vance. The words are chosen with a keener sense of their actual as well as their musical values; the rhythms are much more subtle and varied; the lines move with a greater naturalness.

Besides her own books, Miss Teasdale has compiled an anthology, The Answering Voice (1917), comprising one hundred love lyrics by women, and a collection for children, Rainbow Gold (1922).

SPRING NIGHT1

The park is filled with night and fog,
The veils are drawn about the world,
The drowsy lights along the paths
Are dim and pearled.

Gold and gleaming the empty streets,
Gold and gleaming the misty lake.
The mirrored lights like sunken swords,
Glimmer and shake.

Oh, is it not enough to be

Here with this beauty over me?

My throat should ache with praise, and I
Should kneel in joy beneath the sky.
O beauty, are you not enough?
Why am I crying after love

With youth, a singing voice, and eyes
To take earth's wonder with surprise?
Why have I put off my pride,
Why am I unsatisfied, -

I, for whom the pensive night
Binds her cloudy hair with light,
I, for whom all beauty burns
Like incense in a million urns?
O beauty, are you not enough?
Why am I crying after love?

1 Reprinted by permission of the publishers, The Macmillan Company, from Rivers to the Sea by Sara Teasdale.

I SHALL NOT CARE1

When I am dead and over me bright April
Shakes out her rain-drenched hair,

Though you should lean above me broken-hearted,
I shall not care.

I shall have peace, as leafy trees are peaceful
When rain bends down the bough;

And I shall be more silent and cold-hearted
Than you are now.

NIGHT SONG AT AMALFI1

I asked the heaven of stars
What should I give my love-
It answered me with silence,
Silence above.

I asked the darkened sea

Down where the fishermen go
It answered me with silence,
Silence below.

Oh, I could give him weeping,
Or I could give him song-
But how can I give silence

My whole life long?

WATER LILIES 2

If you have forgotten water-lilies floating

On a dark lake among mountains in the afternoon shade, If you have forgotten their wet, sleepy fragrance,

Then you can return and not be afraid.

1 Reprinted by permission of the publishers, The Macmillan Company, from Love Songs by Sara Teasdale.

2 Reprinted by permission of the publishers, The Macmillan Company, from Flame and Shadow by Sara Teasdale.

But if you remember, then turn away forever

To the plains and the prairies where pools are far apart, There you will not come at dusk on closing water lilies, And the shadow of mountains will not fall on your heart.

TWO SONGS FOR SOLITUDE1

The Crystal Gazer

I shall gather myself into myself again,

I shall take my scattered selves and make them one, I shall fuse them into a polished crystal ball Where I can see the moon and the flashing sun.

I shall sit like a sibyl, hour after hour intent,
Watching the future come and the present go-
And the little shifting pictures of people rushing
In tiny self-importance to and fro.

The Solitary

Let them think I love them more than I do,
Let them think I care, though I go alone,
If it lifts their pride, what is it to me

Who am self-complete as a flower or a stone?

It is one to me that they come or go

If I have myself and the drive of my will, And strength to climb on a summer night And watch the stars swarm over the hill.

My heart has grown rich with the passing of years,
I have less need now than when I was young

To share myself with every comer,

Or shape my thoughts into words with my tongue.

1 Reprinted by permission of the publishers, The Macmillan Company, from Dark of the Moon by Sara Teasdale.

Wilbert Snow was born April 6, 1884, on White Head Island, off the coast of Maine. His early years were spent in his own state; he became, at various times, a lobster-catcher, a deep-sea fisherman, a sailor, a country school teacher (all in Maine) and an Eskimo and reindeer agent for the Department of the Interior in Alaska. Graduating from Bowdoin College in 1907, he obtained his M.A. at Columbia University in 1910 and taught English subsequently at seven American colleges.

Maine Coast (1923) and The Inner Harbor (1926) manifest Snow's obvious though perhaps unconscious debt to Robert Frost. But beneath the surface derivations there is much that comes straight from Snow's own experience and observation. In connection with the poem here reprinted, a reading of “Advice to a Clam-Digger" and "A Northeaster" will reveal this poet's background and give a more complete presentation of his characteristics.

TAKING AWAY THE BANKING

When March winds carried prophecies of June,
And gray days were no longer winter-killed,
We all went out and worked till afternoon
To take the spruce-limb banking off, and filled
The air with shouts, heaping what soon would be
A bonfire blazing by the willow-tree.

We tugged at big ends of the bottom brush,
The small ends as reluctant to let go

As winter was himself, although the rush

Of warmth, once started, was an overflow

Of sunny days, blue-birds, and brooklets racing
Like children from worn mothers, tired of chasing.

We found that spring already underneath
Had started on his work; the light-brown grasses
Were flaunting spots of green, the little teeth
Of mice and snouts of worms had chiseled passes
Worms we sent wiggling as a tempting cud
For hungry flounders coming out of mud.

O, there were ugly days enough to come,.
With rain and sleet and April fluffs of snow,
Big winds that moaned and made the wires hum,
And neighbors calling out, "We told you so!"
But looking on it now I think the days

We coaxed the spring along, and felt the rays

Of March intensify the balsam smell

In those green boughs, and saw the underpinning
Exposed once more, and children run pellmell
To hunt for crocuses, set fancies spinning
More rapidly than blooming hours of May
When all the hills of God kept holiday.

EZRA POUND

Ezra (Loomis) Pound was born at Hailey, Idaho, October 30, 1885; attended Hamilton College and the University of Pennsylvania and went abroad, seeking fresh material to complete a thesis on Lope de Vega, in 1908.

It was in Venice that Pound's first book, A Lume Spento (1908), was printed. The following year Pound went to London and the chief poems of the little volume were incorporated in Personæ (1909), a small collection containing some of Pound's finest work.

Although the young American was a total stranger to the English literary world, his book made a definite impression on critics of all shades. Edward Thomas, the English poet and one of the most careful appraisers, wrote, "The beauty of it is the beauty of passion, sincerity and intensity, not of beautiful words and suggestions.. The thought dominates the words and is greater than they are."

Exultations (1909) was printed in the autumn of the same year that saw the appearance of Persona. Too often in his later work, Pound seems to be more the archæologist than the artist, digging with little energy and less enthusiasm. Canzoni (1911) and Ripostes (1912) both contain much that is sharp and living; they also contain the germs of desiccation and decay. Pound began to scatter his talents; to start movements which he quickly discarded for new ones; to spend himself in poetic propaganda for the Imagists and others (see Preface); to give more and more time to translation. A