THE MAGAZINE OF POETRY. VOL. I. NO. 1. sketch must have its value, still it is the figure, always the figure, that conveys the lasting interest. Among the younger poets of America, three at least of the most charming are editors, and, therefore, somewhat withdrawn from familiar inspection into that mist of reserve which is the protection of judicial personages. Aldrich, Gilder, Bunner,Cloth of Gold, The New Day, The Way to Arcadie - there is a swarming hive of musicburdened associations set beside the editorial dens. Go in at the door, but hide your roll of manuscript. Richard Watson Gilder. born at Bordentown, New Jersey, February 8, 1844, walked the royal American road to success, the broad highway of self-dependence and earnest labor. He began with a clerical engagement in the office of a railroad, pushed on into the sanctum of a country newspaper for which he was glad to be a reporter. Presently we find him in the editorial chair of the Newark Morning Register; but there was not enough work for him in editing one paper, he must needs find a monthly journal upon which to vent his surplus of literary and executive energy. A publication called Hours at Home, issued monthly in New York, offered him this extra work and a foot-hold in the great city upon which his eyes had been fixed from the first. A great deal of experience, with little money to show for it, finally led to the sale of Hours at Home to the Scribners just at the beginning of the new era in American art and letters which dates from the founding of Scribner's Monthly Magazine. Mr. Gilder was chosen by Dr. Holland to assist him in conducting that powerful journal. A wise choice as time has shown. Scribner's Magazine soon ripened into the Century and Mr. Gilder succeeded Dr. Holland. Immediately the magazine forged forward remarkably, gathering quality, solidity of interest and individuality for itself. The men behind the journal were Roswell Smith and Richard Watson Gilder. It is a pleasant truth to say, however, that Mr. Gilder knew well how to select his helpers. Mr. Robert U. Johnson and Mr. C. C. Buel have seconded him with notable energy, taste and judgment. In the time of this trudging on from the railroad office, by way of the reporter's beat and the country editor's den, to the beautiful sanctum of the Century Magazine, Mr. Gilder was singing, as a true poet must, come what may, and his songs were a genuine product from the higher slopes of Helicon. Mr. Gilder is married to the daughter of Commodore De Kay. His wife's grandfather was Joseph Rodman Drake, the poet, author of "The Culprit Fay." There are four children in the beautiful Gilder home, two sons, two daughters. Indeed it is as a poet that we must think most of him, and we must be glad of anything that makes him sing. Let us not go into the charming house and household to explain why his poetry is the soul of love, the essence of tender and exalted purity. An ideal American home is the next place to heaven. The most natural thing in the world would be for a man like Gilder to lead, without trying to lead, those with whom he comes most in contact, and so we find him at the head of certain significant and interesting movements of the artistic and literary people of New York. He helped to found the Society of American Artists and the Authors Club and was one of the originators of the Copyright League. His genius must have the magnetic quality as well as the creative power. The art reform which the Century swiftly wrought in America is not a more notable evidence of his taste, foresight and executive ability, than is his unsought personal prominence a proof of his fitness for a certain kind of quiet, gentle and always welcome leadership like that which has been put upon him by the Fellowcraft Club of New York, a brotherhood of journalists and artists. It is significant that such a club should have for its leader and president a poet pure and simple; it suggests, what is the truth, that the poet is no longer the man in the garret, the crust-gnawing and hypochondriacal sentimentalist. One of the greatest discoveries that time has vouchsafed to the nineteenth century is this close kinship of the poet's genius to the strongest and directest forces of our civilization. The man behind the Century Magazine has done a great deal for America. He can do a great deal more. M. T. Copyright, 1889, by CHARLES WELLS MOULTON. All rights reserved. play, The master-poets of humanity, Sent down from heaven to lift men to the sky. THE SONNET. WHAT is a sonnet? 'Tis the pearly shell ah me! That murmurs of the far-off murmuring sea; A sea this is- beware who ventureth! THE POET'S PROTEST. O MAN with your rule and measure, Your tests and analyses! You may take your empty pleasure, May kill the pine, if you please; You may count the rings and the seasons, May hold the sap to the sun, You may guess at the ways and the reasons Till your little day is done. But for me the golden crest That shakes in the wind and launches Its spear toward the reddening West! For me the bough and the breeze, The sap unseen, and the glint Of light on the dew-wet branches,The hiding shadows, the hint Of the soul of mysteries. You may sound the sources of life, THE SOWER. I. A SOWER went forth to sow, His eyes were dark with woe; He crushed the flowers beneath his feet, By iron, and to heaven laid bare: When lightnings interlace The sky and the earth, and his wand Thus did that Sower sow; II. It was an autumn day When next I went that way. And what, think you, did I see,— The song of a sweet-voiced bird? Were sad of memory: But a sea of sunlight flowed, And a golden harvest glowed! And I thank thee, again and again, I MET A TRAVELLER ON THE ROAD. He stood beside the level brook, -- "LOVE ME NOT, LOVE, FOR THAT I FIRST LOVED THEE." LOVE me not, Love, for that I first loved thee, Nor love me, Love, for thy sweet pity's sake, In knowledge of the mortal pain and ache Which is the fruit of love's blood-veined tree. Let others for my love give love to me: From other souls oh, gladly will I take, This burning, heart-dry thirst of love to slake, What seas of human pity there may be! Nay, nay, I carɩ no more how love may grow, So that I hear thee answer to my call! Love me because my piteous tears do flow, Or that my love for thee did first befall. "WHAT WOULD I SAVE THEE FROM ?" WHAT Would I save thee from, dear heart, dear heart? Not from what heaven may send thee of its pain; Not from fierce sunshine or the scathing rain: The pang of pleasure; passion's wound and smart; Not from the scorn and sorrow of thine art; Of growth by grief. I would not thee restrain - WEAL AND WOE. O HIGHEST, strongest, sweetest woman-soul! white. SONG. NOT from the whole wide world I chose theeSweetheart, light of the land and the sea! The wide, wide world could not enclose thee, For thou art the whole wide world to me. SONG. YEARS have flown since I knew thee first, |