Writings in the United Amateur, 1915-1922 by H. P. Lovecraft (electric book reader .TXT) π
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But turn now to "Ellsworth to Great Pond" and marvel! True, we still find the vivid delineation of human feelings, but what a distance we have travelled! Gone is the young dreamer with his world of moonshine, for here roars the Maine lumberjack with all the uncouth vigour and rude natural expressiveness of the living satyr. It is life; primal, uncovered, and unpolishedβthe ebullient, shouting vitality of healthy animalism.
Swill hard cider, Boys!
Throw yer spikers, throw yer peavies,
Beller out yer noise!"
We have drifted from the aether of Keats to the earth of Fielding, yet under the guidance of the same author. Greater proof of Miss Jackson's absolute objectivity and marvellous imagination could not be produced or asked.
Yet who shall say that the Jackson pendulum is powerful only at the extremes of its sweeping arc? In "Workin' Out" we discover a pastoral love-lyric which for quaintness and graphic humanness could not well be surpassed. Here the distinctive and spontaneous inventiveness of Miss Jackson's fancy is displayed with especial vividness. The rural youth, "workin' out" far from his loved Molly, enumerates the prosaic chores he can perform with easy heart; but mentions in each case some more poetic thing which stirs his emotions and gives him loneliness for the absent fair. He can cut and husk corn, but the golden-rod reminds him of his Molly's golden hair. He can milk cows, but the gentian reminds him of his Molly's blue eyes. Aside from their intrinsic ingeniousness, these images possess an unconscious lesson for the poet who can read it. They expose with concrete illustrations the fallacy of the so-called "new poetry," which disregards the natural division between beautiful and unbeautiful things and rhapsodises as effusively over a sewer-pipe as over the crescent moon.
"The Token" exhibits Miss Jackson in her airiest lyrical mood; a mood original because it possesses the rare lyrism of pure music and fancy rather than the common lyrism of unsubtilised emotion. There is bounding music in thought and medium alike, whilst the naive plunge into the theme without introduction or explanation is a stroke savouring of the simplicity of genius. Equally effective is the simple metrical transition whereby the chorus assumes the trochaic measure of a childhood chant or carol:
Down the long lane she will go!
Dancing she, glancing she,
Down the lane with eyes aglow!"
In "Assurance" and "It's Lovetime," the author displays a lyrical fervour of more conventional type; adding the touch of originality by means of melodious simplicity and reiteration in the one case, and pure lyric ecstasy in the other.
The metrical originality of Miss Jackson, displayed in all classes of her work, should not be slighted amidst the enthusiasm one entertains for her magical mastery of thoughts and images. No other conservative poet of the period is more versatile and individual in choice of numbers, or in adaptation of measure to mood. "Driftwood," a wonderfully original poem of imagination describing the fancies which arise from the smoke of logs wafted from far mysterious lands where once the trees grew under strange suns, moons, and rainbows, is as remarkable in form as in idea. One may judge by a sample pair of stanzas:
And smile
Before the fire of driftwood.
Wan guile
That writhes in fire of driftwood."
We have so far viewed poetry which would lead us to classify Miss Jackson as a delineator of moods rather than of character; yet knowing her versatility, we naturally expect to find among her works some potent character studies. Nor are we disappointed. "Joe," a song of the Maine woods, describes in admirably appropriate verbiageβas simple and as nearly monosyllabic as possibleβthe typical Anglo-Saxon stoic of far places, who faces comfort and disaster, life and death, with the same unemotional attitude which Miss Jackson sums up so skilfully in the one ejaculatory bit of colloquial indifferenceβ"Dunno!"
"The Song of Jonny Laughlin" is a highly unusual ballad relating the history of a peculiarly good and self-sacrificing river character. The story is simple, but the piece gains distinctiveness from its absolutely faithful reproduction of the spirit of frontier balladry. In words, swing, and weird refrain, there exists every internal evidence of traditional authenticity; and that such a bit of Nature could be composed by a cultivated feminine author is an overwhelming testimonial to Miss Jackson's unique gifts.
That Miss Jackson can reflect the spirit of the most dissimilar characters is further proved by the two immensely powerful studies of the vagabond type entitled "The Call" and "John Worthington Speaks." These things are masterpieces of their kind; the self-revealing narratives of restless wanderers by land and sea, crammed to repletion with details and local colour which no one but their author could command without actual experience as a derelict of five continents and as many oceans. They leave the reader veritably breathless with wonder at the objectivity and imagination which can enable a New-England poetess to mirror with such compelling vividness in thought and language the sentiments of so utterly opposite a type. Not even the narrowly specialised genius of such rough-and-ready writers as Service and Knibbs, working in their own peculiar field, can surpass this one slight phase of Miss Jackson's universal genius.
It remains to speak of the singular power of Miss Jackson in the realm of the gruesome and the terrible. With that same sensitiveness to the unseen and the unreal which lends witchery to her gayer productions, she has achieved in darker fields of verse results inviting comparison with the best prose work of Ambrose Bierce or Maurice Level. Among her older poems the ghastly and colourful phantasy "Insomnia" and the grimly realistic rustic tragedy "Chores" excited especial praise, a critic referring as follows to the latter piece:
"It has all the compelling power which marks Miss Jackson's darker productions, and is conveyed in an arresting staccato measure which emphasises the homely horror of the theme. The phraseology, with its large proportion of rural and archaic words and constructions, adds vastly to the general effect and atmosphere."
This reference to Miss Jackson's unusual vocabulary deserves elaboration, for one of the secrets of her effective poetry is the wide and diverse array of words and word-combinations which she commands. Recondite archaisms and ruralisms, together with marvellously apt and original descriptive compounds, are things which perpetually astonish and delight her readers. Of recent specimens of Miss Jackson's darker verse, "Finality," "The Song" and "Fallen Fences" deserve especial praise. The horrible picture conjured up in the closing lines of the first named piece is one well calculated to haunt the dreams of the imaginative.
As we conclude this survey of rich and varied poetry, our dominant impression aside from admiration is that of wonder at the tardiness with which the author has been recognised by the non-amateur public. As yet the name of Jackson is a comparative novelty to the literary world, a thing explainable only by the reluctance of its possessor to adopt that species of trumpeting which helps less modest and less genuine poets into the glare of celebrity. But genius such as Miss Jackson's can not remain forever hidden, however slight be her striving for fame; so that we may reasonably expect the next few years to witness her establishment among the leading literary figures, as one of the ablest, broadest and most original of contemporary bards.
Ex Oblivione Ward PhillipsWhen the last days were upon me, and the ugly trifles of existence began to drive me to madness like the small drops of water that torturers let fall ceaselessly upon one spot of their victim's body, I loved the irradiate refuge of sleep. In my dreams I found a little of the beauty I had vainly sought in life, and wandered through old gardens and enchanted woods.
Once when the wind was soft and scented I heard the south calling, and sailed endlessly and languorously under strange stars.
Once when the gentle rain fell I glided in a barge down a sunless stream under the earth till I reached another world of purple twilight, iridescent arbours and undying roses.
And once I walked through a golden valley that led to shadowy groves and ruins, and ended in a mighty wall green with antique vines, and pierced by a little gate of bronze.
Many times I walked through that valley, and longer and longer would I pause in the spectral half-light where the giant trees squirmed and twisted grotesquely, and the grey ground stretched damply from trunk to trunk, sometimes disclosing the mould-stained stones of buried temples. And always the goal of my fancies was the mighty vine-grown wall with the little gate of bronze therein.
After a while, as the days of waking became less and less bearable from their greyness and sameness, I would often drift in opiate peace through the valley and the shadowy groves, and wonder how I might seize them for my eternal dwelling-place, so that I need no more crawl back to a dull world stript of interest and new colours. And as I looked upon the little gate in the mighty wall, I felt that beyond it lay a dream-country from which, once it was entered, there would be no return.
So each night in sleep I strove to find the hidden latch of the gate in the ivied antique wall, though it was exceedingly well-hidden. And I would tell myself that the realm beyond the wall was not more lasting merely, but more lovely and radiant as well.
Then one night in the dream-city of Zakarion I found a yellowed papyrus filled with the thoughts of dream-sages who dwelt of old in that city, and who were too wise ever to be born in the waking world. Therein were written many things concerning the world of dream, and among them was lore of a golden valley and a sacred grove with temples, and a high wall pierced by a little bronze gate. When I saw this lore, I knew that it touched on the scenes I had haunted, and I therefore read long in the yellowed papyrus.
Some of the dream-sages wrote gorgeously of the wonders beyond the irrepassable gate, but others told of horror and disappointment. I knew not which to believe, yet longed more and more to cross forever into the unknown land; for doubt and secrecy are the lure of lures, and no new horror can be more terrible than the daily torture of the commonplace. So when I learned of the
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