Ore is a good example of what "free verse" ought to be. But it is not
free because it is lawless; its freedom is the freedom of all true art
which does not ignore, which obediently accepts, certain laws that
govern the expression of the beautiful. Mr. Richard Aldington's "Daisy"
is certainly a less appealing poem than that one in which Swinburne
sings of the lady who forgot his kisses, and he forgot her name! Jos['e]
de Her['e]dia, in "Les Troph['e]es," is both an Imagist and a Symbolist.
He has the inspiration and the science of the Sibyl without her
contortions. It is unfortunate that the truculent attitude of the
professional makers of "free verse" should have arrayed a small and
angry group against them; and this group will have none of Robert Frost,
who is certainly a poet and a poet of great courage and originality.
There are others, however, who may not be imitators of Robert Frost, but
who seem as if they were. Tennyson's "Owl," which is looked on to-day as
an example of Victorian idiocy, is really better than Mr. T. S. Eliot's
"Cousin Nancy": Miss Nancy Ellicott Strode across the hills and broke
them, Rode across the hills and broke them-- The barren New England
hills-- Riding to hounds Over the cow-pasture. Miss Nancy Ellicott
smoked And danced all the modern dances; And her aunts were not quite
sure how they felt about it, But they knew that it was modern. Upon the
glazen shelves kept watch Matthew and Waldo, guardians of the faith, The
army of unalterable law. The Imagist does not believe in ornament, and
this glimpse of character might be uttered in one sentence. Perhaps,
however, a tendency to ornamentation might have made the poem at least d
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