PUBLISHERS’ NOTE.
IN this Anthology is included in more convenient form the greater portion of the poems contained in the two volumes entitled “Love’s Demesne,” now out of print. The present collection has been carefully revised by the Compiler, and like its predecessor occupies an entirely distinct field, most of the selections being otherwise only accessible in the volumes where they originally appeared, and the major part being by living lyrists.
ACKNOWLEDGMENT.
THE sincere thanks of the Editor are due, not only to those American authors who have graciously allowed the reproduction of their poems, but equally to the numerous British living poets whose graceful verses appear in the following pages. In but one instance on the part of a native author, and in but one instance on the part of a publisher, was permission to include poems refused. With these exceptions the Compiler has received the most cordial assistance from holders of copyrights. It becomes a personal pleasure, therefore, to thank the following in particular for their uniform courtesy, without which many a flowing measure contained in “Love’s Old Sweet Song” must necessarily have been omitted: Messrs. Houghton, Mifflin & Co., Roberts Bros., Charles Scribner’s Sons, Macmillan & Co., G. P. Putnam’s Sons, Stone & Kimball, J. G. Cupples, Belford, Clarke & Co., D. Lothrop & Co., Copeland & Day, Henry Holt & Co., R. Worthington & Co., Way & Williams, Longmans, Green & Co. To these and other publishers, to the sonorous choir of the poets quoted from, and, finally, to Mr. Gleeson White and Mr. Edmund Clarence Stedman, the Compiler tenders his most grateful acknowledgments.
A PASSING WORD.
BEARING in mind the assertion of Monsieur de Milcourt, that prefaces for the most part seem only made in order to “impose” upon the reader, a brief foreword will suffice to explain the scope of the following pages.
As will be apparent at a glance, the selections are all from modern, and largely from living poets; the dominant chord is lyrical; and in the general unisance the minor prevails over the major key. No excuse seems called for in presenting a new anthology; for, given the same theme, each compiler must of necessity present a different score, subject to individual taste and preferences. “To apologize for a new anthology is but one degree less sensible than to prepare it,” pertinently remarks the editor of Ballades and Rondeaus. Such were but another case of qui s’excuse, s’accuse. It may be observed, nevertheless, that the path of the compiler is far from being strewn with flowers. Indeed, it has been truly said that Æsop’s old man and boy with the donkey had not a harder task than the maker of selections and collections of verses.
Of recent years a number of excellent anthologies have been published on a similar theme. But these deal mainly with the rhythmic fancies of the elder bards, or in fewer instances, combine the older and the younger schools. In the present instance the editor has been guided solely by his own taste or predilections, having had no recourse to other collections, beyond that of avoiding excerpta too oft repeated; the aim being so far as possible to include such examples of merit as are not generally familiar to the average lover of poetry. Whether these be by well-known authors, or by those who are little known, has not entered into consideration, the prime object being to present as intrinsically meritorious a collection, by both British and American modern lyrists, as is possible within the limits of the space at command.
The writer is not aware of a similar compilation having been previously attempted, there being few who would care to brave the “omissions” that must naturally be thrust at one’s door, more especially in the case of an abstract from the works of living writers. Yet while fault may be found, perchance, on the score of selection both by those who may be excluded, as well as by those who are included, the editor of an anthology should at least be thanked for placing many selections before the reader that in the ordinary course of things he would miss,—either through lack of time, or the inability to possess or consult the multitudinous volumes he would be called upon to peruse.
“The purchasing public for poetry,” says Mr. Lang, “must now consist chiefly of poets, and they are usually poor.” The anthologist is the bee, therefore, to extract the honey from the fragrant garland of song, at the least fatigue to the reader. For every poet has not a hive of sweets to draw from; and though the blooms be many in the parterre of poesy, still these require to be plucked with reference not only to individual beauty, but to general harmony as well. A single line may sadly mar an otherwise flawless verse, as a single sonnet rendered immortal the name of Félix Arvers. Many no doubt will miss some favourites. Of such it may be observed that not a few lovely apostrophes have been omitted on account of too great length, or, as previously stated, owing to their being familiar to the great majority of readers. Some poems, moreover, beautiful in themselves, have not been included, despite their intrinsic merits, because they seemed to be out of accord with the prevailing key, as in the case of numerous lyrics approaching the form of so-termed Vers de Société. Still others, and many of these extremely beautiful amatory poems, somewhat free in motif or treatment, have been excluded as not fulfilling the precise requirements of the present collection; these were more appropriate grouped in a volume by themselves.