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    Irradiations; Sand and Spray
    Irradiations; Sand and Spray
    Irradiations; Sand and Spray
    Ebook66 pages34 minutes

    Irradiations; Sand and Spray

    By John Gould Fletcher

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    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 15, 2013
    Irradiations; Sand and Spray

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      Book preview

      Irradiations; Sand and Spray - John Gould Fletcher

      Project Gutenberg's Irradiations; Sand and Spray, by John Gould Fletcher

      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: Irradiations; Sand and Spray

      Author: John Gould Fletcher

      Release Date: February 13, 2012 [EBook #38857]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK IRRADIATIONS; SAND AND SPRAY ***

      Produced by Marc D'Hooghe at http://www.freeliterature.org

      (From images generously made available by the Internet

      Archive.)

      IRRADIATIONS

      SAND AND SPRAY

      BY

      JOHN GOULD FLETCHER

      BOSTON AND NEW YORK

      HOUGHTON MIFFLIN COMPANY

      The Riverside Press Cambridge

      1915

      TO

      AMY LOWELL

      BEST OF FRIENDS AND POETS

      Thanks are due to the Editors of Poetry (Chicago) and The Egoist (London) for permission to reprint here matter that originally appeared in the pages of their respective publications.

      PREFACE

      The art of poetry as practised in the English-speaking countries to-day, is in a greatly backward state. Among the reading public there are exactly three opinions generally held about it. The first, and by far the most popular, view is that all poets are fools and that poetry is absurd. The second is that poetry is an agreeable after-dinner entertainment, and that a poet is great because he has written quotable lines. The last and worst is that which strives to press the poet into the service of some philosophical dogma, ism, or fad.

      For these views the poets themselves, and no others, are largely responsible. With their exaggerated vanity, they have attempted to make of their craft a Masonic secret, iterating that a poet composes by ear alone; that rhythm is not to be analyzed, that rhyme is sacrosanct; that poets, by some special dispensation of Providence, write by inspiration, being born with more insight than other men; and so forth. Is it any wonder that the public is indifferent, hostile, or befooled when poets themselves disdain to explain clearly what they are trying to do, and refuse to admit the public into the privacy of their carefully guarded workrooms?

      It was Theophile Gautier, I think, who offered to teach any one how to write poetry in twenty-five lessons. Now this view has in it some exaggeration, but, at the same time, much truth. No amount of lessoning will turn an idiot into a wise man, or enable a man to say something when he is naturally one who has nothing to say. Nevertheless, I believe that there would have been fewer mute inglorious Miltons, greater respect paid to poetry, and many better poets, if the poets themselves had stopped working through sheer instinct and set themselves the task of considering some elementary principles in their craft. In this belief, and in the hope of enlightening some one as to the aim and purpose

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