Writings in the United Amateur, 1915-1922 Part 4

"The Twos-ers", by Edwin Hadley Smith, is a long list of couples who became wedded through acquaintanceships formed in amateur journalism.

This catalogue, recording 26 marriages and engagements from the earliest ages to the present, must have cost its author much time and research. "A Romance of Amateur Journalism", by Edward F. Daas, is a very brief statement of facts in unornamented style. "An 'Interstate'

Romance", by Leston M. Ayres, is more elaborate in treatment, and displays an easy, colloquial style.

The editorial column, headed "Through the Opera-Gla.s.ses", is bright and informal. We note with regret that Miss Gerner has seen fit to adopt the popular mutilated orthography of the day, a fad which we trust she will discard in time.

PEARSON'S PET for April is a bright and attractive little paper throughout. "Burnin' Off" is a delightful specimen of dialect verse which conveys a graphic image. We have never witnessed such an agricultural function as Mr. Pearson describes, but can gain from his clever lines a vivid idea of its weird impressiveness. "How I Met Elbert Hubbard" is narrated in commendably easy prose, which same may be said of the sketch or editorial ent.i.tled "Broke Loose Again". Mr. Pearson is a.s.suredly a competent exponent of amateur journalism's lighter and less formal side.

THE PIPER for May is as pleasing and meritorious as the first number, both in its verse and its prose. "The Modern Muse", exhibiting Mr.

Kleiner in a somewhat humorous mood, is very forceful in its satire on the altered ideals of the poetical fraternity, but is marred by the noticeably imperfect rhyming of "garret" and "carrot", it is barely possible that according to the prevailing New York p.r.o.nunciation this rhyme is not so forced as it appears, but we are of New England, and accustomed to hearing the sounds more cla.s.sically differentiated. The defect is trivial at most, and mentioned here only because Mr. Kleiner professes such a rigid adherence to the law of perfect rhyming. "The Books I Used to Read" is the most delightful appreciation of juvenile literature that has appeared in amateur journalism within our memory.

There are few of us in whom this poem will fail to arouse glad reminiscences. "Spring" is a pleasing poem on a subject which though not exactly new, is nevertheless susceptible to an infinite variety of treatment. The four stanzas are highly creditable, both sentimentally and metrically. Apart from the poetry, criticism seems the dominant element in The Piper, and it would be difficult indeed to find a more lucid and discerning series of reviews. Mr. Kleiner's unvarying advocacy of correct metre and perfect rhyming is refreshing to encounter in this age of laxity and license. Perhaps he is a little stern in his condemnation of the "allowable" rhymes of other days, especially in view of his recent "garret-carrot" attempt, yet we admit that there is much to be said in favor of his att.i.tude.

THE PLAINSMAN for February contains a gruesome moral tale by Ricardo Santiago, ent.i.tled "The Bell of Huesca". It is proper to remark here, that an important sentence was omitted at the top of page 3. The pa.s.sage should read "'Sire, thy bell has no clapper!' 'Thy head shall be the clapper'; said the king, and he sent him to the block" etc. Whatever may be said of the aptness of the allegory, it is evident that Mr. Santiago possesses the foundations of a pure and forcible prose style, and a commendable sense of unity in narration and development of climax. This story is undoubtedly worthy of its distinction as winner in The Plainsman's post-card contest.

THE SPECTATOR for June-July, 1914, though somewhat trite in t.i.tle, is the first number of a magazine notable for its quality. Walter John Held is without doubt one of the most enterprising youths who have ever joined the ranks of the a.s.sociation, though his views on paid subscriptions and advertis.e.m.e.nts show his still imperfect acquisition of the true amateur spirit. Mr. Held mistakes commercial progress for artistic development, believing that the aim of every amateur in his ascent toward professional authorship is to write remunerative matter.

He therefore considers a publisher's advancement to be best shown in ability to extract an odd penny now and then from a few subscribers who really subscribe only out of courtesy. We wish that Mr. Held might come to consider amateur journalism in its higher aspects; as a medium for improvement in literature and taste; an aid to the cultivation of the art for its own sake in the manner of gentlemen, not of cheap tradesmen.

The selection of commercial prosperity as a goal will ruin any true literary progress, and dull the artistic aspiration of the student as soon as his mercenary instincts shall have been satisfied. Besides, there is really no sound business principle in the so-called "sale" of little papers. No youth could ever found or sustain a real magazine of substantial price and more than nominal circulation. The various ten-cents-a-year journals which some "amateurs" try to edit are no logical steps toward actually professional publishing. The latter comes only after literary skill has been attained, and literary skill must at first be developed without regard for immediate monetary profit.

But the merit of Mr. Held's work is none the less unusual. "The Frank Friend" gives evidence of considerable critical ability, despite the touch of arrogance, apologized for in a latter issue, shown in imperfect appreciation of Mr. Edward H. Cole's phenomenally pure English. Mr.

Held, in his enthusiasm for "local color", forgets that all the English-speaking world is heir to one glorious language which should be the same from Cape Colony to California or New York to New Zealand.

The only poem in this issue is Olive G. Owen's "How Prayest Thou?", a piece of true sentiment and artistic beauty. The only fault is metrical; the use of the word "trial" as a monosyllable. This tendency to slur over words appears to be Miss Owen's one poetical vice, as exemplified in the imperfect rendering of "jewel", "realness", and "cruelness"

elsewhere.

THE SPECTATOR for August-September is marred by a resurrection of the ever odious topic of Consolidation, but is otherwise of remarkable merit. Elbert Hubbard, a professional advertiser and writer of considerable popularity in certain circles, relates in an interesting way the history of his most widely known literary effort. Mr. Hubbard's prose style is direct and pointed, though rather abrupt and barren. "The Midnight Extra", by Dora M. Hepner, is a humorous short story of unusual merit, leading from a well created atmosphere of terror to a clever and unexpected anticlimax.

THE SPECTATOR for October-November contains much matter of very substantial worth. "Creation", by Edward R. Taylor, Dean of the University of California, is a beautiful bit of poetical sentiment and harmonious metre, while "Half-past-twelve", by Miss von der Heide, is likewise of great merit, both in thought and in structure. We have lately been told that many apparent metrical defects which we have noted are really no more than typographical errors, wherefore we will here content ourselves by expressing the belief that the third line of the second stanza of "Half-past-twelve" was originally written thus:

"Across the dark their shrilling laughter floats".

This rendering would do away with two seeming errors in the printed copy. Olive G. Owen's "Battle-Prayer" is powerful in its appeal and faultless in its construction. Of marked interest is "Divine Self-Tower", a brief essay by Takeshi Kanno, the j.a.panese philosopher.

These words, in a tongue foreign to the writer, contain material for more than a moment's thought.

"The Frank Friend" is in this number as interesting a critic as before.

The pa.s.sage of four months has tempered his undue severity; indeed, we fear that he has in certain cases veered a little too far toward the other extreme. The most ambitious review is that of "Pig-pen Pete", by Elbert Hubbard, which gives Mr. Held an opportunity to display his powers to great advantage. Of the two editorials, that ent.i.tled "Life"

is the more notable. Though its philosophy must necessarily be rather artificial, considering Mr. Held's age, it is none the less a very artistic and generally creditable piece of composition. The cover of The Spectator would be less Hearst-like if the fulsome announcements were eliminated.

TOLEDO AMATEUR for April greets us in altered form, as a two-column paper. Having given over the previous issue to the credentials of new members, Mr. Porter very justly claims a goodly s.p.a.ce for himself this month, commenting ably on the affairs and activities of the a.s.sociations.

"Camp Columbia", by James J. Hennessey, gives an interesting outline of the American army routine in Cuba during the years 1907 and 1908.

"Observations of an Outsider", by Mrs. Porter, mother of the editor, sheds light on amateur journalism from a hitherto unusual angle. We note with pleasure that Toledo Amateur remains immune from the destructive bacillus of deformed spelling.

THE WOODBEE for April contains "The Cycle Eternal", a lucid philosophical article by Samuel James Schilling, wherein is described the dispersal and new combinations of the organic cells that compose the body of mankind. By the perpetual reincorporation or reincarnation of these cells in all other forms of matter, man is shown to be immortal, and in the closest degree akin to every natural object surrounding him.

His outward form is merely one transient phase of a ceaseless rearrangement of atoms; he is simply one aspect of infinite and eternal Nature. Save for a few slight traces of rhetorical awkwardness, Mr.

Schilling's expository style is remarkable for its force and clearness; the arrangement of the essay into Prologue, Body, and Epilogue is especially favorable to comprehensiveness.

While Mr. Schilling deals with mankind in the abstract, Miss Mabel McKee, in "A Gift from the City", presents a concrete example of the workings of the human heart. Her subject and treatment are not startlingly original, but such themes lose very little when repeated in pure English and attractive style. The story is distinctly pleasing, and artistically developed throughout.

A notable feature of the April Woodbee is Miss Hepner's fervent and unstudied tribute to Mr. Leo Fritter, candidate for the United's Presidency. Though the editorial is bestrewn with slang and distinctly familiar in construction, it produces upon the reader an impression of absolute sincerity and intensity of feeling which more elaborate rhetoric might fail so forcibly to convey. Great as is the tribute, however, we feel that Mr. Fritter is worthy of it, and must congratulate him on having such support. Our own efforts for his election, appearing in The Conservative, seem slight in comparison. The only verse in this number is "My Shrine", by Harriet E. Daily. Though containing an attempt to rhyme the words "time" and "shrine", this ethereal little poem of spring is of great attractiveness.

ZEPPELIN for March, a publication emanating from the pen of Mr. O. S.

Hackett of Canton, Pennsylvania, is scarcely as formidable and menacing as its name, being distinctly friendly and fraternal in its general tone. Mr. Hackett's prose has obviously not received its final polishing, but it is so filled with aspiration, ambition, and enthusiasm for the cause of amateur journalism, that it evidently requires only such development as is obtainable from a closer study of grammar and rhetoric, and a wider perusal of cla.s.sic English literature. In one matter Mr. Hackett seems to harbor a wrong impression. The name "credential", in the language of the amateurs, is not applied to all literary productions, but only to those which are submitted by the new recruits as evidence of their educational fitness for membership in the a.s.sociation they seek to enter.

Joseph R. Schaffman's poem, "Think of Times Yet Coming", shows the same innate sense of rhyme and metre that has distinguished his earlier work.

Only the conclusion lacks perfect ease and naturalness. Mr. Schaffman has so far confined his Muse to optimistic opinions and moral maxims; we hope that in the near future he will vary his efforts and attempt to reflect more of his general reading in his poetry. The field is large for one so happily favored with the gift of song.

H. P. LOVECRAFT, Chairman.

THE UNITED AMATEUR

Official Organ of the United Amateur Press a.s.sociation

VOLUME XV ELROY, WIS., SEPTEMBER, 1915 NUMBER 2

DEPARTMENT OF PUBLIC CRITICISM

_The Alabamian_ for Spring is a magazine unique amongst the publications of the United. Devoted wholly to poetry, it contains some of the finest short verses to appear this season, whilst even the crudest part of its contents possesses some undoubted merit. The opening poem, a delightful and ornate nature sonnet ent.i.tled "The Brook," professes to be a translation from the Spanish, a claim borne out by the use of the word "jasmine" in a place where the metre throws the accent anomalously on the last syllable, as in the corresponding Spanish word "jazmin." The sentiment of the whole is exquisite, and every image exhibits striking beauty. It is to be regretted that both author and translator are suffered to remain unrevealed. "A Poet's Songs," by Miss Owen, is a powerful and well-written tribute to her fellow-bards both ancient and modern. In Coralie Austin's "Tribute to Our President," dedicated to Miss Hepner, we may discern the native talent of the true poet, slightly obscured by the crudities of youth. The opening line appears to lack a syllable, though this may be due only to the printer's omission of the article before the word "laurel." In stanza 1, line 2, the trisyllabic word "violets" appears as a dissyllable. This contraction is a rather natural one, and must not be criticised too sternly. Indeed, there is here a sort of middle zone betwixt error and allowableness, wherein no decisive precepts may be laid down. Words like "radiant," "difference,"

and so forth, are nearly always slurred into dissyllables, and we were ourselves guilty of an even greater liberalism when we wrote that line in "Quinsnicket Park" which reads:

"The bending boughs a _diamond_ wealth ama.s.s."

But in Miss Austin's second stanza occur two errors of graver nature.

"For only her alone" is a lamentably tautological line which requires the omission either of "only" or "alone," and the subst.i.tution of some word to carry on the flow of metre. The attempted rhyming of "alone" and "home" is obviously incorrect. The dissimilar consonantal sounds render agreement impossible. This "m-n" rhyme, as we may call it, is becoming alarmingly frequent in careless modern verse, and must ever be avoided with utmost diligence. In the third stanza we discover a marked error in maintenance of number. We are told that the "years go" and that at "its end" we will lay trophies, etc. This mistake may be obviated with ease, by changing "years go" to "year goes." Miss Austin's poetic talent is great, but shows the want of precise cultivation. "Mother o' Mine," by Miss von der Heide, is a beautiful piece of anapaestic verse whose metre and sentiment alike attract the reader. "Parsifal," by Miss Owen, shows satisfactory depth of thought, but is rather modern in metre. From the conformation of the last line of the first stanza, we are led to believe that the word "viol" is contracted to a monosyllable, or, to make a rather reprehensible pun, that "vi-ol" has here a "vile" p.r.o.nunciation.

"Frailties of Life," by Editor Baxley, shows a remarkable system of extended rhyming, coupled with a noticeable lack of metrical harmony.

Mr. Baxley's technique is such that we believe his improvement would be best effected by a repeated perusal of the older poets, whose cla.s.sical exact.i.tude of form would teach him rhythm by rote, so to speak. Let him cultivate his ear for metre, even though forced to acquire it through nonsensical jingles. We believe that many a child has obtained from his "Mother Goose" a love of correct rhythm which has later helped him in serious poetical efforts. "Paid Back," a short, powerful poem by Miss von der Heide, concludes an excellent and praiseworthy issue.

_Aurora_ for April is a delightful individual leaflet by Mrs. Ida C.

Haughton, exclusively devoted to poetical matters. The first poem, "Aurora," is truly exquisite as a verbal picture of the summer dawn, though rather rough-hewn metrically. Most open to criticism of all the features of this piece, is the dissimilarity of the separate stanzas. In a stanzaic poem the method of rhyming should be identical in every stanza, yet Mrs. Haughton has here wavered between couplets and alternate rhymes. In the opening stanza we behold first a quatrain, then a quadruple rhyme. In the second we find couplets only. In the third a quatrain is followed by an arrangement in which two rhyming lines enclose a couplet, while in the final stanza the couplet again reigns supreme. The metre also lacks uniformity, veering from iambic to anapaestic form. These defects are, of course, merely technical, not affecting the beautiful thought and imagery of the poem; yet the sentiment would seem even more pleasing were it adorned with the garb of metrical regularity. "On the Banks of Old Wegee" is a sentimental poem of considerable merit, which suffers, however, from the same faults that affect "Aurora." Most of these defects might have been obviated when the stanzas were composed, by a careful counting of syllables in each line and a constant consultation of some one, definite plan of rhyming. We must here remark an error made in the typewritten copy of the original ma.n.u.script, and reproduced in the finished magazine, for which, of course, neither the poetical art of the author nor the technique of the printer is to blame. In the second stanza, lines 6 and 7 were originally written:

"How oft I've essayed to be A fisherman bold, but my luck never told."

"Anent the Writing of Poetry" is a short prose essay, in which many valuable truths are enunciated. Mrs. Haughton has evidently taken up the poetic art with due seriousness, and considering the marked talent shown in the first issue of her paper, we may justly expect to behold a wonderfully rapid development in the near future.

_The Badger_ for June fulfills the promise of January, and shows us that the present year has given the United a new and serious periodical of satisfying quality. In the "Introductory," Mr. George Schilling discusses in lively fashion the latest topics of the day, thereby atoning for our own tedious "Finale." "Ready Made," by Samuel J.

Schilling, is a thoughtful presentation of a lamentable fact. The evil which he portrays is one that has rendered the ma.s.ses of America almost wholly subservient to the vulgar press; to be led astray into every sort of radicalism through low tricks of sensationalism. Our own poetical attempt, ent.i.tled "Quinsnicket Park," contains 112 lines, and spoils three and a half otherwise excellent pages. It is probable that but few have had the fort.i.tude to read it through, or even to begin it, hence we will pa.s.s over its defects in merciful silence. "What May I Own?" by A. W. Ashby, is an able sociological essay which displays considerable familiarity with the outward aspects of economic conditions. Mr. Ashby, condemning the present system practiced in the coal and iron industries, declares that on moral grounds he had rather be a brewer or purveyor of liquor than a coal magnate or an ironmaster. In this statement, evidently born of hasty fervour, Mr. Ashby forgets the basic character of the two types of industry which he contrasts. Beneath the liquor traffic lies a foundation accursed by decency and reason. The entire industry is designed to pander to a false craving whose gratification lowers man in the scale of mental and physical evolution. The distiller and vendor of rum is elementally the supreme foe of the human race, and the most powerful, dangerous and treacherous factor in the defiance of progress and the betrayal of mankind. His trade can never be improved or purified, being itself a crime against Nature. On the other hand, the coal and iron industries are, in their fundamental forms, desirable and necessary adjuncts to an expanding civilization. Their present evils are wholly alien to their essential principles, being connected only with the uneasy industrialism of this age. These faults are not confined to coal-mining and iron-working, but are merely those possessed in common with all great industries. Joseph E. Shufelt's article on the European war is an amazing outburst of socialism in its worst form. The idea that this shocking carnage is the result of a deliberate plot of the ruling cla.s.ses of all the belligerents to destroy their labouring element is wonderfully ludicrous in its extravagance. We are led to infer that those best of friends, der Kaiser and his cousins George and Nicholas, are merely pretending hostility in order to rid themselves of a troublesome peasantry! We do not know what Mr. Shufelt has been reading lately, but we hope that time may modify his ideas to such a degree that he will turn his dignified style and pure English to some object worthy of their employment.

_Dowdell's Bearcat_ for July marks the beginning of an unprecedented era of improvement in the quality of that periodical. Having settled down to the conventional 57 size, it has now acquired a cover and an abundance of pages which the editor informs us will never be lessened. The influence of _The Olympian_ is perceptible in the _Bearcat_, and for his taste in the selection of so worthy a model Mr. Dowdell is to be commended. "When the Tape Broke" is the first article of the editorial column, and well describes an example of collapsed activity which the United should avoid. "A Runaway Horse," by Mrs. Ida C. Haughton, is a brief and vivid sketch of a fatal accident. "Tragedy," an exquisite poem by Emilie C. Holladay, deserves very favourable notice for the delicate pathos of its sentiment, and perfect adaptation of the measure to the subject. We may discern a few traces of immaturity in the handling of the metre and in the presence of "allowable" rhymes. As elsewhere stated, we personally approve and employ the old-fashioned "allowable"

rhyming sounds, but the best modern taste, as exemplified in the United by its Laureate, Rheinhart Kleiner, demands absolute perfection in this regard. As to the metre, we respectfully offer the following amended second stanza as an example. It is absolutely uniform with the original first stanza, which, of course, furnishes the model.

The summer rains And autumn winds The snowdrop find yet standing; A petal gone, And all alone, Her tender roots expanding.

The remarkable poetical talent exhibited by Miss Holladay deserves a cultivation that shall invest her productions with a technique of the highest order. "The Dignity of Journalism," by ourselves, may be taken by the reader as a sort of supplement to this Department. We there enumerate in the abstract some of the precepts which we shall here apply to individual writers. There are several misprints, which we hope will not be taken as evidences of our bad spelling, and at the conclusion the word "even" is omitted from the phrase which should read: "the necessity, or _even_ the expediency." "June Journals" is an excellent set of short reviews which display very favourably the critical ability of Mr. Dowdell. The concluding notes on "Amateur Affairs" are brief, but very interesting. The general excellence of _Dowdell's Bearcat_ excuses the instances of imperfect proof-reading, which fault we are sure will soon be eliminated.

_The Blarney Stone_ for March-April contains "Thoughts," a meritorious poem by Chester P. Munroe. The tone of the piece is that of sentimental and almost melancholy reverie, hence the metre is not quite uniform; but a commendable absence of rough breaks lends a delightful flow to the lines. We hope to behold further efforts from Mr. Munroe's pen. "The Amateur's Creed," by Mrs. Renshaw, is written in the style of this author's previous and now well-known poem, "A Symphony," and should do much toward lifting the United upward to the highest literary ideals.

_The Blarney Stone_ for May-June has cast off all undue seriousness, and teems with light and attractive matter concerning the recent Rocky Mount convention. Some of the displays of wit and cleverness are very striking and entertaining indeed, while no page departs so far from merit that it may be justly adjudged as dull.