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

Here we must needs wonder at the use of work as a transitive verb when the intransitive sense is so clearly demanded, and at the evident accentuation of cabaret. We believe that the correct pronunciation of cabaret is trisyllabic, with the accent on the final syllable, thus: "cab-a-ray." We will not be quite so dogmatic about artiste in line 2 of the last stanza, though we think the best usage would demand the accent on the final syllable.

"Gentle Gusts," the quaintly named editorial section, contains much matter of merit, clothed in a pleasantly smooth style. The classical name of the publication is here ingeniously explained, and its dedication formally made. The tribute to Mr. Hoag is as well rendered as it is merited. The editorial note on amateur criticism is sound and kindly; the author voicing her protests in a manner which disarms them of malice, and putting us in a receptive attitude. Personally, the present critic is in complete agreement with the[94] remarks on poetical elision and inversions; but we are confident that those of our board who hold different views, will accept the dicta in the friendly spirit intended.

"Someone—Somewhere," by Jennie E. T. Dowe, is a delightful lyric by an authoress too well known in amateurdom to need an introduction. Mrs. Dowe writes with the polish of long experience and genuine culture, displaying an enviable poetic genius.

Eurus closes with some commendatory lines to Mr. Hoag from the pen of H. P. Lovecraft. They are in heroics, and redolent of the spirit of two centuries ago. We discern no striking violations of good taste or metre, nor do we find any remarkable poetic power or elevation of thought.

The Little Budget for February and March is a double number, whose size and quality are alike encouraging. The issue opens with an ornate and felicitous Nature-poem by Rev. Eugene B. Kuntz, entitled "Above the Clouds," in which the author for once breaks away from his favourite Alexandrines and heptameters, presenting us with an ideally beautiful specimen of the heroic quatrain. Despite the strong reasons which impel Dr. Kuntz to adhere to long measures, we believe he should compose more in pentameter. That his chosen metres have peculiar advantages, none will deny; but it seems plain that the standard shorter line has other advantages which amply outweigh them. It was not by chance that the line of five iambuses became the dominant metre of our language. In the present poem we discern a grace and flow far greater than any which could pervade an Alexandrine piece; a condition well shown by parallel perusal of this and one of the same author's more characteristic efforts. As a creator of graphic, lofty, and majestic images, Dr. Kuntz has no peer in amateurdom. His sense of colour and of music weaves a rich and gorgeous element into the fabric of his work, and his sensitive literary faculty gives birth to happy combinations of words and phrases which not only please the imagination with their aptness, but delight the ear with their intrinsic euphony.

"The Drama as a Medium of Education," by Lieut. Ernest L. McKeag, is a short but terse essay on a neglected factor in liberal culture. It is true that our ordinary curricula lay all too little stress on dramatic art; and that as a result, this branch of æsthetic expression is grossly and consistently undervalued. The low estimate of the dramatic profession entertained by Dr. Johnson is a sad illustration of the one-sided state of mind prevailing even amongst scholars, concerning an art which is certainly not inferior to painting and sculpture, and probably much superior to music, in the æsthetic and intellectual scale.

"The Wizard of the North," an essay on Sir Walter Scott, is the current instalment of Miss Mappin's Modern Literature Series. It is marred by a seeming hiatus, discernible not so much in the flow of words as in the flow of the narrative, which leads us to believe that a considerable portion has been left out, either through accident, or through an attempt at abridgment.

"My Books," by Alfred H. Pearce is a sonnet of apt idea and perfect construction.

"On Self-Sacrifice," by W. Townsend Ericson, is one of the "Essays of a Dreamer" which are regularly appearing in the Budget. The effort is marked by much sincerity and idealism, though in grammar and practicability it is less distinguished. We might mention the erroneous use of whom for who (a not uncommon defect amongst amateur writers), the faulty use of the word usurping where depriving is meant, and the split infinitive "to at least make;" all three of which mistakes occur on page 138. Mr. Ericson should drill himself more thoroughly in the principles of syntax. Other essays of this series are included in the present issue. "On Contentment" gives an illustration which we fear will injure Mr. Ericson's contention more than it will aid it. It is the reductio ad absurdum of the typical "Pollyanna" school of philosophy.

"Down an' Out," by Ernest L. McKeag, is a very clever ballad of the "rough and ready" school; picturesque in atmosphere, but somewhat defective in technique. Lieut. McKeag should pay a trifle more attention to his rhymes; which are not, however, worse than many of the rhymes in "Hudibras" and other comic pieces.

"Why Roses are White," a children's story, by Margaret Mahon, is marked by much grace and ingenuity; the central idea being quite original so far as we know.[95] Further contributions to the children's department are made by Miss Birkmyre, whose woodland sketches will be appreciated by older readers as well.

"Selfish Ambition," a poem, by Nell Hilliard, is as correct and fluent in metre as we might expect from the author, though the expletive does in the final line of the first stanza is not to be commended. The sentiment is not precisely novel, but is well presented.

"The Flying Dutchman," a Romance of the Sea, by Joseph Parks, is more replete with nautical verisimilitude than with literary force. As compared with many of Mr. Parks' other tales, its plot is distinctly weak and lacking in symmetry. We must, however, praise the generally salty atmosphere. The picture of seafaring life is vivid and realistic.

The current Budget concludes with a summary of the year just closed, displaying a record of achievement of which the editress may well be proud.

The Silver Clarion for March is the publication of John Milton Samples, of Macon, Ga., a new member of the United. In tone the paper is quite serious and strongly inclined toward the religious; but so able are the majority of the contributions, that it lacks nothing in interest.

"Singing on the Way," a poem by James Larkin Pearson, opens the issue in attractive fashion. The lines are tuneful and felicitous, the triple rhymes giving an especially pleasing effect; though we must criticise the line