(This is a pre-1923 historical reproduction that was curat...)
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The Little Book of American Poets: 1787-1900 (Classic Reprint)
(Excerpt from The Little Book of American Poets: 1787-1900...)
Excerpt from The Little Book of American Poets: 1787-1900
It must be remembered that the technique of poetry changes and that work excellent, even supreme, in its own period. May not meet the standard of ours. Such a standard, however, should not be applied to it. Any art must be judged as the expression of its time, by its value as interpreting the age Which produced it. Form changes less, perhaps, from period to period, than the vision, the spirit of the age. The poet of to-day is con cerned With themes unknown to the poet of yesterday. The subject-matter of poetry has, indeed, undergone so radical a change that it will be interesting to note the diversity in content of The Little Book of Amrican Poets and T he Little Book of M odern Verse.
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(Excerpt from The Door of Dreams
Section v A nightingale ...)
Excerpt from The Door of Dreams
Section v A nightingale AT fresnoy poets who fall IN battle I have NO lover ON the battlefield patrins.
About the Publisher
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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This work has been selected by scholars as being cultur...)
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This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.
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The Little Book of Modern Verse: A Selection From the Work of Contemporaneous American Poets (Classic Reprint)
(Excerpt from The Little Book of Modern Verse: A Selection...)
Excerpt from The Little Book of Modern Verse: A Selection From the Work of Contemporaneous American Poets
It is strictly, then, as a reflection of our own period, to show what is being done by the successors of our earlier poets, what new interpretation they are giving to life, what new beauty they have apprehended, what new art they have evolved, that this little book has taken form. A few of the poets included have been writing for a quarter of a century, and were, therefore, among the immediate successors of the New England group, but many have done their work within the past decade and the volume as a Whole represents the twentieth-century spirit.
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Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Little Book of Modern Verse: A Selection From the Work of Contemporaneous American Poets (Classic Reprint)
(Excerpt from The Little Book of Modern Verse: A Selection...)
Excerpt from The Little Book of Modern Verse: A Selection From the Work of Contemporaneous American Poets
It is strictly, then, as a reflection of our own period, to show what is being done by the successors of our earlier poets, what new interpretation they are giving to life, what new beauty they have apprehended, what new art they have evolved, that this little book has taken form. A few of the poets included have been writing for a quarter of a century, and were, therefore, among the immediate successors of the New England group, but many have done their work within the past decade and the volume as a Whole represents the twentieth-century spirit.
About the Publisher
Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com
This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
(Excerpt from Sara Teasdale
In 1903 she was graduated. Sh...)
Excerpt from Sara Teasdale
In 1903 she was graduated. She continued her writing and with several of her friends undertook the publication of a monthly magazine called The Potter's Wheel. This unique publication was limited to one copy each month and was entirely in manuscript with original illustrations in photograph, black and white, and in color. Friends Of the contributors showed much interest in the magazine which continued for several years.
Through all this time Sara Teasdale had been a systematic reader and one Of her special treasures is a fat note-book in which, as a very little girl, she began to enter the titles of all the books she read through.
About the Publisher
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
(Excerpt from The Lifted Cup
About the Publisher
Forgott...)
Excerpt from The Lifted Cup
About the Publisher
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This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The Little Book of Modern Verse: A Selection from the Work of Contemporaneous American Poets
(This is a reproduction of a classic text optimised for ki...)
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Jessie Belle Rittenhouse Scollard was a literary critic, compiler of anthologies, and poet.
Background
Jessie Belle Rittenhouse was born on December 8, 1869 in Mount Morris, New York, the fifth of seven children, four of whom died in their early years. Her mother, Mary J. (MacArthur) Rittenhouse, was of Scottish descent; her father, John E. Rittenhouse, was directly descended from the Philadelphia astronomer David Rittenhouse. Jessie was an early reader, dedicated to English literature, but dreamed of becoming a prison reformer.
Education
After her mother became incapacitated by family tragedies, Jessie kept house, while attending a village school and Nunda Academy.
In 1890 she graduated from Genesee Wesleyan Seminary.
Career
She taught school in Cairo, Illinois, and at Akeley Institute for Girls in Grand Haven, Michigan, about 200 miles from Cheboygan, to which her family had moved.
Frustrated by teaching, she began to write freelance articles, chiefly interviews, for Buffalo and Rochester newspapers. She later became a reporter for the Rochester Democrat and Chronicle; and in 1895, she moved to Chicago and returned to freelance writing.
Although she was well-received by such feminists as Susan B. Anthony, whose home attracted others in Rochester, and although her interview with William Jennings Bryan in 1895 was treated by her editor as a coup, she was anxious to write about poetry.
In 1899 she moved to Boston, where she became acquainted with Julia Ward Howe and Louise Chandler Moulton.
She also edited and published two volumes of translations of Omar Khayyam's Rubaiyat (1900), collating materials from various translations. Although her work with poetry was later considered conservative and passé, it was undertaken in an era challenged by naturalistic writings and not very interested in poetry.
Her The Younger American Poets (1904), critical essays on contemporary poets, was a pioneer attempt to treat poetry as a living topic. Few of the authors she discussed intrigued later generations of readers; they included Bliss Carman, Clinton Scollard, Edith M. Thomas, whose Selected Poems (1926) she later edited, and Madison Cawein.
George Santayana, whose works she also included, proved more influential in other fields. But Rittenhouse's regard for their art was an early example of critical involvement in their methods and intentions. In 1905 she moved to New York City. After the New York Times Book Review had praised her work, she applied to its editor for an opportunity to review poetry.
For the next ten years she was able to express enthusiasm for many minor poets, as well as such major ones as Edwin Arlington Robinson. The importance she attached to conventional rhyme and meter overshadowed other qualities that distinguish great poets from lesser ones, but her attempts to give poetry more scope helped to institutionalize the poetry of her time.
She aided the process further as editor of highly successful anthologies. The Little Book of Modern Verse (1913) and The Little Book of American Poets (1915) treated past and twentieth-century authors. Her Second Book of Modern Verse (1919) and Third Book of Modern Verse (1927) reflected the expanding field of poetry and included the work of T. S. Eliot and her friend Sara Teasdale.
The unusually successful sales of these works rendered them a force in defining the uses of poetry in schools and literary circles.
A major factor in the founding of the Poetry Society of America in 1910, Rittenhouse became its long-time secretary and organizer. As such she was a close friend of Vachel Lindsay and Edgar Lee Masters and cooperated with Amy Lowell in furthering imagism in poetry.
Since the Pulitzer Prize endowment did not originally provide a prize for poetry, the society annually honored volumes of published verse. It also sponsored poetry readings and welcomed such foreign visitors as John Masefield and William Butler Yeats.
The collaboration with her husband resulted in The Bird-Lovers' Anthology (1930) and Patrician Rhymes (1932), the latter a collection of society verse. Her own poems, published in The Door of Dreams (1918), The Lifted Cup (1921), and The Secret Bird (1930), were well-regarded by her numerous friends.
Rittenhouse maintained a busy schedule, lecturing on modern poetry in extension courses at Columbia University and performing on the lecture circuit from 1914 to 1924.
Until 1920 she wrote book reviews for The Bookman, as well as the New York Times. In 1924 she gave up her New York home and thereafter divided her time between the Berkshires and Winter Park, Florida, which attracted a considerable number of her literary friends. She founded the Florida Poetry Society, one of the most substantial of such organizations, and lectured on poetry at Rollins College in Winter Park.
Following her husband's death in 1932, she moved from Kent, Connecticut, to Grosse Pointe Park, Michigan.
In 1934 she collected Scollard's verses in The Singing Heart, with a memoir. In 1940 her The Moving Tide: New and Selected Lyrics, published the year before, was awarded the gold medal of the National Poetry Center. She died in Detroit and was buried in Cheboygan. Her papers were left to Rollins College.
(Excerpt from Sara Teasdale
In 1903 she was graduated. Sh...)
Views
Quotations:
"I bargained with Life for a penny, and Life would pay no more. However I begged at the evening when I counted my scanty store. For Life is a just employer, he gives you what you ask. But once you have set the wages, why, you must bear the task. I worked for a menial's hire, only to learn, dismayed, that any wage I had asked of Life, Life would have willingly paid. "
Personality
She was strong, sympathetic, and tolerant of often temperamental authors.
Connections
In 1924 she married Clinton Scollard, professor of English at Hamilton College, whose prolific verses and anthologies she had long admired.