The Advance of English Poetry in the Twentieth CenturyPhelps, William Lyon
History
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
Three professional teachers of youth who write poetry as an avocation
are John Erskine, professor at Columbia, whose poems bear the impress
of an original and powerful personality, William Ellery Leonard,
professor in the University of Wisconsin, the author of a number of
volumes of poems, some of which show originality in conception and
style, and William Thornton Whitsett, of Whitsett Institute, Whitsett,
North Carolina, whose book _Saber and Song_ (1917), exhibits such
variations in merit that if one read only a few pages one might be
completely deceived as to the author's actual ability. His besetting
sin as an artist is moralizing. Fully half the contents of the volume
are uninspired, commonplace, flat. But when he forgets to preach, he
can write true poetry. He has the lyrical gift to a high degree, and
has a rather remarkable command of the technique of the art. _An Ode
to Expression, The Soul of the Sea_, and some of the _Sonnets_,
fully justify their publication. The author is rather too fond of the
old "poetic diction"; he might do well to study simplicity.
A poet who differs from the two last mentioned in her ability to
maintain a certain level of excellence is Helen Hay Whitney. She
perhaps inherited her almost infallible good taste and literary tact
from her distinguished father, that wholly admirable person, John Hay.
His greatness as an international statesman was matched by the
extraordinary charm of his character, which expressed itself in
everything he wrote, and in numberless acts of kindness. He was the
ideal American gentleman. One feels in reading the poems of Mrs.
Whitney that each one is written both creatively and critically. I
mean that she has the primal impulse to write, but that in writing, and
more especially in revising, every line is submitted to her own severe
scrutiny. I am not sure that she has not destroyed some of her best
work, though this is of course only conjecture. At all events, while
she makes no mistakes, I sometimes feel that there is too much
repression. She is one of our best American sonnet-writers. Such a poem
as _After Rain_ is a work of art.
Public-domain text, read in full here on John Shaqi.
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