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An Introduction to Poetry the Macmillan Company Mew York Boston Chicago Dallas Atlanta San Francisco AN INTRODUCTION TO POETRY THE MACMILLAN COMPANY MEW YORK BOSTON CHICAGO DALLAS ATLANTA SAN FRANCISCO MACMILLAN & CO., LIMITED LONDON BOMBAY CALCUTTA MELBOURNE THE MACMILLAN CO. OF CANADA, Lm. TORONTO AN INTRODUCTION TO POETRY BY JAY B. HUBBELL, PH.D. AND JOHN O. BEATY, Pn.D. PROFESSORS OF ENGLISH IN SOUTHERN1 METHODIST UNIVERSITY Sot* THE MACMILLAN COMPANY 1924 All rights reserved PRINTED IN THE UNITED STATES OF AMERICA COPYRIGHT, 1922, BY THE MACMILLAN COMPANY. Set up and electrotypcd. Published September, 1922. Reprinted January, July, 1923. PR To W. P. TRENT AND A. H. THORNDIKE PREFACE An Introduction to Poetry is intended for the college freshman or sophomore as well as for the general reader. Its chief aims are two: first, to offer in a natural and interesting manner the technical apparatus, the criticism, and the examples needed for a good elementary knowledge of English poetry; second, to offer a convenient oppor- tunity for a comparison of the new and the older English and American poets. The twelve chapters approach poetry from various angles type, meter, subject, and period. Each chapter includes enough poems to illustrate well the points brought out in the text. The explanations of poetic tech- nique are, we believe, sufficiently full, and are so intro- duced as to be neither difficult nor tedious. General criticism is provided at appropriate places, and many points of possible difficulty or exceptional interest are explained not in foot-notes, but in the text. We have arranged poems in such groups that the reader is able to criticize for himself; and we have, as far as possible, made the transition from poem to poem easy and continuous. We have begun with the song because it is a primitive and universally understood type of poem. If we have given too generous space to the Old French forms, light verse, or free verse, we have done so on the grounds either of special difficulty or of unusual interest at the present time. vii viii PREFACE We have, in the second place, invited an almost con- stant comparison between the older and the contemporary poets. In this poetic age, the touchstone of the old is the best criterion for judging the new. Moreover since new writers arise while the span of life continues essentially the same it is necessary that each generation should discard some of the verse approved by its prede- cessors as "classic." Our omission of popular older poems is, nevertheless, due also in large part to the con- straining limitations of an anthology of the inductive type. Still, if the proportion of contemporary verse seems too great, one should remember that contempo- raneity is second only to absolute value in determining the appeal of a work of art. A poem can to no future generation mean as much as to the sympathetic con- temporaries of its author. It should be reiterated here that the several hundred poems included in this work are not offered as the several hundred greatest poems in the English language. Con- siderations of space, of points to be illustrated, of diffi- culties of structure have compelled us to omit some poems that we should have liked to use. We believe, however, that a reader of catholic taste will find little to object to in the selections. We have met with such willing co- operation from the poets and publishers who own the copyrights of the included contemporary selections that the list of poems originally chosen has had to be modified in less than a dozen cases. The necessary omissions have nevertheless been, we regret to say, some of the greatest of recent poems. To mention but one instance, Mr. John Masefield, although generously granting our other re- PREFACE ix quests, declined to authorize the use of his "August, 1914." The plan of An Introduction to Poetry was conceived by Mr. Beaty. At first it was intended that each author should write six chapters, but circumstances prevented Mr. Beaty from writing more than four Chapters III, IV, VII, and VIII. The other eight are by Mr. Hubbell. The entire book has, however, been revised by both authors, and each assumes full responsibility for all selections, critical comments, and errors. We owe a general obligation to many of the works listed in the Bibliography and to the lectures of our former teachers especially those of Columbia University. To our colleagues, Professors John H. McGinnis and Marie D. Hemke, of the English Department of Southern Methodist University, we are indebted for valuable criti- cism. Miss Hemke has read the entire manuscript, much of it more than once, and has assisted us in many other ways. To Mrs. Beaty and Mrs. Hubbell we are deeply indebted for criticism and helpful suggestions, and, in the case of Mrs. Beaty, for very material assistance in preparing the manuscript for the press. J. B. H. J. O. B. Southern Methodist University, Dallas, Texas, July 27, 1922a ACKNOWLEDGMENTS The generous cooperation of poets and publishers has made possible the inclusion of many poems which are still in copyright. We wish to express our grateful obli- gation to those poets who have added their permission to that of their publishers : Miss Amy Lowell, Mrs. Josephine Preston Peabody Marks, and Messrs. John Gould Fletcher, Robert Frost, Wilfrid Wilson Gibson, Richard Le Gallienne, Haniel Long, Christopher Morley, Edwin Arlington Robinson, Carl Sandburg, Siegfried Sassoon, and John Hall Wheelock. To the following publishers and other persons we are indebted for the use of poems still in copyright: D. APPLETON AND COMPANY For William Cullen Bryant's "To a Waterfowl," "The Death of Lincoln," "The Poet/' and parts of "Thanatop- sis" and "The Prairies" ; and for Edmund Gosse's "Ses- tina to F. H." DODD, MEAD AND COMPANY For Austin Dobson's "The Prodigals/' "In After Days/' "The Wanderer/' "Vitas Hinnuleo/' "A Kiss," "When I Saw You Last, Rose," "Jocosa Lyra," "A Ballad of Heroes," and a selection from "Ars Victrix." GEORGE H. DORAN COMPANY For Joyce Kilmer's "Trees." ri xii ACKNOWLEDGMENTS DOUBLEDAY, PAGE AND COMPANY For Richard Le Gallienne's "The Eternal Way"; for Rudyard Kipling's "For All We Have and Are," "The White Man's Burden/' "Recessional," "The King," Trail" for Chris- "Danny Deever," and "The Gipsy ; a Post-Office for topher Morley's "To Inkwell" ; and Walt Whitman's "To a Certain Civilian," "When I Heard the Learn'd Astronomer," "As Toilsome I Wander'd Vir- ginia's Woods," "Darest Thou Now, O Soul," "O Cap- tain! my Captain!", "To a Locomotive in Winter," and "To Old Age." DUFFIELD AND COMPANY For a selection from Francis Ledwidge's "Soliloquy." E. P. DUTTON AND COMPANY- For Willard Wattles's "Creeds" and Siegfried's Sassoon's "Song-books of the War." HARCOURT, BRACE AND COMPANY For Carl Sandburg's "A. E. F."; John Gould Fletcher's "Blake" for "Exit" and ; and Louis Untermeyer's "Ques- tioning Lydia." HARPER AND BROTHERS For Swinburne's "The Garden of Proserpine," "A For- saken Garden," and "A Baby's Feet." HENRY HOLT AND COMPANY- For Robert Frost's "Mending Wall" and "The Tuft of for Carl "A Flowers" ; and Sandburg's "Chicago" and Fence." HOUGHTON MIFFLIN COMPANY For Emerson's "The Snow-Storm," "Concord Hymn," and "This Shining Moment"; for Oliver Wendell Holmes's "The Last Leaf" and a stanza from "The Chambered Nautilus"; for Henry Wadsworth Long- fellow's "Hymn to the Night," two sonnets on Dante, and his translations of Goethe's "Wanderer's Night- songs"; for James Russell Lowell's "For an Autograph" ACKNOWLEDGMENTS xiii and a portion of the "Ode Recited at the Harvard Com- memoration"; for John Greenleaf Whittier's "Skipper Ireson's Ride," "Telling the Bees/' and a selection from "Snow-Bound"; for Thomas Bailey Aldrich's "Palabras for "For the Carinosas" ; Laurence Binyon's Fallen"; for "H. D.'s" "Oread"; for Bret Harte's "Her Letter" and "Mrs. Jenkins"; for Josephine Preston Pea- " Judge " Saith the Preacher' for Clinton Scol- body's 'Vanity, ; lard's "In the Sultan's Garden"; for John Godfrey Saxe's "Woman's Will"; and for Odell Shepard's "Cer- tain American Poets." MR. JULIAN R. HOVEY For Richard Hovey's "Unmanifest Destiny." JOHNSON PUBLISHING COMPANY, Richmond, Vir- ginia For Henry Timrod's "At Magnolia Cemetery." MR. MITCHELL KENNERLEY- For Edna St. Vincent Millay's "Elegy"; for an extract from Witter Bynner's "The New World." JOHN LANE COMPANY- For Rupert Brooke's "The Soldier"; for Richard Le Gallienne's "The Eternal Way"; and for William Wat- son's "Written in Mr. Sidney Lee's Life of Shake- speare," "To Christina Rossetti," "His Friends He Loved," and "For Metaphors of Man." LITTLE, BROWN AND COMPANY- For Emily Dickinson's "A Book" and "This Quiet Dust"; for Lord Dunsany's "The Worm and the Angel" and "The Prayer of the Flowers"; for Edward Lear's "The Pobble Who Has No Toes" ; for Dante Gabriel Ros- setti's "Ballad of Dead Ladies" and "A Sonnet is a Moment's Monument"; and for Christina Rossetti's "When I am Dead, My Dearest." MR. HANIEL LONG and POETRY: A MAGAZINE OF VERSE For "Dead Men Tell No Tales." v ACKNOWLEDGMENTS THE MACMILLAN COMPANY For John Gould Fletcher's "Broadway's Canyon"; for Wilfrid Wilson Gibson's "Prelude"; for Thomas Hardy's "In a Wood" and "Her Initials"; for William Ernest Henley's "Romance/' "Margaritae Sorori," "Villanelle," and "Invictus"; for Vachel Lindsay's "Abraham Lincoln Walks at Midnight," "The Eagle that is Forgotten," and "On the Building of Springfield"; for John Masefield's "The West Wind," "A Consecration/' "The Yarn of " the 'Loch Achray/ three sonnets ("Now They Are Gone/' "I Never See the Red Rose," and "Be with Me, Beauty"), and a selection from "The Widow in the Bye Street" for Lee Masters's ; Edgar "Come, Republic," "Alexander Throckmorton," "George Gray," and "John Hancock Otis"; for Edwin Arlington Robinson's "The Master," "Mr.
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