Word: stanzas
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...mood, he might even suggest Ralph Hodgson, for he has at times a distinct trace of Hodgson's mystical vision. But the closest resemblance of all, in this particular poem, is to James Stephens, of whom there is a very good reminder in the touch, in the last stanza, about the "lone...
...quality. Mr. Hillyer's though not his best, is the best in the number. His lines "To a Portrait of Marguerite de Normandie" are in part quite worthy of him; but the second half of the poem is inferior to the first. His "After Parting," which in its first stanza is suggestive of Donne, is pleasing throughout; but, like the first poem, it is better in the first half than in the second. His "Recompense" expresses an old idea with much beauty, and would be satisfying if he had stopped after two stanzas, omitting the final quartrain. Mr. Whittlesey...
...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...