THE UNITED AMATEUR
Official Organ of the United Amateur Press Association
VOLUME XV ELROY, WIS., SEPTEMBER, 1915 NUMBER 2
DEPARTMENT OF PUBLIC CRITICISM
_The Alabamian_ for Spring is a magazine unique amongst the publicationsof the United. Devoted wholly to poetry, it contains some of the finestshort verses to appear this season, whilst even the crudest part of itscontents possesses some undoubted merit. The opening poem, a delightfuland ornate nature sonnet entitled "The Brook," professes to be atranslation from the Spanish, a claim borne out by the use of the word"jasmine" in a place where the metre throws the accent anomalously onthe last syllable, as in the corresponding Spanish word "jazmin." Thesentiment of the whole is exquisite, and every image exhibits strikingbeauty. It is to be regretted that both author and translator aresuffered to remain unrevealed. "A Poet's Songs," by Miss Owen, is apowerful and well-written tribute to her fellow-bards both ancient andmodern. In Coralie Austin's "Tribute to Our President," dedicated toMiss Hepner, we may discern the native talent of the true poet, slightlyobscured by the crudities of youth. The opening line appears to lack asyllable, though this may be due only to the printer's omission of thearticle before the word "laurel." In stanza 1, line 2, the trisyllabicword "violets" appears as a dissyllable. This contraction is a rathernatural one, and must not be criticised too sternly. Indeed, there ishere a sort of middle zone betwixt error and allowableness, wherein nodecisive precepts may be laid down. Words like "radiant," "difference,"and so forth, are nearly always slurred into dissyllables, and we wereourselves guilty of an even greater liberalism when we wrote that linein "Quinsnicket Park" which reads:
"The bending boughs a _diamond_ wealth amass."
But in Miss Austin's second stanza occur two errors of graver nature."For only her alone" is a lamentably tautological line which requiresthe omission either of "only" or "alone," and the substitution of someword to carry on the flow of metre. The attempted rhyming of "alone" and"home" is obviously incorrect. The dissimilar consonantal sounds renderagreement impossible. This "m-n" rhyme, as we may call it, is becomingalarmingly frequent in careless modern verse, and must ever be avoidedwith utmost diligence. In the third stanza we discover a marked error inmaintenance of number. We are told that the "years go" and that at "itsend" we will lay trophies, etc. This mistake may be obviated with ease,by changing "years go" to "year goes." Miss Austin's poetic talent isgreat, but shows the want of precise cultivation. "Mother o' Mine," byMiss von der Heide, is a beautiful piece of anapaestic verse whose metreand sentiment alike attract the reader. "Parsifal," by Miss Owen, showssatisfactory depth of thought, but is rather modern in metre. From theconformation of the last line of the first stanza, we are led to believethat the word "viol" is contracted to a monosyllable, or, to make arather reprehensible pun, that "vi-ol" has here a "vile" pronunciation."Frailties of Life," by Editor Baxley, shows a remarkable system ofextended rhyming, coupled with a noticeable lack of metrical harmony.Mr. Baxley's technique is such that we believe his improvement would bebest effected by a repeated perusal of the older poets, whose classicalexactitude of form would teach him rhythm by rote, so to speak. Let himcultivate his ear for metre, even though forced to acquire it throughnonsensical jingles. We believe that many a child has obtained from his"Mother Goose" a love of correct rhythm which has later helped him inserious poetical efforts. "Paid Back," a short, powerful poem by Missvon der Heide, concludes an excellent and praiseworthy issue.
_Aurora_ for April is a delightful individual leaflet by Mrs. Ida C.Haughton, exclusively devoted to poetical matters. The first poem,"Aurora," is truly exquisite as a verbal picture of the summer dawn,though rather rough-hewn metrically. Most open to criticism of all thefeatures of this piece, is the dissimilarity of the separate stanzas. Ina stanzaic poem the method of rhyming should be identical in everystanza, yet Mrs. Haughton has here wavered between couplets andalternate rhymes. In the opening stanza we behold first a quatrain, thena quadruple rhyme. In the second we find couplets only. In the third aquatrain is followed by an arrangement in which two rhyming linesenclose a couplet, while in the final stanza the couplet again reignssupreme. The metre also lacks uniformity, veering from iambic toanapaestic form. These defects are, of course, merely technical, notaffecting the beautiful thought and imagery of the poem; yet thesentiment would seem even more pleasing were it adorned with the garb ofmetrical regularity. "On the Banks of Old Wegee" is a sentimental poemof considerable merit, which suffers, however, from the same faults thataffect "Aurora." Most of these defects might have been obviated when thestanzas were composed, by a careful counting of syllables in each lineand a constant consultation of some one, definite plan of rhyming. Wemust here remark an error made in the typewritten copy of the originalmanuscript, and reproduced in the finished magazine, for which, ofcourse, neither the poetical art of the author nor the technique of theprinter is to blame. In the second stanza, lines 6 and 7 were originallywritten:
"How oft I've essayed to be A fisherman bold, but my luck never told."
"Anent the Writing of Poetry" is a short prose essay, in which manyvaluable truths are enunciated. Mrs. Haughton has evidently taken up thepoetic art with due seriousness, and considering the marked talent shownin the first issue of her paper, we may justly expect to behold awonderfully rapid development in the near future.
_The Badger_ for June fulfills the promise of January, and shows us thatthe present year has given the United a new and serious periodical ofsatisfying quality. In the "Introductory," Mr. George Schillingdiscusses in lively fashion the latest topics of the day, therebyatoning for our own tedious "Finale." "Ready Made," by Samuel J.Schilling, is a thoughtful presentation of a lamentable fact. The evilwhich he portrays is one that has rendered the masses of America almostwholly subservient to the vulgar press; to be led astray into every sortof radicalism through low tricks of sensationalism. Our own poeticalattempt, entitled "Quinsnicket Park," contains 112 lines, and spoilsthree and a half otherwise excellent pages. It is probable that but fewhave had the fortitude to read it through, or even to begin it, hence wewill pass over its defects in merciful silence. "What May I Own?" byA. W. Ashby, is an able sociological essay which displays considerablefamiliarity with the outward aspects of economic conditions. Mr. Ashby,condemning the present system practiced in the coal and iron industries,declares that on moral grounds he had rather be a brewer or purveyor ofliquor than a coal magnate or an ironmaster. In this statement,evidently born of hasty fervour, Mr. Ashby forgets the basic characterof the two types of industry which he contrasts. Beneath the liquortraffic lies a foundation accursed by decency and reason. The entireindustry is designed to pander to a false craving whose gratificationlowers man in the scale of mental and physical evolution. The distillerand vendor of rum is elementally the supreme foe of the human race, andthe most powerful, dangerous and treacherous factor in the defiance ofprogress and the betrayal of mankind. His trade can never be improved orpurified, being itself a crime against Nature. On the other hand, thecoal and iron industries are, in their fundamental forms, desirable andnecessary adjuncts to an expanding civilization. Their present evils arewholly alien to their essential principles, being connected only withthe uneasy industrialism of this age. These faults are not confined tocoal-mining and iron-working, but are merely those possessed in commonwith all great industries. Joseph E. Shufelt's article on the Europeanwar is an amazing outburst of socialism in its worst form. The idea thatthis shocking carnage is the result of a deliberate plot of the rulingclasses of all the belligerents to destroy their labouring element iswonderfully ludicrous in its extravagance. We are led to infer thatthose best of friends, der Kaiser and his cousins George and Nicholas,are merely pretending hostility in order to rid themselves of atroublesome peasantry! We do not know what Mr. Shufelt has been readinglately, but we hope that time may modify his ideas to such a degree thathe will turn his dignified style and pure English to some object
worthyof their employment.
_Dowdell's Bearcat_ for July marks the beginning of an unprecedented eraof improvement in the quality of that periodical. Having settled down tothe conventional 5x7 size, it has now acquired a cover and an abundanceof pages which the editor informs us will never be lessened. Theinfluence of _The Olympian_ is perceptible in the _Bearcat_, and for histaste in the selection of so worthy a model Mr. Dowdell is to becommended. "When the Tape Broke" is the first article of the editorialcolumn, and well describes an example of collapsed activity which theUnited should avoid. "A Runaway Horse," by Mrs. Ida C. Haughton, is abrief and vivid sketch of a fatal accident. "Tragedy," an exquisite poemby Emilie C. Holladay, deserves very favourable notice for the delicatepathos of its sentiment, and perfect adaptation of the measure to thesubject. We may discern a few traces of immaturity in the handling ofthe metre and in the presence of "allowable" rhymes. As elsewherestated, we personally approve and employ the old-fashioned "allowable"rhyming sounds, but the best modern taste, as exemplified in the Unitedby its Laureate, Rheinhart Kleiner, demands absolute perfection in thisregard. As to the metre, we respectfully offer the following amendedsecond stanza as an example. It is absolutely uniform with the originalfirst stanza, which, of course, furnishes the model.
The summer rains And autumn winds The snowdrop find yet standing; A petal gone, And all alone, Her tender roots expanding.
The remarkable poetical talent exhibited by Miss Holladay deserves acultivation that shall invest her productions with a technique of thehighest order. "The Dignity of Journalism," by ourselves, may be takenby the reader as a sort of supplement to this Department. We thereenumerate in the abstract some of the precepts which we shall here applyto individual writers. There are several misprints, which we hope willnot be taken as evidences of our bad spelling, and at the conclusion theword "even" is omitted from the phrase which should read: "thenecessity, or _even_ the expediency." "June Journals" is an excellentset of short reviews which display very favourably the critical abilityof Mr. Dowdell. The concluding notes on "Amateur Affairs" are brief, butvery interesting. The general excellence of _Dowdell's Bearcat_ excusesthe instances of imperfect proof-reading, which fault we are sure willsoon be eliminated.
_The Blarney Stone_ for March-April contains "Thoughts," a meritoriouspoem by Chester P. Munroe. The tone of the piece is that of sentimentaland almost melancholy reverie, hence the metre is not quite uniform; buta commendable absence of rough breaks lends a delightful flow to thelines. We hope to behold further efforts from Mr. Munroe's pen. "TheAmateur's Creed," by Mrs. Renshaw, is written in the style of thisauthor's previous and now well-known poem, "A Symphony," and should domuch toward lifting the United upward to the highest literary ideals.
_The Blarney Stone_ for May-June has cast off all undue seriousness, andteems with light and attractive matter concerning the recent Rocky Mountconvention. Some of the displays of wit and cleverness are very strikingand entertaining indeed, while no page departs so far from merit that itmay be justly adjudged as dull.
_The Boys' Herald_ for August is an issue of unusual elaborateness,announcing the engagement of its editor, Mr. Edwin Hadley Smith, andMiss Nita Edna Gerner of New York. Excellent portraits of the happycouple follow the formal announcement, and Miss Gerner, now AssociateEditor, describes in an excellent prose style the romance whichculminated in the engagement. "Gerneriana," consisting mainly of areprint from an earlier issue, is an interesting account of the lateRichard Gerner, an old-time amateur, and father of the prospectivebride. This article is well supplemented by the reproductions of partsof old amateur papers which adorn the back cover of the magazine. Theremainder of _The Boys' Herald_ is wholly statistical, dealing with theamateur career of Mr. Smith. Few members of the association couldproduce superior records of activity.
_The Brooklynite_ for April maintains the high standard set by theprevious number. "A Miracle," the opening poem, was composed by Alice L.Carson during the course of a meeting of the Blue Pencil Club, yetexhibits all the grace and harmony expected in a carefully planned andlaboriously polished work. "Spring Thoughts," by A. M. Adams, is ahumorous prose masterpiece by the National's new Critic. Seldom is theamateur press favoured with such a well-sustained succession ofbrilliant epigrams. Miss Owen's "Ode to Trempealeau Mountain" is a noblespecimen of heroic blank verse, containing some very strikingantithetical lines. The title, however, is a misnomer, since a true odeis necessarily of irregular form. "Some Late Amateur Magazines," byW. B. Stoddard, is a series of brief, informal reviews. As a critic, Mr.Stoddard shows considerable discernment, though having a ratherunpleasant air of conscious superiority in certain places. A little morestateliness of style would add to the force of his criticisms. "Spring"reveals Rheinhart Kleiner in his favourite domain of amatory verse. Mr.Kleiner's tuneful numbers and pure diction render his poetry ever adelight. "Rebellion," by Miss von der Heide, is a metrically perfectpiece of verse whose artistry is marred only by the use of theunpoetical philosophical term "subconscious" instead of "unconscious."
_The Brooklynite_ for July is of especial interest as the first paper toprint an account of the Rocky Mount convention. This description, fromthe facile and versatile pen of Miss von der Heide, is of distinctlyinformal character, yet is none the less interesting as an animatedchronicle of an enjoyable event. Rheinhart Kleiner's account of theNational convention is more dignified, and may be considered as a modelfor this sort of composition. Mr. Kleiner shines as brightly in prose asin verse, and each day surprises us with revelations of excellence invarious dissimilar departments of literature.
_The Conservative_ for July is notable for Mr. Ira Cole's delightfullypantheistic poem, "A Dream of the Golden Age." The unusual poetic geniusof Mr. Cole has been revealed but recently, yet the imaginativequalities pervading some of his prose long ago gave indications of thisgift. The pantheistic, Nature-worshipping mind of our author lends tohis productions an unique and elusive atmosphere which contrasts veryfavourably with the earthy tone of some of our less fanciful bards.Metrically, Mr. Cole adopts instinctively the regular, conservativeforms of a saner generation. In this specimen of heroic verse heinclines toward the practice of Keats, and does not always confinesingle thoughts to single couplets in the manner of theeighteenth-century poets. We believe that Mr. Cole is commencing asuccessful career as a United poet, and await the day when he shall beaccorded the honor of a laureateship.
_The Coyote_ for July reveals a wonderful improvement over the Marchnumber, both in the literary quality of its contributions and in generaleditorial excellence. Never before have we seen the perfect amateurspirit acquired so quickly as in Mr. Harrington's case. "Night Fancies,"by Helen H. Salls, is a sonnet of exceptional power and artistry, whosefaultless metre is equalled only by its bold and striking images. Amidstthis profusion of excellent metaphor, it is difficult to selectindividual instances for particular praise, but we might commendespecially the passage:
"... the stars still keep Afloat like boats that black sky-billows ride."
Miss Salls is clearly an amateur poet of the first rank, and it is to behoped that she will be a liberal contributor to United magazines. "TheRebirth of the British Empire," by William T. Harrington, is a clear andconcise exposition of the virtues whereby Old England maintains herproud position as Mistress of the Seas, and chief colonial empire of theworld. The style of the essay is admirable, and well exhibits theprogressive qualities of Mr. Harrington. "An Ideal," by Nettie Hartman,is a short poem of pleasing sentiment and harmonious metre. The notes onamateur affairs are interesting and well composed, revealing Mr.Harrington's increasing enthusiasm for the cause.
_Dowdell's Bearcat_ for May is another striking illustration of theimprovement which can affect a paper within a very short time. Sincelast October Mr. Dowdell has been progressing swiftly towardjournalistic excellence, and even this cleverly conceived and uniquelyshaped issue fails to mark the limit of his ambition. "Knowest Thou?" byMrs. R
enshaw, is an expressive tribute to a nation whose recent infamiescan never wholly becloud its rugged virtues. "With Nature I Rejoice" isprobably the best poem which Joseph R. Schaffman has yet written. As hisremarkable talent matures, the didactic element in his verse isgradually giving way to the more purely poetic, and this latest effortis one of which he may be justly proud. Concerning Mr. Dowdell's ownspirited prose, we need only repeat the previous suggestion, that alittle less slang would add much to its force and dignity.
_Dowdell's Bearcat_ for May 26 contains another poem by Mrs. Renshawwhose national tone is not likely to be popular just now outside thecountry to which it refers; in fact, Editor Dowdell has deemed it wiseto make an apologetic statement concerning it. However, if we call "EinMann" Col. Theodore Roosevelt, and shift the scene to San Juan Hill, wemay be able to appreciate the real patriotism delineated.
_Dowdell's Bearcat_ for June is wholly given over to notes of theamateur world. Mr. Dowdell is indeed a pleasing young writer, and leavesnone of his topics without a characteristic touch of light adornment.
_The Lake Breeze_ for April is distinguished by James L. Crowley's poementitled "April," a brief lyric of marked merit, highly expressive ofthe season. "Writing Poetry," an essay by Dora M. Hepner, is a clear andtasteful analysis of the poet's art and inspiration. "The NorwegianRecruit," a dialect monologue by Maurice W. Moe, is the leading featureof this issue. This exquisite bit of humor, recited by Mr. Moe at theUnited's 1913 convention, is a sketch of rare quality. "The AmateurPress," now firmly established as a column of contributed reviews, isthis month of substantial size and fair quality. It is needless to saythat the news pages are interesting, and that the paper as a whole wellmaintains the high reputation it has ever enjoyed.
_The Lake Breeze_ for June apparently opens an era of unprecedentedimprovement, being of distinctly literary rather than political nature.The plea for a Department of Instruction is a just one, and ought tomeet with response from some of our pedagogical members. "Broken Metre,"by Mrs. Renshaw, is an attempt at defending the popular atrocitiescommitted in the name of freedom by the modern poets. While the articleis superficially quite plausible, we feel that the settled forms ofregular metre have too much natural justification thus to be disturbed.The citation of Milton, intended to strengthen Mrs. Renshaw's argument,really weakens it; for while he undoubtedly condemns _rhyme_, he lamentsin the course of this very condemnation the _lame metre_ which issometimes concealed by apt rhyming. "Some Views on Versification," byClara I. Stalker, is an essay written from a sounder and moreconservative point of view. The middle course in poetical composition,which avoids alike wild eccentricities and mechanical precision, hasmuch to recommend it, and Miss Stalker does well to point out itsvirtues. However, we do not see why even the few irregularities whichare here said to be inevitable, cannot be smoothed out by the bardwithout destroying the sense of his poetry. "Disappointment," by Mrs.Maude K. Barton, is a clever piece of light verse whose sprightly humourmakes up for its slight metrical roughness. The imperfect but allowablerhyming of "bear" and "appear" in the first stanza is entirely correctaccording to the old-time standards which we ourselves follow, but wefear that the delicate ear of a precise metrical artist like RheinhartKleiner would object to its liberalism. "The Amateur Press" isdistinguished by an excellent review from the pen of Mrs. Renshaw. Thestyle is satisfactory, and the criticism just, making the whole wellworthy of the prize book it has secured for its author. "'Pollyanna,'the Glad Book" is a meritorious and entertaining review by Mrs.Griffith. "Hope," by Marguerite Sisson, is commendable for its use ofthat noble but neglected measure, the heroic couplet. Mr. Daas'concluding editorial, "Literature and Politics," is admirable for itsconcise exposition of the United's new ideals, and its masterlyrefutation of the common fallacy that political quarrels are necessaryto stimulate activity in the press associations.
_The Looking Glass_ for May is a journal unique in purpose and quality.Edited by Mrs. Renshaw in behalf of her many gifted recruits, it revealsa condition absolutely unexampled; the acquisition by one member of somany high-grade novices that a special publication is required properlyto introduce them to the United. "To a Critic of Shelley," by Helen H.Salls, is a long piece of beautiful blank verse, marred only by oneaccidental rhyme. Miss Salls is evidently one of those few reallypowerful poets who come all too seldom into Amateur Journalism,startling the Association with impeccable harmony and exalted images.The present poem grows even more attractive on analysis. The diction isof phenomenal purity and wholly unspoiled by any ultra-modern touch. Itmight have been a product of Shelley's own age. The metaphor ismarvellous, exhibiting a soul overflowing with true spirituality, and amind trained to express beautiful thought in language of correspondingbeauty. Such unforced ornateness is rarely met in the domain of amateurpoetry. We feel certain that Miss Salls has already become a fixed starin the empyrean of the United. Exalted poetry of quite another type isfurnished by the work of our new Director, Rev. Frederick Chenault,whose two exquisite lyrics, "Birth" and "The Sea of Somewhere," appearin this issue. With little use of formal rhyme and metre, Mr. Chenaultabounds in delicate conceptions and artistic renditions."Retrospection," by Kathleen Baldwin, is likewise a poem of high order,and of fairly regular metre, evidently following comparatively recentmodels in technique. "The Faithful Man," by I. T. Valentine, showsgrowing poetical talent, but is cruelly injured by the anticlimacticline. Not that there is any anticlimax of sentiment, but the colloquialmode of expression shocks the reader who has been perusing the moredignified lines which go before. "The Stonework of Life" is an excellentprose sermon by Joseph Ernest Shufelt, which displays great ability inthe field of metaphor and allegory. Mr. Shufelt possesses an admirablestyle, unusually well fitted for didactic matter of this sort; indeed,it is regrettable that he should ever depart from such congenial themesand turn to the wild sensationalism which he shows in _The Badger_. Indemonstrating the beauties of morality and religion, he has fewsuperiors, and a task so appropriate to his genius ought to claim hiswhole attention. True, his thoughts may follow strange courses in theirquest for truth and beauty, but were he always to curb them within thebounds of probability and conservatism, as here, he would never lose theconfidence of his public, as he has done with his strange war theories."The Autocracy of Art," by Anne Vyne Tillery Renshaw, is the leadingarticle of the magazine. Herein the author proclaims the supremacy ofspiritual utterances over all restrictions created by the mind, andurges the emancipation of the soaring bard from the earthly chains ofrhyme and metre. That the inward promptings of the poetic instinct areof prime value to the poet, few will dispute; but that they may givefinal form to his soul's creations without some regulation by thenatural laws of rhythm, few will agree. The metric sense lies far deeperin the breast of man than Mrs. Renshaw is here disposed to acknowledge.After this article, the perfectly regular stanzas of "Fellow Craftsman,"_by the same author_, are refreshing. The typography and form of _TheLooking Glass_ leave something to be desired, but the riches within makeample compensation for outward crudity.
_The New Member_ for May, edited by William Dowdell, contains but onecredential, yet doubtless paves the way for a resumption of theenterprise so ably conducted by Miss Hoffman last year. "Melancholy," apoem by I. T. Valentine, shows traces of the beginner's crudeness, yethas about it a quality which promises much for the future of the poet."Lock-Step Pete," by Miss von der Heide, is an unusual poem with athoughtful suggestion embodied in its concluding stanza.
_The New Member_ bound with the May _Official Quarterly_ is a model thatshould henceforth be followed as the nearest approach to perfection yetbeheld. Credentials, lists of prospective members, news of recruits, andaccounts of local clubs are here given in just and pleasing proportion."Bluets and Butterflies," by Carolyn L. Amoss, is a poem of greatdelicacy and ethereal atmosphere. The solitary, tiny flaw is theattempted rhyming of "Miss" and "yes." "War in America," by Annette E.Foth, is a pleasant juvenile story. E. Ralph Cheyney's extract from hisessay on "Youth" is in
many ways remarkable, and shows us that we haveanother recruit of choice quality. His rather peculiar ideas are wellexpressed, though their soundness is quite debatable. A few abnormalcharacters like Byron and Shelley doubtless experienced all theadolescent phenomena which Mr. Cheyney describes, but we believe thatthe average youth is a copyist, and for the most part reflects hisenvironment. Radicalism and novel ideas arise just as much from blase,elderly cynics, who are tired of sane and sober conservatism. We havebeen reflecting on Life for about twenty years, ever since we were five,and have consistently believed that the wisdom of the ancient sage isthe true wisdom; that Life is essentially immutable, and that theglorious dreams of youth are no more than dreams, to be dissipated bythe dawn of maturity and the full light of age. "Flowers on the Grave,"a poem by J. D. Hill, has a commendable sentiment, and is remarkable forits possession of only one repeated rhyming sound. Whether or not thelatter feature be monotonous, all must admit that the versification isattractive. "We Are All Desperate!" is a striking philosophical fragmentby Melvin Ryder, which first appeared as an editorial in the _Ohio StateLantern_. The conjectures are plausible, and the precepts sound. Thenews items in this paper are all fresh and interesting, concluding anissue uniformly excellent.
_The Pippin_ for May displays very favourably the high-school club whosefounding and maintenance are due entirely to the genius of Mr. MauriceW. Moe. "The Coasters," by Esther Ronning, is the only poem in theissue, but its quality atones for the absence of other verse. Thepleasures and perils of coasting are here portrayed with wonderfullygraphic pen, whilst the metre is, so far as technical correctness isconcerned, all that might be desired. However, we wish that MissRonning were less fond of unusual rhyming arrangements. The lines heregiven are of regular ballad length. Were they disposed in couplets, weshould have a tuneful lay of the "Chevy Chase" order; but as it is, ourear misses the steady couplet effect to which the standard models haveaccustomed us. "With the Assistance of Carmen" is a clever short storyby Gladys Bagg, derived from the same plot nucleus by Mr. Moe whichlikewise evoked Miss Moore's story in the March UNITED AMATEUR. Thestructure of the narrative is excellent, but we do not like the use ofthe plebeian expression "onto" on page 3. There is properly no such wordas "onto" in the English language, "upon" being the preposition hererequired. Webster clearly describes "onto" as a low provincialism orcolloquialism. "Little Jack in Fairyland," by Ruth Ryan, is a wellwritten account of a dream, with the usual awakening just as events arecoming to a climax. The style is very attractive, and the imagesingenious. "Getting What You Want," by Mr. Moe, is a brief one-act farceillustrating the subtle devices whereby the sharp housewife bewildersthe good-natured landlord into the granting of extraordinary favours.Had the heroine kept on to still greater lengths, she might have securedan entire new house. The present number of _The Pippin_ is, save for theabsence of photographs, quite as pleasing as the previous number. Wetrust that Mr. Moe's editorial prophecy may be fulfilled, and that wemay soon behold another issue which shall make us familiar with the newfaces brought by revolving time into the congenial Appleton circle.
_The Plainsman_ for July is the best number yet issued, the twoeleventh-hour contributions being very cleverly introduced. "RevisedEdition," by Mrs. Jeanette Timkin, is a versified piece of keen humourand good metre, well illustrating the opening of the third or aerialelement to human travel. "To Bazine, Kansas" is a sprightly proseaccount by James J. Hennessey of his journey from Boston to Bazine. "AnIncident of Early Days," by Mrs. John Cole, is presented in the sameattractive reminiscent style which makes her article in _The Trail_ soreadable and interesting. We are here told of the times when herds ofbison were common sights, and are given a pleasing account of theformation of the Bazine Sunday-School. The articles by Mr. and Mrs. IraCole show their appreciation of the amateurs who have visited them, andconclude an issue of thoroughly entertaining quality.
_The Providence Amateur_ for June introduces to the United another localpress club of great enthusiasm. Owing to some unauthorized omissionsmade by the printer, this first issue is scarcely representative of theclub's entire personnel, but that which still remains affords, afterall, a fair index to the character and ideals of the new organization.The editorials by John T. Dunn are both frank and fearless. We detest ashifty club whose allegiance wavers betwixt the United, the MorrisFaction and the National, and so are greatly pleased at Mr. Dunn's manlyand open stand for the one real United. The editor's opinions onacknowledgment of papers is certainly just from one point of view,though much may be said for the opposite side. When an amateur journalhas been prepared with unusual labour, and mailed conscientiously toevery member of the Association, the publisher has substantial reasonfor resenting any marked display of neglect. We do not blame _TheBlarney Stone_ for its attitude on this question, and shall probablyfollow its custom by mailing the next _Conservative_ only to those whohave acknowledged one or both of the previous issues.
_The Reflector_ for June is a British amateur magazine, transplanted onAmerican soil by its able editor, Ernest A. Dench. "Crossing theAtlantic in War Time" is a pleasing account of Mr. Dench's voyage fromLiverpool to New York. "Chunks of Copy" forms the title of an excellentthough informal editorial department, while "A Brain Tank at YourService" teems with witticisms concerning various members of the BluePencil Club. This magazine has no connection with any former journal oflike title, but seems likely to prove a worthy successor to all itsnamesakes.
_The Trail_ for Spring is a new and substantial illustrated magazine of20 pages and cover, issued by our well-known Private Critic, Mr. AlfredL. Hutchinson. At the head of the contents are the reminiscences of theeditor, which prove extremely interesting reading, and which are wellsupplemented by the lines entitled "The Tramp Printer." Also by Mr.Hutchinson is the well written and animated account of Mr. NicholasBruehl, whose artistic photographical work adorns the inside covers ofthis issue. "Pioneer Life in Kansas," by Mrs. John Cole, is adelightfully graphic picture of the trials and adventures of the earlysettlers in the West. Being written from actual personal experience, thevarious incidents leave a lasting impression on the mind of the reader,while a pleasing smoothness of style enhances the vividness of thenarrative. "Memory-Building" is the first of a series of psychologicalarticles by our master amateur, Maurice W. Moe. It is here demonstratedquite conclusively, that the faculty of memory is dependent on thefundamental structure and quality of the brain, and may never beacquired or greatly improved through cultivation. "Evening at MagnoliaSprings," by Laura E. Moe, exhibits the same type of literary talentthat her gifted husband possesses; in fact, this sketch may be comparedwith Mr. Moe's well-known "Cedar Lake Days." The use of trivialincidents gives an intense naturalness to the description. "Caught," byRuth M. Lathrop, is a brilliant short story whose development and climaxare natural and unforced. Fiction is generally the amateur's weakestspot, but Miss Lathrop is evidently one of the few shining exceptions.So thoroughly excellent is _The Trail_, that we hope to see not merely asecond issue, but its permanent establishment as one of the United'sleading magazines.
_The Tryout_ for June belongs to the National, but contains much matterby United members. "Tempora Mutantur," a very meritorious short story byMarguerite Sisson, affords an illuminating contrast between the solidculture of 1834 and the detestable shallowness of the present time. Thisprevailing frivolity and unscholarliness is something which the Unitedis seeking to remedy, and we are thankful indeed for stories such asthis, which expose modern levity in all its nauseousness. It is evidentthat Miss Sisson is emulating the appreciative Anne Carroll of 1834,rather than her obtuse and indifferent descendant. "The DistrictSchool," by Edna R. Guilford, describes very vividly the many pettyannoyances that beset the average teacher. While the picture isextremely well presented as a whole, certain roughnesses of dictionnevertheless arrest the critical eye. "Onto," in the first paragraph, isa provincialism which should be superseded by "to." Further on we hearthe teacher admonishing a youth to wash up some ink, and "wash it_good_"! W
ould a _teacher_ thus express herself? "Well" is the adverbhere needed. "Too tired _to hardly stand_" is a seriously ungrammaticalphrase, which should read: "almost too tired to stand." We note that oneof the pupils' names is given as "Robert Elsmere." While it may not beessentially a fault thus to use the name of a famous character offiction, we feel that the exercise of a little more originality mighthave avoided this appropriation of Mrs. Humphry Ward's celebrated hero.Miss Guilford's fundamental talent is unmistakable, but needscultivation and practice before it can shine out in full splendour.
_The Tryout_ for July contains "Cripple George," a beautiful short storyby Mrs. Rose L. Elmore, commendable alike in plot and technique. "A Dayin the Mountains," by Harry H. Connell, is a very interesting sketchwhose style exhibits considerable promise.
THE UNITED AMATEUR for March contains a literary department which will,we hope, remain as a regular feature. "Tobias Smithers, Leading Man" isMiss Ellen Moore's prize-winning attempt at constructing a story from avery brief nucleus given by Mr. Moe. Miss Moore here exhibits a facilepen and a just appreciation of humorous situations. "Ghosts," by Mrs.Renshaw, well illustrates the vague superstitions of the negroes, thosestrange creatures of darkness who seem never to cross completely thethreshold from apedom to humanity. "March," by ourselves, is a gem ofexquisite poesy, etc., etc., which we have here praised because no oneelse could ever conscientiously do so. Line 10 apparently breaks themetre, but this seeming break is due wholly to the printer. The lineshould read:
"The longer sunshine, and the shorter night."
"The Unknown Equation" is a love story by Mrs. Florence Shepphird.Though the major portion is quite polished and consistent, we cannot butdeem the conclusion too abrupt and precipitate. Perhaps, being a frigidold critic without experience in romance, we ought to submit thequestion to some popular newspaper column of Advice to the Lovelorn,inquiring whether or not it be permissible for a young lady, after onlya few hours' acquaintanceship with a young gentleman, to encourage himto "put his arm around her yielding form and kiss her passionately"!!
THE UNITED AMATEUR for May is graced by "Reveille," a powerful andstirring poem written in collaboration by our two gifted bards, Mr.Kleiner, the Laureate, and Miss von der Heide. "Nature and theCountryman," by A. W. Ashby, is an iconoclastic attack on that love ofnatural beauty which is inherent in every poetical, imaginative anddelicately strung brain. In prose of faultless technique and polishedstyle, Mr. Ashby catalogues like a museum curator every species of flawthat he can possibly pick in the scenes and events of rustic life. Butwhile the career of the farmer is assuredly not one of uninterruptedbliss, it were folly to assert that Nature's superlative loveliness isnot more than enough to compensate for its various infelicities. No mindof high grade is so impervious to aesthetic emotion that it can beholdwithout admiration the wonders of the rural realm, even though a vein ofsordid suffering ran through the beauteous ensemble. Of all our personalfriends, the one who most adores and loves to personify Nature is asuccessful farmer of unceasing diligence. Mr. Ashby errs, we arecertain, in taking the point of view of the unimaginative andunappreciative peasant. This sort of animal interprets Nature byphysical, not mental associations, and is unfitted by heredity toreceive impressions of the beautiful in its less material aspects.Whilst he grumbles at the crimson flames of Aurora, thinking only of theafternoon rain thus predicted, the man of finer mould, though equallycognizant that a downpour may follow, rejoices impulsively at the purebeauty of the scene itself, a scene whose intellectual exaltation willhelp him the better to bear the dull afternoon. Is not the beauty-loverthe happier of the two? Both must endure the trials, but the poet enjoyscompensating pleasures which the boor may never know. Thepersonification and deification of Nature is a legacy from primitiveages which will delight us in an atavistical way till our very raceshall have perished. And let Mr. Ashby remember that those early tribeswho placed a god or goddess in every leafy tree, crystal fount, reedylake or sparkling brook, were far closer to Nature and the soil than isany modern tenant farmer.
_The United Official Quarterly_ for May has resumed its formerattractive appearance, and contains a very creditable assortment ofliterary matter. "Atmosphere," by Mrs. Shepphird, is a thoughtful andpleasing essay, whose second half well describes the individuality ofthe various amateur authors and editors. "The Kingly Power of Laughter,"by Louena Van Norman, is no less just and graphic, illustrating thesupreme force of humour and ridicule. Leo Fritter, in "ConcerningCandidates," points out some important details for office-seekers,whilst Ira A. Cole, in "Five Sticks on Finance," gives some interestingsuggestions for economy. "Opportunity," an essay by Mildred Blanchard,concludes the issue, and successfully disputes the noxious oldplatitude, that "Opportunity knocks but once at each man's door." Withthe _Quarterly_ is bound _The New Member_, reviewed elsewhere, the twoforming a tasteful and meritorious magazine.
_The Woodbee_ for July is an issue of unusual interest, revealing themore serious and substantial activities of the prosperous Columbus Club.The opening feature is a sonnet by Alma Sanger, "To Autumn Violets,"which exhibits some poetical talent and a just sense of metrical values.We are sure that the defective second line is the fault of the printerrather than of the author. "The Blind Prince," by Henriette Ziegfeld, isan excellent juvenile tale involving a fairy story. The only seriousobjection is the undercurrent of adult comment which flows through thenarrative. Particularly cynical is the closing sentence: "'And here'sMother,' finished poor Auntie with a sigh of relief." The ordinary fairystories told to children are bits of actual Teutonic mythology, andshould be related with a grave, absolute simplicity and naivete.However, as a psychological study of the typical childish auditor, thesketch as a whole is highly meritorious. We are inclined to wonder atthe possible meaning of the strange word "alright," which appears morethan once in Miss Ziegfeld's tale. It is certainly no part of ourlanguage, and if it be a corruption of "all right," we must say that wefail to perceive why the correct expression could not have been used."What's in a Name?" by Irene Metzger, is a clever sketch concerningthe silly modern practice of giving fancy names to helpless infants.Glancing backward a little through history, Miss Metzger would probablysympathize with the innocent offspring of the old Puritans, whoreceived such names as "Praise-God," and the like. Praise-God Barebones,a leading and fanatical member of Cromwell's rebel parliament,went a step further than his father, naming his own son"If-Jesus-Christ-had-not-died-for-thee-thou-hadst-been-Damned"! All thiswas actually the first name of young Barebones, but after he grew up andtook a Doctor's degree, he was called by his associates, "_Damned Dr.Barebones_"! "Moonlight on the River," by Ida Cochran Haughton, is anexquisite sentimental poem, each stanza of which ends with the sameexpression. The atmosphere is well created, and the images dexterouslyintroduced. The whole piece reminds the reader of one of Thomas Moore'sbeautiful old "Irish Melodies." That Mrs. Haughton's talent hasdescended to the second generation is well proven by Edna M. Haughton's"Review of the Literary Work of the Quarter." Miss Haughton is apolished and scholarly reviewer, and her criticisms are in everyinstance just and helpful. The editorial on "Miss United" is very wellwritten, and should be carefully perused by those in danger ofsuccumbing to the autumnal advances of that sour old maid, MissNational.
--HOWARD P. LOVECRAFT Chairman.
Little Journeys to the Homes of Prominent Amateurs
Among the many amateurs I have never met in the flesh and realness ofLife, Howard Phillips Lovecraft, poet, critic and student, appeals to meas no other recent "find" in the circles of amateuria has ever appealed.And Lovecraft _is_ a distinct "find." Just why he holds a firm grip onmy heart-strings is something of a mystery to me. Perhaps it is becauseof his wholesome ideals; perhaps it is because he is a recluse, contentto nose among books of ancient lore; perhaps it's because of hisphysical afflictions; his love of things beautiful in Life; his ardentadvocacy of temperance, clean
liness and purity--I don't know. Wedisagree on many questions; he criticises my literary activities; hesmiles at my suffrage theories, and disapproves of my language in _ChainLightning_. But I like him.
Howard Phillips Lovecraft has an interesting history, and this fact wasknown to Official Editor Daas when he asked me to take a little journeyto the study-home of the Vice-President. "Don't stint yourself forspace" was noted on the assignment tab, and after glancing over thebiographical notes before me--I am sure that Daas has again exemplifiedhis quiet humor during a serious moment.
Lovecraft was born at 454 Angell St., Providence, R. I., on August 20,1890. His nationality is Anglo-American, and under British law he canclaim to be a British subject, since he is a grandson in direct maleline of a British subject not naturalized in the United States. Hisancestry is purely English. On the paternal side he is a descendant ofthe Lovecrafts, a Devonshire family which has furnished a great manyclergymen to the Church of England, and the Allgoods of Northumberland,a history-honored family of which several members have been knighted.The Allgoods have been a military line, and this may account forLovecraft's militarism and belief in the justice of war. On the maternalside he is a typical Yankee, coming from East English stock whichsettled in Rhode Island about 1680. Lovecraft is a student ofastronomy--it is a domineering passion with him--and this love wasapparently inherited from his maternal grandmother, Rhoby Phillips, whostudied it thoroughly in her youth at Lapham Seminary, and whosecollection of old astronomical books first interested him. Lovecraftcame from pure-blood stock, and he is the last male descendant of thatfamily in the United States. With him the name will die in America. Heis unmarried.
As he was about to enter college at the age of eighteen, his feeblehealth gave way, and since then he has been physically incapacitated andrendered almost an invalid. Being thus deprived of his cherished hope tofurther his education and prepare himself for a life of letters, he hascontented himself with his home, which is just three squares from hisbirthplace, and where he lives with his mother. And his home life isideal. His personal library--his haven of contentment--contains morethan 1500 volumes, many of them yellowed with age, and crude examples ofthe printer's art. Among these treasured books may be found volumeswhich have passed through the various branches of his family, somedating back to 1681 and 1702, and methinks I can see Lovecraft poringover these time-stained bits o' bookish lore as the monks of oldfollowed the printed lines with quivering fingers in the taper'suncertain, flickering light. For Lovecraft appeals to me as abookworm--one of those lovable mortals whose very existence seems tohang on the numbered pages of a heavy, clumsy book!
His connection with organized amateur journalism is of recent date. OnApril 6, 1914, his application for membership in the United AmateurPress Association of America was forwarded to the Secretary. Like agreat many of the recruits, Lovecraft was completely ignored for severalmonths. In July of last year he became active, and he has proven to bean invaluable asset to the literary life of the Association. He is _not_a politician. However, his literary activities had been prosecuted manyyears before he had ever heard of the United. At the age of eight andone-half years he published the _Scientific Gazette_, a weeklyperiodical, written in pencil and issued in editions of four carboncopies. This journal was devoted to the science of chemistry, which wasone of his earliest hobbies, and ran from March, 1899, to February,1904. As in most cases, my knowledge of chemistry was acquired after Ihad spent four years in high-school, and the fact that any boy should beinterested in that study at the age of eight and one-half years appealsto me as something out of the ordinary. But Lovecraft was not anordinary boy. His second and more ambitious venture was the _RhodeIsland Journal of Astronomy_. This was at first published as a weekly,and later changed to a monthly publication. This was carefully printedby hand and then duplicated on the hectograph and issued in lots oftwenty-five copies. The _Journal_ was issued from 1903 to 1907, andcontained the latest astronomical news, re-written from the originaltelegraphic reports issued from Harvard University and seen at the LaddObservatory. It also contained many of his original articles andforecasts of phenomena. He owns a 3-inch telescope of French make, andaside from amateur journalism, his one great hobby is astronomy. At theage of sixteen he commenced writing monthly astronomical articles forthe Providence _Tribune_, and later changed to the _Evening News_, towhich he still contributes. During the present year he has contributed acomplete elementary treatise on astronomy in serial form to theAsheville (N. C.) _Gazette-News_. Besides contributing a great manypoems and articles to the amateur press, editing _The Conservative_ andassisting with the editorial work on _The Badger_, the appearance of Mr.Lovecraft's work in the professional magazines is of common occurrence.During the past year he has had charge of the Bureau of Public Criticismin THE UNITED AMATEUR, where he has proven himself a just, impartial andpainstaking critic. That he will achieve a great popularity in the worldof amateur letters is a foregone conclusion, and I do not think that Iam indulging in extravagant praise in predicting a brilliant future forhim in the professional field.
I am acquainted with Howard Phillips Lovecraft only throughcorrespondence; I have never felt the flesh of his palm, and yet, I knowhe is a man--every inch of him--and that amateur journalism will beenriched and promoted to its highest plane through his kindly influenceand literary leadership.
ANDREW FRANCIS LOCKHART
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