Myths And Motifs In Literature 0029050308, 9780029050309

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NUNC COGNOSCO EX PARTE

THOMASJ. BATA LIBRARY TRENT UNIVERSITY

Digitized by the Internet Archive in 2019 with funding from Kahle/Austin Foundation

https://archive.org/details/mythsmotifsinlitOOOOburr

MYTHS

and MOTIFS

in LITERATURE

MYTHS

and MOTIFS

in LITERATURE edited by

DAVID J. BURROWS DOUGLASS COLLEGE

FREDERICK R. LAPIDES UNIVERSITY OF BRIDGEPORT

JOHN T. SHAWCROSS CITY UNIVERSITY OF NEW YORK

The Free Press A Division of Macmillan Publishing Co., Inc. New York

Trent Univ rsity U^ary PETER&or°ugH' omt*

'

Copyright © 1973 by The Free Press A Division of Macmillan Publishing Co., Inc.

All rights reserved. No part of this book may be re¬ produced or transmitted in any form or by any means, electronic or mechanical, including photocopying, record¬ ing, or by any information storage and retrieval system, without permission in writing from the Publisher. The Free Press A Division of Macmillan Publishing Co., Inc. 866 Third Avenue, New York, New York 10022 Library of Congress Catalog Card Number: 72-90546 Printed in the United States of America printing number 23456789

10

ACKNOWLEDGMENTS Maud Bodkin: “Archetypal Patterns in Tragic Poetry” is from Archetypal Pat¬ terns in Poetry by Maud Bodkin, published by Oxford University Press. Leslie Fiedler: “Archetype and Signature” is from Leslie A. Fiedler, “Archetype and Signature”: First published in The Sewanee Review, LX, 2 (Spring, 1952). Copyright © 1952 by The University of the South. Reprinted with the permission of the author and the publisher. Erich Fromm: “The Nature of Symbolic Language” is from The Forgotten Language by Erich Fromm. Copyright 1951 by Erich Fromm. Reprinted by permis¬ sion of Holt, Rinehart and Winston, Inc. William J. Goode: “Family and Religion” is reprinted with permission of The Macmillan Company from Religion Among the Primitives by William J. Goode. Copyright 1951 by William J. Goode. Sir James G. Frazer: “The Sacred Marriage” is reprinted with permission of The Macmillan Company from The Golden Bough by Sir James G. Frazer. Copy¬ right 1922 by The Macmillan Company, renewed 1950 by Barclays Bank Ltd. Northrop Frye: “Fictional Modes” is from Northrop Frye, Anatomy of Criticism (copyright © 1957 by PUP; Princeton Paperback, 1971), pp. 33-35. Reprinted by permission of Princeton University Press. The Mission Indians of California:

“The Origin of the World” is from the

Journal of American Folklore, 19 (1906), 312-314. Reprinted by permission of the American Folklore Society, Inc. Ovid: “The Creation”; “The Four Ages”; “Jove’s Intervention”; “The Story of Lycaon”; “The Flood” are from Ovid’s Metamorphoses, translated by Rolfe Hum¬ phries. Copyright © 1955 by Indiana University Press. Reprinted by permission of Indiana University Press.

iv

ACKNOWLEDGMENTS

V

John Lennon and Paul McCartney:

“Lady Madonna” Copyright © 1968 by

Northern Songs Limited. Used by permission. All rights reserved. John Barth:

“Night-Sea Journey”—Copyright ©

1966 by

John

Barth from

Lost in the Funhouse. Reprinted by © permission of Doubleday & Company, Inc. Ted Hughes: “Crow Blacker Than Ever” is from Crow by Ted Hughes. Copy¬ right © 1971 by Ted Hughes. Reprinted by permission of Harper & Row, Publishers, Inc. Ovid: “Europa” is from Ovid’s Metamorphoses, translated by Rolfe Humphries. Copyright © 1955 by Indiana University Press. Reprinted by permission of Indiana University Press. William Butler Yeats: “Leda and the Swan” is reprinted with permission of The Macmillan Company from Collected Poems by William Butler Yeats. Copyright 1928 by The Macmillan Company, renewed 1956 by Georgie Yeats. James Joyce: “Araby” is from Dubliners by James Joyce. Originally published by B. W. Huebsch, Inc. in 1916. Copyright © 1967 by the Estate of James Joyce. All rights reserved. Reprinted by permission of The Viking Press, Inc. Dylan Thomas: “Fern Hill” is from Collected Poems by Dylan Thomas. Copy¬ right 1946 by New Directions Publishing Corporation. Reprinted by permission of New Directions Publishing Corporation. A. E. Housman: “When I Was One-and-Twentv” is from “A Shropshire Lad”— Authorised Edition—from The Collected Poems of A. E. Housman. Copyright 1939, 1940, © 1959 by Holt, Rinehart and Winston, Inc. Copyright © 1967, 1968 by Robert E. Symons. Reprinted by permission of Holt, Rinehart and Winston, Inc. Sean O’Faolain:

“Innocence” is from The Man Who Invented Sin by Sean

O’Faolain. Copyright 1948 by The Devin-Adair Company. David Wagoner: “The Hero with One Face” is from A Place To Stand, by David Wagoner. Copyright © 1958 by Indiana University Press. Reprinted by permission of the publisher. Kenneth

Patchen:

“What

Is

The

Beautiful?”

is from

Collected Poems

by

Kenneth Patchen. Copyright 1943 by Kenneth Patchen. Reprinted by permission of New Directions Publishing Corporation. William Butler Yeats: “The Land of Heart’s Desire” is reprinted with permission of The Macmillan Company from Collected Plays by William Butler Yeats. Copyright 1934, 1952 by The Macmillan Company. Allen Tate: “The Mediterranean” is reprinted by permission of Charles Scribners Sons from Poems by Allen Tate. Copyright 1932 Charles Scribner’s Sons; renewal copyright © 1960 Allen Tate. Grey Cohoe: “The Promised Visit” is from Design for Good Reading, Level D, by Melba Schumacher et ah, © 1969 by Harcourt Brace Jovanovich, Inc. and re¬ printed with their permission. James Joyce: “An Encounter” is from Dubliners by James Joyce. Originally published by B. W. Huebsch, Inc. in 1916. Copyright © 1967 by the Estate of James Joyce. All rights reserved. Reprinted by permission of The Viking Press, Inc. Homer: “Telemachus” is from The Odyssey of Homer, translated by W. H. D. Rouse. Copyright 1937 W. H. D. Rouse. By arrangement with The New American Library, Inc., New York, New York. e. e. cummings: “my father moved through dooms of love”—Copyright, 1940, by e. e. cummings; Copyright, 1968, by Marion Morehouse Cummings. Reprinted from Poems 1923-1954 by e. e. cummings by permission of Harcourt Brace Jovano¬ vich, Inc.

ACKNOWLEDGMENTS

VI

Sylvia Plath: “Daddy” is from Ariel by Sylvia Plath. Copyright © 1963 by Ted Hughes. Reprinted by permission of Harper & Row, Publishers, Inc. Par Lagerkvist: “Father and I” is from Modern Swedish Short Stories, trans¬ lated by M. Ekenberg. Reprinted by permission of Jonathan Cape Limited, London. Delmore Schwartz: “In Dreams Begin Responsibilities” is from The World Is a Wedding by Delmore Schwartz. Copyright 1938 by New Directions, 1948 by Delmore Schwartz. Reprinted by permission of New Directions Publishing Corporation. Ovid: “The Story of Orpheus and Eurydice” is from Ovid’s Metamorphoses, translated by Rolfe Humphries. Copyright © 1955 by Indiana University Press. Re¬ printed by permission of Indiana University Press. Durango Mendoza: “Summer Water and Shirley” is reprinted by permission from Prairie Schooner. Copyright © 1969 by the University of Nebraska Press. D. H. Lawrence: “Snake” is from The Complete Poems of D. H. Lawrence, Volume I, edited by Vivian de Sola Pinto and F. Warren Roberts. Copyright 1923, renewed 1951 by Frieda Lawrence. Reprinted by permission of The Viking Press, Inc. Alfred Hayes: “Joe Hill”—Copyright 1938, renewed and assigned © 1965, © 1970 by MCA Music, A Division of MCA, Inc., 445 Park Avenue, New York, New York 10022. Used by permission. Homer: “Achilles” is from The Iliad by Homer, translated by W. H. D. Rouse. Copyright 1937 W. H. D. Rouse. By arrangement with The New American Library, Inc., New York, New York. Aeschylus: Prometheus Bound is reprinted from The Three Greek Plays, trans¬ lated and with introductions by Edith Hamilton. By permission of W. W. Norton & Company, Inc. Copyright 1937 by W. W. Norton & Company, Inc. Copyright renewed 1965 by Dorian Fielding Reid. Georg Buchner: Woyzeck is reprinted by permission of Hill and Wang, a division of Farrar, Straus & Giroux. Georg Buchner: Complete Plays and Prose, translated by Carl Richard Mueller. Copyright © 1963 by Carl Richard Mueller. Edwin Muir: “Oedipus” is from Collected Poems by Edwin Muir. Copyright © 1960 by Willa Muir. Reprinted by permission of Oxford University Press, Inc. Conrad Aiken:

“Morning Song from ‘Senlin’” is from Collected Poems by

Conrad Aiken. Copyright 1953 by Conrad Aiken. Reprinted by permission of Oxford University Press, Inc. Robert Duncan: “Parsifal” is from Bending the Bow. Copyright © 1968 by Robert Duncan. Reprinted by permission of New Directions Publishing Corporation. Dick Allen: “Rethinking a Children’s Story” appeared in Cimarron Review, #4, June, 1968. Reprinted by permission of the author. Langston Hughes: “God’s Other Side” is from Simple’s Uncle Sam by Langston Hughes. Copyright © 1965 by Langston Hughes. Reprinted by permission of Hill and Wang, Inc. Woody Guthrie: “New Kittens” is from the book Bound for Glory by Woody Guthrie. Copyright 1943, 1968 by E. P. Dutton & Co., Inc., publishers, and reprinted with their permission. Isaac Bashevis Singer: “Gimpel the Fool” is from A Treasury of Yiddish Stories, edited by Irving Howe and Eliezer Greenberg. Copyright 1953 by Isaac Bashevis Singer. Reprinted by permission of The Viking Press, Inc. George Meredith: “Lucifer in Starlight” is from Selected Poems by George Meredith (Charles Scribner’s Sons, 1897).

vii

ACKNOWLEDGMENTS

e. e. cummings: “in Just-spring”—Copyright 1923, 1951, by e. e. cummings. Reprinted from his volume Poems Jovanovich, Inc.

1923—1954 by permission of Harcourt

Brace

Gary Snyder: “Milton by Firelight” appeared originally in Rip Rap. Copyright © 1958, 1965 by Gary Snyder. Used by permission of Gary Snyder. Harlan Ellison: “I Have No Mouth, and I Must Scream” appeared in If: Worlds of Science Fiction for March, 1967. Copyright © 1967 by Galaxy Publishing Corpora¬ tion; all rights returned to Author, 1968. Reprinted by permission of Author and Author’s Agent, Robert P. Mills, Ltd. Edwin Arlington Robinson: “Miniver Cheevy” (Copyright 1907 Charles Scrib¬ ner’s Sons; renewal copyright 1935) is reprinted by permission of Charles Scribner’s Sons from The Town Down The River by Edwin Arlington Robinson. Claude McKay: “Outcast” is from Selected Poems of Claude McKay, by Claude McKay. Published by Twayne Publishers, Inc. Copyright 1953 by Bookman As¬ sociates, Inc. Franz Kafka: “Unmasking a Confidence Trickster” is reprinted by permission of Schocken Books Inc. from The Penal Colony by Franz Kafka. Copyright © 1948 by Schocken Books Inc. Delmore Schwartz: “The Heavy Bear Who Goes With Me” is from Selected Poems: Summer Knowledge, by Delmore Schwartz. Copyright 1938 by New Direc¬ tions, © 1966 by Delmore Schwartz. Reprinted by permission of New Directions Publishing Corporation. Theodore Roethke: “In a Dark Time”—Copyright © 1960 by Beatrice Roethke as Administratrix to the Estate Of Theodore Roethke; first published in The New Yorker Magazine from The Collected Poems of Theodore Roethke. Reprinted by permission of Doubleday and Company, Inc. Ovid: “Adonis” is from Ovid’s Metamorphoses, translated by Rolfe Humphries. Copyright © 1955 by Indiana University Press. Reprinted by permission of Indiana University Press. Yuri Suhl: “The Permanent Delegate” is by permission of the author. Yuri Suhl: “The Death of Helga Brunner” is by permission of the author. Lerone Bennett, Jr.: “The Convert”—Copyright © 1963 by Negro Digest. Re¬ printed by permission of Black World. Homer: “Circe” is from The Odyssey of Homer, translated by W. H. D. Rouse. By arrangement with The New American Library, Inc., New York, New York. James Joyce: “The Boarding House” is from Dubliners by James Joyce. Origi¬ nally published by B. W. Huebsch, Inc. in 1916. Copyright © 1967 by the Estate of James Joyce. All rights reserved. Reprinted by permission of The Viking Press, Inc. Archibald MacLeish: “Calypso’s Island” is from Collected Poems 1917-1952. Copyright 1952 by Archibald MacLeish. Reprinted by permission of the publisher, Houghton Mifflin Company.

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Contents Preface

xiii

Authors Represented in the Present Collection

xvii

Part 1: ARCHETYPAL THEORY / Archetypal Patterns in Tragic Poetry Leslie Fiedler / Archetype and Signature (The Re¬ lationship of Poet and Poem) Erich Fromm / The Nature of Symbolic Language William J. Goode / Family and Religion Sir James G. Frazer / The Sacred Marriage Northrop Frye / Fictional Modes Additional Readings Maud Bodkin

Part 2: THE CYCLE OF LIFE The Divine Family: Sky Father-Earth Mother Mission Indians of California / The Origin of the World Genesis, Chapters 1 and 2 / The Creation Ovid / The Creation; The Four Ages; The Story of Lycaon; The Flood (from Metamorphoses, I, 1-313; trans. Rolfe Humphries) John Lennon and Paul McCartney / Lady Madonna John Barth / Night-Sea Journey Ted Hughes / Crow Blacker Than Ever

1 4 22 36 41 47 60 63

65 69

The

70 71

74 82 83 90

The Divine Family: Mating with a Mortal Ovid / Europa (from Metamorphoses, II, 830-875;

92

trans. Rolfe Humphries) Luke, Chapter 1 / The Annunciation William Butler Yeats / Leda and the Swan

92 94 94

Becoming: Initiation

96

Luke,

96

15 / The Prodigal Son Charles Baudelaire / A Voyage to Cythera (trans. Frederick Morgan) Nathaniel Hawthorne / Young Goodman Brown Chapter

97 99 IX

CONTENTS

X

Becoming: The Fall from Innocence to Experience Genesis, Chapters 2 and 3 / Adam and Eve John Milton / The Fall of Adam and Eve (from Paradise Lost, IX, 722-1189)

110 110

/ Araby / Fern Hill A. E. Housman / When I Was One-and-Twenty Sean O’Faolain / Innocence

119 124 125 126

Becoming: The Task Genesis, Chapter 29 / Jacob Serves Laban for Rachel and Leah Anonymous / The Golden Vanity David Wagoner / The Hero with One Face

130

Becoming: The Journey and the Quest Exodus, Chapters 13, 14, and 15 / The Exodus Kenneth Patchen / What Is The Beautiful? Edgar Allan Poe / Eldorado Stephen Crane / I Saw a Man William Butler Yeats / The Land of Heart’s Desire Allen Tate / The Mediterranean Grey Cohoe / The Promised Visit James Joyce / An Encounter

135 135 139 142 143 143 161 162 171

Becoming: The Search for the Father Homer / Telemachus (from The Odyssey, Book II) e. e. cummings / my father moved through dooms of love Sylvia Plath / Daddy Par Lagerkvist / Father and I (trans. M. Ekenberg) Delmore Schwartz / In Dreams Begin Responsibilities

178 178

Becoming: Death and Rebirth Ovid / The Story of Orpheus and Eurydice (from Metamorphoses, X, 1-85; trans. Rolfe Humphries) John, Chapter 11 / The Raising of Lazarus Luke, Chapters 23 and 24 / The Resurrection Durango Mendoza / Summer Water and Shirley D. H. Lawrence / Snake Alfred Hayes / Joe Hill Additional Readings

201

James Joyce

Dylan Thomas

Part 3: ARCHETYPAL CHARACTERS Heroes and Antiheroes Homer / Achilles (from The Iliad, Book XX)

112

130 132 133

187 189 191 194

201 204 206 208 216 218 219

221 225 225

CONTENTS

Xi

/ Prometheus Bound (trans. Edith Hamilton Vergil / Eclogue IV Daniel, Chapter 11 / Messiah Isaiah, Chapter 53 / Servant of Jehovah Matthew, Chapters 1, 2, and 3 / The Birth of Jesus Aeschylus

233 267 268 269 270

God and Yet a Man? / The Gray Champion Georg Buchner / Woyzeck Alfred, Lord Tennyson / Ulysses Edwin Muir / Oedipus Conrad Aiken / Morning Song from “Senlin”

273 273 280 304 306 308

The Wise Fool

310

Anonymous

/

A

Nathaniel Hawthorne

Robert Duncan

/ Parsifal (after Wagner and

Verlaine) / Rethinking a Children’s Story Langston Hughes / God’s Other Side AVoody Guthrie / New Kittens (from Bound for Glory, Chapter 4) Isaac Bashevis Singer / Gimpel the Fool (trans. Saul Bellow)

310 312 313

The Devil Figure John Milton / Satan in Hell and in Eden (from Paradise Lost, I, 242-270; and IV, 1-113) Christopher Marlowe / Faustus (from The Tragical History of Dr. Faustus, I. iii) Lionel Johnson / The Dark Angel George Meredith / Lucifer in Starlight e. e. cummings / in Just-spring Gary Snyder / Milton by Firelight Harlan Ellison / I Have No Mouth, and I Must Scream

334

The Outcast Genesis, Chapter 4 / Cain Genesis, Chapters 16, 17, and 21 /Ishmael Edgar Allan Poe / The Man of the Crowd Nathaniel Hawthorne / Ethan Brand Edwin Arlington Robinson / Miniver Cheevy Claude McKay / Outcast

357 357 358 360 367 380 381

The Double

382 382

Dick Allen

/ William Wilson / Unmasking a Confidence Trickster

Edgar Allan Poe

V Franz Kafka

(from Meditations)

315 322

334 338 340 342 342 343 344

398

CONTENTS

XII

Delmore Schwartz

/ The Heavy Bear [Who Goes

With Me] Theodore Roethke

/ In a Dark Time

400 401

The Scapegoat Ovid / Adonis (from Metamorphoses, X 519-556, 698-739; trans. Rolfe Humphries) Mattheiv, Chapter 27 / Christ Is Crucified Yuri Suhl / The Permanent Delegate (trans. Max Rosenfeld and Walter Lowenfels) Dilys Laing / Fertility Rite Yuri Suhl / The Death of Helga Brunner Lerone Bennett, Jr. / The Convert

403

The Temptress Homer / Circe (from The Odyssey, Book X) Judges, Chapter 16 / Samson and Delilah John Keats / La Belle Dame Sans Merci Algernon Charles Swinburne / Faustine James Joyce / The Boarding House Archibald MacLeish / Calypso’s Island Additional Readings

423 423 431 433 435 440 445 446

Glossary for a Study of Archetypal and Mythic Literature

449

A Selective Bibliography

465

Index

469

403 406 408 410 410 411

Preface an archetype is a model, or pattern, from which all other things of a similar nature are made. Archetype critics are literary critics, or myth critics, strongly influenced by the belief that primitive man is yet within us and that myth, ritual, and poetry—found in the beginnings of every culture—have the power to make us aware of the collective experiences of the race. The archetype critic is concerned with the enduring patterns and motifs and how these are reflected in literature. It is the purpose of this book to describe a large group of commonly accepted archetypes and to present them as they make their appearance in various genres of literature. We hope that such a collection of arche¬ typal motifs will enable the reader to deepen his appreciation for the continuity and tradition of our literary heritage and will offer a useful critical approach to the study of literature. Society, institutions, and literature change; the human condition remains the same. For it has been the editors’ experience in various schools and situa¬ tions that myth provides an important avenue for the student to see beneath the surface of “story” to essential and lasting concerns of the human race, to recognize the repetitions of man’s history and the com¬ monality of the human condition throughout man’s life, and to realize the craftsmanship of the author in weaving his creation with the very stuff of all men’s lives. The excitement that the mythic approach can generate in establishing the interdisciplinary nature of the study of literature—its links with anthropology, psychology, sociology, religion— leads to enthusiasm for knowledge in these varied, but related, fields. It is to Carl Jung (1875-1961), a Swiss psychoanalyst and disciple of Sigmund Freud, that credit for the formulation of the archetypal is usually assigned. In his book Contributions to Analytical Psychology, Jung states that there are unconscious primordial images, inherent in the structure of the brain, that are basic and central experiences (collec¬ tive) of the human race. But whereas Freud stresses the uniqueness of each personal unconscious, Jung believes that there exists a collective unconscious,” a common pool of the experience of the race inherited by each successive generation. It is, according to Jung’s view, only the in¬ dividual ego that is truly different from all others. Why, Jung asks, should the psyche be “the only thing in the world that has no history beyond its

individual manifestation”? Jung suggests that archetypes are primitive, preconscious, instinctual xiii

XIV

PREFACE

expressions that are universal and that they derive from the fact that men always undergo common and essential experiences. Naturalists have observed that animals pass on acquired habits such as mating, territorial aggressiveness, and leadership prerogatives; these experiences are avail¬ able to each species as unlearned, or coded, patterns. According to Jung, man too is coded with the experiences of his past necessary for his sur¬ vival. The code is the archetype, the “psychic residue of numberless ex¬ periences of the same type.’ Though we are unable to know our unconscious life directly, the archetype, according to Jung, is an expression of this hidden life. These archetypes (the collective life of the race) find expression in dreams, myths, rituals, and art. And because archetypes are recurrent, succeeding generations are able to be emotionally moved by these archetypal pro¬ jections of the collective unconscious. It should be noted that Freud, when he spoke of art, directed his at¬ tention primarily to the artist rather than to the work of art. For Freud, art was the working out of the artist’s psychic problems. Jung, by contrast, was primarily concerned with the work of art, for the work expressed an archetype, a typical manifestation of the experience of the race. To allow the student to examine these important myths and motifs we have assembled in the present anthology a wide variety of literary works from various historical periods. In Part I we reprint essays that dis¬ cuss the theory of archetypes and their importance to literature. In Part II we reprint myths of creation; we include a section on Mating with a Mortal, as many cultures and literatures depict unions of godlike beings with mortals; we include, next, a section on the fall from innocence (youth) to experience (maturity); and we follow this with literary selections that depict the theme of the journey, the quest, and the search for the father —all of which deal with the motif of the initiation into maturity. The cycle is completed with selections depicting death and rebirth. In Part III we have brought together under separate headings a variety of archetypal characters—character types that appear with great frequency in folk material, myth, legend, and literature. Our list is hardly exhaustive, and the reader is encouraged to add to it. The section on heroes and antiheroes in Part III should be read with Northrop Frye’s essay (in Part I) in mind, because his useful distinctions between re¬ ligious heroes, secular heroes, representative heroes (GI Joe), and ironic (or anti-) heroes almost exactly parallels the development of the role of the hero in the chronological development of narrative literature. It is our hope that the student using this book will come to appreciate his connectedness with the past and will recognize that this past is still relevant today. To achieve this end, we have brought together materials from the classical and biblical traditions, as well as folk materials, songs, and the literary tradition even now developing. Further, an extensive

PREFACE

XV

glossary of archetypal and psychological symbols, terms, and motifs is appended. The reader is urged to refer to these definitions and ideas frequently. A word of caution. Acquaintance with an archetypal pattern is not sufficient for a full appreciation of a literary work. To understand, recog¬ nize, and discover an archetype may be helpful in understanding one source of enjoyment of a work, and it may also be helpful in relating a specific work to a tradition. But the reader must also recognize the “signa¬ ture” (see Fiedler’s essay in Part I) of the author in order to appreciate the vision and uniqueness of the individual as he contributes to our col¬ lective tradition. David J. Burrows Frederick John

T.

R.

Lapides

Shawcross

'

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Authors Represented in the Present Collection Aeschylus (525—456

b.c.), Greek tragic poet, known as “Father of Tragedy.” Only seven plays are extant, including Prometheus Bound and the trilogy of Agamemnon, Choephori, and Eumenides, known as “The House of Atreus.”

Conrad Aiken (1889—

), important American poet and fiction writer. Among important poetic volumes are Senlin: A Biography and Other Poems (1918), The Pilgrimage of Festus (1923), John Deth (1930), Preludes for Memnon (1931), A Letter from Li Po (1955). He received a Pulitzer prize for Selected Poems (1929); his Collected Poems appeared in 1953.

Dick Allen, contemporary American poet, now teaching at the University of

Bridgeport. Among his volumes of poetry is Anon