The Advance of English Poetry in the Twentieth CenturyPhelps, William Lyon
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The Advance of English Poetry in the Twentieth Century
Phelps, William Lyon
American poetry -- 20th century -- History and criticism; English poetry -- 20th century -- History and criticism
The second volume, _Sword Blades and Poppy Seed,_ which came two
years later, showed a remarkable advance, and gave its author an
enviable position in American literature. An admirable preface reveals
three characteristics--reverence for the art of poetry, determination
not to be confined to any school, and a refreshingly honest confession
of hard labour in learning how to make poems. As old Quarles put it in
the plain-spoken seventeenth century,
I see no virtues where I smell no sweat.
The first poem, which gives its name to the volume, is written in the
lively octosyllabics made famous by _Christmas Eve._ The
sharpness of her drawings, one of her greatest gifts, is evident in
the opening lines:
A drifting, April, twilight sky,
A wind which blew the puddles dry,
And slapped the river into waves
That ran and hid among the staves
Of an old wharf. A watery light
Touched bleak the granite bridge, and white
Without the slightest tinge of gold,
The city shivered in the cold.
Soon the traveller meets a man who takes him to an old room, full of
the symbols of poetry-edged weapons, curiously and elegantly wrought
together with seeds of poppy. Poems may be divided into two classes,
stimulants and sedatives.
All books are either dreams, or swords,
You can cut, or you can drug, with words.
Tennyson's poetry is mainly soothing, which is what lazy and tired
people look for in any form of art, and are disappointed when they do
not find it; the poetry of Donne, Browning, Emerson is the sword of
the spirit; it is the opposite of an anaesthetic. Hence when readers
first meet it, the effect is one of disturbance rather than repose,
and they think it cannot be poetry. Yet in this piece of symbolism,
which itself is full of beauty, Amy Lowell seems to say that both
reveillé and taps are wrought by music--one is as much the legitimate
office of poetry as the other. But although she classifies her poems
in this volume according to the opening pair of symbols, and although
she gives twice as much space to poppies as to swords, her poetry is
always more stimulating than soothing. Her poppy seeds won't work;
there is not a soporific page in the whole book.
Public-domain text, read in full here on John Shaqi.
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