Would that on horses swifter than desire We rode behind Mohammed ’round the zones With swords unceasing, sowing fields of bones, Till New America, ancient Mizraim, Cry: “Allah is the God of Abraham.” God make our host relentless as the sun, Each soul your spear, your banner and your slave, God help us to be brave. NAPOLEON Would that the cold adventurous Corsican Woke with new hope of glory, strong from sleep, Instructed how to conquer and to keep More justly, having dreamed awhile, yea crowned With shining flowers, God-given; while the sound Of singing continents, following the sun, Calls freeborn men to guard Napoleon’s throne Who makes the eternal hopes of man his own. THE MODEST JAZZ-BIRD The Jazz-bird sings a barnyard song-- A cock-a-doodle bray, A jingle-bells, a boiler works, A he-man’s roundelay. The eagle said, “My noisy son, I send you out to fight!” So the youngster spread his sunflower wings And roared with all his might. His headlight eyes went flashing From Oregon to Maine; And the land was dark with airships In the darting Jazz-bird’s train. Crossing the howling ocean, His bell-mouth shook the sky; And the Yankees in the trenches Gave back the hue and cry. And Europe had not heard the like-- And Germany went down! The fowl of steel with clashing claws Tore off the Kaiser’s crown. When the statue of Andrew Jackson before the White House in Washington is removed, America is doomed. The nobler days of America’s innocence, in which it was set up, always have a special tang for those who are tasty. But this is not all. It is only the America that has the courage of her complete past that can hold up her head in the world of the artists, priests and sages. It is for us to put the iron dog and deer back upon the lawn, the John Rogers group back into the parlor, and get new inspiration from these and from Andrew Jackson ramping in bronze replica in New Orleans, Nashville and Washington, and add to them a sense of humor, till it becomes a sense of beauty that will resist the merely dulcet and affettuoso. Please read Lorado Taft’s _History of American Sculpture_, pages 123-127, with these matters in mind. I quote a few bits: