Giant Hours with Poet PreachersStidger, William L. (William Le Roy)
Religion
Giant Hours with Poet Preachers
Stidger, William L. (William Le Roy)
American poetry -- 20th century -- History and criticism; English poetry -- 20th century -- History and criticism
Perhaps Hutton's figure may describe it better--"The Leap to God." At
least ten years ago John Masefield, a wanderer on the face of the
earth, found himself in New York city without friends and without
means, and it was not to him an unusual thing to accept the position of
"bar-boy" in a New York saloon. This particular profession has within
its scope the duties of wiping the beer bottles, sweeping the floor,
and other menial tasks.
And now John Masefield has within recent months come to New York city
to be the lauded and feted. Newspaper reporters met him as his boat
landed, eager for his every word; Carnegie Hall was crowded to hear him
read from his own poetry; and his journey across the country was just a
great triumph from New York to San Francisco.
Something had happened in those ten years. This man had achieved. This
poet had climbed to God. This man had experienced the "Soul's Leap to
God." He had found that Man of all men who once said, "If I be lifted
up, I will draw all men unto me." He always lifts men out of nothing
into the glory of the greatest achievement. Yes, something had happened
in those ten years.
And the things that had happened in those ten years are perfectly
apparent in his writings if one follow them from the beginning to the
end. And the things that had happened I shall trace through this poet's
writings from the first, boyhood verses of "Salt Water Ballads" to
"Good Friday"; and therein lies the secret; and incidentally therein
lies some of the most thrilling human touches, vivid illustrations for
the preacher; some of the most intensely interesting religious
experiences that any biography ever revealed consciously or
unconsciously.
I. THE SOUL PSYCHOLOGY OF HIS YOUTH IN "SALT WATER BALLADS"
One may search these "Salt Water Ballads" through from the opening line
of "Consecration" to "The Song At Parting" and find no faint suggestion
of that deep religious glory of "The Everlasting Mercy." This book was
written, even as Masefield says, "in my boyhood; all of it in my
youth." He has not caught the deeper meaning of life yet--the spiritual
meaning--although he has caught the social meaning, just as Markham has
caught it.
1. _Social Consciousness_
Even in "Consecration" we hear the challenging ring of a young voice
who has wandered over the face of the earth and has taken his place
with the "Outcast," has cast his lot with the sailor, the stoker, the
tramp.
"Not the ruler for me, but the ranker, the tramp of the road,
The slave with the sack on his shoulders pricked on with the goad,
The man with too weighty a burden, too weary a load.
"Others may sing of the wine and the wealth, and the mirth,
The portly presence of potentates goodly in girth;
Mine be the dirt and the dross, the dust, and the scum of the earth!
* * * * *
Public-domain text, read in full here on John Shaqi.
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