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Acanthus and Wild Grape - Frank Oliver Call
The Project Gutenberg EBook of Acanthus and Wild Grape, by F. O. Call
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Acanthus and Wild Grape
Author: F. O. Call
Release Date: August 27, 2010 [EBook #33552]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK ACANTHUS AND WILD GRAPE ***
Produced by Al Haines
Acanthus and Wild Grape
By
F. O. Call
Author of In a Belgian Garden
McCLELLAND & STEWART
Publishers — Toronto
COPYRIGHT, CANADA, 1920
BY MCCLELLAND & STEWART, LIMITED, TORONTO
NOTE: Many of these poems were first published in Canadian Magazines, and the Author wishes to thank the publishers of the University Magazine, the Canadian Magazine, the Westminster, the Canadian Bookman, Canada West, and the Mitre for permission to reprint.
CONTENTS
ACANTHUS
Foreword
Acanthus
The Old Gods
The Obelisk
Gray Birds
After Tea
Through a Long Cloister
Cathedral Vespers
The Lotus-Worshippers
The Broken Mast
The Lace-maker of Bruges
Rheims
Calvary
Gone West
Peace
Hidden Treasure
A River Sunset
The Madonna
An Idol in a Shop Window
In a Forest
The Golden Bowl
On a Swiss Mountain
The Nun's Garden
You Went Away in Summertime
To a Modern Poet
The Mystic
Ad Episcopi Collegium
A Song of the Homeland
The Mirror
I Made a Little Song
Birds
The Bluebird's Wing
The Answer
WILD GRAPE
Wild Grape
To a Greek Statue
Omnipresence
My Cathedral
The Foundry
Swiss Sketches—
(I) After Sunset on Jura
(II) Lucerne
(III) Lake Leman
Visions—
I, II, III, IV
Japanese Prints—
(I) The Lady with the Yellow Fan
(II) Caged Birds
(III) Wisteria
A Venetian Palace
Japanese Iris
Japanese Love-Songs
Cups of Jade
The Loon's Cry
Prayer
FOREWORD
Poetry has been defined as Thought touched by Emotion,
and I know no better working definition, although no doubt more scientific and accurate ones could be found. The best poets of all ages seem to have had this ideal plainly before them, whether consciously or unconsciously, and I cannot see how modern poets can dispense with either thought or emotion if they are to write real poetry. For one is not enough without the other. Take for example the first lines of Master's Spoon River Anthology.
"Where are Elmer, Herman, Bert, Tom and Charley,
The weak of will, the strong of arm, the clown, the boozer, the fighter?
All, all, are sleeping on the hill,
One passed in a fever,
One was buried in a mine,
One was killed in a brawl,
One died in a jail,
One fell from a bridge toiling for children and wife,
All, all are sleeping on the hill."
This sounds tragic indeed, but seems to have aroused no emotion on the part of the poet and excites none in his readers. In fact, through the whole poem, emotion is held in check with a strong hand, and only allowed to show itself in some distorted cynicism.
Let us take an example of the opposite extreme where emotion, whether real or fancied, has stifled thought.
O World! O Men! O Sun! to you I cry,
I raise
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