WEBVTT 1 00:00:00.960 --> 00:00:06.400 Introduction of Anthology of Magazine Verse for nineteen thirteen, edited 2 00:00:06.440 --> 00:00:11.679 by William Stanley braithwait This is a LibriVox recording. All 3 00:00:11.720 --> 00:00:15.679 LibriVox recordings are in the public domain. For more information 4 00:00:15.839 --> 00:00:20.440 or to volunteer, please visit LibriVox dot org. Recording by 5 00:00:20.519 --> 00:00:25.760 Larry Wilson. Anthology of Magazine Verse for nineteen thirteen, edited 6 00:00:25.800 --> 00:00:30.960 by William Stanley Braithwaite. Introduction. Poetry is one of the 7 00:00:31.000 --> 00:00:35.240 realities that persist the facade and dome of palace and temple. 8 00:00:35.679 --> 00:00:38.920 The monuments of heroes and saints crumble before the ruining 9 00:00:38.960 --> 00:00:43.719 breath of time, while the psalms last. So when another 10 00:00:43.799 --> 00:00:46.960 year passes and we sum up our achievements, there is 11 00:00:46.960 --> 00:00:49.640 no achievement more vital in registering the soul of a 12 00:00:49.719 --> 00:00:53.960 people than its poetry. But in all things that men do, 13 00:00:54.159 --> 00:00:58.960 their relationship is objective, except those things in which art, religion, love, 14 00:00:59.000 --> 00:01:02.439 and nature express their influence through the private thoughts and 15 00:01:02.479 --> 00:01:07.319 feelings of men. These four things are the realities. All 16 00:01:07.359 --> 00:01:10.719 the others are symbols. And the essence of art, as 17 00:01:10.719 --> 00:01:14.120 well as religion and love and nature, is a conscious 18 00:01:14.159 --> 00:01:18.599 and mysterious thing called poetry, and men will find, if 19 00:01:18.599 --> 00:01:21.319 they will only stop to look, that at the bottom 20 00:01:21.359 --> 00:01:24.400 of all this poetry, no matter what the theme or 21 00:01:24.400 --> 00:01:28.519 the particular artistic shaping, there is something with which they 22 00:01:28.519 --> 00:01:32.400 are familiar, because in their own souls there has been 23 00:01:32.439 --> 00:01:35.840 an unceasing mystery which they find named in the magic 24 00:01:35.959 --> 00:01:40.920 utterance of some lonely and neglected maker of verses. The 25 00:01:41.000 --> 00:01:44.120 poetry in the magazines for this past year has been 26 00:01:44.159 --> 00:01:47.560 of a general high standard. The long poems have been 27 00:01:47.599 --> 00:01:50.560 well sustained, and there has been a larger quantity of 28 00:01:50.599 --> 00:01:54.120 pure lyric pieces than in the past two or three years. 29 00:01:55.120 --> 00:01:58.480 The influence of Masefield has shown itself in American verse, 30 00:01:59.000 --> 00:02:01.519 notably in the two life long poems by Harry Kemp, 31 00:02:02.159 --> 00:02:06.599 The Harvest's Hand and The Factory. One of the noblest 32 00:02:06.599 --> 00:02:09.680 poems of the year is Henry van Dyke's Daybreak in 33 00:02:09.719 --> 00:02:13.960 the Grand Canyon of Arizona, which breathes a fine national spirit, 34 00:02:14.319 --> 00:02:17.400 full of reverence for the greatness with which the American 35 00:02:17.439 --> 00:02:20.599 destiny is symbolized in the natural grandeur of our country. 36 00:02:21.639 --> 00:02:25.840 Mister Markham has a long narrative in the Shoes of Happiness, 37 00:02:25.879 --> 00:02:29.719 full of his visionary and spiritual promptings, and in the 38 00:02:29.800 --> 00:02:34.479 vision of Gettysburg, mister Robert Underwood Johnson reflects also the 39 00:02:34.560 --> 00:02:38.840 national spirit with particular significance. The poetry of the Yurine 40 00:02:38.919 --> 00:02:42.479 Volumes has not been as ample as last year. The 41 00:02:42.560 --> 00:02:46.039 three poets who have aroused most discussion are the Bengali 42 00:02:46.120 --> 00:02:50.000 poet Tagore, who brought to the Western world in Gitanjali 43 00:02:50.360 --> 00:02:55.879 a spiritual message full of mystic but exalted idealism. Francis Thompson, 44 00:02:55.919 --> 00:02:59.039 the great Catholic poet, because of the publication of his 45 00:02:59.120 --> 00:03:02.759 collected works, And Robert Bridges, who, by his appointment to 46 00:03:02.800 --> 00:03:06.319 the English Lawateship, became known to a large number of 47 00:03:06.319 --> 00:03:10.080 readers who had hitherto been unfamiliar with his very perfect 48 00:03:10.159 --> 00:03:14.280 and delicate gift of lyric beauty. Of American poets, the 49 00:03:14.319 --> 00:03:20.000 volumes of Fanny Stearns, Davis, William Rose Binney, Josephine Preston Peabody, 50 00:03:20.639 --> 00:03:25.360 Margaret rut Garvin, and George Edward Woodbury are the most significant. 51 00:03:25.800 --> 00:03:28.199 The most important book of poems of the year by 52 00:03:28.240 --> 00:03:32.000 an American poet, however, is that of Nicholas Rachel Lindsay. 53 00:03:32.400 --> 00:03:36.879 General William Booth Enters into Heaven and other poems. Here 54 00:03:36.960 --> 00:03:40.159 is a man with a big vision, with a fine originality, 55 00:03:40.599 --> 00:03:43.719 and an art that is particularly his own. There has 56 00:03:43.759 --> 00:03:47.159 been no lyric year this autumn, but a little volume 57 00:03:47.199 --> 00:03:50.080 that serves in some sense its purpose is Miss Jesse 58 00:03:50.240 --> 00:03:54.520 b Rittenhouse's Little Book of Modern Verse, which is intended 59 00:03:54.520 --> 00:03:58.520 to represent the quality of contemporary American verse. I want 60 00:03:58.520 --> 00:04:00.400 to call attention to a poet who who has not 61 00:04:00.520 --> 00:04:05.080 yet presented himself except through an occasional magazine piece, but 62 00:04:05.199 --> 00:04:08.360 who has written two of the finest sonnets in American poetry. 63 00:04:09.319 --> 00:04:12.840 Last year I reprinted in my annual summary mister Melon 64 00:04:12.960 --> 00:04:17.319 Leonards Fisher's as an old Mercer, and pronounced that an 65 00:04:17.360 --> 00:04:21.839 achievement which could hardly be surpassed. But in the sonnet November, 66 00:04:21.959 --> 00:04:25.240 which is reprinted in this book, mister Fisher has done 67 00:04:25.319 --> 00:04:28.959 I believe something that is even greater. It must rank 68 00:04:29.000 --> 00:04:34.079 with Lizette Woodworth, Riese's Tears and Longfellow's Nature as the 69 00:04:34.120 --> 00:04:38.079 best sonnets that have been accomplished by American poets. I 70 00:04:38.079 --> 00:04:41.279 have known one competent judge and lover of poetry to 71 00:04:41.360 --> 00:04:44.800 declare that not since keats On first looking into Chapman's 72 00:04:44.800 --> 00:04:48.879 Homer and Miss Rhese's Tears, has there appeared so fine 73 00:04:48.920 --> 00:04:52.399 a sonnet in English poetry? The man who has written 74 00:04:52.399 --> 00:04:56.040 November has added something to American poetry that cannot be 75 00:04:56.160 --> 00:05:00.480 too highly estimated. Another poet who has an enriched the 76 00:05:00.519 --> 00:05:04.399 magazines this year after a period of silence, is mister 77 00:05:04.560 --> 00:05:08.720 Edwin Arlington Robinson. And in the field of glory we 78 00:05:08.759 --> 00:05:11.759 are under the spell once more of that characteristic magic 79 00:05:12.199 --> 00:05:16.920 with which he is endowed alone among American poets, as 80 00:05:16.959 --> 00:05:20.240 in former years. In my annual summary in the Boston Transcript, 81 00:05:20.879 --> 00:05:24.680 I have examined the contents of the leading American monthly magazines. 82 00:05:25.560 --> 00:05:28.600 I originally started nine years ago when the first summ 83 00:05:28.600 --> 00:05:36.079 reappeared with these six The Atlantic, Harper's, Scribner's Century, Lippincott's 84 00:05:36.279 --> 00:05:40.600 and McClure's. Later I turned to the Forum. The poetry 85 00:05:40.600 --> 00:05:43.360 in McClure's during the two years previous to the beginning 86 00:05:43.439 --> 00:05:47.199 of the present year had fallen off. The magazine would 87 00:05:47.199 --> 00:05:50.759 repent occasionally verses from the books of accomplished but little 88 00:05:50.800 --> 00:05:54.639 known English and Irish poets, which, with the small amount 89 00:05:54.639 --> 00:05:57.680 of space that it devoted to verse, left but little 90 00:05:57.759 --> 00:06:01.639 chance of encouragement to native singers. This year I have 91 00:06:01.759 --> 00:06:05.279 included The smart Set, which, under the new editorship of 92 00:06:05.319 --> 00:06:09.439 mister Willard Huntington Wright himself, a port of considerable attainment 93 00:06:09.920 --> 00:06:12.759 has been the means of offering the public a high 94 00:06:12.800 --> 00:06:16.240 and consistent standard of excellence in the verse. It printed 95 00:06:17.399 --> 00:06:22.879 to the six magazines, namely Harper's, Scribner's, Century Forum, Lippencott's 96 00:06:22.920 --> 00:06:25.920 and the Smart Set. I have added this year a weekly, 97 00:06:26.319 --> 00:06:29.560 The Bellman, west of New York. It is the best 98 00:06:29.639 --> 00:06:34.600 edited and most influential periodical published. Indeed, it is widely 99 00:06:34.639 --> 00:06:37.439 read in the East. In its pages, three of the 100 00:06:37.519 --> 00:06:42.040 younger American poets of distinctive achievements have been presented. Though 101 00:06:42.079 --> 00:06:44.759 the late Arthur Upsom had published some two or three 102 00:06:44.759 --> 00:06:48.160 books of verse before The Bellman was established, yet it 103 00:06:48.279 --> 00:06:51.319 was practically the first American magazine to print his work. 104 00:06:52.240 --> 00:06:56.160 Amelia J. Burr made her first considerable poetic appearance in 105 00:06:56.199 --> 00:06:58.839 The Bellman, and the best work the sonnets that have 106 00:06:58.879 --> 00:07:02.279 placed mister mellin Land Fisher in the forefront of contemporary 107 00:07:02.319 --> 00:07:06.879 American or English sonnet writers, appeared in this same publication. 108 00:07:07.920 --> 00:07:11.319 As last year, I have winnowed from other magazines distinctive 109 00:07:11.360 --> 00:07:15.199 poems for classification and notice, one each from The Outlook, 110 00:07:15.560 --> 00:07:20.240 The Independent, the North American Review, Poetry, a Magazine of Verse, 111 00:07:20.920 --> 00:07:24.000 three from the Poetry Journal, and three from the Yale Review. 112 00:07:24.720 --> 00:07:27.639 The poems published during the year in the seven representative 113 00:07:27.680 --> 00:07:31.360 magazines I have submitted to an impartial critical test, choosing 114 00:07:31.399 --> 00:07:34.720 from the total number what I consider the distinctive poems 115 00:07:34.759 --> 00:07:38.519 of the year. From the distinctive pieces are selected eighty 116 00:07:38.560 --> 00:07:41.319 one poems, to which are added five from the other 117 00:07:41.399 --> 00:07:45.120 magazines not represented in the list of seven, making a 118 00:07:45.160 --> 00:07:48.519 total of eighty six, which are intended to represent what 119 00:07:48.639 --> 00:07:52.519 I call an anthology of magazine verse for nineteen thirteen. 120 00:07:53.120 --> 00:07:56.040 By a further process of elimination, similar to that of 121 00:07:56.120 --> 00:08:00.279 previous years, I have made another selection of forty poems which, 122 00:08:00.319 --> 00:08:03.360 for one reason or another in the purpose of this estimate, 123 00:08:03.480 --> 00:08:06.920 seemed to stand grouped above the others. The medium of 124 00:08:07.000 --> 00:08:11.240 magazine publication, towards which some critics in some poets too, 125 00:08:11.759 --> 00:08:15.120 a fact which can hardly be justified, and a considerable 126 00:08:15.120 --> 00:08:18.879 portion of the reading public have a disparaging opinion, is 127 00:08:18.959 --> 00:08:21.759 deserving a better repute for the general high quality of 128 00:08:21.839 --> 00:08:25.879 poetic art. That is published not many years ago. It 129 00:08:26.000 --> 00:08:29.160 was a favorite exercise of the reviewer, when noticing the 130 00:08:29.240 --> 00:08:33.039 average book of verse, which happened to include selections reprinted 131 00:08:33.039 --> 00:08:37.600 from various magazines, to term the work magazineable or the 132 00:08:37.679 --> 00:08:42.320 poet a magazine poet. Even poets who detested being called 133 00:08:42.480 --> 00:08:47.320 minor poets preferred that rather vague and indiscriminate distinction rather 134 00:08:47.399 --> 00:08:52.399 than the unrespectable magazineable. Quoting what I have written in 135 00:08:52.480 --> 00:08:56.759 previous years to emphasize the methods which guided my selections, 136 00:08:56.799 --> 00:08:59.399 the reader will see how impartial are the tests by 137 00:08:59.399 --> 00:09:03.080 which the dist distinctive, and best poems are chosen. I 138 00:09:03.120 --> 00:09:05.879 have not allowed any special sympathy with the subject to 139 00:09:05.919 --> 00:09:09.600 influence my choice. I have taken the poet's point of 140 00:09:09.679 --> 00:09:12.840 view and accepted his value of the theme he dealt with. 141 00:09:13.519 --> 00:09:17.279 The question was how vital and compelling did he make it. 142 00:09:17.960 --> 00:09:21.159 The first test was the sense of pleasure the poem communicated. 143 00:09:21.600 --> 00:09:24.960 Then to discover the secret or meaning of the pleasure felt, 144 00:09:25.679 --> 00:09:28.320 and in doing so, to realize how much richer one 145 00:09:28.360 --> 00:09:31.600 became in a knowledge of the purpose of life by 146 00:09:31.679 --> 00:09:35.840 reason of the poem's message. In one hundred and twenty one, 147 00:09:35.960 --> 00:09:39.399 numbers of these seven magazines I find there were published 148 00:09:39.440 --> 00:09:43.399 during nineteen thirteen a total of five hundred six poems. 149 00:09:44.080 --> 00:09:47.360 The total number of poems printed in each magazine and 150 00:09:47.399 --> 00:09:51.279 the number of the distinctive poems are Century total fifty 151 00:09:51.320 --> 00:09:57.000 eight thirty of distinction, Harper's total fifty seven, twenty nine 152 00:09:57.080 --> 00:10:02.120 of distinction, Scribner's total four twenty five thirty of distinction, 153 00:10:03.159 --> 00:10:08.799 Form total fifty three, twenty seven of distinction, Lippincott's total 154 00:10:08.879 --> 00:10:14.080 sixty six, twenty one of distinction, the Bellman total fifty three, 155 00:10:14.639 --> 00:10:18.879 twenty five of distinction, the smart Set total one hundred 156 00:10:18.919 --> 00:10:23.320 sixty nine forty nine of distinction. Following the text of 157 00:10:23.360 --> 00:10:26.440 the poems making the anthology, in this volume, I have 158 00:10:26.559 --> 00:10:29.960 given the titles and authors of all the poems classified 159 00:10:30.000 --> 00:10:33.279 as the distinctive published in the magazines for the year 160 00:10:33.879 --> 00:10:37.000 only one, excepting those that are included in the anthology. 161 00:10:37.919 --> 00:10:40.120 In addition, I give a list of all the poems 162 00:10:40.120 --> 00:10:42.720 in their authors in the one hundred and twenty one 163 00:10:42.799 --> 00:10:45.960 numbers of the magazines examined. For the purpose of a 164 00:10:46.039 --> 00:10:49.720 record which readers and students supporting will find useful. I 165 00:10:49.759 --> 00:10:52.759 wish to acknowledge my indebtedness and thanks to the editors 166 00:10:52.759 --> 00:10:58.000 of Scribner's Magazine, Harper's Magazine, The Form, the Century Magazine, 167 00:10:58.320 --> 00:11:03.559 The Outlook, Lippincott's Magazin, The Melman, The Independent, the Smart Set, 168 00:11:03.799 --> 00:11:07.639 the Yell Review, Poetry Magazine of Verse, and to the 169 00:11:07.639 --> 00:11:12.000 publishers of these magazines, including the Poetry Journal, for the 170 00:11:12.080 --> 00:11:15.559 permission kindly given to repent in this volume the text 171 00:11:15.600 --> 00:11:18.799 of the poems making the anthology of Magazine Verse for 172 00:11:19.000 --> 00:11:22.840 nineteen thirteen. To the authors of these poems, I am 173 00:11:22.879 --> 00:11:25.919 equally indebted and grateful for their willingness to have a 174 00:11:26.039 --> 00:11:29.399 reprint their work in this form since their appearance in 175 00:11:29.440 --> 00:11:32.240 the magazines, and before the close of the year when 176 00:11:32.240 --> 00:11:35.480 the contents of this volume was made up, two poems 177 00:11:35.480 --> 00:11:38.879 herein included appeared in the original volumes of their authors. 178 00:11:39.600 --> 00:11:43.559 For the use of William Rose Benet's The Marvelous Mounkhausen, 179 00:11:43.759 --> 00:11:46.879 I have also to thank the Century Company, publishers of 180 00:11:46.960 --> 00:11:50.960 Merchants of Cathay, in which volume it appears. As far 181 00:11:51.000 --> 00:11:53.519 as I know, only three of the poems here included 182 00:11:53.799 --> 00:11:56.480 are to come out immediately in books by their authors. 183 00:11:57.039 --> 00:12:00.080 The last four stanzas of a Threnity by mister Lewis. 184 00:12:00.120 --> 00:12:03.360 The le dieux are reprinted by permission of the editor 185 00:12:03.399 --> 00:12:06.519 of Scribner's Magazine, and the rest of the poem is 186 00:12:06.559 --> 00:12:10.240 published in advance by permission of Messieurs G. P. Putnam's 187 00:12:10.240 --> 00:12:13.559 Sons from a volume in mister Ledieu's Poems, which are 188 00:12:13.559 --> 00:12:16.799 also to include the hymn to Demeater from a Sicilian Idol. 189 00:12:17.519 --> 00:12:20.039 They are to issue in January under the title of 190 00:12:20.440 --> 00:12:24.039 the Shadow of Etna. The two selections by mister Richard 191 00:12:24.080 --> 00:12:28.559 Burton here lies Pierrot and Human, the two by Willard 192 00:12:28.600 --> 00:12:32.039 Huntington Wright What of the Night and later the one 193 00:12:32.039 --> 00:12:35.559 by George Edward Woodbury Saint John and the Fawn, and 194 00:12:35.639 --> 00:12:38.840 the two by Richard le Gallienne may Is Building Her 195 00:12:38.879 --> 00:12:43.399 House and Desiderium, which while this introduction is being written, 196 00:12:43.639 --> 00:12:47.120 has come out in mister la Gallienne's volume The Lonely 197 00:12:47.240 --> 00:12:51.679 Dancer and other poems John Lane Company are also being 198 00:12:51.759 --> 00:12:55.879 issued immediately in forthcoming volumes. If there are any others, 199 00:12:55.919 --> 00:12:58.200 I do not know of them, and in which case 200 00:12:58.200 --> 00:13:01.279 I would gladly give credit. If I trust any omission 201 00:13:01.360 --> 00:13:04.399 of such will be charged to ignorance rather than intention, 202 00:13:05.360 --> 00:13:08.639 I wish it to be understood that the privilege extended 203 00:13:08.679 --> 00:13:12.039 me so courteously by both the authors and the magazines 204 00:13:12.080 --> 00:13:14.759 to print the poems in this volume does not in 205 00:13:14.799 --> 00:13:17.919 any sense restrict the authors in their rights to print 206 00:13:17.919 --> 00:13:21.639 the poems and volumes of their own. A significant fact 207 00:13:21.679 --> 00:13:23.679 which the poetry in this volume must bring to the 208 00:13:23.720 --> 00:13:27.919 reader's mind in considering American poetry of today, is that 209 00:13:27.960 --> 00:13:30.759 these selections have been published for the first time during 210 00:13:30.759 --> 00:13:34.679 the current year. Our poetry needs, more than anything else, 211 00:13:35.279 --> 00:13:39.879 encouragement and support to reveal its qualities. The poets are 212 00:13:39.879 --> 00:13:44.000 doing satisfying and vitally excellent work, and it only remains 213 00:13:44.000 --> 00:13:47.080 for the American public to do its duty by showing 214 00:13:47.120 --> 00:13:51.399 a substantial appreciation. Lastly, I wish to thank the Boston 215 00:13:51.440 --> 00:13:55.000 Transcript for the privilege of reprinting material in this book 216 00:13:55.320 --> 00:13:59.519 which originally appeared in the columns of that paper, Cambridge, 217 00:13:59.559 --> 00:14:03.799 December nineteen thirteen. End of introduction. 218 00:14:09.759 --> 00:14:16.399 Hymn to Demeter by Louis V. Ledoux redflibrivox dot org 219 00:14:16.440 --> 00:14:24.360 biolum mapstone from a Sicilian itoll. Weave the dance and 220 00:14:24.519 --> 00:14:29.000 raise again the sacred chorus, wreathe the garlands of the 221 00:14:29.080 --> 00:14:33.840 spring about the hair Now once more, the meadows burst 222 00:14:33.919 --> 00:14:38.840 in bloom before us, Crying swallows dart and glitter through 223 00:14:38.879 --> 00:14:43.799 the air, glints the plowshare in the brown and fragrant furrow. 224 00:14:44.480 --> 00:14:49.480 Pigeons coup in shady coverts as they pair come the 225 00:14:49.519 --> 00:14:54.519 furtive mountain folk from cave and burrow, lean and blinking 226 00:14:54.759 --> 00:15:00.360 in the sunlight's sudden glare bright through midmost heaven moves 227 00:15:00.480 --> 00:15:05.159 the lesser lion, hide the hyads in the ocean. Cavern's 228 00:15:05.320 --> 00:15:11.120 oar past the shoulders. Up the sunset flames Orion following 229 00:15:11.200 --> 00:15:16.440 the sisters seaward evermore, gleams the east at evening, lit 230 00:15:16.519 --> 00:15:21.960 by low Actaurus, out to subtle scented dawns beside the shore. 231 00:15:22.559 --> 00:15:26.679 Yet a little, and the pleiades will lure us. Weave 232 00:15:26.799 --> 00:15:31.519 the dance and raise the chorus as of yore, far 233 00:15:31.639 --> 00:15:37.120 to eastward, up the fabled Gulf of ISOs, northward, southward westward. 234 00:15:37.320 --> 00:15:43.200 Now the trader goes, passing headlands clustered yellow with narcissus, 235 00:15:43.799 --> 00:15:48.720 bright with hyacinth, with poppy, and with rose, shines the 236 00:15:48.759 --> 00:15:53.200 sea and falls the billow as undaunted, past the rising 237 00:15:53.320 --> 00:15:57.399 of the stars that no man knows sails He onward 238 00:15:57.559 --> 00:16:02.080 through the islands, siren haunted till the clashing gates of 239 00:16:02.279 --> 00:16:07.919 rock before him close. Kindly, Mother of the beasts and 240 00:16:08.039 --> 00:16:12.879 birds and flowers, gracious bringer of the barley and the grain. 241 00:16:14.000 --> 00:16:19.200 Earth awakened feels thy sunlight and thy showers. Great Demeter, 242 00:16:19.759 --> 00:16:23.799 let us call thee knots in vain, lead us safely 243 00:16:23.919 --> 00:16:27.919 from the seed time to the threshing, past the harvest, 244 00:16:28.000 --> 00:16:32.159 and the vineyard's purple stain. Let us see thy corn, 245 00:16:32.279 --> 00:16:36.720 pale hair, the sunlight meshing, when the sounding flails of 246 00:16:36.759 --> 00:16:44.720 autumn swing again. Yale review, end of poem. This recording 247 00:16:44.840 --> 00:16:46.120 is in the public domain. 248 00:16:52.639 --> 00:17:00.840 Over the Winter Threshold by Blue Carmen, Over the Winter Threshold, 249 00:17:01.039 --> 00:17:04.880 who comes with joy today, so frail yet so enduring 250 00:17:05.079 --> 00:17:09.480 to triumph or dismay Ah, Quicker tears are springing, and 251 00:17:09.599 --> 00:17:13.480 quickly they are dried, For sorrow walks before her, but 252 00:17:13.640 --> 00:17:17.880 gladness walks beside. She comes with gusts of laughter, the 253 00:17:18.000 --> 00:17:22.319 music as of reals, with tenderness and sweetness, the wisdom 254 00:17:22.400 --> 00:17:25.720 of the hills. Her hands are strong to comfort, her 255 00:17:25.759 --> 00:17:29.279 heart is quick to heed. She knows the signs of sadness. 256 00:17:29.480 --> 00:17:30.880 She knows the voice of need. 257 00:17:31.519 --> 00:17:32.720 There is no living. 258 00:17:32.440 --> 00:17:35.799 Creature, however poor or small, but she will know its 259 00:17:35.839 --> 00:17:39.440 trouble and hearken to its call. Oh well, they fare 260 00:17:39.519 --> 00:17:43.640 forever by mighty dreams, possessed, whose hearts have leaned a 261 00:17:43.680 --> 00:17:47.920 moment on the eternal breast and upon. This recording is 262 00:17:47.920 --> 00:17:56.720 in the public domain. In April by Margaret Lee Ashley 263 00:17:57.000 --> 00:18:01.400 read for libervoxa org. By Romising, I am slow forgetting 264 00:18:01.880 --> 00:18:05.079 is because the sun has such old tricks of setting. 265 00:18:05.559 --> 00:18:09.559 When April days are done, the soft spring sunlight traces 266 00:18:10.039 --> 00:18:14.160 old patterns, green and gold. The flowers have no new faces. 267 00:18:14.680 --> 00:18:18.960 The very buds are old. If I am slow forgetting, ah, well, 268 00:18:19.000 --> 00:18:22.960 come back and see the same old sunbeams penning my 269 00:18:23.039 --> 00:18:26.720 garden plots, and me come smell the green things growing 270 00:18:27.279 --> 00:18:30.559 the box would after rain, see where old beds are 271 00:18:30.599 --> 00:18:35.640 showing there slender spears again at dusk that fosters dreaming. 272 00:18:36.079 --> 00:18:38.839 Come back at dusk and rest and watch your old 273 00:18:38.880 --> 00:18:43.079 star gleaming against the primrose west and of pump. This 274 00:18:43.240 --> 00:18:48.400 record is in the public domain. 275 00:18:48.640 --> 00:18:52.200 May Is Building her House by Richard la Galliene read 276 00:18:52.240 --> 00:18:56.240 for LibriVox dot Org by G. Carlson. May Is Building 277 00:18:56.240 --> 00:19:01.119 her house. May is building her house with apple blooms. 278 00:19:01.799 --> 00:19:05.039 She is roofing over the glimmering rooms of the oak 279 00:19:05.279 --> 00:19:09.440 and the beech hath she builded its beams, and spinning 280 00:19:09.480 --> 00:19:13.240 all day at her secret looms with aarras of leaves, 281 00:19:13.400 --> 00:19:18.079 each wind swayed wall. She pitchereth over and peopleth it 282 00:19:18.160 --> 00:19:23.160 all with echoes and dreams and singing of streams. May 283 00:19:23.279 --> 00:19:26.599 is building her house of petal and blade of the 284 00:19:26.680 --> 00:19:29.799 roots of the oak, as the flooring maid, with a 285 00:19:29.839 --> 00:19:33.920 carpet of mosses and lichen and clover, each small miracle, 286 00:19:34.200 --> 00:19:39.720 over and over, and tender traveling green things strayed her 287 00:19:39.759 --> 00:19:44.519 windows the morning and evening star, and her rustling doorways 288 00:19:44.759 --> 00:19:48.559 ever ajar, with the coming and going of fair things 289 00:19:48.599 --> 00:19:53.359 blowing the thresholds of the four winds are. May is 290 00:19:53.400 --> 00:19:57.319 building her house from the dust of things. She is 291 00:19:57.400 --> 00:20:00.559 making the songs and the flowers and the wings from 292 00:20:00.559 --> 00:20:04.440 October's tossed and trodden gold. She is making the young 293 00:20:04.519 --> 00:20:08.920 year out of the old yea out of winter's flying sleet. 294 00:20:09.640 --> 00:20:12.960 She is making all the summer sweet, and the brown 295 00:20:13.079 --> 00:20:17.279 leaves spurned of November's feet. She is changing back again 296 00:20:17.920 --> 00:20:23.640 to springs end of poem. This recording is in the 297 00:20:23.640 --> 00:20:24.359 public domain. 298 00:20:30.920 --> 00:20:35.480 In a Forgotten Burying Ground by Ruth Guthrie Harding read 299 00:20:35.519 --> 00:20:40.559 for LibriVox dot Org by Andrew Gaunce Eternal. In the 300 00:20:40.599 --> 00:20:44.880 brooding of the old Norwegian spruces, I hear the wistful 301 00:20:44.960 --> 00:20:48.680 tenderness of loves they used to know, And in the 302 00:20:48.880 --> 00:20:52.759 swelling wood notes that the eager spring tide looses sobs 303 00:20:52.799 --> 00:20:56.319 again their heart break from the springs of long ago. 304 00:20:57.039 --> 00:21:00.880 And sometime through the silence, with the april shadows lying 305 00:21:01.160 --> 00:21:04.680 aslant the solemn acre where I take my dreamless rest, 306 00:21:05.119 --> 00:21:08.960 perhaps the stifled need of you, my heart was ever crying, 307 00:21:09.440 --> 00:21:12.519 will find its way across the ears to stir a 308 00:21:12.559 --> 00:21:17.359 stranger's breast. End of poem. This recording is in the 309 00:21:17.359 --> 00:21:18.079 public domain. 310 00:21:24.240 --> 00:21:29.880 Wind by Fanny Sterns Davis. The wind bows down the 311 00:21:29.960 --> 00:21:34.960 poplar trees, the wind bows down the crested seas, and 312 00:21:35.039 --> 00:21:39.400 he has bowed the heart of me under his hand 313 00:21:39.799 --> 00:21:45.480 of memory. Oh heavy handed wind, who goes hurting the 314 00:21:45.640 --> 00:21:50.119 petals of the rose, who leaves the grasses on the 315 00:21:50.279 --> 00:21:57.039 hill broken and pallid, spent, And still, Oh heavy handed Wind, 316 00:21:57.160 --> 00:22:02.640 who brings to me, I'll echo in ancient things, echoing 317 00:22:02.880 --> 00:22:09.880 sorrow and defeat, crying like mourners hard to meet. The 318 00:22:09.920 --> 00:22:14.480 wind bows down the poplar trees, and all the oceans 319 00:22:14.759 --> 00:22:20.200 arega seas. But deeper bends the heart of me under 320 00:22:20.240 --> 00:22:27.440 his hand of memory and of palm. This reporting is 321 00:22:27.519 --> 00:22:28.960 in the public domain. 322 00:22:34.839 --> 00:22:39.200 The Speckled Trout by Madison Kowaen read for LibriVox dot 323 00:22:39.359 --> 00:22:43.640 org by Paul Harvey, with rod and line. I took 324 00:22:43.720 --> 00:22:47.119 my way that led me through the gossip trees, where 325 00:22:47.480 --> 00:22:50.559 all the forest was a sway, with hurry of the 326 00:22:50.640 --> 00:22:54.640 running breeze. I took my hat off to a flower 327 00:22:54.960 --> 00:22:59.000 that nodded welcome as I passed, and pelted by a 328 00:22:59.079 --> 00:23:04.519 morning shower. Unto its heart, a bee held fast a 329 00:23:04.559 --> 00:23:08.519 head of gold. One great weed tossed and leaned to 330 00:23:08.559 --> 00:23:12.079 look when I went by, and where the brook the 331 00:23:12.200 --> 00:23:16.559 road way crossed. The daisy kept on me its eye. 332 00:23:17.039 --> 00:23:20.119 And when I stooped to bathe my face and seat 333 00:23:20.160 --> 00:23:24.160 me at a great tree's foot, I heard the stream say, 334 00:23:24.359 --> 00:23:27.920 mark the place and under mine it, rock and root 335 00:23:29.599 --> 00:23:33.799 and o'er the whirling water. There a dragon fly its 336 00:23:33.799 --> 00:23:37.720 shuttle plied where wild the fern let down its hair 337 00:23:38.240 --> 00:23:43.799 and leaned to see the water's pride. A speckled trout, 338 00:23:44.119 --> 00:23:48.400 the spotted elf whom I had come so far to sea, 339 00:23:48.720 --> 00:23:53.920 stretched out above a rocky shelf, a shadow sleeping mockingly. 340 00:23:55.559 --> 00:23:59.759 And I have sat here half the day regarding it. 341 00:23:59.759 --> 00:24:03.640 It has not stirred. I heard the running water say 342 00:24:04.319 --> 00:24:08.079 he does not know the magic word, the word that 343 00:24:08.240 --> 00:24:12.799 changes everything and brings all nature to his hand, that 344 00:24:13.000 --> 00:24:17.319 makes of this great trout a king, and opes the 345 00:24:17.400 --> 00:24:23.119 way to fairyland, and of poem. This recording is in 346 00:24:23.200 --> 00:24:24.119 the public domain. 347 00:24:30.200 --> 00:24:35.119 Trees by Joyce Kilmer, read for Librevox dot Org by 348 00:24:35.240 --> 00:24:39.119 Larry Wilson. I think that I shall never see a 349 00:24:39.160 --> 00:24:42.960 poem lovely as a tree, A tree whose hungry mouth 350 00:24:43.079 --> 00:24:46.960 is pressed against the sweet Earth's hungry breast. A tree 351 00:24:47.000 --> 00:24:49.319 that looks at God all day and lefts sir leafy 352 00:24:49.480 --> 00:24:53.039 arms to pray. A tree that may, in summer wear 353 00:24:53.119 --> 00:24:56.799 a nest of robins in her hair, upon whose bosom 354 00:24:56.880 --> 00:25:01.880 snow has lain, who intimately lives with ra Poems are 355 00:25:01.880 --> 00:25:05.559 made by fools like me. But only God can make 356 00:25:05.599 --> 00:25:11.519 a tree poetry. A magazine of verse in the poem 357 00:25:12.000 --> 00:25:13.920 this recording is in the public domain. 358 00:25:20.480 --> 00:25:25.000 In the Hospital by Arthur Geeterman read for librivostodorg by 359 00:25:25.079 --> 00:25:30.759 Adrian Stephens. Because on the branch that is tapping my pane, 360 00:25:31.319 --> 00:25:35.920 a sun wakened leaf, bud uncurled, is bursting its rusty 361 00:25:36.000 --> 00:25:40.079 brown sheathing. In Twain, I know there is spring in 362 00:25:40.200 --> 00:25:45.200 the world, because through the sky patch, whose azure and 363 00:25:45.359 --> 00:25:49.680 white my window frames all the day long, a yellow 364 00:25:49.680 --> 00:25:53.640 bird dips for an instant of flight. I know there 365 00:25:53.720 --> 00:25:59.200 is song, because even here in this mansion of woe, 366 00:25:59.519 --> 00:26:05.400 where reep the dull hours leaden shod, compassion and tenderness 367 00:26:05.640 --> 00:26:12.920 aid me, I know there is God. Scribner's Arthur Ghittermun 368 00:26:14.440 --> 00:26:17.680 end of poem. This recording is in the public domain. 369 00:26:24.119 --> 00:26:27.880 Love of Life by Tertius van Dyck read for librivos 370 00:26:27.920 --> 00:26:32.880 dot org by Adrian Stephens. Love you not the tall 371 00:26:32.920 --> 00:26:37.319 trees spreading wide, their branches, cooling with their green shade 372 00:26:37.359 --> 00:26:40.720 the sunny days of June. Love you not the little 373 00:26:40.720 --> 00:26:46.000 bird lost among the leaflets, dreamingly repeating a quaint brief tune. 374 00:26:47.200 --> 00:26:49.960 Is there not a joy in the waste, windy places? 375 00:26:50.440 --> 00:26:53.039 Is there not a song by the long dusty way? 376 00:26:54.000 --> 00:26:57.079 Is there not a glory in the sudden hour of struggle? 377 00:26:57.839 --> 00:27:00.839 Is there not a peace in the long quiet day? 378 00:27:02.359 --> 00:27:05.680 Love you not the meadows with the deep, lush grasses. 379 00:27:06.240 --> 00:27:09.640 Love you not the cloud flocks, noiseless in their flight. 380 00:27:10.559 --> 00:27:13.359 Love you not the cool wind that stirs to meet 381 00:27:13.400 --> 00:27:17.079 the sunrise. Love you not the stillness of the warm 382 00:27:17.240 --> 00:27:21.559 summer night. Have you never wept with a grief that 383 00:27:21.680 --> 00:27:25.640 slowly passes? Have you never laughed when a joy goes 384 00:27:25.720 --> 00:27:29.279 running by? Know you not the peace of rest that 385 00:27:29.480 --> 00:27:34.279 follows labor. You have not learnt to live? Then? How 386 00:27:34.319 --> 00:27:41.000 can you dare to die? Scribner's Tertius van Dyke end 387 00:27:41.039 --> 00:27:44.240 of poem. This recording is in the public domain. 388 00:27:50.119 --> 00:27:57.519 God's Will by Mildred Howls Bred for Librevaks dar Dog. 389 00:27:58.880 --> 00:28:02.920 God meant me to be hungry, so I should seek 390 00:28:03.119 --> 00:28:10.680 to find wisdom and truth and beauty to satisfy my mind. 391 00:28:12.039 --> 00:28:16.359 God meant me to be lonely, lest I should wish 392 00:28:16.519 --> 00:28:22.119 to stay in some green, earthly eden, too long from 393 00:28:22.200 --> 00:28:22.920 heaven away. 394 00:28:24.440 --> 00:28:25.920 God meant me to. 395 00:28:26.000 --> 00:28:30.799 Be weary, that I should yearn to rest this feeble 396 00:28:31.400 --> 00:28:39.000 aching body deep in the Earth's dark breast. And of poem. 397 00:28:39.880 --> 00:28:43.440 This recording is in the public domain. 398 00:28:49.759 --> 00:28:54.240 On the Birth of a Child by Lewis Untermire read 399 00:28:54.279 --> 00:29:00.799 for LibriVox dot org by Kathleen bond Lo to the 400 00:29:00.799 --> 00:29:05.000 battle ground of life, Child, you have come, like a 401 00:29:05.119 --> 00:29:10.240