Part 4

The new poets have won their way by their differences as well as by their chance similarities. They belong to no one school, represent no single tendency and, differing widely from their present-day English fellow-craftsmen, are far less hampered by the burdens of traditions or the necessity of casting them off. They are more nearly free. One sees this even in the work of the more deliberately conventional singers. Lyricists like Sara Teasdale and Edna St. Vincent Millay write in a clean, straightforward idiom, an intense naturalness that is a frank commentary on the tinkling and over-sentimental verse that used to pass for genuine emotion. Robert Frost and E. A. Robinson continue to use the strictest rhymes and most rigid meters and yet their lines are as “modern,” as searching as the freest free verse. Form _per se_ matters scarcely at all; all forms are employed. Conrad Aiken achieves a flexible combination of rhyme and assonance. Sandburg, “H. D.,” Kreymborg and John Gould Fletcher dispense, for the most part, with rhyme, without sacrificing the beauty of sound or stress. Masters and Amy Lowell use the old forms and the new ones with impartiality and equal skill. A sweeping inclusiveness distinguishes our contemporary verse; it embraces all themes, all cultures, all modes of expression. America has become a melting-pot in a poetic as well as an ethnic sense. The rich variety of its structure and subject-matter is in striking opposition to the thin, specialized product of the transition poets. New England is no longer the single literary center. As the country has matured, the poets have grown with it, singing everywhere and, much to Art’s confusion, in every key. It is as if submerged springs had burst through stubborn ground; instead of one placid stream, there are a dozen rushing currents.

SUMMARY—THE NEW SPIRIT

It is difficult to draw a line between periods, especially when one is called upon to define “modernity.” But in the case of the development of American poetry, the task is made easier by Whitman. Whitman ended and began an epoch. This collection therefore begins where he left off; it might well be called, “American Poetry Since Whitman.”

It would have been pleasant to divide the poetry itself into groups and distinct tendencies. Unfortunately such a scheme is impossible. In the first place, one can scarcely get a proper perspective on contemporary writers (on whom the chief emphasis has been placed), especially since many of them are still developing. Secondly, one cannot give the picture of a period in the state of flux except by showing its fluid character. The prime object of this collection is to reflect this very flux and diversity—particularly illustrated by those poets who, because of their strong individualism, would not fit in any one grouping. Since the chronological arrangement is, therefore, the most logical one, an arbitrary boundary has been fixed. The year 1830 becomes the dividing-line; any poet born earlier than that date is ruthlessly excluded. This, fortunately, eliminates scarcely any poet of value; for between Whitman (born 1819) and Emily Dickinson (that early imagist), there were no singers more memorable than the Cary sisters, Bayard Taylor and the painfully precise Richard Henry Stoddard.

It is a happy circumstance that this volume should begin with Emily Dickinson, whose work, posthumously printed, was unknown as late as 1890 and scarcely noticed until several years later. For here is a forerunner of the new spirit—free in expression, unhampered in choice of subject, penetrative in psychology—to which a countryful of writers has responded. No longer confined to one or two literary centers, the impulse to create is everywhere. There is scarcely a state, barely a township, that has not produced its laureate.

Most of the poets represented in these pages have found a fresh and vigorous material in a world of honest and often harsh reality. They respond to the spirit of their times; not only have their views changed, their vision has been widened to include things unknown to the poet of yesterday. They have learned to distinguish real beauty from mere prettiness; to wring loveliness out of squalor; to find wonder in neglected places; to search for hidden truths even in the dark caves of the unconscious.

And with the use of the material of everyday life, there has come a further simplification: the use of the language of everyday speech. The stilted and mouth-filling phrases have been practically discarded in favor of words that are part of our daily vocabulary. It would be hard at present to find a representative poet employing such awkward and outworn contractions as _’twixt_, _’mongst_, _ope’_; such evidences of poor padding as _adown_, _did go_, _doth smile_; such dull rubber-stamps (_clichés_ is the French term) as _heavenly blue_, _roseate glow_, _golden hope_, _girlish grace_, _gentle breeze_, etc. The _peradventures_, _forsooths_ and _mayhaps_ have disappeared.... And, as the speech of the modern poet has grown less elaborate, so have the patterns that embody it. Not necessarily discarding rhyme, regular rhythm or any of the musical assets of the older poets, the forms have grown simpler; the intricate versification has given way to lines that reflect and suggest the tones of animated and even exalted speech. The result of this has been a great gain both in sincerity and intensity; it has enabled the poet of today to put greater emphasis on his emotion rather than on the shell that covers it—he can dwell with richer detail on the matter instead of the manner.

One could go into minute particulars concerning the growth of an American spirit in our literature and point out how many of the latter-day poets have responded to native forces larger than their backgrounds. Such a course would be endless and unprofitable. It is pertinent, however, to observe that, young as this nation is, it is already being supplied with the stuff of legends, ballads and even epics. The modern singer has turned to celebrate his own folk-tales. It is particularly interesting to observe how the figure of Lincoln has been treated by the best of our living poets. I have accordingly included seven poems by seven writers, each differing in manner, technique and point of view.

For the rest, I leave the casual reader, as well as the student, to discover the awakened vigor and energy in this, one of the few great poetic periods in native literature. With the realization that this brief gathering is not so much a summary as an introduction, it is hoped that, in spite of its limitations, this collection will draw the reader on to a closer consideration of the poets here included—even to those omitted. The purpose of such an anthology must always be to stimulate an interest rather than to satisfy a curiosity. Such, at least, is the hope and aim of one editor.

L. U.

January, 1921. New York City.

MODERN AMERICAN POETRY

_Emily Dickinson_

Emily Dickinson, whose work is one of the most original contributions to recent poetry, was born in Amherst, Massachusetts, December 10, 1830. She was a physical as well as a spiritual hermit, actually spending most of her life without setting foot beyond her doorstep. She wrote her short, introspective verses without thought of publication, and it was not until 1890, four years after her death, that the first volume of her posthumous poetry appeared with an introduction by Thomas Wentworth Higginson.

“She habitually concealed her mind, like her person, from all but a very few friends,” writes Higginson, “and it was with great difficulty that she was persuaded to print, during her lifetime, three or four poems.” Yet she wrote almost five hundred of these direct and spontaneous illuminations, sending many of them in letters to friends, or (written on chance slips of paper and delivered without further comment) to her sister Sue. Slowly the peculiar Blake-like quality of her thought won a widening circle of readers; _Poems_ (1890) was followed by _Poems—Second Series_ (1892) and _Poems—Third Series_ (1896), the contents being collected and edited by her two friends, Thomas Wentworth Higginson and Mabel Loomis Todd. Several years later, a further generous volume was assembled by her niece, Martha Dickinson Bianchi, entitled _The Single Hound_ (1914)—almost all of the new poems (to which Mrs. Bianchi wrote a preface of great personal value) being a record of Emily Dickinson’s romantic friendship for her sister.

The sharp quality of her work, with its cool precision and clear imagery, makes her akin, at least in technique, to the later Imagists. (See Preface.) But a passionate and almost mystical warmth brings her closer to the great ones of her time. “An epigrammatic Walt Whitman,” some one has called her, a characterization which, while enthusiastic to the point of exaggeration, expresses the direction if not the execution of her art. Technically, Emily Dickinson’s work was strikingly uneven; many of her poems are no more than rough sketches, awkwardly filled in; even some of her finest lines are marred by the intrusion of merely trivial conceits or forced “thought-rhymes.” But the best of her work is incomparable in its strange cadence and quiet intensity. Her verses are like a box of many jewels, sparkling in their brilliancy, cameo-like in their delicate contours, opalescent in their buried fires.

Emily Dickinson died, in the same place she was born, at Amherst, May 15, 1886.

CHARTLESS

I never saw a moor, I never saw the sea; Yet now I know how the heather looks, And what a wave must be.

I never spoke with God, Nor visited in Heaven; Yet certain am I of the spot As if the chart were given.

INDIAN SUMMER

These are the days when birds come back, A very few, a bird or two, To take a backward look.

These are the days when skies put on The old, old sophistries of June,— A blue and gold mistake.

Oh, fraud that can not cheat the bee, Almost thy plausibility Induces my belief,

Till ranks of seeds their witness bear, And softly through the altered air Hurries a timid leaf!

Oh, sacrament of summer days, Oh, last communion in the haze, Permit a child to join,

Thy sacred emblems to partake, Thy consecrated bread to break, Taste thine immortal wine!

SUSPENSE

Elysium is as far as to The very nearest room, If in that room a friend await Felicity or doom.

What fortitude the soul contains, That it can so endure The accent of a coming foot, The opening of a door.

THE RAILWAY TRAIN

I like to see it lap the miles, And lick the valleys up, And stop to feed itself at tanks; And then, prodigious, step

Around a pile of mountains, And, supercilious, peer In shanties by the sides of roads; And then a quarry pare

To fit its sides, and crawl between, Complaining all the while In horrid, hooting stanza; Then chase itself down hill

And neigh like Boanerges; Then, punctual as a star, Stop—docile and omnipotent— At its own stable door.

A CEMETERY

This quiet Dust was Gentlemen and Ladies, And Lads and Girls; Was laughter and ability and sighing, And frocks and curls. This passive place a Summer’s nimble mansion, Where Bloom and Bees Fulfilled their Oriental Circuit, Then ceased like these.

BECLOUDED

The sky is low, the clouds are mean, A travelling flake of snow Across a barn or through a rut Debates if it will go.

A narrow wind complains all day How some one treated him; Nature, like us, is sometimes caught Without her diadem.

_Thomas Bailey Aldrich_

Thomas Bailey Aldrich was born in 1836 at Portsmouth, New Hampshire, where he spent most of the sixteen years which he has recorded in that delightful memoir, _The Story of a Bad Boy_ (1869). After a brief clerkship, he became junior literary critic of _The Evening Mirror_ at nineteen, publishing his first book (_The Bells_), an immature collection of echoes, at the same time. From 1855 to 1866 he held various journalistic positions, associating himself with the leading metropolitan _literati_. But though Aldrich mingled with the New York group, he was not part of it; he longed for the more rarefied intellectual atmosphere of New England and when, in 1866, Osgood offered him the editorship of _Every Saturday_, published in Boston, Aldrich accepted with alacrity. A few years later he became editor of the famous _Atlantic Monthly_, holding that position from 1881 to 1890.

Aldrich’s work falls into two sharply-divided classes. The first half is full of overloaded phrase-making, fervid extravagances; the reader sinks beneath clouds of damask, azure, emerald, pearl and gold; he is drowned in a sea of musk, aloes, tiger-lilies, spice, soft music, orchids, attar-breathing dusks. There is no real air in these verses; it is Nature as conceived by a poet reading the Arabian Nights in a hot-house. In company with Stoddard and Taylor, he dwelt in a literary Orientalism—(Stoddard’s _Book of the East_ followed fast upon Taylor’s _Poems of the Orient_)—and Aldrich’s _Cloth of Gold_ was suffused with similar “vanilla-flavored adjectives and patchouli-scented participles” (to quote Holmes), laboring hard to create an exotic atmosphere by a wearisome profusion of lotus blossoms, sandalwood, spikenard, blown roses, diaphanous gauzes, etc.

The second phase of Aldrich’s art is more human in appeal as it is surer in artistry. He learned to sharpen his images, to fashion his smallest lyrics with a remarkable _finesse_. “In the little steel engravings that are the best expressions of his peculiar talent,” writes Percy H. Boynton, “there is a fine simplicity; but it is the simplicity of an accomplished woman of the world rather than of a village maid.” Although Aldrich bitterly resented the charge that he was a maker of tiny perfections, a carver of cherry-stones, these poems of his which have the best chance of permanence are some of the epigrams, the short lyrics and a few of the sonnets, passionless in tone but exquisite in design.

The best of Aldrich’s diffuse poetry has been collected in an inclusive Household Edition, published by Houghton, Mifflin and Company. He died in 1907.

MEMORY

My mind lets go a thousand things, Like dates of wars and deaths of kings, And yet recalls the very hour— ’Twas noon by yonder village tower, And on the last blue noon in May— The wind came briskly up this way, Crisping the brook beside the road; Then, pausing here, set down its load Of pine-scents, and shook listlessly Two petals from that wild-rose tree.

“ENAMORED ARCHITECT OF AIRY RHYME”

Enamored architect of airy rhyme, Build as thou wilt, heed not what each man says. Good souls, but innocent of dreamers’ ways, Will come, and marvel why thou wastest time; Others, beholding how thy turrets climb ’Twixt theirs and heaven, will hate thee all thy days; But most beware of those who come to praise. O Wondersmith, O worker in sublime And heaven-sent dreams, let art be all in all; Build as thou wilt, unspoiled by praise or blame, Build as thou wilt, and as thy light is given; Then, if at last the airy structure fall, Dissolve, and vanish—take thyself no shame. They fail, and they alone, who have not striven.

TWO QUATRAINS

MAPLE LEAVES

October turned my maple’s leaves to gold; The most are gone now; here and there one lingers: Soon these will slip from out the twigs’ weak hold, Like coins between a dying miser’s fingers.

PESSIMIST AND OPTIMIST

This one sits shivering in Fortune’s smile, Taking his joy with bated, doubtful breath. This other, gnawed by hunger, all the while Laughs in the teeth of Death.

_John Hay_

John Hay was born at Salem, Indiana, in 1838, graduated from Brown University in 1858 and was admitted to the Illinois bar a few years later. At nineteen, when he went back to Warsaw, the little Mississippi town where he had lived as a boy, he dreamed only of being a poet—a poet, it must be added, of the pleasantly conventional, transition type. But the Civil War was to disturb his mild fantasies. He became private secretary to Lincoln, then major and assistant adjutant-general under General Gilmore, then secretary of the Legation at Paris, _chargé d’affaires_ at Vienna and secretary of legation at Madrid.

His few vivid _Pike County Ballads_ came more as a happy accident than as a deliberate creative effort. When Hay returned from Spain in 1870, bringing with him his _Castilian Days_, he still had visions of becoming an orthodox lyric poet. But he found everyone reading Bret Harte’s short stories and the new expression of the rude West. (See Preface.) He speculated upon the possibility of doing something similar, translating the characters into poetry. The result was the six racy ballads in a vein utterly different from everything Hay wrote before or after. The poet-politician seems to have regarded this series somewhat in the nature of light, extempore verse, belonging to a far lower plane than his serious publications; he talked about them reluctantly, he even hoped that they would be forgotten. It is difficult to say whether this regret grew because Hay, loving the refinements of culture, at heart hated any suggestion of vulgarity, or because of a basic lack of courage—Hay having published his novel of labor unrest in the early 80’s (_The Breadwinners_) anonymously.

The fact remains, his rhymes of Pike County have survived all his more classical lines. They served for a time as a fresh influence, they remain a creative accomplishment.

Hay was in politics all the later part of his life, ranking as one of the most brilliant Secretaries of State the country has ever had. He died in 1905.

JIM BLUDSO, OF THE PRAIRIE BELLE

Wall, no! I can’t tell whar he lives, Becase he don’t live, you see; Leastways, he’s got out of the habit Of livin’ like you and me. Whar have you been for the last three year That you haven’t heard folks tell How Jimmy Bludso passed in his checks The night of the Prairie Belle?

He war’n’t no saint,—them engineers Is all pretty much alike,— One wife in Natchez-under-the-Hill And another one here, in Pike; A keerless man in his talk was Jim, And an awkward hand in a row, But he never flunked, and he never lied,— I reckon he never knowed how.

And this was all the religion he had: To treat his engine well; Never be passed on the river; To mind the pilot’s bell; And if ever the Prairie Belle took fire, A thousand times he swore, He’d hold her nozzle agin the bank Till the last soul got ashore.

All boats has their day on the Mississip, And her day come at last,— The Movastar was a better boat, But the Belle she _wouldn’t_ be passed. And so she came tearin’ along that night— The oldest craft on the line— With a nigger squat on her safety-valve, And her furnace crammed, rosin and pine.

The fire bust out as she clar’d the bar, And burnt a hole in the night, And quick as a flash she turned and made For that wilier-bank on the right. Thar was runnin’ and cussin’, but Jim yelled out, Over all the infernal roar, “I’ll hold her nozzle agin the bank Till the last galoot’s ashore.”

Through the hot, black breath of the burnin’ boat Jim Bludso’s voice was heard, And they all had trust in his cussedness, And knowed he would keep his word. And, sure’s you’re born, they all got off Afore the smokestacks fell,— And Bludso’s ghost went up alone In the smoke of the Prairie Belle.

He warn’t no saint,—but at jedgement I’d run my chance with Jim, ’Longside of some pious gentlemen That wouldn’t shook hands with him. He seen his duty, a dead-sure thing,— And went for it thar and then; And Christ ain’t a goin’ to be too hard On a man that died for men.

BANTY TIM

(_Remarks of Sergeant Tilmon Joy to the White Man’s Committee of Spunky Point, Illinois_)

I reckon I git your drift, gents,— You ’low the boy sha’n’t stay; This is a white man’s country; You’re Dimocrats, you say; And whereas, and seein’, and wherefore, The times bein’ all out o’ j’int, The nigger has got to mosey From the limits o’ Spunky P’int!

Le’s reason the thing a minute: I’m an old-fashioned Dimocrat too, Though I laid my politics out o’ the way For to keep till the war was through. But I come back here, allowin’ To vote as I used to do, Though it gravels me like the devil to train Along o’ sich fools as you.

Now dog my cats ef I kin see, In all the light of the day, What you’ve got to do with the question Ef Tim shill go or stay. And furder than that I give notice, Ef one of you tetches the boy, He kin check his trunks to a warmer clime Than he’ll find in Illanoy.

Why, blame your hearts, jest hear me! You know that ungodly day When our left struck Vicksburg Heights, how ripped And torn and tattered we lay. When the rest retreated I stayed behind, Fur reasons sufficient to me,— With a rib caved in, and a leg on a strike, I sprawled on that damned glacee.

Lord! how the hot sun went for us, And br’iled and blistered and burned! How the Rebel bullets whizzed round us When a cuss in his death-grip turned! Till along toward dusk I seen a thing I couldn’t believe for a spell: That nigger—that Tim—was a crawlin’ to me Through that fire-proof, gilt-edged hell! The Rebels seen him as quick as me, And the bullets buzzed like bees; But he jumped for me, and shouldered me, Though a shot brought him once to his knees; But he staggered up, and packed me off, With a dozen stumbles and falls, Till safe in our lines he drapped us both, His black hide riddled with balls.