Word: stanzas
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Dates: during 1910-1919
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...though this criticism applies to a good deal of the verse in the present number. Mr. Sanger's "Panama Canal," though less imaginative than some of the others, is clear in conception, vigorous in expression; and Mr. Cutler is again charmingly witty in his "Poet's Lament." His last stanza reminds us that we ought to be grateful that the issue contains no "free" verse...
...attacking it as a poem. On the contrary, it has lines which render it almost the most notable verse in the number. The first line of Mr. Benshimol's poem makes it memorable, while in Mr. Brent Allison the Monthly has a new and interesting talent. The last stanza of his "Moonrise in Boston," however faulty, is poignant and beautiful. In Mr. Poore's poem, an exceptional technique is combined with a delicacy of feeling which is difficult to analyze. Mr. Stewart Mitchell's "Neith," perhaps the most remarkable poem in the number, is also the most baffling. If there...
...quite successful in harmonizing its words or its figures of speech; the latter, like many sonnets by the same author, is larger in conception and in diction than the sonnets of most undergraduates. Mr. Nelson's "Harbor Lights," though a little rough, is vigorous and contains one fine stanza. Mr. Rogers's "Oh Wonderful Wind of Desire" begins well and is spirited throughout, but in the last two stanzas seems not quite at home with its form. "Transition," by Mr. Benshimol, lacks the variety of pause and cadence that blank verse demands, and is not always happy or clear...
There are five poems in this issue, all of them above the usual ideal of space fillers. Mr. Hillyer contributes two; a "Song" and a "Threnos." The "Song" is an exquisite bit--rhymeless, but using the same terminating words for each stanza. The "Threnos" is a sudden cynical outburst of still more interesting form; the lines of the first stanza become successively the refrains of the following stanzas. Mr. Cummings contributes a "Ballade of Soul," a true ballade--of a more complicated type, however, than generally seen. Yet Mr. Cummings, for all the limited number of rhymes, makes his poem...
...that is saying a good deal. After this comes a fairly amusing and lively story, "Bluff," by "B." Mr. R. S. Mitchell's poem, which follows, "From the Arabian Nights," is the best verse in the number, a pleasing experiment with the difficult Spenserian stanza, though, as we say in "Composition," courses, conspicuous more for "elegance than force." "When the Suspenders Came Off," a seasonal sketch, by Mr. Ben Sion Trynin, is the largest piece of fiction in this Monthly. It has the makings of a good story, but it is rather rough in workmanship and not always of crystal...