IN A STATION OF THE METRO
The apparition of these faces in the crowd;
Petals on a wet, black bough.
Louis Untermeyer
Louis Untermeyer was born October 1, 1885, in New York City, where he has lived, except for brief sojourns in Maine and New Jersey, ever since. His education was sketchy; his continued failure to comprehend algebra and geometry kept him from entering college. His one ambition was to become a composer. At sixteen he appeared as a pianist in semi-professional circles; at seventeen he entered his father’s jewelry manufacturing establishment, of which he became designer and factory manager.
Untermeyer’s first volume was The Younger Quire (1911), a twenty-four-page burlesque of an anthology (The Younger Choir). It was issued anonymously and only one hundred copies were printed. Later in the same year, he published a sequence of some seventy lyrics entitled First Love (1911) in which the influences of Heine, Henley and Housman were not only obvious but crippling. With the exception of about eight of these songs, the volume is devoid of character and, in spite of a certain technical facility, wholly undistinguished.
It was with Challenge (1914), now in its fourth edition, that the author first spoke in his own idiom. Although the ghost of Henley still haunts some of these pages, poems like “Summons,” “Landscapes” and “Caliban in the Coal Mines” show “a fresh and lyrical sympathy with the modern world.... His vision” (thus the Boston Transcript) “is a social vision, his spirit a passionately energized command of the forces of justice.”
Challenge was succeeded by These Times (1917), evidently an “interval” book which, lacking the concentration and unity of the better known collection, sought (not always successfully) for larger horizons. Certain poems (like “Swimmers,” “The Laughers” and the colloquial sonnets) stand out, but as a whole it has neither the energy of his earlier nor the surety of his later work. The New Adam (1920) is a more satisfactory unit; here the varied passions are fused in a new heat.
Besides this serious poetry, Untermeyer has published two volumes of critical parodies, “—— and Other Poets” (1917) and Including Horace (1919)—paraphrases of the Latin bard as various classic and modern poets might have rendered him. He has also printed a strict metrical translation of three hundred and twenty-five Poems of Heinrich Heine (1917); a volume of prose criticism, The New Era in American Poetry (1919); and two text-books. He was one of the Associate Editors of The Seven Arts (1916-17) and has lectured at various universities in the Eastern States.