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Published online by Cambridge University Press: 02 December 2020
In American poetry written since the World War one of the most significant new developments is now seen to be the fascination which animal life holds for the poet. In American periodicals during the last fifteen years, 236 writers have been publishing earnest and philosophical poems about animals. In 1933 and 1934 the newest poets—Frederick Prokosch, Frances Frost, Marie Welch, Audrey Wurdemann, Joseph Auslander, Laura Benét, and above all Robert Tristram Coffin—were writing of little else. And practically every one in the older groups, whether traditional or radical, simple or esoteric, has written occasional poems about them. Notably Robert Frost, Edna St. Vincent Millay, Elinor Wylie, Hart Crane, Robinson Jeffers, Padriac Colum, and D. H. Lawrence have dealt with the subject repeatedly.
1 A survey of books and periodicals printed since 1920 has revealed 165 poems about wild animals, 282 about domestic animals, 484 about birds, 52 about water animals, 164 about insects, and 28 about fabulous animals. In 1933 the theme became more popular than before.
2 I have searched the American Mercury, Atlantic, Bookman, Canadian Bookman, Century, Commonweal, Current Opinion, Dial, Forum, Harpers, Hound and Horn, Literary Digest, Midland, Nation, New Republic, North American Review, Poetry, Saturday Review of Literature, Scribner's, Virginia Quarterly Review, and Yale Review.
3 Poems referring to mythological animals are still written, but are symbolical and psychological. The most striking ones are Elinor Wylie's Minotaur in New Republic June 1923, Marianne Moore's Sea Unicorns and Land Unicorns in Dial Nov. 1924, Countee Cullen's That Bright Chimeric Beast in New Republic Jan. 1929, Audrey Wurdemann's Borzoi in Forum Dec. 1930, Robert Coffin's Song for March in New Republic Feb. 1930, T. S. Eliot's Ash Wednesday (1930), Frederick Prokosch's The Lonely Unicorn in Harpers Feb. 1932. [The author's style has been followed.—Ed.]
4 See especially John Hall Wheelock's Undiscovered Country in Yale Review Oct. 1924, David McCord's Sonnet in Yale Review March 1929, Robert Hillyer's Memory in Hound and Horn Fall 1930, and Janet Piper's Horses in Sonnets to My Son (1931).
5 See the satire on Blake's Tiger in Basil Bunting's Fearful Symmetry in Poetry Feb. 1932, and Winifred Welles' The Unicorn in Memory in Harper's July 1934.
6 See Anna Hampstead Branch's To a Dog and To My Black Kitten in Saturday Review Dec. 1928 and John Finley's Song in Saturday Review April 1929.
7 See Robinson Jeffers' Roan Stallion (1925) and Hurt Hawks in Nation Feb. 1928, and D. H. Lawrence's Fish in Literary Digest July 1922.
8 See Aiken's Prelude in Hound and Horn Winter 1931. Aiken is borrowing the phrase from Rimbaud and Verlaine.
9 See Edmund Cook's The Serpent in Nation Aug. 1924, Wm. Rose Benét's Whale in New Republic Feb. 1925, and John Masefield's Adamus and Eva in Yale Review March 1931.
10 But our poets have translated Donne's fear of damnation into modern terms. See A. D. Ficke's Soul in Torment (John Donne) in Forum July 1932.
11 Louis Untermeyer enumerates these animals in a satirical poem called A Georgian Anthology in New Republic Dec. 1925.
12 For the best account of this theme in the past see Caroline Richardson's Story Animals in Yale Review Vol. 13.
13 Poetry is now ahead of prose in giving up humanized animals. Virginia Woolf's Flush, for instance, appearing in 1933, presents a dog-consciousness so incredibly human that it would seem thoroughly outmoded if it were poetry, though it is being praised for its fresh accuracy as a prose-work. (I am not denying that “cute” and insincere verses about animals still appear in magazines, but this paper is concerned entirely with poetry.)
14 Of course animals are still humanized in humorous poetry. One of the best examples is Vachel Lindsay's The Mountain Cat in New Republic Dec. 1922. See also Theodore Maynard's Tragedy in Saturday Review of Literature March 1934.
15 Shelley's Ode to a Skylark has more in common with present poetry. His intense interest in philosophy and psychology made him almost prophetic of twentieth-century theories of animal consciousness.
16 The Swan in Atlantic Jan. 1931.
17 For poems about missing the horse see Clinch Calkins' I Sometimes Think in Nation April 1927, Bert Cooksley's Stable Boy in Nation Oct. 1929, Hal White's Bent Toward Mountains in Nation April 1929, Calvin Wilson's Phantom Hoofs in Poetry May 1930, Charles Reznikoff's Horse in Poetry 1931, Helen Cornelius' Elegy in New Republic Oct. 1932, and Wm. Rose Benét's The Ponies in Forum July 1932.
18 Of the forty poems about cows the best, in my opinion, are Elizabeth Coatsworth's The Cows in Poetry May 1922, Joseph Auslander's Three Things in New Republic Feb. 1923, Lizette Reese's Driving Home the Cows in New Republic Oct. 1931, Frances Frost's Roadside in Blue Harvest (1931), David Cornel Dejong's Calves in Virginia Quarterly Review July 1932, Robert Frost's Pasture in Canadian Bookman 1932, and Robert Francis' Midsummer in Virginia Quarterly Review July 1933.
19 See the volume Birds and Beasts and Flowers (1923).
20 See especially the Freudian echoes in Roan Stallion (1925).
21 See Preludes for Memnon (1933).
22 There was also the related movement in poetry after the war toward so-called “dadaism,” or conscious infantilism. This was a failure, of course; yet some of our serious animal poetry has grown out of consciously infantile poetry. See especially the earliest animal poems of Robert Tristram Coffin, The Day After Christmas in Forum Dec. 1928.
23 This essay first appeared in Yale Review April 1924.
24 Sonnets (1906).
25 Wild Swans in Current Opinion Sept. 1921.
26 Minotaur in New Republic June 1923.
27 Steamer Letter in New Republic July 1926.
28 Loreine: A Horse in Saturday Review Sept. 1926.
29 Scepticism and Animal Faith p. 17 (published 1923).
30 Sea Bird in North American Review Aug. 1930.
31 Other poems picturing the absorption of animals in the present moment are Yvor Winters' Wild Horses in Poetry Sept. 1919, Max Eastman's The Swallow in Colors of Life (1918), Yvor Winters' The Crystal Sun in Dial Oct. 1923, Elizabeth Coatsworth's The Bad Kittens in Saturday Review Nov. 1924, George Villier's In February in Atlantic Feb. 1924, Amy Jennings' Eros in Yale Review July 1925, Babette Deutsch's Ballet School in Nation Feb. 1925, Gladys Campbell's Shadows in Dial July 1927, Edna Millay's The Buck in the Snow (1928), Raymond Holden's Wind Across the Valley in New Republic Dec. 1928, Joseph Auslander's Indictment in New Republic May 1928, Charles Ballard's Sea Bird in North American Review Aug. 1930, Arthur Davidson Ficke's Emblems of Spring in Harpers May 1931, Janet Lewis' Lines to a Kitten in New Republic Sept. 1930, Robert Tristram Coffin's Go to the Barn with a Lantern in Literary Digest Oct. 1930 and Crystal Moment in Harpers Dec. 1931, Frances Frost's Portrait of Life in Blue Harvest (1931), Marjorie Seiffert's The Name of Life in Scribners May 1932, Carl Rakosi's A Journey Away in Hound and Horn July 1932, Christina Chapin's Birds in Atlantic July 1933, E. Merrill Root's The Bunny in Forum June 1933, Alfred Kreymborg's Credo in Less Lonely (1923), Marian Canby's Timid and Hermit Thrush in High Mowing (1932) and Robert Tristram Coffin's Strange Holiness in Harpers July 1933.
32 A Pattern of Wakening in New Republic April 1930.
33 Blood in Dial Oct. 1928.
34 See The Net and Little Fishes in the Masses Anthology. See also Alfred Kreymborg's Festoons of Fishes in Dial June 1923, Amy Lowell's Apotheosis, and Raymond Holden's Spring in a Dry Valley in New Republic April 1927.
35 The Fingers of the Night in Dial Feb. 1926.
36 This interest in the macabre (in imitation of the style of Poe's The Conqueror Worm) resulted in no memorable poetry; but it was valuable in opening the way to interest in the harsher forms of animal life, which led to perception of strange beauty in them. See, for instance, The Ugly People, by Marie Welch, in New Republic, May 1932. The beauty of snakes was, of course, perceived by Blake and Shelley, but it is more widely acknowledged nowadays, as a result of poems written since the war. See especially D. H. Lawrence's Snake in Dial May 1922, Margaret Larkin's A Snake Poem in Poetry June 1924, Elizabeth Coatsworth's No Snake in Springtime in Poetry 1927, Margaret Emerson Bailey's Higher Mathematics in Harpers July 1929, Kenneth Alling's Water Snake in Poetry March 1933, and Robert Tristram Coffin's Strange Holiness in Harpers July 1933.
37 Yet since animals are only half-way to unconsciousness, a few poems have dwelt upon their capacity for pain or even for awkwardness. See Alice Corbin's Trees and Horses in Dial Dec. 1920, Djuna Barnes' Pastoral in Dial April 1920, Elinor Wylie's Cold Blooded Creatures in New Republic Aug. 1921, Robert Hillyer's Moo in New Republic Oct. 1923, Elizabeth Coatsworth's The Old Mare in Dial Feb. 1924, Robert Frost's The Cow in Apple Time in Mountain Interval (1924), Glenn Dresbach's The Gnawing Mouse in Poetry Nov. 1927, Janet Lewis' Little Goat in New Republic Sept. 1930, Lew Sarett's Coyote Brood in Poetry May 1931, Ellis Barrett's Ostrich in Poetry Jan. 1932 and Lionel Wiggam's Sharp Fear in Nation May 1934.
38 Pastoral in Dial April 1920.
39 In The Cycle in Roan Stallion (1925).
40 In Four Playthings of the Wind in Smoke and Steel (1920).
41 See Streets in the Moon (1926) and The Hamlet of Archibald MacLeish (1928).
42 See Robert McBIair's Philosophy in New Republic Feb. 1928, Daniel Hickey's The Victors in Harpers April 1932, Charles Norman's Sapphic in Hound and Horn Winter 1930, and B. Raymond's Homestead in Symposium July 1933.
43 In St. Louis Post-Dispatch, Dec. 1928.
44 Pueblo Pot in The Buck in the Snow (1928). A sense of the greater permanence of animals is also expressed in Louise Driscoll's The Owl in Poetry June 1923, James Rorty's Now That These Two in Nation Sept. 1925, Theodore Momson's The Swallows in Atlantic July 1926, Allen Tate's Ditty in Nation June 1926, Joseph Auslander's The Death of Adonis in Dial Feb. 1928, Hal White's These Things Shall Stay in North American Review June 1928, George Dillon's Pigeons in Boy in the Wind (1927), Marian Canby's Hermit Thrush in High Mowing (1932), David Cornel Dejong's In Parting in Virginia Quarterly Review Oct. 1932 and F. Frost's The Rocks in Woman of this Earth (1934).
45 Snake in Dial May 1922.
46 Birds and Beasts and Flowers (1923).
47 See his Creative Evolution (American ed. 1911).
48 Roan Stallion (1925).
49 Roan Stallion (1925).
50 An Artist in Cawdor (1929).
51 See Roan Stallion (1925), Hurt Hawk in Nation Feb. 1928, Give Your Heart to the Hawks (1933), and Rock and Hawk in Scribners Jan. 1935.
52 The Bear in Nation April 1928.
53 Two Swans in Nation March 1930. See also The Swan by E. Merrill Root in Forum Nov. 1933.
54 See Homo Sapiens and Free in Streets of the Moon (1926).
55 The Hamlet of Archibald MacLeish (1928).
56 See Forest in New Republic June 1926 and Farewell to Simple Earth in New Republic May 1929.
57 See How Can Man in Nation May 1923 and Man in Dial Sept. 1927.
58 See Black Magic in New Republic Sept. 1922.
59 See Unison in Yale Review March 1932.
60 See Over the World's Rim in New Republic April 1933.
61 In Poetry March 1927.
62 See also Babette Deutsch's Sonnet in Saturday Review May 1926, James Rorty's Words for a Young Woman in Nation Sept. 1926, Harold Cook's Against Heaven in New Republic Oct. 1929, Eunice Tietjens' Revolt in Poetry Oct. 1930, and Robert Tristram Coffin's Wild Bee's Nest in Nation May 1934.
63 A few poems praising rationality above animal dream-consciousness are Eunice Tietjens' Neanderthal in Poetry July 1923, Enrique Martinez' Wring the Neck of the Swan in Poetry June 1925, Mark Van Doren's Farewell to Fields in Now the Sky (1928), Isador Schneider's After Reading a History of Biology in Nation Oct. 1930, Babette Deutsch's Brief Solace in Yale Review Dec. 1930, Elder Olson's Thus Revealed in Poetry Oct. 1931, and Leila Jones' Wings for the Intermediate in Saturday Review Oct. 1933.
64 Against Fog in New Republic Nov. 1925.
65 A Name for All in Dial April 1929.
66 See Tell Me God in Nation Dec. 1931.
67 Justified Bird in Nation Sept. 1928.
68 If I Could Utter in Saturday Review April 1930.
69 Prelude in Atlantic March 1933.
70 See The Waste Land (1922).
71 See If I Could Speak in The Noise That Time Makes (1929).
72 Minotaur in New Republic June 1923.
73 Unfinished Ballad in Collected Poems (1932).
74 Much the same idea of human nature as a degeneration of animal vitality is in William Faulkner's The Race's Splendor and Man Comes, Man Goes in New Republic May 1933, and in Edgar Lee Masters' Beethoven's Ninth Symphony and the King Cobra in American Mercury Oct. 1932.
75 Poems about bulls and cows suggesting bulls and cows of Greek myths are Elizabeth Coatsworth's The Cows in Poetry May 1922 and Wm. Carlos Williams' The Bull in Dial Feb. 1922. Several poems about swans recall the Zeus legend. See Yeats' Leda and the Swan in Dial June 1924, Eda Walton's Leda the Lost in New Republic Sept. 1930, Mary Butts' Picus Martius in Hound and Horn Winter 1930, Oliver Gogarty's Leda and the Swan in Atlantic March 1932, L. A. G. Strong's Childless in New Republic Aug. 1932. Other poems treating the swan as a symbol of divinity are Yeats' The State of the World in Dial Sept. 1921, John Finley's The Swan of Tuonela in Scribner's Dec. 1922, D. H. Lawrence's The White Swan Swims in the Marshes of His Loins in Last Poems (1932), E. C. Jones' Swans in Dial March 1926, Richard Morse's This Swan in Dial Sept. 1927, E. C.'s Cygnus in Atlantic July 1930, Louis Untermeyer's Transfigured Swan in New Republic Oct. 1932. and Raymond Holden's Still Summer Noon in New Republic March 1933.
76 See especially Joseph Auslander's In Envy of Cows in New Republic May 1923, Vachel Lindsay's The Ghosts of the Buffaloes and Flower Fed Buffaloes in Saturday Review March 1925, Edwin Ford Piper's Six Yoke in Poetry Feb. 1925, Ethel Scheffaner's Herds at Evening in Poetry April 1927, Marie Luhr's For a Few Hours in Nation Aug. 1928, L. A. G. Strong's Evening Before Rain in Nation Dec. 1928, David McCord's Prelude in Yale Review March 1929, Josephine Pinckney's Pyrrinean Twilight in Saturday Review August 1929, H. Boner's Silence in New Republic Oct. 1931, and Julia Van der Veer's A Cow in Poetry Aug. 1931.
77 See especially Lydia Gibson's Goats in Masses Anthology (1919), Louis Untermeyer's Alpine in New Republic Oct. 1921, D. H. Lawrence's He Goat and She Goal in Birds, Beasts and Flowers (1923), Lew Sarett's Mountain Goat in Poetry Jan. 1929, Theodore Maynard's Sunshine in Yale Review June 1929, and Yvor Winters' Simplex Mundi in Dial 1929.
78 See especially Yvor Winters' The Resurrection in The Bare Hills (1925), Charles Woods' Antonio Ploughs in Masses Anthology, Clifford Gessler's Your Horses in Poetry May 1921, Berenice Van Slyke's The Pomegranate in Dial Aug. 1924, Jose Chocano's Horses of the Conquistadors in Poetry June 1925, Frank Mitalsky's Stallion in Poetry June 1927, Ruth Pitter's Virginal in Dial May 1928, Arthur Wilson's Mona Almuth in Dial March 1929, Ruth Pitter's A Hero in Dial Jan. 1929, and Thomas Ferril's Jim Bridger in Hound and Horn April 1932. Robinson Jeffers makes the stallion symbolic of God, George O'Neil and Frank Mitalsky of beauty, Lee Weber of imagination and of the swift-moving Earth, and Miriam de Ford of swift darkness.
79 His latest book carrying this thesis is Give Your Heart to the Hawks (1933).
80 Hurt Hawk.
81 See Padriac Colum's Jackdaw in New Republic April 1921, Frances Jenning's Thunder Storm at the Zoo, Basil Thompson's A Rhyme of Reasoning, Camilla Doyle's The Town Rabbit in Chapbook 1923, E. E. Cumming's Poem I in Chapbook 1923, and Dorothy Leonard's Sparrow's Lament in Atlantic April 1928.
82 See Dudley Poore's Seven Poems in Dial Sept. 1922.
83 Strange Holiness in Harpers July 1933.
84 Poems interpreting the Indian's deification of animals are Lew Sarett's Blue Duck in Poetry Nov. 1918, Mary Austin's The Eagle's Song in Poetry Jan. 1920, Lew Sarett's Broken Bird in Poetry April 1921, Witter Bynner's Buffalo Dance in Nation Sept. 1924, Lilian Spencer's Pueblo Legend in Nation Jan. 1926, Witter Bynner's Eagle Dance in New Republic July 1929. For poems praising the wisdom of living in conformity with the life of animals see Padriac Colum's A Man Bereaved in New Republic Nov. 1925, Robinson Jeffers' Fawn's Foster Mother in Cawdor (1925), Maurice Leseman's Sheep Herders in Poetry Oct. 1926, Raymond Holden's Forest in New Republic June 1926, Jessica Nelson North's Biography in Nation May 1927, Archibald MacLeish's Hamlet (1928), Leslie Jennings' Woodsman in New Republic July 1929, Frank E. Hill's Black Magic, Elizabeth Coatsworth's O Earth in Saturday Review June 1930, Grace Cromwell's I Shall Walk in Scribner's Oct. 1931, and Russell Beckwith's White Drum Rolling in Poetry May 1933.
85 Poems showing the poet's vicarious enjoyment of an animal's sensations are Iris Tree's The Frog in Poetry 1922, Joseph Auslander's In Envy of Cows in New Republic May 1923, James Stephens' Death in Dial Oct. 1924, Jake Falstaff's The Cock in Nation July 1926, Raymond Holden's The Linden Boughs in New Republic Jan. 1927, David McCord's The Spider in Saturday Review Dec. 1927, John Crowe Ransome's What Ducks Require in New Republic April 1927, Margaret Bailey's Close to Earth in Harpers June 1929, Edna Millay's The Bobolink in The Buck in the Snow (1928), Stanley Kunits' Skull of Ecstasy in Nation June 1930, Frances Frost's Day and Bird in Commonweal May 1931, Howard Week's What Furred Creature in Poetry Feb. 1931, Sonia Novak's The Hunted Fox in Nation Jan. 1931, Kay Boyle's Hunt in Nation March 1931, and Willard Maas' Esoterics of the Fox in Poetry May 1933. Poems praising the senses of animals which human beings do not share are Elizabeth Coatsworth's No Snake in Springtime in Poetry April 1927, Robert Tristram Coffin's The Hour of Moths in Saturday Review Feb. 1928 and Fire-Flies in Yale Review Spring 1929, Wade Van Dore's High Heaven in New Republic Jan. 1930, Frederick Prokosch's Red Fox in Poetry Aug. 1930, Leigh Hane's Screech Owls in Virginia Quarterly Review July 1932, and Robert Coffin's The Spider in Saturday Review Jan. 1934.
86 The following poets have written about sea-gulls, in the last fifteen years: Kenneth Ailing, Joseph Auslander, Leonie Adams, Winifred Bryher, Charles Ballard, Grace Conkling, Robert Coffin, Gladys Campbell, Hart Crane, Mary Caroline Davis, Mitchell Dawson, Clare Griffin, Amory Hare, D. H. Hickey, Robert Hillyer, Leslie Jennings, Ellen Jonson, Lawrence Lee, Janet Lewis, Ruth Lechlichtner, John McCarthy, Corinna Marsh, Jeanette Marks, Scudder Middleton, Helene Magaret, Roselle Montgomery, Anne McCormick, Edna St. Vincent Millay, Charles Norman, Ezra Pound, James Rorty, Marshall Schacht, L. A. G. Strong, Sara Teasdale, Louis Untermeyer, Agnes Welch, Edmund Wilson, Elinor Wylie, Kathleen Young.
87 Poems about crows are Louise Bogan's The Crows in Body of this Death (1923), Anthony Wynn's He Wove His Nest in the Portico in Dial Oct. 1923, Marjorie Meeker's Winter Harvest in New Republic March 1927, E. Clark Stillman's Crows in Poetry June 1928, Louis Untermeyer's Business of Ravens in Poetry March 1928, Archibald MacLeish's Immortal Autumn in Yale Review Sept. 1929, and 1892–19 in Streets of the Moon (1926), Robert McAlmon's The Crow in Hound and Horn Winter 1930, Orrick Johns' Winter Voices in Poetry Jan. 1931, Robert Coffin's Rejuvenation in Forum Nov. 1932, Mark Van Doren's Rain Crow in Spring Thunder (1924), Merrill Moore's A Lady is Buried Here in The Noise That Time Makes (1929) and Frances Frost's Afternoon and Crow in Blue Harvest (1931), Robert Frost's Dust of Snow in New Hampshire (1923), and A. D. M. Smith's Crows in Poetry July 1934.
88 Of the forty-eight poems praising the hawk the most important are John Hall Wheelock's The Fish Hawk Scribners Nov. 1922, Raymond Knister's The Hawk Poetry April 1924, Aline Kilmer's Falcon Poetry Oct. 1924, Frances Frost's Stoic, Poem for Youth, Day, Against Doom, The Inarticulate, Hawk in Blue Harvest (1931), Marion Canby's Delivered of My Life in Yale Review March 1930, Helen MacAfee's Bird of Passage in New Republic Aug. 1930, Robinson Jeffers' Roan Stallion, Hurt Hawks, The Bird with the Dark Plumes, and Give Your Heart to the Hawks (1933), and Day-Lewis' Magnetic Mountain I.
89 Poems treating the deer symbolically are Dudley Poore's They Ride Through the Olive Garden in Dial Oct. 1920, Donald Davidson's Wild Game in Nation June 1926, Niven Busch's Silver Hunting in Saturday Review Nov. 1926, Charles James' Song in Poetry Jan. 1926, Herbert Cook's The Stag in New Republic Sept. 1928, Hervey Allen's Predicament in Yale Review Sept. 1929, William Jeffrey's The Golden Slag in Dial April 1929, Elder Olson's The Quarry in Poetry July 1930, Robert McAlmon's Fortuno Carraccioli in Poetry Feb. 1931, and Frederick Prokosch's Persian Idyl in Harpers April 1932. Altogether, fifty poems about deer have been published since 1920.
90 I have found twenty-two poems about the fox.
91 I have found forty-three poems about the snake.
92 For poems recognizing cruelty and suffering in animal nature see J. H. Wheelock's To a Fishhawk Scribner's Nov. 1922, Robinson Jeffers' Birds in Nation Sept. 1925, and Hurt Hawks in Nation Feb. 1928, Amy Lowell's To Winky, Robert Coffin's Golden Falcon in Saturday Review Feb. 1927 and Rura Cano in The Yoke of Thunder (1932), D. H. Lawrence's Humming Bird in Nation Oct. 1923, Elinor Wylie's Ejaculation in Collected Poems (1932), Florence Small's To a Cat in Harpers Jan. 1928, Evelyn Scott's Cat in Nation July 1929, Helene Magaret's To a Lover in Poetry May 1930, Marie Welch's Owl in New Republic Sept. 1930 and For a Somewhat Strange Sadness in New Republic Oct. 1929 and The Quiet Meadow in New Republic Aug. 1931, Langston Hughes' Dying Beast in Poetry Oct. 1931, George Dillon's Address to the Doomed in The Flowering Stone (1931), and Marianne More's Bird-Witted in New Republic Jan. 1936.
93 For poems praising the energy of animals see Amory Hare's The Unconquered in Atlantic Jan. 1920, James Mackereth's Espied in Poetry Oct. 1924, James Rorty's Bird Music in Nation Oct. 1925, Joseph Auslander's Mood in North American Review April 1924, In Time of Desolation in New Republic 1924, and Ulysses in Autumn in Harpers March 1926; Virginia Moore's Escape in Scribner's July 1925, Jean Starr Untermeyer's Dew on a Dusty Heart in Saturday Review Nov. 1929, Agnes Gray's Ducks and Heron in Harpers Jan. 1930, Frances Frost's History of Passage and Poem for Youth in Blue Harvest (1931), Marjorie Seiffert's The Name of Life in Scribner's May 1932, Marian Canby's Timid One, in High Mowing (1932), Belle Turnbull's Above Timberline in Saturday Review Sept. 1933, Robert Francis' Fall in Virginia Quarterly Review July 1933.