General Articles on the Poetry Situation

'The Century Magazine': "America's Golden Age in Poetry", March, 1916.

'Harper's Monthly Magazine': "The Easy Chair", William Dean Howells,

September, 1915.

'The Craftsman': "Has America a National Poetry?" Amy Lowell, July,

1916.

[End of original text.]

Biographical Note:

Nicholas Vachel Lindsay (1879-1931):

(Vachel is pronounced Vay-chul, that is, it rhymes with 'Rachel').

"The Eagle that is Forgotten" and "The Congo" are two of his best-known

poems, and appear in his first two volumes of verse, "General William

Booth Enters into Heaven" (1913) and "The Congo" (1914).

As a sidenote, he became close friends with the poet Sara Teasdale

and his third volume of verse, "The Chinese Nightingale" (1917),

is dedicated to her. In turn, she wrote a memorial verse for him

after he committed suicide in 1931.

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From an anthology of verse by Jessie B. Rittenhouse (1913, 1917):

"Lindsay, Vachel. Born November 10, 1879. Educated at Hiram College,

Ohio. He took up the study of art and studied at the Art Institute,

Chicago, 1900-03 and at the New York School of Art, 1904-05. For a time

after his technical study, he lectured upon art in its practical relation

to the community, and returning to his home in Springfield, Illinois,

issued what one might term his manifesto in the shape of "The Village

Magazine", divided about equally between prose articles, pertaining to

beautifying his native city, and poems, illustrated by his own drawings.

Soon after this, Mr. Lindsay, taking as scrip for the journey, "Rhymes

to be Traded for Bread", made a pilgrimage on foot through several

Western States going as far afield as New Mexico. The story of this

journey is given in his volume, "Adventures while Preaching the Gospel

of Beauty". Mr. Lindsay first attracted attention in poetry by "General

William Booth Enters into Heaven", a poem which became the title of his

first volume, in 1913. His second volume was "The Congo", published in

1914. He is attempting to restore to poetry its early appeal as a spoken

art, and his later work differs greatly from the selections contained

in this anthology."

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