Transcriber’s Note:
The cover image was created by the transcriber and is placed in the public domain.
During the last three or four years there has been a remarkable renascence of poetry in both America and England, and an equally extraordinary revival of public interest in the art.
The editors of this anthology wish to present in convenient form representative work of the poets who are to-day creating what is commonly called “the new poetry,”—a phrase no doubt rash and most imperfectly descriptive, since the new in art is always the elder old, but one difficult to replace with any form of words more exact. Much newspaper controversy, and a number of special magazines, testify to the demand for such a book; also many letters to the editors of Poetry asking for information—letters not only from individual lovers of the art, but also from college professors and literary clubs or groups, who have begun to feel that the poetry of to-day is a vital force no longer to be ignored. Indeed, many critics feel that poetry is coming nearer than either the novel or the drama to the actual life of to-day. The magazine Poetry, ever since its foundation in October, 1912, has encouraged this new spirit in the art, and the anthology is a further effort on the part of its editors to present the new spirit to the public.
What is the new poetry? and wherein does it differ from the old? The difference is not in mere details of form, for much poetry infused with the new spirit conforms to the old measures and rhyme-schemes. It is not merely in diction, though the truly modern poet rejects the so-called “poetic” shifts of language—the deems, ’neaths, forsooths, etc., the inversions and high-sounding rotundities, familiar to his predecessors: all the rhetorical excesses through which most Victorian poetry now seems “over-apparelled,” as a speaker at a Poetry dinner—a lawyer, not a poet—put it in pointing out what the new movement is aiming at. These things are important, but the difference goes deeper than details of form, strikes through them to fundamental integrities.
viThe new poetry strives for a concrete and immediate realization of life; it would discard the theory, the abstraction, the remoteness, found in all classics not of the first order. It is less vague, less verbose, less eloquent, than most poetry of the Victorian period and much work of earlier periods. It has set before itself an ideal of absolute simplicity and sincerity—an ideal which implies an individual, unstereotyped diction; and an individual, unstereotyped rhythm. Thus inspired, it becomes intensive rather than diffuse. It looks out more eagerly than in; it becomes objective. The term “exteriority” has been applied to it, but this is incomplete. In presenting the concrete object or the concrete environment, whether these be beautiful or ugly, it seeks to give more precisely the emotion arising from them, and thus widens immeasurably the scope of the art.
All this implies no disrespect for tradition. The poets of to-day do not discard tradition because they follow the speech of to-day rather than that of Shakespeare’s time, or strive for organic rhythm rather than use a mold which has been perfected by others. On the contrary, they follow the great tradition when they seek a vehicle suited to their own epoch and their own creative mood, and resolutely reject all others.
Great poetry has always been written in the language of contemporary speech, and its theme, even when legendary, has always borne a direct relation with contemporary thought, contemporary imaginative and spiritual life. It is this direct relation which the more progressive modern poets are trying to restore. In this effort they discard not only archaic diction but also the shop-worn subjects of past history or legend, which have been through the centuries a treasure-trove for the second-rate.
This effort at modern speech, simplicity of form, and authentic vitality of theme, is leading our poets to question the authority of the accepted laws of English verse, and to study other languages, ancient and modern, in the effort to find out what poetry really is. It is a strange fact that, in the common prejudice of cultivated people during the four centuries from just before 1400 to just before 1800, nothing was accepted as poetry in English that did not viiwalk in the iambic measure. Bits of Elizabethan song and of Dryden’s two musical odes, both beating four-time instead of the iambic three, were outlandish intrusions too slight to count. To write English poetry, a man must measure his paces according to the iambic foot-rule; and he must mark off his lines with rhymes, or at least marshal them in the pentameter movement of blank verse.
The first protest against this prejudice, which long usage had hardened into law, came in the persons of four or five great poets—Burns, Coleridge, Keats, Shelley, Byron—who puzzled the ears of their generation with anapæsts and other four-time measures, and who carried into their work a certain immediacy of feeling and imagery—a certain modern passion of life—which even Cowper, Thompson and a few others of their time, though they had written of things around them, had scarcely attained. Quarterly critics and London moralists blinked and gasped, but at last the bars had to go down for these great radicals. And before long the extreme virtuosity of Swinburne had widened still further the musical range of the English language.
By the time Whitman appeared, the ear of the average reader—that formidable person—was attuned to anapæsts, dactyls, choriambics, sapphics, rhymed or unrhymed. He could not call them by name, but he was docile to all possible intricacies of pattern in any closely woven metrical scheme. But Whitman gave him a new shock. Here was a so-called poet who discarded all traditional patterns, and wove a carpet of his own. Once more the conservatives protested: was this poetry? and, if so, why? If poetry was not founded on the long-accepted metrical laws, then how could they distinguish it from prose, and thus keep the labels and catalogues in order? What was Whitman’s alleged poetry but a kind of freakish prose, invented to set forth a dangerous anarchistic philosophy?
It would take too long to analyze the large rhythms of Whitman’s free verse; but the mere fact that he wrote free verse and called it poetry, and that other poets—men like Rossetti, Swinburne, Symonds, even the reluctant Emerson—seemed to agree that it was poetry, this fact alone was, in the opinion of the conservatives, viiia challenge to four centuries of English poets. And this challenge, repeated by later poets, compels us to inquire briefly into the origins of English poetry, in the effort to get behind and underneath the instinctive prejudice that English poetry, to be poetry, must conform to prescribed metres.
Chaucer, great genius that he was, an aristocrat by birth and breeding, and a democrat by feeling and sympathy—Chaucer may have had it in his power to turn the whole stream of English poetry into either the French or the Anglo-Saxon channel. Knowing and loving the old French epics better than the Norse sagas, he naturally chose the French channel, and he was so great and so beloved that his world followed him. Thus there was no longer any question—the iambic measure and rhyme, both dear to the French-trained ears of England’s Norman masters, became fixed as the standard type of poetic form.
But it was possibly a toss-up—the scale hung almost even in that formative fourteenth century. If Chaucer’s contemporary Langland—the great democrat, revolutionist, mystic—had had Chaucer’s authority and universal sympathy, English poetry might have followed his example instead of Chaucer’s; and Shakespeare, Milton and the rest might have been impelled by common practice to use—or modify—the curious, heavy, alliterative measure of Piers Ploughman, which now sounds so strange to our ears:
Though we must rejoice that Chaucer prevailed with his French forms, Langland reminds us that poetry—even English poetry—is older than rhyme, older than the iambic measure, older than all the metrical patterns which now seem so much a part of it. If our criticism is to have any value, it must insist upon the obvious truth ixthat poetry existed before the English language began to form itself out of the débris of other tongues, and that it now exists in forms of great beauty among many far-away peoples who never heard of our special rules.
Perhaps the first of these disturbing influences from afar to be felt in modern English poetry was the Celtic renascence, the wonderful revival of interest in old Irish song, which became manifest in translations and adaptations of the ancient Gaelic lyrics and epics, made by W. B. Yeats, Lady Gregory, Douglas Hyde and others.
This influence was most powerful because it came to us directly, not at second-hand, through the English work of two poets of genius, Synge and Yeats. These great men, fortified and inspired by the simplicity and clarity of primitive Celtic song, had little patience with the “over-appareled” art of Tennyson and his imitators. They found it stiffened by rhetoric, by a too conscious morality leading to pulpit eloquence, and by second-hand bookish inspirations; and its movement they found hampered, thwarted of freedom, by a too slavish acceptance of ready-made schemes of metre and rhyme. The surprises and irregularities, found in all great art because they are inherent in human feeling, were being ruled out of English poetry, which consequently was stiffening into forms too fixed and becoming more and more remote from life. As Mr. Yeats said in Chicago:
“We were weary of all this. We wanted to get rid not only of rhetoric but of poetic diction. We tried to strip away everything that was artificial, to get a style like speech, as simple as the simplest prose, like a cry of the heart.”
It is scarcely too much to say that “the new poetry”—if we may be allowed the phrase—began with these two great Irish masters. Think what a contrast to even the simplest lyrics of Tennyson the pattern of their songs presents, and what a contrast their direct outright human feeling presents to the somewhat culture-developed optimism of Browning, and the science-inspired pessimism of Arnold. Compared with these Irishmen the best of their predecessors seem literary. This statement does not imply any measure of ultimate values, for it is still too early to estimate xthem. One may, for example, believe Synge to be the greatest poet-playwright in English since Shakespeare, and one of the great poets of the world; but a few more decades must pass before such ranking can have authority.
At the same time other currents were influencing progressive minds toward even greater freedom of form. Strangely enough, Whitman’s influence was felt first in France. It reached England, and finally America, indirectly from Paris, where the poets, stimulated by translations of the great American, especially Bajazette’s, and by the ever-adventurous quality of French scholarship, have been experimenting with free verse ever since Mallarmé. The great Irish poets felt the French influence—it was part of the education which made them realize that English poetry had become narrow, rigid, and insular. Yeats has held usually, though never slavishly, to rhyme and a certain regularity of metrical form—in which, however, he makes his own tunes; but Synge wrote his plays in that wide borderland between prose and verse, in a form which, whatever one calls it, is essentially poetry, for it has passion, glamour, magic, rhythm, and glorious imaginative life.
This borderland between prose and verse is being explored now as never before in English; except, perhaps in the King James translation of the Bible. The modern “vers-libertines,” as they have been wittily called, are doing pioneer work in an heroic effort to get rid of obstacles that have hampered the poet and separated him from his audience. They are trying to make the modern manifestations of poetry less a matter of rules and formulæ, and more a thing of the spirit, and of organic as against imposed, rhythm. In this enthusiastic labor they are following not only a strong inward impulse, not only the love of freedom which Chaucer followed—and Spenser and Shakespeare, Shelley and Coleridge and all the masters—but they are moved also by influences from afar. They have studied the French symbolistes of the ’nineties, and the more recent Parisian vers-libristes. Moreover, some of them have listened to the pure lyricism of the Provençal troubadours, have studied the more elaborate mechanism of early Italian sonneteers and canzonists, have read Greek poetry from a xinew angle of vision; and last, but perhaps most important of all, have bowed to winds from the East.
In the nineteenth century the western world—the western æsthetic world—discovered the orient. Someone has said that when Perry knocked at the gates of Japan, these opened, not to let us in, but to let the Japanese out. Japanese graphic art, especially, began almost at once to kindle progressive minds. Whistler, of course, was the first great creative artist to feel the influence of their instinct for balance and proportion, for subtle harmonies of color and line, for the integrity of beauty in art as opposed to the moralizing and sentimental tendencies which had been intruding more and more.
Poetry was slower than the graphic arts to feel the oriental influence, because of the barrier of language. But European scholarship had long dabbled with Indian, Persian and Sanskrit literatures, and Fitzgerald even won over the crowd to some remote suspicion of their beauty by meeting Omar half-way, and making a great poem out of the marriage, not only of two minds, but of two literary traditions. Then a few airs from Japan blew in—a few translations of hokku and other forms—which showed the stark simplicity and crystal clarity of the art among Japanese poets. And of late the search has gone further: we begin to discover a whole royal line of Chinese poets of a thousand or more years ago; and we are trying to search out the secrets of their delicate and beautiful art. The task is difficult, because our poets, ignorant of Chinese, have to get at these masters through the literal translations of scholars. But even by this round-about way, poets like Allen Upward, Ezra Pound, Helen Waddell and a few others, give us something of the rare flavor, the special exquisite perfume, of the original. And of late the Indian influence has been emphasized by the great Bengali poet and sage, Rabindranath Tagore, whose mastery of English makes him a poet in two languages.
This oriental influence is to be welcomed because it flows from deep original streams of poetic art. We should not be afraid to learn from it; and in much of the work of the imagists, and other radical groups, we find a more or less conscious, and more or less xiieffective, yielding to that influence. We find something of the oriental directness of vision and simplicity of diction, also now and then a hint of the unobtrusive oriental perfection of form and delicacy of feeling.
All these influences, which tend to make the art of poetry, especially poetry in English, less provincial, more cosmopolitan, are by no means a defiance of the classic tradition. On the contrary, they are an endeavor to return to it at its great original sources, and to sweep away artificial laws—the obiter dicta of secondary minds—which have encumbered it. There is more of the great authentic classic tradition, for example, in the Spoon River Anthology than in the Idylls of the King, Balaustian’s Adventure, and Sohrab and Rustum combined. And the free rhythms of Whitman, Mallarmé, Pound, Sandburg and others, in their inspired passages, are more truly in line with the biblical, the Greek, the Anglo-Saxon, and even the Shakespearean tradition, than all the exact iambics of Dryden and Pope, the patterned alexandrines of Racine, or the closely woven metrics of Tennyson and Swinburne.
Whither the new movement is leading no one can tell with exactness, nor which of its present manifestations in England and America will prove permanently valuable. But we may be sure that the movement is toward greater freedom of spirit and form, and a more enlightened recognition of the international scope, the cosmopolitanism, of the great art of poetry, of which the English language, proud as its record is, offers but a single phase. As part of such a movement, even the most extravagant experiments, the most radical innovations, are valuable, for the moment at least, as an assault against prejudice. And some of the radicals of to-day will be, no doubt, the masters of to-morrow—a phenomenon common in the history of the arts.
It remains only to explain the plan of this anthology, its inclusions and omissions.
It has seemed best to include no poems published before 1900, even though, as in a few cases, the poets were moved by the new impulses. For example, those two intensely modern, nobly impassioned, xiiilyric poets, Emily Dickinson and the Shropshire Lad (Alfred Edward Housman)—the one dead, the other fortunately still living—both belong, by date of publication, to the ’nineties. The work of poets already, as it were, enshrined—whether by fame, or death, or both—has also not been quoted: poets whose works are already, in a certain sense, classics, and whose books are treasured by all lovers of the art—like Synge and Moody and Riley, too early gone from us, and William Butler Yeats, whose later verse is governed, even more than his earlier, by the new austerities.
Certain other omissions are more difficult to explain, because they may be thought to imply a lack of consideration which we do not feel. The present Laureate, Robert Bridges, even in the late ’eighties and early ’nineties, was led by his own personal taste, especially in his Shorter Poems, toward austere simplicity of subject, diction and style. But his most representative poems were written before 1900. Rudyard Kipling has been inspired at times by the modern muse, but his best poems also antedate 1900. This is true also of Louise Imogen Guiney and Bliss Carman, though most of their work, like that of Arthur Symons and the late Stephen Phillips and Anna Hempstead Branch, belongs, by its affinities, to the earlier period. And Alfred Noyes, whatever the date of his poems, bears no immediate relation to the more progressive modern movement in the art.
On the other hand, we have tried to be hospitable to the adventurous, the experimental, because these are the qualities of pioneers, who look forward, not backward, and who may lead on, further than we can see as yet, to new domains of the ever-conquering spirit of beauty.
Note. A word about the typography of this volume. No rigid system of lineation, indention, etc., has been imposed upon the poets who very kindly lend us their work. For example, sonnets are printed with or without indention according to the individual preference of the poet; also other rhymed forms, such as quatrains rhyming alternately; as well as various forms of free verse. Punctuation and spelling are more uniform, although a certain liberty has been conceded in words like gray or grey, the color of which seems to vary with the spelling, and in the use of dots, dashes, commas, colons, etc.
| Conrad Aiken: | PAGE | ||
| Music I Heard | 1 | ||
| Dead Cleopatra | 1 | ||
| Dancing Adairs | 2 | ||
| Zoë Akins: | |||
| The Tragedienne | 3 | ||
| I Am the Wind | 3 | ||
| Conquered | 4 | ||
| The Wanderer | 4 | ||
| Richard Aldington: | |||
| The Poplar | 5 | ||
| Lesbia | 6 | ||
| Images, I-VI | 6 | ||
| Choricos | 7 | ||
| Mary Aldis: | |||
| Barberries | 10 | ||
| When You Come | 11 | ||
| Flash-lights, I-III | 12 | ||
| Walter Conrad Arensberg: | |||
| Voyage à l’Infini | 13 | ||
| At Daybreak | 14 | ||
| To Hasekawa | 14 | ||
| Dialogue | 14 | ||
| Song of the Souls Set Free | 15 | ||
| Wilton Agnew Barrett: | |||
| A New England Church | 15 | ||
| Joseph Warren Beach: | |||
| Rue Bonaparte | 16 | ||
| The View at Gunderson’s | 17 | ||
| xviWilliam Rose Benét: | |||
| The Falconer of God | 18 | ||
| The Horse Thief | 20 | ||
| Maxwell Bodenheim: | |||
| The Rear Porches of an Apartment-Building | 24 | ||
| The Interne | 24 | ||
| The Old Jew | 25 | ||
| The Miner | 25 | ||
| To an Enemy | 25 | ||
| To a Discarded Steel Rail | 26 | ||
| Gordon Bottomley: | |||
| Night and Morning Songs: | |||
| My Moon | 26 | ||
| Elegiac Mood | 27 | ||
| Dawn | 27 | ||
| Rollo Britten: | |||
| Bird of Passion | 28 | ||
| Rupert Brooke: | |||
| Retrospect | 28 | ||
| Nineteen-Fourteen: | |||
| I. Peace | 29 | ||
| II. Safety | 30 | ||
| III. The Dead | 30 | ||
| IV. The Dead | 31 | ||
| V. The Soldier | 31 | ||
| Witter Bynner: | |||
| To Celia: | |||
| I. Consummation | 32 | ||
| II. During a Chorale by Cesar Franck | 33 | ||
| III. Songs Ascending | 34 | ||
| Grieve not for Beauty | 34 | ||
| Joseph Campbell: | |||
| At Harvest | 35 | ||
| On Waking | 36 | ||
| The Old Woman | 38 | ||
| xviiNancy Campbell: | |||
| The Apple-Tree | 38 | ||
| The Monkey | 39 | ||
| Skipwith Cannéll: | |||
| The Red Bridge | 40 | ||
| The King | 41 | ||
| Willa Sibert Cather: | |||
| The Palatine (In the “Dark Ages.”) | 43 | ||
| Spanish Johnny | 44 | ||
| Padraic Colum: | |||
| Polonius and the Ballad Singers | 45 | ||
| The Sea Bird to the Wave | 49 | ||
| Old Men Complaining | 49 | ||
| Grace Hazard Conkling: | |||
| Refugees (Belgium—1914) | 52 | ||
| “The Little Rose is Dust, My Dear” | 53 | ||
| Alice Corbin: | |||
| O World | 53 | ||
| Two Voices | 54 | ||
| Love Me at Last | 55 | ||
| Humoresque | 55 | ||
| One City Only | 55 | ||
| Apparitions, I-II | 57 | ||
| The Pool | 57 | ||
| Music | 58 | ||
| What Dim Arcadian Pastures | 59 | ||
| Nodes | 59 | ||
| Adelaide Crapsey: | |||
| Cinquains: | |||
| November Night | 60 | ||
| Triad | 60 | ||
| Susanna and the Elders | 61 | ||
| The Guarded Wound | 61 | ||
| The Warning | 61 | ||
| Fate Defied | 61 | ||
| xviii | The Pledge | 61 | |
| Expenses | 62 | ||
| Adventure | 62 | ||
| Dirge | 62 | ||
| Song | 62 | ||
| The Lonely Death | 63 | ||
| H. D.: | |||
| Hermes of the Ways, I-II | 63 | ||
| Priapus (Keeper of Orchards) | 65 | ||
| The Pool | 66 | ||
| Oread | 66 | ||
| The Garden, I-II | 66 | ||
| Moonrise | 67 | ||
| The Shrine, I-IV | 68 | ||
| Mary Carolyn Davies: | |||
| Cloistered | 71 | ||
| Songs of a Girl, I-V | 72 | ||
| Fannie Stearns Davis: | |||
| Profits | 73 | ||
| Souls | 74 | ||
| Walter de la Mare: | |||
| The Listeners | 74 | ||
| An Epitaph | 75 | ||
| Lee Wilson Dodd: | |||
| The Temple | 76 | ||
| The Comrade | 77 | ||
| John Drinkwater: | |||
| Sunrise on Rydal Water | 78 | ||
| Louise Driscoll: | |||
| The Metal Checks | 80 | ||
| xixDorothy Dudley: | |||
| La Rue de la Montagne Sainte-Gèneviève | 84 | ||
| Helen Dudley: | |||
| To One Unknown | 86 | ||
| Song | 86 | ||
| Max Eastman: | |||
| Diogenes | 87 | ||
| In March | 87 | ||
| At the Aquarium | 87 | ||
| T. S. Eliot: | |||
| Portrait of a Lady, I-III | 88 | ||
| Arthur Davison Ficke: | |||
| Meeting | 92 | ||
| Among Shadows | 93 | ||
| The Three Sisters | 93 | ||
| Portrait of an Old Woman | 93 | ||
| I am Weary of Being Bitter | 94 | ||
| From “Sonnets of a Portrait Painter” | 95 | ||
| Like Him Whose Spirit | 95 | ||
| John Gould Fletcher: | |||
| Irradiations, I-IV | 96 | ||
| Arizona Poems: | |||
| Mexican Quarter | 98 | ||
| Rain in the Desert | 99 | ||
| The Blue Symphony, I-V | 100 | ||
| F. S. Flint: | |||
| Poems in Unrhymed Cadence, I-III | 104 | ||
| Moireen Fox: | |||
| Liadain to Curithir, I-V | 106 | ||
| Florence Kiper Frank: | |||
| The Jewish Conscript | 108 | ||
| The Movies | 109 | ||
| You | 109 | ||
| xxRobert Frost: | |||
| Mending Wall | 110 | ||
| After Apple-Picking | 111 | ||
| My November Guest | 112 | ||
| Mowing | 113 | ||
| Storm Fear | 113 | ||
| Going for Water | 114 | ||
| The Code—Heroics | 115 | ||
| Hamlin Garland: | |||
| To a Captive Crane | 119 | ||
| The Mountains are a Lonely Folk | 119 | ||
| Magic | 119 | ||
| Wilfrid Wilson Gibson: | |||
| Color | 120 | ||
| Oblivion | 121 | ||
| Tenants | 121 | ||
| Gold | 122 | ||
| On Hampstead Heath | 122 | ||
| Battle: | |||
| The Going | 123 | ||
| The Joke | 123 | ||
| In the Ambulance | 123 | ||
| Hit | 124 | ||
| The Housewife | 124 | ||
| Hill-born | 125 | ||
| The Fear | 125 | ||
| Back | 125 | ||
| Richard Butler Glaenzer: | |||
| Star-Magic | 126 | ||
| Douglas Goldring: | |||
| Voyages, I-IV | 127 | ||
| Hermann Hagedorn: | |||
| Early Morning at Bargis | 128 | ||
| Doors | 129 | ||
| Departure | 129 | ||
| Broadway | 130 | ||
| xxiThomas Hardy: | |||
| She Hears the Storm | 130 | ||
| The Voice | 131 | ||
| In the Moonlight | 132 | ||
| The Man He Killed | 132 | ||
| Ralph Hodgson: | |||
| The Mystery | 133 | ||
| Three Poems, I-III | 133 | ||
| Stupidity Street | 134 | ||
| Horace Holley: | |||
| Three Poems: | |||
| Creative | 134 | ||
| Twilight at Versailles | 135 | ||
| Lovers | 135 | ||
| Helen Hoyt: | |||
| Ellis Park | 135 | ||
| The New-Born | 136 | ||
| Rain at Night | 137 | ||
| The Lover Sings of a Garden | 137 | ||
| Since I Have Felt the Sense of Death | 138 | ||
| Ford Madox Hueffer: | |||
| Antwerp, I-VI | 138 | ||
| Scharmel Iris: | |||
| After the Martyrdom | 143 | ||
| Lament | 143 | ||
| Iteration | 144 | ||
| Early Nightfall | 144 | ||
| Orrick Johns: | |||
| Songs of Deliverance: | |||
| I. The Song of Youth | 144 | ||
| II. Virgins | 146 | ||
| III. No Prey Am I | 146 | ||
| xxiiJoyce Kilmer: | |||
| Trees | 150 | ||
| Easter | 150 | ||
| Alfred Kreymborg: | |||
| America | 151 | ||
| Old Manuscript | 151 | ||
| Cézanne | 152 | ||
| Parasite | 152 | ||
| William Laird: | |||
| Traümerei at Ostendorff’s | 153 | ||
| A Very Old Song | 154 | ||
| D. H. Lawrence: | |||
| A Woman and Her Dead Husband | 155 | ||
| Fireflies in the Corn | 157 | ||
| Green | 158 | ||
| Grief | 158 | ||
| Service of All the Dead | 159 | ||
| Agnes Lee: | |||
| Motherhood | 159 | ||
| A Statue in a Garden | 161 | ||
| On the Jail Steps | 161 | ||
| Her Going | 162 | ||
| William Ellery Leonard: | |||
| Indian Summer | 165 | ||
| Vachel Lindsay: | |||
| General William Booth Enters into Heaven | 166 | ||
| The Eagle that is Forgotten | 168 | ||
| The Congo (A Study of the Negro Race): | |||
| I. Their Basic Savagery | 169 | ||
| II. Their Irrepressible High Spirits | 171 | ||
| III. The Hope of Their Religion | 172 | ||
| Aladdin and the Jinn | 174 | ||
| The Chinese Nightingale | 175 | ||
| xxiiiAmy Lowell: | |||
| Patterns | 182 | ||
| 1777: | |||
| I. The Trumpet-Vine Arbor | 186 | ||
| II. The City of Falling Leaves | 187 | ||
| Venus Transiens | 191 | ||
| A Lady | 192 | ||
| Chinoiseries: | |||
| Reflections | 192 | ||
| Falling Snow | 193 | ||
| Hoar-frost | 193 | ||
| Solitaire | 193 | ||
| A Gift | 194 | ||
| Red Slippers | 194 | ||
| Apology | 195 | ||
| Percy Mackaye: | |||
| Old Age | 196 | ||
| Song from “Mater” | 197 | ||
| Frederic Manning: | |||
| Sacrifice | 198 | ||
| At Even | 199 | ||
| John Masefield: | |||
| Ships | 200 | ||
| Cargoes | 203 | ||
| Watching by a Sick-Bed | 203 | ||
| What am I, Life? | 204 | ||
| Edgar Lee Masters: | |||
| Spoon River Anthology: | |||
| The Hill | 205 | ||
| Ollie McGee | 206 | ||
| Daisy Fraser | 207 | ||
| Hare Drummer | 207 | ||
| Doc Hill | 208 | ||
| Fiddler Jones | 208 | ||
| xxiv | Thomas Rhodes | 209 | |
| Editor Whedon | 210 | ||
| Seth Compton | 210 | ||
| Henry C. Calhoun | 211 | ||
| Perry Zoll | 212 | ||
| Archibald Higbie | 212 | ||
| Father Malloy | 213 | ||
| Lucinda Matlock | 213 | ||
| Anne Rutledge | 214 | ||
| William H. Herndon | 215 | ||
| Rutherford McDowell | 215 | ||
| Arlo Will | 216 | ||
| Aaron Hatfield | 217 | ||
| Webster Ford | 218 | ||
| Silence | 219 | ||
| Alice Meynell: | |||
| Maternity | 221 | ||
| Chimes | 221 | ||
| Max Michelson: | |||
| O Brother Tree | 222 | ||
| The Bird | 223 | ||
| Storm | 223 | ||
| A Hymn to Night | 224 | ||
| Love Lyric | 224 | ||
| Edna St. Vincent Millay: | |||
| God’s World | 225 | ||
| Ashes of Life | 226 | ||
| The Shroud | 226 | ||
| Harold Monro: | |||
| Great City | 227 | ||
| Youth in Arms | 228 | ||
| The Strange Companion | 229 | ||
| xxvHarriet Monroe: | |||
| The Hotel | 231 | ||
| The Turbine | 233 | ||
| On the Porch | 236 | ||
| The Wonder of It | 237 | ||
| The Inner Silence | 238 | ||
| Love Song | 238 | ||
| A Farewell | 239 | ||
| Lullaby | 239 | ||
| Pain | 240 | ||
| The Water Ouzel | 241 | ||
| The Pine at Timber-Line | 242 | ||
| Mountain Song | 242 | ||
| John G. Neihardt: | |||
| Prayer for Pain | 243 | ||
| Envoi | 244 | ||
| Yone Noguchi: | |||
| The Poet | 245 | ||
| I Have Cast the World | 246 | ||
| Grace Fallow Norton: | |||
| Allegra Agonistes | 246 | ||
| Make No Vows | 247 | ||
| I Give Thanks | 247 | ||
| James Oppenheim: | |||
| The Slave | 248 | ||
| The Lonely Child | 249 | ||
| Not Overlooked | 249 | ||
| The Runner in the Skies | 250 | ||
| Patrick Orr: | |||
| Annie Shore and Johnnie Doon | 250 | ||
| In the Mohave | 251 | ||
| xxviSeumas O’Sullivan: | |||
| My Sorrow | 252 | ||
| Splendid and Terrible | 252 | ||
| The Others | 253 | ||
| Josephine Preston Peabody: | |||
| Cradle Song, I-III | 254 | ||
| The Cedars | 256 | ||
| A Song of Solomon | 257 | ||
| Ezra Pound: | |||
| Δώρια | 257 | ||
| The Return | 258 | ||
| Piccadilly | 259 | ||
| N. Y. | 259 | ||
| The Coming of War: Actaeon | 260 | ||
| The Garden | 260 | ||
| Ortus | 261 | ||
| The Choice | 261 | ||
| The Garret | 262 | ||
| Dance Figure | 262 | ||
| From “Near Périgord” | 263 | ||
| An Immorality | 264 | ||
| The Study in Aesthetics | 265 | ||
| Further Instructions | 265 | ||
| Villanelle: The Psychological Hour, I-III | 266 | ||
| Ballad of the Goodly Fere | 268 | ||
| Ballad for Gloom | 270 | ||
| La Fraisne | 271 | ||
| The River-Merchant’s Wife: A Letter (from the Chinese of Li Po.) | 273 | ||
| Exile’s Letter (From the Chinese of Li Po.) | 274 | ||
| John Reed: | |||
| Sangar | 277 | ||
| Ernest Rhys: | |||
| Dagonet’s Canzonet | 280 | ||
| A Song of Happiness | 281 | ||
| xxviiEdwin Arlington Robinson: | |||
| The Master | 283 | ||
| John Gorham | 285 | ||
| Richard Cory | 287 | ||
| The Growth of Lorraine, I-II | 287 | ||
| Cassandra | 288 | ||
| Carl Sandburg: | |||
| Chicago | 290 | ||
| The Harbor | 291 | ||
| Sketch | 292 | ||
| Lost | 292 | ||
| Jan Kubelik | 293 | ||
| At a Window | 293 | ||
| The Poor | 294 | ||
| The Road and the End | 294 | ||
| Killers | 295 | ||
| Nocturne in a Deserted Brickyard | 296 | ||
| Handfuls | 296 | ||
| Under the Harvest Moon | 297 | ||
| Choose | 297 | ||
| Kin | 298 | ||
| Places | 298 | ||
| Joy | 299 | ||
| The Great Hunt | 299 | ||
| Our Prayer of Thanks | 300 | ||
| Clara Shanafelt: | |||
| To Thee | 301 | ||
| Caprice | 301 | ||
| A Vivid Girl | 301 | ||
| Invocation | 302 | ||
| Pastel | 302 | ||
| A Gallant Woman | 302 | ||
| Scherzo | 303 | ||
| Frances Shaw: | |||
| Who Loves the Rain | 304 | ||
| The Harp of the Wind | 304 | ||
| xxviii | The Ragpicker | 305 | |
| Cologne Cathedral | 305 | ||
| Star Thought | 305 | ||
| The Child’s Quest | 306 | ||
| Little Pagan Rain Song | 306 | ||
| Constance Lindsay Skinner: | |||
| Songs of the Coast-Dwellers: | |||
| The Chief’s Prayer after the Salmon Catch | 307 | ||
| Song of Whip-Plaiting | 308 | ||
| No Answer is Given | 309 | ||
| James Stephens: | |||
| What Tomas An Buile said in a Pub | 312 | ||
| Bessie Bobtail | 313 | ||
| Hate | 313 | ||
| The Waste Places, I-II | 314 | ||
| Hawks | 316 | ||
| Dark Wings | 317 | ||
| George Sterling: | |||
| A Legend of the Dove | 317 | ||
| Kindred | 318 | ||
| Omnia Exeunt in Mysterium | 318 | ||
| The Last Days | 319 | ||
| Wallace Stevens: | |||
| Peter Quince at the Clavier, I-IV | 320 | ||
| In Battle | 322 | ||
| Sunday Morning, I-V | 323 | ||
| Ajan Syrian: | |||
| The Syrian Lover in Exile Remembers Thee, Light of my Land | 325 | ||
| Rabindranath Tagore: | |||
| From “Gitanjali,” I-VI | 327 | ||
| From “The Gardener,” I-IX | 329 | ||
| xxixSara Teasdale: | |||
| Leaves | 334 | ||
| Morning | 334 | ||
| The Flight | 335 | ||
| Over the Roofs | 335 | ||
| Debt | 336 | ||
| Songs in a Hospital: | |||
| The Broken Field | 336 | ||
| Open Windows | 336 | ||
| After Death | 337 | ||
| In Memoriam F. O. S. | 337 | ||
| Swallow Flight | 338 | ||
| The Answer | 338 | ||
| Eunice Tietjens: | |||
| The Bacchante to Her Babe | 339 | ||
| The Steam Shovel | 341 | ||
| The Great Man | 343 | ||
| Ridgely Torrence: | |||
| The Bird and the Tree | 344 | ||
| The Son | 345 | ||
| Charles Hanson Towne: | |||
| Beyond the Stars | 346 | ||
| Louis Untermeyer: | |||
| Landscapes | 348 | ||
| Feuerzauber | 350 | ||
| On the Birth of a Child | 351 | ||
| Irony | 352 | ||
| Allen Upward: | |||
| Scented Leaves from a Chinese Jar: | |||
| The Acacia Leaves | 352 | ||
| The Bitter Purple Willows | 352 | ||
| The Coral Fisher | 353 | ||
| The Diamond | 353 | ||
| The Estuary | 353 | ||
| The Intoxicated Poet | 353 | ||
| xxx | The Jonquils | 353 | |
| The Marigold | 353 | ||
| The Mermaid | 354 | ||
| The Middle Kingdom | 354 | ||
| The Milky Way | 354 | ||
| The Onion | 354 | ||
| The Sea-Shell | 354 | ||
| The Stupid Kite | 354 | ||
| The Windmill | 355 | ||
| The Word | 355 | ||
| John Hall Wheelock: | |||
| Sunday Evening in the Common | 355 | ||
| Spring | 356 | ||
| Like Music | 356 | ||
| The Thunder-Shower | 357 | ||
| Song | 357 | ||
| Alone | 358 | ||
| Nirvana | 358 | ||
| Triumph of the Singer | 358 | ||
| Hervey White: | |||
| Last Night | 359 | ||
| I Saw the Clouds | 360 | ||
| Margaret Widdemer: | |||
| The Beggars | 361 | ||
| Teresina’s Face | 362 | ||
| Greek Folk Song | 362 | ||
| Florence Wilkinson: | |||
| Our Lady of Idleness | 363 | ||
| Students | 365 | ||
| Marguerite Wilkinson: | |||
| A Woman’s Beloved—A Psalm | 367 | ||
| An Incantation | 368 | ||
| xxxiWilliam Carlos Williams: | |||
| Sicilian Emigrant’s Song | 369 | ||
| Peace on Earth | 370 | ||
| The Shadow | 371 | ||
| Metric Figure | 371 | ||
| Sub Terra | 372 | ||
| Slow Movement | 373 | ||
| Postlude | 374 | ||
| Charles Erskine Scott Wood: | |||
| “The Poet in the Desert”—Extracts from the Prologue | 375 | ||
| Edith Wyatt: | |||
| On the Great Plateau | 377 | ||
| Summer Hail | 379 | ||
| To F. W. | 380 | ||
| A City Afternoon | 382 | ||
“There was a girl with him for a time. She took him to her room when he was desolate and warmed him and took care of him. One day he could not find her. For many weeks he walked constantly in that locality in search of her.”—From Life of Francis Thompson.
Note. The last stanza in the first ballad sung is a fragment of an old country song; the rest of it, with the other two ballads, is invented. But they are all in the convention of songs still sung by strolling ballad-singers. I have written the common word for pasture-field “paurk” so as not to give a wrong association: it might be written “park,” as Burns, using the word in the same sense, writes it. “Paurk” or “park” is Gaelic for pasture field, and is always used in Irish country speech in that sense. The two last lines spoken are translations of a Gaelic phrase which has been used by Dr. Douglas Hyde as a motto for his collection of Connacht love songs. P. C.
For the God spake not....
[The scene is a bare room, with two shaded windows at the back, and a fireplace between them with a fire burning low. The room contains a few plain chairs, and a rough wooden table on which are piled many small wooden trays. The Counter, who is Death, sits at the table. He wears a loose gray robe, and his face is partly concealed by a gray veil. The Bearer is the World, that bears the burden of War. He wears a soiled robe of brown and green and he carries on his back a gunny-bag filled with the little metal disks that have been used for the identification of the slain common soldiers.]
Liadain and Curithir were two poets who lived in Ireland in the seventh century. They fell in love, but while Curithir was absent making preparations for their marriage, Liadain, for some unexplained reason, took the vows of a nun. Curithir in despair became a monk. At first they continued to see each other, but when this led to the breaking of their vows, Curithir left Liadain to spend his life in penance and thus save his soul.
A Song in Chinese Tapestries
Dedicated to S. T. F.
Red slippers in a shop-window; and outside in the street, flaws of gray, windy sleet!
Behind the polished glass the slippers hang in long threads of red, festooning from the ceiling like stalactites of blood, flooding the eyes of passers-by with dripping color, jamming their crimson reflections against the windows of cabs and tram-cars, screaming their claret and salmon into the teeth of the sleet, plopping their little round maroon lights upon the tops of umbrellas.
The row of white, sparkling shop-fronts is gashed and bleeding, it bleeds red slippers. They spout under the electric light, fluid and fluctuating, a hot rain—and freeze again to red slippers, myriadly multiplied in the mirror side of the window.
195They balance upon arched insteps like springing bridges of crimson lacquer; they swing up over curved heels like whirling tanagers sucked in a wind-pocket; they flatten out, heelless, like July ponds, flared and burnished by red rockets.
Snap, snap, they are cracker sparks of scarlet in the white, monotonous block of shops.
They plunge the clangor of billions of vermilion trumpets into the crowd outside, and echo in faint rose over the pavement.
People hurry by, for these are only shoes, and in a window farther down is a big lotus bud of cardboard, whose petals open every few minutes and reveal a wax doll, with staring bead eyes and flaxen hair, lolling awkwardly in its flower chair.
One has often seen shoes, but whoever saw a cardboard lotus bud before?
The flaws of gray, windy sleet beat on the shop-window where there are only red slippers.
From the Chinese of Li Po, usually considered the greatest poet of China: written by him while in exile about 760 A. D., to the Hereditary War-Councillor of Sho, “recollecting former companionship.”
(Translated by Ezra Pound from the notes of the late Ernest Fenollosa, and the decipherings of the Professors Mori and Araga.)
The aged man, when he beheld winter approaching, counted the leaves as they lapsed from the acacia trees; while his son was talking of the spring.
Meditating on the glory of illustrious lineage I lifted up my eyes and beheld the bitter purple willows growing round the tombs of the exalted Mings.
The coral fisher, who had been a long time beneath the water, rose to the surface with nothing in his hand but a spray of crimson seaweed. In answer to the master of the junk he said, “While I was in the world of fishes this miserable weed appeared to me more beautiful than coral.”
The poet Wong, after he had delighted a company of mandarins at a feast, sat silent in the midst of his household. He explained, “The diamond sparkles only when it is in the light.”
Some one complained to the Master, “After many lessons I do not fully understand your doctrine.” In response the Master pointed to the tide in the mouth of the river, and asked, “How wide is the sea in this place?”
A poet, having taken the bridle off his tongue, spoke thus: “More fragrant than the heliotrope, which blooms all the year round, better than vermilion letters on tablets of sendal, are thy kisses, thou shy one!”
I have heard that a certain princess, when she found that she had been married by a demon, wove a wreath of jonquils and sent it to the lover of former days.
Even as the seed of the marigold, carried by the wind, lodges on the roofs of palaces, and lights the air with flame-colored blossoms, so may the child-like words of the insignificant poet confer honor on lofty and disdainful mandarins.
The sailor boy who leant over the side of the Junk of Many Pearls, and combed the green tresses of the sea with his ivory fingers, believing that he had heard the voice of a mermaid, cast his body down between the waves.
The emperors of fourteen dynasties, clad in robes of yellow silk embroidered with the Dragon, wearing gold diadems set with pearls and rubies, and seated on thrones of incomparable ivory, have ruled over the Middle Kingdom for four thousand years.
My mother taught me that every night a procession of junks carrying lanterns moves silently across the sky, and the water sprinkled from their paddles falls to the earth in the form of dew. I no longer believe that the stars are junks carrying lanterns, no longer that the dew is shaken from their oars.
The child who threw away leaf after leaf of the many-coated onion, to get to the sweet heart, found in the end that he had thrown away the heart itself.
To the passionate lover, whose sighs come back to him on every breeze, all the world is like a murmuring sea-shell.
A kite, while devouring a skylark, complained, “Had I known that thy flesh was no sweeter than that of a sparrow I should have listened longer to thy delicious notes.”
The exquisite painter Ko-tsu was often reproached by an industrious friend for his fits of idleness. At last he excused himself by saying, “You are a watermill—a windmill can grind only when the wind blows.”
The first time the emperor Han heard a certain Word he said, “It is strange.” The second time he said, “It is divine.” The third time he said, “Let the speaker be put to death.”
The editors desire to express their thanks to the poets represented in this anthology; also to the publishers of books marked with an asterisk (*), and to the editors and publishers of magazines listed below, for their very kind permission to use the poems here reprinted.
The endeavor has been to list below all the books of verse, or books about poetry, thus far printed by the poets quoted in this anthology: and then to refer the reader to magazines which first published the quoted poems, and to some of the anthologies which have included them. It has been impossible, however, to note in every case the magazine in which a poem was first printed, the records not being included in the volumes from which they are taken; but we have tried to credit especially certain periodicals which make a specialty of this subject.
A recent revision of the bibliography, for the ninth edition, enables the editors to include all titles of books published up to Oct. 1st, 1919.
| CONRAD AIKEN | |
| Earth Triumphant | Macmillan Co., New York: 1914 |
| * Turns and Movies | Houghton Mifflin Co., Boston: 1916 |
| The Jig of Forslin | Four Seas Co., Boston: 1916 |
| Nocturne of Remembered Spring | Four Seas Co.: 1917 |
| The Charnel Rose: Senlin, a Biography | Four Seas Co.: 1918 |
| In Poetry: Sept., 1915 (Vol. VI). | |
| ZOË AKINS | |
| * Interpretations | Grant Richards, London: 1912 |
| * Interpretations | Mitchell Kennerley, New York: 1914 |
| In Poetry: Jan., 1915 (Vol. V). | |
| RICHARD ALDINGTON | |
| * Images, Old and New | Poetry Bookshop, London: 1915 |
| * Images, Old and New | Four Seas Co., Boston: 1916 |
| Reverie (ed. of 50) | Clerk’s Press, Cleveland: 1917 |
| 386War and Love | Four Seas Co.: 1919 |
| Images of War | Beaumont Press, London: 1919 |
| In Poetry: Jan., 1914 (Vol. III); Oct., 1915 (Vol. VII); Oct., 1912 (Vol. I). | |
| In Some Imagist Poets: I-II | Houghton Mifflin Co.: 1915, 1916 |
| In Des Imagistes | Albert & Chas. Boni, New York: 1914 |
| MARY ALDIS | |
| * Flashlights | Duffield & Co., New York: 1916 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N.Y.: 1916 |
| WALTER CONRAD ARENSBERG | |
| Poems | Houghton Mifflin Co., Boston: 1914 |
| * Idols | Houghton Mifflin Co.: 1916 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| WILTON AGNEW BARRETT | |
| In Poetry: Oct., 1915 (Vol. VII). | |
| JOSEPH WARREN BEACH | |
| Sonnets of the Head and Heart | Richard G. Badger, Boston: 1903 |
| In Poetry: May, 1915 (Vol. VI). | |
| WILLIAM ROSE BENÉT | |
| Merchants from Cathay | Century Co., New York: 1913 |
| * The Falconer of God | Yale Univ. Press, New Haven, Conn.: 1914 |
| The Great White Wall | Yale Univ. Press: 1916 |
| The Burglar of the Zodiac | Yale Univ. Press: 1918 |
| In Poetry: June, 1914 (Vol. IV); April, 1916 (Vol. VIII). | |
| MAXWELL BODENHEIM | |
| Minna and Myself | Pagan Pub. Co., New York: 1918 |
| In Poetry: Aug., 1914 (Vol. IV). | |
| In Others: Sept., 1915 (Vol. I). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| 387GORDON BOTTOMLEY | |
| * Chambers of Imagery: Series I-II | Elkin Mathews, London: 1912 |
| Laodice and Danaë | Four Seas Co., Boston: 1916 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| ROLLO BRITTEN | |
| In Poetry: June, 1913 (Vol. III). | |
| RUPERT BROOKE | |
| * The Collected Poems of Rupert Brooke | John Lane Co., London and N. Y.: 1915 |
| Selected Poems | Sidgwick & Jackson, London: 1917 |
| Rupert Brooke, a Memoir, by Edward Marsh | John Lane Co.: 1918 |
| In Poetry: Oct., 1914 (Vol. V); April, 1915 (Vol. VI). | |
| In New Numbers | Privately printed, London: 1914–1915 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| WITTER BYNNER | |
| An Ode to Harvard and Other Poems | Small, Maynard & Co.: 1907 |
| Tiger | Mitchell Kennerley, New York: 1913 |
| The Little King | Mitchell Kennerley: 1914 |
| * The New World | Mitchell Kennerley: 1915 |
| Iphigenia in Tauris | Mitchell Kennerley: 1916 |
| Grenstone Poems | Fred. A. Stokes Co.: 1917 |
| A Canticle of Praise (Ltd. ed.) | Privately printed by John Henry Nash, San Francisco: 1919 |
| The Beloved Stranger | Alf. A. Knopf, N. Y.: 1919 |
| In Poetry: April, 1914 (Vol. IV); Feb., 1913 (Vol. I). | |
| JOSEPH CAMPBELL (Seosamh MacCathmhaoil) | |
| The Garden of the Bees | Erskine Mayne, Belfast: 1905 |
| The Rushlight | Maunsel & Co., Ltd., Dublin: 1906 |
| The Gilly of Christ | Maunsel & Co., Ltd.: 1907 |
| The Man-Child | Loch Press, London: 1907 |
| The Mountainy Singer | Maunsel & Co., Ltd.: 1909 |
| Mearing Stones | Maunsel & Co., Ltd.: 1911 |
| Judgment: a Play | Maunsel & Co., Ltd.: 1912 |
| 388*Irishy | Maunsel & Co., Ltd.: 1913 |
| Earth of Cualann | Maunsel & Co., Ltd.: 1917 |
| The Mountainy Singer | Four Seas Co., Boston: 1919 |
| In Poetry: March, 1916 (Vol. VII). | |
| NANCY CAMPBELL | |
| The Little People | Arthur Humphreys, London: 1910 |
| Agnus Dei | Maunsel & Co., Ltd., Dublin: 1912 |
| In Poetry: Aug., 1915 (Vol. VI). | |
| SKIPWITH CANNÉLL | |
| In Poetry: Sept., 1914 (Vol. IV). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| WILLA SIBERT CATHER | |
| April Twilights | Richard G. Badger, Boston: 1903 |
| In McClure’s Magazine: June, 1909 (Vol. XXXIII); June, 1912 (Vol. XXXIX). | |
| PADRAIC COLUM | |
| * Wild Earth | Maunsel & Co., Ltd., Dublin: 1910 (cir.) |
| * Wild Earth and Other Poems | Henry Holt & Co., New York: 1916 |
| In Poetry: July, 1915 (Vol. VI); March, 1914 (Vol. III). | |
| In Others: Dec., 1915 (Vol. I). | |
| GRACE HAZARD CONKLING | |
| * Afternoons of April | Houghton Mifflin Co., Boston: 1915 |
| In Poetry: Nov., 1915 (Vol. VII). | |
| ALICE CORBIN (Mrs. Wm. P. Henderson) | |
| * The Spinning Woman of the Sky | Ralph Fletcher Seymour, Chicago: 1912 |
| In Poetry: Dec., 1914 (Vol. V); Jan., 1916 (Vol. VII); Dec., 1912 (Vol. I). | |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| 389ADELAIDE CRAPSEY | |
| * Verse | The Manas Press, Rochester, N. Y.: 1915 |
| A Study in English Metrics | Alf. A. Knopf, New York: 1918 |
| In Others: March, 1916 (Vol. II). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| H. D. (Mrs. Richard Aldington) | |
| * Sea-garden: Imagist Poems | Constable & Co., Ltd., London; Houghton Mifflin Co., Boston: 1916 |
| In Poetry: Jan., 1913 (Vol. I); March, 1915 (Vol. V). | |
| In Des Imagistes | Albert & Chas. Boni, New York: 1914 |
| In Some Imagist Poets: I-II | Houghton Mifflin Co.: 1915, 1916 |
| MARY CAROLYN DAVIES | |
| Songs | Univ. of Cal. Press, Berkeley, Cal.: 1914 (cir.) |
| The Drums in our Street | Macmillan Co.: 1918 |
| The Slave with Two Faces (a play) | Egmont Arens, New York: 1918 |
| A Little Freckled Person (child verse) | Houghton Mifflin Co.: 1919 |
| Youth Riding | Macmillan Co.: 1919 |
| In Others: July, 1915 (Vol. II). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| FANNIE STEARNS DAVIS (Mrs. Augustus McK. Gifford) | |
| Myself and I | Macmillan Co., New York: 1914 |
| Crack O’Dawn | Macmillan Co.: 1915 |
| In Poetry: March, 1913 (Vol. I). | |
| In Atlantic Monthly: Jan., 1913 (Vol. CXI). | |
| WALTER DE LA MARE | |
| Songs of Childhood | Longmans, Green & Co., London: 1902, 1916 |
| Poems | John Murray, London: 1906 |
| A Child’s Day | Constable & Co., Ltd., London: 1912 |
| Peacock Pie | Constable & Co., Ltd.: 1913 |
| * The Listeners | Constable & Co., Ltd.: 1912 |
| * The Listeners | Henry Holt & Co., New York: 1915 |
| 390The Sunken Garden and Other Poems (Ltd. ed.) | Beaumont Press, London: 1917 |
| Peacock Pie | Henry Holt & Co.: 1917 |
| Motley and Other Poems | Henry Holt & Co.: 1918 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| LEE WILSON DODD | |
| A Modern Alchemist | Richard G. Badger, Boston: 1906 |
| * The Middle Miles | Yale Univ. Press, New Haven, Conn.: 1915 |
| In Poetry: Jan., 1915 (Vol. V). | |
| JOHN DRINKWATER | |
| Cophetua | David Nutt, London: 1912 |
| Rebellion | David Nutt: 1914 |
| * Swords and Ploughshares | Sidgwick & Jackson, London: 1915 |
| Olton Pools | Sidgwick & Jackson: 1916 |
| Poems: 1908–1914 | Sidgwick & Jackson: 1917 |
| Pawns: Three Poetic Plays | Sidgwick & Jackson: 1917 |
| Tides | Sidgwick & Jackson: 1917 |
| Loyalties | Sidgwick & Jackson: 1919 |
| In Poetry: Dec., 1915 (Vol. VII). | |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| LOUISE DRISCOLL | |
| In Poetry: Nov., 1914 (Vol. V). | |
| DOROTHY DUDLEY (Mrs. Henry B. Harvey) | |
| In Poetry: June, 1915 (Vol. VI). | |
| HELEN DUDLEY | |
| In Poetry: Oct., 1912 (Vol. I), Aug., 1914 (Vol. IV). | |
| MAX EASTMAN | |
| * Child of the Amazons and Other Poems | Mitchell Kennerley: 1913 |
| Colors of Life | Alf. A. Knopf, New York: 1918 |
| The Enjoyment of Poetry | Chas. Scribner’s Sons, New York: 1913 |
| 391T. S. ELIOT | |
| Prufrock and Other Observations | The Egoist, Ltd., London: 1917 |
| Ezra Pound, his Metric and Poetry | Alf. A. Knopf, New York: 1917 |
| In Others: Sept., 1915 (Vol. I). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| ARTHUR DAVISON FICKE | |
| From the Isles | Samurai Press, Cranleigh and London: 1907 |
| The Happy Princess and Other Poems | Small, Maynard & Co.: 1907 |
| The Earth Passion | Samurai Press: 1908 |
| The Breaking of Bonds | Mitchell Kennerley, New York: 1910 |
| Twelve Japanese Painters | Ralph Fletcher Seymour Co., Chicago: 1913 |
| Mr. Faust | Mitchell Kennerley: 1913 |
| * Sonnets of a Portrait Painter | Mitchell Kennerley: 1914 |
| * The Man on the Hilltop | Mitchell Kennerley: 1915 |
| An April Elegy | Mitchell Kennerley: 1917 |
| In Poetry: March, 1915 (Vol. V); Feb., 1913 (Vol. I). | |
| In The Forum: Aug., 1914 (Vol. LII). | |
| JOHN GOULD FLETCHER | |
| Fire and Wine | Grant Richards, London: 1913 |
| Fool’s Gold | Max Goschen, Ltd., London: 1913 |
| The Dominant City | Max Goschen, Ltd.: 1913 |
| The Book of Nature | Constable & Co., Ltd., London: 1913 |
| Visions of the Evening | Erskine McDonald, London: 1913 |
| * Irradiations | Houghton Mifflin Co., Boston: 1916 |
| * Goblins and Pagodas | Houghton Mifflin Co.: 1916 |
| The Tree of Life | Chatto & Windus, London: 1918 |
| Japanese Prints | Four Seas Co., Boston: 1918 |
| In Poetry: Dec., 1913 (Vol. III); March, 1916 (Vol. VI); Sept., 1914 (Vol. IV). | |
| In Some Imagist Poets: I-II | Houghton Mifflin Co.: 1915, 1916 |
| F. S. FLINT | |
| In the Net of the Stars | Elkin Mathews, London: 1909 |
| * Cadences | Poetry Bookshop, London: 1915 |
| The Mosella of Decimus Magnus Ansonius | The Egoist, London: 1916 |
| 392Philip II (translated from the French of Emile Verhaeren) | Constable & Co., Ltd., London: 1916 |
| The Love Poems of Emile Verhaeren (Translated from French) | Constable & Co., Ltd.: 1916 |
| The Closed Door (from French of Jean de Bosschère) | John Lane Co., London & New York: 1917 |
| In Poetry: July, 1913 (Vol. II). | |
| In Des Imagistes | Albert & Chas. Boni, New York: 1914 |
| In Some Imagist Poets: I-II | Houghton Mifflin Co.: 1915, 1916 |
| MOIREEN FOX (Mrs. a Cheavasa) | |
| Liadain and Curithir | B. H. Blackwell, Oxford, Eng.: 1917 |
| Midyir and Etain | Candle Press, Dublin: 1918 |
| In Poetry: March, 1915 (Vol. V). | |
| FLORENCE KIPER FRANK | |
| Cinderelline | Dramatic Publ. Co., Chicago: 1913 |
| * The Jew to Jesus and Other Poems | Mitchell Kennerley: 1915 |
| In Poetry: Nov., 1914 (Vol. V). | |
| ROBERT FROST | |
| * A Boy’s Will | David Nutt, London: 1913 |
| * A Boy’s Will | Henry Holt & Co., New York: 1915 |
| * North of Boston | David Nutt, London: 1914 |
| * North of Boston | Henry Holt & Co., New York: 1915 |
| Mountain Interval | Henry Holt & Co.: 1916 |
| In Poetry: Feb., 1914 (Vol. III). | |
| HAMLIN GARLAND | |
| Prairie Songs | Stone & Kimball, Chicago: 1893 |
| In Poetry: Nov. 1913 (Vol. III). | |
| WILFRID WILSON GIBSON | |
| The Golden Helm | Elkin Mathews, London: 1903 |
| The Nets of Love | Elkin Mathews, London: 1905 |
| On the Threshold | Samurai Press, Cranleigh & London: 1907 |
| The Stonefolds | Samurai Press: 1907 |
| The Web of Life | Samurai Press: 1908 |
| 393Fires I-II | Elkin Mathews, London: 1912 |
| Daily Bread | Elkin Mathews, London: 1913 |
| Womenkind | Adams & Black, London: 1913 |
| Womenkind | Macmillan Co., New York: 1912 |
| * Borderlands | Elkin Mathews, London: 1914 |
| * Thoroughfares | Elkin Mathews, London: 1914 |
| * Borderlands and Thoroughfares | Macmillan Co., New York: 1914 |
| * Battle and Other Poems | Elkin Mathews, London; Macmillan Co., New York: 1916 |
| Daily Bread | Macmillan Co., New York: 1916 |
| Fires | Macmillan Co., New York: 1916 |
| Livelihood | Macmillan Co., N. Y. & London: 1917 |
| Collected Works | Macmillan Co., N. Y. & London: 1917 |
| Hill Tracks | Macmillan Co., N. Y. & London: 1918 |
| In Poetry: March, 1916 (Vol. III); June, 1914 (Vol. IV); Aug., 1915 (Vol. VI). | |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| RICHARD BUTLER GLAENZER | |
| Beggar and King | Yale Univ. Press, New Haven, Conn.: 1917 |
| In Poetry: July, 1914 (Vol. IV). | |
| DOUGLAS GOLDRING | |
| A Country Boy | Adelphi Press, London: 1910 |
| Streets | Max Goschen, London: 1912 |
| In the Town | Selwyn & Blount, London: 1916 |
| *On the Road | Selwyn & Blount, London: 1916 |
| In Poetry: May, 1915 (Vol. VI). | |
| HERMANN HAGEDORN | |
| The Silver Blade | Alfred Unger, Berlin: 1907 |
| The Woman of Corinth (out of print) | Houghton Mifflin Co.: 1908 |
| A Troop of the Guard and Other Poems (out of print) | Houghton Mifflin Co.: 1909 |
| * Poems and Ballads | Macmillan Co., New York: 1909 |
| The Great Maze and The Heart of Youth | Macmillan Co.: 1916 |
| Hymn of Free Peoples Triumphant | Macmillan Co.: 1918 |
| In Poetry: Sept., 1915 (Vol. VI). | |
| 394THOMAS HARDY | |
| Wessex Poems, and Other Verses | Macmillan & Co., Ltd., London |
| Wessex Poems, and Other Verses | Harper & Bros., N. Y.: 1899 |
| Poems of the Past and the Present | Macmillan & Co., Ltd., London |
| Poems of the Past and the Present | Harper & Bros., N. Y.: 1901 |
| The Dynasts: a Drama in Three Parts | Macmillan & Co.: 1904 |
| The Dynasts: a Drama in Three Parts | Macmillan Co., N. Y.: 1904 |
| * Time’s Laughing-stocks | Macmillan & Co., Ltd., London: 1909 |
| * Satires of Circumstance | Macmillan & Co., Ltd., London: 1914 |
| Selected Poems | Macmillan & Co., Ltd., London: 1916 |
| Moments of Vision and Miscellaneous Verse | Macmillan & Co., Ltd. 1917 |
| RALPH HODGSON | |
| * Eve | Flying Fame, London: 1913 |
| The Bull | Flying Fame: 1913 |
| * The Mystery | Flying Fame: 1913 |
| The Song of Honour (out of print) | Flying Fame: 1913 |
| Seven Broadsides (Decorated by Lovat Fraser) | Flying Fame: 1913 |
| All the above re-issued by the Poetry Bookshop, London: 1914 | |
| Poems | Macmillan Co., New York: 1917 |
| The Last Blackbird and Other Lines | George Allen & Unwin, Ltd., London; Macmillan Co., New York: 1917 |
| In Georgian Poetry: 1913–1915 | Poetry Bookshop, London: 1915 |
| HORACE HOLLEY | |
| The Inner Garden | Sherman French & Co., Boston: 1913 |
| The Stricken King | Shakespeare Head Press, Stafford-on-Avon: 1913 |
| Divinations and Creation | Mitchell Kennerley, New York: 1916 |
| In Poetry: May, 1915 (Vol. VI). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| HELEN HOYT | |
| In Poetry: Aug., 1913 (Vol. II); Aug., 1915 (Vol. VI). | |
| In Masses: Dec., 1915 (Vol. VIII). | |
| In Others: An Anthology of the New Verse Alf. A. Knopf, N. Y.: 1916 | |
| 395FORD MADOX HUEFFER | |
| Collected Poems | Max Goschen, London: 1914 |
| * Antwerp | Poetry Bookshop, London: 1915 |
| On Heaven and Poems Written on Active Service | John Lane Co., London & New York: 1918 |
| SCHARMEL IRIS | |
| * Lyrics of a Lad | Seymour Daughaday & Co., Chicago: 1914 |
| In Poetry: Dec., 1914 (Vol. V). | |
| ORRICK JOHNS | |
| Asphalt and Other Poems | Alf. A. Knopf, New York: 1917 |
| In Poetry: Feb., 1914 (Vol. III). | |
| In Catholic Anthology | Elkin Mathews: 1915 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| JOYCE KILMER | |
| Summer of Love | Doubleday Page & Co.: 1911 |
| * Trees and Other Poems | George H. Doran Co., New York: 1914 |
| Main Street and Other Poems | George H. Doran Co.: 1917 |
| Joyce Kilmer: Poems, Essays and Letters; with a Memoir by Robert Coates Holliday | George H. Doran Co.: 1918 |
| In Poetry: Aug., 1913 (Vol. II); April, 1914 (Vol. IV). | |
| ALFRED KREYMBORG | |
| * Mushrooms | John Marshall Co., Ltd., New York: 1916 |
| Plays for Poem-mimes | The Other Press, New York: 1918 |
| In Poetry: Feb., 1916 (Vol. VII). | |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| WILLIAM LAIRD | |
| In Poetry: Sept., 1914 (Vol. IV); July, 1913 (Vol. II). | |
| D. H. LAWRENCE | |
| Love Poems and Others | Duckworth, London: 1913 |
| * Amores | Duckworth, London: 1916 |
| 396* Amores | B. W. Huebsch, New York: 1916 |
| Look! We have Come Through | Chatto & Windus, London: 1917 |
| Look! We have Come Through | B. W. Huebsch: 1918 |
| New Poems | Martin Secker, London: 1918 |
| In Poetry: Jan., 1914 (Vol. III); Dec., 1914 (Vol. V). | |
| In Some Imagist Poets: I-II | Houghton Mifflin Co.: 1915, 1916 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| AGNES LEE (Mrs. Otto Freer) | |
| Verses for Children | Copeland and Day, Boston: 1898 |
| Verses for Children | Small, Maynard & Co., Boston: 1901 |
| The Border of the Lake | Sherman, French & Co., Boston: 1910 |
| * The Sharing | Sherman, French & Co.: 1914 |
| Théophile Gautier’s Émaux et Camées (Translation) | George D. Sproul, New York: 1903 |
| Fernand Gregh’s La Maison de l’Enfance (Translation) | Dodd, Mead & Co., New York: 1907 |
| In Poetry: Oct., 1914 (Vol. V). | |
| WILLIAM ELLERY LEONARD | |
| The Vaunt of Man and Other Poems | B. W. Huebsch, N. Y.: 1913 |
| Fragments of Empedocles, translated into English verse | Open Court Pub. Co., Chicago: 1908 |
| Aesop and Hyssop (fables in verse) | Open Court Pub. Co.: 1912 |
| Of the Nature of Things, by Lucretius, translated into blank verse | J. M. Dent & Sons, London; E. P. Dutton & Co., New York: 1916 |
| In Poetry: Oct., 1913 (Vol. III). | |
| VACHEL LINDSAY | |
| Rhymes to be Traded for Bread | Privately printed, Springfield, Ill.: 1912 |
| The Village Magazine | Privately printed, Springfield, Ill.: 1912 |
| * General William Booth Enters into Heaven and Other Poems | Mitchell Kennerley, 1913; Macmillan Co.: 1916 |
| * The Congo and Other Poems | Macmillan Co.: 1915 |
| The Chinese Nightingale and Other Poems | Macmillan Co.: 1917 |
| In Poetry: Jan., 1913 (Vol. I); April, 1914 (Vol. IV); Feb., 1915 (Vol. V). | |
| 397AMY LOWELL | |
| * A Dome of Many-coloured Glass | Houghton Mifflin Co.: 1912 |
| * A Dome of Many-coloured Glass | Macmillan Co., New York: 1914 |
| * Sword Blades and Poppy Seed | Macmillan Co.: 1914 |
| Men, Women and Ghosts | Macmillan Co.: 1916 |
| Can Grande’s Castle | Macmillan Co.: 1918 |
| Pictures of the Floating World | Macmillan Co.: 1919 |
| Six French Poets—Studies in Contemporary Literature | Macmillan Co.: 1915 |
| Tendencies in Modern American Poetry | Macmillan Co.: 1917 |
| In Poetry: Aug., 1916 (Vol. VIII); April, 1915 (Vol. VI); April, 1914 (Vol. IV); Sept., 1915 (Vol. VI); July, 1913 (Vol. II). | |
| In The Little Review: Aug., 1915 (Vol. II). | |
| PERCY MACKAYE | |
| Poems | Macmillan Co., New York: 1909 |
| Lincoln: Centenary Ode | Macmillan Co.: 1909 |
| Uriel and Other Poems | Houghton Mifflin Co., Boston: 1912 |
| The Present Hour | Macmillan Co.: 1914 |
| The Sistine Eve and Other Poems (reprint of Poems, 1909) | Macmillan Co.: 1915 |
| * Collected Poems | Macmillan Co.: 1916 |
| Poems and Plays (2 vols.) | Macmillan Co.: 1916 |
| FREDERIC MANNING | |
| The Vigil of Brunhilde | John Murray, London: 1905 |
| Poems | John Murray, London: 1908 |
| Eidola | John Murray, London; E. P. Dutton & Co., N. Y.: 1917 |
| In Poetry: June, 1913 (Vol. II). | |
| JOHN MASEFIELD | |
| * Salt Water Ballads | Grant Richards, London: 1902 |
| Ballads (out of print) | Elkin Mathews, London: 1903 |
| Ballads and Poems | Elkin Mathews, London: 1910 |
| The Everlasting Mercy | Sidgwick & Jackson, London: 1911 |
| The Widow in the Bye Street | Sidgwick & Jackson, London: 1912 |
| The Everlasting Mercy and the Widow in the Bye Street | Macmillan Co., New York: 1912 |
| 398The Story of a Round-house and Other Poems (including Dauber) | Macmillan Co., N. Y.: 1912 |
| The Daffodil Fields | Macmillan Co., N. Y.: 1913 |
| The Daffodil Fields | Wm. Heinemann, London: 1913 |
| Dauber | Wm. Heinemann, London: 1914 |
| Philip the King and Other Poems | Macmillan Co., N. Y.: 1914 |
| Philip the King | Wm. Heinemann, London: 1914 |
| John M. Synge: a Few Personal Recollections (Edition limited to 500) | Macmillan Co., N. Y.: 1915 |
| Good Friday and Other Poems | Macmillan Co., N. Y.: 1916 |
| Good Friday and Other Poems | Wm. Heinemann, London: 1916 |
| * Sonnets Macmillan Co., N. Y.: 1916 | |
| * Salt-water Poems and Ballads (reprint) | Macmillan Co., N. Y.: 1916 |
| Lollingdon Downs and Other Poems | Wm. Heinemann, London; Macmillan Co., N. Y.: 1917 |
| Rosas (autographed ed.) | Macmillan Co., N. Y.: 1917 |
| Poems and Plays (collected, 2 vols.) | Macmillan Co., N. Y.: 1918 |
| A Poem and Two Plays | Wm. Heinemann, London: 1919 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| EDGAR LEE MASTERS | |
| A Book of Verses | Way & Williams, Chicago: 1898 |
| Maximilian, a Tragedy in blank verse | Richard G. Badger: 1902 |
| The Blood of the Prophets, by Dexter Wallace | Rooks Press, Chicago: 1905 |
| Songs and Sonnets, by Webster Ford | Rooks Press: 1911 |
| * Spoon River Anthology | Macmillan Co.: 1915 |
| * Songs and Satires | Macmillan Co.: 1916 |
| The Great Valley | Macmillan Co.: 1916 |
| Spoon River Anthology (with additions) | Macmillan Co.: 1916 |
| Toward the Gulf | Macmillan Co.: 1918 |
| Starved Rock | Macmillan Co.: 1919 |
| In Reedy’s Mirror: 1914. | |
| In Poetry: Feb., 1915 (Vol. V). | |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| ALICE MEYNELL | |
| Poems | John Lane Co., London: 1896 |
| Poems | Copeland & Day, Boston: 1896 |
| 399* Later Poems | John Lane Co., London and N. Y.: 1902 |
| * Poems (including above) | Chas. Scribner’s Sons, N. Y.: 1913 |
| In Poetry: March, 1913 (Vol. I). | |
| MAX MICHELSON | |
| In Poetry: July, 1915 (Vol. VI); May, 1916 (Vol. III). | |
| EDNA ST. VINCENT MILLAY | |
| Renascence and Other Poems | Mitchell Kennerley, New York: 1917 |
| In The Forum: July, 1913; Oct., 1914; Aug., 1915. | |
| HAROLD MONRO | |
| Judas | Sampson Low, London: 1908 |
| Before Dawn | Constable & Co., Ltd., London: 1911 |
| * Children of Love | Poetry Bookshop, London: 1914 |
| Trees | Poetry Bookshop, London: 1915 |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| In Georgian Poetry: I-II | Poetry Bookshop, London: 1912, 1915 |
| HARRIET MONROE | |
| Valeria and Other Poems | Privately printed: 1892 |
| Valeria and Other Poems | A. C. McClurg & Co., Chicago: 1893 |
| Columbian Ode (with decorations by Will. H. Bradley) | W. Irving Way & Co., Chicago: 1893 |
| The Passing Show | Houghton Mifflin Co.: 1903 |
| * You and I | Macmillan Co.: 1914 |
| In Poetry: Feb., 1914 (Vol. III); Sept., 1914 (Vol. III); Aug., 1915 (Vol. IV). | |
| In Catholic Anthology | Elkin Mathews: 1915 |
| JOHN G. NEIHARDT | |
| The Divine Enchantment | James T. White & Co., N. Y.: 1900 (cir.) |
| A Bundle of Myrrh | Outing Co., New York: 1907 |
| * Man-Song | Mitchell Kennerley, New York: 1909 |
| The Stranger at the Gate | Mitchell Kennerley: 1912 |
| The Song of Hugh Glass | Macmillan Co., New York: 1915 |
| * The Quest (Collected Lyrics) | Macmillan Co.: 1916 |
| The Song of Three Friends | Macmillan Co.: 1919 |
| 400YONE NOGUCHI | |
| From the Eastern Sea | Privately printed, London: 1906; Elkin Mathews, London: 1910; Japan Press, Tokio: 1910 |
| * The Pilgrimage | The Valley Press, Kamalsura, Japan: 1909; Elkin Mathews,London; Mitchell Kennerley, New York: 1912 |
| Spirit of Japanese Poetry | E. P. Dutton & Co., New York: 1914 |
| GRACE FALLOW NORTON | |
| Little Gray Songs from St. Joseph’s | Houghton Mifflin Co.: 1912 |
| * The Sister of the Wind | Houghton Mifflin Co.: 1914 |
| Roads | Houghton Mifflin Co.: 1916 |
| What is Your Legion? | Houghton Mifflin Co.: 1916 |
| In Poetry: Jan., 1914 (Vol. III); Dec., 1915 (Vol. VII). | |
| JAMES OPPENHEIM | |
| Monday Morning and Other Poems | Sturgis & Walton Co., N. Y.: 1909 |
| The Pioneers | B. W. Huebsch, New York: 1910 |
| * Songs for the New Age | Century Co., New York: 1914 |
| War and Laughter | Century Co., New York: 1916 |
| The Book of Self | Alf. A. Knopf, New York: 1917 |
| PATRICK ORR | |
| In Poetry: Jan., 1915 (Vol. V). | |
| SEUMAS O’SULLIVAN | |
| New Songs (in collaboration) | O’Donoghue, Dublin: 1904 |
| The Twilight People | Whaley, Dublin: 1905 |
| Verses, Sacred and Profane | Maunsel & Co., Ltd., Dublin: 1908 |
| The Earth Lover | New Nation Press, Dublin: 1909 |
| Selected Lyrics | Thos. B. Mosher, Portland, Maine: 1910 |
| Poems | Maunsel & Co., Ltd.: 1912 |
| An Epilogue and Other Poems | Maunsel & Co., Ltd.: 1914 |
| Requiem and Other Poems | Privately ptd., Dublin: 1917 |
| The Rosses and Other Poems | Maunsel & Co., Ltd.: 1918 |
| In Poetry: Dec., 1914 (Vol. V). | |
| 401JOSEPHINE PRESTON PEABODY (Mrs. Lionel S. Marks) | |
| Marlowe, A Drama | Houghton Mifflin Co., Boston: 1901 |
| The Singing Leaves | Houghton Mifflin Co.: 1908 |
| Fortune and Men’s Eyes | Houghton Mifflin Co.: 1909 |
| * The Singing Man | Houghton Mifflin Co.: 1911 |
| The Piper | Houghton Mifflin Co.: 1911 |
| The Wolf of Gubbio | Houghton Mifflin Co.: 1914 |
| * Harvest Moon | Houghton Mifflin Co.: 1916 |
| EZRA POUND | |
| A Lume Spento (ed. of 100) | Autonelli, Venice, Italy: 1908 |
| A Quinzaine for this Yule | Pollock, London (100); Elkin Mathews, London (100): 1908 |
| * Personæ | Elkin Mathews, London: 1909 |
| * Exultations | Elkin Mathews: 1909 |
| Provença | Small, Maynard & Co., Boston: 1910 |
| Canzoni | Elkin Mathews, London: 1911 |
| * Ripostes | Stephen Swift & Co., Ltd., London: 1912 |
| Sonnets and Ballate of Guido Cavalcanti | Small, Maynard & Co., Boston; Stephen Swift & Co., London: 1912 |
| * Poems (Vols. I-II) | Elkin Mathews: 1913 |
| * Cathay | Elkin Mathews: 1915 |
| * Lustra | Elkin Mathews: 1916 |
| * Lustra, with Earlier Poems | Alfred A. Knopf, New York: 1917 |
| Certain Noble Plays of Japan, trans. by Ernest Fenollosa and Ezra Pound, with Introd. by W. B. Yeats | Cuala Press, Dundrum, Ireland: 1916 |
| Noh, or Accomplishment: a Study of the Classical Stage of Japan with trans. of 15 plays, by E. F. & E. P. | Macmillan & Co., Ltd., London; Alf. A. Knopf, New York: 1917 |
| Pavannes and Divisions (prose essays) | Alf. A. Knopf: 1918 |
| In Poetry: April, 1913 (Vol. II); Nov., 1913 (Vol. III); March, 1915 (Vol. V); Dec., 1915 (Vol. VII). | |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| JOHN REED | |
| * Sangar | Privately printed, Riverside, Conn.: 1912 |
| The Day in Bohemia | Privately printed, Riverside, Conn.: 1913 |
| 402Tamburlaine and Other Poems | Fred. C. Bursch, Riverside, Conn.: 1916 |
| In Poetry: Dec., 1912 (Vol. I). | |
| ERNEST RHYS | |
| The Great Cockney Tragedy | T. Fisher Unwin, London: 1891 |
| A London Rose and Other Rhymes | John Lane, London: 1894 |
| Welsh Ballads | David Nutt, London: 1898 |
| Guenevere | J. M. Dent & Sons, Ltd., London: 1905 |
| Lays of the Round Table | J. M. Dent & Sons, Ltd.: 1905 |
| Enid | J. M. Dent & Sons, Ltd.: 1908 |
| The Masque of the Grail | Elkin Mathews, London: 1908 |
| The Leaf-burners | J. M. Dent & Sons, Ltd.: 1916 |
| In Poetry: Sept., 1913 (Vol. II); Jan., 1913 (Vol. I). | |
| EDWIN ARLINGTON ROBINSON | |
| The Torrent and the Night Before (out of print) | Privately printed, Gardiner, Me.: 1896 |
| The Children of the Night | Richard G. Badger: 1897 |
| Captain Craig | Houghton Mifflin Co.: 1902 |
| * The Children of the Night. | Chas. Scribner’s Sons, New York: 1905 |
| * The Town Down the River | Chas. Scribner’s Sons: 1910 |
| * Captain Craig | Macmillan Co., New York: 1915 |
| * The Man Against the Sky | Macmillan Co.: 1916 |
| Merlin | Macmillan Co.: 1917 |
| CARL SANDBURG | |
| * Chicago Poems | Henry Holt & Co., New York: 1916 |
| Cornhuskers | Henry Holt & Co.: 1918 |
| In Poetry: March, 1914 (Vol. III); Oct., 1915 (Vol. VII); June, 1914 (Vol. IV). | |
| In Catholic Anthology | Elkin Mathews, London: 1915 |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| CLARA SHANAFELT | |
| In Poetry: Oct., 1913 (Vol. III); May, 1915 (Vol. VI); June, 1916 (Vol. VII). | |
| 403FRANCES SHAW | |
| Ragdale Book of Verse | Privately printed, Lake Forest, Ill.: 1911 |
| Songs of a Baby’s Day | A. C. McClurg & Co., Chicago: 1917 |
| In Poetry: March, 1914 (Vol. III); July, 1915 (Vol. VI). | |
| CONSTANCE LINDSAY SKINNER | |
| In Poetry: Oct., 1914 (Vol. V). | |
| JAMES STEPHENS | |
| * Insurrections | Maunsel & Co., Ltd., Dublin: 1909 |
| * Insurrections | Macmillan Co., New York: 1912 |
| The Hill of Vision | Macmillan Co.: 1912 |
| The Hill of Vision | Maunsel & Co., Ltd.: 1912 |
| * Songs from the Clay | Macmillan Co., New York: 1914 |
| * The Adventures of Seumas Beg | Macmillan & Co., Ltd., London: 1915 |
| * The Rocky Road to Dublin (same contents as Seumas Beg) | Macmillan Co., N. Y.: 1915 |
| Green Branches | Maunsel & Co., Ltd., Dublin; Macmillan Co., N. Y.: 1916 |
| Reincarnations | Macmillan Co.: 1917 |
| In Poetry: Aug., 1914 (Vol. IV). | |
| In Georgian Poetry: I—II | Poetry Bookshop, London: 1912, 1915 |
| GEORGE STERLING | |
| The Testimony of the Suns | A. M. Robertson, San Francisco: 1903 |
| A Wine of Wizardry | A. M. Robertson: 1909 |
| The House of Orchids | A. M. Robertson: 1911 |
| * Beyond the Breakers | A. M. Robertson: 1914 |
| Yosemite | A. M. Robertson: 1915 |
| The Evanescent City | A. M. Robertson: 1915 |
| Ode on Opening of Panama Pacific International Exposition | A. M. Robertson: 1915 |
| The Caged Eagle | A. M. Robertson: 1916 |
| In Poetry: Dec., 1912 (Vol. I). | |
| WALLACE STEVENS | |
| In Poetry: Nov., 1915 (Vol. VII). | |
| In Others: Aug., 1915 (Vol. I). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| 404AJAN SYRIAN | |
| In Poetry: June, 1915 (Vol. VI). | |
| RABINDRANATH TAGORE | |
| Gitanjali | Privately printed by the India Society, London: 1912 |
| * Gitanjali | Macmillan & Co., Ltd., London: 1913 |
| * Gitanjali | Macmillan Co., New York: 1913 |
| * The Gardener | Macmillan Co., N. Y. and London: 1913 |
| Chitra | India Society, London: 1913 |
| Chitra | Macmillan Co., N. Y. and London: 1913 |
| Songs of Kabir (translation) | India Society, London: 1914 |
| Songs of Kabir | Macmillan Co., N. Y. and London: 1914 |
| The Crescent Moon | Macmillan Co., N. Y. and London: 1914 |
| The Post-office | Macmillan Co., N. Y. and London: 1914 |
| The King of the Dark Chamber | Macmillan Co., N. Y. and London: 1914 |
| Fruit-gathering | Macmillan Co., N. Y. and London: 1916 |
| Stray Birds | Macmillan Co., N. Y. and London: 1916 |
| The Cycle of Spring | Macmillan Co., N. Y. and London: 1917 |
| Gitanjali and Fruit-gathering (1 vol., illus’d) | Macmillan Co.: 1918 |
| Lover’s Gift and Crossing | Macmillan Co., N. Y. and London: 1918 |
| Gitanjali (popular ed.) | Four Seas Co., Boston: 1919 |
| In Poetry: Dec., 1912 (Vol. I); June, 1913 (Vol. II). | |
| SARA TEASDALE | |
| Sonnets to Duse | Poet-lore Co., Boston: 1907 |
| Helen of Troy and Other Poems | G. P. Putnam’s Sons, New York: 1911 |
| * Rivers to the Sea | Macmillan Co., New York: 1915 |
| Love Songs | Macmillan Co.: 1917 |
| Sonnets to Duse | Four Seas Co., Boston: 1919 |
| In Poetry: Oct., 1915 (Vol. VII); March, 1914 (Vol. III). | |
| In Yale Review: July, 1916 (Vol. V). | |
| EUNICE TIETJENS | |
| Profiles from China | Ralph Fletcher Seymour, Chicago: 1917; Alf. A. Knopf, N. Y.: 1919 |
| Body and Raiment | Alf. A. Knopf: 1919 |
| In Poetry: March, 1915 (Vol. V); Sept., 1914 (Vol. IV). | |
| In The Century: June, 1915 (Vol. XC). | |
| 405RIDGELY TORRENCE | |
| The House of a Hundred Lights | Small, Maynard & Co., Boston: 1900 |
| El Dorado: A Tragedy | John Lane Co., New York: 1903 |
| Abelard and Heloise | Chas. Scribner’s Sons, New York: 1907 |
| Plays for a Negro Theatre | Macmillan Co., New York: 1917 |
| In Poetry: April, 1916 (Vol. VI). | |
| In The New Republic, Feb. 26, 1916. | |
| CHARLES HANSON TOWNE | |
| The Quiet Singer | Mitchell Kennerley, New York: 1908 |
| Manhattan | Mitchell Kennerley: 1909 |
| Youth | Mitchell Kennerley: 1910 |
| * Beyond the Stars and Other Poems | Mitchell Kennerley: 1912 |
| To-day and To-morrow | Geo. H. Doran Co., New York: 1916 |
| Autumn Loiterers | Geo. H. Doran Co.: 1917 |
| In Poetry: Nov., 1912 (Vol. I). | |
| LOUIS UNTERMEYER | |
| The Younger Quire (out of print) | The Moods Publishing Co.: 1911 |
| First Love | Sherman French & Co.: 1911 |
| * Challenge | Century Co., New York: 1914 |
| “... and Other Poets” | Henry Holt & Co., New York: 1916 |
| These Times | Henry Holt & Co.: 1917 |
| Poems of Heinrich Heine (trans.) | Henry Holt & Co.: 1917 |
| The New Era in American Poetry | Henry Holt & Co.: 1919 |
| ALLEN UPWARD | |
| In Poetry: Sept., 1913 (Vol. II). | |
| JOHN HALL WHEELOCK | |
| The Human Fantasy (out of print) | Sherman French & Co.: 1911 |
| * The Beloved Adventure | Sherman French & Co.: 1912 |
| * Love and Liberation | Sherman French & Co.: 1913 |
| Dust and Light | Charles Scribner’s Sons: 1919 |
| In Poetry: Aug., 1913 (Vol. II); Nov., 1915 (Vol. VII). | |
| 406HERVEY WHITE | |
| New Songs for Old Maverick | Press, Woodstock, N. Y.: 1910 |
| * A Ship of Souls | Maverick Press: 1910 |
| In an Old Man’s Garden | Maverick Press: 1910 |
| The Adventures of Young Maverick | Maverick Press: 1911 |
| MARGARET WIDDEMER (Mrs. Robert Haven Schauffler) | |
| * The Factories with Other Lyrics | John C. Winston Co., Philadelphia: 1915; Henry Holt & Co., New York: 1917 |
| Old Road to Paradise | Henry Holt & Co.: 1918 |
| In Poetry: Nov., 1912 (Vol. I); Aug., 1913 (Vol. II); Feb., 1915 (Vol. V). | |
| FLORENCE WILKINSON (Mrs. Wilfrid Muir Evans) | |
| * The Far Country | McClure Phillips & Co., New York: 1906 |
| * The Ride Home | Houghton Mifflin Co., Boston: 1916 |
| In Poetry: Dec., 1913 (Vol. III), Jan., 1916 (Vol. VII). | |
| MARGUERITE WILKINSON | |
| * In Vivid Gardens | Sherman French & Co., Boston: 1911 |
| By a Western Wayside | Privately printed: 1913 |
| Mars, a Modern Morality Play | Privately printed: 1915 |
| New Voices: an Introduction to Contemporary Poetry | Macmillan Co.: 1919 |
| WILLIAM CARLOS WILLIAMS | |
| The Tempers | Elkin Mathews, London: 1913 |
| Al Que Quiere | Four Seas Co., Boston: 1917 |
| Kora in Hell: Improvisations | Four Seas Co.: 1919 |
| In Poetry: June, 1913 (Vol. II); May, 1915 (Vol. VI). | |
| In Others: An Anthology of the New Verse | Alf. A. Knopf, N. Y.: 1916 |
| CHARLES ERSKINE SCOTT WOOD | |
| The Masque of Love | Walter Hill, Chicago: 1904 |
| * The Poet in the Desert | Privately printed, Portland, Ore.: 1915 |
| 407The Poet in the Desert (new version) | Privately printed, Portland: 1918 |
| Maia: a Sonnet Sequence (limited illustrated ed.) | Privately printed, Portland, Ore.: 1918 |
| EDITH WYATT | |
| The Wind in the Corn and Other Poems | D. Appleton & Co., New York: 1917 |
| In Poetry: Jan., 1915 (Vol. V). | |
| In McClure’s Magazine: Aug., 1911. | |