In the summer of 1912, he walked from Illinois to New Mexico, distributing his poems and speaking in behalf of “The Gospel of Beauty.”
Suggestions for Reading
1. Read for background A Handy Guide for Beggars and Adventures while Preaching the Gospel of Beauty.
2. An important clue to Mr. Lindsay’s work is suggested in his own note on reading his poems. Referring to the Greek lyrics as the type which survives in American vaudeville where every line may be two-thirds spoken and one-third sung, he adds: “I respectfully submit these poems as experiments in which I endeavor to carry this vaudeville form back towards the old Greek presentation of the half-chanted lyric. In this case the one-third of music must be added by the instinct of the reader.... Big general contrasts between the main sections should be the rule of the first attempts at improvising. It is the hope of the writer that after two or three readings each line will suggest its own separate touch of melody to the reader who has become accustomed to the cadences. Let him read what he likes read, and sing what he likes sung.”
In carrying out this suggestion, note that Mr. Lindsay often prints aids to expression by means of italics, capitals, spaces, and even side notes and other notes on expression.
3. What different kinds of material appeal especially to Mr. Lindsay’s imagination? How do you explain his choice, and his limitations?
4. What effect upon his poetry has the missionary spirit which is so strong in him? Is his poetry more valuable for its singing element or for its ethical appeal? Do you discover any special originality?
5. How does his use of local material compare with that of Masters? of Frost? of Sandburg?
6. Study his rhythmic sense in different poems, the verse forms that he uses, the tendencies in rhyme, his use of refrain, of onomatop[oe]ia, of catalogues, etc.
7. Does Mr. Lindsay offend your poetic taste? If so, can you justify his use of the material you object to?