NEGRO POETS
AND THEIR POEMS

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EMANCIPATION
By
Meta Warrick Fuller

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NEGRO POETS
AND THEIR POEMS

BY
ROBERT T. KERLIN
AUTHOR OF “THE VOICE OF THE NEGRO”

ILLUSTRATED


ASSOCIATED PUBLISHERS, Inc.,
WASHINGTON, D. C.
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Copyright, 1923,
By
THE ASSOCIATED PUBLISHERS, Inc.
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To the Black and Unknown Bards who gave to the world the priceless treasure of those “canticles of love and woe,” the camp-meeting Spirituals; more particularly, to those untaught singers of the old plantations of the South, whose melodious lullabies to the babes of both races entered with genius-quickening power into the souls of Poe and Lanier, Dunbar and Cotter: to them, for whom any monument in stone or bronze were but mockery, I dedicate this monument of verse, budded by the children of their vision.

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CONTENTS

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ILLUSTRATIONS

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PREFACE

Ad astra per aspera—that is the old Roman adage. Magnificent is it, and magnificently is it being in these days exemplified by the American Negroes, particularly by the increasing number of educated and talented American Negroes, and most particularly by those who feel the urge to express in song the emotions and aspirations of their people. A surprisingly large number is this class. Without exhausting the possibilities of selection I have quoted in this anthology of contemporary Negro poetry sixty odd writers of tolerable verse that exhibits, besides form, at least one fundamental quality of poetry, namely, passion.

The mere number, large as it is, would of course not signify by itself. Nor does the phrase “tolerable verse,” cautiously chosen, seem to promise much. What this multitude means, and whether the verse be worthy of a more complimentary description, I leave to the reader’s judgment. Quality of expression and character of content are of course the prepotent considerations.

While, in a preliminary section, I have passed in review the poetry of the Negro up to and including Dunbar, not neglecting the old religious songs of the plantation, or “Spirituals,” and the dance, play, and nursery rhymes, or “Seculars,” yet strictly speaking this is a representation of new Negro voices, an anthology of present-day Negro verse, with biographical items and critical, or at least appreciative comment.

I wish most heartily to express my obligations to the{xiv} publishers and authors of the volumes I have drawn upon for selections. They are named in the Index and Biographical and Bibliographical Notes at the end of the text. But for the reader’s convenience I collect their names here:

Richard E. Badger, publisher of Walter Everette Hawkins’s Chords and Discords; A. B. Caldwell, Atlanta, Ga., publisher of Sterling M. Means’ The Deserted Cabin and Other Poems; the Cornhill Company, publishers of Waverley Turner Carmichael’s From the Heart of a Folk; Joseph S. Cotter’s The Band of Gideon; Georgia Douglas Johnson’s The Heart of a Woman; Charles Bertram Johnson’s Songs of My People; James Weldon Johnson’s Fifty Years and Other Poems; Joshua Henry Jones’s Poems of the Four Seas; Dodd, Mead and Company, publishers of Dunbar’s Poems; the Grafton Press, publishers of H. Cordelia Ray’s Poems; Harcourt, Brace & Company, publishers of W. E. Burghardt DuBois’s Darkwater; Pritchard and Ovington’s The Upward Path; the Macmillan Company, publishers of Thomas W. Talley’s Negro Folk Rhymes; the Neale Publishing Company, publishers of Kelley Miller’s Out of the House of Bondage; J. L. Nichols & Company, Naperville, Ill., publishers of Mrs. Dunbar-Nelson’s The Dunbar Speaker and Entertainer, and The Life and Works of Paul Laurence Dunbar; the Stratford Company, publishers of Joshua Henry Jones’s The Heart of the World and Other Poems; and Leslie Pinckney Hill’s The Wings of Oppression. It is with their kind permission I am privileged to use selections from the books named. To The Crisis, The Favorite Magazine, and The Messenger, I am indebted for several selections, which I gratefully acknowledge.{xv}

To readers who are disposed to study the poetry of the Negro I would commend Dr. James Weldon Johnson’s The Book of American Negro Poetry (Harcourt, Brace & Co.) and Mr. Arthur A. Schomburg’s A Bibliographical Checklist of American Negro Poetry (Charles F. Hartman, New York). I am indebted to both these books and authors. To Mr. Schomburg I am also indebted for the loan of many of the pictures of the earlier poets.

R. T. K.

West Chester, Pa.
March 22, 1923.
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NEGRO POETS AND
THEIR POEMS

CHAPTER I

THE NEGROES HERITAGE OF SONG

As an empire may grow up within an empire without observation so a republic of letters within a republic of letters. That thing is happening today in this land of ours. A literature of significance on many accounts, and not without various and considerable merits. Its producers are Negroes. Culture, talent, genius—or something very like it—are theirs. Nor is it “the mantle of Dunbar” they wrap themselves in, but an unborrowed singing robe, that better fits “the New Negro.” The list of names in poetry alone would stretch out, were I to start telling them over, until I should bring suspicion upon myself as no trustworthy reporter. Besides, the mere names would mean nothing, since, as intimated, this little republic has grown up unobserved in our big one.

It may be more for the promise held forth by their thin little volumes than for the intrinsic merit of their performance that we should esteem the verse-makers represented in this survey of{2} contemporary Negro poetry. Yet on many grounds they should receive candid attention, both from the students of literature and the students of sociology. Recognition of real literary merit will be accorded by the one class of students, and recognition of new aspects of the most serious race problem of the ages will be forced upon the second class. Justification enough for the present survey and exhibition will be acknowledged by all who are earnestly concerned either with literature or with life.

Perhaps, unconsciously, in my comments and estimates I have not steadfastly kept before me absolute standards of poetry. But where and when was this ever done? Doubtless in critiques of master poets by master critics, and only there. In writing of contemporary verse, by courtesy called poetry, we compromise, our estimates are relative, we make allowances, our approvals and disapprovals are toned according to the known circumstances of production. And this is right.

If the prospective reader opens this volume with the demand in his mind for novelty of language, form, imagery, idea—novelty and quaintness, perhaps amusing “originality”, or grotesqueness—let him reflect how unreasonable a similar demand on the part of English critics was a century ago relative to the beginnings of American poetry. Were not American poets products of the same culture as their contemporaries in England? What other language had they than the language{3} of Shakespeare and Wordsworth, Keats and Tennyson? The same is essentially true of the American Negro—or the Negro American, if you choose. He is the heir of Anglo-Saxon culture, he has been nurtured in the same spiritual soil as his contemporary of the white race, the same traditions of language, form, imagery, and idea are his. Everything possible has been done to stamp out his own African traditions and native propensities. Therefore, let no unreasonable demand be laid upon these Negro rhymers.

Notwithstanding, something distinctive, and something uniquely significant, may be discerned in these verse productions to reward the perusal. But this may not be the reader’s chief reward. That may be his discovery, that, after all, a wonderful likeness rather than unlikeness to the poetry of other races looks forth from this poetry of the children of Ham. A valuable result would this be, should it follow.

Before attempting a survey of the field of contemporary verse it will advantage us to cast a backward glance upon the poetic traditions of the Negro, to see what is the present-day Negro poet’s heritage of song. These traditions will be reviewed in two sections: 1. Untaught Melodies; 2. The Poetry of Art. This backward glance will comprehend all that was sung or written by colored people from Jupiter Hammon to Paul Laurence Dunbar.{4}

I. Untaught Melodies

The Negro might well be expected to exhibit a gift for poetry. His gift for oratory has long been acknowledged. The fact has been accepted without reflection upon its significance. It should have been foreseen that because of the close kinship between oratory and poetry the Negro would some day, with more culture, achieve distinction in the latter art, as he had already achieved distinction in the former art. The endowments which make for distinction in these two great kindred arts, it must also be remarked, have not been properly esteemed in the Negro. In other races oratory and poetry have been accepted as the tokens of noble qualities of character, lofty spiritual gifts. Such they are, in all races. They spring from mankind’s supreme spiritual impulses, from mankind’s loftiest aspirations—the aspirations for freedom, for justice, for virtue, for honor and distinction.

That these impulses, these aspirations, and these endowments are in the American Negro and are now exhibiting themselves in verse—it is this I wish to show to the skeptically minded. It will readily be admitted that the Negro nature is endowed above most others, if not all others, in fervor of feeling, in the completeness of self-surrender to emotion. Hence we see that marvelous display of rhythm in the individual and in the group. This capacity of submission to a{5} higher harmony, a grander power, than self, affords the explanation of mankind’s highest reaches of thought, supreme insights, and noblest expressions. Rhythm is its manifestation. It is the most central and compulsive law of the universe. The rhythmic soul falls into harmony and co-operation with the universal creative energy. It therefore becomes a creative soul. Rhythm visibly takes hold of the Negro and sways his entire being. It makes him one with the universal Power that Goethe describes, in famous lines, as “at the roaring loom of time, weaving for God the garment thou seest him by.”

But fervor of feeling must have some originating cause. That cause is a conception—the vivid, concrete presentation of an object or idea to the mind. The Negro has this endowment also. Ideas enter his mind with a vividness and power which betoken an extraordinary faculty of imagination. The graphic originality of language commonly exhibited by the Negro would be sufficient proof of this were other proof wanting. No one will deny to the Negro this gift. Whoever has listened to a colored preacher’s sermon, either of the old or the new school, will recall perhaps more than one example of poetic phrasing, more than one word-picture, that rendered some idea vivid beyond vanishing. It no doubt has been made, in the ignorant or illiterate, an object of jest, just as the other two endowments have been; but these three gifts are the three supreme gifts of the poet,{6} and the poet is the supreme outcome of the race: power of feeling, power of imagination, power of expression—and these make the poet.

1. The Spirituals

As a witness of the Negro’s untutored gift for song there are the Spirituals, his “canticles of love and woe,” chanted wildly, in that darkness which only a few rays from heaven brightened. Since they afford, as it were, a background for the song of cultured art which now begins to appear, I must here give a word to these crude old plantation songs. They are one of the most notable contributions of any people, similarly circumstanced, to the world’s treasury of song, altogether the most appealing. Their significance for history and for art—more especially for art—awaits interpretation. There are signs that this interpretation is not far in the future. Dvorak, the Bohemian, aided by the Negro composer, Harry T. Burleigh, may have heralded, in his “New World Symphony,” the consummate achievement of the future which shall be entirely the Negro’s. Had Samuel Coleridge-Taylor been an American instead of an English Negro, this theme rather than the Indian theme might have occupied his genius—the evidence whereof is that, removed as he was from the scenes of plantation life and the tribulations of the slaves, yet that life and those tribulations{7} touched his heart and found a place, though a minor one, in his compositions.

But the sister art of poetry may anticipate music in the great feat of embodying artistically the yearning, suffering, prayerful soul of the African in those centuries when he could only with patience endure and trust in God—and wail these mournfullest of melodies. Some lyrical drama like “Prometheus Bound,” but more touching as being more human; some epic like “Paradise Lost,” but nearer to the common heart of man, and more lyrical; some “Divina Commedia,” that shall be the voice of those silent centuries of slavery, as Dante’s poem was the voice of the long-silent epoch preceding it, or some lyrical “passion play” like that of Oberammergau, is the not improbable achievement of some descendant of the slaves.

In a poem of tender appeal, James Weldon Johnson has celebrated the “black and unknown bards,” who, without art, and even without letters, produced from their hearts, weighed down with sorrows, the immortal Spirituals:

So begins this noble tribute to the nameless natural poets whose hearts, touched as a harp by the Divine Spirit, gave forth “Swing Low, Sweet Chariot,” and “Nobody Knows de Trouble I See,” “Steal Away to Jesus,” and “Roll, Jordan, Roll.”

Great praise does indeed rightly belong to that black slave-folk who gave to the world this treasure of religious song. To the world, I say, for they belong as truly to the whole world as do the quaint and incomparable animal stories of Uncle Remus. Their appeal is to every human heart, but especially to the heart that has known great sorrow and which looks to God for help.

It is only of late their meaning has begun to dawn upon us—their tragic, heart-searching meaning. Who in hearing these Spirituals sung to-day by the heirs of their creators can doubt what they meant when they were wailed in the quarters or shouted in wild frenzy in the camp-meetings of the slaves? Even the broken, poverty-stricken English adds infinitely to the pathos:

Not a word here but had two meanings for the slave, a worldly one and a spiritual one, and only one meaning, the spiritual one, for the master—who gladly saw this religious frenzy as an emotional safety-valve.

In certain aspects these Spirituals suggest the songs of Zion, the Psalms. Trouble is the mother of song, particularly of religious song. In trouble the soul cries out to God—“a very present help in time of trouble.” The Psalms and the Spirituals alike rise de profundis. But in one respect the songs of the African slaves differ from the songs of Israel in captivity: there is no prayer for vengeance in the Spirituals, no vindictive spirit ever even suggested. We can but wonder now at this. For slavery at its best was degrading, cruel, and oppressive. Yet no imprecation, such as mars so many a beautiful Psalm, ever found its way into a plantation Spiritual. A convincing testimony this to that spirit in the African slave which Christ, by precept and example, sought to establish in His disciples. If the Negro in our present day is growing bitter toward the white race, it behooves us to inquire why it is so, in view of his{10} indisputable patience, meekness, and good-nature. We might find in our present régime a more intolerable cruelty than belonged even to slavery, if we investigated honestly. There is certainly a bitter and vindictive tone in much of the Afro-American verse now appearing in the colored press. For both races it augurs ill.

But I have not yet indicated the precise place of these Spirituals in the world’s treasury of song. They have a close kinship with the Psalms but a yet closer one with the chanted prayers of the primitive Christians, the Christians when they were the outcasts of the Roman Empire when to be a Christian was to be a martyr. In secret places, in catacombs, they sent up their triumphant though sorrowful songs, they chanted their litanies

So indeed came the Spirituals of the African slave. These songs might in truth, to use a figure of the old poets, be called the melodious tears of those who wailed them. An African proverb says, “We weep in our hearts like the tortoise.” In their hearts—so wept the slaves, silently save for these mournful cries in melody. Without means of defense, save a nature armored with faith, when assailed, insulted, oppressed, they could but imitate the tortoise when he shuts himself up in his{11}

Inspiration

By Meta Warrick Fuller

{12}

shell and patiently takes the blows that fall. The world knew not then, nor fully knows now—partly because of African buoyancy, pliability, and optimism—what tears they wept. These Spirituals are the golden vials spoken of in Holy Writ, “full of odors, which are the prayers of saints”—an everlasting memorial before the throne of God. Other vials there are, different from these, and they, too, are at God’s right hand.

A Negro sculptor, Mrs. Meta Warrick Fuller, not knowing of this proverb about the tortoise which has only recently been brought from Africa, but simply interpreting Negro life in America, has embodied the very idea of the African saying in bronze. Under the title “Secret Sorrow” a man is represented as eating his own heart.

The interpretation in art of the Spirituals, or a poetry of art developed along the lines and in the spirit of those songs, is something we may expect the black singers of no distant day to produce. Already we have many a poem that offers striking reminiscences of them.

2. The Seculars

But other songs the Negro has which are more noteworthy from the point of view of art than the Spirituals: songs that are richer in artistic effects, more elaborate in form, more varied and copious in expression. These are the Negro’s secular songs and rhymes, his dance, play, and love-making songs, his gnomic and nursery{13} rhymes.[1] It is not exaggeration to say that in rhythmic and melodic effects they surpass any other body of folk-verse whatsoever. In wit, wisdom, and quaint turns of humor no other folk-rhymes equal them. Prolific, too, in such productions the race seems to have been, since so many at this late day were to be found.

It comes not within the scope of this anthology to include any of these folk-rhymes of the elder day, but a few specimens seem necessary to indicate to the young Negro who would be a poet his rich heritage of song and to the white reader what essentially poetic traits the Negro has by nature. It was “black and unknown bards,” slaves, too, who sang or said these rhymes:

Pride, too, and a sense of values had the Negro, bond or free:

After a description of anticipated pleasures and{14} a comic interlude in dialogue, the ballad from which these two couplets are taken concludes with that varied repetition of the first stanza which we find so effective in the poems of art:

Song or rhyme was, as ever, heart’s ease to the Negro in every trouble. Here are two rhymes that “pack up” and put away two common troubles:

Going to the nursery—it was the one room of the log cabin, or the great out-of-doors—we find the old-time Negro’s head filled with a Mother Goose more enchanting than any printed and pictured one in the “great house” of the white child:

But it is in the dance songs that rhythm in its perfection makes itself felt and that repetends are employed with effects which another Poe or Lanier might appropriate for supreme art. A lively scene and gay frolicsome movements are conjured up by the following dance songs:

CHICKEN IN THE BREAD TRAY

Dancers

JUBA

Out of the pastime group I take a rhyme that is typically full of character, delicious in its wit and proverbial lore:

FATTENING FROGS FOR SNAKES

In the love songs one finds that mingling of pathos and humor so characteristic of the Negro. The one example I shall give lacks nothing of art—some unknown Dunbar, some black Bobbie Burns, must have composed it:

SHE HUGGED ME AND KISSED ME

In a very striking way these folk-songs of the plantation suggest the old English folk-songs of unknown authorship and origin—the ancient traditional ballads, long despised and neglected, but ever living on and loved in the hearts of the people. This unstudied poetry of the people, the unlettered common folk, had supreme virtues, the elemental and universal virtues of simplicity, sincerity, veracity. It had the power, in an artificial age, to bring poetry back to reality, to genuine emotion, to effectiveness, to the common interests of mankind. Simple and crude as it was it had a merit unknown to the polished verse of the schools. Potential Negro poets might do well to ponder this fact of literary history. There is nothing more precious in English literature than this crude old poetry of the people.{19}

There is a book of rhymes which, every Christmas season, is the favorite gift, the most gladly received, of all that Santa Claus brings. Nor so at Christmas only; it is a perennial pleasure, a boon to all children, young and old in years. This book is Mother Goose’s Melodies. How many “immortal” epics of learned poets it has outlived! How many dainty volumes of polished lyrics has this humble book of “rhymes” seen vanish to the dusty realms of dark oblivion! In every home it has a place and is cherished. Its contents are better known and more loved than the contents of any other book. Untutored, nameless poets, nature-inspired, gave this priceless boon to all generations of children, and to all sorts and conditions—an immortal book. As a life-long teacher and student of poetry, I venture, with no fear, the assertion that from no book of verse in our language can the whole art of poetry be so effectively learned as from Mother Goose’s Melodies. Every device of rhyme, and melody, and rhythm, and tonal color is exemplified here in a manner to produce the effects which all the great artists in verse aim at. This book that we all love—and patronize—is the greatest melodic triumph in the white man’s literature.

Of like merit and certainly no less are the folk rhymes and songs, both the Spirituals and the Seculars, of the Negro. Their art potentialities are immense. Well may the aspirant to fame in poetry put these songs in his memory and peruse{20} them as Burns did the old popular songs of Scotland, to make them yield suggestions of songs at the highest reach of art.

II. The Poetry of Art

But another heritage of song, not so crude nor yet so precious as the Spirituals and the Folk Rhymes has the Negro of to-day. That heritage comes from enslaved and emancipated men and women who by some means or another learned to write and publish their compositions. Although the intrinsic value of this heritage of song cannot be rated high, yet, considering the circumstances of its production, the colored people of America may well take pride in it. Its incidental value can hardly be overestimated. In it is the most infallible record we have of the Negro’s inner life in bondage and in the years following emancipation. Never broken was the tradition from Jupiter Hammon and Phillis Wheatley, in the last half of the eighteenth century, to Paul Laurence Dunbar and Joseph Seamon Cotter, in the end of the nineteenth, but constantly enriched by an increasing number of men and women who sought in the form of verse a record of their sufferings and yearnings, consolations and hopes.

1. Jupiter Hammon and Phillis Wheatley

Jupiter Hammon was the first American Negro poet of whom any record exists. His first extant{21} poem, “An Evening Thought,” bears the date of 1760, preceding therefore any poem by Phillis Wheatley, his contemporary, by nine years. Following the title of the poem this information is given: “Composed by Jupiter Hammon, a Negro belonging to Mr. Lloyd, of Queen’s Village, on Long Island, the 25th of December, 1760.” With this poem of eighty-eight rhyming lines, printed on a double-column broadside, entered the American Negro into American literature. For that reason alone, were his stanzas inferior to what they are, I should include some of them in this anthology. But the truth is that, as “religious” poetry goes, or went in the eighteenth century—and Hammon’s poetry is all religious—this Negro slave may hold up his head in almost any company.

Nevertheless, the reader must not expect poetry in the typical stanzas I shall quote, but just some remarkable rhyming for an African slave, untaught and without precedent. “An Evening Thought” runs in such stanzas as the following:

From “An Address to Miss Phillis Wheatley, Ethiopian Poetess,” I take the following as a representative stanza:{22}

“A Poem for Children, with Thoughts on Death,” contains such stanzas as this:

Two stanzas from “A Dialogue, Entitled, The Kind Master and the Dutiful Servant,” will show how that poem runs:

MASTER

SERVANT

Jupiter Hammon’s birth and death dates are uncommemorated because unknown. Unknown, too, is his grave. But to his memory, no less than to that of Crispus Attucks, there should somewhere be erected a monument.

Phillis Wheatley

Since Stedman included in his Library of American Literature a picture of Phillis Wheatley and specimens of her verse, a few white persons, less than scholars and more than general readers, knew, when Dunbar appeared, that there had been at least one poetic predecessor in his race. But the long stretch between the slave-girl rhymer of Boston and the elevator-boy singer of Dayton was desert. They knew not of George Moses Horton of North Carolina, who found publication for Poems by a Slave in 1829, and Poetical Works in 1845. Horton, who learned to write by his own efforts, is said to have been so fond of poetry that he would pick up any chance scraps of paper he saw, hoping to find verses. They knew not of Ann Plato,{24} of Hartford, Connecticut, a slave girl who published a book of twenty poems in 1841; nor of Frances Ellen Watkins (afterwards Harper) whose Poems on Miscellaneous Subjects appeared in 1857, reaching a circulation of ten thousand copies; nor of Charles L. Reason, whose poem entitled Freedom, published in 1847, voiced the cry of millions of fellow blacks in bonds.

2. Charles L. Reason

Charles L. Reason

Thus bursts forth Reason’s poetic cry, not unlike that of the crude Spirituals:

The apostrophe continues through forty-two stanzas, commemorating, with appreciative knowledge of history, the countries, battle fields, and heroes associated with the advance of freedom. After an arraignment of civil rulers and a recreant priesthood, the learned and noble apostrophe thus concludes:

3. George Moses Horton

By some means or other, self-guided, the North Carolina slave, George Moses Horton, learned to read and write. His first book, Poems by a Slave, appeared in 1829, and other books followed until 1865. Like Hammon, and true to his race, Horton is religious, and, like Reason, and again true to his race, he loves freedom. I choose but a few stanzas to illustrate his quality as a poet:{26}

4. Frances Ellen Watkins Harper

A female poet of the same period as Horton wrote in the same strain about freedom:

Like Horton, she lived to see her prayer for freedom answered. Of the Emancipation Proclamation she burst forth in joy:

This slave woman was Frances Ellen Watkins, by marriage Harper. Mrs. Harper attained to a{27} greater popularity than any poet of her race prior to Dunbar. As many as ten thousand copies of some of her poems were in circulation in the middle of the last century. Her success was not unmerited. Many singers of no greater merit have enjoyed greater celebrity. She was thoroughly in the fashion of her times, as Phillis Wheatley was in the yet prevalent fashion of Pope, or, perhaps more accurately, Cowper. The models in the middle of the nineteenth century were Mrs. Hemans, Whittier, and Longfellow. It is in their manner she writes. A serene and beautiful Christian spirit tells a moral tale in fluent ballad stanzas, not without poetic phrasing. In all she beholds, in all she experiences, there is a lesson. There is no grief without its consolation. Serene resignation breathes through all her poems—at least through those written after her freedom was achieved. Illustrations of these traits abound. A few stanzas from Go Work in My Vineyard will suffice. After bitter disappointments in attempting to fulfil the command the “lesson” comes thus sweetly expressed:

F. E. W. Harper

{28}

How successfully Mrs. Harper could draw a lesson from the common objects or occurrences of the world about us may be illustrated by the following poem:

TRUTH

The story of Vashti, who dared heroically to disobey her monarch-husband, is as well told in simple ballad measure as one may find it. I give it entire:

VASHTI

Those last stanzas are quite as noble as any that one may find in the poets whom I named as setting the American fashion in the era of Mrs. Harper. The poems of this gentle, sweet-spirited Negro woman deserve a better fate than has overtaken them.

5. James Madison Bell and Albery A. Whitman

Although this is not a history of American Negro poetry, yet a brief notice must be given at this point to two other writers too important to be omitted even from a swift survey like the present one. They are J. Madison Bell and Albery A. Whitman.{33}

James Madison Bell

Bell, anti-slavery orator and friend of John Brown’s, was a prolific writer of eloquent verse. His original endowments were considerable. Denied an education in boyhood, he learned a trade and in manhood at night-schools gained access to the wisdom of books. He became a master of expression both with tongue and pen. His long period of productivity covers the history of his people from the decade before Emancipation till the death of Dunbar. Bell’s themes are lofty and he writes with fervid eloquence. There is something of Byronic power in the roll of his verse. An extract from The Progress of Liberty will be representative, though an extract cannot show either the maintenance of power or the abundance of resources:

Whitman, a younger contemporary of Bell’s, is the author of several long tales in verse. Like Bell, he wrote only in standard English, and like him also, shows a mastery of expression, with fluency of style, wealth of imagery, and a command of the forms of verse given vogue by Scott and Byron. Both likewise write fervently of the wrongs suffered by the black man at the hands of the white. Thus far they resemble; but if we extend the comparison we note important differences. Bell has more of the fervor of the orator and the sense of fact of the historian. He adheres closely to events and celebrates occasions. Whitman invents tragic tales of love and romance, clothing them with the charm of the South and infusing into them the pathos which results from{36} the strife of thwarted passions, the defeat of true love.

A stanza or two from Whitman’s An Idyl of the South will exemplify his qualities. The hero of this pathetic tale is a white youth of aristocratic parentage, the heroine is an octoroon. He is thus described:

The heroine is thus portrayed:

Only tragedy, under the conditions, could result from their mutual fervent love. The poet does not moralize but in a figure intimates the sadness induced by the tale:

After such a manner wrote those whom we may call bards of an elder day.

6. Paul Laurence Dunbar

Less than a generation ago William Dean Howells hailed Paul Laurence Dunbar as “the first instance of an American Negro who had evinced innate distinction in literature,” “the only man of pure African blood and of American civilization to feel Negro life æsthetically and express it{38} lyrically.” It is not my purpose to give Dunbar space and consideration in this book commensurate with his importance. Its scope does not, strictly speaking, include him and his predecessors. They are introduced here, but to provide an historical background. The object of this book is to exhibit the achievement of the Negro in verse since Dunbar. Even though it were true, which I think it is not, that no American Negro previous to Dunbar had evinced innate distinction in literature, this anthology, I believe, will reveal that many American Negroes in this new day are evincing, if not innate distinction, yet cultured talent, in literature.

Paul Laurence Dunbar

The sonnet to Dunbar which stands at the head of this section was composed by a Negro who was by three years Dunbar’s senior. His opportunities in early life were far inferior to Dunbar’s. At nineteen years of age, with almost inconsiderable schooling, he was a boot-black in a Chicago barber shop. I give his sonnet here—other poems{39} of his I give in another chapter—in evidence of that distinction in literature, innate or otherwise, which is rather widespread among American Negroes of the present time. Dunbar himself might have been proud to put his name to this sonnet.

When this marvel, a Negro poet, so vouched for, appeared in the West, like a new star in the heavens, a few white people, a very few, knew, vaguely, that back in Colonial times there was a slave woman in Boston who had written verses, who was therefore a prodigy. The space between Phillis Wheatley and this new singer was desert. But Nature, as people think, produces freaks, or sports; therefore a Negro poet was not absolutely beyond belief, since poets are rather freakish, abnormal creatures anyway. Incredulity therefore yielded to an attitude scarcely worthier, namely, that dishonoring, irreverent interpretation of a supreme human phenomenon which consists in denominating it a freak of nature. But Dunbar is a fact, as Burns, as Whittier, as Riley, are facts—a fact of great moment to a people and for a people. For one thing, he revealed to the Negro youth of America the latent literary powers and the unexploited literary materials of their race. He was the fecundating genius of their talents. Upon all his people he was a tremendously quickening power, not less so than his great contemporary at Tuskegee. Doubtless it will be recognized, in a broad view, that the Negro people{40} of America needed, equally, both men, the counterparts of each other.

It needs to be remarked for white people, that there were two Dunbars, and that they know but one. There is the Dunbar of “the jingle in a broken tongue,” whom Howells with gracious but imperfect sympathy and understanding brought to the knowledge of the world, and whom the public readers, white and black alike, have found it delightful to present, to the entire eclipse of the other Dunbar. That other Dunbar was the poet of the flaming “Ode to Ethiopia,” the pathetic lyric, “We Wear the Mask,” the apparently offhand jingle but real masterpiece entitled “Life,” the incomparable ode “Ere sleep comes down to soothe the weary eyes,” and a score of other pieces in which, using their speech, he matches himself with the poets who shine as stars in the firmament of our admiration. This Dunbar Howells failed to appreciate, and ignorance of him has been fostered, as I have intimated, by professional readers and writers. The first Dunbar, the generally accepted one, was, as Howells pointed out, the artistic interpreter of the old-fashioned, vanishing generation of black folk—the generation that was maimed and scarred by slavery, that presented so many ludicrous and pathetic, abject and lovable aspects in strange mixture. The second Dunbar was the prophet robed in a mantle of austerity, shod with fire, bowed with sorrow, as every true prophet has been, in whatever time,{41} among whatever people. He was the prophet, I say, of a new generation, a coming generation, as he was the poet of a vanishing generation. The generation of which he was the prophet-herald has arrived. Its most authentic representatives are the poets that I put forward in this volume as worthy of attention.

Dunbar’s real significance to his race has been admirably expressed not only by Corrothers but in the following lines by his biographer, Lida Keck Wiggins:

So it was. But “honor and worth” yet remain, to be “sceptered.” Such poems as these few here given from the choragus of the present generation of Negro singers will suggest the kind of honor and the degree of worth to which our tribute is due.[2]

ERE SLEEP COMES DOWN TO SOOTHE THE WEARY EYES

LIFE

****

Ethiopia—Awakening

By Meta Warrick Fuller

{46}

WITH THE LARK

WE WEAR THE MASK

7. J. Mord Allen

In the year of Dunbar’s death (1906), J. Mord Allen published his Rhymes, Tales, and Rhymed Tales. The contents are mainly in dialect, dialect that possesses, as it seems to me, every merit of that medium. There is great felicity of characterization, surprising turns of wit, quaint philosophy. In a later chapter I will give a specimen of Mr. Allen’s dialect verse, here two standard English poems. In both mediums his credentials are authentic, no whit less so than even Dunbar’s. Only the question arises why his muse became silent after this one utterance—for he was at the time but thirty-one years old. Perhaps poetry did not go with boiler-making, his occupation. Because of the date of his one book I place him here with Dunbar, and there are yet other reasons.

Mr. Allen affords but two standard English poems, the first and the last of his book. Such a fact marks him as of the elder day, though that day be less than a score of years agone. The concluding poem of his book has a sweet sadness that must appeal to every heart whose childhood is getting to be far away:

COUNTING OUT

Though of the elder day yet Allen is, like Dunbar, a herald of the generation that is now articulate. In this rôle of herald to a more self-assertive generation, a more aspiring and race-conscious one, he speaks with immense significance to us in this first poem of his book, which, as being prophetic of much we now see in the colored folk{50} of America I permit to close this summary review of earlier Negro poetry:

THE PSALM OF THE UPLIFT

CHAPTER II

THE PRESENT RENAISSANCE OF THE NEGRO

I. A Glance at the Field

Many are the forms of expression that the life of a developing people or group finds for itself—business and wealth, education and culture, political and social unrest and agitation, literature and art. It can scarcely happen that any people or group has a vital significance for other peoples or groups, or any real potency, until it begins to express itself in poetry. When, however, a race or a portion of our common race begins to embody its aspirations, its grievances, its animating spirit in song the world may well take notice. That race or portion of our common race has within it an unreckoned potency of good and evil—evil if the good be thwarted.

It is not, then, to editorials and speeches and sermons, nor to petitions, protests, and resolutions, but to poems that the wise will turn in order to learn the temper and permanent bent of mind of a people. Witness the recent history of Ireland. Her literary renascence preceded her effective political agitation. The political agitation which resulted in her independence was the work of poets. The real life of a people finds its only ade{52}quate record in song. All of a people’s history that is permanently or profoundly significant is distilled into poetry.

It is to the unknown poetry of a despised and rejected people that I call attention in these pages. One of this people’s poets sings:

And when he so sings we know there is one race above all others which these words describe. Another sings:

And when he so sings we know out of what tribulations his resignation has been born. The resolution of despair cries out in the lines of another:

Another singer, coming out of the Black Belt of the lower South, records the daily and life-long history of his people in these lines:

IT’S ALL THROUGH LIFE

In the poetry which the Negro is producing to-day there is a challenge to the world. His race has been deeply stirred by recent events; its reaction has been mighty. The challenge, spoken by one, but for the race, the inarticulate millions as well as the cultured few, comes thus:

TO AMERICA

With slight regard for smooth words another declares his grievances, that all may understand:

So runs the dominant note of this poetry. But it would be unjust to the race producing it to convey the idea that this is the only note. The harp of Ethiopia has many strings and the brothers of Memnon are many. Sometimes the note is one of simple beauty, like that of a wild rose blossoming by the wayside. No reader could tell what race produced such a lyric as the one following, but any reader responsive to the beauty of art and to the truth of passion would assert its excellence:

In a Negro magazine one may chance upon a sonnet that the best poet of our times might have signed and feared no loss to his reputation, nor would there be any mark of race in its lines. To candid judgment I submit the following, from Mrs. Alice Dunbar-Nelson:

VIOLETS

It needs not that a poet write an epic to prove himself chosen of the muse. The winds of time{56} may blow into oblivion all but five lines of an opus magnum, in which five lines alone was the laborious author a poet. Wise is the poet who writes but the five lines, as here:

SUNSET

The theme may be as old as man and as common as humanity yet it can be made to be felt as poetic by one who has the magic gift, as here:

LONELINESS

One’s find may be in The Poet’s Ingle of a newspaper, where an unknown name is attached to{57} verses that have the charm which Longfellow found in the simple and heartfelt lays of the humbler poet. From such a poem, entitled To My Grandmother, by Mae Smith Johnson, I take two stanzas, the first two as beautiful as the theme evoked:

Less beautiful, less original, but in another way not less appealing, are these stanzas, also signed by an unknown name and taken from the Christmas number of a newspaper. They are the last stanzas but one of a poem entitled The Child Is Found, by Charles H. Este:

Pride of race, no less than grief for wrongs endured, is one of the notes of this living verse. Eulogies of the men and women who have lived heroically for their people, giving vision, quickening aspiration, opening roads of advance, find a place in every volume of verse and in the pages of newspapers. Few white persons perhaps have paused to reflect how noteworthy this traditionary store of heroic names really is and how potent it is with the people inheriting it. Both practical and poetic uses—if these two things are different—it has. One cannot foretell to what reflections upon life the eulogist will be led ere he concludes. From an ode to Booker T. Washington, by Roscoe Riley Dungee, I take a stanza, by way of illustration:

It has become evident to those who have seriously studied the present-day life of the Negroes{59} that there has been in these recent years a renascence of the Negro soul. Poetry, as these pages will show, is one of its modes of expression. Other expressions there are, very significant ones, too, expressions which are material, tangible, expressible in figures. Not of this kind is poetry. Yet of all forms whereby the soul of a people expresses itself the most potent, the most effective, is poetry. The re-born soul of the Negro is following the tradition of all races in all times by pouring itself into that form of words which embodies the most of passionate thought and feeling.

Out of the very heart of a race of twelve million people amongst us comes this cry which a Negro poet of Virginia utters as

A PRAYER OF THE RACE THAT GOD MADE BLACK

Too confidently, as we may learn, have we of the other race relied upon the Negro’s innate optimism to keep him a safe citizen and a long-suffering servant. That optimism, that gaiety and buoyancy of spirit, if not indestructible in the African soul, is yet reducible to the vanishing point. There are signs of something quite different in the attitude of Negroes toward their white neighbors to-day. In their poetry this reputed optimism, where it exists, is found in union with a note of melancholy or of bitter complaint. A characteristic utterance of this mood I find in a poem entitled “The Optimist,” from which I will give one-third of its stanzas:

But in dark days the Negro has ever had refuges and sources of strength for the want of which other races have been crushed. One of these refuges for them is the benignant breast of nature—the deep peace of the woods and the hills, the quiet soothing of pleasant-running water, the benediction of bright skies. A rarely-gifted woman, Mrs. Georgia Douglas Johnson, singing her own consolation, with a pathos that pierces the heart, has sung for thousands of the women of her race else dumb alike in grief and in joy, and in mingled grief and joy:

PEACE

Death and the mysteries of life, the pain and the grief that flesh and soul are heirs to, the eternal problems that address themselves to all generations and races, produce in the soul of the Negro the same reactions as of old they produced in the soul of David or of Homer, or as, in our own day, in the soul of a Wordsworth or a Shelley. Of this we have a glimpse in the following lyric, from Walter Everette Hawkins:

IN SPITE OF DEATH

This poetry but re-affirms the essential identity of human nature under black and white skins. But it will remind most of the white race of how ignorant they have been of that black race next{63} door that is acquiring wealth and culture and is expressing in art and literature the spirit of an aspiring people—how ignorant of their real life, their very thoughts, their completely human joys and griefs. One of their poets was cognizant of this unhappy ignorance—the source of so much harshness of treatment—when he wrote:

Nothing weighs more heavily upon the soul of this race to-day than this everywhere self-betraying crass ignorance, made the more grievous to endure by the vain boast accompanying it, that “I know the Negro better than he knows himself.” This poetry in every line of it is a convincing contradiction of this insulting arrogancy. Essential identity, that is the message of these poets.

This kinship of souls and essential oneness of human nature, which Shylock, speaking for a similarly oppressed and outrageously treated people, pressed home upon the Christian merchants of Venice, finds typical expression in the following lines:

It is to be expected that, notwithstanding the Anglo-Saxon culture of the producers of this poetry, the white reader will yet demand therein what he regards as the African traits. Perhaps it will be crude, artless, repetitious songs like the Spirituals. The quality of the Spirituals is indeed not wanting in some of the most noteworthy contemporary Negro verse. From Fenton Johnson’s three volumes of verse I could select many pieces that exhibit this quality united with disciplined art. For example, here is one:

I PLAYED ON DAVID’S HARP

(A Negro Spiritual)

No less certain it is that many a reader will demand something more crude, more obscure, more mystical. Something, perhaps, at once ridiculous and wise—with big and strangely compounded words, ludicrously applied, yet striving at the expression of some peculiarly African idea. Of such verse I can produce no example. The nearest I can come to meeting such impossible demand is by submitting the following from William Edgar Bailey:

THE SLUMP

Of humorous verse there is very little produced by the Negro writers of these times. They take their vocation seriously. When their singing robes are on it is to the plaintive notes of the flute or the dolorous blasts of the trumpet they tune their songs.

These voices, and others like them, have but lately been lifted in song, they are still youthful voices, and they are but preluding the more perfect songs they are yet to sing. One voice that is now still, silenced lately in death, at the age of twenty-three years, has sung for them all what all feel:

THE MULATTO TO HIS CRITICS

“Sweet music in the soul”—that is heaven’s kind gift to this people, music of sorrow and of faith; music, low and plaintive, of hope almost failing; music, clear and strong, born of vision triumphant; music, alas, sometimes marred by the strident notes of hatred and revenge. Verily, poets learn in suffering what they teach in song.

In concluding this preliminary survey it should be reiterated that, if one meets here but with the rhythms and forms, as he may think, which are familiar to him in the poetry of the white race, he should reflect that only in that poetry has the Negro had an opportunity to be educated. He has been educated away from his own heritage and his own endowments. The Negro’s native wisdom should lead him back to his natural founts of song. Our educational system should allow of and provide for this. His own literature in his schools is a reasonable policy for the Negro.

As regards the essential significance of this poetry, one of its makers, Miss Eva A. Jessye, has said in a beautiful way almost what I wish to say. Her poem shall therefore conclude this presentation:{69}

THE SINGER

II. Representatives of the Present Era

I. The Cotters, Father and Son

The Father

Joseph S. Cotter, Sr.

On the Kentucky plantation where Stephen Collins Foster one June morning, when the mocking birds were singing and “the darkies were gay,” composed and his sister sang, “My Old Kentucky Home,” there was among those first delighted listeners who paused in their tasks to hear the immortal song at its birth a slave girl in whose soul were strange melodies of her own. Born of free people of color, she was bonded to the owner of this plantation, yet her soul was such as must be free. Faithful in her work, respectful and obedient, she was yet a dangerous character among slaves, being too spirited. Hence her master ordered her to leave, fearing she would demoralize discipline in the quarters. She de{71}manded to be taken away as she had been brought—in a wagon; and it was so done. It seems that one-half of her blood was African and the other half was divided between Indian and English, though it is impossible to be sure of the exact proportion. An account of her in those days by one who knew her reveals her as one of nature’s poets—a Phillis Wheatley of the wash-tubs. “She was very fervent in her religious devotions”—so runs this account—“and a very hard worker. She would sometimes wash nearly all night and then have periods of prayer and exaltation. Then again during the day she would draw from her bosom a favorite book and pause to read over the wash-tub. She had a strong dramatic instinct and would frequently make up little plays of her own and represent each character vividly.” Of such mothers are seers and poets born. And so in this instance it proved to be.

At the age of twenty, while yet a slave, she was married, under the common law—though marriage it was not called—to a Scotch-Irishman, a prominent citizen of Louisville, her employer at the time, who was distinguished by a notably handsome physique and a great fondness for books. Of this union was born, at Bardstown, a son, Joseph, so named for the dreamer of biblical story.

The vision-seeing slave mother, her mind running on the bondage of her people, named her son Joseph in the hope of his becoming great in the{72} service of his people, like the Hebrew Joseph. She lived to see her hope fulfilled. The boy’s earliest education was in song and story invented and sung or told by his mother. He got a few terms of school, reaching the third grade. At ten years of age he went to work in a brickyard of Louisville to help support his mother. Even there the faculty that afterwards distinguished him appears in action, to his relief in time of trouble. Bigger boys, white and black, working in the same yard, hazed and harried him. Fighting to victory was out of the question, against such odds. Brains won where brawn was wanting. He observed that the men at their noon rest-hour, the time of his distress, told stories and laughed. He couldn’t join them, but he tried story-telling in the boy group. It worked. The men, hearing the laughter, came over and joined them. The persecuted boy became the entertainer of both groups. He had won mastery by wit, the proudest mastery in the world.

Then, until he was twenty-two years of age, he was a teamster on the levee. At this time the desire for an education mastered him and he entered a night school—the primary grade. Hard toil and the struggle to get on had not killed his soul but had wiped out his acquisitions of book-knowledge. In two terms he was qualified to teach. He is now the principal of the Samuel Coleridge-Taylor High School in Louisville, the author of several books, a maker of songs and teller of{73} stories, and a man upright in conduct and wise in counsel.

It was at Bardstown, February 2, 1861, that Joseph Seamon Cotter was born. Let Bardstown be put on the literary map of America, not because Stephen Collins Foster wrote “My Old Kentucky Home” there, but because one was born there the latchet of whose poetic shoes he was not worthy to unloose. “A poet, a bard, to be born in Bardstown—how odd, and how appropriate!” one exclaims. And bard seems exactly the right appellation for this song-maker and story-man. But it is not altogether so. In character bardlike, but not in appearance. Bards have long, unkempt, white hair, which mingles with beards that rest on their bosoms. Cotter’s square-cut chin is clean-shaven, and his large brain-dome shows like a harvest moon. But he makes poems and invents and discovers stories, and, bard-like, recites or relates them to whatever audience may call for them—in schools, in churches, at firesides. Minus the hairy habiliments he is a bard.

Some of Cotter’s stories come out of Africa and are “different,” as the word goes. Some are “current among the colored folks of Louisville.” These, too, are different. Some are tragedies and some are comedies and some are tragi-comedies of everyday life among the Negroes. I will give one entire tale here, selecting this particular one because of its brevity, not its pre-eminence:{74}

THE BOY AND THE IDEAL

Yes—Uncle Remus, in reality—and not exactly so. No copy. Not every like is the same. An Uncle Remus with culture and conscious art, yet unspoilt, the native qualities strong. And how poetic those qualities are!

Well might one expect a teacher, if he writes verse, to write didactic verse. But I think you will pronounce him to be an extraordinary teacher and verse-writer who writes as Mr. Cotter does, for example, in:

THE THRESHING FLOOR

In verse presuming to be lyrical we hearken for the lyrical cry. That cry is in his lines, melodiously uttered, and poignant. For example:

The sweet sadness of those stanzas lingers with one. A stanza from a poem entitled “The Nation’s Neglected Child” may help us to their secret:{77}

In many of Cotter’s verses there is a sonorous flow which is evidence of poetic power made creative by passion. Didacticism and philosophy do not destroy the lyrical quality. In The Book’s Creed this teacher-poet makes an appeal to his generation to be as much alive and as creative as the creed makers of other days were. The slaves of the letter, the mummers of mere formulas, he thus addresses:

Cotter is a wizard at rhyming. His “Sequel to the Pied Piper of Hamelin” surpasses the original{78}—Browning’s—in technique—that is, in rushing rhythms and ingenious rhymes. It is an incredible success, with no hint of a tour-de-force performance. Its content, too, is worthy of the metrical achievement. I will lay the proof before the competent reader in an extract or two from this remarkable accomplishment:

So begins the Sequel. Another passage, near the end, will indicate the trend of the story:

Finally, the inhabitants of Hamelin are passing through death’s portal, and when all had departed:

Like Dunbar, Cotter is a satirist of his people—or certain types of his people—a gentle, humorous, affectionate satirist. His medium for satire is dialect, inevitably. Sententious wisdom, irradiated with humor, appears in these pieces in{80} homely garb. In standard English, without satire or humor that wisdom thus appears:

The gospel of work has been set forth by our poet in a four-act poetic drama entitled Caleb, the Degenerate. All the characters are Negroes. The form is blank verse—blank verse of a very high order, too. The language, like Shakespeare’s—though Browning rather than Shakespeare is suggested—is always that of a poet. The wisdom is that of a man who has observed closely and pondered deeply. Idealistic, philosophical, poetical—such it is. It bears witness to no ordinary dramatic ability.

“Best bard, because the wisest,” says our Israfel. Verily. “Sage” you may call this man as well as “bard.” The proof is in poems and tales, apologues and apothegms. Joseph Seamon Cotter is now sixty years of age. Yet the best of him, according to good omens, is yet to be given forth, in song, story, precept, and drama. His nature is opulent—the cultivation began late and the harvest grows richer.

The chief event of his life, I doubt not, remains to be mentioned—a very sad one. This was the untimely death of his poet-son, Joseph S. Cotter, Jr. Born of this sorrow was the following lyric:{81}

The Son

Dead at the age of twenty-three years, Joseph S. Cotter, Jr., left behind a thin volume of lyrics, entitled The Band of Gideon, and about twenty sonnets of an unfinished sequence, and a little book of one-act plays. I will presently place the remarkable title-poem of his book of lyrics before the reader, but first I will give two minor pieces, without comment:

Joseph S. Cotter, Jr.

RAIN MUSIC

COMPENSATION

The lyrical faculty is evinced by such poems. But other singers of our day might have produced them—singers of the white race. Not so, I think, of “The Band of Gideon.” Upon that poem is the stamp, not of genius only, but of Negro genius. In it is re-incarnated, by a cultured, creative mind, the very spirit of the old plantation songs and sermons. The reader who has in his possession that background will respond to the unique and powerful appeal of this poem.

THE BAND OF GIDEON

The reader, I predict, will be drawn again and again to this mysterious poem. It will continue to haunt his imagination, and tease his thought. The stamp of the African mind is upon it. Closely{85} allied, on the one hand by its august refrain to the Spirituals, on the other hand it touches the most refined and perfected art; such, for example, as Rossetti’s ballads or Vachel Lindsay’s cantatas. It can scarcely be wondered at that the people of his race should call this untimely dead singer their Negro Lycidas.

II. James David Corrothers

THE DREAM AND THE SONG

Cherokee-Indian, Scotch-Irish, French, and African blood in James David Corrothers, the author of this poem, makes his complexion, he supposed, “about that of the original man.” The reader has already had, at the beginning of the discussion of Dunbar, a sonnet from this poet. The sonnet, the above poem, and the others given here were published in The Century Magazine. Not unworthy of The Century’s standards, the reader must say.

J. D. Corrothers

James David Corrothers was born in Michigan, July 2, 1869. His mother in giving him life sur{87}rendered her own. His father never cared for him. Sheltered for a few years by maternal relatives, he was out on the world in early boyhood, dependent on his own resources. Soon, because he was a Negro, he was a wanderer for work through several states. Often without money, friends, or food, he slept out of doors, sometimes in zero weather. At nineteen years of age, as before stated, he was shining shoes in a Chicago barber shop. There he was “discovered.”

Henry D. Lloyd was having his boots shined by young Corrothers when the two fell into book talk. The distinguished writer was astonished at the knowledge possessed by one engaged in such a menial occupation. Out of this circumstance, it seems, the Negro boot-black became a student in Northwestern University at Evanston, Illinois. By mowing lawns and doing whatever odd jobs he could find he worked his way for three years in the university. Then, by the kindness of Frances E. Willard, he had a year in Bennett College, Greensboro, North Carolina. Prior to his entrance at Northwestern there had been but one brief opportunity in his life for attending school. But the wandering youth, battling against the adverse fates, or, concretely stated, the disadvantage of being a Negro, had managed somehow to make great books his companions. Hence, he had entered what Carlyle calls “the true modern university.” Hence, his literary conversation with Mr. Lloyd.{88}

Out of those early struggles, and perhaps also out of later bitter experiences, came such poems as the following:

AT THE CLOSED GATE OF JUSTICE

Even though his face be “red like Adam’s,” and even though his art be noble like that of the masters of song, yet had Mr. Corrothers, even in the republic of letters, felt the handicap of his complexion, as this sonnet bears witness:{89}

THE NEGRO SINGER

III. A Group of Singing Johnsons

In all rosters the name Johnson claims liberal space. Five verse-smiths with that cognomen will be presented in this book, and there is a sixth. These many Johnsons are no further related to one another, so far as I know, than that they are all Adam’s offspring, and poets. Only three of{90} them will be presented in this chapter: James Weldon Johnson, of Florida, author of Fifty Years and Other Poems (1917); Charles Bertram Johnson, of Missouri, author of Songs of My People (1918); Fenton Johnson, of Chicago, author of A Little Dreaming (1914); Unions of the Dusk (1915), and Songs of the Soil (1916). The fourth and fifth are women, and will find a place in another group; the sixth is Adolphus Johnson, author of The Silver Chord, Philadelphia, 1915. The three mentioned above will be treated in the order in which they have been named.

1. James Weldon Johnson

Now of New York, but born in Florida and reared in the South, James Weldon Johnson is a man of various abilities, accomplishments, and activities. He was graduated with the degrees of A. B. and A. M. from Atlanta University and later studied for three years in Columbia University. First a school-principal, then a practitioner of the law, he followed at last the strongest propensity and turned author. His literary work includes light operas, for which his brother, J. Rosamond Johnson, composed the music, and a novel entitled The Autobiography of an Ex-Colored Man. Having been United States consul in two Latin-American countries, he is a master of Spanish and has made translations of Spanish{91} plays and poems. The English libretto of Goyescas was made by him for the Metropolitan Opera Company in 1915. He is also one of the ablest editorial writers in the country. In the Public Ledger’s contest of 1916 he won the third prize. His editorials are widely syndicated in the Negro weekly press. Poems of his have appeared in The Century, The Crisis, and The Independent.

James Weldon Johnson

Professor Brander Matthews in his Introduction to Fifty Years and Other Poems speaks of “the superb and soaring stanzas” of the title-poem and describes it as “a poem sonorous in its diction, vigorous in its workmanship, elevated in its imagination, and sincere in its emotion.” Doubtless this will seem like the language of exaggeration. The sceptic, however, must withhold judgment until he has read the poem, too long for presentation here. Mr. Johnson’s poetical qualities can be represented in this place only by briefer though inferior productions. A poem of{92} special significance, and characterized by the qualities noted by Professor Matthews in “Fifty Years,” is the following:

O SOUTHLAND!

For pure lyric beauty and exquisite pathos, Wordsworthian in both respects, but no hint of imitation, the following stanzas may be set, without disadvantage to them, by the side of any in our literature:

Yet one other poem of this fine singer’s I will give, selecting from not a few that press for the{94} restricted space. The easy flow of the verse and the ready rhyme will be remarked—and that supreme quality of good lyric poetry, austere simplicity.

THE YOUNG WARRIOR

Arduous labors in other fields than poetry threaten to silence Mr. Johnson’s muse, and that is to be regretted.

2. Charles Bertram Johnson

School-teacher, preacher, poet—this is Charles Bertram Johnson of Missouri. And in Missouri there is no voice more tuneful, no artistry in song any finer, than his. Nor in so bold an assertion am I forgetting the sweet voice and exquisite artistry of Sarah Teasdale. Mr. Johnson’s art is not unlike hers in all that makes hers most charming. Only there is not so much of his that attains to perfection of form. On pages 52 and 63 were given two of his quatrain poems. These were of his people. But a lyric poet should sing himself. That is of the essence of lyric poetry. In so singing, however, the poet reveals not only his individual life, but that of his race to the view of the world. Another quatrain poem, personal in form, may be accepted as of racial interpretation:

Charles Bertram Johnson

{96}

SOUL AND STAR

Born at Callao, Missouri, October 5, 1880, of a Kentucky mother and a Virginia father, Charles Bertram Johnson attended a one-room school “across the railroad track,” where—who can explain this?—he was “Introduced to Bacon, Shakespeare, and the art of rhyming.” It reads like an old story. Some freak of a schoolmaster whose head is filled with “useless” lore—poetry, tales, and “such stuff”—nurturing a child of genius into song. But it was Johnson’s mother who was the great influence in his life. She was an “adept at rhyming” and “she initiated me into the world of color and melody”—so writes our poet. It is always the mother. Then, by chance—but how marvelously chance comes to the aid of the predestined!—by chance, he learns of Dunbar and his poetry. The ambition to be a poet of his people like Dunbar possesses him. He knows the path to that goal is education. He therefore makes his way to a little college at Macon, Missouri, from which, after five years, he is graduated—without having received any help in the art of poetry, however. Two terms at a summer school and special instruction by correspondence seem to have aided{97} him here, or to have induced the belief that he had been aided. For twenty-odd years he followed the profession of teaching. For ten years of that period he also preached. The ministry now claims his entire energies, and the muse knocks less and less frequently at his door.

Yet he still sings. In a recent number of The Crisis I find a poem of his that in suggesting a life of toil growing to a peaceful close is filled with soothing melody:

OLD FRIENDS

Even though one be born to sing, if circumstances have made him a preacher he may be expected to moralize his song. Whether we shall be reconciled to this will depend on the art with which it is done. If the moral idea be a sweet human one, and if the verse still be melifluous, we will submit, and our delight will be twofold—ethical and esthetical. We will put our preacher-poet of Missouri to the test:

SO MUCH

Truth is, Mr. Johnson is not given to preaching in verse any more than other poets. His sole aim is beauty. He assures me it is truth. Instead of admitting disagreement I only assert that, being a poet, he must find all truth beautiful. It{99} is only for relative thinking we need the three terms, truth, goodness, and beauty.

I will conclude this presentation of the Missouri singer with a lyrical sermonette:

A RAIN SONG

3. Fenton Johnson

Dreams and visions—such are the treasures of suffering loyal hearts: dreams, visions, and song. Happy even in their sorrows the people to whom God has given poets to be their spokesmen to the world. Else their hearts should stifle with woe. As the prophet was of old so in these times the{100} poet. As a prophet speaks Fenton Johnson, his heart yearning toward the black folk of our land:

THESE ARE MY PEOPLE

Fenton Johnson seems to be more deeply rooted in the song-traditions of his people than are most of his fellow-poets. To him the classic Spirituals afford inspiration and pattern. Whoever is familiar with those “canticles of love and woe” will recognize their influence throughout Mr. Johnson’s three volumes of song. I shall make no attempt here to illustrate this truth but shall rather select a piece or two that will represent the poet’s general qualities. Other poems more typical of him as a melodist could be found but these have special traits that commend them for this place.{101}

THE PLAINT OF THE FACTORY CHILD

THE MULATTO’S SONG

The Vision of Lazarus, contained in A Little Dreaming, is a blank-verse poem of about three-hundred lines, original, well-sustained, imaginative, and deeply impressive.

In one of the newer methods of verse, and yet with a splendid suggestion of the old Spirituals, I will take from a recent magazine a poem by Mr. Johnson that will show how the vision of his people is turned toward the future, from the welter of struggling forces in the World War:

THE NEW DAY

4. Adolphus Johnson

From the Preface of Adolphus Johnson’s The Silver Chord I will take a paragraph that is more poetic and perfect in expression than any stanza in his book. Poetry, I think, is in him, but when he wrote these rhymes he was not yet sufficiently disciplined in expression. But this is how he can say a thing in prose:

“As the Goddess of Music takes down her lute, touches its silver chords, and sets the summer melodies of nature to words, so an inspiration{105} comes to me in my profoundest slumbers and gently awakens my highest faculties to the finest thought and serenest contemplation herein expressed. Always remember that a book is your best friend when it compels you to think, disenthralls your reason, enkindles your hopes, vivifies your imagination, and makes easier all the burdens of your daily life.”

IV. William Stanley Braithwaite

The critical and the creative faculties rarely dwell together in harmony. One or the other finally predominates. In the case of Mr. Braithwaite it seems to be the critical faculty. He has preferred, it seems, to be America’s chief anthologist, encouraging others up rugged Parnassus, rather than himself to stand on the heights of song. Since 1913 he has edited a series of annual anthologies of American magazine verse, which he has provided with critical reviews of the verse output of the respective year. Of several anthologies of English verse also he is the editor. Three books of original verse stand to his credit: Lyrics of Life and Love (1904), The House of Falling Leaves (1908), and Sandy Star and Willie Gee (1922). These dates seem to prove that the creative impulse has waned.

Verse artistry, in simple forms, reaches a degree of excellence in Mr. Braithwaite’s lyrics that has rarely been surpassed in our times. Graceful and esthetically satisfying expression is given to{106} elusive or mystical and rare fancies. I will give one of his brief lyrics as an example of the qualities to which I allude:

SANDY STAR

In a number of Mr. Braithwaite’s lyrics, as in this one, there is an atmosphere of mystery that, with the charming simplicity of manner, strongly suggests Blake. There is a strangeness in all beauty, it has been said. There is commonly something of Faëryland in the finest lyric poetry. Another lyric illustrating this quality in Mr. Braithwaite is the following:

IT’S A LONG WAY

Mr. Braithwaite’s art rises above race. He seems not to be race-conscious in his writing, whether prose or verse. Yet no man can say but that race has given his poetry the distinctive quality I have indicated. In this connection a most interesting poem is his “A New England Spinster.” The detachment is perfect, the analysis is done in the spirit of absolute art. I will quote but two of its dozen or so stanzas:

Here is the true artist’s imagination that penetrates to the secrets of life. No poet’s lyrics, with their deceptive simplicity, better reward study for a full appreciation of their idea. So{108} much of suggestion to the reader of the poems which follow:

FOSCATI

AUTUMN SADNESS

THANKING GOD

Mr. Braithwaite is thoroughly conversant, as these selections indicate, with the subtleties and finest effects of the art poetic, and his impulses to write spring from the deepest human speculations, the purest motives of art. Hence in his work he takes his place among the few.

V. George Reginald Margetson

Under tropical suns, amid the tropical luxuriance of nature, developed the many-hued imagination of the subject of this sketch. His nature is tropical, for Mr. Margetson is a prolific bard: Songs of Life, The Fledgling Bard and the Poetry Society, Ethiopia’s Flight, England in the West Indies—four published books, and more yet un{110}published—are proof. No excerpts can fully reveal the distinctive quality of Mr. Margetson’s poetry—its sonorous and ever-varying flow, like a mountain stream, its descriptive richness in which it resembles his native islands. For he was born in the British West Indies, and there lived the first twenty years of his life. Coming to America in 1897, his home has been in Boston or its environment since that time. Educated in the Moravian School at St. Kitts, he has lived with and in the English poets from Spenser to Byron—Byron seems to have been his favorite—and so has cultivated his native talent. I can give here but one brief lyric from his pen.

George Reginald Margetson

THE LIGHT OF VICTORY

VI. William Moore

The productions I have seen in the Negro magazines and newspapers from William Moore’s pen give me the idea of a poet distinctly original and distinctly endowed with imagination. If there appears some obscurity in his poems let it not be too hastily set down against him as a fault. Some ideas are intrinsically obscure. The expression of them that should be lucid would be false, inadequate. Some poets there needs must be who, escaping from the inevitable, the commonplace, will transport us out into infinity to confront the eternal mysteries. Mr. Moore does this in two sonnets which I will give to represent his poetic work:{112}

EXPECTANCY

AS THE OLD YEAR PASSED

VII. Joshua Henry Jones, Jr.

Joshua Henry Jones, Jr.

Poets are born and nurtured in all conditions of life: Joseph Cotter the elder was a slave-woman’s child; Dunbar wrote his first book between the runs of the elevator he tended; Leon R. Harris was left in infancy to the dreary shelter of an orphanage, then indentured to a brutal farmer; Carmichael came from the cabin of an unlettered farmer in the Black Belt of Alabama; of a dozen others the story is similar. Born in poverty, up through adversities they struggled, with little human help save perhaps from the croons and caresses of a singing mother, and a few terms at a wretched school, they toiled into the kingdom of knowledge and entered the world of poetry. Some, however, have had the advantages afforded by parents of culture and of means. Among these is the subject of this sketch, the son of Bishop J. H. Jones, of the African Methodist Episcopal Church. He has had the best educa{114}tional opportunity offered by American colleges. He is a graduate of Brown University. Writing has been his employment since graduation, and he has been on the staffs of several New England papers. His first book of poems, entitled The Heart of the World (1919), now in the second edition, reveals at once a student of poetry and an independent artist in verse. His second book, Poems of the Four Seas (1921), shows that his vein is still rich in ore.

In Chapter VIII I give his “Goodbye, Old Year.” Another poem of similar technique takes for its title the last words of Colonel Roosevelt: “Turn out the light, please.” The reader cannot but note the sense of proper effect exhibited in the short sentences, the very manner of a dying man. But more than this will be perceived in this poem. It will seem to have sprung out of the world-weary soul of the young poet himself. Struggle, grief, weariness in the strife, have been his also. Hence:

TURN OUT THE LIGHT

The next piece I select from Mr. Jones’s first book will represent his talent in another sphere. I suggest that comparison might be made between this song in literary English and Mr. Johnson’s Negro love song in dialect, page 226.

A SOUTHERN LOVE SONG

The title-piece of Mr. Jones’s first volume reveals his mastery of effective form and his command of the language of passionate appeal. The World War, in which the Negroes of the country gave liberally and heroically, both of blood and treasure, for democracy, quickened failing hopes in them and kindled anew their aspirations. In this poem the writer speaks for his entire race:

THE HEART OF THE WORLD

From Poems of the Four Seas I will take a piece that gives the Negro background for the yearning expressed in the foregoing poem:

BROTHERS

VIII. Walter Everette Hawkins

CREDO

This is a faithful self-characterization—such a man in reality is Walter Everette Hawkins. A fearless and independent and challenging spirit. He is the rare kind of man that must put everything to the severe test of absolute principles. He hates shams, hypocrisies, compromises, chicaneries, injustices. His poems are the bold and faithful expressions of his personality. Free he has ever been, free he will be ever, striking right out for freedom and truth. Such a personality is refreshing to meet, whether you encounter it in the flesh or in a book.{121}

Walter Everette Hawkins

Born about thirty-five years ago, on a little farm in North Carolina, the thirteenth child of ex-slave parents, young Hawkins, one may imagine, was not opulent in this world’s goods. Nor were his opportunities such as are usually considered thrilling. A few terms of miserable schooling in the village of Warrenton, the fragments of a few more terms in a school maintained by the African Methodist Church, then—“the University of Hard Knocks.” In the two first-named schools the independent-spirited lad seems not to have gotten along well with his teachers, hence a few dismissals. Always too prone to ask troublesome, challenging questions, too prone to doubts and reflections, he was thought incorrigible. In his “University” he chose his own masters—the great free spirits of the ages—and at the feet of these he was teachable, even while the knocks were hardest.

A lover of wild nature and able to commune with nature’s spirit, deeply fond also of commun{122}ing with the world’s master minds in books, Mr. Hawkins is by necessity—while his spirit soars—the slave of routine toil, being, until recently, a mail clerk in the post office of the City of Washington. “My only recreation,” he writes me, “is in stealing away to be with the masters, the intellectual dynamos, of the world, who converse with me without wincing and deliver me the key to life’s riddle.”

A true expression of himself I said Mr. Hawkins’s poems are. In no degree are they fictions. As a companion to Credo, quoted to introduce him, I will give the last poem in his book, which will again set him before us as he is:

HERO OF THE ROAD

For the whining craven class of men Mr. Hawkins has little respect:

Upon the times in which we live his judgment is severe. His condemnation, however, bears witness to that earnestness of soul and that idealism of spirit which will not let the world repose in its wickedness. From a list of several poems attesting this I select the following as perhaps the most complete in form:

THE DEATH OF JUSTICE

A number of Mr. Hawkins’s productions reveal possibilities of beauty and effectiveness, which he had not the patience or the skill to realize. One imagines that he has never been able to bring his spirit to a submissive study of the minutiæ of metrical composition. A poet in esse—or in posse—is all that nature ever makes. And even the most free spirit must know well the traditions. Whether this iconoclast knows the Cavalier traditions of English poetry may be left to conjecture, but the following piece, illustrating Mr. Hawkins’s faults and virtues as a singer, will{125} prove his kinship to the poetic tribe of which Lovelace and Suckling were conspicuous members:

ASK ME WHY I LOVE YOU

IX. Claude McKay

Claude McKay

An English subject, being born and growing to manhood in Jamaica, Claude McKay, a pure blood Negro, was first discovered as a poet by English critics. In Jamaica, as early as 1911, when he was but twenty-two years of age, his Constab Ballads, in Negro dialect, was published. Even in so broken a tongue this book revealed a poet—on the constabulary force of Jamaica. In 1920 his first book of poems in literary English, Spring in New Hamp-Shire, came out in England, with a Preface by Mr. I. A. Richards, of Cambridge, England.{127} Meanwhile, shortly after the publication of his first book, he had come to the United States.

Here he has worked at various occupations, has taken courses in Agriculture and English in the Kansas State College, and has thus become acquainted with life in the States. He is now on the editorial staff of the Liberator, New York. There has been no poet of his race who has more poignantly felt and more artistically expressed the life of the American Negro. His poetry is a most noteworthy contribution to literature. From Spring in New Hampshire I am privileged to take a number of poems which will follow without comment:

SPRING IN NEW HAMPSHIRE

THE LYNCHING

THE HARLEM DANCER

IN BONDAGE

Distinction of idea and phrase inheres in these poems. In them the Negro is esthetically conceived, and interpreted with vision. This is art working as it should. Mr. McKay has passion and the control of it to the ends of art. He has the poet’s insight, the poet’s understanding.

Perhaps the most arresting poem in this list, and the one most surely attesting the genius of the writer, is The Harlem Dancer. It is an achievement in portrayal sufficient by itself to establish a poetic reputation. The divination that penetrates to the secret purity of soul, or nobleness of character, through denying appearances—how rare is the faculty, and how necessary! Elsewhere I give a poem from a Negro woman which{130} evinces the same divine gift in the author, exhibited in a poem no less original and no less deeply impressive—Mrs. Spencer’s At the Carnival. Here I will companion The Harlem Dancer with one from Mr. Dandridge, for the comparison will deepen the effect of each:

ZALKA PEETRUZA

(Who Was Christened Lucy Jane)

Returning to Mr. McKay, we may assert that his new volume of verse, Harlem Shadows, con{131}firms and enhances the estimate of him we have expressed.

X. Leslie Pinckney Hill

Leslie Pinckney Hill

Bearing the diploma of the Lyric Muse, Mr. Leslie Pinckney Hill, schoolmaster of Cheyney, Pennsylvania, and authentic singer, is one of the newest arrivals on the slopes of Parnassus. A first glance tells that he is an agile climber, sinewy, easy of movement, light of step, with both grace and strength. Every indication in form and motion is for some point far up toward the summit. Youthful he is, ambitious, plainly, and, in spite of a burden, buoyant. “Climber,” I said. I will drop the figure. Poets were never pedestrians. Mr. Hill comes not afoot. If not on the wings of Pegasus, yet on wings he comes—the wings of oppression. Sad wings! yet it must be remarked that it is commonly on such wings that poets of whatever race and time rise. And Mr.{132} Hill’s race knows no other wings. On the wings of oppression the Negro poet and the Negro people are rising toward the summits of Parnassus, Pisgah, and other peaks. This they know, too, and of it they are justly proud.

In his Foreword Mr. Hill thus states the case of his people, and, by implication, of himself: “Nothing in the life of the nation has seemed to me more significant than that dark civilization which the colored man has built up in the midst of a white society organized against it. The Negro has been driven under all the burdens of oppression, both material and spiritual, to the brink of desperation, but he has always been saved by his philosophy of life. He has advanced against all opposition by a certain elevation of his spirit. He has been made strong in tribulation. He has constrained oppression to give him wings.”

The significant thing about these wings, in a critical view, is that they fulfill the proper function of wings—bear aloft and sustain in flight through the azure depths. Mr. Hill’s wings do bear aloft and sustain: if not always, nor even ever, into the very empyrean of poetry yet invariably, seventy times, into the ampler air. Like all his race, he has suffered much; and, like all his race still, he has gathered wisdom from sorrow. As a true poet should have, he has philosophy, also vision and imagination—vision for himself and his people, imagination that sees facts in terms of beauty and presents truths with vital{133} imagery. Add thereto craftsmanship acquired in the best traditions of English poetry and you have Hill the poet.

The merit of his book cannot be shown by lines and stanzas. As ever with true art, the merit lies in the whole effect of complete poems. Still, we may here first detach from this and that poem a stanza or two, despite the wrong to art. The first and fourth stanzas of the title-poem will indicate Mr. Hill’s technique and philosophy:

The character and temper of the Negro in those gentler aspects which make such an appeal to the heart are revealed in the following sonnet:{134}

MATER DOLOROSA

If these poems, taken collectively, do not declare “what is on the Negro’s mind” they yet truly reveal, to the reflecting person, what has sunk deep into his heart. They are therefore a message to America, a protest, an appeal, and a warning. They will penetrate, I predict, through breast-armor of aes triplex into the hearts of those whom sermons and editorials fail to touch in the springs of action. Such is the virtue of music wed to persuasive words. In strong lines of soaring blank verse, in which Mr. Hill is particularly capable, he makes a direct appeal to America in behalf of his people, in a poem entitled Armageddon:{135}

A sonnet entitled To a Caged Canary in a Negro Restaurant will present the poet’s people with the persuasiveness of pathos as the foregoing poem with the persuasiveness of reason:

It would be an injustice to this poet did I convey the idea that his seventy-odd poems are exclusively occupied with race wrongs and oppression. Not a few of them bear no stamp of an oppressed or afflicted spirit, though of sorrow they may have been nurtured.{137}

A lyric of pure loveliness is the following, entitled

TO A NOBLY-GIFTED SINGER

Schoolmaster I said Mr. Hill was. To represent his didactic quality, not his purer lyrical note, nor yet his narrative beauty, I choose the following piece:

SELF-DETERMINATION

The Philosophy of the American Negro

But though teacher Leslie Pinckney Hill is singer too. And though he has a message for America he also has music. His powers are rich, varied, cultured, and developing. His second book will be better than his excellent first.{139}

CHAPTER III

THE HEART OF NEGRO WOMANHOOD

I. Miss Eva A. Jessye

Miss Eva A. Jessye

From newspapers I have clipt several poems by Miss Jessye that exhibit a nature touched to the finer things of the world and of life. She has fancy, and skill in expression. I concluded section I of chapter II with a poem of hers, and I will here give two more. The first, in a lighter vein, betrays the human nature of a school-teacher in the midst of her vexations while she tries to appear above the reach of common desires.

SPRING WITH THE TEACHER

Though the moral motive is rarely consistent with the artistic, yet in the next poem of Miss Jessye’s I shall give there is a perfect reconciliation. Original no doubt is the idea of this poem, but Sappho, it seems to me, as one of her fragments bears witness, had meditated upon the very same idea twenty-five centuries ago.

TO A ROSEBUD

Miss Jessye, now a teacher of the piano in Muskogee, Oklahoma, was born in Kansas and was graduated from Western University. She has taken prizes in oratory, poetry, and essay-writing. Yet in her early twenties, she has a volume of verse ready for publication.

II. Mrs. J. W. Hammond

Mrs. J. W. Hammond

Self-taught, and disclaiming knowledge of books, Mrs. Hammond of Omaha, Nebraska, contributes to The Monitor of that city verses of musical cadences and gentle beauty. Her response to the scenes and objects of nature is that of a poetic mind. The spirit of joy sings through her verses. As a representative poem the following may be accepted:{143}

THE OPTIMIST

One other poem of Mrs. Hammond’s I will give that is beautiful alike in feeling and treatment.

TO MY NEIGHBOR BOY

III. Mrs. Alice Dunbar-Nelson

A sonnet has already been given from Mrs. Dunbar-Nelson to which I think Mrs. Browning or Christina Rossetti might have appended her signature without detriment to her fame. It is one of a series entitled A Dream Sequence, the{145} rest of the sequence being as yet unpublished. Instead of pillaging this sequence, marring the effect of the individual member so dislocated, I will take from her compilation, The Dunbar Speaker,[3] so named for her first husband, the poet, two of her original poems. The first is a war poem, doubtless, but the occasion is immaterial. The spirit of rebellion against confinement to the petty thing while the something big calls afar might be evoked into play by any of a hundred situations.

Alice Dunbar-Nelson

I SIT AND SEW

The second poem I shall give is also not unrelated to the recent World War, and to all war: the lights alluded to, shining across and down the Delaware for miles, are the lights of the DuPont powder mills. It is a poem of fine symmetry, highly poetic diction, and great allusive meaning—a poem that will bear and repay many readings, never growing less beautiful.

THE LIGHTS AT CARNEY’S POINT

Mrs. Dunbar-Nelson has not applied herself to poetry as she has to prose fiction. As a short-story writer she has special distinction.

IV. Mrs. Georgia Douglas Johnson

Mrs. G. D. Johnson

Exquisite artistry in verse, with infallible poetic content, is exhibited in Mrs. Georgia Douglas Johnson’s The Heart of a Woman. It is also the saddest book produced by her race. Perfect lyrical notes, the most poignant pathos—that is an exact description of it. Triple bronze cannot armor any breast successfully against its appeal. For the heart that speaks here is a heart that has known its garden of sorrows, its Gethsemane. This is the harvest of her sorrows—dreams and songs, of which she comments:

Neither in memory nor in dreams is there a refuge for the life-wounded heart of this woman:

And thus of her dreams, on the last page of her book:

What are the experiences and what the conditions of life—what must they have been—which have had the tragic power to make a soul “try to forget it has dreamed of stars?” The world little kens what hearts in it are breaking, and why. To the grave the secret goes with the many, one in a million betrays it in a cry. But not here is it betrayed:{150}

SMOTHERED FIRES

Not without hurt to itself may the oyster produce its pearl. These poems from the heart of a woman remind me of nothing so much as a string of pearls. Each one is witness to a bruise or gash to the spirit. The lyric cry has not been more piercing in anything written on American soil, piercing all the more for the perfect restraint, the sure artistry. It was a heart surcharged with sorrow in which these pearls of poesy took shape from secret wounds. The heart of one woman speaks in them for thousands in America, else inarticulate. “We weep,” says the African proverb, “we weep in our hearts like the tortoise.” Without one word or hint of race in all the book there is yet between its covers the unwritten,{151} unwritable tragedy of that borderland race which knows not where it belongs in the world, a truly homeless race in soul. A sadder book could hardly be.

Mrs. Georgia Douglas Johnson was born in Atlanta, Georgia, and received her academic education in Atlanta University and a musical education at Oberlin. She now lives in Washington, D. C. She is at the beginning of her career as an author. Two other books of lyrics, under the titles of An Autumn Love Cycle, and Bronze,[4] she has in preparation for the press at this time. Some of their contents have already appeared in magazines. These two new volumes will make an advance in power and in richness of content beyond The Heart of a Woman. They will also provide the key to the tragic mystery concealed in that book. A poem that is to appear in Bronze will be given in a later chapter. I will here give another. Both have already been published in magazines.

THE OCTOROON

V. Miss Angelina W. Grimké

Miss Angelina Grimké

Not less distinctive in quality than Mrs. Johnson’s, and not less beautiful in artistry, are the brief lyrics of Miss Angelina W. Grimké, also of the city of Washington. If hers should be called imagist poetry or no I cannot say, but I am certain that more vivid imaging of objects has not been done in verse by any contemporary. This, too, in stanzas that suggest in their perfection of form the work of the old lapidaries. Nor is there but a surface or formal beauty. There is passion, there is beauty of idea, the soul of lyric poetry is there as well as the form. I am weighing well my words in giving this praise, and I know that not{153} one in the thousand of those who write good verse would deserve them. But I ask the sceptical individual to re-read them after he has perused the poems themselves.

I will present several without interrupting comment:

DAWN

A WINTER TWILIGHT

THE PUPPET-PLAYER

THE WANT OF YOU

EL BESO

AT THE SPRING DAWN

TO KEEP THE MEMORY OF CHARLOTTE FORTEN GRIMKÉ

The subject of these beautiful memorial verses was not simply in feeling but in expression also a poet herself. From “A June Song” written by her I will take a stanza in evidence:

VI. Mrs. Anne Spencer

Who can fathom to its depths the heart of womanhood? Under the conditions of American{157}

Mrs. Anne Spencer

life the Negro woman’s heart offers difficulties peculiar to itself. These various writers—talented, cultured, with the keen sensibilities of a specially sensitive people—have given us glimpses into some of the depths, not all. A poet of the other sex, Mr. McKay, with that divination which belongs to the poet, intimates in The Harlem Dancer, quoted on page 128, that the index of the heart is not always in the occupation or the face:

No, her self was free and too noble to be smirched by the “passionate gaze of wine-flushed, bold-eyed boys.” It is a paradox that has puzzled a recent white novelist. Cissie Dildine, in Mr. Stribling’s Birthright, pilferer though she is, and sacrificer of her maidenhood, yet does not lose caste among her people. They speak affectionately of her and minister lovingly to her in jail, with no hint of re{158}proach. It is not other standards, as the novelist intimates, that we must apply, but only right standards, in view of circumstances.

I am able to give here a poem that may start in the reader’s mind a fruitful train of reflections, tending toward profound ethical truth. The writer, Mrs. Anne Spencer of Lynchburg, Virginia, in all of her work that I have seen, has marked originality. Her style is independent, unconventional, and highly compressed. The poem which follows will fairly represent her work and at the same time open another avenue to the secret chambers of the Negro woman’s heart:

AT THE CARNIVAL

VII. Miss Jessie Fauset

Miss Jessie Redmon Fauset

By way of indicating the idealistic aspirations of the colored people I gave at the end of Chapter I. J. Mord Allen’s poem The Psalm of the Uplift. For the same purpose I will give here, at the end of this chapter, a poem of the very present day from one of the most accomplished young women of the Negro race. Besides its intrinsic merit as a poem it has the further recommendation for a place in this chapter that it celebrates a woman of the black race who was the very embodiment of its noblest qualities—illiterate slave though she was. It is a splendid testimonial to her people of this later day that Negro literature is filled with tributes to Sojourner Truth. She was indeed a wonderful woman, altogether worthy to be ranked with the noble heroines of biblical story. From a Negro historian I take the following restrained account of her:[5]{161}

The poem follows, with the author’s note on the saying of Sojourner Truth which occasioned it:

ORIFLAMME

“Still visioning the stars”—that is the idealism of the Negro. The soul of Sojourner Truth goes marching on, star-led.{163}

CHAPTER IV

AD ASTRA PER ASPERA

I. per aspera

I. Edward Smythe Jones

Edward Smythe Jones

It has not frequently happened in these times that a poet has dated a poem from a prison cell, or dedicated a book of poems to the judge of a police court. Mr. Edward Smythe Jones, however, has done this, and there is an interesting story by way of explanation. From the poem alluded to it seems that Mr. Jones in his over-mastering desire to drink at the Harvard fountain of learning tramped out of the Southland up to Cambridge. Arriving travel-worn, friendless, moneyless, hungry, he was preparing to bivouac on the Harvard campus his first night in the University city,{164} when, being misunderstood, and not believed, he was apprehended as a vagabond and thrown into jail. A poem, however, the poem which tells this story, delivered him. The judge was convinced by it, kindly entreated the prisoner, and set him free to return to the academic shades. Ad astra per aspera.

It was in “Cell No. 40, East Cambridge Jail, Cambridge, Massachusetts, July 26, 1910,” that the unlucky bard committed to verse this story, transmuting harsh experience to the joy of artistic production. The last half of his version runs as follows:

Of all the Negro poets whose writings I have perused, Edward Smythe Jones is the most difficult to estimate with certainty. There is an eloquence and luxuriance of language and imagery in his stanzas which perplexes the critic and yet persuades him to repeated readings. The result,{167} however, fails to become clear. If, with his copiousness, the reserve of disciplined art ever becomes his, and his critical faculty is trained to match his creative, then poetry of noteworthy merit may be expected from him. His deeply religious bent, his aspiration after the best things of the mind, his ambition to treat lofty themes, augur well for him.

Mr. Jones’s two best poems, The Sylvan Cabin: A Centenary Ode on the Birth of Abraham Lincoln and An Ode to Ethiopia: to the Aspiring Negro Youth, are too long for insertion here. I will give a shorter patriotic ode, not included in his book, but written, I believe, during the World War:

FLAG OF THE FREE

Is there, in all our American poetry, a more eloquent apostrophe to our flag than that, not excepting even Joseph Rodman Drake’s? Perhaps the allusion to Attucks in the first stanza will require a note for the white reader. Every colored school-child, however, knows that Crispus Attucks was a brave and stalwart Negro, who, in the van of the patriots of Boston that resisted the British soldiers in the so-called “Boston Massacre,” March 5, 1770, fell with two British bullets in his breast, among the first martyrs for independence:

so writes of him this same poet in his Ode to Ethiopia.

II. Raymond Garfield Dandridge

Twelve years ago a young house-decorator in Cincinnati was stricken down with partial paralysis, since which time he has been bedfast and all but helpless. On this bed of distress he learned what resources were within himself, powers that in health he knew not of. The fountain of poetry sprang up in what threatened to be a desert life.—The artist-nature within manifested itself in a new realm, the realm of words set to tuneful measures. This artisan, turned by affliction into a poet, is Raymond Garfield Dandridge. Again, ad astra per aspera.

Raymond G. Dandridge

It is not great poetry that Dandridge is giving to the world, but it is poetry. His musings shaped into rhyme reach the heart. They have sweetness and light—“the two most precious things in the{170} world.” All the art he has acquired, untaught, from his reading and unaided thinking. Naturally one would not expect that art to be flawless. His initial poem, while not literally a self-description, will serve to introduce this adopted son of the lyric Muse:

THE POET

A secret consolation is intimated in the following lines:

TO—

Reflections upon the deeper meanings of life and death are inevitable to one situated as Mr. Dandridge is, provided he is given to serious reflections at all. And the thoughts of such a person are apt to have value for their sincerity. Two brief meditations in rhyme, as we may call them, will represent his thinking on such themes:

TIME TO DIE

ETERNITY

Even in the confinement to which his affliction has subjected him, Mr. Dandridge has felt the strong pulse-throbs of his people’s new kindled aspirations. The strength of the soul may indeed increase with the weakness of the body. These lines are surely not wanting in the passion without which “facts” are cold:

FACTS

III. George Marion McClellan

George Marion McClellan

Aptly has Mr. McClellan entitled his book of poems The Path of Dreams. A dreamer is he and the home of his spirit is dreamland:

And that path leads the poet ever back to the golden days of his youth, when Southern suns and Southern moons steeped his very being in dreams and Southern birds gave him their melodies and Southern mountains lifted his soul heavenward. A wanderer upon the earth he appears to have been, and as all wanderers’ hearts turn back to some loved region or spot so his to Dixie. Seldom has the longing for distant, remembered scenes, for spring’s returning and for summer’s glow, been more sweetly expressed in rhyme than in the various poems of The Path of Dreams. And{174} yet, sweeter songs than those are locked up in his breast, not to be sung:

When harsh necessity imprisons him in the city he sighs:

But what contradictions poets have ever found in their experiences! The ministrants of joy but wring the cry of pain from the yearning heart. Lovely May is harder to endure, in exile, than gloomy December. The city’s discordant cries may be endured, bringing neither grief nor joy, while a bird’s carol may be exquisite torture:

Musing on whatever scene, the poet’s thoughts are tinged with that sadness which to every sensitive nature has a sweetness in it:

With no less sadness or beauty, and with that philosophy towards which poetry ever has a bias, our poet of dreams thus reflects, on watching the ephemera that dart with glimmering wings in keen delight where the breezes fling the sweets of May:

One must say of George Marion McClellan: “Here is a finely touched spirit that responds deeply to the mystery and charm of mountains and starry skies, and that charm and mystery he is capable of expressing in stanzas of lyric beauty.” Every page of his book will confirm for the reader the estimate he may have formed from the quotations already given. Without rifling it of its choicest treasures I will put before the reader a few entire poems which I am sure will give increased delight on repeated readings:{176}

TO HOLLYHOCKS

THE HILLS OF SEWANEE

THE FEET OF JUDAS

IN MEMORY OF KATIE REYNOLDS, DYING

This poet, formerly a school principal in Louisville, Kentucky, is now in Los Angeles, California, whither he took his tubercular son—in vain—endeavoring to establish there a sanitarium for persons of his race afflicted as his son was. For the third time: ad astra per aspera.

IV. Charles P. Wilson

The following verses were written by a man in the Missouri State Penitentiary. He might prefer that his name be withheld. He will shortly go forth a free man and a better one—so resolved to be—with verses enough composed during his period of incarceration to make a small book:

SOMEBODY’S CHILD

And so a fourth time the motto—or is it a proverb?—ad astra per aspera.

V. Leon R. Harris

Now editor of the Richmond (Indiana) Blade, contributor of short-stories to The Century Magazine, an honored citizen and the head of a respected family, Leon R. Harris was an orphan asylum’s ward. Most splendidly has he, yet in his early thirties, illustrated the old adage chosen as a heading for this chapter. His father, a roving musician, took no interest in the future poet.{181} His mother died and left him almost in the cradle. The orphanage which became his refuge gave him at least food, shelter, and schooling to the fourth grade. Then he was given to a Kentucky family to be reared. It was virtual slavery, and the boy ran away from over-work and beatings. Making his escape to Cincinnati he was befriended by a traveling salesman and began to find himself. At eleven years of age, some of his verses were printed in a Cincinnati daily with “Author Unknown” attached. He now made his way to Berea and worked his way for two years in that good old college. Then for three years he worked his way in Tuskegee.

Leon R. Harris

We next find him in Iowa, married; then in North Carolina, teaching school; then in Ohio, working in steel mills. This last was his employment until about two years ago. His short stories and poems are right out of his life. In the former the peonage system, prevalent in some sections of the South, and the cruelties of the convict labor{182} camps are more powerfully portrayed than anywhere else in American literature. The following poem will represent his writings in verse:

THE STEEL MAKERS

Intrinsic merit is in that poem, apart from the circumstance of its being written by a workman himself. As an interpretation of the life of his fellow-workmen—their imaginative, inner life—it is a human document to be reflected upon. As for the artistic quality of the verses they place you in imagination amid the sights and sounds described and they have something in them suggestive of the steel bars the men are making.

VI. Irvin W. Underhill

In what strange disguises comes ofttimes the call to nobler things! Our happiness not seldom springs out of seeming misfortune. An illustration is afforded by Mr. Irvin W. Underhill, of Philadelphia, to whom blindness brought a more glorious seeing—the seeing of truth, of greater meaning in life, of greater beauty in the world. Out of this new vision springs a corresponding message in verse, a message not of bitterness for{185}

Irvin W. Underhill

what might to another man, in the middle years of his life, have seemed a bitter loss, but of love, and exhortation, and encouragement. Blind, he lives in the Light. In his little book, entitled Daddy’s Love and Other Poems, are poems witnessing to a beautiful spirit, poems of beauty. Because of its sage counsel, however, I pass over some of these lovelier expressions of sentiment and choose a didactic piece:

TO OUR BOYS