Richard Eberhart's Apprenticeship And

International Journal of English and Literature (IJEL) ISSN 2249-6912 Vol.3, Issue 2, Jun 2013, 1-10 © TJPRC Pvt. Ltd.

RICHARD EBERHART’S APPRENTICESHIP AND PROCESS OF BECOMING A POET

J. KARTHIKEYAN Assistant Professor Senior in English, VIT University, Vellore, India

ABSTRACT

Richard Eberhart’s belief in individual achievement reflected most emphatically by his successes in high school, had paradoxically become more institutionalized than his religious faith. The young poet found his identity therefore, primarily in his role as a member of the community and its various groups: his club, his school and its activities, and above all his family, which supported and encouraged his other roles. In short, everything he did or believed his very conception of himself as a person, was unequivocally sanctioned by his entire environment, giving him the sense of belonging that created the unqualified wholeness of his life. When he left this life, and when his family was broken by the death of his mother and the change of his father’s business operation. This wholeness was destroyed; but his belief in its validity, in its reality, was not there, and he was to spend many years in trying to recreate it.

KEYWORDS: Aesthetic Experience, Sense of Obligation, Parenthood, Solitude

INTRODUCTION

Eberhart followed his brother to the University of Minnesota in the year 1922. There he pursued the standard freshman curriculum. The curriculum included English, French, History, Physics, Chemistry, and Physical Education. He used to take active part in campus life. He joined his brother’s fraternity newspaper. He also served on the Freshman Commission and in the spring ran track, winning a medal for doing the hundred-yard dash in ten seconds flat. It was in Minnesota that he had his first literary “aesthetic experience”. It has here Joseph Warren Beach recited “La Belle Dame Sans Merch”. Years later Eberhart could “still remember the stage and powerful thrill” in the voice and in the poem. At this time he wrote many class notebooks and papers. In these works ideas are stressed more than form.

He wrote a paper entitled “The Man with the Green Glasses” early in his Dartmouth career. At the end of the paper he confesses that is about himself. He wore green glasses. Among the boys he talked much about the subject of religion. It was centered on the question of going to church. He believed that regular attendance at church was a vital factor in being a Christian, and that being a Christian was a positive necessity for immortality. From the others’ view point, Eberhart came to realize that the agnostics, pantheists, and atheists were different from himself only because their view points were different. This shows that Eberhart has wide open mindedness. 2 J. Karthikeyan

The editors of The Tower, an undergraduate literary magazine, published an article entitled “Dartmouth Versus Art”. There was a good deal of activity in the arts. An organization which did a great deal in this regard was “The Arts”, to which Eberhart belonged. In Eberhart’s senior years, members of “The Arts” were responsible for the campus visits of Carl Sandburg, Stephen Leacock, and Richard Le Gallienne. So The Tower itself in the best represents the literary and intellectual atmosphere at Dartmouth in Eberhart’s undergraduate years.

Eberhart contributed book reviews to The Tower and Bema, a campus magazine. He became a member of the editorial board of The Tower in his senior years. The pages of the Bema and especially The Tower, therefore provide the first substantial body of his poety, and he was first anthologized in “The Arts Anthology”: Dartmouth verse, 1925. It was in Robert Frost’s introduction to this title volume that he recived his first notice from a full-fledged member of the literary world. Frost likened poetry to a water-spout, suggesting that a young poet is a cloud of all the other poets he ever read. Frost then cited Eberhart’s “The Village Daliy” as one of the poems in the anthology that pleased him.

Eberhart had already, as early as June 1925, considered graduate study. Poetry had become primary in his ideas about his future. But, out of a sense of obligation to his father, he came home and went to work in Marshall Field’s. But both the tone and substance of his account of service to American enterprise show that he was far from miserable. So he was planning to leave. Eberhart was accepted by Cambridge University but he wanted to be wanderer to find the heart of reality. Thus he went with a great rejoicing to find an outlet for energies in ideas and movements, rather than in static things.

Eberhart graduated from Dartmouth in June, 1926. He failed to win a post-graduate fellowship from Dartmouth. Then he arranged to get some of his mother’s $5000 legacy, which he had given to his father. Eberhart arrived in Cambridge on October 14 th of 1927 and plunged immediately into the life of the town and of the University. Then he enrolled at St. John’s College. The first thing he noticed was the multiplicity of rules co-existing with a maximum of freedom.

In London Eberhart spent a great deal of time in non-academic cultural activities: debates, plays, concerts. He saw four of Bernard Shaw’s plays in Cambridge. He began the long poem (which became his first book) in the vacation. He tried to get a job for the summer. He worked as a tutor on an estate in Nottingham for one month. After his tenure as tutor in August, he went to Ireland. He got an introduction from his Chicago friend. He met Stephens, Yeats, Gogarty and A.E. Housman with this introduction. Housman accepted a poem for publication in the Irish Statesman. He wrote his full- column review of “A Bravery of Earth” in the last number of the Irish Statesman saying that Eberhart “may become important to American literature”. He studied under F.R.Leavis and I.A. Richards. Eberhart’s handwriting was very poor. As a result, I.A. Richards and F.R. Leavis asked him to take up his examinations twince. He earned an M.A. with a second class division. It was accepted by the scholars that Eberhart’s poems pulled him up.

Eberhart’s career as a poet had already begun when he came to Cambridge and met Leavis. Forbes, and Richards. He worked on the poem which was to become A Bravery of Earth. The various stages of mind that the poem attempts to create are defined as a series of awarenesses, chronicling the poet’s growth from childhood to adulthood. Eberhart’s highest destiny is in the creation of beauty, and his time at Cambridge provided this.

Eberhart left England on 10 th August, 1929 and arrived in the United States ten days later. He spent three days at the Hawkes home in Montelai, J.J. His father had married in 1924. Then he met his father and stepmother in New York. He went with them to Chicago. There he accompanied his father on a business trip to Lowa. Eberhart met W.H. Cowley in Chicago. His sense of reality was developed when he had begun job-hunting. Richard Eberhart’s Apprenticeship and Process of Becoming a Poet 3

One company offered him a job as a traveling book salesman. He was not satisfied with this job. So he returned to Chicago. Finally, he took a position in the new York branch of Adolph Gobel, Inc. His father was working in the same firm. He went to work at 4.30 every morning in a slaughterhouse for almost three months. There he got the symbolic value of the experience. He soon came to consider the slaughterhouse “a vision of hell actual”.

Eberhart decided to escape from the slaughterhouse. His application to an employment agency finally paid off. He got a position as tutor to the two daughters of Mr. and Mrs. Rodney Proctor, of Proctor and Gamble, from the late December to late April in Palm Beach, Florida. He separated himself permanently from the meat packing industry on December 7, 1929.

At the end of his Palm Beach tenure, he had saved enough to live on for a few weeks. Then he went back to New York to look for work. He was finally offered a tutoring job. But it was a tutorship to a mollycoddle aged 17. So Eberhart spent his days in the hope of finding something better someday. The parents of Andrew Foster offered to let Eberhart use a cottage on their estate in Pheenixville. Pennsylvania for the summer, he was in the estate, known as Broadwater for two months. He lived alone in a farmhouse called Walden. His life was more involved with the natural world around him. He became closest, with the local insects. He fell in love with insects. He had four social wasps just outside a screen on a shutter. It was also at this time that he first saw the famous ground-hog. Eberhart remained at Broadwater for the rest of the summer.

In the year 1930 which had witnessed the publication of his first book. Eberhart also secured a tutorship. This time he was tutoring the adopted son of Siam’s King Prajadhipok and to the son of the Siamese minister to Washington. Eberhart was instructed to report to Washington on 15 th September 1930. As it turned out he was a good deal more than a tutor and lived with the boys round the clock. They worked from nine till one. After a few months. Eberhart began to tire of the constant drain of his energies of what amounted to parenthood. But Ophir Hall was pleasant and interesting to Eberhart. He completed a year with the Siamese. He had saved good deal of money. Then he decided to take a trip to Germany. He was in Berlin by the beginning of October.

Upon his return to the United States, he was surprised to find that there were no jobs in America. The depression had just begun. Then Eberhart along with Foster went to Hamilton college and Dartmouth seeking a position. But he did not get a position. So he acceted the hospitality of the Fosters’ Broadwater for the summer. He concluded a “Campaign by letter”, for the months. He reaslised the importance of Ph.D. He had begun to consider graduate school. He asked his father for the remaining $1500 of his mother’s legacy. But it was not available. Finally, Mr. Foster offered to lend him the money for a year at Harvard. He accepted that. Then he entered graduate school.

Eberhart’s entrance into Harvard marked the end of a pivotal period in his life. The pivotal period was characterized by ambivalence and drifting. But his drifting begins to show direction. T.S. Eliot was also at Harvard at this time. At Harvard, Eberhart was unable to form the kind of personal relationships. According to Eberhart, Harvard is fierce and it is the school boy’s paradise.

Finally, Eberhart was invited for an interview at St. Mark’s school, in Southborough, Massachusetts. He was hired in the interview. From 1933 to 1941 Eberhart taught at St. Mark’s School. His years at St. Mark’s provided the advantages of regular work and regular pay with summer vacations which he used to spend with his family. He taught courses in which he had interest. He also had one tutorial in Anglo-Saxon for which he wrote to his former teacher at Harvard for a bibliography, Later, he taught standard courses in literature and composition. He also had extra-curricular duties and activities. He attended professional meetings and was faculty advisor to the Vindex students at St. Mark’s School. 4 J. Karthikeyan

As enrolment was down, Eberhart was dismissed from St. Mark’s School on January 8, 1940. He was thirty-six when he was told that he was to leave St, Mark’s. He continued job-hunting. He took a job as a diplomatic courier with the State- department. At the same time, he began looking for a post, tried several other secondary schools and was finally taken on by the Cambridge School, in Kendal Green, Masschusetts.

At the age of 37, Eberhart married Eizabeth. Mrs. Eberhart married Elizabeth. Mrs. Eberhart retained her post at the Buckingham School. Eberhart had hardly had time to become accustomed to his new position. Then he took a course in military drill and instruction. At the end of the training course, he got his first assignment as Theoretical Gunnery Instructor. The Navy had its compensations, Mrs. Eberhart was able to join him in Florida. They settled into a comfortable home in Hollywood, Florida.

In May 1943 he was transferred to the Aerial Free Gunnery Training Unit in Dam Neck, Virginia. Then he became a naval gunnery officer during World War II after which he has primarily taught, although he did devote some time to what is generally referred to as “the business world.”

Eberhart’s naval career drew to a close. He did not like to got back to secondary school teaching. His wife urged him to make an all-out effort to secure a position in a college or University. But he was convinced that he had no future in such a position without a Ph.D. He spent a few years in Butcher Polish Company until 1952. He first worked and studied the processes of production. Eberhart’s work with the family firm and his developing literary career were thoroughly separate.

The Poet’s Theatre, was a highly organized one. While living in Cambridge, he was doing the most interesting activities there. It began in June 1950. Eberhart wrote a good deal of verse drama. A series of four one-act dramas were staged at the Parish House of Chirst Church in Cambridge, as found in his Collected Verse Plays.

It had John Ashbery’s “Everyman.

Masque”, with music by John O’Hara,

My “The Apparition” followed, directed

By Molly Howe……. Intermission…

Then came “Try! Try! a non play”,

By Frank O’Hara, Finally, “3

Words in No Time,” by Lyon Phelps

The members of the Poets’ Theatre established a legal corporation. The board of directors included Mrs. Howe, John Ciardi, Archibald MacLeish, John L. Sweeny and Richard Willbur. William Matchett became Treasurer. Miss Lang was the Secretary. Lyon Phelps was Vice-predient, Richard Eberhart became the President of the Board. The organization put on twenty plays. Eberhart’s The Visionary Farms was included. According to Eberhart the Poets’ Theatre produced his Devils and Angels in January 1956.

A different kind of recognition was accorded to him by various poetry contests. He had won Poetry’s Guarantor’s prize of $100 for some selections from “The Kite” in the July issue. Four years later he won another $100 for Poetry. He won the Poetry Society of America’s Shelley Memorial Award in 1951. It carried a stipend of over $800. His respect began to rise. He was asked to be a judge in several contests. He was one of the judges of the Poetry Centre Introductions at the New York YMHA in 1951. A year later he judged the Atlantic’s Poetry Contest of College Students. In the spring of 1951 Richard Eberhart’s Apprenticeship and Process of Becoming a Poet 5 he was asked to serve on the committee for the Bollingen Award. He served in this position for two successive years.

He maintained his relationship with the journals Kenyan Review, Sewanee Review. The New Hudson Review etc., Then Eberhart visited the artist’s colony on the palatial Spencer Trask estate near Saratoga springs. The greatest attraction of the place was the abundance of silence and solitude for work, he had in mind the idea for a poets’ theatre. Eberhart wrote about one hundred pages of verse drama in three weeks. It was also here that he began to put together the election that became “Undercliff”. Life roled on at an increasing pace. The Poets’ Theatre had begun. Young Charles Butcher entered the polish company. Mr. Eberhart’s father and uncle died. Eberhart’s second child, Margaret Ghormley, was born in the spring of 1951. He received the following telegram from Robert Heilman. Chairman of the English Department, at the University of Washington: “Can you teach Theodore Roethke’s courses next academic year… Please wire… collect “, Eberhart wired that he was interested and asked for details. He discussed housing possibilities. The boys (the committee) put Eberhart as No. 1 on the list. They particularly liked the fact that Eberhart belonged to no “school” or faction. In the fall of 1952, Eberhart left Cambridge with his family on his trip across the country to the Pacific. He stopped in Chicago and visited his brother Dryden. Then they went to Austin, From there they went to Victoria.

His new job was equally congenial in many ways. He was welcomed by the Seattle Post-intelligencer. His classes in creative writing were interesting. He also made public appearances while in Seattle. He developed a definitive scheme under the title “Will and Psyche in Poetry.” A characteristic Eberhartian dualism was set up between poetry of the Real and that of quasi- Platonic ideal.

Then he delivered the Gauss lectures. He received the most important offer in his professional career. He served on various inter-departmental committees. At Dartmouth he was able to work for poetry on a full-time basis. A few months before he was voted tenure of appointment, on August 5, 1958. Eberhart was offered the most substantial recognition. He received the position of consultant in poetry at the Library of Congress. This appointment was the third important honour. He had been awarded a fellowship of $1000 by the National Institute of Arts and Letters. Later, he was informed in person that the fellows in Literature of the Library of Congress had voted him to the position. He was also able to perform other services from time to time. Once he was invited to receive the king and Queen of Nepal. He also had more direct contact with international figures.

Eberhart also had the good fortune to be in Washington for the inauguration of President Kennedy and the new official enthusiasm for the arts. He was invited along with other literary figures to the inauguration. Eberhart himself had one official appearance as consultant in his first year and in his second year. He spoke for three different Voice of America broadcasts. Eberhart enjoyed himself reading his poetry before his audience. His main support was hard work. The largest audience he addressed was 10000 at a meeting of the National Education Association in Atlantic City, New Jersey in the Halls where beauty queens were crowned. In 1961 he went to Oberlin College. He held a press conference there. That evening he had dinner with the President of the college.

Eberhart spent a month at the University of Cincinnati under the auspices of the George Elliston Poetry Foundation. The core of his service was the delivery of a division of six Gauss lectures. He also held a seminar in poetry for students interested in creative writing. He also attended several luncheons and other quasi-social events. Most of Eberhat’s published poems have appeared first in various periodicals. Joel Roache in his book “The Progress of an American Poet.” Says that critical response to Eberhart’s books continued to be respectful but mixed. He is an uneven poet. But his individualism is seen among his poems.

The social and economic success of Richard Eberhart reflects, more than his own efforts, achievement. It is clear 6 J. Karthikeyan that Eberhart’s career reflects a massive interest in serious poetry and his income increased. Collected Poems began to bring royalties. His positions as consultant brought an unusual number of engagements. He earned outside of his Dartmouth salary an amount equivalent to that of a teacher. His winning of the Pulitzer Prize and the availability of his work in paperback hoped to improve his financial position. As a poet, he depended on institutional recognition and support. Joel Roache says: “Eberhart is among the most widely known and widely read serious poets writing today, and but for his position at Dartmouth, which amounts to that of poet in residence, he would have very little professional identity in relation to society as a whole.”

Coming to Richard Eberhart’s contribution to American poetry, as already pointed out, his first book of poetry “A Bravery of Earth” appeared in the year 1930. This was followed by Reading the Spirits (1937) and Song and Idea (1942). Next to appear was the collection of poems, Poems: New and Selected in the year 1945. This was followed by a series of successful publications. The following valuable publications are credited to his name: Undercliff: Poems (1953), Great Praises (1957), Collected Poems: 1930-60 (1960), Collected Verse Plays (1962). The Quarry (1964), Selected Poems, 1930-1965 (1965). Thirty One Sonnets (1967). Shifts of Being (1968) and Fields of Grace (1972), Collected Poems 1930- 1976. Ways of Light (1972-1980). Collected Poems 1930-1986, and Maine Poems 1989.

Lowell often acknowledged his debt to Eberhart who was, in effect, his first mentor. He told seidel that he got to know Eberhart at St. Mark’s, where Eberhart was teaching, during his senior year: “I never had him in class, but I used to go to him. He’s read aloud and we’d talk, he was very pleasant that way… I wrote very badly at first, but he was encouraging and enthusiastic. That probably was decisive, that there was someone there whom I admired who was engaged in writing poetry”.

Eberhart was impressed with the young man’s dedication and intrigued by his personality: “I admired his seriousness (and was appalled at the fabulous beliefs the young can have about the infallible and gigantic nature of their own powers) and his incipient ability… I felt that his strength of mind, his determination, and the apparent seriousness of his intentions were salutary and to be encouraged. (Roache, 103)”

Eberhart saw the poetic spiritual tension: “Early had begun the wrestling with the soul… the harsh struggle with the inner spirit against the outer world, the confrontation of intolerable opposites, the unresolvable realizations (resolvable only in art) which are the crude and terrific fires that leap almost to madness in the mind, dancing with visions of poetic reality, the reality luring all sacrifice, all devotion, and the only power worth having” (Eberhart, P. 48). Because his own built on a balance of opposites, the duality of experience, and what he termed (in “A Commitment”) the “Ambiguous necessities” of life. He tried to unite the opposites and resolve the ambiguities in order to attain “the harmony of the instant of knowing / when all things dual become a unity” (“Meditation Two”). Eberhart had learned to consider this unity one of the primary goals of art in his studies with I. A. Richards at St. John’s College, Cambridge; and his example encouraged Lowell to write poems that possessed the qualities of Richards’ poetry of inclusion and synthesis in which all human experience becomes the stuff of poetry, in which the poetic brings disparate elements of experiences together into a well – wrought unity.

The audacity of Richard Eberhart’s long poem, A Bravery of Earth, is kind of spiritual autobiography, a chronicle not wholly personal of the progressive states of being through which maturity is achieved. To quote one of Mr. Eberhart’s happier phrases, it is a song “from the shocked throat of youth.” It records youth’s first fierce joy in the more magic of living, before the “ache of the mid” destroys delighted awareness of sensuous beauty. Then follows disillusionment, perception of the chaos and cruelty of the world… chilled and driven back to earth and men, he finally comes by deep Richard Eberhart’s Apprenticeship and Process of Becoming a Poet 7 contact with reality to understand mankind’s desire and destiny:

Youth lies buried and man stands up

In a bravery of earth.

In many ways this poem is groping, immature and confused. There are long abstract passages in which the concrete quickening image is lacking there are frequent roughnesses of rhythm which seem quite wantom, considering the pure music of some of the lyric interludes. Nevertheless, Mr. Eberhart is master of a priceless secret. He touches ecstasy more closely and more often than do most of the poets of this century. There is a fresh, rapt quality of emotion in the earlier half of the poem which reminds one of the singing passages in Wordsworth’s “Prelude” and particularly of those lines, “Bliss was it in that dawn to be alive.”

A bravery of earth the young poet is too careless and hasty in details of his work. His powerful imagination that sweeps him along the large curves of his landscape, and bright areas of flowers.

The poet’s progression toward acceptance and understanding of his world. The first stage is sensory delight:

Were ever flowers so burning- bright?

Was ever grass so green and new?

We pushed our bark along the bank,

The lake upbuoyed us on the blue.

Then comes the mind’s gradual awakening to suspicion and despair, to the consciousness of change and death:

Step slowly. Be still, be brave as you walk,

As you step to the end of all man knows

And stand on the verge of nothing. Dare

Here the severest thought that grows

Lost in the living mind, a flare

Like lightning cleaving the sullen ground.

But hold only one thought of earth.

How this white portion of the ground

Was sculptured out of the dust of earth

To be a pillar of marble; flower

Of the flowering soil; a poise of power

That could not live, nor linger, long.

The third phase is youth’s effort to climb “the wilderness hill of art,” to create

Poems that are serene and free,

Pictures calm and passionless, 8 J. Karthikeyan

Or dissonant music, terrible forms

That groan in marble…….

Eberhart’s poems are full of tangible brilliant things and furious thinking. It is impossible to say of him that he “captures an emotion” or “communicates a feeling tone,” which is a disparaging thing to say of any poet, but sometimes is all that can be said. Extreme energy is his mark. Sometimes it is riotous and tasteless, but the man has every time, a comprehensive poetic experience. The poems pour out easily but they are not relaxed, and they may be difficult but they are not labored. (pp. 68-9)

The abstractions name his preoccupations: rational, spiritual, intimacy, actions, human, science, passion, eternity, effulgence, essence, ethereal, mathema, involvement, evanescence, the ineffable. But his talent is to include everyone generously in the state of mind being represented. There is no need, this language says, “to make you see, to make you feel” because everyone understands. The sense of ease which is one of Eberhart’s main accomplishments comes from a confidence in the commonness of the states of mind he deals with and in the usefulness of names in representing them for conversational purposes.

The poetry is in the wrestling with the emotion, not in identifying it. Poetry is common experience is being established, the revealing personal tension is between the insight, often intense, with which the poem habitually begins and the near-cliché to which this insight has to be reconciled. Eberhart is a poet of moments of vision, but not of “illuminations”. He is the most moral of poets – tempted by both exaltation and the desire for rest, but regularly accommodating these moments to the life of the platitude, which halfironically, half – seriously jogs the spiritual elbow. (pp.315 - 16) His themes are death, human frailty, the sad beauty of natural things, the acceptance of reality through a religiously motivated immolation in necessity, etc. these have not changed much in the course of his work, though his response has become more complex. He has written few political poems, few poems that attest the era of Freud, Fraser, Durkheim. Yet he has surmounted the familiarity of his attitudes by bringing to them a tough, original enthusiasm.

It is difficult to find Eberhart’s affinities. Often the mystical strain in his work and the common metrical patterns have reminded critics of Blake or Emily Dickinosn, but in rereading his poems this time I have found more of Gray, Wordsworth, even the Longfellow of the sonnets. The moderns are here too; in some poems Auden, in others Stevens, and in a few a strong anticipatory touch of Dylan Thomas. One concludes that Eberhart’s style is really the central or common poetic style of the twentieth century. A theme for a future dissertation is the extent to which Eberhart created or helped to create it, and the extent to which he merely took from it. Again the astonishing point is that he found a personal style within the commonplace, for there can never be any doubt that an Eberhart poem is an Eberhart poem. The individuality is a quality of feeling, an appealing awkwardness of metaphor, a brilliant, erratic play with common rhyme and meter. Eberhart has not been righorous enough in his recent poems; he has often let them fall too easily into patterns learned earlier, not taking the trouble to choose words well. But there is more than enough fine work in this book to prove him a major lyric talent. (pp 63 - 4)

The problem of poetry, like most problems, is one of the intellect as well as of the emotions. Intelligence determines the form, and experience the content. Flights of fancy may be poetic; they are not necessarily poetry, which, as an art, is a discipline of the imagination. It might be argued that, after all, there remains the residue, “poetry.” That is probably the “spirit” Eberhart eulogizes. Such disembodiment, such dissociation from the responsibilities of content and form suggests a reversal to primitive mumbo-jumbo, or the inspirations of a gaseous oracle less in the Greek than in the Victorian “Tradition.” As Eberhart puts it, “He reflects in his own art his state of grace.” As such, sincerity pervades his Richard Eberhart’s Apprenticeship and Process of Becoming a Poet 9 work. The pity and the paradox is that he tries to juggle too many contradictions. (PP. 107 - 08).

REFERENCES Poetry 1. Eberhart, Richard. (1930) A Bravery of Earth . New York: Jonathan Cape and Harrison Smith.

2. Eberhart, Richard. (1937) Reading the Spirit . New York: Oxford University Press.

3. Eberhart, Richard. (1945) Poems. New and Selected . Norfolk, Connecticut: New Directions.

4. Eberhart, Richard. (1947) Burr Oaks . New York: Oxford University Press.

5. Eberhart, Richard. (1951) Selected Poems . New York: Oxford University Press.

6. Eberhart, Richard. (1960) Collected Poems 1930-1960. New York : Oxford University Press.

7. Eberhart, Richard. (1965) Selected Poems 1930-1965 . New York: New Directions.

Prose

1. Eberhart, Richard. (1969 )“Foreword.” Sixty Dartmouth Poems. Hanover: Darmouth Publications,.

2. Eberhart, Richard. (1975)Of Poetry and Poets. Chicago: University of Illinois Press,.

Explications

1. Eberhart, Richard. (May 1958) “Eberhart’s ‘Ur Burial’”. The Explicator. 16 item 48.

2. Eberhart, Richard. (May 1974), “Eberhart’s ‘Experience Evoked’”. The Explicator. 32 item 76.

Books

1. Abrams, M.H. (1953)The Mirror and the Lamp: Romantic Theory and Critical Tradition. New York: OUP.

2. Becker, Ernest. (1973)The Denial of Death. New York: Free Press.

3. Cargas, H.J. Daniel Berrigan and Contemporary Protest Poetry.( 1972) New Haven, Conn.: College and University Press.