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I CAME between the glad green hills,
I came between the sad green hills,
That woke the pulse of the May:
IF any one can tell you
I will give, not sell you,
And the voice in my dream,—
And the pageant of the Year,
But nothing that is clear,
At Even and Morn
Where sadness is gladness
And sorrow unforlorn,
For there Song is born.
RICHARD HENRY STODDARD.
-The Century Magazine, December, 1888.
AT A READING.
THE spare Professor, grave and bald,
I think, "A Brief Historic Glance
Are fashioned out of eighteen springs —
She looked so fresh, so wise, so neat,
I quite forgot what Bismarck said,
From the Professor's theme that day
GILDER. "The New Day. a Poem in Songs and Sonnets," bears copyright of 1875, 1880, 1885 and 1887. "The Celestial Passion," 1878. 1885 and 1887. "Lyrics," 1878, 1885 and 1887. Important corrections were made in the text in each edition.
HOUGHTON. "Courage" was originally published in Scribner's Magazine.
IBID. Mr. Houghton recently resigned the editorship of The Hub, to accept a like position in connection with Varnish, published monthly in New York.
MARTIN. In a letter to a friend Mr. Martin says: 'During an autumn walk in South Wales, I no. ticed a leafless thorn in a hedge by the roadside made gay with the berries of the briony, and I composed the little song during my walk. I wrote "Apple Blossoms" with perhaps greater rapidity than any poem of mine. I was staying at a farm-house in Herefordshire in the spring, surrounded with apple-orchards. My hostess told me that in the previous spring her daughter had been married, and she described the freedom with which they used apple blossoms for the decoration and adornment of the bride and the bridesmaids the church and the wedding-table. I was greatly pleased, and thought it most fitting and proper in an apple county like Herefordshire. The next morning when I entered the breakfast room, I found the table decorated with apple blossoms, a large old-fashioned China punch-bowl standing in the centre piled up with the most delicious blossoms. The sun was shining into the room, the orchard, ablaze with color, could be seen in the distance; the subtle sweet odor surrounded me. I took a sheet of paper, and during my pleasant meal wrote the little poem as you find it, and my breakfast and it were finished together."
O'REILLY. Many of the "Songs of the Southern Seas," were republished in " 'Songs, Legends and Ballads."
ABBEY. The poems of Henry Abbey bear copyright 1866, 1869, 1872, 1879, 1880 and 1885. 'Faith's Vista" is from a recent number of the American Magazine.
BROTHERTON. "A Song of Fleeting Love" is from The Century Magazine for May, 1888.
CHATTERTON. Such precocity of genius was never perhaps before witnessed. We have the poems of Pope and Cowley written, one at twelve (at least the first draft), and the other at fifteen
years of age, but both were inferior to the verses of Chatterton at eleven.
BLAKE. From a lack of early discipline to some extent may be ascribed the premature development of the marvelous imaginative faculty of Blakehis somewhat powerful self-assertive spirit-and his early dalliance with the muses; for he was scarcely out of the years of infancy before he began to write verse. "A Song" is one of the best lyrics of its kind in the English language. A. S.
POE. For airiness, brightness, and suggestiveness, we have only a very few lyrics like "A Song" by William Blake; but it is remarkable that one of those few was also produced by another 44 marvelous boy" at about the same age. A. S. COOLBRITH. From The Century Magazine, December, 1885.
LAIGHTON. From The Atlantic Monthly, February, 1879.
BURROUGHS. "Waiting" is the only poem by John Burroughs in print. It was written in 1862, and printed in the old Knickerbocker Magazine during the brief revival under the management of a Mr. Cornwallis. The poem seems to have attracted no attention until Whittier put it in his collection of
Songs of Three Centuries," since which time it has been included in many collections published in this country and in England.
in Harper's Weekly, and has been since copied, by actual count of each appearance, over eight hundred times. Gus Williams, the actor, recited it during his presentation of "The German Senator." It met with the usual fate of popular poems, and was claimed by several authors.
CRAWFORD. The song, "The Drunkard's Raggit Wean," is not a great poetical effort by any means, but it secured a favor with the public, which more elaborate works of art seldom achieve. It is curious to know that the song was composed inside a city U. P. Church one Sunday afternoon, in the September of 1855. It was certainly a daring act of the poet-this sacrifice of a Sunday sermon at the shrine of Poesy; but the words of the sermon very probably fell still-born from the pulpit, while the song, winged with music, has, for a quarter of a century, inculcated lessons of morality in thousands of human hearts, in view of which, the Recording Angel very probably has long since cancelled the poet's neglect of the parson's sermon, by a conclusive per contra of — Fully Paid! A. C. M.
BANKS. It was at Harrogate, over the breakfast table, that Mr. Banks wrote his celebrated poem, What I Live For." It went into the Family Herald first, then into his next volume, Peals from the Belfry" (1853), and since has gone the world over. Dr. Guthrie, Dr. Raleigh, and others have tagged sermons and speeches with a stanza from it, the Chevalier de Chatelain published a French translation, and The Panama Star and Herald adopted the three concluding lines as its motto. E. B.
"The Tapestry Weavers" was originally published in The Century Magazine. It has been set to music by Rev. T. B. Stephenson of London, England.
LATHROP. The authorship of "A Woman's Answer to a Man's Question" is often attributed to Elizabeth Barrett Browning, and also to Adelaide Proctor. To a correspondent the author says: "I am surprised at the interest in my little poem written originally as a pat amusement to a real valentine, written to a real girl friend, by a real bachelor. All the parties are still alive, and that the poem is mine is beyond a chance of doubt. It was not written for publication, and it did not see the light for several years after its writing. It was first published in the Washington, Arkansas, Post, my brother, Colonel James Torrans, then being owner and editor of the paper. From that time it has Caprice at Home" is from Appleton's often gone through the papers, rarely with proper Journal, July, 1877. N. S. vol. 3, No. 1, page 67. credit. The title under which I published it was: COOKE. "Two" is from Good Cheer, February, "A Woman's Answer to a Man's Question," not 1885. "A Woman's Question."
BRINE. "Somebody's Mother" was conceived while the author was riding on a Brooklyn streetcar one very snowy day, some few years ago, when she saw an old and poor woman at a street crossing. The woman was afraid to stir owing to the ice and the carts and crowd. A number of boys passing at the time laughed at her, and went on without offering to assist her. It was first published
"A Song" first appeared in the St. James Magazine some years ago. MCINTYRE.
"Knee Deep" is from The Current, Chicago, Ill., July 4, 1885. PIATT.
PEIRSON. Ripe Wheat" was first published in Moore's Rural New Yorker in 1869. Originally published under the author's usual nom de plume of "Aliqua," within three weeks we saw it in a country paper, without any recognition of authorship, or any hint of credit, whatever; and ever since then the poem has been as veritable a waif as any we could mention, finding a snug place in number. less newspaper corners, and preaching its little
sermon, of what life and death ought to be, to a large audience. It has been included, also, in several compilations of religious rhyme, and has been repeatedly quoted in obituary columns, with special reference -a touching memorial of fruitful age. A. A. H. PEACOCK. 64 Helen of Troy" was originally published in the London Spectator.
MCCLELLAND. Eminent among the literary workers of her state stands Miss Minnie G. McClelland. That she was born out of the ordinary groove, was made plain in her early childhood. The old ancestral home stood for common-school and college in the education of the growing girl. There it began, and there it is still going on, self-directed, broadening, and deepening. She is an intense student, cherishing a keen interest in every department of learning, and has shown a surprising mastery of fresh intellectual gains, by the way in which she weaves them into the fabric of her stories. Long before the publication of “Oblivion" she wrote magazine stories and dialect poems, which compare favorably with the work of her maturer pen. The first of these was written, when very young, under the inspiration of a realistic situation. A chicken-fight over a worm, occurred in her presence one summer morning, as she sat in the yard of the old homestead engaged in the domestic employment of churning. Seizing pencil and paper from a folio beside her, she jotted down with one hand, while continuing her homely Occupation with the other, the notes of a negro dialect poem. In addition to her fine intellectual gifts, Miss McClelland possesses a God-given love of humanity. From her youth, she has stood for the defense of the weak and helpless. Sacrifice of personal pleasure for the benefit of others, to her is a privilege rather than a duty. She is a genuine thild of nature, cherishing a vehement indignation against all forms of injustice and oppression. With self-forgetful magnanimity she gives her hand to those on the lower step of life's ladder. Socially Miss McClelland has great attractions. Her conversational powers are decidedly fine. Her manner possesses unaffected freshness and charm. She is unconventional to a degree, and wholly devoid of self-consciousness. Like her own Myra Yorke in Madame Silva," she is "enthusiastic, emotional, intense." In person she is rather tall and slender. When in repose, the expression of her face, as delineated in her picture, becomes introspective and tenderly eloquent of unspoken thought, silencing at once all intrusive remark, which might disturb some beautiful mental creation. W. R L. S.
WORKS CONSULTED IN THE PREPARATION OF THIS NUMBER OF THE MAGAZINE OF POETRY." GILDER, RICHARD WATSON. The New Day, a Poem in Songs and Sonnets. Fourth edition. New York: The Century Co., 1887. 12mo, pp. 103. New York: The
IBID. The Celestial Passion. Century Co., 1887. 12mo, pp. 76.
IBID. Lyrics. Second edition. New York: The Century Co., 1887. 12m0, pp. 136.
HOUGHTON, GEORGE W. W. Songs from Over the Sea. New York: No title page, S. W. Green, printer, 1874. 12mo, pp. 24.
IBID. Album Leaves. Boston: Estes and Lauriat, 1878. 12mo, pp. 34.
IBID. Drift from York-Harbor Maine. Boston: A. Williams and Co., 1879. 12mo, pp. 48. IBID. The Legend of St. Olaf's Kirk. Boston: Estes and Lauriat, 1880. 12mo, pp. 64. IBID. The Same. Second edition, revised. Boston: Houghton, Mifflin and Co., 1881. 16m0, pp. 92.
SYLVA, CARMEN. Songs of Toil, by Carmen Sylva, Queen of Rumania. Translated by John Eliot Bowen. With an Introductory Sketch. New York: Frederick A. Stokes and Brother, 1888. 16mo, pp. 143.
CONVERSE, HARRIET MAXWELL. Sheaves, a Collection of Poems. Second edition. New York and London: G. P. Putnam's Sons, 1885. 12mo, pp. 8 and 217.
IBID. Miscellaneous Poems.
MARTIN, WILLIAM WILSEY. By Solent and Danube, Poems and Ballads. London: Trübner and Co., 1885. 12mo, pp. 11 and 171.
IBID. Miscellaneous poems from QUERIES, and unpublished poems.
GILFILLAN, ROBERT. The Scottish Minstrel. The Songs of Scotland Subsequent to Burns, with Mem