Writings in the United Amateur, 1915-1922

  THE UNITED AMATEUR MAY 1918

  Sunset

  Howard Phillips Lovecraft

  The cloudless day is richer at its close; A golden glory settles on the lea; Soft stealing shadows hint of cool repose To mellowing landscape, and to calming sea.

  And in that nobler, gentler, lovelier light, The soul to sweeter, loftier bliss inclines; Freed from the noonday glare, the favour'd sight Increasing grace in earth and sky divines.

  But ere the purest radiance crowns the green, Or fairest lustre fills th' expectant grove, The twilight thickens, and the fleeting scene Leaves but a hallow'd memory of love!

  DEPARTMENT _of_ PUBLIC CRITICISM

  =Eurus= for February serves a double purpose; to introduce to the Unitedin an editorial capacity the gifted poetess, Mrs. W. V. Jordan, and tocommemorate the 87th natal anniversary of amateurdom's best belovedbard, Jonathan E. Hoag. The dedication to Mr. Hoag is both worthy andwell merited. There are few whose qualities could evoke so sincere anencomium, and few encomiasts who could render so felicitous anexpression of esteem. The entire production sustains the best traditionsof Mrs. Jordan's work, and forms the most creditable individual paper toappear in the United since the dawn of the new year.

  The issue opens with Mr. Hoag's stately and beautiful poem, "To theFalls of Dionondawa," which describes in an exquisite way the supposedhistory of a delightful cascade in Greenwich, New York. The lines, whichare cast in the heroic couplet, have all the pleasing pomp and fire ofthe Augustan age of English verse; and form a refreshing contrast to theharsh or languid measures characteristic of the present day. Mr. Hoagbrings down to our time the urbane arts of a better literary period.

  "An Appreciation," by Verna McGeoch, is a prose-poetical tribute to Mr.Hoag, whose literary merit is of such a quality that we must needslament the infrequency with which the author contributes to the amateurpress. Of this piece a reader of broad culture lately said: "I havenever read a production of this kind, more finely phrased, morecomprehensive, more effective, and withal, so terse, and throughout, insuch excellent taste." =Eurus= has good reason for self-congratulationon carrying this remarkable bit of composition.

  "Chores," by Winifred Virginia Jordan, displays this versatile writer ina very singular vein; that of sombre, repellent, rustic tragedy. It hasall the compelling power which marks Mrs. Jordan's darker productions,and is conveyed in an arresting, staccato measure which emphasizes thehomely horror of the theme. The phraseology, with its large proportionof rural and archaic words and constructions, adds vastly to the generaleffect and atmosphere. We believe that Mrs. Jordan analyses theNew-England rustic mind more keenly and accurately than any otheramateur writer; interpreting rural moods and sentiments, be they brightor dark, with unvarnished simplicity and absolute verisimilitude,notwithstanding the fact that most of her verse is of a much morepolished and classical character. In "Chores" we are brought vividlyface to face with the bleakest aspect of rusticity; the dull,commonplace couple, dwelling so far from the rest of mankind that theyhave become almost primitive in thought and feelings, losing all thecomplex refinements and humanities of social existence. The poemintensifies that feeling of hidden terror and tragedy which sometimesstrikes us on beholding a lonely farmer, enigmatical of face and sparingof words, or on spying, through the twilight, some grey, unpainted,ramshackle, cottage, perched upon a wind-swept hill or propped upagainst the jutting boulders of some deserted slope, miles from the townand remote from the nearest neighbour.

  "Young Clare," by Edith Miniter, is a narrative poem of that power andpolish which might be expected of its celebrated author. The onlyconsiderable objection which could possibly be brought against it is atechnical one, applying to the fourth line of the opening stanza:

  "To work a cabaret show."

  Here we must needs wonder at the use of =work= as a transitive verb whenthe intransitive sense is so clearly demanded, and at the evidentaccentuation of =cabaret=. We believe that the correct pronunciation of=cabaret= is trisyllabic, with the accent on the final syllable, thus:"=cab-a-ray=." We will not be quite so dogmatic about =artiste= in line2 of the last stanza, though we think the best usage would demand theaccent on the final syllable.

  "Gentle Gusts," the quaintly named editorial section, contains muchmatter of merit, clothed in a pleasantly smooth style. The classicalname of the publication is here ingeniously explained, and itsdedication formally made. The tribute to Mr. Hoag is as well rendered asit is merited. The editorial note on amateur criticism is sound andkindly; the author voicing her protests in a manner which disarms themof malice, and putting us in a receptive attitude. Personally, thepresent critic is in complete agreement with the remarks on poeticalelision and inversions; but we are confident that those of our board whohold different views, will accept the dicta in the friendly spiritintended.

  "Someone--Somewhere," by Jennie E. T. Dowe, is a delightful lyric by anauthoress too well known in amateurdom to need an introduction. Mrs.Dowe writes with the polish of long experience and genuine culture,displaying an enviable poetic genius.

  =Eurus= closes with some commendatory lines to Mr. Hoag from the pen ofH. P. Lovecraft. They are in heroics, and redolent of the spirit of twocenturies ago. We discern no striking violations of good taste or metre,nor do we find any remarkable poetic power or elevation of thought.

  * * * * *

  =The Little Budget= for February and March is a double number, whosesize and quality are alike encouraging. The issue opens with an ornateand felicitous Nature-poem by Rev. Eugene B. Kuntz, entitled "Above theClouds," in which the author for once breaks away from his favouriteAlexandrines and heptameters, presenting us with an ideally beautifulspecimen of the heroic quatrain. Despite the strong reasons which impelDr. Kuntz to adhere to long measures, we believe he should compose morein pentameter. That his chosen metres have peculiar advantages, nonewill deny; but it seems plain that the standard shorter line has otheradvantages which amply outweigh them. It was not by chance that the lineof five iambuses became the dominant metre of our language. In thepresent poem we discern a grace and flow far greater than any whichcould pervade an Alexandrine piece; a condition well shown by parallelperusal of this and one of the same author's more characteristicefforts. As a creator of graphic, lofty, and majestic images, Dr. Kuntzhas no peer in amateurdom. His sense of colour and of music weaves arich and gorgeous element into the fabric of his work, and his sensitiveliterary faculty gives birth to happy combinations of words and phraseswhich not only please the imagination with their aptness, but delightthe ear with their intrinsic euphony.

  "The Drama as a Medium of Education," by Lieut. Ernest L. McKeag, is ashort but terse essay on a neglected factor in liberal culture. It istrue that our ordinary curricula lay all too little stress on dramaticart; and that as a result, this branch of aesthetic expression is grosslyand consistently undervalued. The low estimate of the dramaticprofession entertained by Dr. Johnson is a sad illustration of theone-sided state of mind prevailing even amongst scholars, concerning anart which is certainly not inferior to painting and sculpture, andprobably much superior to music, in the aesthetic and intellectual scale.

  "The Wizard of the North," an essay on Sir Walter Scott, is the currentinstalment of Miss Mappin's Modern Literature Series. It is marred by aseeming hiatus, discernible not so much in the flow of words as in theflow of the narrative, which leads us to believe that a considerableportion has been left out, either through accident, or through anattempt at abridgment.

  "My Books," by Alfred H. Pearce is a sonnet of apt idea and perfectconstruction.

  "On Self-Sacrifice," by W. Townsend Ericson, is one of the "Essays of aDreamer" which are regularly appearing in the =Budget=. The effort ismarked by much sincerity and idealism, though in grammar andpracticability it is less distinguished. We might mention the erroneoususe of =whom= for =who= (a not uncommon defect amongst amateur writers),the faulty use of the word =usu
rping= where =depriving= is meant, andthe split infinitive "to at least make;" all three of which mistakesoccur on page 138. Mr. Ericson should drill himself more thoroughly inthe principles of syntax. Other essays of this series are included inthe present issue. "On Contentment" gives an illustration which we fearwill 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 somewhatdefective in technique. Lieut. McKeag should pay a trifle more attentionto 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 markedby much grace and ingenuity; the central idea being quite original sofar as we know. Further contributions to the children's department aremade by Miss Birkmyre, whose woodland sketches will be appreciated byolder readers as well.

  "Selfish Ambition," a poem, by Nell Hilliard, is as correct and fluentin 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. Thesentiment is not precisely novel, but is well presented.

  "The Flying Dutchman," a Romance of the Sea, by Joseph Parks, is morereplete with nautical verisimilitude than with literary force. Ascompared with many of Mr. Parks' other tales, its plot is distinctlyweak and lacking in symmetry. We must, however, praise the generallysalty 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 beproud.

  * * * * *

  =The Silver Clarion= for March is the publication of John MiltonSamples, of Macon, Ga., a new member of the United. In tone the paper isquite serious and strongly inclined toward the religious; but so ableare the majority of the contributions, that it lacks nothing ininterest.

  "Singing on the Way," a poem by James Larkin Pearson, opens the issue inattractive fashion. The lines are tuneful and felicitous, the triplerhymes giving an especially pleasing effect; though we must criticisethe line

  "Will certainly provide for us"

  as being a trifle prosaic. We should recommend "plenteously provide," orsomething of that nature, as more poetic. Mr. Pearson is a poet ofability 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 ajuvenile exterior; which contains, however, more than a slight hint ofthe vanity of human wishes and fruitlessness of human endeavour. Whilstit exhibits no little cleverness in construction, we must own that itpossesses certain looseness, insipidity, and almost rambling quality,which detract from its merit as a piece of literature. Mrs. Duffee wouldprofit from a closer study of classical models, and a slighter attentionto the more ordinary folk tales.

  "The Blessings of Thorns," by Sallie M. Adams, is a religious poem ofconsiderable excellence, containing a pious and worthy sentiment wellexpressed. The chief defects are technical. In the first stanza, line 3lacks 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 tworhymes is a fault hard to excuse. All the defects above enumerated mightbe removed with ease, as the following revised version of the openinglines illustrates:

  When we thank our Heav'nly Father 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 asuperfluity of syllables in the sixth line. The latter might be cut downby the omission of the second =the=.

  "Springtime in Dixieland," by John Milton Samples, is a tuneful pastoralwhich justifies the author's right to his first two names. But one ortwo defects mar the general delightful effect. The phrase "zephyrbreeze," in the opening stanza, strikes us as a trifle pleonastic; sincea =zephyr= is itself a =breeze=; not a quality of a breeze. The syntaxof the latter part of this stanza is somewhat obscure, but might becleared up if the seventh line were thus amended:

  "And save when cloud-ships cross their track."

  The sixth and seventh lines of the last stanza each have a syllable toomany, and in line 6 the word =raise= is used incorrectly; =rise= beingthe word needed. This, of course, would necessitate a change of rhyme.

  "One Face is Passing," by Mamie Knight Samples, is a timely andexcellent sketch concerning soldiers.

  "Co-ee," a poem by Harry E. Rieseberg, contains much genuine pathos, andis generally smooth and commendable in technique.

  "The Likeness of the Deity," by Arthur H. Goodenough, is one of thecharacteristically excellent products of its author, who holds the proudrank of "Literatus" in the United. The amount and quality of Mr.Goodenough's work is very unusual; few other amateurs producing so muchverse of the first order. As a religious poet, he stands alone;resembling the celebrated Dr. Watts. He invests every theme he toucheswith an atmosphere truly and richly poetic.

  "Astral Nights," by John Milton Samples, is a genuinely poetic piece ofprose arranged in lines resembling those of verse. We believe that theloftiness and excellence of this composition would justify itsmetamorphosis into real verse.

  Also by Editor Samples is the prose sketch entitled "The Present War: ABlessing in Disguise." From the title, one would expect Mr. Samples'point of view to be akin to that of the esteemed Gen. von Bernhardi; butsuch is not the case, since Mr. Samples means to say that he considersthe conflict a just Divine Punishment for a sinful world--a punishmentwhich will bring about a sinless and exemplary future. We wish it wereso.

  "Lord, Keep My Spirit Sweet," by Mr. Samples, is a religious lyric ofsubstantial charm and grace.

  The Editorials in this issue consist mainly of critical notes onprevious 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 theFebruary issue, and is quite acceptable from every point of view, thoughnot distinguished by that highly imaginative colouring which we find inmany of Miss Birkmyre's similar pieces.

  "The Mystery of Murdor Grange" this month falls into the hands of EditorMcKeag, 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 themidst of the exciting narrative, with the admonition to wait for page47!

  * * * * *

  =Spindrift= for February has as its leading feature an essay on"Heredity or Environment," by the Editor. In this brief article manytruths are stated, though we fear Lieut. McKeag slightly underestimatesthe force of heredity. We might remind him of the Darwin family,beginning with the poet and physician, Erasmus Darwin. The grandson ofthis celebrated man was the immortal Charles Darwin, whilst the sons ofCharles 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 ofadmirable spirit and faultless construction.

  "A Fragment," by S. L. (whose identity is now known to us!) shows muchpoetical ability, though the metre would move much more smoothly ifjudiciously touched up here and there. The description of the crescentmoon sinking in the morning, is astronomically erroneous.

  "The Estates of Authors," by Albert E. Bramwell, is a brief butinformative article. As the late Dr. Johnson said of the Ordinary ofNewgate's account, "it contains strong facts."

  * * * * *

  =Spindrift= for March very appropriately commences with a poem on thatblustering month, from the pen of Annie Pearce. Apparently the piece isa juvenile effort, since despite a com
mendably poetic atmosphere thereare some striking errors of construction. In the third line of the firststanza there is a very awkward use of the impersonal pronoun =one=. Thispronoun has no place in good poetry, and should always be avoided bymeans of some equivalent arrangement. In the second stanza it appearsthat the authoress, through the exigencies of versification, has falleninto the paradox of calling the "fair green shoots" "roots!" Perhaps weare mistaken, but our confusion is evidence of the lack of perspicuityin this passage. A rather more obvious error is the evidently transitiveuse 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, beginsin this number; and describes the Roman period. We regret the misprintwhereby the name =Aelii= becomes =Aelu=. The presence of a Hunnish=umlaut= over the =u= adds insult to injury! Mr. M'Quillen writes in anattractive style, and we shall look forward to the remainder of thepresent 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 aremainly in the form of verse, I shall devote most of my attention tothem. Poetry, like the poor, we have always with us; but the critic ismoved to remark, as he casts back in his mind over the last twenty yearsof amateur publishing activity, that on the whole the tone of amateurpoetry is distinctly higher than it used to be. Banal verse we stillhave in larger amounts than we should; but the amateur journals of adecade or two ago had reams of it. On the other hand, they contained nota few poems with more than a passing spark of the divine fire. Thepromising fact is that in the poetry of today's journals we get muchmore frequent glimpses of this true inspiration. In passing, the criticcannot 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 notoften that one runs across a poem so simple and yet so pregnant withsincere emotion.

  The first poem in the UNITED AMATEUR arouses mixed feelings. "Give Aid,"by Julia R. Johnson, presents a thought that cannot be too often or toostrongly stressed in this gloomy old world. Mrs. Johnson, furthermore,has carved out her own poetic medium, alternating two tetrameter lineswith a single heptameter, a most unusual combination. It is always apromising sign to find a new poet experimenting with unhackneyed verseforms, although the experiments may not always be happy ones. But a wordabout the thought of this poem. It is one of those "recipe" poems,so-called because it can be produced in almost unlimited quantities byany writer clever enough to follow the formula. Some day the critic isgoing to take enough time off to write a book of poetic recipes, andalready he has his subject so well blocked out that he is sure his bookwill contain the fundamental ingredients of a great majority of theamateur poems now appearing. The poem under consideration belongs to the"glad" recipe, an off-shoot of the Pollyanna school of fiction, and trueto type it contains its quota of "glad" ingredients such as "cheer,""merry song," "troubles," and "sorrows," the last two, of course, forthe sake of contrast.

  "Astrophobos," by Ward Phillips, is another recipe poem; although hisrecipe is so much more intricate that it is not to be recommended forthe Freshman. The critic would denominate a poem composed according tothis recipe, a ulalumish poem, as it has so many earmarks of Poe. Trueto type, it is ulaluminated with gorgeous reds and crimsons, vistas ofstupendous distances, coined phrases, unusual words, and general touchesof either mysticism or purposeless obscurity. Such a poem is a feast forepicures who delight in intellectual caviar, but is not half sosatisfying to the average poetic taste as Mr. Kleiner's "Ruth."

  Theodore Gottlieb's "Contentment" is a clever and readable working outin verse of Mr. Ruskin's theme in his "King's Treasures"; namely, thesatisfying companionship of great books. Mr. Gottlieb shows commendablecontrol of the felicitous phrase, while the literary allusions withwhich his lines bristle mark a catholicity of taste entirely beyond theordinary.

  Metrical versions of the Psalms are not at all new; they are used, infact, in Scotch Presbyterian churches in place of regular hymns. Thepoetic paraphrase of the first Psalm by Wilson Tylor is well done, andonly in a few such phrases as "winds that blow" and "perish and shallnot be blest," does he get dangerously near redundancy for the sake ofrhyme and metre.

  "A Thought," by Dorothy Downs, is a pretty little thought indeed, andprettily expressed, although the term "holiness divine" is strained whenapplied to a rose, and "we will be surprised" is frankly ungrammaticalas a simple future in the first person. The =sine qua non= of all poetryis absolutely correct grammar and freedom from redundancy.

  The bit of verse heading the War Items written by F. G. Morris, is quiteadequate except for the lack of a rhyme in the last line, where the formof the stanza leads the reader to expect a rhyme for "part."

  Matthew Hilson's rhymed greeting to the United from across the water,is on the whole, graceful and well done, and the United acknowledges itsreceipt with thanks.

  One other piece of work in this number deserves especial mention. AlfredGalpin's "Mystery" introduces to the association a thinker more giftedfor his years than probably any other recruit within recent years. Thisjudgment is not based alone on the short article under consideration,but even this little piece of thought, if carefully analysed, is enoughto stamp him as one who thinks with extreme facility in the deepest ofabstractions, and who for expression of that thought commands avocabulary of remarkable range. Mr. Galpin is going far in this world,and we hope that he will sojourn long enough with us so that we can feelthat whatever glory he may attain will cast some of its rays upon theAssociation.

  The editorial remarks in this issue of the UNITED AMATEUR are worthy ofclose perusal on account of their graceful literary quality. Seldom hasthe critic seen the subject of the New Year so felicitously treated asin this brief study by Miss McGeoch. The author's mastery of appropriatewords, phrases, and images, and her intuitive perception of the mostdelicate elements of literary harmony, combine to make the reader wishshe were more frequently before the Association as a writer, as well asin an editorial capacity.

  REPORTS OF OFFICERS

  PRESIDENT'S MESSAGE

  Fellow-Amateurs:--

  According to indications, the last few weeks of the United'sadministrative year will exceed their predecessors in general activityand work accomplished. The college recruiting campaign, delayed throughan unavoidable combination of circumstances, is now taking definiteform; and may be expected to show some actual results even before theclose of the present term, though its greatest fruits must necessarilybe reaped by the next administration. General recruiting is on theincrease, and a more satisfactory number of renewals and reinstatementsis noted.

  One of the greatest obstacles to be combated during this unsettled era,is the mistaken notion that amateur journalism is a non-essential and aluxury, unworthy of attention or support amidst the national stress. Theprevalence of this opinion is difficult to account for, since its logicis so feeble. It is universally recognised that in times like these,some form of relaxation is absolutely indispensable if the poise andsanity of the people are to be preserved. Amusements of a lighter sortare patronised with increased frequency, and have risen to the dignityof essentials in the maintenance of the national morale. If, then, theflimsiest of pleasures be accorded the respect and favour of the public,what may we not say for amateur journalism, whose function is not onlyto entertain and relieve the mind, but to uplift and instruct as well?Mr. Edward H. Cole has ably treated this matter in his recent =Bema=,and no one who thoughtfully reviews the situation can dispute the forceand verity of his conclusions. As Mr. Cole points out in a latercommunication, war-time amateur effort must of course be less elaboratethan in pre-war days; but amateurdom itself is now worthy of doubleencouragement, rather than discouragement, since by its soothing andstead
ying influence it becomes a source of calm and strength, andtherefore an active factor in the winning of the war. Let us on thisside of the Atlantic view the rejuvenescence of British amateurdom afterfour years of warfare, as exhibited in the formation of the prosperousAmateur Press Club by Messrs. Winskill and Parks. The moral is not hardto deduce.

  Of the new publications of the season it is hard to speak without usingsuperlatives, since Mr. Cook's epoch-making June =Vagrant= is amongtheir number. This veritable book of 148 pages and cover constitutes thegreatest achievement of contemporary amateurdom, and may legitimately beconsidered as one of the outstanding features in the recent history ofthe institution. It is the one product of our day which will bear actualcomparison with the publications of the departed "Halcyon" period. AJuly =Vagrant=, of equal quality though lesser size, may be expected inthe near future. A newcomer to our list of journals is =The SilverClarion=, issued by Mr. John Milton Samples of Macon, Ga., a promisingpoet, essayist, and editor, who has just entered the Association. =TheClarion=, whose contents are distinguished for their wholesome tone andpleasing literary quality, is a regularly issued monthly, and forms asubstantial addition to the literature of the United. Another welcomepaper is =The Roamer=, published by Mr. Louis H. Kerber, Jr., ofChicago. This journal, devoted exclusively to travel articles, willoccupy a unique place in the United. Among the papers to be expectedbefore the close of the official year are a =Dabbler= from Mr. Lindquistand a =Yerma= from Mr. J. H. D. Smith, now a soldier in the service ofhis country at Camp Laurel, Md.

  Responses to the proposal for a co-operative paper have been slow incoming in. Let the members once more reflect upon the advantages of theplan, and unite in an effort to increase the literary output of theAssociation.

  The annual convention, to be held on the 22nd, 23d and 24th of next Julyat the Dells of the Wisconsin River, may well be expected to stimulateinterest to an unusually high pitch. A large attendance is urged, andsince Mr. Daas is in charge of arrangements, the gathering willundoubtedly prove a bright spot in the year's programme.

  H. P. LOVECRAFT, President. May 6, 1918.