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Open Water - Arthur Stringer
The Project Gutenberg EBook of Open Water, by Arthur Stringer
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Open Water
Author: Arthur Stringer
Release Date: October 12, 2011 [EBook #37557]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK OPEN WATER ***
Produced by Al Haines
OPEN WATER
BY
ARTHUR STRINGER
AUTHOR OF THE WOMAN IN THE RAIN,
IRISH POEMS,
ETC.
NEW YORK—JOHN LANE COMPANY
LONDON—JOHN LANE—THE BODLEY HEAD
TORONTO—BELL & COCKBURN
MCMXIV
Copyright, 1914, by
JOHN LANE COMPANY
Press of J. J. Little & Ives Co.
New York, U. S. A.
CONTENTS
A Foreword
Milkweed
Home Thoughts
Life
Some Day, Oh Seeker of Dreams
Black Hours
Before Renewal
Hill-Top Hours
Letters from Home
Chains
The Drums
Anæsthesia
A Summer Night
Sappho's Tomb
The Wild Swans Pass
At Notre Dame
The Pilot
Doors
Spring Floods
The Turn of the Year
If I Love You
What Shall I Care?
Hunter and Hunted
Apple Blossoms
The House of Life
Ultimata
The Life on the Table
You Bid Me to Sleep
The Last of Summer
At Charing Cross
Prescience
The Steel Workers
The Children
The Nocturne
The Wild Geese
The Day
The Revolt
Atavism
March Twilight
The Echo
Autumn
Faces
There Is Strength in the Soil
Life-Drunk
My Heart Stood Empty
One Night in the Northwest
Dreamers
The Question
The Gift of Hate
The Dream
One Room in My Heart
The Meaning
The Veil
The Man of Dreams
April on the Rialto
The Surrender
The Passing
Protestations
I Sat in the Sunlight
A FOREWORD
To even the casual reader of poetry who may chance to turn to the following pages it will be evident that the lyrics contained therein have been written without what is commonly known as end-rhyme. It may also be claimed by this reader that the lyrics before him are without rhythm. As such, it may at first seem that they mark an effort in revolt against two of the primary assets of modern versification.
All art, of course, has its ancestry. While it is the duty of poetry both to remember and to honour its inherited grandeurs, the paradoxical fact remains that even this most convention-ridden medium of emotional expression is a sort of warfare between the embattled soul of the artist, seeking articulation, and the immuring traditions with which time and the prosodian have surrounded him.
In painting and in music, as in sculpture and the drama, there has been a movement of late to achieve what may be called formal emancipation, a struggle to break away from the restraints and the technical obligations imposed upon the worker by his artistic predecessors. In one case this movement may be called Futurism, and in another it may be termed Romanticism, but the tendency is the same. The spirit of man is seen in rebellion against a form that has become too intricate or too fixed to allow him freedom of utterance.
Poetry alone, during the last century, seems to have remained stable, in the matter of structure. Few new forms have been invented, and with one or two rare exceptions success has been achieved through ingeniously elaborating on an already established formula and through meticulously re-echoing what has already been said. This has resulted, on the one hand, in a technical dexterity which often enough resembles the strained postures of acrobatism, and, on the other, in that constantly reiterated complaint as to the hollowness and aloofness of modern poetry.
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