the Stage. 1922.

STUDIES AND REVIEWS

Bookm. 48 ('19): 558.
Nation 111 ('20): 219.
Sewanee R. 17 ('09): 458.
See also _Book Review Digest_, 1915, 1920.

+Joseph Crosby Lincoln+ (Massachusetts, 1870)--novelist.

Writes of New England types, especially sailors. For bibliography, see
_Who's Who in America_.

+(Nicholas) Vachel Lindsay+--poet.

Born at Springfield, Illinois, 1879. Educated in the public schools.
Studied at Hiram College, Ohio, 1897-1900; at the Art Institute, Chicago,
1900-3, and at the New York School of Art, 1904-5. Member of the
Christian (Disciples) Church. Y.M.C.A. lecturer, 1905-09. Lecturer for
the Anti-Saloon League throughout central Illinois, 1909-10. Makes long
pilgrimages on foot (cf. _A Handy Guide for Beggars_).

In the summer of 1912, he walked from Illinois to New Mexico,
distributing his poems and speaking in behalf of "The Gospel of Beauty."

SUGGESTIONS FOR READING

1. Read for background _A Handy Guide for Beggars_ and _Adventures while
Preaching the Gospel of Beauty_.

2. An important clue to Mr. Lindsay's work is suggested in his own note
on reading his poems. Referring to the Greek lyrics as the type which
survives in American vaudeville where every line may be two-thirds spoken
and one-third sung, he adds: "I respectfully submit these poems as
experiments in which I endeavor to carry this vaudeville form back
towards the old Greek presentation of the half-chanted lyric. In this
case the one-third of music must be added by the instinct of the
reader.... Big general contrasts between the main sections should be the
rule of the first attempts at improvising. It is the hope of the writer
that after two or three readings each line will suggest its own separate
touch of melody to the reader who has become accustomed to the cadences.
Let him read what he likes read, and sing what he likes sung."

In carrying out this suggestion, note that Mr. Lindsay often prints aids
to expression by means of italics, capitals, spaces, and even side notes
and other notes on expression.

3. What different kinds of material appeal especially to Mr. Lindsay's
imagination? How do you explain his choice, and his limitations?

4. What effect upon his poetry has the missionary spirit which is so
strong in him? Is his poetry more valuable for its singing element or for
its ethical appeal? Do you discover any special originality?

5. How does his use of local material comp