Night with her Train of Stars, by Edward Robert Hughes
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C. J. Dennis C. J. Dennis

Clarence Michael James Stanislaus Dennis, better kn (own as C. J. Dennis, (7 September 1876– 22 June 1938) was an Australian poet known for his humorous poems, especially “The Songs of a Sentimental Bloke”, published in the early 20th century. Though Dennis’s work is less well known today, his 1916 publication of The Sentimental Bloke sold 65,000 copies in its first year, and by 1917 he was the most prosperous poet in Australian history. Together with Banjo Paterson and Henry Lawson, both of whom he collaborated with, he is often considered among Australia’s three most famous poets. When he died at the age of 61, the Prime Minister of Australia Joseph Lyons suggested he was destined to be remembered as the “Australian Robert Burns”. Biography C. J. Dennis was born in Auburn, South Australia. His father owned hotels in Auburn, and then later in Gladstone and Laura. His mother suffered ill health, so Clarrie (as he was known) was raised initially by his great-aunts, then went away to school, Christian Brothers College, Adelaide as a teenager. At the age of 19 he was employed as a solicitor’s clerk. It was while he was working in this job that, like banker’s clerk Banjo Paterson before him, his first poem was published under the pseudonym “The Best of the Six”. He later went on to publish in The Worker, under his own name, and as “Den”, and in The Bulletin. His collected poetry was published by Angus & Robertson. He joined the literary staff of The Critic in 1897, and after a spell doing odd jobs around Broken Hill, returned to The Critic, serving for a time c. 1904 as editor, to be succeeded by Conrad Eitel. He founded a short-lived literary paper The Gadfly. From 1922 he served as staff poet on the Melbourne Herald. C. J. Dennis is buried in Box Hill Cemetery, Melbourne. The Box Hill Historical Society has attached a commemorative plaque to the gravestone. Dennis is also commemorated with a plaque on Circular Quay in Sydney which forms part of the NSW Ministry for the Arts - Writers Walk series, and by a bust outside the town hall of the town of Laura. Books * Backblock Ballads and Other Verses (1913) * The Songs of a Sentimental Bloke (1915) * The Moods of Ginger Mick (1916) * The Glugs of Gosh (1917) * Doreen (1917) * Digger Smith (1918) * Backblock Ballads and Later Verses (1918) * Jim of the Hills (1919) * A Book for Kids (1921) (reissued as Roundabout, 1935) * Rose of Spadgers (1924) * The Singing Garden (1935) Shorter poems of note “The Austra-laise” (1908) Many shorter works were also published in a wide variety of Australian newspapers and magazines. References Wikipedia—https://en.wikipedia.org/wiki/C._J._Dennis

Delilah Delilah

"Life imitates Art, far more than Art imitates life". Hi, my name is Laila.. I love everything in Arts, I think Nature is the most beautiful thing humanity is blessed with. I love looking at the vast sky and the ocean because, for a moment it reminds me that society is small and I can create my own system/ pieces of art that doesn't need to fall in place with the norms the the system created. I write, yes, it's kind of something I kind of find solace in.. Delilah, my pen name. An entire different shade of me comes out when I am left with a notebook and pen.. Spilling ink has always been a part of me.. Uh.. I believe that kindness is the most beautiful of qualities one could have... You don't have to be rich or famous to be beautiful... You just have to have a... heart filled with empathy, love, compassion, humility and most of all.. Kindness. And then you are... Beautiful. For true beauty comes from within.. I'm 18 years old, currently a student, studying to be an English teacher. And very very nervous when it comes to speaking in front of a class... #confessions.. 2016 - There's plenty I'd like to state that just has that.. 'Wow'  effect, I think the best word for this would be, Yūgen. Something about this world, this experience. To watch the Sun sink behind a hill and wait for the light of the stars. To wander into the unknown without reason or return. To watch trees sway and the colour of Autumn fall. To trace your fingers on your once so dearly beloved's hand and know all the routes on it yet... still not know that it was the last time you would touch them. To contemplate the paths of the birds across the vast sky and around the sun, and so, we have been.. Turned. xxxxx I tend to isolate myself sometimes... don't worry, Nothing is wrong, it's just the way I am, I find it more.... meaningful, as I go through different perspectives... .................( uhhhhh... Figuring out Where's Never land ... ^_^) ........ Anyway, Thank you! for going though my work... Cuidate!... Take care! Delilah Instagram : @of.blue.heart.waves.x

Henry van Dyke Henry van Dyke

Henry Jackson van Dyke (November 10, 1852 – April 10, 1933, aged 80) was an American author, educator, and clergyman. Henry van Dyke was born on November 10 , 1852 in Germantown, Pennsylvania in the United States. He graduated from Princeton University in 1873 and from Princeton Theological Seminary, 1877 and served as a professor of English literature at Princeton between 1899 and 1923. In 1908-09 Dr. van Dyke was an American lecturer at the University of Paris. By appointment of President Wilson he became Minister to the Netherlands and Luxembourg in 1913. He was elected to the American Academy of Arts and Letters and received many other honors. Van Dyke was an "ardent foe of the annexation of the Philippines, [and] told his congregation in 1898, 'If we enter the course of foreign conquest, the day is not far distant when we must spend in annual preparation for wars more than the $180,000,000 that we now spend every year in the education of our children for peace.’” He chaired the committee that wrote the first Presbyterian printed liturgy, The Book of Common Worship of 1906. Among his popular writings are the two Christmas stories, The Other Wise Man (1896) and The First Christmas Tree (1897). Various religious themes of his work are also expressed in his poetry, hymns and the essays collected in Little Rivers (1895) and Fisherman’s Luck (1899). He wrote the lyrics to the popular hymn, "Joyful, Joyful We Adore Thee" (1907), sung to the tune of Beethoven's "Ode to Joy". He compiled several short stories in The Blue Flower (1902), named after the key symbol of Romanticism introduced first by Novalis. He also contributed a chapter to the collaborative novel, The Whole Family (1908). Among his poems is "Katrina's Sundial", the inspiration for the song, "Time Is", by the group It's a Beautiful Day on their eponymous 1969 debut album. Furthermore, the lyrics of a song — entitled "Time", sung by Mark Masri — are mostly inspired by the following quote, written by Henry van Dyke: "Time is too slow for those who wait, too swift for those who fear, too long for those who grieve, too short for those who rejoice, but for those who love — time is eternity". A biography of Van Dyke, titled Henry Van Dyke: A Biography, was written by his son Tertius van Dyke and published in 1935. List of Works: Short Stories * Among The Quantock Hills from 'Days Off And Other Digressions' * Antwerp Road * Art Of Leaving Off, The from 'Days Off And Other Digressions' * Ashes of Vengeance (half-told tale) * Beggars Under The Bush * Between The Lupin And The Laurel from 'Days Off And Other Digressions' * Blue Flower, The * Books That I Loved As A Boy from 'Days Off And Other Digressions' * Boy of Nazareth Dreams, The * Brave Heart, A from 'The Ruling Passion' collection * Broken Soldier and the Maid of France, The * Change Of Air, A * City of Refuge, A * Classic Instance, A * Countersign Of The Cradle, The * Days Off from 'Days Off And Other Digressions' * Diana And The Lions A half-told tale * Dream-story: The Christmas Angel, A * Effectual Fervent Prayer, The * First Christmas-Tree, The * Friend of Justice, A from 'The Ruling Passion' collection * Gentle Life, The from 'The Ruling Passion' collection * Handful Of Clay, A * Hearing Ear, The * Hero and Tin Soldiers, The * His Other Engagement from 'Days Off And Other Digressions' * Holiday In A Vacation, A from 'Days Off And Other Digressions' * Humoreske * In The Odour Of Sanctity * Justice of the Elements half-told tale * Keeper of the Light, The from 'The Ruling Passion' collection * Key Of The Tower, The * King's High Way, The * King's Jewel, The * Leviathan from 'Days Off And Other Digressions' * Little Red Tom from 'Days Off And Other Digressions' * Lost Word: A Christmas Legend of Long Ago * Lover of Music, A from 'The Ruling Passion' collection * Mansion, The Christmas story * Messengers At The Window * Mill, The * Music-Lover, The * New Era and Carry On, The (half-told tale) * Night Call, The * Notions About Novels from 'Days Off And Other Digressions' * Old Game, An * Other Wise Man, The * Primitive and His Sandals, The (half-told tale) * Remembered Dream, A * Return Of The Charm, The * Reward of Virtue, The from 'The Ruling Passion' collection * Ripening Of The Fruit, The * Sad Shepherd, The Christmas story * Salvage Point * Sanctuary of Trees, A * Silverhorns from Boy Scouts Book of Campfire Stories * Sketches of Quebec * Some Remarks On Gulls from 'Days Off And Other Digressions' * Source, The * Spy Rock * Stronghold * Traitor in the House, The (half-told tale) * Unruly Sprite, The A Partial Fairy Tale * Wedding-Ring, The * What Peace Means * White Blot, The (from The Ruling Passion collection) * Wood-Magic * Year of Nobility, A (from The Ruling Passion collection) References http://en.wikipedia.org/wiki/Henry_van_Dyke

H. D. H. D.

About H.D's Life and Career—An Essay by Bonnie Kime Scott Having rejected Victorian norms for modern experiments, H. D. repeatedly launched out from instructors found among the early canonized male modernists. She developed new lyric, mythic, and mystical forms in poetry and prose, and an alternative bisexual lifestyle that were little appreciated until the 1980s. Her literary contacts included Ezra Pound, Marianne Moore, William Carlos Williams, Ford Madox Ford, May Sinclair, Dorothy Richardson, Richard Aldington, Bryher, D. H. Lawrence, T. S. Eliot, Djuna Barnes, Gertrude Stein, Amy Lowell, Norman Douglas, Edith Sitwell, and Elizabeth Bowen. She was the literary editor of the Egoist (1916-1917), and admired the work of James Joyce and Virginia Woolf. Younger poets like Robert Duncan, Allen Ginsberg, May Sarton, and Denise Levertov took her as a mentor. H. D.'s literary papers are at Beinecke Library, Yale University. Autobiographies H. D. was born into the Moravian community of her artistic, musical mother, Helen (Wolle), in Bethlehem, Pennsylvania, and reared in Upper Darby, a Philadelphia suburb convenient to the University of Pennsylvania. Her astronomer father, Charles, was director of the Flower Observatory there. The Gift (written 1941-1944; published 1982) is cast in the inquiring voice of a child, who is cognizant of several generations of her family, and of her own dreams and fantasies. Her grandmother ultimately bestows a sense of her self-enabling heritage or "gift," and its mystical connection to the Moravians. Mystical access to the past through visions and the reading of "signets"--signs or heiroglyphs requiring patient deciphering--is essential to all of H. D.'s autobiographical writing. H.D.'s autobiographical writings from the middle years of her life are invaluable to the study of the gendered politics of experimental modernism, and the place of the female analysand in psychoanalysis. Ezra Pound entered her life while she was still a schoolgirl in Pennsylvania. In verses written for her, Pound gave her the persona of the "dryad," which persisted among her many self-concepts. They were twice engaged. Barbara Guest has suggested that his tutelage interfered with her studies at Bryn Mawr, which she quit in her second year. She did meet another as yet undeclared poet, Marianne Moore, while there (1904-1906). H. D. joined the same literary circles Pound traveled in when she moved to London in 1911. In a famous incident of 1913, he sent some of her verse to Harriet Monroe's Poetry Magazine, appending the signature "H.D., Imagiste." They served as models of the new poetry he was promoting. End to Torment: A Memoir of Ezra Pound by H. D. (written 1958; published 1979) explores this relationship. With Bid Me to Live (written 1933-1950, published 1960), H. D. writes herself out of what Rachel Blau DuPlessis has called "romantic thralldom" with two other literary men. She married the British poet, Richard Aldington, in 1913. Having enlisted in World War I, his fictional counterpart called for her sustaining letters to the front, yet resented her sharing verses with "Rico," the D. H. Lawrence counterpart, and flaunted his infidelities. Lawrence had a charismatic effect upon H. D. during the war years in London, but discouraged her creation of male subjects in her poetry, and objected to her relationship with Cecil Grey, the painter whom she joined in Cornwall. Grey became the father of her only surviving child, Frances Perdita Aldington (born 1919). H. D. had been anguished over the still-birth of a daughter fathered by Aldington in 1915, and the death of her brother Gilbert at the front. Bid Me to Live was part of a "madrigal cycle," including also Paint it To-Day and Asphodel (neither yet fully published). All of these works intertwined the painful demands of war and love relationships, as does the brilliant long poem, Trilogy (written 1944-1946), with its images of rebirth taken from classical, Egyptian and Christian sources. Tribute to Freud (written 1944; published gradually from 1945-1985) offers a third creative re-vision of male-inspired paradigms. H. D. was analyzed by Freud in 1933 and 1934, in an attempt to overcome writer's block. She also underwent analysis with Hans Sachs in the 1930s, with Erich Heydt in the 1950s, and was treated with intervenous shock therapy, following a major breakdown in 1946. Freud encouraged her to write straight history to breakout of the personal crisis she experienced during World War I. With Bid Me to Live she felt she was escaping also from the influence of psychoanalysis; she did revise Freud's role as analyst to something more like a medium. Spiritualism became an overriding interest in the 1940s. Communication with the dead and projections from another realm were regular tropes in her writing, including her last writing, Hermetic Definition. Bisexuality H.D.'s troubled alliance with Pound was mingled with her love of Frances Josepha Gregg, a student at the Pennsylvania Academy of Fine Arts, and the recipient of some of her earliest poems. Gregg and her mother were H. D.'s companions on the 1911 trip to London. Prefiguring other bisexual triangles she would involve herself in, H. D. planned to accompany Gregg on her honeymoon, but was prevented from doing so by Pound. The strains between lesbian and heterosexual attractions, experienced over the Gregg relationship, entered into H. D.'s novel HERmione (written 1927, the year before Radclyffe Hall's lesbian novel, The Well of Loneliness, was the subject of an obscenity trial; published 1981). The novelist and editor Bryher (Winnifred Ellerman, an heiress to a shipping fortune), was the most significant companion of her mature life. Their relationship survived until H. D.'s death in 1961, spanning Bryher's two marriages of convenience to Robert McAlmon and Kenneth Macpherson, in circumstances that included significant travel and residences mainly in London and Switzerland. H. D. has credited Bryher with saving her life during the final months of her pregnancy in 1919, when she was struck with influenza. Bryher and H. D. traveled to the Scilly Islands together in June 1919, for a month of idyllic companionship; they went to Greece (sailing by Lesbos) with H. D.'s mother in 1922, and traveled to Egypt the next year. The women made a creative trio with the artist and filmmaker Kenneth Macpherson from 1927 to 1932; Macpherson became H. D.'s lover, and Bryher's husband, and the married couple adopted H. D.'s daughter Perdita. Their collaborations included photomontages, the film journal Close Up, to which H. D. supplied poetry and reviews, and Borderline, a film in which H. D. starred with Paul Robeson. The project is one indication of H. D.'s literary connections to the Harlem Renaissance, and her attraction to the margins of modernism. Much of H.D.'s poetry published in the 1930s and 1940s appeared in Life and Letters Today, edited by Bryher. H.D. was well informed about contemporary theories of homosexuality, due both to her analysis by Freud, who pronounced her bisexual, and her friendship with sexologist Havelock Ellis, whom she met in 1919. But she was not limited to their views, particularly in HER. Her shift in interest to mother-daughter dynamics in Notes on Thought and Vision may have been a transference out of Freud's influence. However, Ellis failed to appreciate her revolutionary "bell jar" experiences of pregnancy and the unconscious, recorded in Notes on Thought and Vision, and his lack of enthusiasm may have discouraged her publishing it. Critical Repositioning and Feminist Criticism For many years H. D. was known chiefly for the stark, chiseled images and experimental rhythms of her earliest work, collected as Sea Garden (1916). This fit the imagist program of Ezra Pound. She also had a limited reputation as a classicist and translator of Greek. Feminist critics, led by Susan Stanford Friedman and Rachel Blau DuPlessis, have studied H.D.'s works for feminine lesbian, and bisexual discourses. Since the early 1980s H. D.'s epic and prose writing have received more attention, and work self-suppressed in her own lifetime has been recovered and studied. H. D.'s frequent recourse to the palimpsest can be seen as an escape from binary and hierarchical thinking associated with patriarchy. The term denotes a parchment that retains partially erased parts of earlier writings, which strain productively with new text. She titled a three-part story sequence Palimpsest (written 1923-1924), but the term also applies to her rewritings of her own selfhood in autobiographies, and to her rewritten myths. H. D. can be credited with anticipating the maternal semiotic of Julia Kristeva, and with giving a female voice to classical myths. Sandra Gilbert ("H. D.? Who Was She?," Contemporary Literature 24 [1983]: 496-511) suggests that she developed a "woman's mythology" in Trilogy, Helen in Egypt, and Hermetic Definition. Alicia Ostriker ("Thieves of Language," Signs 8, no. 1 [1982]: 68-90) includes H. D. among women poets who construct new myths to include their selves. H. D.'s Greek texts, culminating in Helen in Egypt, explore the divinity of the goddess, the sexually ecstatic Eleusinian mysteries, and the female version of patriarchal epics. A criticism from Lawrence S. Rainey ("Canon, Gender and Text," Representing Modern Texts, ed. George Bornstein, [1991]) is that in recent years H. D.'s work has been studied for the sake of content conducive to feminist solidarity, rather than aesthetic value. Yet this criticism neglects feminist critics' remarks on the formal devices of mythic mask, palimpsest, and return of the repressed, characteristic of life-writing cure, that moved H. D. beyond confinement to the divisive gender stereotypes of her day.

John Drinkwater John Drinkwater

John Drinkwater (1 June 1882 – 25 March 1937) was an English poet and dramatist. Drinkwater was born in Leytonstone, London, and worked as an insurance clerk. In the period immediately before the First World War he was one of the group of poets associated with the Gloucestershire village of Dymock, along with Rupert Brooke and others. In 1919 he had his first major success with his play Abraham Lincoln. He followed it with others in a similar vein, including Mary Stuart and Oliver Cromwell. In 1924, his Lincoln play was adapted for a two-reel short film made by Lee DeForest and J. Searle Dawley featuring Frank McGlynn Sr. as Lincoln, and made in DeForest's Phonofilm sound-on-film process. He had published poetry since The Death of Leander in 1906; the first volume of his Collected Poems was published in 1923. He also compiled anthologies and wrote literary criticism (e.g. Swinburne: an estimate (1913)), and later became manager of Birmingham Repertory Theatre. He was married to Daisy Kennedy, the ex-wife of Benno Moiseiwitsch. Papers relating to John Drinkwater and collected by his stepdaughter are held at the University of Birmingham Special Collections. John Drinkwater made recordings in Columbia Records' International Educational Society Lecture series. They include Lecture 10 – a lecture on The Speaking of Verse (Four 78rpm sides, Cat no. D 40018-40019), and Lecture 70 John Drinkwater reading his own poems (Four 78rpm sides, Cat no. D 40140-40141). Death and commemoration Drinkwater died in London in 1937. He is buried at Piddington, Oxfordshire, where he had spent summer holidays as a child. A road in Leytonstone, formerly a 1960s council estate, is named after Drinkwater, as is a small development of modern houses in Piddington. References Wikipedia – en.wikipedia.org/wiki/John_Drinkwater_(playwright)

William Henry Davies William Henry Davies

William Henry Davies or W. H. Davies (3 July 1871 – 26 September 1940) was a Welsh poet and writer. Davies spent a significant part of his life as a tramp or hobo, in the United Kingdom and United States, but became one of the most popular poets of his time. The principal themes in his work are observations about life's hardships, the ways in which the human condition is reflected in nature, his own tramping adventures and the various characters he met. Davies is usually considered one of the Georgian Poets, but much of his work is not typical in style or theme of the group. Early Life The son of an iron moulder, Davies was born at 6, Portland Street in the Pillgwenlly district of Newport, Monmouthshire, Wales, a busy port. He had an older brother, Francis Gomer Boase (who was considered "slow") and in 1874 his younger sister Matilda was born. In November 1874, when William was aged three, his father died. The following year his mother Mary Anne Davies remarried and became Mrs Joseph Hill. She agreed that care of the three children should pass to their paternal grandparents, Francis and Lydia Davies, who ran the nearby Church House Inn at 14, Portland Street. His grandfather Francis Boase Davies, originally from Cornwall, had been a sea captain. Davies was related to the famous British actor Sir Henry Irving (referred to as cousin Brodribb by the family); he later recalled that his grandmother referred to Irving as " the cousin who brought disgrace on us". Davies' grandmother was described, by a neighbour who remembered her, as wearing ".. pretty little caps, with bebe ribbon, tiny roses and puce trimmings". Writing in his Introduction to the 1943 Collected Poems of W. H. Davies, Osbert Sitwell recalled Davies telling him that, in addition to his grandparents and himself, his home consisted of "an imbecile brother, a sister ... a maidservant, a dog, a cat, a parrot, a dove and a canary bird." Sitwell also recounts that Davies' grandmother, a Baptist by denomination, was "of a more austere and religious turn of mind than her husband." In 1879 the family moved to Raglan Street, then later to Upper Lewis Street, from where William attended Temple School. In 1883 he moved to Alexandra Road School and the following year was arrested, as one of a gang of five schoolmates, and charged with stealing handbags. He was given twelve strokes of the birch. In 1885 Davies wrote his first poem entitled "Death". In his Poet's Pilgrimage (1918) Davies recounts the time when, at the age of 14, he was left with orders to sit with his dying grandfather. He missed the final moments of his grandfather's death as he was too engrossed in reading "a very interesting book of wild adventure". Delinquent to Supertramp Having finished school under the cloud of his theft he worked first for an ironmonger. In November 1886, his grandmother signed the papers for Davies to begin a five-year apprenticeship to a local picture-frame maker. Davies never enjoyed the craft, however, and never settled into any regular work. He was a difficult and somewhat delinquent young man, and made repeated requests to his grandmother to lend him the money to sail to America. When these were all refused, he eventually left Newport, took casual work and started to travel. The Autobiography of a Super-Tramp, published in 1908, covers his life in the USA between 1893 and 1899, including many adventures and characters from his travels as a drifter. During this period he crossed the Atlantic at least seven times, working on cattle ships. He travelled through many of the states, sometimes begging, sometimes taking seasonal work, but often ending up spending any savings on a drinking spree with a fellow traveller. He took advantage of the corrupt system of "boodle", in order to pass the winter in Michigan, by agreeing to be locked up in a series of different jails. Here, with his fellow tramps, Davies would enjoy the relative comfort of "card-playing, singing, smoking, reading, relating experiences and occasionally taking exercise or going out for a walk." At one stage, on his way to Memphis, Tennessee, he lay alone in a swamp for three days and nights suffering from malaria. The turning point in Davies' life came when, after a week of rambling in London, he spotted a newspaper story about the riches to be made in the Klondike and immediately set off to make his fortune in Canada. Attempting to jump a freight train at Renfrew, Ontario, on 20 March 1899, with fellow tramp Three-fingered Jack, he lost his footing and his right foot was crushed under the wheels of the train. The leg later had to be amputated below the knee and he wore a wooden leg thereafter. Davies' biographers have agreed that the significance of the accident should not be underestimated, even though Davies himself played down the story. Moult begins his biography with the incident and Stonesifer has suggested that this event, more than any other, led Davies to become a professional poet. Davies himself wrote of the accident: "I bore this accident with an outward fortitude that was far from the true state of my feelings. Thinking of my present helplessness caused me many a bitter moment, but I managed to impress all comers with a false indifference… I was soon home again, having been away less than four months; but all the wildness had been taken out of me, and my adventures after this were not of my own seeking, but the result of circumstances." Davies' view of his own disability was ambivalent. In his poem "The Fog", published in the 1913 Foliage, a blind man leads the poet through the fog, showing the reader that one who is handicapped in one domain may well have a considerable advantage in another. Poet He returned to Britain, living a rough life, particularly in London shelters and doss-houses, including the Salvation Army hostel in Southwark known as "The Ark" which he grew to despise. Fearing the contempt of his fellow tramps, he would often feign slumber in the corner of his doss-house, mentally composing his poems and only later committing them to paper in private. At one stage he borrowed money to have his poems printed on loose sheets of paper, which he then tried to sell door-to-door through the streets of residential London. When this enterprise failed, he returned to his lodgings and, in a fit of rage, burned all of the printed sheets in the fire. Davies self-published his first book of poetry, The Soul's Destroyer, in 1905, again by means of his own savings. It proved to be the beginning of success and a growing reputation. In order to even get the slim volume published, Davies had to forgo his allowance and live the life of a tramp for six months (with the first draft of the book hidden in his pocket), just to secure a loan of funds from his inheritance. When eventually published, the volume was largely ignored and he resorted to posting individual copies by hand to prospective wealthy customers chosen from the pages of Who's Who, asking them to send the price of the book, a half crown, in return. He eventually managed to sell 60 of the 200 copies printed. One of the copies was sent to Arthur Adcock, then a journalist with the Daily Mail. On reading the book, as he later wrote in his essay "Gods Of Modern Grub Street", Adcock said that he "recognised that there were crudities and even doggerel in it, there was also in it some of the freshest and most magical poetry to be found in modern books". He sent the price of the book and asked Davies to meet him. Adcock is still generally regarded as "the man who discovered Davies". The first trade edition of The Soul's Destroyer was published by Alston Rivers in 1907. A second edition followed in 1908 and a third in 1910. A 1906 edition, by Fifield, was advertised but has not been verified. Rural life in Kent On 12 October 1905 Davies met Edward Thomas, then literary critic for the Daily Chronicle in London, who was to do more to help him than anyone else. Thomas rented for Davies the tiny two-roomed "Stidulph's Cottage", in Egg Pie Lane, not far from his own home at Elses Farm near Sevenoaks in Kent. Davies moved to the cottage, from 6 Llanwern Street, Newport, via London, in the second week of February 1907. The cottage was "only two meadows off" from Thomas' own house. Thomas adopted the role of protective guardian for Davies, on one occasion even arranging for the manufacture, by a local wheelwright, of a makeshift replacement wooden leg, which was invoiced to Davies as "a novelty cricket bat". In 1907, the manuscript of The Autobiography of a Super-Tramp drew the attention of George Bernard Shaw, who agreed to write a preface (largely through the concerted efforts of his wife Charlotte). It was only because of Shaw that Davies' contract with the publishers was rewritten to allow the author to retain the serial rights, all rights after three years, royalties of fifteen per cent of selling price and a non-returnable advance of twenty five pounds. Davies was also to be given a say on the style of all illustrations, advertisement layouts and cover designs. The original publisher, Duckworth and Sons, refused to accept these demands and so the book was placed instead with London publisher Fifield. A number of anecdotes of Davies' time with the Thomas family in Kent are recounted in the brief account later published by Thomas' widow Helen. In 1911, Davies was awarded a Civil List Pension of £50, later increased to £100 and then again to £150. Davies started to spend more time in London and made many literary friends and acquaintances. Though averse to giving autographs himself, Davies began to make a collection of his own and was particularly keen to obtain that of D. H. Lawrence. Georgian poetry publisher Edward Marsh was able to secure an autograph and also invited Lawrence and wife-to-be Frieda to meet Davies on 28 July 1913. Lawrence was immediately captivated by Davies and later invited him to join them in Germany. Despite his early enthusiasm for Davies' work, however, Lawrence's opinion changed after reading Foliage and he commented after reading Nature Poems in Italy that the verses seemed "so thin, one can hardly feel them". By this time Davies had amassed a library of about fifty books in his cottage, mostly of 16th- and 17th-century poets, and including Shakespeare, Milton, Wordsworth, Byron, Burns, Shelley, Keats, Coleridge, Blake and Herrick. In December 1908 his essay "How It Feels To Be Out of Work", described by Stonesifer as "a rather pedestrian performance", appeared in the pages of The English Review. He continued to send other periodical articles out to editors, but without any success. Society life in London After lodging at a number of temporary addresses in Sevenoaks, Davies moved back to London early in 1914, settling eventually at 14 Great Russell Street in the Bloomsbury district, previously the residence of Charles Dickens. Here in a tiny two-room apartment, initially infested with mice and rats, and next door to rooms occupied by a noisy Belgian prostitute, he lived from early 1916 until 1921. It was during this time in London that Davies embarked on a series of public readings of his work, alongside such others as Hilaire Belloc and W. B. Yeats, impressing such fellow poets as Ezra Pound. He soon found that he was able to socialise with leading society figures of the day, including Lord Balfour and Lady Randolph Churchill. While in London Davies also became friendly with a number of artists, including Jacob Epstein, Harold and Laura Knight, Nina Hamnett, Augustus John, Harold Gilman, William Rothenstein, Walter Sickert, Sir William Nicholson and Osbert and Edith Sitwell. He enjoyed the society of literary men and their conversation, particularly in the rarefied atmosphere downstairs at the Café Royal. He would also meet regularly with W. H. Hudson, Edward Garrett and others at The Mont Blanc in Soho. In his poetry Davies drew extensively for material on his experiences with the seamier side of life, but also on his love of nature. By the time of his prominent place in the Edward Marsh Georgian Poetry series, he was an established figure. He is generally best known for the opening two lines of the poem "Leisure", first published in Songs Of Joy and Others in 1911: "What is this life if, full of care / We have no time to stand and stare..." In October 1917 his work was included in the anthology Welsh Poets: A Representative English selection from Contemporary Writers collated by A. G. Prys-Jones and published by Erskine Macdonald of London. In the last months of 1921, Davies moved to more comfortable quarters at 13 Avery Row, Brook Street, where he rented rooms from the Quaker poet Olaf Baker. He began to find prolonged work difficult, however, suffering from increased bouts of rheumatism and other ailments. Harlow (1993) lists a total of 14 BBC broadcasts of Davies reading his own work made between 1924 and 1940 (now held in the BBC broadcast archive) although none included his most famous work, "Leisure". Later Days, the 1925 sequel to The Autobiography of a Super-Tramp, describes the beginnings of Davies' career as a writer and his acquaintance with Belloc, Shaw and de la Mare, amongst many others. He became "the most painted literary man of his day", drawn and painted by Augustus John, Sir William Nicholson, Dame Laura Knight and Sir William Rothenstein. His head in bronze was the most successful of Epstein's smaller works. Honours, memorials and legacy In 1926 Davies was honoured with the degree of Doctor Litteris, honoris causa from the University of Wales. Davies returned to his native Newport in 1930, where a luncheon was held in his honour at the Westgate Hotel. His return, in September 1938, for the unveiling of the plaque in his honour, proved to be his last public appearance. A large collection of Davies manuscripts, including a copy of "Leisure", dated 8 May 1914, is held by the National Library of Wales. The collection includes a copy of "A Boy's Sorrow", an apparently unpublished poem of two eight-line stanzas relating to the death of a neighbour. Also included is a volume (c. 1916) containing autograph fair copies of 15 Davies poems, some of them apparently unpublished, submitted to James Guthrie (1874–1952) for publication by the Pear Tree Press as a collection entitled Quiet Streams, to which annotations have been added by Lord Kenyon. British writer Gerald Brenan (1894–1987) and his generation were influenced by Davies' Autobiography of a Super-Tramp. In 1951 Jonathan Cape published The Essential W. H. Davies, selected and with an introduction by Brian Waters, a young Gloucestershire poet and writer whose work Davies admired, who described him as "about the last of England's professional poets". The collection included The Autobiography of a Super-tramp, and extracts from Beggars, A Poet's Pilgrimage, Later Days, My Birds and My Garden, as well as over 100 poems arranged by publication period. Many of Davies' poems have been given a musical setting. "Money, O!" was set to music for piano, in G minor, by Michael Head - his 1929 Boosey & Hawkes collection also included settings for "The Likeness", "The Temper of a Maid", "Natures' Friend", "Robin Redbreast" and "A Great Time". There are also three songs by Sir Arthur Bliss - "Thunderstorms", "This Night", and "Leisure" - as well as "The Rain" for voice and piano, by Margaret Campbell Bruce, published in 1951 by J. Curwen and Sons. Experimental Irish folk group Dr Strangely Strange also sang and quoted from "Leisure" on their 1970 album Heavy Petting, with harmonium accompaniment. A musical adaptation of the same poem, with John Karvelas (vocals) and Nick Pitloglou (piano) and an animated film by Pipaluk Polanksi, may be found on YouTube. Also in 1970, Fleetwood Mac recorded "Dragonfly", a song with lyrics taken from Davies' 1927 poem, "The Dragonfly". The song was also recorded by English singer-songwriter and multi-instrumentalist Blake, for his 2011 album The First Snow. On 1 July 1971 a special First Day Cover, with a matching commemorative post-mark was issued by the UK Post Office to mark Davies' centenary. A controversial statue by Paul Bothwell-Kincaid, inspired by the poem "Leisure", was unveiled in Commercial Street, Newport in December 1990, to commemorate Davies' work, on the 50th anniversary of his death. The bronze head of Davies by Epstein, from January 1917, regarded by many as the most accurate artistic impression of Davies and a copy of which Davies owned himself, may be found at Newport Museum and Art Gallery (donated by Viscount Tredegar). In August 2010 the play Supertramp, Sickert and Jack the Ripper by Lewis Davies, concerning an imagined sitting by Davies for a portrait by Walter Sickert, premiered at the Edinburgh Festival. References Wikipedia—https://en.wikipedia.org/wiki/W._H._Davies




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