Title: Anthology of Magazine Verse for 1914
Editor: William Stanley Braithwaite
Release date: April 12, 2021 [eBook #65062]
Language: English
Credits: Chuck Greif, hekula03 and the Online Distributed Proofreading Team at https://www.pgdp.net (This book was produced from images made available by the HathiTrust Digital Library.)
AND YEAR BOOK OF
AMERICAN POETRY
EDITED BY
WILLIAM STANLEY BRAITHWAITE
NEW YORK
LAURENCE J. GOMME
1914
{ii}
Copyright, 1914, by
WILLIAM STANLEY BRAITHWAITE
Published December, 1914
Second Edition January, 1916
VAIL-BALLOU COMPANY
BINGHAMTON AND NEW YORK
TO
LOUIS V. LEDOUX
AND
EDWIN ARLINGTON ROBINSON
Palmam qui meruit ferat
The modern idea seems to be that poetry has no relation to life. Life in the modern sense is action, progress, success. Poetry has been conceded special themes: it can deal with passion,—the strange and unnatural and unreal physical attraction of the sexes—with nature, with the symbols of mythology, and with the characteristic sentimental heroism of history and events. With reality, it must have nothing to do. It is supposed, by the modern world of Anglo-Saxon literalness, to create an atmosphere of illusion, which one must avoid to keep one’s emotions from going astray in a civilization that needs the hardest kind of common sense. It is paradoxical that the English-speaking people who have given the world the greatest poets, should take this false attitude while in possession of the greatest spiritual and imaginative legacy of life and experience, bequeathed them from one generation to another during the last four hundred years.
Escaping the illusion, this modern world has become the prisoner of delusion. For, if poetry deals with anything, it deals with reality. No matter how remote the setting, how subtle the communication, the one hard fact about true poetry, is its reality. The poet at the core and centre of life, surrounded with his dreams, his clairvoyant madness imbibed from the full draught of experience, his intensity of emotion, his childlike tenderness of sympathy, his quickening ecstasy of unashamed and unrestrained feeling, is considered{x} the abnormal product of modern civilization; while in truth he is alone the one normal type of modern mankind, because he alone is in absolute harmony and understanding with the real and common impulse of human destiny.
The great secret of life is to discover by a process of related effects, this common reality of experience. Most of mankind grope blindly in the dark, and miss it, and by a kind of frenzied and pitiable ignorance acquire the abnormal character of conduct. The poet discovers, or at least puts his being wholly at the disposal of, these secrets, wins a serene and contemplative relationship to these effects, and lives a normal spiritual life. Harmony and rhythm are but two common terms that express and designate infinity. There was a man who was so absolutely sane that the scoffers of his day called him mad—this man was William Blake. Christ was a madman to the community of his day, even his closest friends and disciples were not without doubt at times as to his sanity. But these two men were never a hair’s breadth from the commonest reality of existence. They realized imaginative facts, and kept in absolute tune with the harmony and rhythm of life, not merely with what they saw with the actual eye, but with that more penetrative, more limitless sense, the seeing soul. They were poets, and the one insistent quality of their message, was the reality of mortal and immortal life.
It is hard to make a certain type of mind understand that all which is seen with the physical eye, and touched with the fleshly hand, is illusion.{xi} That kind of a mind does not understand symbols. It belongs to the so-called practical people of the world, who obey, but do not comprehend, laws; whose laws, indeed, are the conventions of minds similar to their own. They organize, but do not construct; they interpret, but do not create. They are the wheels, and not the motor-power, of the engine of civilization and humanity. These are the people who make up nine-tenths of the world’s population; without the other tenth, they would perish. Their reality in life is mathematical immediacy, the cloak of visibility in which they are wrapped to go about their daily tasks in the world. Now poetry sees in these people and their affairs only the symbols of what is real, looks upon their whole fantastic display of living as the illusion beneath which their real living is concealed; the crises of their joys and sorrows, their aspirations and passions, hidden in the reality of their consciousness where exists an infinite universe of being, and where every event of their lives is enacted before their shadow is thrown upon the stage of the world. The fact of life is there, hidden away in the solitary soul, determining the illusions of conductual existence. It is crowded with moods, emotions and feelings, experienced with such intensity that what breaks forth in actual deed and event is but a faint reflection of the real experience the soul has gone through. The ideal is the real, because it is what one has lived but cannot express in the related experience of human intercourse.
Poetry comes nearer finality in embodying the{xii} exact meaning and intensity of human feeling than any other art. Human feeling, being the root of all individual intelligence, is the most inexplicable quantity in life. Intuition is the primary significance of our existence. And it is the quality which gives to poetry its visionary and spiritual substance. In a nation it is the register of a people’s culture.
The study of poetry in the magazines which I began ten years ago, has grown into the convincing evidence of the following pages of this book. During this time we have passed through a number of phases in our national life; but through these changing aspects of national aspirations, there has run, like a widening and brightening strand of culture, the development of a new period of poetry, both in its productive and appreciative aspects. From 1900 to 1905, poetry had declined; and I think there has never been another period in our history when so unintelligent and indifferent an attitude existed toward the art. The scale since 1905 has been ascending, and the high pitch of achievement has not yet been reached. Whether fine poetry creates a general and popular recognition of the art, or the sympathetic appreciation of poetry for itself encourages excellent production, I cannot say. But this is apparent: that a period or epoch of the highest achievement has always been one of popular appreciation.
A factor that should be taken into consideration, and which affects poetry and its audience,{xiii} is the attitude of the book reviews in our most influential literary journals. A characteristic example is the New York Nation, which has been in the habit of grouping in a few articles during the year with indiscriminate selection, the volumes of poetry which it receives. In these reviews there is a supercilious and academic attitude which dismisses really important work with opinions which have every suggestion of preconceived judgment. One has only to turn back his files to the review of Masefield’s “Everlasting Mercy” and “The Widow in the Bye Street,” to see the type of poetry reviewing that is more common than uncommon in American periodicals and newspapers. I do not mean to make The Nation an exception, but an illustration of the kind of stewardship with which reviewers in some of our most authoritative publications perform the duties of a serious and distinguished branch of American authorship.
To show that there is a quality of poetry in our national production worthy of pride and support, it has been my privilege for a number of years to emphasize in an annual review the distinction of the verse in the magazines. Out of these reviews has grown a demand for a more permanent preservation of the best work, resulting in this annual “Anthology of Magazine Verse,” to which are added records, references, and criticisms, which constitute a “Year-Book of American Poetry.” While all the other arts have had this service performed in their interests, poetry, the one art that most needed such a special reinforcement of its{xiv} achievement, has been permitted to drift along throughout our entire critical history without this sort of attention.
The poetry in the magazines this year has been of an excellence in the longer pieces beyond the standard of any year in which I have made these estimates. The selections in this volume give evidence of a serious, even anxious, probing of human life. The lyric, represented by some lovely work, has not been practiced with the same irresponsible emotional delight as in past years. Perhaps, there has never been a year when the American poets have shown the independence of their own efforts, when comparatively new work has been so free from English influences. What influences there are, seem to come from French sources. Vers libre has been taken out of the hands of weak and pompous innovators, and made a distinctive medium by a few earnest and powerful singers. The most notable distinction in this respect is to be found in the work of James Oppenheim, whose book, “Songs for the New Age,” is a milestone in our poetic progress. So is Vachel Lindsay’s new work. He has mastered a new form of poetic expression in his volume “The Congo and Other Poems.” Miss Amy Lowell, in the better parts of “Sword Blades and Poppy Seed,” is working toward a new elasticity in rhythm, which is beginning to produce effective and beautiful results. On the other hand Mr. Arthur Stringer in “Open Water” utterly fails to embody in actual performance the principles expounded in the introduction to that volume,{xv} though this introduction is as important a piece of critical writing in English upon the subject as I know. No matter how revolutionary they attempt to be in expression, there is still in these writers a traditional note imbuing the substance which makes up the significant part of their creativeness.
The selections in this volume are chosen from all kinds and methods of poetic expression, and the reader’s attention is invited to their differences in many aspects—though the aspect of quality is, I think, of equal attainment in all—of such poems as Bliss Carman’s Phi Beta Kappa Poem, Percy MacKaye’s “Fight,” Vachel Lindsay’s “The Firemen’s Ball,” Eloise Briton’s “The Two Flames,” Conrad Aiken’s “Romance,” Olive Tilford Dargan’s “Old Fairingdown” and “Path Flower,” Joyce Kilmer’s “Twelve-Forty-Five,” and Don Marquis’s “The God-Maker, Man.” Of the shorter pieces, I think the standard is decidedly above last year’s quality. Mahlon Leonard Fisher has again followed the success of previous years with his sonnet “Afterwards,” which sustains his position as one of the foremost sonnet-writers this country has yet produced. This poet has the unusual distinction of a fine reputation without having published a book, but his definite contribution to American poetry will soon take place with the publication of his first volume, “An Old Mercer, and Other Poems.” A poem likely to create a profound impression is Don Marquis’s “The God-Maker, Man,”—a fine achievement, not only for its flashing images, but{xvi} for spiritual substance shaped with compelling conviction.
The selections in this volume reflect the extraordinary richness of the published volumes this year. I do not recall any year of the past decade when the quantity and quality alike have been so notable. The autumn season’s publication of verse usually shows a preponderance in quality of books by English poets, who seem to meet with more favorable consideration from the best established publishers. There have been this year a number of notable volumes by English poets brought out in this country, but the balance of distinction, both in standard and numbers of books, belongs this year most emphatically to the American poets. Thirty-five volumes of distinguished poetry stand to our credit, and these are only a selection from a larger number of books which merit appreciation. Books by Louis V. Ledoux, George Edward Woodberry, Louis Untermeyer, Walter Conrad Arensberg, William Rose Benét, Vachel Lindsay, George Sterling, Olive Tilford Dargan, Corinne Roosevelt Robinson, Conrad Aiken, James Oppenheim, Harry Kemp, Amelia Josephine Burr, Joyce Kilmer, Amy Lowell, Percy MacKaye, Arthur Davison Ficke, Edwin Markham, Agnes Lee, and Bliss Carman, are among those which have advanced the significance of the year’s output.
The European war has had a more immediate effect upon literature than almost anything else. All books of a non-military character published just before the war, with the exception of poetry, have been thrown into relatively ineffective sig{xvii}nificance. Poetry endures because it is integrally woven with the warp of man’s real existence, and not of that illusory substance, of which other kinds of imaginative literature are fashioned, and which has been so easily wiped away by this war’s primal brutality. And poetry has aspired to sustain the nobler part of man’s nature during the confusion into which civilization has been plunged since the war began. The English people, who have been in the world’s vanguard practising democratic ideals, have, in their poets to-day, shattered the idol of war and are glorifying the ideals of peace.
The best poems in English directly inspired by the war have been produced by American poets. Of these I have gathered a representative group in this volume. The work achieved by Percy MacKaye on different phases of the European war has made more secure than ever his position as a poet. It is no exaggeration to say that the two groups of sonnets which originally appeared in the Boston Transcript in August and September, and which are now included in his volume, “The Present Hour,” are comparable as a whole to William Watson’s “The Purple East,” and in such individual pieces as “Kruppism,” and “The Real Germany,” he has done work finer and more impressive than is to be found in any of the older writer’s sonnets. Moreover, such pieces as “If!” and “The Other Army,” by Bartholomew F. Griffin; “Prelude,” by Edmond McKenna; “He Went for a Soldier,” by Ruth Comfort Mitchell, and “To a Necrophile,” by Walter Conrad Arensberg,{xviii} are striking and spontaneous poetry of a high order. In E. Sutton, a poet is presented, who has produced martial poetry in “The Bugle,” “The Drum,” and the stirring “Pipes of the North,” which, for swinging rhythm and profound reflection upon the pomp and futility of military glory, has not been equalled by any contemporary poet.
A notable feature of the poetry year is the Kennerley edition of Walt Whitman’s “Leaves of Grass.” The works of Whitman have been transferred from publisher to publisher so often, that there has been little opportunity for their circulation among the people for whom he wrote. This edition contains the text and arrangement preferred by the poet himself, and is the only perfect and complete issue, comprising one hundred and six additional poems not included in any other edition. There are suitable editions to meet the demand of all classes of Whitman enthusiasts and students: an India paper edition bound in leather, a library edition bound in cloth, and two issues of a Popular edition, bound in cloth and in paper respectively. To these are added the “Complete Prose” in a Library and Popular edition in cloth. None of the leading American poets of the past generation have been so unfortunate in publication; and many who believe Whitman to be America’s greatest poet will be glad to know, that now, by the authorization of his executors, all his works are gathered in uniform editions under one imprint.
Other important new editions of poetry are the{xix} cheap reissue by the Oxford University Press of John Sampson’s final and authoritative text of William Blake’s complete poems, and the new reprint in Bohn’s Popular Library issued by The Macmillan Company of Henry Vaughan’s Complete Poems.
As in former years in my annual summary in the Boston Transcript, I have examined the contents of the leading American magazines. To the seven magazines which I examined last year,—namely, Harper’s, Scribner’s, The Century, The Forum, Lippincott’s, The Smart Set, and The Bellman,—I have added this year three monthlies, The Trend, The International, and The Masses; and one quarterly, The Yale Review. The Bellman still maintains its high poetic distinction, by virtue of which it prints more good poetry than any other American weekly, and most American monthlies. As last year, I have winnowed from other magazines distinctive poems for classification and notice:—one each from The Metropolitan, The Craftsman, The Poetry Journal, the Southern Woman’s Magazine, Puck, and The Infantry Journal; and two each from Poetry: A Magazine of Verse, The Nation, The Atlantic Monthly, and the Outlook; while from three newspapers I have selected fourteen poems:—eleven from the Boston Evening Transcript, two from the Boston News Bureau, and one from the New York Evening Sun. In quoting from the Boston Transcript, I wish to testify to the ready recognition and encouragement this daily paper has offered to poets{xx} and poetry. It is one of the paper’s finest traditions.
The poems published during the year in the eleven representative magazines I have submitted to an impartial critical test, choosing from the total number what I consider the “distinctive” poems of the year. From the distinctive pieces are selected fifty-two poems, to which are added thirty from other magazines and from newspapers not represented in the list of eleven, making a total of eighty-two, which are intended to represent what I call an “Anthology of Magazine Verse for 1914.”
Quoting from what I have written in previous years, to emphasize the methods which guided my selections, the reader will see how impartial are the tests by which the distinctive and best poems are chosen: “I have not allowed any special sympathy with the subject to influence my choice. I have taken the poet’s point of view, and accepted his value of the theme he dealt with. The question was: How vital and compelling did he make it? The first test was the sense of pleasure the poem communicated; then to discover the secret or the meaning of the pleasure felt; and in doing so to realize how much richer one became in a knowledge of the purpose of life by reason of the poem’s message.”
In one hundred and forty-seven numbers of these eleven magazines I find there were published during 1914 a total of 647 poems, of which 157 were poems of distinction. The total number of poems printed in each magazine, and the number of the distinctive{xxi} poems are: Century, total 71, 19 of distinction; Harper’s, total 39, 10 of distinction; Scribner’s, total 49, 18 of distinction; Forum, total 33, 13 of distinction; Lippincott’s, total 56, 8 of distinction; The Smart Set (excluding November and December), total 148, 18 of distinction; The Bellman (until November 7th), total 42, 23 of distinction; The Yale Review, total 19, 10 of distinction; The Trend (April, and June to November), total 51, 16 of distinction; The Masses (excluding December), total 53, 13 of distinction; The International (excluding November and December), total 86, 9 of distinction.
Following the text of the poems making the anthology in this volume, I have given the titles and authors of all the poems classified as distinctive, published in the magazines of the year; in addition I give a list of all the poems and their authors in the one hundred and forty-seven numbers of the magazines examined, as a record which readers and students of poetry will find useful.
I wish to acknowledge my indebtedness and thanks to the editors of Scribner’s Magazine, Harper’s Magazine, The Forum, The Century Magazine, The Outlook, Lippincott’s Magazine, The Bellman, The Smart Set, The Yale Review, Poetry: A Magazine of Verse, The Poetry Journal, The International, The Masses, The Metropolitan, Harper’s Weekly, The Craftsman, The Nation, The Southern Woman’s Magazine, Puck, The Infantry Journal, The Boston News Bureau, The New York Evening Sun, and the Boston Evening Transcript, and to the publishers of these{xxii} magazines and newspapers, for kind permission to reprint in this volume the poems making up the “Anthology of Magazine Verse for 1914.” To the authors of these poems I am equally indebted and grateful for their willingness to have me reprint their work in this form. Since their appearance in the magazines and before the close of the year when the contents of this volume was made up, twenty-eight poems herein included have appeared in volumes of original poetry by their authors. For the use of “Yankee Doodle” and “The Firemen’s Ball” by Vachel Lindsay, included in his volume “The Congo, and Other Poems”; of “Fight,” “France,” and “Six Sonnets (August, 1914)” by Percy MacKaye, included in his volume “The Present Hour”; and for “Romance” by Conrad Aiken, included in his volume “Earth Triumphant,” I have also to thank The Macmillan Company, under whose imprint these volumes appear. Similar acknowledgment is due to the George H. Doran Company for permission to reprint “The Twelve-Forty-Five” by Joyce Kilmer, included in his volume, “Trees and Other Poems”; and to print “In the Roman Forum” and “A Lynmouth Widow” by Amelia Josephine Burr, included in her volume “In Deep Places.” I am grateful to Charles Scribner’s Sons for two poems by Olive Tilford Dargan, “Old Fairingdown” and “Path Flower,” included in her volume “Path Flower”; and for two poems by Corinne Roosevelt Robinson, “From a Motor in May,” and “If You Should Cease to Love Me,” included in her volume “One Woman{xxiii} to Another.” I am indebted to Mr. Mitchell Kennerley for kind permission to reprint Sonnets XXIX, XXX, and XXXVII from “Sonnets of a Portrait-Painter”; and to Mr. A. M. Robertson for two poems by George Sterling, “Ballad of Two Seas” and “The Hunting of Dian,” included in his volume “Beyond the Breakers, and Other Poems.” Finally, The Century Company have been kind enough to permit me to republish “Landscapes” and “Summons” by Louis Untermeyer, from his volume entitled “Challenge”; and “Patterns,” “A Handful of Dust,” and “We Dead” by James Oppenheim, from his volume entitled “Songs for a New Age.” If I have omitted any acknowledgments, it is quite unintentional, and I trust that any such omission will be regarded leniently. I wish it to be understood that the privilege extended to me so courteously, by the authors, magazine editors and publishers, and book publishers, to print the poems in this volume, does not in any sense restrict the authors in their rights to print the poems in volumes of their own or in any other place. I wish to thank the Boston Transcript for the privilege of reprinting material in this book which originally appeared in the columns of that paper.
A new feature this year is the series of critical summaries of new volumes of verse, which are significant, and which have been appraised in accordance with the same principles as the poems in the “Anthology of Magazine Verse.” It is believed that by adding this feature, the book will more nearly approximate to being an actual Year-Book{xxiv} of American Poetry, and it is in this belief that a subtitle has been added to this volume. I believe that not only libraries, but private individuals will welcome the selected lists of the best volumes for library purchase, graded according to the requirements of a large or a small purse. A list is also subjoined of the best books about poetry, and if there seems to be a demand for this innovation, it is planned next year to include in the book critical summaries of these volumes, as well as of the volumes of original verse.
I shall be grateful for suggestions as to improvements of this year-book in future years, and as to valuable extensions of its scope. To all friends who have assisted this volume by their personal efforts, and to the readers of past years who have made this annual publication possible by promoting it through their interest in poetry, I tender my grateful thanks. They are too many to name here, but my gratitude for their efforts is none the less sincere.
W. S. B.
Cambridge, Massachusetts.
November, 1914.
{1}
Century. Louis Untermeyer.
{3}
The Forum Bliss Carman
Atlantic Monthly Bliss Carman
The Bellman Witter Bynner
The Outlook Corinne Roosevelt Robinson
The Trend Walter Conrad Arensberg
The Bellman Florence Earle Coates
Boston Transcript Edward J. O’Brien
Scribner’s Magazine Jessie Wallace Hughan
This poem is intended as a description of a sort of Blashfield mural painting on the sky. To be sung to the tune of Yankee Doodle, yet in a slower, more orotund fashion. It is presumably an exercise for an entertainment on the evening of Washington’s Birthday.
The Metropolitan Vachel Lindsay
The Outlook Percy MacKaye
The Forum Lyman Bryson
Smart Set Alice Duer Miller
Harper’s Weekly Berton Braley
Boston Transcript Edward J. O’Brien
The Forum Arthur Davison Ficke
Smart Set George Sterling
In Which, contrary to Artistic Custom, the moral of the piece is placed before the reader.
(From the first Khandaka of the Mahavagga: “There Buddha thus addressed his disciples: ‘Everything, O mendicants, is burning. With what fire is it burning? I declare unto you it is burning with the fire of passion, with the fire of anger, with the fire of ignorance. It is burning with the anxieties of birth, decay and death, grief, lamentation, suffering and despair.... A disciple, ... becoming weary of all that, divests himself of passion. By absence of passion, he is made free.’”)
Poetry: A Magazine of Verse Vachel Lindsay
Century Louis Untermeyer
Century James Oppenheim
The Smart Set Edwin Davies Schoonmaker
Century James Oppenheim
Yale Review Frederick Erastus Pierce
Boston Transcript Ruth Guthrie Harding
Yale Review Witter Bynner
The Craftsman Margaret Widdemer
The Forum Eloise Briton
Harper’s Magazine Sara Teasdale
Century Amelia Josephine Burr
Yale Review Witter Bynner
Smart Set John Myers O’Hara
The Forum Laura Campbell
Smart Set George Sterling
Poetry: A Magazine of Verse
Edwin Arlington Robinson
The Forum Edna St. Vincent Millay
The Masses Lydia Gibson
Century James Oppenheim
The Bellman Amelia Josephine Burr
Scribner’s Edwin Arlington Robinson
The Forum Arthur Davison Ficke
The Poetry Journal Conrad Aiken
Scribner’s Corinne Roosevelt Robinson
The Trend Walter Conrad Arensberg
The Forum Arthur Davison Ficke
The Masses Lydia Gibson
The Bellman Amelia Josephine Burr
Yale Review John Erskine
Harper’s Richard Le Gallienne
Boston Transcript Ruth Guthrie Harding
Puck Richard Le Gallienne
The Trend Walter Conrad Arensberg
The Nation Witter Bynner
The Nation. Percy MacKaye
Scribner’s Magazine E. Sutton
Boston New Bureau Bartholomew F. Griffin
The Masses Edmond McKenna
Boston News Bureau. Bartholomew F. Griffin
Infantry Journal E. Sutton
Smart Set Ruth Comfort Mitchell
Boston Transcript Percy MacKaye
The nations shall rush like the rushing of many waters
... and
shall be chased before the wind.—Isaiah.
The International William Griffith
(After reading of the affectionate desire of Germany “to get
closer to France,” expressed by the German Secretary of State to
the British Ambassador at Berlin, as published in the British White
Papers.)
The Trend Walter Conrad Arensberg
Harper’s Weekly Oliver Herford
The Bellman Mahlon Leonard Fisher
Scribner’s Magazine E. Sutton
The Bellman Clinton Scollard
(Written by Giosué Carducci at the death of his
little son Dante, and
addressed to his brother Dante,
who had taken his own life years
before.)
The Bellman Ruth Shepard Phelps
Boston Transcript Mahlon Leonard Fisher
Yale Review Charlotte Wilson
Century William Rose Benét
Smart Set Joyce Kilmer
The Smart Set Faith Baldwin
Southern Woman’s Magazine Jane Belfield
The Bellman Madison Cawein
Atlantic Monthly Olive Tilford Dargan
Evening Sun Don Marquis
* Certain volumes of new poetry and collected editions are drawn to the individual reader’s notice by an asterisk employed to indicate special poetic distinction.
* The East I Know. By Paul Claudel. Translated from the French by Teresa Frances and William Rose Benét. (Yale University Press: $1.25 net.) A volume of prose poems by one of the greatest poets living in the world to-day. Although Paul Claudel is unknown to English readers, his influence is the strongest shaping force there is on the young poetry of most European countries. This volume is as much of a literary event as the publication of John Synge’s first volume in this country. I know of no living writer of whom we may more confidently predict immortality for his work. The present volume reveals the soul of China in wonderful strophes, and though perhaps the slightest of Claudel’s books, is the volume by which Claudel may be most fittingly introduced to the American public. If any reader can set down this volume without realizing that a great new force in literature and life has been born into the world, he is incapable of imaginative appreciation.
* The Single Hound: Poems of a Lifetime. By Emily Dickinson. (Little, Brown, & Co.: $1.25 net.) A new volume by one of the world’s great spiritual artists, which contains much poetry that is imperishable as an integral part of American literature. With Blake’s naked uncompromising vision, and his absorption in the eternal shadows of mortality, she has a personal and fragrant beauty of feeling and expression which is unique and incomparable. Her verses are like flashes of lightning illumining the chaos of our material existence. The Single Hound is the rich legacy of a great spiritual imagination. There are few books in American poetry of which we can more confidently predict immortality.
* Collected Poems. By Norman Gale. (Macmillan: $1.50 net.) The poet’s choice of the lyrics and longer poems by which he wishes to be definitely remembered. Indispensable to every library. No poet since the Elizabethans has managed to convey such an infectious joy into pastoral poetry, and the best of these poems are permanent treasure{150} trove for the anthologist. Such a volume as this would alone dignify a season.
* Georgian Poetry. Edited by E. M. (Putnam: $1.50 net.) A superb collection of representative poems by the younger English writers who have won their reputation in the last four or five years. This book, which has gone through nine English editions already, should meet with as great success in this country. Here, and here only, will you find the authentic younger singers adequately represented by hitherto unpublished work. If this volume introduces Rupert Brooke and Lascelles Abercrombie to America, it will have done our literature a service great enough to justify its publication.
* The Congo and Other Poems. By Vachel Lindsay. (Macmillan: $1.25 net.) A new volume of verse by Mr. Lindsay, whose first book was the most significant publication in American poetry last year. While this book does not mark an advance, many of the poems written to be chanted aloud fully sustain the poet’s reputation, and the volume is graced with a selection of the best and less strident of the Rhymes to be Traded for Bread. As the poetic interpreter of the Middle West, Mr. Lindsay is performing a great social service, as well as a great service to poetry by bringing it into the homes and hearts of the people. The Firemen’s Ball and I Heard Immanuel Singing have qualities of permanence, and in the former Mr. Lindsay has perfected a new medium of poetic expression. But we are in danger of losing sight of Mr. Lindsay’s more delicate talent by virtue of which he is preëminently a poet
* The Present Hour: A Book of Poems. By Percy MacKaye. (Macmillan: $1.25 net.) The poems dealing with the present war reaffirm Mr. MacKay’s authority of utterance, and the best of the sonnets surpass William Watson’s “The Purple East.” But it is in “Fight” and “School” that the poet has at last found himself and invented a medium admirably fitted to express what he desires. These two poems have all the distinction of Masefield with the originality and shrewdness of New England feeling, and a homeliness which is unique in contemporary poetry. The volume includes many poems of occasion, all adequate, and in the case of “Goethals” and one or two others, noble. So far, Mr. MacKaye’s best volume of poems.{151}
* The Complete Poems of S. Weir Mitchell. (Century Co.: $2.00 net.) The definitive edition of Dr. Mitchell’s poetry revised according to his final wishes. It should serve to make known to the present generation the graceful contemplative poetry of that rival to America’s other distinguished physician-poet, Dr. Holmes. Dr. Mitchell’s poems of occasion at their best are equal to the best of Dr. Holmes, while his “Ode to a Lycian Tomb” surpasses “The Chambered Nautilus.” It is one of the anomalies of literature that Dr. Mitchell’s novels have so long overshadowed his poetry. In this volume the best of his dramatic work is included, and “Drake” is a play of poetic distinction in its way. The volume may rest pleasantly with its peers on the same library shelf with the poems of Longfellow and Holmes. It is the harvest of sixty years devoted to poetry.
* Songs for the New Age. By James Oppenheim. (Century Co.: $1.25 net.) The most significant volume of new poetry of the year 1914, as Vachel Lindsay’s General William Booth Enters Into Heaven was the most significant volume of 1913. With more self-conscious art than Whitman, in the verse form which Whitman was once thought to have perfected, Mr. Oppenheim sings the joys and sorrows of the race now and to come. The vision of these poems is swift and sure: their philosophy, mature and American. If there is one volume of verse this year which we might safely recommend to every American man and woman who has not read poetry before, it is this book, where they will find their dreams and strivings sung and interpreted in a book which has qualities of greatness. The form of these poems is so difficult to shape perfectly that Mr. Oppenheim’s technical achievement can only be characterized as masterly. The volume is the only one in which the use of “polyrhythmic verse” can claim complete justification since Leaves of Grass, and its art is as individual as its matter. Songs for the New Age may reaffirm much of Whitman, but they do not echo him. The volume will prove more and more satisfying with each rereading. And its message to the American people may not pass unheeded.
* The Grand Canyon, and Other Poems. By Henry Van Dyke. (Scribner: $1.25 net.) Poetry of the quality familiar to Dr. Van Dyke’s readers, and fully equal to the poetry in his earlier volumes. To the more serious{152} poems are added several delightfully humorous poems of occasion, among which Ars Agricolaris is a classic of its kind.
* The Flight, and Other Poems. By George Edward Woodberry. (Macmillan $1.25 net.) Mr. Woodberry’s finest volume of verse, in which he gives expression to many moods of intellectual beauty and a philosophy of the ideal akin to Shelley. It contains one lyric, Comrades, absolutely peerless and worthy to be set beside Browning’s The Guardian Angel, if it does not surpass it. These poems are the fruit of a ripe culture and a passionate idealism thoroughly American in its voicing of its message. One of the most completely satisfying volumes of the year.
The List of ten books printed above and the following fifteen titles:—
* In Deep Places. By Amelia Josephine Burr. (Doran: $1.00 net.) Fine dramatic monologues and narrative poems, which represent a great advance over Miss Burr’s previous book. Jehane is a worthy sequel to The Haystack in the Floods by William Morris. Allah is With the Patient and other narrative poems are related in a blank verse of firm yet varied texture. Miss Burr’s dramatic imagination interprets Italy and England in human terms, and travel has afforded her lyric opportunities to which she has responded sensitively and well. With this volume Miss Burr has come to stay.
* The Little King. By Witter Bynner. (Kennerley: $.60 net.) A stark one-act play in verse of swift sure dramatic nerve about the little son of Marie Antoinette. With great economy of material and vivid historic imagination, Mr. Bynner has made The Little King human and poignant in his brief little tragedy.
* Earth Deities, and Other Rhythmic Masques. By Bliss Carman and Mary Perry King. (Kennerley: $1.50 net.) Four masques of earth with Mr. Carman’s old familiar lyric quality directed into fresh and living channels. Each of them would afford a rare delight to an audience, particularly if accompanied by the rhythmic dances which have been designed for them by Mary Perry King.{153}
* Poetical Works. By Edward Dowden. In two volumes. (Dutton: $4.00 net.) A permanent and integral part of English literature. It is gratifying to find tardy justice done at last to the merits of the late Professor Dowden as a poet. Those who care for the work of Mr. Woodberry will find the same qualities in Dowden’s poetry, but in a larger and more authoritative voice. Moreover, he is one of the great nineteenth century sonneteers. His many hymns to intellectual beauty have not an undistinguished line in them, and as a lyric poet his singing quality is infectious. This is the first edition of his poems since 1876, and contains many which have never been collected before. The second volume is a pleasant translation of Goethe’s, The West Eastern Divan. It will not greatly interest admirers of Prof. Dowden’s work, and should be sold separately.
* Borderlands and Thoroughfares. By Wilfrid Wilson Gibson. (Macmillan: $1.25 net.) Mr. Gibson’s fourth volume in three years. Though not equal to his earlier books, it will well repay the lover of poetry. The first section, entitled Borderlands consists of three dramatic dialogues in free verse which aim with some success to be simple, sensuous, and passionate. Hoops is one of Mr. Gibson’s most satisfactory poems. The second section, entitled Thoroughfares comprises shorter poems, many of which are dramatic monologues, and of these Solway Ford and The Gorse represent Mr. Gibson’s best. As we have said elsewhere, Mr. Gibson’s art “satisfies our æsthetic emotions and fulfils our social needs.”
* Aroun’ the Boreens: A Little Book of Celtic Verse. By Agnes I. Hanrahan. (Badger: $1.00 net.) A slight volume of Irish songs equal to the very best by Eva Gore-Booth or Mrs. Hinkson, and tipped with a more delicate art. The volume should be on every shelf beside Moira O’Neill’s Songs of the Glens of Antrim.
* The Cry of Youth. By Harry Kemp. (Kennerley: $1.25 net.) Terse ringing ballads of modern life with much of Buchanan’s quality and keen technique. Despite the propagandist note, which is less insistent than in most poetry of a socialistic tendency, Mr. Kemp has succeeded with some quiet reserve in making the reader feel the pity of lonely outcast life, and in expressing his philosophy in genuine poetry. The sincerity of his work is unquestionable, and the volume merits a critical attention on its{154} merits which we should be anxious to assist. The Cry of Youth is not written solely for an audience of poets and critics. It is genuine poetry of cruelly naked emotion borne unflinchingly.
* Songs of the Dead End. By Patrick MacGill. (Kennerley: $1.25 net.) Poetry of labor and poetry without a brief in about equal measure. Though the former is fine, Mr. MacGill’s best work is to be found in the latter. The poet has been a navvy, a miner, a switchman, a car-coupler, a tramp, and a plate-layer, and out of grinding poverty and toil his poetry has emerged. There is danger of a wrong emphasis on his social poetry. It is good, but not better than that of several others. The less premeditated lyrics will give the greatest pleasure to the reader, and to many of them one will turn again and again.
* Philip the King, and Other Poems. By John Masefield. (Macmillan: $1.25 net.) A one-act play in verse which is competent but would not be distinctive were it not for a superb ballad of the Armada, which challenges comparison with Drayton. Four other poems of strong beauty which redeem the rest of the volume, and make it necessary to poetry lovers. The notable war-poem entitled August, 1914, is included.
* The Wine-Press: A Tale of War. By Alfred Noyes. (Stokes: $.60 net.) A tale of the horror of war and its blind futility, whose scene is laid in the Balkans. It is told with all of Mr. Noyes’s art and its awful lesson should be particularly timely in the midst of the present struggle. The poem is a hymn to liberty passionately voiced, and brings death and suffering home in relentless poetry.
* Songs of Labor, and Other Poems. By Morris Rosenfeld. Translated from the Yiddish by Rose Pastor Stokes and Helena Frank. (Badger: $.75 net.) An excellent translation of the poems of an American Yiddish poet of poignant beauty, whose work has hitherto not been accessible to English readers except in an incomplete prose version. The present translation includes many poems now published for the first time, and is adorned with two remarkable illustrations in black and white which reveal new possibilities in line. A volume which deserves to go through many editions.
* Poems. By Clinton Scollard. (Houghton-Mifflin: $1.25 net.) A selection of Mr. Scollard’s best poems from his{155} numerous volumes. It should serve to define his place in American poetry, which is beside Mr. Cawein. Delicate fancy and a love of nature which is not vague are united to an opulence of expression which has not always done Mr. Scollard service, but which in almost every poem in this volume results in giving the pleasure of fine poetic sensation to the discriminating reader.
Songs and Sonnets for England in War Time. (Lane: $.75 net.) A collection of the best poems by English poets inspired by the war, issued for the benefit of the Prince of Wales Fund. The total profits of the volume are turned over to this fund for relief work, and the purchaser will not only procure a volume whose significance will be more and more realised as time passes, but will be contributing in small measure to this charitable work.
* Challenge. By Louis Untermeyer. (Century Co.: $1.00 net) One of the most significant new volumes of the year. With much of Shelley’s social enthusiasm and a genuine inspiration, he sings the strength and weakness of our democracy with the eagerness of youth. This is a volume whose significance will grow as the years go by, and it should be associated with Mr. Oppenheim’s new volume on which comment will be found elsewhere. Although democracy is the substance of his song, yet the feeling for beauty’s essence which here finds lyrical expression is the most substantially satisfying quality of his work.
* Earth Triumphant, and Other Tales in Verse. By Conrad Aiken. (Macmillan: $1.25 net.) Three narrative poems of distinction, followed by shorter poems interpreting the philosophy of youth. They suggest comparison with the longer poems of John Masefield, but have a firm independent technique of their own. With genuine beauty they relate tales which reveal the heart of modern life in various phases of youth, and contain a reading of earth which differs in essentials from that of Meredith. The volume deserves a wider audience than the usual public which cares for poetry. It has a message which every American will appreciate, and if it helps to spread an{156} interest in poetry among new circles of readers, it will only be fulfilling its mission. It is a distinguished first book of verse.
Poems. By Walter Conrad Arensberg. (Houghton-Mifflin: $1.00 net.) The most artistic volume of poetry this year in its technique. Aloofness, controlled emotion, conscious art, are the characteristics of his poetry. Despite an occasional bizarrerie, despite echoes of Verlaine and Laforgue, Mr. Arensberg is a classicist. His technique is faultless. Each line is not only exquisite in itself, but it is perfectly coördinated with every other line. If these poems leave the reader cold, they offer an abundant intellectual compensation for the “thrills” of other poets. The special qualities of his verse are unique in American poetry, and will surely appeal to a discriminating circle, though his work is unlikely to become popular.
The Minor Poems of Joseph Beaumont. Edited by Eloise Robinson. (Houghton-Mifflin: $5.00 net.) An authoritative text of Joseph Beaumont’s minor poems edited from a manuscript in the possession of Professor George Herbert Palmer. The poems are preceded by a critical introduction and followed by a brief but careful textual apparatus. While Beaumont was a very minor poet, the fact remains that he was a significant member of the group of metaphysical poets of whom Vaughan was the greatest, and this volume must take its place in any collection of English poetry which claims to be even reasonably complete.
The Falconer of God, and Other Poems. By William Rose Benét. (Yale University Press: $1.25 net.) Mr. Benét’s second collection marks an advance in facility combined with a greater restraint and reticence. It includes many fine ballads, and several dramatic soliloquies only surpassed this year by those in Miss Burr’s new volume. Although there is much which is experimental in the book, it is successful experiment, and Mr. Benét’s range of expression is continually broadening.
* Auguries. By Laurence Binyon. (Lane: $1.00 net.) One of the most satisfying collections of verse of a noteworthy poet who is too little known and appreciated in this country. Its grave classical beauty will never assure it popularity, but at its best it is worthy to stand beside Mr. Bridges, and it contains no poem that is not excellent. Ferry Hinksey is a lyric which no future anthologist{157} can overlook. Next to Mr. Arensberg’s poems, the most satisfying new volume artistically of the year. It demands silence and complete surrender.
Broad-Sheet Ballads. With An Introduction by Padraic Colum. (Norman, Remington: $.75 net.) A narrow, but good, selection of the best of the Broad-Sheet Ballads which occupy so definite a place in Irish poetry. These waifs and strays have been gathered previously in various collections, but never before in a volume calculated to appeal to the general public. An introduction telling the story of this form of art and the characteristics of its audiences and appeal to them is prefixed.
* Syrinx: Pastels of Hellas. By Mitchell S. Buck. (Claire-Marie: $1.25 net.) A volume of prose poems of reticent Pagan art, suggestive of the best work of Pierre Louys. Unique in American poetry, and really beautiful.
In the High Hills. By Maxwell Struthers Burt. (Houghton-Mifflin: $1.25 net.) The verse in this volume is of a kind that has eminent qualities without eminent distinction. The earnestness and sincerity of Mr. Burt’s poetic moods give to his poetry those sound qualities which at least compel attention, if they do not excite the emotions. The elements of poetry are not fused with imaginative heat in his work, and hence it lacks magic, but it reflects the gentlemanly feeling of a lover of poetry in verse which demands respect.
The Sun-Thief, and Other Poems. By Rhys Carpenter. (Oxford University Press: $1.75 net.) Competent academic verse on classical models, including a new version of the Prometheus legend.
The Poet and Nature: What He Saw and What He Heard. By Madison Cawein. (John P. Morton & Co.: Louisville, Kentucky. $1.50.) A volume of prose and verse designed to encourage a love of poetry in children. The first half of the volume is in the form of a juvenile story with previously published lyrics of Mr. Cawein interspersed as examples of poetic beauty: the second half of the volume consists of hitherto uncollected poems of nature by Mr. Cawein now gathered together under the title of The Morning Road. This part of the volume should give especial pleasure to Mr. Cawein’s readers.
Green Days and Blue Days. By Patrick R. Chalmers. (Norman, Remington: $1.00 net.) A pleasant volume of light verse by a contributor to Punch. The verses do not{158} pretend to be more than agreeable diversions, and reflect the lighter moods of life happily and in delicate numbers.
At the Shrine, and Other Poems. By George Herbert Clarke. (Stewart and Kidd: $1.25 net.) A pleasant unassuming collection of somewhat academic verse reflecting a life of scholarly leisure. The closing section of letters in verse to departed novelists is particularly happy, recalling at no great distance the similar work of Austin Dobson.
* Path Flower. By Olive Tilford Dargan. (Scribner: $1.25 net.) With this volume of lyrical poems Olive Tilford Dargan definitely takes her place as one of our foremost younger poets. With much of Francis Thompson’s vision of an overarching heaven and a shadowed earth, and also much of Thompson’s mannerism, she is herself in the best of these poems, in which she treats high themes with high artistic fervor. Her feeling for landscape is English in its delicacy, and she has interpreted the influence of nature on human life and its incidence with clear insight and sympathy. No one will deny Mrs. Dargan’s poetic inspiration or the refinement of her vision.
Florence on a Certain Night, and Other Poems. By Coningsby Dawson. (Holt: $1.25 net.) A volume of undistinguished literary verse by a distinguished novelist.
* America and Other Poems. By W. J. Dawson. (Lane: $1.25 net.) The expression of an ideal America as seen by one with an alien tradition. The volume includes several fine ballad narratives, notably “The Kiss,” “Salome,” and the swift sure rhythmic “Last Ride of the Sheik Abdullah;” above all, “Blake’s Homecoming,” a member of the royal line of English ballads. In addition to competent lyrics on various themes, special attention should be called to the poems of childhood and the delicately imagined meditative poems of religious feeling. So many religious poems rely wholly on a good intention, “more fit to pave Hell than cause rejoicing in Heaven,” as a French critic says, that exceptions should be noted. The volume marks an appreciable advance over Dr. Dawson’s previous collections.
A Pageant of the Thirteenth Century for the Seven Hundredth Anniversary of Roger Bacon. The Text by John Erskine. (Columbia University Press.) A pageant reflecting the culture and endeavor of the thirteenth century in every field. The text is in verse of fine tex{159}ture and imaginative expression by Professor Erskine of Columbia University. While the pageant itself has been deferred because of the war, it is still possible to enjoy the text, and to look forward to the pageant’s representation in the near future.
Lux Juventutis: A Book of Verse. By Katharine A. Esdaile. (Houghton-Mifflin: $1.25 net.) The first volume of a young English poet who shows considerable promise. It is characterised by classical restraint and a fine feeling for form, and does not lack singing quality.
* Sonnets from the Patagonian. By Donald Evans. (Claire-Marie: $1.25 net.) Eighteen impressionistic sonnets of exotic workmanship, suggesting the fantasy of Laforgue, but more extremely composed in disembodied words. They rely on tone color for much of their effect, and are bizarre to the point of irony. However, they grow on the reader as he becomes familiar with them, and their consummate art is unquestionable.
* Sonnets of a Portrait-Painter. By Arthur Davison Ficke. (Kennerley: $1.00 net.) A sequence of fifty-seven sonnets in an undeservedly neglected form, which do not recall too definitely Meredith’s Modern Love. They are extremely subtle and their intellectual content is very closely woven, so that they will prove difficult reading, but they repay careful study, and in many sonnets the lyric impulse has happily overmastered the poet completely. A collection which is worthy of several readings.
* Arrows in the Gale. By Arturo Giovannitti. (Hillacre Bookhouse, Riverside, Connecticut: $1.25 net.) One of the more important volumes of new verse this year. A passionate voicing of social injustice in imaginative strophes, which introduce a new poetic form with considerable art. The Cage, when printed in the Atlantic Monthly, last year, was called the most significant poem published in that periodical since Moody’s Ode in Time of Hesitation. The volume claims a hearing as fine poetry rather than as an expression of Syndicalism. There is an appreciative introduction by Helen Keller which is good criticism.
* My Lady’s Book. By Gerald Gould. (Kennerley: $1.00 net.) Twenty lyrics of pure song quality which are almost faultless in their perfection, though in a minor key. A volume to afford pure delight by its unaffected lyric quality.{160}
Poems. By Katharine Howard. (Sherman, French: $1.00 net.) Minor verse in vers libre, which is frequently pleasing and always individual. It is the expression of a whimsical personality who wears her singing robes lightly, and who is most successful in verse of macabre suggestion.
* Des Imagistes: An Anthology. (Boni: $1.00.) The best collection of “imagiste” poetry, in which the work of Ford Madox Hueffer, F. S. Flint, Amy Lowell, and others is represented. There are many poems in the volume which will give pleasure, but as a collection it is uneven and rather tenuous. The work of F. S. Flint which it contains justifies the volume’s purchase.
The Thresher’s Wife. By Harry Kemp. (Boni: $.40 net.) A narrative poem well told in the manner of Masefield, whose influence upon it has been great.
* Trees, and Other Poems. By Joyce Kilmer. (Doran: $1.00 net.) The spirit of youth and grave faith expressed in lyric numbers. This slight little book defines a personality of poetic interest. The book shows less alien influence than most recent American poetry, and is quite individual in its affirmations. Though unassuming, the book will not meet with just treatment unless we recognize the fine lyric accomplishment of such poems as Trees and Martin. Is this volume the prelude of a little Catholic Renaissance in American poetry?
* The Shadow of Ætna. By Louie V. Ledoux. (Putnam: $1.00 net.) Severely chaste poetry on classical models of distinguished beauty. They reveal fine intellectual feeling that recalls Shelley in its intensity and Arnold in its disciplined reticence. They have all the warmth of life seen against an eternal background, and a passionate message which cannot go unheeded.
* The Sharing. By Agnes Lee. (Sherman, French: $1.00 net.) Agnes Lee’s new book has all her familiar qualities, but in addition it presents a new criticism of life which reveals a feeling for human values akin in many respects to that of Browning. In its brevity and search for the polished word, it suggests the sculptor’s art, and many of these poems would have pleased Landor for their freight of suggestion and elemental simplicity.
* Sword Blades and Poppy Seed. By Amy Lowell. (Macmillan: $1.25 net.) A volume, not only of interesting experiment in vers libre and exotic rhythms, but of{161} notable accomplishment in poetry. Though associated with the “imagiste” school of English poetry, Miss Lowell’s talent is independent of it, and in her narrative and lyric poems alike one feels an artistic firmness and restraint which results in clear vision clearly sung. Best of all, this “imagiste” poetry is healthy and able to fight for its existence. In so far as it is derivative from French influences it adds a new note to English verse, and reveals a subtle use of free cadenced rhythms which is fully responsive to the mood and feeling of the poem. Far more genuine and spontaneous than Miss Lowell’s first volume.
The Passing Singer and Other Poems. By Samuel Henry Marcus. (Stratford Pub. Co.: $1.00 net.) A modest first volume which is likely to receive less attention than it deserves. Mr. Marcus has not yet found himself in poetry, but he sings the present condition of humanity sincerely and passionately. When he sings it simply, he will be more satisfying, but this volume will give pleasure to any one who really cares for poetry.
* Poems. By Edward Sandford Martin. (Scribner: $1.50 net.) The collected verse of the Editor of Life. Mellow Horatian philosophy and wit not yet frost-bitten by a man whom Dr. Johnson would have pronounced clubbable and with whom Boswells must feel uncomfortable.
You and I. By Harriet Monroe. (Macmillan: $1.25 net.) A bulky volume of verse by the editor of Poetry: A Magazine Of Verse. In it the social note is voiced strongly, and expression is given to many phases of modern effort, but its intellectual content rather overshadows its lyric quality.
* The Sea is Kind. By T. Sturge Moore. (Houghton-Mifflin: $1.50 net.) This is the first collection issued in America of the poems of an English craftsman of great distinction and power, whose chief weakness is an over-proportion of intellectual substance. He lacks the glow of beauty, and perhaps of beauty’s realization, but his work is literary craftsmanship of the highest order, and his metrical experiments are almost as significant as those of Mr. Bridges. Altogether the artistic product of a richly stored mind without aspiration or imaginative vision.
* Saloon Sonnets: With Sunday Flutings. By Allen Norton. (Claire-Marie: $1.25 net.) A volume less bizarre than its title implies. The sonnets bear evidence of ueberkultur, but occasionally surprise the reader by their pleas{162}ant lyric charm. They do not lack virility and enthusiasm.
The Sister of the Wind. By Grace Fallow Norton. (Houghton-Mifflin: $1.00 net.) A new volume by the author of Little Gray Songs from St. Joseph’s which is most disappointing. In a poet of Miss Norton’s quality, it is inevitable that there should be always something to repay the reader, but this volume is singularly unrepresentative of Miss Norton’s real powers.
Celtic Memories. By Norreys Jephson O’Conor. (Lane: $1.00 net.) A first volume of some promise by a recent graduate of Harvard, whose Irish feeling is drawn directly from experience, but whose expression is still drawn chiefly from books.
* The Ebon Muse and Other Poems by Léon Laviaux. Englished by John Myers O’Hara. (Smith and Sale: $2.00 net.) Translations from the work of a young Creole poet, glorifying the “fille de couleur” in love poetry of original beauty. Differing from Latin and Oriental passion alike, it reveals a type of feminine beauty which is wholly new to Northern readers.
* An Epilogue To the Praise of Angus and Other Poems. By Seumas O’Sullivan. (Norman, Remington Co.: $.75 net.) A thin sheaf of delicate poems by one of the foremost poets of the New Ireland. Akin in certain aspects of his vision to “Æ,” who does not surpass him, his verses have more singing quality, and he is a successful experimenter in various new verse forms which reproduce cadences in ancient Irish music.
* One Woman to Another, and Other Poems. By Corinne Roosevelt Robinson. (Scribner: $1.25 net.) Dramatic monologues and sonnets of sharply etched lines whose competence is unquestionable, and a more satisfying reality of human feeling than in Mrs. Robinson’s previous volume. The volume will give much intellectual and some emotional pleasure, and in two or three lyrics the poet has achieved high ground.
* Beyond the Breakers, and other Poems. By George Sterling. (Robertson: $1.25 net.) This is Mr. Sterling’s first thoroughly satisfying book. It includes the superb “Ode on the Centenary of the Birth of Robert Browning,” and poems of such importance as “Tidal, King of Nations,” “Willy Pitcher,” “The Mission Swallows,” “Past the Panes,” and “You Never Can Tell.” We must call{163} particular attention to the vision of the noble ode entitled “Beyond the Sunset.” With less opulent diction and heady imagination than Mr. Sterling’s earlier volumes, Beyond the Breakers shows a disciplined vision expressed with a disciplined technique.
Open Water. By Arthur Stringer. (Lane: $1.00 net) A collection of delicate pictures expressing many frail and drifting moods phrased in vers libre not yet quite sure of itself. The volume contains much quiet beauty, and is prefaced by a plea for vers libre of considerable documentary and critical value. A volume which the lover of poetry can scarcely neglect.
Idylls of Greece. Third Series. By Howard V. Sutherland. (Fitzgerald: $1.00 net) Modest idylls of Greek fable telling with some passages of beauty the tales of “Idas and Marpessa,” “Rhodanthe,” “Sappho and Phaon,” and “Œnone.” The blank verse, though not firm, is of well-wrought texture, and Mr. Sutherland expresses feelingly the fleeting beauty of Pagan love and Hellenic landscape. Mr. Sutherland’s three volumes merit more attention than they have received.
The Poems of François Villon. Translated by H. De Vere Stacpoole. (Lane: $1.50 net) A convenient edition of Villon’s best work, in which a reasonably accurate text of the two Testaments and the best of the Ballades and Rondels is printed, together with a running commentary, a vivid introduction, and translations of some of the shorter poems with dubious success. However, the volume is the best popular service to Villon that has yet been performed in this country, and should be on the library shelf.
* Little Verse for a Little Clan. By F.D.W. (Published Privately: Not for Sale.) A slight little volume of thirty-five pages of delicate workmanship, which contain poems that make the book rank among the very best of the year. I know of very few books written by Americans which would afford the pleasure to discriminating readers that this volume would offer were it to be published in a form accessible to all. It is as delicate, at its best, as Beeching and Mackail’s Love in Idleness, and will please all lovers of A Shropshire Lad. It is just the sort of book which Mr. Mosher used to delight in finding for the American public. I shall be glad to give further information about it to inquirers.
Eris: A Dramatic Allegory. By Blanche Shoemaker{164} Wagstaff. (Moffat, Yard, and Co.: $1.00 net.) A short dramatic allegory in which the elements of poetry are present, but which is hardly successful in fusing them into life. There are several pages of genuine poetry which prove the certainty of the poet’s ultimate accomplishment, and much competent craftsmanship. This is an honest book, whose weakness is that the imagination of the reader has no suggestive substance to feed upon.
Justification: A Philosophic Phantasy. By John H. White. (Richard G. Badger: $1.00.) A poem in four short cantos and though philosophic in conception is full of abstract idealisms. The author has a fruitful imagination, but his reasoning on the origin and destiny of human life is profound. The verse, though concrete, is flexible.
* The Collected Poems of Margaret L. Woods. (Lane: $1.50 net.) The definitive edition of the poetry and drama of a great weaver of words and emotion, who unites to much of Lionel Johnson’s repressed sombreness a sustained beauty of musical effect which was characteristic of the earlier poet. Mrs. Woods has performed for Oxford the poetic service that Johnson performed for Winchester, and in other poems has added new immortalities to Westminster Abbey’s crown. The plays are finely wrought and deeply felt, and together with the lyrics, place Mrs. Woods in the authentic English poetic line.
Century—
The River. John Masefield.
Hope. Oliver Herford.
The Poet Rebukes His Flatterers. Fannie Stearns Gifford.
To Arms. Louis Untermeyer.
The Crucible. Robert Haven Schauffler.
To My Baby Hilda. Grace Hazard Conkling.
Love’s Lantern. Joyce Kilmer.
To My Little Son. Pauline Florence Brower.
Menace. George Sterling.{165}
On Hans Christian Andersen’s “Snow Queen.” William Rose Benét.
The Redwing. Bliss Carman.
El Greco Paints His Masterpiece. Thomas Walsh.
The Last Shrine. Richard Le Gallienne.
The Gaoler. Helen Gray Cone.
Summons. Louis Untermeyer.
O My Love Leonore. Fannie Stearns Gifford.
Three Poplars. Witter Bynner.
The Feast of the Gods. William Rose Benét.
Landscapes. Louis Untermeyer.
Patterns. James Oppenheim.
A Handful of Dust. James Oppenheim.
We Dead. James Oppenheim.
Lights Through the Mist. William Rose Benét.
The Flirt. Amelia Josephine Burr.
A Birthnight Candle. John Finley.
All Souls’ Night. Gertrude Huntington McGiffert.
“I Shall Go to Love Again.” Margaret Widdemer.
Prinzip. Cale Young Rice.
Harper’s—
The Look. Sara Teasdale.
Afterward. Charles Hanson Towne.
Old Friend. Richard Le Gallienne.
The Pool. Mary White Slater.
Night Song at Amalfi. Sara Teasdale.
Exile. Alice Duer Miller.
The Laggard Song. Richard Le Gallienne.
A Face at Christmas. Dana Burnet.
The Glory of the Grass. Claire Wallace Flynn.
Ships. John Masefield.
Scribner’s—
Student’s Song. Robert Louis Stevenson.
With Walton in Angle-Land. Robert Gilbert Welsh.
Reprieve. Charlotte Wilson.
Sir John Chandos and the Earl of Pembroke: A Ballad from Froissart. E. Sutton.
The Gift of God. Edwin Arlington Robinson.
Swimming by Night. Alice Blaine Damrosch.
How Spring Comes to Shasta Jim. Henry van Dyke.
The Trodden Way. Martha Haskell Clark.{166}
Old Fairingdown. Olive Tilford Dargan.
The Summons. William Rose Benét.
Solace. Walter Malone.
In the “Zoo.” George T. Marsh.
The Pipes of the North. E. Sutton.
The Regents’ Examination. Jessie Wallace Hughan.
If You Should Cease to Love Me. Corinne Roosevelt Robinson.
Desert Song. John Galsworthy.
The Drum. E. Sutton.
Another Dark Lady. Edwin Arlington Robinson.
The Forum—
The Song of the Women. Florence Kiper.
The Song of the Wind. John Allan Wyeth, Jr.
Pilgrimage. Laura Campbell.
The Cry of Woman. Victor Starbuck.
The Man on the Hill-top. Arthur Davison Ficke.
Sonnets of a Portrait-Painter, A Sequence (57 Sonnets). Arthur Davison Ficke.
Interim. Edna St. Vincent Millay.
The Prophet. Lyman Bryson.
The Two Flames. Eloise Briton.
The Shroud. Edna St. Vincent Millay.
The Cardinal’s Garden, Villa Albani. Witter Bynner.
Sorrow. Edna St. Vincent Millay.
Phi Beta Kappa Poem: Harvard, 1914. Bliss Carman.
The Bellman—
The Ancient Sacrifice. Mahlon Leonard Fisher.
“Funere Mersit Acerbo.” Ruth Shepard Phelps.
At the End of the Road. Madison Cawein.
In the Roman Forum. Amelia Josephine Burr.
Winner of Second. Witter Bynner.
Foretaste. Mahlon Leonard Fisher.
The Symbol. Richard Burton.
A Lynmouth Widow. Amelia Josephine Burr.
The Coquette. Witter Bynner.
The Closed Book. Madison Cawein.
Jewel-Weed. Florence Earle Coates.
Charwomen. James Norman Hall.
The Dynamo. Jane Belfield.
Sentinels. Witter Bynner.{167}
The Master-Poet. Theresa V. Beard.
Out of Babylon. Clinton Scollard.
To a Phœbe-Bird. Witter Bynner.
The Lame Child. Amelia Josephine Burr.
The Dead Friend. Margaret Widdemer.
The Dear Adventurer. Richard Burton.
Idols. Richard Burton.
Shakespeare. Witter Bynner.
If You Should Tire of Loving Me. Margaret Widdemer.
Smart Set—
New York. Edwin Davies Schoonmaker.
Old Poets. Joyce Kilmer.
Variations on a Classic Theme. Louis Untermeyer.
The Ballad of St. John of Nepomuk. George Sterling.
The Reporter—An Assignment. Paul Scott Mowrer.
Bewilderment. Victor Starbuck.
The Hunting of Dian. George Sterling.
The Rebuke. John Myers O’Hara.
The Friend at Sardis. John Myers O’Hara.
Lassitude. John Myers O’Hara.
Ablution. John Myers O’Hara.
Wine of the World. John Hall Wheelock.
The Awakening. Aloysius Coll.
The Weed’s Counsel. Bliss Carman.
Rarer than Comets. Witter Bynner.
Villanelle of Vision. Willard Huntington Wright.
Ballad of Two Seas. George Sterling.
Manhood. Willard A. Wattles.
The Country of the Young. Donn Byrne.
The Twelve-Forty-Five. Joyce Kilmer.
You Never Can Tell. George Sterling.
Pas de Trois. Bliss Carman and Mary Perry King.
The Mule Driver. Henry Herbert Knibbs.
Narcissus. Robert Bridges.
The Poet Returns. Victor B. Neuburg.
Consummation. Mahlon Leonard Fisher.
Argosies. Victor Starbuck.
The Last Demand. Faith Baldwin.
He Went for a Soldier. Ruth Comfort Mitchell.
Books. Grace Fallow Norton.
An Old Maid. Louis Untermeyer.
Newport. Alice Duer Miller.
The Wind. Victor Starbuck.{168}
Sky Battle. Harry Kemp.
Mown Fields. Leonard Doughty.
Yale Review—
The Dying Pantheist to the Priest. Henry A. Beers.
God and the Farmer. Frederick Erastus Pierce.
Ash Wednesday. John Erskine.
The Mirror. Fannie Stearns Gifford.
Young Eden. Witter Bynner.
Surety. Witter Bynner.
Evening. Charlotte Wilson.
Desire of Fame. Charlotte Wilson.
The Tramp’s Refusal. Vachel Lindsay.
Interval. Lee Wilson Dodd.
Lippincott’s—
The Forsaken Seaport. Mahlon Leonard Fisher.
The Good Snow-Flake. Richard Kirk.
When Darkness Covered the Earth. Caroline Giltiman.
Moon-Glint. Jane Belfield.
The Winding Lane. Ethel Hallet Porter.
Click o’ the Latch. Nancy Byrd Turner.
Dawn. Mahlon Leonard Fisher.
As Days Go Down the West. Marion Manville.
A Coin of Lesbos. Sarah M. B. Piatt
The International—
The Anarchist. Zoë Akins.
Jasmines. David Morton.
To Anna Pavlowa Dancing. Joel Elias Spingarn.
The Captive. Blanche Shoemaker Waggstaff.
Still-Born. Faith Baldwin.
The Garden at Troutbeck. Joel Elias Spingarn.
Regret for Atthis. John Myers O’Hara.
A Bazaar by the Sea. Witter Bynner.
The Fireflies of Sumida. Ethel Morse Pool.
In Memoriam: Jean Moréas, 1856-1910. William Aspenwall Bradley.
Litany of Nations. William Griffith.
The Hailing Trains. Nicolas Beauduin. Trans. by Edward J. O’Brien.
Hymn of Toil. Nicolas Beauduin. Trans. by Edward J. O’Brien.
To My Love Child. Joseph Bernard Rethy.
{169}
The Masses—
The Masquerader. Sarah Cleghorn.
The Trappers. Wilton Agnew Barret.
The Champion. Harry Kemp.
Onward Christian Nations. Will Herford.
Poor Girl. William Rose Benét.
Comrade Jesus. Sarah Cleghorn.
Cell-Mates. Louis Untermeyer.
Grey. Lydia Gibson.
Lost Treasure. Lydia Gibson.
The Mother. Lydia Gibson.
God’s Blunder. Clement Richardson Wood.
A Question. Edmond McKenna.
Horses. Elizabeth Waddell.
The Drug Clerk. Eunice Tietjens.
Prelude. Edmond McKenna.
God and the Strong Ones. Margaret Widdemer.
Old Glory at Calumet. Joseph Warren Beach.
Them and Their Wives. Elizabeth Waddell.
The Trend—
Salome. Pitts Sanborn.
Vain Excuse. Walter Conrad Arensberg.
An Epitaph. Walter Conrad Arensberg.
The Puritans. Frank Simonds.
The Valley of Silence. Mary Farley Sanborn.
To a Garden in April. Walter Conrad Arensberg.
Green Orchids for Mænad. Donald Evans.
Stars of Paris. Donald Evans.
Une Nuit Blanche. Donald Evans.
You and Me. Mary Farley Sanborn.
To One Defending New York. Walter Prichard Eaton.
The Shadows of Desire. Donald Evans.
Portrait. Walter Conrad Arensberg.
On an Old Guitar. Wallace Stevens.
To the Necrophile. Walter Conrad Arensberg.
“Six Carried Her Away.” Djuna Chappell Barnes.
The Look. Sara Teasdale.
The Pool. Mary White Slater.{170}
Exile. Alice Duer Miller.
The Laggard Song. Richard Le Gallienne.
A Face at Christmas. Dana Burnet.
The Glory of the Grass. Claire Wallace Flynn.
Ships. John Masefield.
New York. Edwin Davies Schoonmaker.
The Friend at Sardis. John Myers O’Hara.
Ablution. John Myers O’Hara.
The Weed’s Counsel. Bliss Carman.
Ballad of Two Seas. George Sterling.
The Twelve-Forty-Five. Joyce Kilmer.
You Never Can Tell. George Sterling.
Pas de Trois. Bliss Carman and Mary Perry King.
Delicatessen. Joyce Kilmer.
Argosies. Victor Starbuck.
The Last Demand. Faith Baldwin.
He Went for a Soldier. Ruth Comfort Mitchell.
An Old Maid. Louis Untermeyer.
Newport. Alice Duer Miller.
The Wind. Victor Starbuck.
The Maid of the Wood. Richard Butler Glaenzer.
After Hearing Tschaikowsky. Charles Hanson Towne.
The Dying Pantheist to the Priest. Henry A. Beers.
God and the Farmer. Frederick Erastus Pierce.
Ash Wednesday. John Erskine.
The Mirror. Fannie Stearns Gifford.
Young Eden. Witter Bynner.
Surety. Witter Bynner.
Evening. Charlotte Wilson.
Desire of Fame. Charlotte Wilson.
The Tramp’s Refusal. Vachel Lindsay.
Interval. Lee Wilson Dodd.
Student’s Song. Robert Louis Stevenson.
With Walton in Angle-Land. Robert Gilbert Welsh.
Reprieve. Charlotte Wilson.
Sir John Chandos and the Earl of Pembroke: A Ballad from Froissart. E. Sutton.
The Gift of God. Edwin Arlington Robinson.
Swimming by Night. Alice Blaine Damrosch.
How Spring Comes to Shasta Jim. Henry van Dyke.
The Trodden Way. Martha Haskell Clark.
Old Fairingdown. Olive Tilford Dargan.
The Pipes of the North. E. Sutton.
Song. Glen Ward Dresbach.{171}
The Regents’ Examination. Jessie Wallace Hughan.
If You Should Cease to Love Me. Corinne Roosevelt Robinson.
Desert Song. John Galsworthy.
The Drum. E. Sutton.
Another Dark Lady. Edwin Arlington Robinson.
Cradle Song. Josephine Peabody.
Sunset Balconies. Thomas Walsh.
The Song of Women. Florence Kiper Frank.
The Song of the Wind. John Allan Wyeth, Jr.
Pilgrimage. Laura Campbell.
The Cry of Woman. Victor Starbuck.
The Man on the Hilltop. Arthur Davison Ficke.
Sonnets of a Portrait Painter (A Sequence of 57 Sonnets). Arthur Davison Ficke.
Interim. Edna St. Vincent Millay.
The Prophet. Lyman Bryson.
The Two Flames. Eloise Briton.
The Shroud. Edna St Vincent Millay.
The Cardinal’s Garden, Villa Albania. Witter Bynner.
Sorrow. Edna St Vincent Millay.
Phi Beta Kappa Poem, Harvard 1914. Bliss Carman.
Old Houses. Lisette Woodworth Reese.
The River. John Masefield.
The Poet Rebukes His Flatterers. Fannie Stearns Gifford.
The Crucible. Robert Haven Schauffler.
To My Baby Hilda. Grace Hasard Conkling.
Love’s Lantern. Joyce Kilmer.
To My Little Son. Pauline Florence Brower.
Menace. George Sterling.
On Hans Christian Andersen’s “Snow Queen.” William Rose Benét.
The Redwing. Bliss Carman.
El Greco Paints His Masterpiece. Thomas Walsh.
Summons. Louis Untermeyer.
O My Love Leonore. Fannie Stearns Gifford.
The Feasts of the Gods. William Rose Benét.
Landscapes. Louis Untermeyer.
Patterns. James Oppenheim.
Abide the Adventure. James Oppenheim.
The Slave. James Oppenheim.
The Lonely Child. James Oppenheim.
Folk-Hungers. James Oppenheim.
Joy of Living. James Oppenheim.{172}
A Handful of Dust. James Oppenheim.
The Woman Speaks. James Oppenheim.
The Man Speaks. James Oppenheim.
We Dead. James Oppenheim.
Lights Through the Mist. William Rose Benét.
The Flirt. Amelia Josephine Burr.
A Birthnight Candle. John Finley.
All Souls’ Night. Gertrude Huntington McGiffert.
“I Shall Go to Love Again.” Margaret Widdemer.
Prinzip. Cale Young Rice.
The Forsaken Seaport. Mahlon Leonard Fisher.
The Good Snow-Flake. Richard Kirk.
When Darkness Covered the Earth. Caroline Giltinan.
Moon-Glint. Jane Belfield.
The Winding Lane. Ethel Hallet Porter.
Click o’ the Latch. Nancy Byrd Turner.
Dawn. Mahlon Leonard Fisher.
As Days Go Down the West. Marion Manville.
A Coin of Lesbos. Sarah M. B. Platt
The Ancient Sacrifice. Mahlon Leonard Fisher.
“Funere Mersit Acerbo.” Ruth Shepard Phelps.
At the End of the Road. Madison Cawein.
In the Roman Forum. Amelia Josephine Burr.
Winner of Second. Witter Bynner.
Foretaste. Mahlon Leonard Fisher.
The Symbol. Richard Burton.
A Lynmouth Widow. Amelia Josephine Burr.
The Coquette. Witter Bynner.
The Closed Book. Madison Cawein.
Jewel-Weed. Florence Earle Coates.
Charwomen. James Norman Hall.
The Dynamo. Jane Belfield.
Sentinels. Witter Bynner.
Out of Babylon. Clinton Scollard.
To a Phoebe-Bird. Witter Bynner.
A Round. Florence Earle Coates.
The Dear Adventurer. Richard Burton.
Idols. Richard Burton.
Shakespeare. Witter Bynner.
The Anarchist. Zoë Akins.
Jasmines. David Morton.
The Exeter Road. Amy Lowell.
Regret for Atthis. John Myers O’Hara.
The Fireflies of Sumida. Ethel Morse Pool.{173}
In Memoriam: Jean Moréas, 1856-1910. William Aspenwall Bradley.
Litany of Nations. William Griffith.
The Town in Rut. Nicolas Beauduin (tr. by Edward J. O’Brien).
The Hailing Trains. Nicolas Beauduin (tr. by Edward J. O’Brien).
Modern Heaven. Nicolas Beauduin (tr. by Edward J. O’Brien).
Hymn of Toil. Nicolas Beauduin (tr. by Edward J. O’Brien).
To My Love Child. Joseph Bernard Rethy.
The Crimson Rain. John Myers O’Hara.
Hybla. John Myers O’Hara.
Funeral Epigram. John Myers O’Hara.
Messalina. John Myers O’Hara.
Cell Mates. Louis Untermeyer.
Grey. Lydia Gibson.
Lost Treasure. Lydia Gibson.
The Mother. Lydia Gibson.
A Question. Edmond McKenna.
Horses. Elizabeth Waddell.
The Drug Clerk. Eunice Tietjens.
Prelude. Edmond McKenna.
Them and Their Wives. Elizabeth Waddell.
January—
The River. John Masefield.
Hope. Oliver Herford.
The Dream and the Song. James D. Corrothers.
A Beethoven Andante. Grace Hazard Conkling.
Gods and Heroes of the Gael. Eleanor Rogers Cox.
The Poet Rebukes his Flatterers. Fannie Stearns Gifford.
February—
Yesterday and To-day. Alice Felicita Corey.
To Arms. Louis Untermeyer.
Helas! Charles Hanson Towne.
Fifth Avenue in Fog. James Norman Hall.
Joan. Laura Benet.
March—
The Crucible. Robert Haven Schauffler.
Of Love. Marvin Ferree.
To My Baby Hilda. Grace Hazard Conkling.
Love’s Lantern. Joyce Kilmer.
The Favorite. Anna Glen Stoddard.
April—
To My Little Son. Pauline Florence Brower.
Geronsios Oinos, Posthumous. Robert Browning.
To a Lady on the Eve of Easter. Julian Street
Menace. George Sterling.
To Poseidon of Sunium. James S. Martin.
At the Ch’en Gate. Cale Young Rice.
Ad Thaliarchum. Marvin Ferree.
May—
On Hans Christian Andersen’s “Snow Queen.” William Rose Benét.
The Redwing. Bliss Carman.
Greco Paints His Masterpiece. Thomas Walsh.
June—
The Miser. Virginia Fraser Boyle.
The Last Shrine. Richard Le Gallienne.
Pagliacci. Douglas Duer.
July—
The Gaoler. Helen Gray Cone.
Approach. Gladys Cromwell.
Under Mauna Loa. Douglas Duer.
Summons. Louis Untermeyer.
The Traitors. Anna Glen Stoddard.
August—
“O My Lore Leonore!” Fannie Stearns Gifford.
Youth Speaks to Age. Marion Couthouy Smith.
Age Calls to Youth. Marion Couthouy Smith.
Song. Brian Hooker.
The Blue Scarf. Amy Lowell.
Three Poplars. Witter Bynner.
Angels and Men. William Hervey Woods.
The Feast of the Gods. William Rose Benét.
September—
The Lagoon at Night (Venice). Grace Hazard Conkling.
Landscapes. Louis Untermeyer.
Fathers and Sons. J. G. P.
Patterns. James Oppenheim.
Abide the Adventure. James Oppenheim.
The Slave. James Oppenheim.
The Lonely Child. James Oppenheim.
Folk-Hungers. James Oppenheim.
Joy of Living. James Oppenheim.
A Handful of Dust. James Oppenheim.
The Woman Speaks. James Oppenheim.
We Dead. James Oppenheim.
October—
Lights Through the Mist. William Rose Benét.
The Merchant. Douglas Duer.
Dust. J. H. Wallace.
Number Thirteen. Ethel Talbot Scheffauer.
Time’s Vision. Norreys Jephson O’Conor.
January—
The Look. Sara Teasdale.
Afterward. Charles Hanson Towne.
Wander-Lure. Edith M. Thomas.
Through the Snow. Richard Le Gallienne.
Life and Death. Martha W. Austin.
February—
Pity. Sara Teasdale.
A Later Day. Harriet Prescott Spofford.
Old Friends. Richard Le Gallienne.
After the Rain. Thomas Walsh.
March—
Treasure Trove. Lee Wilson Dodd.
The Kiss. Sara Teasdale.
The Pool. Mary White Slater.
Spent. Dorothy Paul.
April—
Night Song at Amalfi. Sara Teasdale.
May—
The Film of Life. Charles Hanson Towne.
Fog. Lisette Woodworth Reese.
A White Night. Louise Collier Willcox.
June—
The River. Louise Driscoll.
Hesperides. Sarah N. Cleghorn.
Pan. Richard Le Gallienne.
Man and Woman. Ellen M. H. Gates.
July—
Loss. David Morton.
Among the Pines. James Herbert Morse.
In Memory of a Dumb Friend. Amelia Josephine Burr.
You and I. Dora Read Goodale.
Over the Meadow. Louise Morgan Sill.
Nothing that Can Die. Florence Earle Coates.
Sorrow’s Shadow. Fannie Stearns Gifford.
August—
Enheartenment. Sarah N. Cleghorn.
September—
Exile. Alice Duer Miller.
October—
A Prayer. Julia Cooley.
The Ghosts. Scudder Middleton.
January—
Student Song. Robert Louis Stevenson.
The Mother. Laura Spencer Porter.
Live Thy Life. Florence Earle Coates.
The Poetry of the Future. Austin Dobson.
February—
Child, Child. Grace Fallow Norton.
With Walton in Angle-Land. Robert Gilbert Welsh.
March—
In the High Hills. Maxwell Struthers Burt.
Reprieve. Charlotte Wilson.
April—
Return. David Morton.
Night and Day. C. A. Price.
Sir John Chandos and the Earl of Pembroke. E. Sutton.
The Gift of God. Edwin Arlington Robinson.
Lines Upon Reading a Garden Annual. Mildred Howells.
May—
Swimming by Night. Alice Blain Damrosch.
Pax Ultima. Victor Starbuck.
June—
How Spring Comes to Shasta Jim. Henry van Dyke.
The Trodden Way. Martha Haskell Clark.
Old Faringdown. Olive Tilford Dargan.
The Summons. William Rose Benét.
Solace. Walter Malone
The Homeward Road. Charles Buxton Going.
July—
In the “Zoo.” George T. Marsh.
The Pipes of the North. E. Sutton.
Song. Glenn Ward Dresbach.
August—
The Mother. Theodosia Garrison.
The Regents’ Examination. Jessie Wallace Hughan.
Convalescence. Amy Lowell.
The Keenin’ Wind. Clinton Scollard.
Wood Minster. Stephen Berrien Stanton.
September—
Walter Scott. Amelia Josephine Burr.
If You Should Cease to Love Me. Corinne Roosevelt Robinson.
The Swimmer at Elsinore. Maurice Francis Egan.
October—
Desert Song. John Galsworthy.
A Gloucester Helmsman’s Song. James B. Connolly.
Of Old. Edith Ives Woodworth.
December—
Another Dark Lady. Edwin Arlington Robinson.
Cradle Song. Josephine Preston Peabody.
The Upper Slopes. Margaret Sherwood.
A Christmas Vision. John Kendrick Bangs.
The Standard-Bearer. Henry van Dyke.
A Feast of Tabernacles. John Finley.
Vox Clamantis. C. A. Price.
January—
The Song of the Women. Florence Kiper.
The Song of the Wind. John Allan Wyeth, Jr.
February—
The Model. Harriet Monroe.
The Chamberwoman. Thomas Moult.
Anitra’s Dance. Addison Lewis.
March—
A Street Cry. Arthur Ketchum.
Pilgrimage. Laura Campbell.
At the Loom. Beatrice Redpath.
Woman. Christian Gauss.
April—
The Cry of Woman. Victor Starbuck.
The Secret Guardian. Charles L. Buchanan.
May—
Still Life. Louis Untermeyer.
Our Lady of the Wood. Teresa Hooley.
The Dilettante Wakens. Shaemas O’ Sheel.
June—
The Man of the Hilltop. Arthur Davison Ficke.
For Me the Tears. Lyman Bryson.
Lure. Leolyn Louise Everett.
July—
The Stranger Woman. Muriel Rice.
The Daughter of Jairus. Beatrice Redpath.
August—
In Crypts Uncandled. Mahlon Leonard Fisher.
Sonnets of a Portrait-Painter. Arthur Davison Ficke.
September—
Interim. Edna St. Vincent Millay.
The Prophet. Lyman Bryson.
The Two Flames. Eloise Briton.
October—
The Shroud. Edna St. Vincent Millay.
The Cardinal’s Garden: Villa Albani. Witter Bynner.
Measure for Measure. Richard Butler Glaenser.
December—
Old Houses. Lisette Woodworth Reese.
Youth. C. R. Murphy.
Prayer for Peace. William Samuel Johnson.
The Wax Museum for Men. Scudder Middleton.
January—
The Dying Pantheist to the Priest. Henry A. Beers.
They Who Scent the Tasselled Pine. Frederick Erastus Pierce.
God and the Farmer. Frederick Erastus Pierce.
April—
Ash Wednesday. John Erskine.
The Winds of March. Walter Pierce.
The Exile. Walter Pierce.
July—
The Mirror. Fannie Stearns Gifford.
Escape. Fannie Stearns Gifford.
To a Mocking-Bird. William Alexander Percy.
Young Eden. Witter Bynner.
Surety. Witter Bynner.
October—
The “Moses” of Michael Angelo. Robert Browning.
On Being Defied to Express in a Hexameter: “You Ought to Sit on the Safety-Valve.” Robert Browning.
The Young Poet to Italy. Charlotte Wilson.
Evening. Charlotte Wilson.
Desire of Fame. Charlotte Wilson.
To My Enemy. Charlotte Wilson.
The Tramp’s Refusal. Vachel Lindsay.
Interval. Lee Wilson Dodd.
January—
New York. Edwin Davies Schoonmaker.
Old Poets. Joyce Kilmer.
All Else but Love. Willard A. Wattles.
At a Subway Station. Sara Teasdale.
His Stenographer--As He Dictates To Her. Harriet Monroe.
Frank. Witter Bynner.
Variations on a Classic Theme. Louis Untermeyer.
A Moon Song. Skipwith Cannéll.
A Desert Vision. Clinton Scollard.
The Ballad of St. John of Nepomuk. George Sterling.
The Reporter--An Assignment. Paul Scott Mowrer.
Bewilderment. Victor Starbuck.
Beannacht Leat--My Blessing With You. Donn Byrne.
A Faun in Wall Street. John Myers O’Hara.
February—
Loyalty. Edith Hulbert Hamilton.
The Hunting of Astarte. George Sterling.
New Songs of Sappho: The Rebuke. The Friend at Sardis. Lassitude. Ablution. John Myers O’Hara.
An Angel. Witter Bynner.
Bloodroot. Bliss Carman.
The Police Gazette. Arthur Davison Ficke.
The Last Revel. Arthur Wallace Peach.
Wine of the World. John Hall Wheelock.
The Billiard Players. Edwin Davies Schoonmaker.
Gifts. Mary Arnold Lewisohn.
White Silence. Mahlon Leonard Fisher.
Man and Woman. Reginald Wright Kauffman.
Portrait of a Girl. W. G. Tinckom-Fernandez.
The Awakening. Aloysius Coll.
March—
The Weed’s Counsel. Bliss Carman.
A Broken Lute. Clinton Scollard.
A Ballade of Old-Time Captains. Donn Byrne.
Skyscrapers. Horace Holley.
A March Mood. Louis Untermeyer.
Memory. Katherine Williams Sinclair.
Then Should You Know. Ivan Swift.
Rarer Than Comets. Witter Bynner.
Villanelle of Vision. Willard Huntington Wright.
Exile. Kelsey Percival Kitchel.
To the Harpies. Arthur Davison Ficke.
The Wolf. Richard Butler Glaenzer.
April—
At the Last. Witter Bynner.
Ballad of Two Seas. George Sterling.
Willow Song. Robert Loveman.
Ol’ Marse Winter. Mary Alice Ogden.
Spring Night. Sara Teasdale.
Manhood. Willard A. Wattles.
The Still Places. Mahlon Leonard Fisher.
I Walked the Wood. Richard Le Gallienne.
The Country of the Young. Donn Byrne.
The Twelve Forty-Five. Joyce Kilmer.
M-i-l-e-s-t-o-n-e-s. Edmund Vance Cooke.
Separation. Brian Hooker.
April. Louis Untermeyer.
Sunday. Ludwig Lewisohn.
The Truant Ways. Clinton Scollard.
The House of Death. Helen Cowles Le Cron.
Her Glove. Charles Campbell Jones.
May—
Virgin Isle. Florence Brooks.
You Never Can Tell. George Sterling.
Under the Snow. Richard Le Gallienne.
Pas De Trois. Bliss Carman and Mary Perry King.
Houses. Ludwig Lewisohn.
A Spring Song. Robert Loveman.
The Sea. Louise Driscoll.
Dead Dreams. Blanche Shoemaker Wagstaff.
The Woman-at-Arms. Victor Starbuck.
Sunday Night. Louis Untermeyer.
Delicatessen. Joyce Kilmer.
The Call. Faith Baldwin.
Wild Swans. Skipwith Cannéll.
The Mule Driver. Henry Herbert Knibbs.
June—
Spring in Lesbos. John Myers O’Hara.
Pan in the City. Victor Starbuck.
Jonquils. Louis Untermeyer.
Love’s Silences. Charles Hanson Towne.
After Love. Sara Teasdale.
Narcissus. Robert Bridges.
My Heart’s Desire. Henry Herbert Knibbs.
The Dryad Child. Miriam Crittenden Carman.
I Bring you All I Have. Witter Bynner.
The Poet Returns. Victor Neuburg.
Premiere Danseuse. Fanny Hodges Newman.
Consummation. Mahlon Leonard Fisher.
A Picture. Elisabeth Curtis Holman.
At the Lattice. Archibald Sullivan.
Le Matin. Par Theodore de Banville.
Waste Firelight. Fannie Stearns Gifford.
I Never Knew. Blanche Shoemaker Wagstaff.
July—
Mary’s Eyes. Hermann Hagedorn.
Argosies. Victor Starbuck.
The Ghost. Elizabeth Roberts MacDonald.
The Last Demand. Faith Baldwin.
The Mendicant. Arthur Wallace Peach.
A Man in a Club Window. Reginald Wright Kauffman.
Ballad of the Yielded Kiss. Ethel Allen Murphy.
Heartsease. Clifford Evans Van Hook.
Sonoma. Witter Bynner.
Symbols. Edna Valentine Trapnell.
Kansas and London. Harry Kemp.
He Went for a Soldier. Ruth Comfort Mitchell.
Dark. Laura Benet.
The Dwelling. Clinton Scollard.
Home. Sophie Irene Loeb.
Dites! Aut Faut-il Faire? Hortense Flexner.
August—
Songs of Married Love. Ludwig Lewisohn.
The Winds of God. Charles Wharton Stork.
Books. Grace Fallow Norton.
The Artist. Maude Ralston.
A New York Skyscraper. Madison Cawein.
Nocturne. Byron Dunne.
The Merchant Adventurers. Charles Campbell Jones.
Summer in Town. Gordon Johnstone.
Shipmates. Witter Bynner.
In a Garden. David Morton.
Rondenas. Thomas Walsh.
An Old Maid. Louis Untermeyer.
Panamanian Nights: Rainy Season. Dry Season. Glenn Ward Dresbach.
September—
Doubt. Catherine Sisk Macomb.
A Diagnosis. John Gould Fletcher.
Meditation Pathetique. Ludwig Lewisohn.
Home-Returning. Richard Burton.
Newport. Alice Duer Miller.
Love’s Feet Linger. Berton Braley.
A Window in Acacia Vale. Stephen Phillips.
Occult Summer. Gordon Johnstone.
The Hour of Life. Elsa Barker.
Ballade of My Lady’s Book. Charles Campbell Jones.
Love in Taormina. Robert Garland.
For a Guitar. Donn Byrne.
The Wind. Victor Starbuck.
October—
Waste. Amelia Josephine Burr.
Law. Hermann Hagedorn.
To a Discarded Favorite. Winifred Webb.
Rain Songs. Charles Hanson Towne.
Violets. Alvin Probasco Nipgen.
Song. Ethel Allen Murphy.
Sky Battle. Harry Kemp.
Mown Fields. Leonard Doughty.
The Little Inn at Dromehaire. Clinton Scollard.
Maximum and Minimum. Charles Irvin Junkin.
Two Incarnations. Ethel Talbot Scheffauer.
The Coyote. Charles Badger Clark, Jr.
The Ancient Sacrifice. Mahlon Leonard Fisher.
“Funere Mersit Acerbo.” Ruth Shepard Phelps.
The Cult. C. T. Ryder.
On the Housetop. M. E. Buhler.
A Song of the Sunset. Stokely S. Fisher.
White Violets. Louise Foley.
On the Beach. M. E. Buhler.
The Child in Black. Amelia Josephine Burr.
At the End of the Road. Madison Cawein.
In the Roman Forum. Amelia Josephine Burr.
Winner of Second. Witter Bynner.
Sakonnet Rooks. M. E. Buhler.
Foretaste. Mahlon Leonard Fisher.
The Symbol. Richard Burton.
A Lynmouth Widow. Amelia Josephine Burr.
The Coquette. Witter Bynner.
The White Flag. Joseph Warren Beach.
The Closed Book. Madison Cawein.
Jewel-Weed. Florence Earle Coates.
Charwoman. James Norman Hall.
Gurnard’s Head. Nelson Collins.
Burial. Arthur Adams.
The Dynamo. Jane Belfield.
Sentinels. Witter Bynner.
The Master-Poet. Theresa V. Beard.
Stormy Sunset. Madison Cawein.
Out of Babylon. Clinton Scollard.
To a Phoebe-Bird. Witter Bynner.
The Lame Child. Amelia Josephine Burr.
A Round. Florence Earle Coates.
The Dead Friend. Margaret Widdemer.
The Dear Adventurer (In Memory: J. S. B.). Richard Burton.
The Eternal Triangle. Paul Hervey Fox.
The Masquerader. James B. Kenyon.
Idols. Richard Burton.
The Fallen. C. T. Ryder.
Lilliput Library. Nora Archibald Smith.
January—
On a Friend’s Passing. Thomas Crawford Galbreath.
Unshackled. Herman Scheffauer.
The Pangs of Victory. Richard Kirk.
February—
Magic. George Morris Strout.
The Dream Minstrel. Kenneth Rand.
Resurgence. Jane Belfield.
Tuum Est! Ada Melville Shaw.
Invocation. Arthur Wallace Peach.
The Award. Antoinette De Coursey Patterson.
March—
Love’s Goal. Helen Hicks Bates.
The Forsaken Seaport. Mahlon Leonard Fisher.
The Good Snow-Flake. Richard Kirk.
The All-Mother. Florence Earle Coates.
April—
A Desert Evening. Jean Brooke Burt.
The “Flying Dutchman’s” Review. Frederick H. Martens.
Easter. Mary Eleanor Roberts.
Pantheism. Victor Starbuck.
Easter at Nazareth. Clinton Scollard.
May—
Haunted. Thomas Grant Springer.
The Mourner. Florence Earle Coates.
In Memory. Alice E. Allen.
Early April in Grenstone. Witter Bynner.
Recalled. William Rose Benét.
June—
June. Willis Boyd Allen.
A Love Song. Charles Hanson Towne.
Let Us Go A-Gypsying. Clara Odell Lyon.
A Song of the Evanescent. Edith M. Thomas.
Moon-Glint. Jane Belfield.
July—
The Winding Lane. Ethel Hallett Porter.
Click o’ the Latch. Nancy Byrd Turner.
Dawn. Mahlon Leonard Fisher.
August—
Scent of Clover. Alice E. Allen.
Twilight. Sara Teasdale.
California Sunshine in Midsummer. Olive B. Read.
Latent. Kate Putnam Osgood.
Counterparts. Alice Wellington Rollins.
As Days Go Down the West. Marion Manville.
September—
A Coin of Lesbos. Sarah M. B. Piatt.
Unrest. A. Lampman.
Sunset. Dora M. Hepner.
Where Harold Sleeps. Florence Earle Coates.
To a Wild Rose. L. L. Biddle.
Lessons. Richard Kirk.
The Price. Carlotta Perry.
The Priceless Boon. Stuart Sterne.
October—
Measure for Measure. Margaret H. Lawless.
A Passing. Arthur Wallace Peach.
Ultimate Failure. Charles Henry Luders.
Ding Dong. Anon.
Song. Langdon Elwyn Mitchell.
The Faded Pansy. Curtis Hall.
January—
Battle Hymn. Louis Untermeyer.
From Harry in England. Harry Kemp.
The Masquerader. Sarah N. Cleghorn.
The Trappers. Wilton Agnew Barrett.
February—
The Champion. Harry Kemp.
Confidence. Will Herford.
Heloise Sans Abelard. Joel Elias Spingarn.
Lost Leaders. Edmond McKenna.
March—
Gardens of Babylon. Laura Benet.
Onward Christian Nations. Will Herford.
April—
Poor Girl. William Rose Benét.
Comrade Jesus. Sarah N. Cleghorn.
The Kanawha Striker. By a Paint Greek Miner.
May—
Cell-Mates. Louis Untermeyer.
Peter Pan, Obit New York, MCMXIV. Edmond McKenna.
Leaves of Burdock. Harry Kemp.
Children of Kings. Lydia Gibson.
Grey. Lydia Gibson.
Lost Treasure. Lydia Gibson.
Yellow. Lydia Gibson.
Aeolian. Lydia Gibson.
The Mother. Lydia Gibson.
April Scent. Lydia Gibson.
The Child Speaks. Lydia Gibson.
June—
Ludlow. M. B. Levick.
A Customer. Louis Untermeyer.
A Waiter. Rose Pastor Stokes.
Social Progress. Rex Lampman.
God’s Blunder. Clement Richardson Wood.
I Cry for War. Max Endicoff.
A Psalm Not for David. Clement Richardson Wood.
A Question. Edmond McKenna.
Anarch. Horace Holley.
July—
Horses. Elisabeth Waddell.
August—
God’s Acre. Witter Bynner.
The Three Whose Hatred Killed Them. Irwin Granich.
Decoration Day. Louis Untermeyer.
Priests. James Oppenheim.
Civilization. James Oppenheim.
Tasting the Earth. James Oppenheim.
The Runner in the Skies. James Oppenheim.
Song of the Free Poet. Clement Richardson Wood.
The Plain Clothes Man Speaks. Richard Coe Bland.
Civilization. Edmond McKenna.
Haggerty. Edmund R. Brown.
September—
Laugh it Off. Bolton Hall.
The Drug Clerk. Eunice Tietjens.
Rockaway Beach. Harry Kemp.
The Smokers. Max Endicoff.
October—
Prelude. Edmond McKenna.
Miracle. Nina Bull.
A Bad Business. Hugo Seelig.
Custom. Mary Carolyn Davies.
The Public School Teacher. M. M.
January—
Half Moon. Mary Carolyn Davies.
Dead. David Morton.
Innocence. Richard Le Gallienne.
Night Lyric. Bliss Carman.
A New Year. Margaret Widdemer.
The Thirst of Satan. George Sterling.
A Song of Life. B. Russell Herts.
Why? Mary Carolyn Davies.
Dirge. Orrick Johns.
Song. Blanche Shoemaker Wagstaff.
Conquered. Zoë Akins.
The Drunken Poet. Algernon Boyesen.
February—
A Garden in Mexico. Ruth Gaines.
The Violin. Willard Huntington Wright.
The Anarchist. Zoë Akins.
“That Walk in Darkness.” George Sterling.
March—
The Everlasting Doors. Richard Le Gallienne.
After Hearing a Waltz by Bartok. Amy Lowell.
Litany. Blanche Shoemaker Wagstaff.
Respite. George Sterling.
Fortunate Islands. Clinton Scollard.
Alone. Anne Simon.
Pilgrims of the Spring. Ruth Gaines.
Quoth the Sun of Bermuda. Richard Butler Glaenzer.
Jasmines. David Morton.
To a Dead Beauty. Witter Bynner.
April—
Harry Thurston Peck (Died by his own hand, March 28, 1914). Joel Elias Spingarn.
Rich Enough. Stokeley S. Fisher.
The Exeter Road. Amy Lowell.
The Wood Anemone. Madison Cawein.
Song of the Scarlet Host. Joseph Bernard Rethy.
Spring. Katharine N. Rhoads.
Amende. John Nicholas Beffel.
May—
Sea-Lure. Victor Starbuck.
Wine Red. Egmont Hegel Arens.
Deep in the Night. Sara Teasdale.
To Anna Pavlowa Dancing. Joel Elias Spingarn.
Kinship. Thomas Moult.
Vale. L. Everett Harré.
The Captive. Blanche Shoemaker Wagstaff.
June—
To Theodore Roosevelt. Joseph Bernard Rethy.
The Forest--A Song of Bilitis. Margaret Widdemer.
The Garden at Troutbeck. Joel Elias Spingarn.
Pierre. Mary M. Reisinger.
To Him that Fails. Don Marquis.
The Futurist Painters. Horace B. Samuel.
You. Richard Butler Glaenser.
In the Temple. Homer Davis.
Falling Waters. Clinton Scollard.
July—
Regret for Atthis. John Myers O’Hara.
A Bazaar by the Sea. Witter Bynner.
Before the Gates. Maurice A. Beer.
And Thus Spake Sex. Thomas Moult.
Joseph in the House of Potiphar. Miriam E. Oatman.
Souls. Horace Holley.
Prison Song. William Alexander Percy.
The Fireflies of Sumida. Ethel Morse Pool.
August—
Songs of Devotion. Rabindranath Tagore.
The Corpse. Skipwith Cannéll.
Love Song. Skipwith Cannéll.
The Pond. Helen Hoyt.
Because of You. Blanche Shoemaker Wagstaff.
Isolde’s Motif. Blanche Shoemaker Wagstaff.
Magic. Madison Cawein.
The Tomb of Oscar Wilde. Ethel Talbot Scheffauer.
Rencontre. Arthur Ketchum.
Cafe Du Neant. Mina Loy.
To Gardenia. Joseph Bernard Rethy.
Hatred. John Marshall Bold.
September—
Wilhelm II., Prince of Peace. George Sylvester Viereck.
The German-American to His Adopted Country. George Sylvester Viereck.
The Czar of Russia. Joseph Bernard Rethy.
The Baths of Caracalla. John Myers O’Hara.
Songs to a Soldier. Margarete Muensterberg.
Prayer of a Poet Soldier. Margarete Muensterberg.
Soldier’s Song. Margarete Muensterberg.
In Memoriam: Jean Moréas, 1856-1910. William Aspenwall Bradley.
Cereus. Richard M. Hunt.
River Impressions. Blanche Shoemaker Wagstaff.
Huerta. George Sylvester Viereck.
October—
Dr. Faust’s Descent from Heaven. George Sylvester Viereck.
The Town in Rut. Nicolas Beauduin. (Trans. by Edward J. O’Brien.)
The Hailing Trains. Nicolas Beauduin. (Trans. by Edward J. O’Brien.)
Modern Heaven. Nicolas Beauduin. (Trans. by Edward J. O’Brien.)
Hymn of Toil. Nicolas Beauduin. (Trans. by Edward J. O’Brien.)
To my Love Child. Joseph Bernard Rethy.
“1914.” Ferdinand Earle.
Values. William Lamb Francis.
Challenge. Mary M. Reisinger.
Litany of Nations. William Griffith.
Salome. Pitts Sanborn.
Arabella Jones. Rena Cary Sheffield.
Vain Excuse. Walter Conrad Arensberg.
An Easter Lily. N. R. H.
Trailing Arbutus. Henry Clayton Hopkins.
Spring. Julia V. Bond.
A Coward. Walter Prichard Eaton.
An Epitaph. Walter Conrad Arensberg.
The Puritans. Frank Simonds.
The Call. Harold Bullard.
To the Wind. Robert Alden Sanborn.
The Valley of Silence. Mary Farley Sanborn.
To a Garden in April. Walter Conrad Arensberg.
Green Orchids for a Meanad. Donald Evans.
Stars of Paris--In April of a Thursday in the Morning. Donald Evans.
Une Nuit Blanche. Donald Evans.
You and Me. Mary Farley Sanborn.
The Price. Walter Prichard Eaton.
Omnipotent. John Macy.
The Old Mill. Witter Bynner.
To One Defending New York. Walter Prichard Eaton.
The Shadows of Desire. Donald Evans.
Portrait. Walter Conrad Arensberg.
Out of the Sea. Witter Bynner.
Reckoning. John Macy.
Carnet de Voyage. Wallace Stevens.
Converse. Helen Hoyt.
“--And Battles Long Ago.” Witter Bynner.
Just Lately Drummer Boy. Djuna Chappell Barnes.
Safety. John Macy.
The Night of Ariadne. Walter Conrad Arensberg.
Parturition. Mina Loy.
For the Haunting of Mauna. Donald Evens.
The Knight of the Chinese Dragon. James Cloyd Bowman. The Pfeifer Press, Columbus, Ohio.
Verses. Marion Morgan Mulligan. Published by the Author.
At the World’s Heart. Cale Young Rice. Doubleday, Page & Co.
Beyond the Stars. Charles Hanson Towne. Mitchell Kennerley, New York City.
Brunelleschi. John Galen Howard. Published by the Author, San Francisco.
Celtic Memories and Other Poems. Norreys Jephson O’Conor. John Lane Co. New York City.
The Collected Works of Margaret L. Woods. John Lane Co., New York City.
The Wine Press. A Tale of War. Alfred Noyes. F. A. Stokes Co., New York City.
Lyrics from the Chinese. Helen Waddell. Houghton Mifflin Co., Boston.
The Flight and Other Poems. George Edward Woodberry. Macmillan Co., New York City.{193}
An English Dante. A Translation in the Original Rhythm and Rhymes. John Pyne. Albert and Charles Boni, New York City.
Out of Bondage. Fanny Hodges Newman. Paul Elder & Co., San Francisco.
The Foothills of Parnassus. John Kendrick Bangs. Macmillan Co., New York City.
The Minor Poems of Joseph Beaumont, 1616-1699. Edited from the Autograph Manuscript, with Introduction and Notes. Eloise Robinson. Houghton Mifflin Co., Boston.
Love and the Universe, The Immortals and Other Poems. Albert D. Watson. Macmillan Co., New York City.
Auguries. Laurence Binyon. John Lane Co., New York City.
Latin Songs. Classical, Medieval, and Modern, with Music. Calvin S. Brown. G. P. Putnam’s Sons, New York City.
In the High Hills. Maxwell Struthers Burt. Houghton Mifflin Co., Boston.
Poems. John L. Stoddard. George L. Shuman & Co., Boston.
The Rift in the Cloud. Songs of Love and Faith. John S. Wrightnour. Sherman, French & Co., Boston.
He Who Won the World. A Poem of the Twentieth Century Christ. Edward Payson Powell. Sherman, French & Co., Boston.
Driftwood and Foam. Cary F. Jacob. Sherman, French & Co., Boston.
New Canadian Poems. Warneford Moffat. William Briggs, Toronto.
From Far Lands. “Gervais Gage” (J. Laurence Rantoul). Macmillan Co., New York City.
Songs of the Dead End. Patrick MacGill. Mitchell Kennerley, New York City.
Affinity. Maurine Hathaway. Barse & Hopkins, New York City.
Collected Poems. Norman Gale. Macmillan Co., New York City.
Songs from the Smoke. Madeleine Sweeny Miller, with an Introduction by Simon N. Patten. The Methodist Book Concern, New York City.
Songs and Poems. Martin Schütze. The Laurentian Publishers, Chicago.{194}
The Sister of the Wind, and Other Poems. Grace Fallow Norton. Houghton Mifflin Co., Boston.
Eris. A Dramatic Allegory. Blanche Shoemaker Wagstaff. Moffat, Yard & Co., New York City.
Through Realms of Song. Isaac Bassett Choate. Chapple Publishing Co., Boston.
A Shower of Verses. Althea Randolph. The H. W. Gray Co., New York City.
At the Shrine, and Other Poems. George Herbert Clarke. Stewart & Kidd Co., Cincinnati, Ohio.
In a Minor Vein. Life, Love and Death. Lucy Scott Bower. Edward Sansot, Paris.
The Shadow Babe and Others. Jessamine Kimball Draper. Sherman, French & Co., Boston.
Sunlight and Shadow. Louise W. Kneeland. Sherman, French & Co., Boston.
The Thresher’s Wife. Harry Kemp. Albert and Charles Boni, New York City.
The Ebon Muse and Other Poems. By Léon Laviaux. English, by John Myers O’Hara. Smith and Sale, Portland, Me.
Wildings. Seraph Maltie Dean and Lee Parker Dean. Thomas Todd, Boston.
My Lady’s Book. Gerald Gould. Mitchell Kennerley, New York City.
The Sea is Kind. T. Sturge Moore. Houghton Mifflin Co., Boston.
Ballads of Blyndham. Robert De Camp Leland. Amityville, New York, Paul Bailey.
To a Summer Cloud, and Other Poems. Emily Tolman. Sherman, French & Co., Boston.
Spring Moods and Fancies. Helen E. Wieland. Sherman, French & Co., Boston.
The Springtime of Love, and Other Poems. Albert Edmund Trombly. Sherman, French & Co., Boston.
Poems. John T. McFarland. The Methodist Book Concern, New York City.
The Romance of Tristan and Iseult. Drawn from the best French Sources, and Retold by J. Bedier. Englished by H. Belloc. Dodd, Mead & Co., New York City.
Poems. Edward Sanford Martin. Charles Scribner’s Sons, New York City.
Idylls of Greece. Third Series. Howard V. Sutherland. Desmond FitzGerald, Inc., New York City.{195}
The Single Hound. Poems of a Lifetime. Emily Dickinson. With an Introduction by her Niece, Martha Dickinson Bianchi. Little, Brown & Co., Boston.
Mary Magdalene, and Other Poems. Laura E. McCully. Macmillan Co., New York City.
Songs of Sixpence. Abbie Farwell Brown. Houghton Mifflin Co., Boston.
By and Large. Franklin P. Adams. Doubleday, Page & Co., Garden City, N. Y.
Lichens from the Temple. Robert Restalrig Logan. G. P. Putnam’s Sons.
The Falconer of God, and Other Poems. William Rose Benet. Yale University Press, New Haven.
Earth Triumphant, and Other Tales in Verse. Conrad Aiken. Macmillan Co., New York City.
Lux Juventutis. Katharine A. Esdaile. Houghton Mifflin Co., Boston.
The Congo, and Other Poems. Vachel Lindsay. Macmillan Co., New York City.
One Woman to Another, and Other Poems. Corinne Roosevelt Robinson. Charles Scribner’s Sons, New York City.
The Spirit’s Work. J. H. Montgomery. The Riverdale Press, Brookline.
The Complete Poems of S. Weir Mitchell. The Century Co., New York City.
Green Days and Blue Days. Patrick R. Chalmers. The Norman Remington Co., Baltimore.
Broad-Sheet Ballads. Being a Collection of Irish Popular Songs, with an Introduction by Padraic Colum. The Norman Remington Co., Baltimore.
Open Water. Arthur Stringer. John Lane Co., New York City.
America, and Other Poems. W. J. Dawson. John Lane Co., New York City.
Kirstin. A Play in Four Acts. Alice Cole Kleene. Sherman, French & Co., Boston.
Omar or Christ. N. B. Ripley. Eaton & Mains, New York City.
Songs of the Susquehanna. Frederic Brush. Thomas B. Mosher, Portland, Me.
Heinrich Heine. Poems and Ballads Done into English. Robert Levy. Macmillan Co., New York City.
The Shadow of Ætna. Louis V. Ledoux. G. P. Putnam’s Sons. New York City.{196}
Faint Chords. George Scheftel. Radical Publishing Co., Brooklyn, N. Y.
Sprays of Shamrock. Clinton Scollard. The Mosher Press, Portland, Me.
Saloon Sonnets: With Sunday Flutings. Allen Norton. Claire Marie, New York City.
Trail Dust of a Maverick. E. A. Brininstool, with an Introduction by Robert J. Burdette. Dodd, Mead & Co., New York City.
Poems. Walter Conrad Arensberg. Houghton Mifflin Co., Boston.
Challenge. Louis Untermeyer. The Century Co., New York City.
The Soul of the East. Charles G. Fall. The Old Corner Bookstore, Boston.
In the Heart of the Meadow, and Other Poems. Thomas O’Hagan, with a Foreword by Hon. Justice Longley. William Briggs, Toronto.
Des Imagistes. An Anthology. Albert and Charles Boni. New York City.
Atta Troll. From the German of Heinrich Heine. Herman Scheffauer, with an Introduction by Dr. Oscar Levy. B. W. Huebsch, New York City.
Dutch Days. May Emery Hall. Moffat, Yard & Co., New York City.
Oriental Verses. Bernard Westermann. Whitaker & Ray-Wiggin Co., San Francisco.
Florence on a Certain Night, and Other Poems. Coningsby Dawson. Henry Holt & Co., New York City.
Facts and Fancies. William Francis Evans. Stewart & Co., New York City.
The Ride Home, with The Marriage of Guineth, a Play in One Act. Florence Wilkinson. Houghton Mifflin Co., Boston.
Sunshine and Roses. Edwin P. Haworth. Rockhill Art Publishers, Kansas City.
Poems and Translations. Frederick Rowland Marvin. Sherman, French & Co., Boston.
Poems of Human Progress, and Other Pieces. James Harcourt West. The Tufts College Press, Boston.
Ballads of Childhood. Michael Earls, S. J. Benziger Brothers, New York City.
The Little King. Witter Bynner. Mitchell Kennerley, New York City.{197}
The Gypsy Trail. An Anthology for Campers. Pauline Goldmark and Mary Hopkins. Mitchell Kennerley, New York City.
The Great Grey King, and Other Poems. Old and New. Samuel Valentine Cole. Sherman, French & Co., Boston.
The Holocaust, and Other Poems. Lincoln Sonntag. Sherman, French & Co., Boston.
Path Flower, and Other Verses. Olive Tilford Dargan. Charles Scribner’s Sons, New York City.
The Grand Canyon, and Other Poems. Henry van Dyke. Charles Scribner’s Sons, New York City.
Songs of the Outlands. Henry Herbert Knibbs. Houghton Mifflin Co., Boston.
The Dyak Chief, and Other Verses. Erwin Clarkson Garrett. Barse & Hopkins, New York City.
Earth Deities: and Other Rhythmic Masques. Bliss Carman and Mary Perry King. Mitchell Kennerley, New York City.
Tales of the Trail. James W. Foley. E. P. Dutton, New York City.
Borderlands and Thoroughfares. Wilfrid Wilson Gibson. Macmillan Co., New York City.
Trees, and Other Poems. Joyce Kilmer. George H. Doran Co., New York City.
The Shoes of Happiness. Edwin Markham. Doubleday, Page & Co., Garden City, N. Y.
Songs for the New Age. James Oppenheim. The Century Co., New York City.
Pagan Poems. Franklin H. Giddings. Macmillan Co., New York City.
You and I. Poems. Harriet Monroe. Macmillan Co., New York City.
Sword-Blades and Poppy Seed. Amy Lowell. Macmillan Co., New York City.
In Deep Places. Amelia Josephine Burr. George H. Doran Co., New York City.
Justification. A Philosophic Phantasy. John H. White. Richard G. Badger, Boston.
Salambo. A Tragedy in Four Acts. George Morrison von Schrader. Sherman, French and Co. Boston.
Truth and Other Poems. Paul Carus. Open Court Pub. Co. Chicago.
Undine. A Poem. Adapted in Part from the Romance{198} by De La Motte Fouque. Antoinette de Coursey Patterson. H. W. Fisher and Co. Philadelphia.
A Pageant of the Thirteenth Century For the Seven Hundredth Anniversary of Roger Bacon given by Columbia University. Text by John Erskine. Columbia University Press. New York.
Links of Gold. Joseph Ware. Sherman, French and Co. Boston.
The Rout of the Frost King and Other Fairy Poems. Eugene Neustadt. Paul Elder. San Francisco.
Moods Mystical and Otherwise. Anne Vyne Tillery. Sherman, French and Co. Boston.
Muse and Mint. Walter S. Percy. Sherman, French and Co. Boston.
Where Bugles Call and Other Poems. Elizabeth Powers Merrill. Sherman, French and Co. Boston.
Poems Obiter. R. E. L. Smith. The Gorham Press. Boston.
Sonnets. Selected by R. M. Leonard. (Oxford Garlands) Oxford University Press. New York.
Patriotic Poems. Selected by R. M. Leonard. (Oxford Garlands) Oxford University Press. New York.
Love Poems. Selected by R. M. Leonard. (Oxford Garlands) Oxford University Press. New York.
Rada, A Drama of War in One Act. Alfred Noyes. F. A. Stokes. New York.
Philip the King and Other Poems. John Masefield. Macmillan Co. New York.
Moore, George. Vale. Appleton. $1.75 net.
Murray, Gilbert. Euripides and His Age. Holt. $.50 net.
Douglas, Lord Alfred. Oscar Wilde and Myself. Duffield. $2.50 net.
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| PAGE | |
| Æons of old were wandering down the seas. | |
| William Griffith | 126 |
| Alas, and are you pleading now for pardon? | |
| Walter Conrad Arensberg | 12 |
| All old fair things are in their places. | |
| Richard Le Gallienne | 108 |
| A red-cap sang in Bishop’s wood. | |
| Olive Tilford Dargan | 142 |
| As I stole out of Babylon beyond the stolid warders. | |
| Clinton Scollard | 133 |
| Beautiful boy, lend me your youth to play with. | |
| Amelia Josephine Burr | 63 |
| Behind my mask of life there lies a shrine. | |
| Eloise Briton | 60 |
| Be patient, Life, when Love is at the gate. | |
| Walter Conrad Arensberg | 93 |
| Bismarck—or rapt Beethoven with his dreams. | |
| Percy MacKaye | 126 |
| Bleeding and torn, ravished with sword and flame. | |
| Oliver Herford | 130 |
| Blessed with a joy that only she. | |
| Edwin Arlington Robinson | 75 |
| Body o’ mine—and must I lay thee low? | |
| Jane Belfield | 141 |
| Crowned on the twilight battlefield, there bends. | |
| Percy MacKaye | 125 |
| Dawn this morning burned all red. | |
| Vachel Lindsay | 14 |
| Death, I say, my heart is bowed. | |
| Edna St. Vincent Millay | 72 |
| Do ye hear ’em sternly soundin’ through the noises of the street? | |
| E. Sutton | 131 |
| Embracing the woman I love, I stood by the stream that circles the town I love in the peace of the Summer night. | |
| Edmond McKenna | 116 |
| Flesh unto flowers. | |
| Edward J. O’Brien | 33 |
| Flushed from a fairy flagon. | |
| Witter Bynner | 64 |
| Fools, fools, fools! | |
| Witter Bynner | 109 |
| “Give the engines room. | |
| Vachel Lindsay | 36 |
| God sat down with the farmer. | |
| Frederick Erastus Pierce | 56 |
| Go, little sorrows! From the evening wood. | |
| Charlotte Wilson | 136 |
| Half artist and half anchorite. | |
| Percy MacKaye | 109 |
| He marched away with a blithe young score of him. | |
| Ruth Comfort Mitchell | 121 |
| Here in the lonely chapel I will wait. | |
| John Erskine | 100 |
| He was straight and strong, and his eyes were blue. | |
| Amelia Josephine Burr | 75 |
| How shall we keep an armed neutrality? | |
| Percy MacKaye | 124 |
| If you should cease to love me, tell me so! | |
| Corinne Roosevelt Robinson | 92 |
| I had no heart to write to thee in prose. | |
| Richard Le Gallienne | 106 |
| I have known joy and woe and toil and fight. | |
| Berton Braley | 32 |
| I love the stony pasture. | |
| Bliss Carman | 9 |
| In the fair picture of my life’s estate. | |
| Arthur Davison Ficke | 77 |
| In the silence of a midnight lost, lost forevermore. | |
| George Sterling | 34 |
| I stooped to the silent earth and lifted a handful of her dust. | |
| James Oppenheim | 73 |
| I will tread on the golden grass of my bright field. | |
| Laura Campbell | 67 |
| Jeremiah, will you come? | |
| Lyman Bryson | 31 |
| Jock bit his mittens off and blew his thumbs. | |
| Percy MacKaye | 16 |
| Life, you have bruised me and chilled me; Fate, you have jeered at my pain. | |
| Faith Baldwin | 140 |
| Muffled sounds of the city climbing to me at the window. | |
| Jessie Wallace Hughan | 14 |
| My father and mother were Irish. | |
| Edward J. O’Brien | 13 |
| Never again to feel that little kiss— Lydia Gibson | 73 |
| Nevermore. | |
| Don Marquis | 145 |
| Nothing but beauty, now. | |
| Amelia Josephine Burr | 98 |
| Not unto the forest—not unto the forest, O my lover! | |
| Margaret Widdemer | 58 |
| O’er ruined road past draggled field. | |
| Bartholomew F. Griffin | 118 |
| Oh calling, and calling, at the rising of the sun. | |
| E. Sutton | 119 |
| On these brown rocks the waves dissolve in spray. | |
| Alice Duer Miller | 32 |
| O shadows past the candle-gleam, so brief to pause in flight. | |
| Ruth Guthrie Harding | 57 |
| O thou among the Tuscan hills asleep. | |
| Ruth Shepard Phelps | 135 |
| Patience—but peace of heart we cannot choose. | |
| Percy MacKaye | 125 |
| Peace! But there is no peace. To hug the thought. | |
| Percy MacKaye | 124 |
| Perhaps it doesn’t matter that you died. | |
| Walter Conrad Arensberg | 109 |
| Sea-rimmed and teeming with millions poured out on thy granite shore. | |
| Edwin Davies Schoonmaker | 45 |
| She fears him, and will always ask. | |
| Edwin Arlington Robinson | 70 |
| Singer of England’s ire across the sea. | |
| Percy MacKaye | 123 |
| Sir, friends, and scholars, we are here to serve. | |
| Bliss Carman | 3 |
| Soft as a treader on mosses. | |
| Olive Tilford Dargan | 94 |
| Some for the sadness and sweetness of far evening bells. | |
| William Rose Benét | 136 |
| Strephon kissed me in the spring. | |
| Sara Teasdale | 63 |
| Suppose ’twere done! | |
| Bartholomew F. Griffin | 115 |
| The eager night and the impetuous winds. | |
| Louie Untermeyer | 43 |
| The last farewells were said, friends hurried ashore. | |
| Conrad Aiken | 77 |
| The leaves of Autumn and the buds of Spring. | |
| Corinne Roosevelt Robinson | 11 |
| The rain was over and the brilliant air. | |
| Louis Untermeyer | 1 |
| There’s a rhythm down the road where the elms overarch. | |
| E. Sutton | 110 |
| There was a day when death to me meant tears. | |
| Mahlon Leonard Fisher | 135 |
| This is the truth as I see it, my dear. | |
| Madison Cawein | 141 |
| Thou lonely, dew-wet mountain road. | |
| Florence Earle Coates | 12 |
| Through vales of Thrace, Peneus’ stream is flowing. | |
| Arthur Davison Ficke | 33 |
| Thus drowsy Atthis, laughing at my door. | |
| John Myers O’Hara | 67 |
| Under the eaves, out of the wet. | |
| Witter Bynner | 11 |
| We have each other’s deathless love. | |
| Witter Bynner | 58 |
| When from the brooding home. | |
| James Oppenheim | 51 |
| “Wherefore, thy woe these many years. | |
| George Sterling | 68 |
| Within the Jersey City shed. | |
| Joyce Kilmer | 137 |
| With the first light on the skyline came the rapping of the sickles. | |
| Ruth Guthrie Harding | 107 |
| With love are you gone mad, O lover of France. | |
| Walter Conrad Arensberg | 129 |
| Would you lay a pattern on life and say, thus shall ye live? | |
| James Oppenheim | 44 |
| Ye dead and gone great armies of the world. | |
| Mahlon Leonard Fisher | 130 |
| You know deep in your heart, it could not last— | |
| Lydia Gibson | 94 |
| You mean, my friend, you do not greatly care. | |
| Arthur Davison Ficke | 93 |
FOOTNOTE:
[1] In the naval battle of Plattsburgh the American commander “Macdonough himself worked like a common sailor, in pointing and handling a favorite gun. While bending over to sight it, a round shot cut in two the spanker boom, which fell on his head and struck him senseless for two or three minutes; he then leaped to his feet and continued as before, when a shot took off the head of the captain of the gun crew and drove it in his face with such force as to knock him to the other side of the deck.”—From “The Naval War of 1812,” by Theodore Roosevelt.