A History of American Literature Since 1870Pattee, Fred Lewis
History
A History of American Literature Since 1870
Pattee, Fred Lewis
American literature -- 19th century -- History and criticism; American literature -- 20th century -- History and criticism
The writing of poetry was never to him a serious occupation. He
composed with abandon when the mood was on him, he seldom revised, and
he cared little for the finished product save as it might please his
friends. One finds many evidences in his work that he learned his art
from Burns, whom he considered the greatest poet the world had ever
produced. He had saturated himself too with the English balladists and
the genuine old poets of the early periods. The poetry of his own time
angered him. In "The Hysteriad" (_Scribner's_, 16:759) he satirizes
with bitterness the contemporary product. "A poem of the period," he
said, "or a periodical poem, is a thing that is altogether emotional,
and is not intended to convey any idea in particular." To him poetry
meant something not esoteric and idealized, but something that lay very
close to the life of every day, something redolent of humanity, like
Burns's songs. He maintained that his own inspiration had come not at
all from other poets, but from actual contact with the material that he
made use of. His own words concerning the composition of his first poem
have a peculiar value. They are a part of the history of the period:
You know I am something of a banjoist. Well, one evening I was
sitting in our back yard in old Mississippi "twanging" on the
banjo, when I heard the missis--our colored domestic, an old
darkey of the Aunt Dinah pattern--singing one of the outlandish
camp-meeting hymns of which the race is so fond. She was an
extremely "'ligious" character and, although seized with the
impulse to do so, I hesitated to take up the tune and finish
it. I did so, however, in the dialect I have adopted, and
which I then thought and still think is in strict conformity
to their use of it, I proceeded, as one inspired, to compose
verse after verse of the most absurd, extravagant, and, to
her, irreverent rime ever before invented, all the while
accompanying it on the banjo and imitating the fashion of the
plantation negro.... I was then about sixteen and as I had soon
after a like inclination to versify, was myself pleased with
the performance, and it was accepted by a publisher, I have
continued to work the vein indefinitely.[129]
Public-domain text, read in full here on John Shaqi.
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