(Words to old Dartmouth songs.)
Words to old Dartmouth songs.
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(Excerpt from Launcelot and Guenevere a Poem in Dramas Vo...)
Excerpt from Launcelot and Guenevere a Poem in Dramas Voices. Here falls no light of sun nor stars; NO stir nor striving here intrudes; N o moan nor merrymaking mars The quiet of these solitudes. Submerged in sleep, the passive soul Is one With' all the things that seem Night blurs in one confused whole Alike the dreamer and the dream. 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.
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(Excerpt from Oly Graal, and Other Fragments by Richard Ho...)
Excerpt from Oly Graal, and Other Fragments by Richard Hovey: Being the Uncompleted Parts of the Arthurian Dramas There is an unusual interest in this book of frag ments from the Arthurian plays which Richard Hovey left unfinished at the time of his death, in that it throws new light on the whole series of masques and dramas which he originally projected under the title, Launcelot and Guenevere, A Poem in Dramas. Four parts of this work, two lyrical masques and two plays, were already published during his life time. And although these are poetic creations of marked beauty and power, they have always lacked something of the fullest significance which potentially belongs to them as related portions of a larger and more imposing whole. We can never have the pleasure of reading this great cycle of plays and interludes in the beauty of its entirety as Hovey would have written it, but now at last we can see more of its full scope and purport, and derive a deepened satisfaction from realizing its essential profundity, seriousness, and wisdom. Fragmentary as it is, therefore, this volume, with its illuminating notes and introduction, will have a precious im portance to the lover of poetry and the student of American letters. 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.
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Richard was born in Normal, Ill. in 1864. He was the third son of Maj. -Gen. Charles Edward Hovey and Harriette Farnham (Spofford) Hovey. After the Civil War his parents made their home in Washington, D. C. , and Richard spent his boyhood days in that city, passing some of his vacations at North Andover in the old Spofford place, then owned by his grandfather.
He was prepared for college at Hunt's School, Washington. At the age of sixteen he issued a small volume of verse; in the words of his mother, "He learned to set the type, read the proof, printed, bound the book, and copyrighted it before his mother and father knew anything about it" (Reprint, 1912, from Ninth Report, Dartmouth, Class of 1885. ) He entered Dartmouth in 1881, where he was soon elected class poet. He won several prizes for dramatic speaking, and in 1885 was graduated cum laude in English language and literature. At college he was editor of the Dartmouth and the '85 Égis, and became a member of the Psi Upsilon fraternity. Ever since his undergraduate days he has been considered Dartmouth's laureate, and Dartmouth students still sing "Men of Dartmouth. " Of the poems written at college, Prof. Boynton has said, "He wrote for Dartmouth a body of tributary verse which are as distinguished as are Holmes's Harvard Poems. And he wrote for his college fraternity songs and odes which are so distinguished as wholly to transcend the occasions for which they were prepared" (American Poetry, p. 689).
The year 1885-86 was spent by the poet in Washington, studying drawing and painting in the Art Students' League of that city. In 1886-87 he was a student at the General Theological Seminary of the Episcopal Church, at Chelsea Square, New York; but after being for a short while the lay assistant of Father Brown at the Church of Saint Mary the Virgin, he gave up the idea of taking Orders.
The summer of 1887 he spent at Newton Center, Massachussets, where he met Bliss Carman, the poet, and Tom Buford Meteyard, the artist. With Carman he was later to collaborate in the Vagabondia books, and Meteyard was to make the designs. Through them Hovey met Thomas William Parsons, the Dante scholar, on whose death he wrote the magnificent elegy Seaward (1893). In 1887 he did newspaper work in Boston, and the next two summers he lectured at Thomas Davidson's Summer School of Philosophy at Farmington, Connecticut, where he met Mrs. Sidney Lanier, widow of the American poet. She gave him a wreath that had been sent her from the South, and on this occasion he wrote The Laurel, published in 1889.
He did a little acting in 1890. In his own words, "I went on the stage primarily to complete my education as a playwright" (Dartmouth Lyrics, 1924, edited by E. O. Grover, p. 86). The last ten years of the poet's life were to mark the flowering of his genius.
In 1891 appeared the first part of his poem in dramas, Launcelot and Guenevere, containing The Quest of Merlin and The Marriage of Guenevere. He spent the year 1891-92 abroad in England and France, and came under the influence of the French Symbolistes – especially Verlaine, Mallarmé, and Maeterlinck. He translated at this time four of Maeterlinck's plays (La Princesse Maleine, L'Intruse, Les Aveugles, Les Sept Princesses), published under the title, The Plays of Maurice Maeterlinck (1894), to which he wrote a significant introduction entitled, "Modern Symbolism and Maurice Maeterlinck. " Songs from Vagabondia, by Richard Hovey and Bliss Carman appeared in 1894. The first poem "Vagabondia" struck the keynote with its "Off with the fetters That chafe and restrain! Off with the chain!" The volume's vivacity and originality took the country by storm, and collegians went about chanting Hovey's poems as more than twenty-five years before Oxonians had chanted Swinburne's first series of Poems and Ballads.
In 1896 appeared a second series of The Plays of Maurice Maeterlinck, which contained four more translations (Alladine et Palomides, Pelléas et Mélisande, L'Intérieur, Le Mort de Tintagiles). During the same year he issued More Songs from Vagabondia with Bliss Carman. In 1898 there appeared another volume of his poem in dramas, The Birth of Galahad, and Along the Trail, a Book of Lyrics. In the latter volume were his Spanish-American War verses, which were of a decided chauvinistic flavor but were written with an almost religious fervor expressed in Biblical language. Taliesin: a Masque (1896) was the last completed part of the Launcelot and Guenevere cycle to be published, having already appeared in serial form in Poet-Lore.
From 1898 to 1900 Hovey was a lecturer in Barnard College, Columbia University. For a number of years he had been suffering from a form of intestinal trouble, and after a slight operation, he died suddenly in New York City on February 24, 1900. After his death two more volumes of his verse were published: Last Songs from Vagabondia (1901) with Carman, and To the End of the Trail (1908). In 1907 Mrs. Hovey edited a volume of fragments from the Launcelot and Guenevere cycle, called The Holy Graal, with an important preface by Carman. In this volume one sees the scope of the poem in dramas. It was planned to consist of three trilogies, each trilogy made up of a masque, a tragedy, and a drama. Hovey finished only the first trilogy and the masque of the second. Taking Mallory's Morte d'Arthur as a background, and with love as the central theme, the poet propounded a very definite thesis, which was, in Mrs. Hovey's words, "to impeach the social system that had not yet – and has not yet – gone far enough in evolution to become a medium in which all lives can move at all times in all respects in freedom" (The Holy Graal, p. 18). Carman, who knew the poet so intimately, saw "that to Richard Hovey it afforded a modern instance stripped of modern dress" (Ibid. , p. 9).
(Excerpt from Oly Graal, and Other Fragments by Richard Ho...)
(Excerpt from Launcelot and Guenevere a Poem in Dramas Vo...)
(Words to old Dartmouth songs.)
Quotations:
"I do not know beneath what sky nor on what seas shall be thy fate; I only know it shall be high, I only know it shall be great. "
"Spring in the world! And all things are made new!"
"For 't is always fair weather When good fellows get together With a stein on the table and a good song ringing clear. "
"East, to the dawn, or west or south or north! Loose rein upon the neck of-and forth!"
"Love seeks a guerdon; friendship is as God, Who gives and asks no payment. "
On January 17, 1894, the poet married in Boston, Mrs. Henriette Russell, a pupil of Delsarte, and the foremost exponent in America of Delsarte's philosophy. Their son, Julian Richard, was born at the end of the year in Paris.
