PAGEI POUR THE MICHIGAN DAILY
TONE PAINTING
 th~ M zn (Continued from Page Three)
 By N.B.nection with the trip Tsdaikwsky
took though Germany in ISS. Con-
"Be cruel to poets and don't let them ducting a concert of his Own works at
think the fa us concert hall in lamburg,
You like their preposterous patterns iremarks hiitli meIrs that among
in ink; the various works which appealed to
For poets write Bette: then not over- ar were disliked by the Hamburg pub-
fed ho was the finale to his Third Suite.i
The time to praise poets is after "Too noisy and restless in its arches
they're dead." trat effects" wrote he, "this movement
(Christopher Morley) puzzled the audience of the hamburg
C a hiharmoni sSorcitty who are not ac-
Prothably all of the exceptonale setscstomed to the modern sniphis
it the 'Uhimsies' contest were c e~ styele." Now this la-t strikes us as
fully laid aside; or maybe no exrep- suite strange when we take into
titmat verses were rec ; y consid ration th tart that Germany
editors knowe ut h t But aany as directly ider the influence of her
rate, th i poetry all 'longs to on ' reat musical son, Wagner, with his
eass: good, aiid no better. There is modern tendencies, at that time. But
hardly a wild-flowner in the bouquet; it might be explained by the fact that
they are all hot-house blossoms: pret- Wagner's field was ecnfined almost
ty but tame. There is scarcely a poem solely to opera, while Tschaikowsky
there that would bear publishing in a cotmposed in all fields, particularly
volume by itself-and that is the real symiphonie, as indicated in the quo-
test of a fine poem. If this Whimsies tation. Moreover, the Germans are
represents the Campusthen the Cam- an extremely conservative people,
pus is asleep and dreaming; not and Tschaikowsky was informed when
awake and imagining. To be very he visited Hamburg that the musical
truthful, Whimsies is bad. public of that vicinity were very ca-
The Campus creatra are either tious and of all living composers only
Thenampusng a toawrsenre either ; recognized Johannes Brahms.
somint ining an awful silence ftr Now to briefly discuss the Oriental,
saom reasonaotnih r or else they lor we might even say, Byzantine, in-
havan feverionyofvlik al tiuences, that arose about 1850, and
skdid, I think, considerably affect music.
they have words and rhymes and This must needs have come up through
songs, but they lack vitality. They ih Balkans, and more especially Ba-
are all ladies and gentlemen; but they:hemia, on the broad shoulders of men
have mistaken lack of energy for de- like Smetana, Jindrich, Neruda, Nes-
corousness and refinement. Soebody vadha and Dvorak, not to mention
ought to read Ezra Pound to them,--- countless others. Their exotic and
especially his "Sestina: Altoforte", funciful rhythms and melodic turns
which begins: are things that the musical mind has
"Damn it all! all this our outh a hard time ridding itself of, once they
stinks peace. fmake an impression. And thus it was
Also some of Matthew Prior's liter- that the spicy musical products that
ature might serve to jar their sensi-came from a Bohemia in this artistic
toe migate r vea theirmse ir ascendancy cast such an influence over
tine natures; or even poems from"Europea Europe that the latter
Nietzsche's "Ecce Homo" would belcan hardly go back to the tore dull
antidotes for their tameness. Yes.gray-diet of its Beethoven,
(Continued on Page Seven)
But one must praise their efforts:
they expect it oa you! Well, Edward
Van Horn in "The Dive" talks clearly
and concisely but his product is a
working drawing, not a picture H
portrays a mechanical doll. Or per-
haps he got the idea from watching
a Pathe slow motion movie.
Miss Duff's verses display only or-
dinay sentimefit. In "Protocol" all
is superfluous except the last sentence.
Ray Alexander in "Mowing" pants
along as though he were half out of;
breath. He is by no means the same
Mr. Alexander who wrote the artis-
tic "Pole-Vaulter" for the March
Whimsies. There are two thousand
poems as pretty as Anton Rowlande's
"Plum Blossoms". V. Carelton Ha
ens has the right ideas but he talks
too much.
John M. Delaan's "Sunset" is bright
colored but obscure. Mary E. Cooley
and Donald E. L. Snyder are both
sweet and simple. I envy the' author
of "They Tell Me" but not for his I
poetry. And as for Lisle Rose, heaven
knows he tried hard enough, but by
the time he whipped his ides into
shape, the poor things were weak. No
wonder his "little verses died". '
Foally we route to the th roe poens,?T e N- l e
wich deserve favorable comet.
John Thornton's "North Country" is;
bold and sting and possesses much
of the force of Markham's "The Man
With The Hoe". The comparison of Sports dresses in Fan-ta-si silks,
the form in the two is striking. Mar-
cia Kelly, author in "The Bogs" is green and white, blue and white, and t
original and that is the best that can
be said of any poet. If "Th Bogs": and bet of all tubable.
is not simply an accident, than Marcia
Kelly is worth watching. She is in-
dividual Ike Elinor Wylie and T. II. Sports skirts all the prevailings
Wade-Grey. If t weren't for the slip
she made in writing: "Tis as cold and some of the brighter shades with s
and as wam As a niummified man" I
Olouid certainly place |her at dhe for sport wear to suit every taste.
front of the Whimsies' successes.

As it is, the blue ribbon goes to
Marguerite Jenkins whose poem "Seen
in a Copper Bowl" is the best thing
in the volume. The poem is beautiful"
In conception; its rhythm is exquisite;
and its rhyming is quite satisfying.
The idea to be sure is not a new one
but it is exceilenty treated. Perhaps
Miss Jenkins and Miss Kelly are ex
ceptions to tha rule: "The time to
praise poets is after they're dead."

SUNDAY, MAY 13, 1923
Miisnew tow shoe pos
eons -and merits our.
unreserved r0eom0

Gross & Dietzel
1 17 E. Washington

t or Sports
with collars and cuffs of Fru-fru in
in and white stripes. Cool, comfortable
styles in fan-ta-si silk, white; tan, grey
leeveless jackets to match. Everything
r-

1I