Writings in the United Amateur, 1915-1922, H. P. Lovecraft [easy books to read .txt] 📗

of The Coyote is an exceedingly timely and tasteful tribute to our Mother Country, appearing at an hour when the air of America reeks with the illiterate anti-British trash of the "Sinn Fein" simpletons and Prussian propagandists.

Invictus for July is the second number of Mr. Paul J. Campbell's personal organ, and represents the strictly individual magazine in its most tasteful and elaborate form. Unimpeachably artistic in appearance, its contents justify the exterior; the whole constituting a publication of the first rank, wherein are joined the virtues both of the old and of the new schools of amateur journalism. Since Mr. Campbell is preeminently an essayist, it is to his dissertations on "The Pursuit of Happiness" and "The Age of Accuracy" which we turn most eagerly; and which in no way disappoint our high expectations. The first of these essays is a dispassionate survey of mankind in its futile but frantic scramble after that elusive but unreal sunbeam called "happiness". The author views the grimly amusing procession of human life with the genuine objective of an impartial spectator, and with commendable freedom from the hypocritical colouring of those who permit commonplace emotions and tenuous idealizings to obscure the less roseate but more substantial vision of their intellects. "The Age of Accuracy" presents an inspiring panorama of the evolution of Intellect, and of its increasing domination over the more elemental faculties of instinct and emotion. At the same time, much material for reflection is furnished, since it is obvious that the advance is necessarily confined to a comparatively small and select part of humanity. Instinct and emotion are still forces of tremendous magnitude, against which Reason wages an upward struggle of incredible bravery. Only the strong can escape the clutch of the primitive, wherefore there can be no successful social order which does not conform in its essentials to the blind impulses of the natural man or man-ape. We are in danger of overestimating the ascendancy and stability of Reason, for it is in reality the most fragile and rudimentary element in our mortal fabric. A heavy blow on certain parts of the skull, or a bullet in certain parts of the brain,[59] can destroy in an instant all the accumulated intellect which aeons of heredity have bestowed, depressing the victim from the zenith of culture and refinement to a condition separated only by colour and contour from that of the negro or the gorilla; yet not all the edicts of the lawgiver, devices of the educator, measures of the reformer, or skill of the surgeon, can extirpate the ingrained instincts and seated superstitions of the average human animal.

The poetry of Mr. Campbell is represented in Invictus by three specimens, whose merit speaks well for the author's progress in the art. "The Sunshine Girl" is an amatory panegyric of no small skill and polish, though not strikingly novel in sentiment or expression. "German Kultur" is a scathing and virile indictment of the present enemies of humanity. The versification is bold, and in places rugged, whilst the imagery is appropriately grim and sardonic. Points which we might criticise are the repeated use of "civilization" as a word of only four syllables, and the archaic pronunciation of "drown-ed" as a dissyllable. This latter usage would be objectionable in verse of stately or conservative cast, but here grates upon the ear as an anachronism. The trenchant wit of the piece is well sustained, and brought out with particular force in the second and fourth stanzas. "The Major Strain" is without doubt the foremost verse of the issue. This is real poetry. The sustained rhyming, whereby each stanza contains only one rhyming sound, is pleasing and unusual. Mr. Campbell's comment on "Amateur Affairs" really deserves to be classed as an essay, for its thoughtful conclusions and intelligent analyses of human nature certainly draw it within the pale of true literature. The broad comprehension and continued love of amateur journalism here exhibited, are potent justifications of the author's practically unanimous election to the Presidency of the United. Invictus is one of the very foremost journals of the amateur world, and the only possible objection which can be raised against it, is its infrequency of appearance. It is the voice of a virile and vibrant personality who unites vigour of thought with urbanity of expression.

The Scot for May marks the advent of this highly entertaining and well conducted magazine to the United, and extends the northern frontier of amateur journalism to Bonnie Dundee, in Auld Scotland, the Land of Mountain and Flood. "Hidden Beauty", a poem in blank verse by R. M. Ingersley, opens the issue with a combination of lofty conceptions, vivid imagery, and regular structure. "England's Glory", by Clyde Dane, is a stirring tale of that fearless and self-sacrificing honour which has given to the Anglo-Saxon the supremacy of the world. It would be in bad taste to cavil at slight technical imperfections or instances of triteness when considering so earnest and glowing a delineation of the British character; the noblest human type ever moulded by the Creator. "Oh Rose, Red Rose!" is a tuneful little lyric by Winifred V. Jordan, whose work is never too brief to be pleasing, or too long to be absorbing. "Clemency versus Frightfulness", by William T. Harrington, is a thoughtful and lucid exposition of the British governmental ideal of lenient justice; an ideal whose practical success has vividly demonstrated its thorough soundness. "At Last", by Muriel Wilson, is a blank verse poem of much merit. "Do You Remember?", by the late Lieut. Roy Arthur Thackara, R. N., is a delicate sketch possessing the additional interest of coming from the pen of one who has now given his life for King and Country; the author having gone down with H. M. S. India. "A Battle with the Sea", a sketch by Midshipman Ernest L. McKeag, exhibits descriptive power of no common order, yet might well have a less abrupt conclusion. "To Some One", by Margaret Trafford, is a poem in dactylic measure, dedicated to the women of Britain. The sentiment is noble, and the encomium well bestowed, though the metre could be improved in polish. "Gum", by Henry J. Winterbone, is a delightfully humorous sketch. It is evident that those who depreciate British humour must have taken pains to avoid its perusal, since it has a quietly pungent quality seldom found save among Anglo-Saxons. Personally, we believe that the summit of clumsy pseudo-jocoseness is attained by the average "comic" supplement of the Hearst Sunday papers. These, and not the British press, present the pathetic spectacle of utter inanity and repulsive grotesqueness without the faintest redeeming touch of genuine comedy, legitimate satire, or refined humour. "Life's Voyage", by Matthew Hilson, is a poem of great attractiveness, though of scarcely impeccable construction.[60] Concerning the expression "tempests wild do roar", we must reiterate the advice of Mr. Pope, who condemned the expletive "do", "doth", or "did" as a "feeble aid". Such usage has, in fact, been in bad taste ever since the reign of Queen Anne; Dryden being the last bard in whom we need not censure the practice. Mr. McColl's editorials are brief but informing. He may well be congratulated on his work as a publisher, and he certainly deserves as hearty a welcome as the United can give.

The Scot for June is a "British Old-Timers' Number", confined wholly to the work of the senior amateur journalists of the Mother Country. Edward F. Herdman, to whom this number is dedicated, opens the issue with a religious poem entitled "Life", which compares well with the bulk of current religious verse. Mr. Herdman also contributes one of several prose essays on amateur journalism, in which the various authors view our field of endeavor from similar angles. "A Song of a Sailor", by R. D. Roosemale-Cocq, exhibits buoyant animation, and considerable ease in the handling of a rollicking measure. The internal rhymes are for the most part well introduced, though greater uniformity might have been used in their distribution. The first two lines have none. In the last stanza there are two lines whose