Writings in the United Amateur, 1915-1922 - H. P. Lovecraft (ebook reader 8 inch txt) 📗
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"The Wizard of the North," an essay on Sir Walter Scott, is the current instalment of Miss Mappin's Modern Literature Series. It is marred by a seeming hiatus, discernible not so much in the flow of words as in the flow of the narrative, which leads us to believe that a considerable portion has been left out, either through accident, or through an attempt at abridgment.
"My Books," by Alfred H. Pearce is a sonnet of apt idea and perfect construction.
"On Self-Sacrifice," by W. Townsend Ericson, is one of the "Essays of a Dreamer" which are regularly appearing in the Budget. The effort is marked by much sincerity and idealism, though in grammar and practicability it is less distinguished. We might mention the erroneous use of whom for who (a not uncommon defect amongst amateur writers), the faulty use of the word usurping where depriving is meant, and the split infinitive "to at least make;" all three of which mistakes occur on page 138. Mr. Ericson should drill himself more thoroughly in the principles of syntax. Other essays of this series are included in the present issue. "On Contentment" gives an illustration which we fear will injure Mr. Ericson's contention more than it will aid it. It is the reductio ad absurdum of the typical "Pollyanna" school of philosophy.
"Down an' Out," by Ernest L. McKeag, is a very clever ballad of the "rough and ready" school; picturesque in atmosphere, but somewhat defective in technique. Lieut. McKeag should pay a trifle more attention to his rhymes; which are not, however, worse than many of the rhymes in "Hudibras" and other comic pieces.
"Why Roses are White," a children's story, by Margaret Mahon, is marked by much grace and ingenuity; the central idea being quite original so far as we know. Further contributions to the children's department are made by Miss Birkmyre, whose woodland sketches will be appreciated by older readers as well.
"Selfish Ambition," a poem, by Nell Hilliard, is as correct and fluent in metre as we might expect from the author, though the expletive does in the final line of the first stanza is not to be commended. The sentiment is not precisely novel, but is well presented.
"The Flying Dutchman," a Romance of the Sea, by Joseph Parks, is more replete with nautical verisimilitude than with literary force. As compared with many of Mr. Parks' other tales, its plot is distinctly weak and lacking in symmetry. We must, however, praise the generally salty atmosphere. The picture of seafaring life is vivid and realistic.
The current Budget concludes with a summary of the year just closed, displaying a record of achievement of which the editress may well be proud.
The Silver Clarion for March is the publication of John Milton Samples, of Macon, Ga., a new member of the United. In tone the paper is quite serious and strongly inclined toward the religious; but so able are the majority of the contributions, that it lacks nothing in interest.
"Singing on the Way," a poem by James Larkin Pearson, opens the issue in attractive fashion. The lines are tuneful and felicitous, the triple rhymes giving an especially pleasing effect; though we must criticise the line
as being a trifle prosaic. We should recommend "plenteously provide," or something of that nature, as more poetic. Mr. Pearson is a poet of ability and experience, with a volume of published verse to his credit, whose work never falls below a high standard of merit.
"Just Icicles," by Sarah Story Duffee, is a sort of fairy tale with a juvenile exterior; which contains, however, more than a slight hint of the vanity of human wishes and fruitlessness of human endeavour. Whilst it exhibits no little cleverness in construction, we must own that it possesses certain looseness, insipidity, and almost rambling quality, which detract from its merit as a piece of literature. Mrs. Duffee would profit from a closer study of classical models, and a slighter attention to the more ordinary folk tales.
"The Blessings of Thorns," by Sallie M. Adams, is a religious poem of considerable excellence, containing a pious and worthy sentiment well expressed. The chief defects are technical. In the first stanza, line 3 lacks a syllable, whilst line 4 has one too many. Also, the day-way rhyme is repeated too closely. To have but one rhyming sound through two rhymes is a fault hard to excuse. All the defects above enumerated might be removed with ease, as the following revised version of the opening lines illustrates:
For the boons each day bestow'd;
For the flowers that are scatter'd
O'er the roughness of the road.
In the third stanza we find the day-way rhyme again repeated, also a superfluity of syllables in the sixth line. The latter might be cut down by the omission of the second the.
"Springtime in Dixieland," by John Milton Samples, is a tuneful pastoral which justifies the author's right to his first two names. But one or two defects mar the general delightful effect. The phrase "zephyr breeze," in the opening stanza, strikes us as a trifle pleonastic; since a zephyr is itself a breeze; not a quality of a breeze. The syntax of the latter part of this stanza is somewhat obscure, but might be cleared up if the seventh line were thus amended:
The sixth and seventh lines of the last stanza each have a syllable too many, and in line 6 the word raise is used incorrectly; rise being the word needed. This, of course, would necessitate a change of rhyme.
"One Face is Passing," by Mamie Knight Samples, is a timely and excellent sketch concerning soldiers.
"Co-ee," a poem by Harry E. Rieseberg, contains much genuine pathos, and is generally smooth and commendable in technique.
"The Likeness of the Deity," by Arthur H. Goodenough, is one of the characteristically excellent products of its author, who holds the proud rank of "Literatus" in the United. The amount and quality of Mr. Goodenough's work is very unusual; few other amateurs producing so much verse of the first order. As a religious poet, he stands alone; resembling the celebrated Dr. Watts. He invests every theme he touches with an atmosphere truly and richly poetic.
"Astral Nights," by John Milton Samples, is a genuinely poetic piece of prose arranged in lines resembling those of verse. We believe that the loftiness and excellence of this composition would justify its metamorphosis into real verse.
Also by Editor Samples is the prose sketch entitled "The Present War: A Blessing in Disguise." From the title, one would expect Mr. Samples' point of view to be akin to that of the esteemed Gen. von Bernhardi; but such is not the case, since Mr. Samples means to say that he considers the conflict a just Divine Punishment for a sinful world—a punishment which will bring about a sinless and exemplary future. We wish it were so.
"Lord, Keep My Spirit Sweet," by Mr. Samples, is a religious lyric of substantial charm and grace.
The Editorials in this issue consist mainly of critical notes on previous numbers, and in general show a gratifying soundness of opinion.
Spindrift for January opens with "Mater Dolorosa," a poem, by Vere M. Murphy, whose sentiment and technique are alike deserving of praise.
"The Spirit of January," a sketch by Jean Birkmyre, runs into the February issue, and is quite acceptable from every point of view, though not distinguished by that highly imaginative colouring which we find in many of Miss Birkmyre's similar pieces.
"The Mystery of Murdor Grange" this month falls into the hands of Editor McKeag, who furnishes one of the best chapters we have so far perused; possibly the very best. It is exasperating to be cut off abruptly in the midst of the exciting narrative, with the admonition to wait for page 47!
Spindrift for February has as its leading feature an essay on "Heredity or Environment," by the Editor. In this brief article many truths are stated, though we fear Lieut. McKeag slightly underestimates the force of heredity. We might remind him of the Darwin family, beginning with the poet and physician, Erasmus Darwin. The grandson of this celebrated man was the immortal Charles Darwin, whilst the sons of Charles have all occupied places of eminence in the world of intellect.
"To the Enlisted men of the United States," by Edna Hyde, is an ode of admirable spirit and faultless construction.
"A Fragment," by S. L. (whose identity is now known to us!) shows much poetical ability, though the metre would move much more smoothly if judiciously touched up here and there. The description of the crescent moon sinking in the morning, is astronomically erroneous.
"The Estates of Authors," by Albert E. Bramwell, is a brief but informative article. As the late Dr. Johnson said of the Ordinary of Newgate's account, "it contains strong facts."
Spindrift for March very appropriately commences with a poem on that blustering month, from the pen of Annie Pearce. Apparently the piece is a juvenile effort, since despite a commendably poetic atmosphere there are some striking errors of construction. In the third line of the first stanza there is a very awkward use of the impersonal pronoun one. This pronoun has no place in good poetry, and should always be avoided by means of some equivalent arrangement. In the second stanza it appears that the authoress, through the exigencies of versification, has fallen into the paradox of calling the "fair green shoots" "roots!" Perhaps we are mistaken, but our confusion is evidence of the lack of perspicuity in this passage. A rather more obvious error is the evidently transitive use of the verb abound in the last line of this stanza. Be it known, that abound is strictly an intransitive verb!
"The Soul of Newcastle," an historical article by John M'Quillen, begins in this number; and describes the Roman period. We regret the misprint whereby the name Aelii becomes Aelu. The presence of a Hunnish umlaut over the u adds insult to injury! Mr. M'Quillen writes in an attractive style, and we shall look forward to the remainder of the present article.
"Heart Thirst," by Vere M. Murphy, is a very meritorious lyric, containing an ingenious conceit worthy of a more classical age.
As the literary contributions to the UNITED AMATEUR for January are mainly in the form of verse, I shall devote most of my attention to them. Poetry, like the poor, we have always with us; but the critic is moved to remark, as he casts back in his mind over the last twenty years of amateur publishing activity, that on the whole the tone of amateur poetry is distinctly higher than it used to be. Banal verse we still have in larger amounts than we should; but the amateur journals of a decade or two ago had reams of it. On the other hand, they contained not a few poems with more than a passing spark of the divine fire. The promising fact is that in the poetry of today's journals we get much more frequent glimpses of this true inspiration. In passing, the critic cannot forbear calling attention to Mr. Kleiner's "Ruth" in the February Brooklynite, which attains the highest levels of lyric expression, although only the simplest of figure and diction are employed. It is not often that one runs across a poem so simple and yet so pregnant with sincere emotion.
The first poem in the UNITED AMATEUR arouses mixed feelings. "Give
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