"WHERE IS THE POET?"

Soon after the assassination of President McKinley at Buffalo, a question was raised in a public journal with reference to the celebration of the event: "Where is the Poet?" As a preface to the question the factors tending to make the incident worthy of poetic treatment were enumerated:

"The tragedy at Buffalo sounded the whole gamut of human emotions. Love, hate, fear, anger, sympathy, compassion-all the primal passions were aroused. Nothing could have been more dramatic than the spectacle of a single, cowardly, skulking wretch throwing a nation into tears. Nothing could have been more pathetic than the deep, yet hopeful, silence in which the people waited for the news from Buffalo. Nothing could be more inspiring than the way in which they rallied from the shock and faced the future with the confidence that 'God reigns and the government at Washington still lives.' Nowhere was ever given a more beautiful example of devotion than that which bound together the President and his wife. Never was a deathbed illumined more brightly by the light of Christian hope and faith. There was everything to inspire the poet."

That the theme was not lacking in elements of sublimity is proved by the witness of another journalist:

"Let us think, if we can, of the solitudes of mighty forests; imagine as we may the majestic sweep of storm-driven clouds lit with the forked flame of lightning; let us recall the mystic roar of the tireless Niagara; climb in imagination the solitary heights of mountain fields; let the mind follow the measureless ranges of earth's great highlands, the Rockies, the Andes, the Himalayas,

and still the sublimity and the solemnity of all these fade into insignificance compared with this more sublime and mystic manifestation of the life in common that summons a tearful nation around an open grave."

Though the pages of magazines teemed at the time with verses of a certain order of merit, it must be acknowledged that the first poem worthy the subject has yet to appear. Where, then, was the poet? Was the theme too large, was the event too near for poetic treatment? Nofor its scope was immediately perceived, as is indicated by the quotations given above. We must search elsewhere for an explanation of the poet's silence. May it not be that the time has passed when deeds require special poetical celebration? Another question obtrudes itself: "What is the need of the poet? If all the elements that constitute an incident poetic are perceived by the whole people with as much clearness as is exhibited by the passages quoted, may we not rest in the greatness of the fact and take the poet's rhetorical skill for granted? Could any poet add anything to the effects conveyed by the headlines, the news items, and the illustrations of the daily press-for it was by this avenue that all the facts of the incident came to the consciousness of the people. Let it be remembered that this is the twentieth century, and that we are trying in America to realize democratic ideals in literature as well as in life. If democratic politics means the dispersion of power among the people, may not democratic æsthetics mean the dispersion of the poetic sense among the same people? And if a people be æsthetically developed, is not the special poetic celebration of deeds rendered unnecessary-to the degree, at least, of popular participation in the deeds. In the case

referred to the question is readily answered: the questioner is himself the answer.

But now this event in respect to its imaginative quality is but typical of the life of the entire American people. I venture to affirm that life in America transcends in significance any record that can be made of it. With us personality is so subtle, it is woven of so many racial strands, it is blended of so many associations; with us men move in such masses-like ocean tides; with us events rise with such swiftness, they are knit of so varied and complex relations; nature itself is so vast and expansive, furnishing an adequate background for dramatic incidents: in short history in modern America is so energized that persons and objects assume an importance in themselves never before discerned, an importance that is surely not enhanced by the straining words of the most stalwart poet. Once admit that persons and events may reach a state that they become themselves poetic, then the poetry which is dependent for its effects upon the skill of a writer in arranging rhymes and constructing phrases to satisfy an exquisite sense for form seems unreal and childish. An ode on Lincoln placed by the side of Lincoln the man appears an impertinence. What Lincoln was and what he did certainly exceed in value what he wrote. It seems likely that with the growth of democracy the present relationship of literature and life will be reversed. Up to this time literature has been the leader; it must now learn to serve. Literature has been accorded the superior position because it has been superior. It has been the home of ideals and representative of freedom. But life has been in bondage to its own con

ditions. Unable to live freely men have dreamed of freedom. Arnold said of the great Goethe:

"He looked on Europe's dying bour

Of fitful dream and feverish power;

His eye plunged down the weltering strife,

The turmoil of expiring life:

He said, The end is everywhere,

Art still has truth, take refuge there!"

So art has been the refuge of the despairing man. Men have represented in art what they have desired in their inmost soul. Art is life shaped after the heart's desire. European literature has been superior to its life since the literature represents the ideals which the life could not exhibit. Shelley's life was ineffectual, but his poetry was prophesy. The poet knew from experience the truth of his remark:

"Most wretched men

Are cradled into poetry by wrong,

They learn in suffering what they teach in song."

The literature of Europe, furthermore, has been aristocratic and descriptive of feudal relations because kings and nobles have alone been privileged to live in comparative freedom. The only life possible to depict, such as men desired for themselves, was the life of the upper classes. In modern and democratic America the restraints are in some measure removed, the fetters are broken, the energies of the people are given free play, and life itself, for the first time in history, becomes positive and creative. The industrial supremacy of America in the world to-day arises from the conditions of democracy: it implies first of all removal of limita

tions.

Now when ideals are brought down into the market-place and the factory, when doing is more highly regarded than dreaming, life itself is able to be a fine art, tragic or lyric, ordered well or ill, romantic or real. Then it is possible to read history as an open page: things become words, the factory and field form the stage, the workers appear as heroes, their work is heard as a song.

If the truth of this statement be conceded that life in America is superior to literature, another question is disposed of which is frequently asked. "When will America enter upon its due artistic development?" The thought behind this question is of course that art is the measure of civilization and any other form of culture is ignoble and despicable. We shall not rise to the rank of a great people, it is assumed, until upon the basis of a material civilization a temple of art be reared. In this view all our past history amounts to nothing except as a preparation for artistic products. When we have gained wealth enough to afford the fullest opportunity for leisure, then, it is urged, we shall proceed to cultivate the refinements and humanities; when we have enacted our Iliad, the time will come for its recording. It is clear that in the minds of these cynics the idea held of the "humanities" is that in vogue in Europe in the period of aristocracy. Then, truly, art represented the adornment and entertainment of the noble and leisure classes. But an art of this type is no longer possible. In the first place the ideal of life in a democracy pertains not to leisure but to activity. In the second place there is not the slightest sign anywhere that the men who are doing the world's work are tiring of their strenuous exercise. We believe in work and are actually finding in our work the