Acanthus and Wild Grape

NOTE: Many of these poems were first published in Canadian Magazines, and the Author wishes to thank the publishers of the University Magazine , the Canadian Magazine , the Westminster , the Canadian Bookman , Canada West , and the Mitre for permission to reprint.

Poetry has been defined as Thought touched by Emotion, and I know no better working definition, although no doubt more scientific and accurate ones could be found. The best poets of all ages seem to have had this ideal plainly before them, whether consciously or unconsciously, and I cannot see how modern poets can dispense with either thought or emotion if they are to write real poetry. For one is not enough without the other. Take for example the first lines of Master's Spoon River Anthology.
Where are Elmer, Herman, Bert, Tom and Charley, The weak of will, the strong of arm, the clown, the boozer, the fighter? All, all, are sleeping on the hill, One passed in a fever, One was buried in a mine, One was killed in a brawl, One died in a jail, One fell from a bridge toiling for children and wife, All, all are sleeping on the hill.
This sounds tragic indeed, but seems to have aroused no emotion on the part of the poet and excites none in his readers. In fact, through the whole poem, emotion is held in check with a strong hand, and only allowed to show itself in some distorted cynicism.
Let us take an example of the opposite extreme where emotion, whether real or fancied, has stifled thought.
O World! O Men! O Sun! to you I cry, I raise my song defiant, proud, victorious, And send this clarion ringing down the sky: I love, I love, I love, and Love is glorious!
The definition chosen need not hamper the most modern poet nor restrict his choice of subject, for there are few things that cannot awaken both thought and emotion if looked at in the right way. An iron foundry and a Venetian palace have immense possibilities of arousing both elements, and perhaps the foundry has the greater power.