Am. M. 73 ('11): 71 (portrait), 73. Bookm. 51 ('20): 568; 54 ('21): 116. Harp. W. 47 ('03): 411 (portrait), 426. No. Am. 176 ('03): 739. (Howells.) Rev. 2 ('20): 461. +Conrad Potter Aiken+--poet, critic. Born at Savannah, Georgia, 1889. A.B., Harvard, 1912. Has lived abroad, in London, Rome, and Windermere. SUGGESTIONS FOR READING 1. A good introduction to Mr. Aiken's verse is his own explanation of his theory in _Poetry_, 14 ('19); 152ff. To readers to whom this is not accessible, the following extracts may furnish some clue as to his aim and method: What I had from the outset been somewhat doubtfully hankering for was some way of getting contrapuntal effects in poetry--the effects of contrasting and conflicting tones and themes, a kind of underlying simultaneity in dissimilarity. It seemed to me that by using a large medium, dividing it into several main parts, and subdividing these parts into short movements in various veins and forms, this was rendered possible. I do not wish to press the musical analogies too closely. I am aware that the word symphony, as a musical term, has a very definite meaning, and I am aware that it is only with considerable license that I use the term for such poems as _Senlin_ or _Forslin_, which have three and five parts respectively, and do not in any orthodox way develop their themes. But the effect obtained is, very roughly speaking, that of the symphony, or symphonic poem. Granted that one has chosen a theme--or been chosen by a theme!--which will permit rapid changes of tone, which will not insist on a tone too static, it will be seen that there is no limit to the variety of effects obtainable: for not only can one use all the simpler poetic tones...; but, since one is using them as parts of a larger design, one can also obtain novel effects by placing them in juxtaposition as consecutive movements....