Literature in the Making, by Some of Its Makers

by Unknown

I asked Mr. Robinson whether he thought the modern English poets were doing better work than their American contemporaries. At first he was unwilling to express an opinion on this subject, repeating his statement that he mistrusted his own critical judgment. But he said:

"Within his limits, I believe that A. E. Housman is the most authentic poet now writing in England. But, of course, his limits are very sharply drawn. I don't think that any one who knows anything about poetry will ever think of questioning the inspiration of A Shropshire Lad."

"Would you make a similar comment on any other poetry of our time?" I asked.

"Well," said Mr. Robinson, reflectively, "I think that no one will question the inspiration of some of Kipling's poems, of parts of John Masefield's Dauber, and some of the long lyrics of Alfred Noyes. But I do not think that either of these poets gives the impression of finality which A. E. Housman gives. But the way in which I have shifted my opinion about some of Rudyard Kipling's poems, and most of Swinburne's, makes me think that Wordsworth was very largely right in his attitude toward the judgment of youth. But where my opinions have shifted, I think now that I always had misgivings. I fancy that youth always has misgivings in regard to what is later to be modified or repudiated."

Then I asked Mr. Robinson if he thought that the war had anything to do with the renascence of poetry.

"I can't see any connection," he replied. "The only effect on poetry that the war has had, so far as I know, is to produce those five sonnets by Rupert Brooke. I can't see that it has caused any poetical event. And there's no use prophesying what the war will or will not do to poetry, because no one knows anything about it. The Civil War seems to have had little effect on poetry except to produce Julia Ward Howe's Battle Hymn of the Republic, Whitman's poems on the death of Lincoln, and Lowell's 'Ode.'"

"Mr. Robinson," I said, "there has been much discussion recently about the rewards of poetry, and Miss Amy Lowell has said that no poet ought to be expected to make a living by writing. What do you think about it?"

"Should a poet be able to make a living out of poetry?" said Mr. Robinson. "Generally speaking, it is not possible for a poet to make a decent living by his work. In most cases it would be bad for his creative faculties for a poet to make as much money as a successful novelist makes. Fortunately, there is no danger of that. Now, assuming that a poet has enough money to live on, the most important thing for him to have is an audience. I mean that the best poetry is likely to be written when poetry is in the air. If a poet with no obligations and responsibilities except to stay alive can't live on a thousand dollars a year (I don't undertake to say just how he is going to get it), he'd better go into some other business."

"Then you don't think," I said, "that literature has lost through the poverty of poets?"

"I certainly do believe that literature has lost through the poverty of poets," said Mr. Robinson. "I don't believe in poverty. I never did. I think it is good for a poet to be bumped and knocked around when he is young, but all the difficulties that are put in his way after he gets to be twenty-five or thirty are certain to take something out of his work. I don't see how they can do anything else.