (Gilder), 338

White, Kirke, 161

Whitlock, Brand, 118, 420, 432

Whitman, Walt, 49 (note), 137, 173, 232, 279, 295, 328, 334, 339, 340, 362-379, 405, 407, 408, 414, 419, 453

Whittier, John Greenleaf, 73, 114, 130, 168, 170, 190, 252-266, 288, 302, 304, 319, 331, 348, 453

"Wieland" (Brown), 104

Wigglesworth, Michael, 18-21, 25

"Wild Honeysuckle, The" (Freneau), 80

William and Mary College, 89

"Williams, Caleb" (Godwin), 104, 105, 106

Williams, Roger, 11, 21, 83, 203

Willis, Nathaniel Parker, 93, 175, 178, 328

"Winter" (Thoreau), 230

Witchcraft, 28, 29

Woman, estimate of, 10-11, 23-24, 95-148, 433

"Woman's Reason, A" (Howells), 417

"Woman's Thought, A" (Gilder), 339

"Wonders of the Invisible World, The" (Cotton Mather), 29

Woolman, John, 65

Wordsworth, William, 165, 202, 369

"World of Chance, The" (Howells), 419

"Wreck of Rivermouth, The" (Whittier), 261

Yale College, 141, 334, 384, 396, 397, 398

_Yale Review_, 499

"Year's Life, A" (Lowell), 283

"Yellow Violet, The" (Bryant), 162

Transcriber's Note

Corrections have been made where it is obvious a printer's error. For instance, on p. 3, the reference to the execution of "Charles II" in 1649 is an error (it was Charles I), but it is not at all clearly a printer's fault, and is merely noted here.

The following issues and their resolutions are noted here:

p. 3 Charles II _sic._ Charles I.

p. 34 D[ai/ia]ry Transposed.

p. 58 (especially chap. ) _sic._ Missing.

p. 231 have all [be enhoused/been housed] Corrected.

p. 233 "The Music Grinders,["] "The Comet," Added.

p. 264 philos[o]phical Added.

p. 296 Heart[s]ease and Rue Added.

p. 308 Calv[a/i]nism Corrected.

p. 331 often ["/']Destiny,["/'] Corrected.

p. 439 Augustus Thomas (1859- [)] Added.

p. 453 personal a[c]quaintance Added.

p. 460 to any woman in [in] any of Moody's poems Removed.

p. 472 U[n]usually Added.

p. 492 the organ of 'japonicadom,["/'] Corrected.