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Beach", a poem by O. M. Blood, requires grammatical emendation. "How better could the hours been spent" and "When life and love true pleasure brings" cannot be excused even by the exigencies of rhyme and metre. After the second stanza, the couplet form shifts in an unwarranted manner to the quatrain arrangement. The phraseology of the entire piece displays poetical tendencies yet reveals a need for their assiduous cultivation through reading and further practice. "My Shrine", by James Laurence Crowley, exhibits real merit both in wording and metre, yet has a rather weak third stanza. The lines:
"One day I crossed the desert sands;
One day I ride my train;"

are obviously anticlimactic. To say that the subject is trite would be a little unjust to Mr. Crowley's Muse, for all amatory themes, having been worked over since the very dawn of poesy, are necessarily barren of possibilities save to the extremely skilled metrist. Contemporary love-lyrics can scarcely hope to shine except through brilliant and unexpected turns of wit, or extraordinarily tuneful numbers. The following lines by Margaret, Duchess of Newcastle, who died in 1673, well express the situation despite their crudeness:

"O Love, how thou art tired out with rhyme!
Thou art a tree whereon all poets climb;
And from thy branches every one takes some
Of the sweet fruit, which Fancy feeds upon.
But now thy tree is left so bare and poor,
That they can hardly gather one plum more!"

"Indicatory", a brilliant short sketch by Ethel Halsey, well illustrates the vanity of the fair, and completes in pleasing fashion a very creditable number of our official magazine.

THE UNITED AMATEUR for May forms still another monument to the taste and energy of our official editor, Mr. Schilling. Biography is the keynote of the current issue, Mrs. Renshaw, Mr. J. E. Hoag, and Mr. Henry Cleveland Wood each receiving mention. Miss Emilie C. Holladay displays a pleasing prose style in her account of our Second Vice-President, and arouses interest with double force through the introduction of juvenile incidents.

"Happiness Defined" is a delightful little sketch by Ida C. Haughton, whose philosophy will awake an universal response from the breasts of the majority. "The Wind Fairies", by Jean F. Barnum, is a poem in prose which contains more of the genuine poetic essence than does the average contemporary versified effort. The grace and grandeur of the clouds and the atmosphere have in all ages been admired, and it is but natural that they figure to a great extent in the beautiful legends of primitive mythology. "The Ship that Sails Away", by J. E. Hoag, is a delicate and attractive poem whose images and phraseology are equally meritorious. Mr. Hoag's poetical attainments are such that we await with eagerness the appearance of the pieces predicted in his biography. "To Flavia", by Chester Pierce Munroe, is a sweet lyric addressed to a young child and pervaded throughout with a quaintly whimsical, almost Georgian, semblance of stately gallantry. The first word of the seventeenth line should read "small" instead of "swell". As misprinted, this line conveys a rather incongruous impression. "Mountains in Purple Robes of Mist", a vivid and powerful poem of Nature by Rev. Eugene B. Kuntz, is cast in Alexandrine quatrains, a rather uncommon measure. The only possible defect is in line thirteen, where the accent of the word "sublime" seems to impede the flow of the metre. Line nineteen apparently lacks two syllables, but the deficiency is probably secretarial or typographical rather than literary. "Man as Cook", also by Dr. Kuntz, is a clever bit of humorous verse in octosyllabic couplets. "Consolation" well exhibits Andrew Francis Lockhart's remarkable progress as a poet. His verse is increasing every day in polish, and is fast becoming one of the most pleasing and eagerly awaited features of amateur letters. "At the End of the Road", by Mary Faye Durr, is a graphic and touching description of a deserted schoolhouse. The atmosphere of pensive reminiscence is well sustained by the judiciously selected variety of images and allusions. "There's None Like Mine at Home", by James Laurence Crowley, is a characteristic bit of Crowleian sentimentality which requires revision and condensation. There is not enough thought to last out three stanzas of eight lines each. Technically we must needs shudder at the apparent incurable use of "m-n" assonance. "Own" and "known" are brazenly and repeatedly flaunted with "roam" and "home" in attempted rhyme. But the crowning splendour of impossible assonance is attained in the "Worlds-girls" atrocity. Mr. Crowley needs a long session with the late Mr. Walker's well-known Rhyming Dictionary! Metrically, Mr. Crowley is showing a decided improvement of late. The only censurable points in the measure of this piece are the redundant syllables in lines 1 and 3, which might in each case be obviated by the substitution of "I've" for "I have", and the change of form in the first half of the concluding stanza. Of the general phraseology and imagery we may only remark that Mr. Crowley has much to forget, as well as to learn, before he can compete with Mr. Kleiner or other high-grade amatory poets in the United. Such expressions as "my guiding star", "my own dear darling Kate", or "she's the sweetest girl that e'er on earth did roam", tell the whole sad story to the critical eye and ear. If Mr. Crowley would religiously eschew the popular songs and magazine "poetry" of the day, and give over all his time to a perusal of the recognized classics of English verse, the result would immediately be reflected in his own compositions. As yet, he claims to be independent of scholarly tradition, but we must remind him of the Latin epigram of Mr. Owen, which Mr. Cowper thus translated under the title of "Retaliation":

"The works of ancient bards divine,
Aulus, thou scorn'st to read;
And should posterity read thine,
It would be strange indeed!"

So energetic and prolific a writer as Mr. Crowley owes it alike to himself and to his readers to develop as best he can the talent which rests latent within him.

The Woodbee for April opens with a melodious poem by Adam Dickson, entitled "Love". While the metre might well be changed in the interests of uniformity, the general effect is not at all harsh, and the author is entitled to no small credit for his production. The only other poem in the magazine is "Alone With Him", by Mrs. Ida C. Haughton. This piece is remarkable for its rhyming arrangement, each rhyme being carried through four lines instead of the usual couplet. The sentiments are just, the images well drawn, and the technique correct; the whole forming a highly commendable addition to amateur literature. "The Melody and Colour of 'The Lady of Shalott'", by Mary Faye Durr, is a striking Tennysonian critique, whose psychological features, involving a comparison of chromatic and poetic elements, are ingenious and unusual. Miss Durr is obviously no careless student of poesy, for the minute analyses of various passages give evidence of thorough assimilation and intelligent comprehension. "On Being Good", by Newton A. Thatcher, contains sound sense and real humour, whilst its pleasingly familiar style augurs well for Mr. Thatcher's progress in this species of composition. "War Reflections", by Herbert Albing, is an apt and thoughtful epitome of the compensating benefits given to mankind by the present belligerent condition of the world. The cogent and comprehensive series of reviews by Miss Edna M. Haughton, and the crisp and pertinent paragraphs by Editor Fritter, combine with the rest of The Woodbee's contents to produce an issue uniformly meritorious.

H. P. LOVECRAFT,
Chairman.

The Poetry Of The Month CONTENT.
An Epistle to RHEINHART KLEINER, Esq., Poet-Laureate, and Author of "Another Endless Day".
Beatus ille qui procul negotiis,
Ut prisca gens mortalium,
Paterna rura bobus exercet suis.
—HORACE.
KLEINER! in whose quick pulses wildly beat
The youth's ambition, and the lyrist's heat,
Whose questing spirit scorns our lowly flights,
And dares the heavens for sublimer heights:
If passion's force will grant an hour's relief,
Attend a calmer song, nor nurse thy grief.
What is true bliss? Must mortals ever yearn
For stars beyond their reach, and vainly burn;
Must suff'ring man, impatient, seek to scale
Forbidden steeps, where sharper pangs prevail?
Alas for him who chafes at soothing ease,
And cries for fever'd joys and pains to please:
They please a moment, but the pleasure flies,
And the rack'd soul, a prey to passion, dies.
Away, false lures! and let my spirit roam
O'er sweet Arcadia, and the rural home;
Let my sad heart with no new sorrow bleed,
But rest content in Morven's mossy mead.
Wild thoughts and vain ambitions circle near,
Whilst I, at peace, the abbey chimings hear.
Loud shakes the surge of Life's unquiet sea,
Yet smooth the stream that laves the rustic lea.
Let others feel the world's destroying thrill,
As 'midst the kine I haunt the verdant hill.
Rise, radiant sun! to light the grassy glades,
Whose charms I view from grateful beechen shades;
O'er spire and peak diffuse th' expanding gleam
That gilds the grove, and sparkles on the stream.
Awake! ye sylphs of Flora's gorgeous train,
To scent the fields, and deck the rising main.
Soar, feathered flock, and carol o'er the scene,
To cheer the lonely watcher on the green.
Sweet is the song the morning meadow bears,
And with the darkness fade ambitious cares:
Above the abbey tow'r the rays ascend,
As light and peace in matchless beauty blend.
Why should I sigh for realms of toil and stress,
When now I bask in Nature's loveliness;
What thoughts so great, that they must needs expand
Beyond the hills that bound this fragrant land?
These friendly hills my infant vision knew,
And in the shelt'ring vale from birth I grew.
Yon distant spires Ambition's limit show,
For who, here born, could farther wish to go?
When sky-blest evening soothes the world and me,
Are moon and stars more distant from my lea?
No urban glare my sight of heav'n obscures,
And orbs undimm'd rise o'er the neighb'ring moors.
What priceless boon may spreading Fame impart,
When village dignity hath cheer'd the heart?
The little group that hug the tavern fire
To air their wisdom, and salute their squire,
Far kinder are, than all the courtly throng
That flatter Kings, and shield their faults in song!
And in the end; what if no man adore
My senseless ashes 'neath Westminster's floor?
May not my weary frame, at Life's dim night,
Sleep where my childhood first enjoy'd the light?
Rest were the sweeter in the sacred shade
Of that dear fane where all my fathers pray'd;
Ancestral spirits bless the air around,
And hallow'd mem'ries fill the gentle ground.
So stay, belov'd Content! nor let my soul
In fretful passion seek a farther goal.
Apollo, chasing Daphne, gain'd his prize,
But lo! she turn'd to wood before his eyes!
Our earthly prizes, though as holy sought,
Prove just as fleeting, and decay to naught.
Enduring bliss a man may only find
In virtuous living, and contented mind.
H. P. LOVECRAFT.

THE UNITED AMATEUR AUGUST 1916 Department Of Public Criticism FIRST ANNUAL REPORT 1915-1916.

Following a novel idea originated by the present Columbus administration, the Department of Public Criticism will herewith submit for the first time in its history

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