loets
~he
I~vestignte
ima~inativc
Fairyland and the Supernatural
essence of the child has facilitated his
escape to a \;orld of his very oH:1--that 1'Jorlc1 being fairyla:1d.
~'ew
ac1ults CrJ..:1 be considered auth.orities of the little folk
'L ecause
~lt
f'air:rla'J.d is just not compa t il)le v1 i th acl.ul t
1'J. the
~~duous
process of
c0:1struct1:1~
concept s.
the castle, a few
architects have ma:1ac;ed to r.w,terial12e their bJueprints of
fR.iryla~d.
Scholarly research has revealed the fact that until the
productio:1
o:~
':Hlliam Shakespeare's A IIidsumrner
~Tightt
s Iream,
fairies Here 'J.ot po;-:ulr"rly envisioned as llairy toys, diminutive
winged creatures engaged i:1 dainty, delicate occupations."l
Shakespeare's
·tJriti~;;s
still en:oy ':;he s
'Here !:l1'imarily for adults, but children
in.r;i!1~
compelled to listen.
quality of his verses VIi thout feeli!18
nUnder the Gree'J.wood Tree, 11 frOM As You
Like It, rem:L'J.ds childl'en of I\obin Hood a.."1d his Green dwelling.
It would seem lOGical to conclude that anyo:1e from
Eallysha'J.non J• I'one gal, Ireland Hould surely be T,.'lell-vepsed in
fairies and
t; heir
hab! ts.
'iIilliam All i::1c;ham w'?.s b arYl here Hhere
fairylore aYlcl balladry played a propline'J.t part iYl the lives of
these Irish folk.
Excuisite lyric power and acute insight into
the doings of fairies are displayed in The Fairies.
• .I-
~
.,
P. 60 •
L;.O
"'l'he !i1airies"
in this book is a favorite because it offers the "vital statistics" about fairies th2.t chilc1re!1 :tJa!1t to k:lOW. l
"Too m3.!1Y fairies ll cOlTI!1e":1ted ".:alter.a:':"'!1es
impress iO":1s of
~~'
fairies habitate !1ot 0:11y
II
cussed
~1.is
ose
,!'~Tler.1an
•••
l/JaS
W1e~
the fairy
,
•
Rose
~;'yler.m!1 T s
the bottom of our sal'de!1, II but
they mingle freely Hith real people
Life
t s poetry.
1
whe~ •1.8 OlS-
a
•••
0:1 Oxfopd Street.1I
certainly not hum-drum 1!Yesterday on Oxford Street"
quee~
surprisini::ly ap,eared:
Yesterday in Oxford Street, 011., what dtyou
thi~k, my dears?
I had the most e::citinr' time I've had for years
and years;
The buildin~s looked so straisht a!1d tall, the
sky was blue between,
And riding on a motor-bus, I saw the fairy
queen!
Sitti:1S there upon the rail a~d bobbi":1g up
and dow!1,
The sun was shining on her win[s and on her
~old en crown;
And 180kin~ at the shop she was, the pretty
silks and lace-She seemed to think that Oxford Street was
quite a lovely place.
........................
never saH her any more, altho' I looked all
(~ay ,
Perhaps she only came to peep, anc\ never
neant to stay:
out oh, my dearr, just thi":1k of it, just think
i'1 ha t 1 u c k f or me,
That she s~ould come to Oxford Street, a:1d
I be there to see!2
I
Adults often criticize Hiss
~;Yleman'
s mass production
of fairy poems, labeling them as unconvincing or as lacking
lArbuthnot, Children a":1d -----,.
:ooks p 177
2 Ibic1 ., p. 180.
.
authe~ticity.
Childre:1 l"ecard these criticisms as l~sidious.
They like their fairies "pretty"
the
~ylema~
so despite literary critlcism,
fairies are likely to
co~ti~ue
to merit the whole-
hearted
','Taltel' de la Ea::-'e cO:1tributed poetry i-lhich 107as
~ei the I'
the last bloSEIOmi:1g of a:1 era :1or a tro.:1s1tion i:1 the apchitectural style.
i:1depe~de~t
qis poetry existed
of tre:1ds a:16 time.
:-lis illuminat:i.!lg i:1si Ght was papticularly penetrating in the
Horld of the supernatural and i:1 fairyla!ld.
lI'Ieird, ~rotesque,
mysterious, enchantedtl--this was the esse:1se of much of his
outsta~ding
?
poetry.-
T'T. ~;E la :;:=ape was truly a!l architectural ,""e:1ius; his
room of poetry delineated a ITfi:1e:1ess of texture, delicacy of
f
l'
ee_~nG,
swee t ness
Er. De la
0_f'
t one, an d v i
gorf
0 'lma~ i na ti on. 1t3
=~are
adeptly blended realism and fancy in DOi-ln-
Adown-Lerry, his collection of fairy poetry.
fairies,
~hosts,
horror-story
R:1c1
The na tu~"e of his
and witches is hinged on the emotion of the
fright
~Joem.
Unlike Jar:tos
Hhimsical '70'8li:1s, the ."hosts of Er.
engrossed 1:1 foolery or
r~rollery.
~~e
~J1.1.itcomb
Riley' s
la Nare t s poetry are not
~ar:1es
feels that lIr. Le 10.
Lare opera -se s on the concept that chIldren !'leed
a~ld
love a--;ood
scare O!'lce in awhile.
His poetry is ch:'lracterized by a dexterous melody, by
plaintive and simple Ian "ua::;e.
II'
.d
~., p. 180.
2~I
.
1- e 1 gs,
.t
.£I.:.. 22:.-.,
~Iis
v!pi t inc lacks the
II
sirupy
43
s-;'Ieet
se~time~talityrr
sess in?,.
t'J.at
S0
m3.:J.Y D.ltthors apc'uilty "f' roshu~or Po~)S
A tangy shot 01' robus t
up unexpec tantly
throughout his poetry.l
Bar!1e s compared T':al tel' de la lIare' s style of Volri ting \'I]i th
three other cutsta.''1.dinG
~ossetti,
c~ildren!
s !JOcts--:.Jilliam ;31a1\:e,
Christi~a
a!1d Uotert Louis Stevenso!1--and fou!1d the styles to be
strikingly similar.
Similar themes, the same sad-swect nmsic,
a!1d pictorial qualities are characteristic of both Blake and
Le la J:.=are's poetry.
}~.
The chil{re!1 i!1 hr. ~~:e la l'~are's lIThe :::assa-
cre ll resemble ?obert Louis :3tevenso!1' s solitary child in the earde n.
IT11
~neme,
'd
0
mooes,
an p h raSlns
are
001
Slllil
are 2
30th Stevenson
and l-Ir. I'e la Hare explored the ULand of Counterra:le.
11
Hr. De la
Hare, unlike loIre Steve!1so!1, lacked the childhoOG experience of
bein~
sickly, but he still adequately pictured this realm:
'l'he ',Iindow
Behi!1d the LLinds I sit and watch
T~e people passing--passi!1g by;
And not a single one can see
rciy tiny watchi!1g eye.
They Ca!1~10t see my little room,
All yellowed with the shaded sun;
'l'hey do not even k!10H I am here;
!Jor guess vJhen I anl gone. 3
'.Ihile Stsve!1sorl's poetry
played a more vivid
~'JaS moY'e
ima~i!1ation
the super!1atural.
~
~'"
lp-
0
pp. 125-129.
2b d .. , p. 118.
~
o
3r~id. , p. 120.
earthy, Er. De la
and a
hei~~hte!1ed
r:aj~e's
ois-
emphasis of
~)ossetti
A la':le:ltive mood threads softly thr::mgh botb Eiss
a:ld I"J>. ~e 19. Hare t s poetry.
children.
30th describe trar;edy a:1d
crief
to
l=iss :{ossetti's ir1ac~Gs ape more cultivated. a:1C domes-
ticated tha:1 those in the lJild, untamed atmosr;here of ~'.r. :e la
~.iare's
poer!".s.
I!1 spito of these sir1ilarities,
poems resemble himself
'::'i::~st;
l:r.
De la
!Ial~e's
others seconclly..ie 'l,-Jould have
vJritte:1 ln t:le same styles, r100cs, a'1c1 the:-;ies had they :lot
lived. l
Here is a selected favorite:
Silver
Slrn~ly, sile:1tly, now the moon
~Jal]{s the :light i!1 lLer sil~ler shoon;
This way, and that, s~e peers, Rnd sees
Sil'Ter fr 1.lit npo!1 silver trees;
One by one the caseme~ts catch
!fur boa~s beneath the silvery ~hatch;
Couched in bis kennel, like a lOB,
':Jitil pmvs of silver sleeps the (0C;;
.,'rom their shad01vy cote the uh1te ureasts peep
Of c~oves in silver-featherec sleep;
A hnrves t mouse ;::;oes scamperin'~ by,
;ith silver clmJs, a:1d silver e:,re;
A:ld moveless fish in the water sleam,
~y flilve~ reees in a silve~ stream. 2
lIbid., PP. 118-124.
2T
C"
.:!:...2:.3..,
p•
135 •
Distinctive Group of CO:ltemporaries See
~orld from Child's Sta:ldpoint
For n span of sixty-seve~ years, from 189L~-1916, four
CO:ltemporary poets wrote distinctive Ii tera ture for the child
from the child's point of vieH.
A special exuberance must have
rung fron the old castle's Halls Hhe:l these four l':'len scurried to
a:ld fro through the ha11s as they compared notes and
a!1nexed four more roor.1s.
':;.Ihe cas tIe
rooms built by James ·,'.'hi tcomb :Uley,
H
fra~tica11y
elcomes chile.ren into the
~~ucene
Field, ;{obert Louis
Stevenso!1, and ?ra!1k Dempster Sherman.
~rame:3
W:1i tcomb Tiiley, Lor!1 in Gree!1field, Indiana, has
ear!1ed the t 1 tIe,
II~Ioosier
Laureate 11 f or his dis ti!1ct ive con-
tributions, most of whtch are in Hoosier dialect.
Riley's ex-
periences with a rovi!1g pate!1t medici!1e company prepared him
to
~'Jrite
of the sil':'lple country folk.
wri tings is
~i ted
A summary of Riley and his
in Bnr'1.8S as follows:
'-ciley had no childre:l of
his own, tut he adopted all children--bad, silent, Glad,
happy, o'1.ery'--as his Olvn to love.
bou!1d Hhe!1 t ::ley hear
if
r,:os t children are held spell-
Li t tIe Orpha!1t
Riley prefers writing atout joyous
A~nie II
sce~es
playing, or 1dlinG armlnd a cracklins fire
tales a'1.d stories.
sotel~,
or 1!The :Jear St ory. II
of children eatinc,
liste~ing
to spooky
He probably comes nearest of any poet to
picturinG the Itflesh-and-bloodll urchi~.l
lIbid., PP. 178-193.
=Us o~ly lullabies,
11
Slumber Sonrc H a:ld tlTh.!' ouCh S leor~Tla~d fl ar e c olel a nel c o~strained.
Perhaps his dialect reflects a Imrered sta:ldard for poetry, bU.t
asain, the ct.ildren, not the Ii terary cri t ic s, are the judCes.
Verdict:
children love his poetryl
Whereas Riley, a bachelor, had no real i:lcentive for
writin~
lull&bies, Eugene Pield certainly did not lack the appro-
priate atmosphere for crooninG sleepy-time tunes.
eight children, five of whom were boys.
He fathered
His lullabies encompass
'all nat ionali.ties--J'Torse, Jewi sh, I:rutch, Scotch, J' apanese , Orkney,
Armenian, Sicilian.
native melody.
'2ach has its own aprropriate imar;ery and
tti:lynken, Blyke:l, a no Nod rt is probably his most
original and most popular:
~lynken, and Nod one night
Sailed off in a wooden shoe-Sailed on a river of crystal lieht,
Into a sea of dew.
"t'l'he!'e are you going, and 1-1ha t do you wish?"
The old moon asked the three.
1I;:le have come t a fish for the herrine fish
Th&t live in this beautiful sea;
iTet.s of silver and ~old have we!lI
Said ~",':...~:licen,
B1Y':1ken,
And Nod.
Wy~cen,
......................
"t'!y':1ken a ':1d L lynken are tHO little eyes,
An{ Nod is a little hea~,
And the wooden shoe that sailed the skies
Is a 1,'1ee one t s little head,
So sl~~ut your eyes 1,1hile mother sings
Of Honderful sights tim t be,
And you shall see the Leautiful thinp,s
As you rock in the misty sea,
~here the old shoe rocked the fishermen three:
~,rynken,
Blynken'l
And Nod.
lIbid.• , p. 189.
47
~ield
visits
t~e
C8n~ta~y
eve~ rno~e
freque~tly
tha~
Christina ~:ossetti; one sixth of his poems employ a death theme.
11is most perfect poem on the theme is IILittle 30y 31ue."
He lost
a baby son a~ld his oldest boy 6ied, but the latter occurred after
he had written most of his dir~es.
1"d ea
He was very sensitive to the
'"
1
a f a cal"I"0 oylng.
1
~~ield
does not usually employ a childish dialect
poems although a skillful use of it is found i~
It
r':ei'~s
8e~timentality
does not think his
nonse~se
his
Just for Christ-
mas," "Seein' Thinr,s,lI a~ld liThe Limitations of Youth.1I
his poems are mRrred by
i~
Sometimes
but they are sincere.
verse is as cO:':lvincin-:: as is
that of Lear and Carro J l' s, 2 but 11'l'he 'Tale of the }-:'l ir.1flam" is
Harth noting:
A f1:tni'laI'1 flopped from a f illamaloo,
..~here the pollJHog pinkled so pale,
Anc the pipkin piped a petulant "pooh"
To the garrulous ~awp of the gale.
1I0h, vloe to the swap of the sweeping swipe
Tha t booms on the tobbling bay! II.
Snickered the snark to the snoozing snipe
Tha t lurked 1-Jhere t he lamprey lay.
The ;<Luglug glirlked in t~1.e c;limmering gloam
\,nlere the Gl".Zi.::UZ bumbled his tee-'.Then the flimflam flitted, all flecked 't..Jith foam,
.?l'om t he oozing and succulent sea.
"Oh, ~lwither the SHipe, l-1ith its s1veltering s~-Jeep!"
She SHore as she swayed in a st;Joon,
A~d a doleful clank Q1J.mped over the deep,
To the lay of the limpid 100nl" 3
lIbie!., p. 195.
2Iv;eir~s
'-~
,
on
...;;..0...
ci t
_ _' . '
p}-~ 1
•
•
3?ar:les, 2l2. cit., PP. 18~_-185.
1:1 some Hays Piley a!1d :<'1 eld, like the sister team of
A'1':1
8..'1.d Ja.."1e '.caylor,
C
onld be cons idered brothers in their
similarities as childre:1's poets.
s'J.mmarized as folloHs:
dome similarities can be
(1) both call the Midwest their home,
2) they . .-Jere frie':1ds a':1d cO!1temporaries,
a:::ld cnilcren loved them,
cation,
(3) they loved childre:::l
(4) they had similar experie':1ces a!1d edu-
(S) they shared a similar philosophy of life, (6) both
,
"
• 111"1 t erary S!10 b'OlSD!1ess
" .
oesplseo
t
II
so 1 em!1 f ace d p ed a:::l,ry,
dO
13.':1,
7) their i!1tellectual 8.!1d e'rlotio!1al fibers "\-Jere "put together"
similarly,
(Cl) they loved
everyt~1.i!1g
SHeet, fine, a!1d huma!1,
9) tl1ey "lere se:1time:1tal ar;out ~1Uma:1 :1ature.
'JaI':10S
C
1
o!1cluded that both Field a:::ld Riley had pleasa!1t
Swimming Hole" a:1d :;'ield' s
tI~.·;hen
I was a 130yll a:1d 1I1~1 the ~:j1ire-
lightlt are s 3:::ltime:1tal recollections of their 1:: oyhood.
Goose-
flesh versus :::i.s"les s;rmLolized their c;oals as they sought to
scare childre:J. a:1d the:1 to erase the fears with hearty laughter.
Their i:1te:1t was :1ever to moralize; they accepted childre!1 as they
Her'e.
A sldll i!1 verse makL1Ej, a se!1se of unerri:1
a rapid,
rU~:1i!1S,
n
rhythm,
ji:1Eli:1C moveme:1t, arts of o!1omatopoeia, allit-
eration, ane asso!1a:1ce, a da!1cing meter, 8.!1d staccato ca!1 be
fOU!1c in the verses of both these men.
Bar:1es feels that their porso!1alities gave their poetry
more popularity t:.1.a!1 it deserves.
p. 176"
'1'00 ofte:J. the
!lIII
i:1 their
49
poems Has a mature 1,lield Ol'iley
hei~s
states that they were too
3teve~so~
c\111d ot :1ect ively as
almost hYP:-lotized into Iovine
spea1{i~::; rather tha~ a chilo. l
ti~ged
with sentiment to view the
Has nble to do.
~iley
a~cJ
~;ield.
C~lildre.~
;1.8.ve cee!'}
The ha': it of re-
ferring tot hem as c ·:1.i =.c1ren' s poe t s has teen os taL lished 1: ecause
,ield a'1d riley have
Adul'~s
\.Jl'itte~
are eS)E:cially Grate.l.'ul for the poet who can recall
what they have fOr'Gotte~.
:~11.::np3e
of children so often.
Hotort Louis Stevonson did not simply
hidde~
chi ldhoocl; he uncovered the
for all to
S
Steve~son
oe.
i<Jol·lc1 of childhood
Has not the first to terminate the
trond of moralizinc or Cidacticism, but his poems constituted
t.le first
11
man ahead
si<~a1:'le
0:;"
C;rour to do so.
time."
:~e
Stevenson may 1"Je descrH·ed as a
succeeded in rocrea t inc; childhood se n-
sations ane emotions 11y combining memory a!1d a!1 almost undiluted
r)
o b j e c t i v i t Y • c.
A hereditary Heakness Made Stevenson quite suscoptible as
a child to successive attacks of chills, bronchitis, and pneumonia; hence, lODe months spent in bed fitted him for a reading
and i.Jritinr; career.
His married life, in esse:1ce, was a search tor
health which eve:1tual1y took him to Samoa where he died and was
laid to rest by 6evoted :1atives.
3ar~es
classess Steve!1son's reoms
1) Bedla"1d, (2) ,Jater i:1
Tra'lel, a::1d (5) flay.
of the bedla:'1c'
l·C·'
•d
~.,
the>~e.
lIotio~,
(3)
u~der
five main themes:
Fccture, (L!.) ImaGinative
I'The Land of Counterpane ll is
'['his t :"eme is
p. 182-194.
:r8:~1inisce':1t
represe~1tativc
of his childi100d
50
.
·o·ut tIle
eXperle!1CeS,
" _att-.L'tl'dOQ
v.
~ peflected are
~Iis
sufferi!1r;.
~ot
those of
L e<1-b 08 t permi tt eO. him to escape rea Ii ty by
e!1terL1.C the la!1d of c.reams a:1(;' '11ake-believe.
The L8!1d of Counterpane
nen I Has sick an(:I lay abed,
T hac' tHO rtlloVJs at r::ty head
And all r,l] tO~TS beside me lay
To keep me happy all the day.
And sometimes for an hour or so
I Hatched my leaden soldiers [0,
jith different uniforms and drills,
Amons the bed-clothes, through the hills.
And sometimes sent my s:lips in fleets
All up and down among the sheets:
Or ~rought ~y trees and houses out,
And planted cities all about.
was t1.e giant s:reat ancl 8till
'rhat sits upon the pillow-hill,
And sees before hi'11, dale an~ plain,
~he pleasant Land of Counterpane.
I
The music of water in .motion
tr-:'~ainrr
1-J8.S
3smphony to his ears.
can be catecorized within this Croup:
The rai.n is fallinG all around,
It falls on field and tree.
:rt rai~ls O!1 the umbrellas ~ere,
A!1d on the ships at sea.
Stevenson was ru1ed Ly the panorama of
The s killful use of
the phenomena of nature.
a Galloping sound in
fI~Jindy
seasons and 01'
r~lythm
to produce
Nights" is a favorite i'rom this group.
!I-:!her6 Go the 30a t s II Hi t~1. its fai nt t ouch of philosophy s i~nifies
ima~inative
Stevenson's
lOar>nes
L)
.....
_
:
,
OD
-......
travels:
"'it
_v_.,
2 1bid ., p. 81.
PP. 70-72.
51
larl{ broH~ is th(~ river,
Golden is the saud.
It flows alo~G forever,
~ith trees o~ either ha~d.
Gree~
leaves a-floating,
Castles of the foam,
Boats of mi~e a-boatine-~here will all come home?
o~
Qoes the river
A~d out past the ~ill,
Away dow~ the valley,
AHay c1 O','Jn th.e ~1.~_II.
Away dow~ the river,
A l:lundred eiles or more,
Other little children
SnaIl bring my boats ashore. 1
His Child's Garden of Verses is a classic in children's
Ii terature.
Trle child in the Garden, slimpsing the Horld from a
tall tree or over the garden wall, plans trips he Hill take.
marvels at
his boats.
t~e
su~'s
daily journey and predicts the 6estiny of
rrhe fourth t:leme of imai"'inative travel was actually
fulfilled on stevenson's search for health.
theme
fou~d
He
i~
Stevenson's poetry.
u.sually ensages in solitary play. 2
Play is the
~ifth
The child in the Garden
-~everthe less, p;poup play is
found in HPirate Story," tlA Good Flay,ll and liThe Hayloft."
Stevenso!! rarely moralizes.
-,filen he does, a twi:1kling
eye accompanies the bits of advice:
Children, you are very little
And your bones are very brittle;
If you Hould r~row gI'eat and stately,
You must try to ",Jalk sedately.3
IIbid., p. 71!.•
21'
.d
~., p. 76.
3Ibid., p. 77.
52
~thical
behavior ap}ears once:
A child should alvJays say 1-lhat's true,
And speak when spoken to,
A.:1dJehai;e mannerly at. tab~e I
At least as far as he lS a~le.
Barnes feels that Stevenson's indomitable spirit is prob-
ably not emphasized e.:1ou[';h.
='Ie j'aced the strains of life with a
weak body, but with a powerful will and attitude.
His poems sing
of an optimism from the highest turret on the castle.
Stevenson' s
p'~liloso~J~y
~o
share
of life is to see him in this optimism:
There is an idea abroad anons moral people that they
s'-.1oul( make their ne1,,;hb o:'s cood. One person I have
to make ~':Jod: ~;wself. But my (~'J.ty to my neighbor
is much mare nearly expressed by s~y1ng that I have
to make him happy--if I may.2
Steve.:1son's ollln "recuiem" enhances his greatness:
Under the 't-J ide and starry sky,
~i3 me a ~rave and let me lie;
Glad dii I live and sladly I die
A~1d nO't'l I 1l,;l.Y 1:1e dOvIn T,-] 1 th a
Hill. j
-"olloHing in the footsteps of
~iobert
Louis Stevenson is
another man w:-:,o also spent a solitary childhood.
tilat both ?ra!:k
~;empster
Sher:nan a:1(' Steve:.1son capture the child's
moods, impressions, emotions, and
st andpo'.nt.
~lhe
~~;cletry
3arnes states
ex~eY'iences
from the child's
of both is characterized b JT (1 ) quatrains,
2)crevity, (3) familiar styles Hhich are not colloquial.
not confuse childishness with childlikeness.
T:ley do
They do not talk
down to the child, but neither do they confuse him l:y complex
-"
lIbido
2~.;,
.. - 1d
p. 79.
.
se~te~ces a~c~ ITocabulary beyone:. their comprehe~sio!1..
wrote nonsense verses.
Their
T'ieither
~oetry bore a minor plaintive note. l
Sherman's delicate interpretations of the world's beauty is de-noted by liThe °.1aterfall. 1I
liA-fish" and "S p i':1ning Topll l'esem'Gle
Stevenson's i!';sip;ht of a child's play.
His themes of the phenom-
e':1a of weather, seasons, a~d aniMal nature match those of Stevenson's.
;:)herman's twelve poems for the tvJelve months are notable.
SOMe of 11.1s most
fa~ciful
aHell on the winter scene:
3no\.-J Song
Over valley, over hill,
~iark the shepherd pipins shrill!
D::-iving all tile VJhite floclrs forth
:,'::-om the far folds of tile :;orth.
E low, i:-lind, bloH,
'/feird melodies you play,
~'ollowing your flo cks that 80
Across the world today.
How tiley llurI"j, hOH they cr0101d
lIhen they hear the rnusic loud!
Grove and lane and meadow full
Sparkle with their shinin~ wool.
Blow, Wind, blow,
Until the forests ring:
Teach the eaves the tu~es you k~ow,
And make the ch:'-rn~eys sing!
=Uther, thither, up and down
Every highHa:r of the t01vn,
Huddling close, the white flocks all
}ather at the shepherd's call.
claw, ':!i~d, '010<.01
U:oon your pipe s of Joy;
All your sheep t he flakes of snow
A!1.d you their shepherd boy.2
lIbid., pp. 197-199.
2 Ibid ., PP. 19S'-201.
Poets
~;11'0m
~xplore
A~d
Child's
Flay as
~orld of IMagination
~~ture A6ults
hi:;h insi60 their citadel, Steve!1son a!1c his CO!1tem.-
ioraries surv'3yec1 t he e~ tire countryside.
Even before their 1-1ork
Has completed, other architects 1IJere allproachine; the castle laden
Hith poetic construction m'~terials.
the ".o;arc1en"
i~sic-:e
Steve!1son's days of te!1dine;
the courtyard were
chilclren Hould ahrays derive
6rmvi~[~
~ou!'ish::rJ.e~t
to a close, c but
from the i'puits of his
labor.
l' ilr;rims, yOU!18 a ~d old, e srec:tally children,
the
~eHS
had. spread
of a castle H:l.c:re lives Here ;:>evitalized and hearts Here
ri :le lips of 9.11 held lIpraise • • •
made say.
for famous me!1,
snch as J'ounc1 out musical t U!1e s, and reci ted verses i!'1 ;-Jri tin~. III
[The
II
little
forll Has added Ly the author for clarificatiorJ
ba~d,
led by A. !\. Eilne and encourap;ed ty the
~ews
of the
castle, picked ttleir way along the countryside in search of the
fortificatior.. where their poetry, too, could be protected a!1d
preserved by embattled parapets.
:'ladox
~~obortc"
",H!1ifred '..'elles, a'1d
of the poetic ba!1d.
These poets had
of play a!1d lma,,;Lnation.
the ir ,'i our!1ey
"vJ
i th all
VJ~o
T~ley
7~achel
A
-.H..
);'arjeon, 2:lizabeth
,?ield formed the rest
e~plored
the child's world
were ea:3er to share the fr'.li ts of
Hould lis te!1.
•
-,
T•
D!1],S
01.1 ff , II r-.l ,ne:!
or 1 (j' a ':let- +-'
'-' ne
l~o • 3 C-:E.rch, 1959), 62.
1
x:v,
~'-,leEt~or
.., . .
tilT
~ of the HeHs,
~plrl,
55
A.
A.Cil~e
has
l"OC o"C>(~e(;
the 8-:oce ':"ltric l ty of c ~ildhood
perhaps more accurately than has
child's ,·]orlc' of play
a~c
a~y
ve~turor
other
imar;i':"latioC'l.
i~to
the
Lil'.:1e oxel'cised a tl1orough
k:IovJledge of c ~ild:c"'en a s he re8.J_ " s t ically r1anipula ted t hem in
their la'.:1d of make-believe.
small animals.
Christopher
by fairies but 'OJ
n~d
~o~in's
solita~y
world is '.:1ot peopled
.
.
1 8, l!:'lC_U
.
1 d'
1 , •
•
t'
T'
h 1
t:, lk~1C'l:;
anlma_
,1n::;Jln~lle- ne-~oo •
Yilne uses worfs,
acter's moods
His poems feature his onlj- SOC'l, (';lris-
r~yrne,
actio:1s.
and
C~ildren
rhyt~m
to cO!:'lvey
t~s
char-
nc:opt his coined Hore's such
a nouse l~ith a IIw'Jffolly '.:1ose ll because these ~'J ords rose:1l1e their
OH!:'l expressio'.:1s.
s:'he tJ.le 0::.' "The
':lith its royal ::_::1CO:I3ruLty
monosylle~los
e~fGctively
a~cl
kane'S
V(~rf)(;
captures
~·reakfast"
p~.tt.(;rn.
-0
is a fo.vorite
Eilne's use of
Sl~Spe!lded
action in
Il~alf-
~IalfHa:,,-
down tl10 stairs
Is a stair
'.There I sit.
'l'here i sn t t any
Other stair
Lui te like
It n ~ot
I' n not
So this
:.Jhere I
Stop.2
formal
school~nc;
1
at the L· ottorn,
at L>{le top,
is t ~le stair
.L '
a l",\ray s
her novelist
~ather
was her sole critic and
ArtuthC'lot, Children and jocks, p. 118.
2 1b · ,
---2:,£- , P. 119.
56
teacher, yet ne18 had a
child's Horld..
cO!1vi~c i~,::
stope of
k~m'Jledge
of the
}Ier children are busy being children; her poems
speak of children as naturally as breathing.
She employs color,
a rich ima.Q:ination and a variety of verse patterns.
Hiss Parjeon
Hri tes skillful nonsense verse and her f8.iry lore conic i~es fantasy and reall ty effec t i ve ly as in
11
City Under ·.'Tat er. 11
Hiss -i"'arjeon's Christmas poems a'·'e o.uite outstandinG in
their teclderness, inac;ination, a'1d cO:1trast.
13yr'e G-o
1'3hall I
to the
m,rn?'! and "The Children's ')ong" are tuo such Christmas
~Iere
poems 'Hiti:l noted contra;;t.
:.rere '·re come
agai~,
is the latter 0:1e:
a-:::ain, and here He come
•
I
a,~aln.
Chris tmas is a s insle pearl swi~0;in.r; on a chain,
Christmas is a ningle 1'l01lJor in a barren Hood,
Chris tmaS is a :1in[;le sail Cln the salty~lood,
Chris tmas is a :1 i:l.<"~le s oni'- sun.S for c haJ'i ty.
Here we come asain, asain, to sing to you
asain,
Give a.si~[le penny that we may not sins in
V3.l~.
~-Ier
p J8mS may not rank as hiCh as those ::y I:ilne or
nrothy A!dis, but, nevertheless, her poems are worthy or a room
in the castle.
A better understanding of children and their thOUGhts
can 1, e e;ainec1 ty
poems in
U~de:~
reacii~13
t he Tree.
Elizabeth Iiaclox
oberts' fifty-nine
Here tl:.e lonely child is ac ~ ented
a,,,;ai ns t t he v J.8 t beauty of the sur,oou!1dinC lanc1 sca::;e.
·:oberts I room is to t he
tho~~h
frail
i~
~2.S
tle 'J11.a t
t~emselves,
L./"'.ro1J.
- t'anou,
+I':h''''
'-' L ... cren
t~e
roon
d
~
:irs.
the leaf is to tl1.e tro e;
a~d
loaf toth draw
P
} ~.O.
o:ooks, pro l3u-l
stren~th
57
" t
8.r t lS
\.Au
0 ,,;-
-'lhoor'
ca:l roc,,';..11
. . .('}-l"'
",1. -'.~'
. .,
'
'."H10
j
l.;.J,,(,~'-1'·':C'J8· y_,lV
·..... '-.1 .... J. ... ..... l . ) '
·... v
~
se~timentnl
.........
~
a~d
Y'Of'Y'oCi~l.Ce
--
or
_
hel' ne~lO:rios l;:.t'.l-
unrealist~ic.
~-{or
rootry is
=Iis ;;0 hi ~linc; sl:in \-; as soft a:1d II e t.
I pokee; hin once to soe hin squirm
"\~(; the!l ';jill said, III 1-Jo:1der if
3e knows that he's a worru. 2
'l'he
:-:~oberts
c'lilr'l rumLnatos a"':'out. nut.ure's u:1ivo::'30
a~ld
sand-
'Hic::1es its inhat;i tants:
r-L'he I eople
The a:1ts are "-Jalki~e; unClor tho ground
the piceons are flyine over the steeple,
And in ~otwee~ are the people.3
A~d
}~s.
~oberts'
fied to sound cute.
but they 8.re direct.
V0rses are
~ot
a~or~e0
~or
are they pretti-
TIer couplots or Quatrains are not forcod
'1' le Jr com:-:l.l:1icate a
l~e:lm;al
of
~uture
child's innocence spillinr; out to meet the 8x}Jcriences on
ana a
t~Le
I,
I3 reen • L;'
1':1.0 ;::.oli tary child is O:1ce
a:~ain
the r1edia for
perso~-
ifyinr: the Cllilc's ;;Jorl:; as ','inifred 'Jelles i-Jas ins:9irec to Hrite
by observing her si:1Cle son.
A rare perception of the child's
everyday interests is hers to
s~are
in
Skippi~G
Alons Alone.
l'rOll"
.'. "t't1, 'r,
~l
lam J' • ~ml
' r l r:J:'ent of Green:
The .:. oetry of
r,
b
(~
"I
T.O er t s, 11 r.Lne :~~or!1 .'001::: ~:.asazine, 'TV-VI!I
',,_ . TT
~_
1l.prl,
--'-''1 lza..J8
" l t 11 o,.aco:-c
.. c
1'
1962),137.
--
2A:>cu thnot, Children and300ks, p. 11!.2.
p. l!l,3.
1.'.:·m::."t'n,
t·,
58
"Gree~ f':oth"
se"1se of
,'Jo~dormo:1t
flOT;JS wi th
c::~ptures
aa it becko':18
ina~~i~atio:1
a~d
',!inif'rec .. relies are
"livel:
r
9.
"30
~n:;sto!'y
Accor(~5
lI'ehhlc1 the ':Taterfall."
0;:'
ma~y chilc!,o~'
u~til
rj';'le fa':1cy ane im8.cination
pe~etr~te
~Ier Hl~iti~c
t~o
':1;-' to Ers. \rbuthnot,
a~1(i
the toe is
poer;lS helve a fresh approach to
still.11
at ti'le hishest in poems
1I;'airy T;:ldor Glass" is itall pnckeror]
i':10' Fairy" scolds
s expecta"1cies a~d
L~:1co'1Ve'ltional
U~J
8UC~'l
as
f'airies
creu.!!
'l'he
to scream" a ':1(= the I'Stock_
ne~dGd.
cO~'!1Y~oT:)laeo
i~here:1t
over-
~Ji:1ifred
episodes
.'ollos's
a~:(1
si
~~1tS.
in her :poems ':Ihieh seem to
the child's Horld even more deeply tha:1 :!alter de la
Hare's, make
;'J~nifred
:ielles
a:~e':1uinely c'isti~suished
moder~
poet
for children. l
Rachel l"ield's 'livid personality a:10 exubera!1t love for
people spill i:1to her poems.
her love of being alive.
He!'
vi~or
Rachel Fields
U':1{ vitality speak of
~OGS
not talk down to
children nor is she pretentious; she tells children
HorlC1 in exac i~ly the H a~' t hey perce iva it.
scrapeI"S Ever Tda:1t to lje
dm~n
anci never:"et up.
"Bapei'oot IJaysfl ShOHS her love
"roll
alo~p;
the
Ave~1Ue
,she
~"op
1';
a~out
onc:ers
11
their
if sky-
II
nature.
Her taxis
like 81")Ools of colored throae]. tr3.achel
}i'ield's child is intere st ed in pe ople Hi th an
OU tivar'd
and her poe!11s reflect theSe authentic vielVs.
'l'~le
keen.."le ss
lack of arti-
fic iali ty coup led Hi th her c;enuine sine eri ty C;ran ts her a spec ial
room in the cas t 1e as Hell a S in 1:;:le hearts of many chilClren. 2
2"T"b·
,
~., Pf'.
Contemporar:l roets
'The
::~uropea!1
cc.stles of neoieval times are, toc1ay,
purely decorative reminiscencos of e
~lorious
and romantic past.
A starnB!1t noat oncircJ.es the castle where busy, bustlinG halls
once resouncocl uith merriment a'1G fellOi:Js:1ip.
~~OH
the halls are
cold, solemn, and hollow; they are merely a '1ovelty with no real
functional purpose.
This descripticn is not
poetry.
to the castle of
ap~licable
As year builds upon year, brick upon brick, poem upon
poem, the caotle plows with a special sort of feeling for her
hallways are still peopled Jy architects.
It seems that the cas-
tIe would SO(l!1 have enou:h roons, (.'ut no--there are ah13.ys more
children makinG the joyous pil[;rima["';e to the old castle.
r.'hus
more architects place their bids, hoping to gain admittance to
the castle.
Contemporary society, 1963, sparkles with architects Nno
desire to keep up
tastes.
~vith
the ti me s in children's interests and
The essence of the child does not
he lives in coes.
chan~e,
but the world
So another croup of distinctive contemporary
poets have interpreted this new world for tiny listenins ears.
A new voice for today's children is
~avid
NcCord.
verses ranse from pure nonsense to Quiet meditations.
that his "li[£ht verse is feather' liCht.1I
gay beas t poer.ls, find s nourishment at the
~is
It is said
"Joe," one of I:cCord's
~:ackyard
bird feoder.
60
1,cCord depict s the simple fresh:1ess of childhood i:!1 the follo1'tJin S
poems:
;;otice
1 have a doS,
1 have a cat.
I have a frog
I~side my hat.
'1'his is my ?ock
'1'his is my rock,
A:!1d here I run
To steal the secret of the sun;
This is m.y rock,
A:!1d here come I
Before the nicht has swept the sky.
1'his is my rock,
This is the place
I meet eve:!1i:!1?, face to face. l
Adults and children, alike, are susceptible to the modern
comp1U.nicat,le disease know:!1 as la'lshinr:, e srecially 1,vhen they come
i:!1 c ontac t wl th the nonse:!1se i:!1 ·:TilJ iam Jay Smith's Laughing Time.
Childre:!1 del1sht in "The 'l'oaster" Hhich is opere.ted
b~r
"a silver
scaled J~ra.50n. 112
~ive
to nine-year-olds delight in the lyric charm and
variety affordec by t:"1e verses of TIarry 3eh.'1.
verses are i!"l the mi:!1oI'i ty, but lINr. PY?1e ll
are :!1otab1e.
a~d
His :!1O:!1se:!1se
1I~_r.
;HYlciken"
The chi1d1:"e?1 i~1 "pic?1ic by the Sea ll Irwnder Hhy
grown-ups baElk i?1 the SU?1 1vhe?1 t:1ere is so much to explore O:!1 the
intrising beach.
. . . ce·l:!1 "0'-/,E'r'"
a ".
u .. ~,..."
Beh?1's philosophy is O?1e of peace a:!1d reassurII
II·
. ·t
~.• , p. 125.
21'
. ·l
~.• , p. 126.
pp. 17S-180.
61
~ot
A child does
have to te A Little 7reckled
~er30~
to e:1.j oy Hary Ca:r'oly~ Da'lis' Poems a'[)out dolls a'1d pe t s.
poems
+'1
re~
ec t h er
.
Ca~adia~ l~ocky ~'lou~tai~s
Chris tmas s easo~.
rock.
Tlary
na t ure a:1.U' l)articularly for the
f'
_or
paSS1Q~
:Ier
of :Sri tish Columbia where she spe~t a
~,avis,
like
~~av 1d ~TcC.ord,
has a spec ial
She discovered hers
T',le Day 3efore April
The day before April
Alone, alo~e,
I walked in the woods,
And I sat on a stone.
I sat o~ a broad stone
And san8 to the birds,
The tune was God's making
0ut I made the ~vords.l
Childre:1. derive
keo~
e~joyment
in
recog~izi~g
in the room of mirrors constructed ty Dorothy Aldis.
charmi~g
dote on the
0.'1
ways of
childre~
She does not
as adults do; she expa:1.ds
the I i ttle thin::;s t 1:10. t nnke children Hha t they are--childrenl
'ier children detest pia'lo exercises,
spri~kler,
On t he poem
':[1118
a~d
estin~;
~o
are surprised to see crocuses
and play croq',tet at dusk, hopinr;
mol'
themselves
II
us" occurs i
':1
11'10
place of
sHir(l.mi~h
a~1ake
under a .,later
before they are,
one Hill call them i~. n2
!I
them.3
six to ei.r:;ht-year-olds especitllly respond to her hu-
1nsis~t.
Her verse patterns are
~ot
particularly
i~ter-
her strength lies in her insight which permeates the
realm of childhood.
The parent-child relationship is caught in
lI1-·· ,
-..:::2:.£ • , p. 180.
2.>oro t'ny _"1.
"ld 1S,
.
.,., +' are ,-"
•
ve.!..
1. nl~C'S
l'ut~am' s :::;ons,
1939), PP. 63,51,
'J
,lappe~
tn, 8,S.
(7T
k
;,e1/ Yor:
62
I' ::~~_ :lic1 i.~lr~, IT :-'1 ~11(i:1t.:,
A~d ~o o~e knows where;
':'01' a.1l t'lOy ca-: see i[~ r:.y
\", 0 (} S a ' "1 (~ :',1~T rJ1 I. r •
jU[;t hear~" ~ny father
t 0 ~-1::r ::D t ~le J:-1I.'_lt, cUll'ling, ~le !')ust ~,e
A:lC I
~ fl~!
So~eN~ero
~Iavo
or
ot~or;
you looked
}.:1 tho inlc'loll?
sc.irJ, lI·,.Ti:lOre?1f
"Iv:! t:'"'.e :',:llnJ8l 1_, II said fatllcr.
I ',JaS :lot t:lOro.
A:lC~ mother
r;:'~10n
:!',,'3.·~tl'!
cr'ied ny nother--
"I think that I see
Hi::} ',:ndcr' t"lO C ar~let. 11
~.~ t
1"!,~18
:-i ~", t
B~,lt
~3'.lt
r _(, •
II I:1 S i c1 e
the r;".::' r 0 r! ;:;
A }Y'otty :~:OG0 :;>lrlce, \I
Sa i(l ~'")a ~:t~C!· (1 ~1.(1 looked,
0~.1.J~ his f~lce.
H-Te-,VO
• J
'l">-,tO('
__ v . . _ - l . , II
"l.·'::).LJ,.
.... "eo~/.
U
nlO.j--,E''Vl
v . .1.J.J...,
~,
rr.\ s he:.. rc1 Ct S 1'J 0 (', cula
A:lc1 I I m ~,frai 6 t '18. t ';]f:) T ve
Lost him for snod. n
'l.'hov:! I ID.u:"hed 01:1.t aloud
Anc' I 'di ::le<': n:;; ~~oes
f''''thE"Y'
s"~(~
l.L.)
a ' - : - - "J,",r,l~
I ;-JO~dor if t:lOS8
A,-,C"
1:"':...1_-
....Lv.
J".,,--'.:...,
''':ocs coulC' be
There arc ~O:1
u~deY'
the
)soudc~ym
lAY>
-,.., "'0 t
., "'1LJ
iJ _ ,v'-"_"
,
of
~r.
.~e!'1'lyT
a~
C C8.1""' ,
s.
~hern.
Seuss, Ted 101s81 has
~a1~od
a rapid
~:ho,
--
-----
'.l.'hidvlicl:-the- c icr-I=earteC };oose,
-
O:1es, Sleer
of his rno2t
suppleme~tary
~:oolc.
220 basic v)Ol'r"s.
<~i~cling
o.~e
8.:1(;
pepetitio~
Lelir;htf'ul meter a:1(;
::-,ec8~t
re~Cer
for
convey the
cat plot to tl_O he3.rts of becin':'1iC1.8 1'oaoers.
Althouc;h :1)1". SLUSS is l,teled as a poot for'
wife rather thinks he writes to
a~use
himself--~ot
She explains:, II~Iis rlln( Llas :1ever' c-:rovJ:1 Up.1I
:)eor::le fail [,s Hriters
~,j'he:1
childr'e~,
his
children.
'-jeuss feels that
they attempt to form preco'lce!)tions
of c~-lildren. :'A ("reat deal of' Seuss's succe3S must be attri1;uted to
his illus tra t ions as
11=_s
u~orthoc()z:,
plo~ths
II
per
11 as to his vel" sos.
bUtt.~3I".
b()ol~ :l~d
1fT
-,
So~wtimes
Hhole
.J-~ U ..<:>t.J ,,)
':1UVCr'
~~r
It takes
J'.70
'.
"'"
'TS
..:.>
C""ti'
II
jam, panic daysTl
II-·:'very o.nce in
_-1
•
...1
8.
~-J~"1e~l
~·!~1.ile
a lovely :CloN' of Hords "tIill cal'l';;r
~:1O
1.1e
:it comes
four
li~es.1I
accept a lud1crous
tl",o-~1.eaded
sit1Jatio~
i":' it iG 2,J'Xrsued
c!'eature :-lee e s 8i ta t
tacles. 3
_~
~a t
• .?euss ap,roximo.t81y eir;t1toen
Lr. Seuss feels that chileren deserve quality.
urdav-
t
learned to dravJ. 1'2
111a:-':y of theso :;;\1"0
thrashes c o!lvuls i vely.!!
easily.
eXI)lai~s
Seus s
pot-bellied creatures are :10t e:1ti1"ely a product
of his ireagination.
like melted
1](
83
biO
T~ey
lor;ical~-y:
t oothbrusho sane:
will
a
tvlO
SJ ec-
-_.__._---------l}'obort Cann, "rrho ".ronderful :'Torld of :.'r. "'ous"
J
u,
CCVVV (.july 6, 1957), 1.:2-1 1r 6.
~ve:1in"
_..,~ost
_,
2 Th •
,
3r·
~;. ,
-.
~~.
p. 19.
p. 113.
II
~;at-
The
cr'~a~~ures.
c~usetts
osse~ce
nis
!t
of Scuss's writinc is nonsonse 8nf
a ':1im8.J
1f
3:l~)jects
eli'e
re~i::liscent
~iza~re
of his chlld-
park v,here
The auutle
U1or8Iizin~;
'lresent in modern roer;lS exists
'lC)~Ses:
e'lcn beneath the hir;h :-il:ll'ity O:L ;:'r. Souss's
In our books there is usually a j)oint if you ,lant to fi:-:td
it.
,),ut lJe have 6iscoveped ~hat the ~=ids don't, ''1ant to
foel you are tryinc to pnsLl sor:wt:'15_ng down their t~'lJ:,oats.
:;0 'Hhen He have a :roral, He try to toll it sideHays.
T~1.e
1:
hidde:-:t
:3 errs
of Hisc.om tr can ':)e found, for eXaml)le,
]'ort2n, protectorate of the inhabitants
of a :rlicrocosmic dust speck comes to the rescue Hhen the ','ho's
are aeout to 1loiled in 3eezle- V ut
~:;te1:J .~lheir
C;O unheard 'J,nt il one more tiny . ;'1'10 ac( s his
cd_ es for help
:,{ar:~
to the COl11"'1un-
it;/ efforts:
And that Yapp, that one small extra Yapp
put it over!
~inally at lastl
~rom that speck on the clover,
~heir voices were heard!
~hey rans out clear ahd
clean.
And the elephn!1.t smiled.
"Do you see
',tJ ha t
I me an?
~heY've proved they are persons no matter
:'l0W' small.
And their whole world was saved by the
s~allest of 8.11!2
"Dr. 3euss has
nil
ima~:::inatio!1 Hith a
comme!1ted O!1e of the eh'Cold fans of T'l'. Seuss.
lIThat felloH ":dll :_~o places. 1I3
lILid" , p. 1:2.
,
31'
' ,
~. ,
21'
'd .
~
p. 116.
p. 113.
bi['; 10~G tail,tI
Seuss responded,
65
}~s. Arb~th~ot ~e~tions
that the moder~ ~arrative is
e~joyablo
?~rticularly fa3ci~ati~3 a~~
-.TIla t
c~ilfro~.
to
tempo of scurryi::1S rats a~:o of t::1e skippi::1:: c~i1c5>"e~.
esrec i':'l11y
c~c
ic'e~tity a~d
;f~o()re'
s
ItA
li::;htec by the
jour~ey.
Vi s1 t from
m~,'"s
,.
• 1
"
rrhoy are
t'l1e.~",'lper t s
snrro'J.!1Qln~
tery
,
Crll..c.C
Another rO!1otJ::1oc. classic is Clome:1t r:1ark
.~t.
'ieholns. It
Childre~
throuGhout t"1o
Horld call it ltT"t'Jas the ~ar;ht 'efore C:1,:"istmas."
C~il~re:1
eis~t
from
~e~
to
love the
fun~y
worcs R:1C tick-
tavus Gore," t:l.e U'ooy "rno ~ever Ho1.1.l r' :::;;1.ut a doo~,.lIl
=;a~y
::1otocl :,Joets
\J':10
hc.',re IJritte':1 primarily for 2c(lults
outsta':1ci~l'"
have also eo:::,trEuted some
::---'oems to the childT'e'1's
castle of poetry.
Ilrr'~e
..I.. : . .1.
a~c,
foot
('o"".,t"~in
l-i........
oJ J• .l
1.
,J
II
of'
~'l'lAs
~-'-a'1a'l''''~
__
u·
:'J..,
...J
r"""au..] -C'(evere fS" "l":lce,
1
!!
~oy,1! ~r:1est
~
.. ..-
~:~:1ayerfs
!:::. Book of Anerica!1s Hhich
t
-
()
II
Ilrl'-""\c>
~
L.....
"'''ecl'" 0'" t:"o "l~es"".'l>lU"
u
u,
'...
...
h n GTree:1,etoll.
J.D ."
,:ill• t
J...
... .L
t ler
. ,S
...
II "1'
1.:1e
Heasey at the "3at,lI ?elicia
i~clucJes
the fa'Torites,
}-'
a:r~e-
~'orothea
l'Abrnham
lArbuth!1ot, Chi lCre!1 a ~d:::'ooks, Pli. 96-101.
II
66
Other authors
pre-emine~ce
in the
l1'10 ',]:c' it e
child~e~fs
poems of Vachel Lindsay,
bur,=:, Alfred
'l'e~l:-lyso~,
primarily foI' adults
1:}3 ve
castle of poetry, too.
:-~udyaI'cl Kipli~S,
Amy LOHell,
~ained
Some of the
Ca:::-'l~a:1d­
-Tal t 'fhi tma!1, :l. L. :1ouserlan, '.!illian 3u t-
Ier Yeat;s, Sir -1alter S:;ott, Al.fred Hoyes, ·,allis.nlorcJsHorth,
Sc~muel
Louis
a~~
r~.
Cole_rid~e,
~Jntermeyer,
Lopc1
.::~yron,
}erc J"
F.,.
<:chelley,
~'~}h.'1
Eeata,
and :: ')oertl.:'ros t have boe!1 most appeali!1G to
adopted by youthful reacters.
r.t\.R'l' II
C~C,Y~T\r;;:
VWJECT
ORIGINAL pnSTFY FO;::' r:I!.LD;';,j'T bY JUDY LUGI1GILL
A Special
'1':1row:::h the
c._
~ilcrima3e
co~turies
of
to the Castle
cO!lstructi!l~
the castle of
poe tr;:r, archl tec ts :f:'a tter!lec1 tl1e de s ig!l of their individual 'olueprints i!l accorda!lce with the esse!lce of childhood.
a definite
p~rpose;
of childre!l
~ho
~ach
room had
each ono met the various !leeds or the scores
had made the
pil~rima:o
to the old castle.
Child-
hood, thouSh, is !lot !lecossarily a prereTlisite for visiting the
castle.
In fact, very rew
chil~ren
would have had the opportunity
of Hano.eri!lS tlU'ough the halls B':1d of' fi':1ding the satisfactions
a:1d enjoyment afforcled
made the
pilsrima(~e
~)y
the rooms of poetry if they had not
under the capa':::le
leac~ership
of a suide 1-1ho
had already f.1ade the journey to the castle.
Child~en
cannot
~ecome
friends with poetry until they are
in troducecl to poetry; they mus t be
one who has
i!lstitute~
p~eviously
8L101;1:1
the way to the cas tIe by
traveled the halls of poetry.
Society has
a system of education which can serve as an ap?ropriate
me6ium for introducine
~oetry
to children.
The link tetween the
castle of poetry and the child is the classroom teacher.
The teacher, like the architect, is a builder.
are the essence of his tuilCins materials.
68
~hey
Children
are as precious
69
clay modified by the sl::illF'tl :10:1ds of the teacher.
p'. :::;reat l'e-
ward of teac~li!12 is viewi!1C the successful fruits of 0:1e's laLo1's.
0aro:'-7 does the c~ild find his Hay to the castle of poetry
by hirlSelf.
He 11
Ideally, every t cacher as
as cvery pare!1t should
have made the yilfsrima[,e to the castle so that his experience Hill
e!1atle
hi~
to lead children
Lhe~e
nlso.
1'.1 t~le sprinG C"~l~ 1963, this I-Triter, a prospect i ve teacher,
recog!1ized t:'le desirability of maki!1C the pilgrima";e to the castle
of poetry.
'J ' hus
she
j our:1ey under' the
~~leachers
2. uspice
Colle,~;e.
caG t Ie Here
C c!1siderec.
a:1d pla!1nec this s iO;:1ifica!1t
s of the ::Ionors
at 3all State
:Special traveling aovice a:1d a ronciLlap to the
r: rovided in c o!1sulta t iO:1
~esearch ~irector
~~rorram
VJ i
t 11 I'r. Eildr ed :3al1:)1.1,
of the HO:1ors Thesis.
As L:.is youn,:::; coller;e stude:1t, Judy
S~le
various rooms of the castle,
Lu[~inbill,
toured the
attempted to trace the devel-
opment of children's poetry, a developme!1t which actually
thousa!1ds of centuries.
span~ed
Some of the first rooms she visited
provided her with a-..ltmpse of prehistoric poetl'Y.
It VIas a
HhirhJ inc 50ur:1ey of enli[;h te:une!1t a!1c1 e:1j oyme!1t from the i!1itial Helcome at the c1rmvbric:ce to t'le conclusion of the journe;y-.
She viewed the u':1foloi':1-:; pa!1orama of childhood literature Itfrom
:;.iother Goose to
As
deli~~ted
~i3S
~)r.
C:;eu[ls."
Luginbill met
t~e
to find that Many of
interests were similar to hers.
back to her many times.
It
W1S
many architects, she was
t~eir
She
values, philosophies, a':1d
s~w
her personality rerlected
like seei':1g oneself in a clear,
70
again as she entered another room.
L2.rc am as it
r:. io. i ~
~10r mIn life.
She could prai se tho renlm
of na turo Hi t:h =_lizabeth Coa tSHorth, Snra '='easc1ale, fUlda Conlr-
assura':1ce in tho LC8.lJ.ty, mystery, a:1d orc.Grli!1ess of :lature.
8:1.6
sharoei Hi th Pac he 1 _'iele:. a love for people, chi Idren i. n particular, as well as a cenuine zost for living.
As :::.S8 Lur-;inbj. ll stooped to
frie~dship
s~rout
joy; peace
a~l<J
and thrive.
reflection.
-!he:r'e
~:luck
~nr~en
t~l.ere
the £'ra2;rant flo1110rs
can provide
com~ort
and
is a .c;arden, thope is
hap: iness.
tie crciitect poets she net--she enJoyod :!ritins
iences i:1 the castle of' I='oetry anc osrecially
to
child~-'en:
poetr~,
e8.~~er
to
too.
\~rite
her
71
~
chil~13
fa3c~~ctio~
with
t~c
futiJity or
[,oetrY'-L-ears in her !I3nilo0" Q:1C IILook :leo..s8.:1t, 11ease. 1I
her
co~tri~utic:1
vlill po..ss t',Crl
cas t 1 e ,
to
0::1
i t mu oS ~: be
c~ildro~ls
litero.tnrc, I'olocHes
to others:! --::::'S3 L'J.--::i:1Lill
S 11 1:< e
c t e c3 tot i me
;l'J c:
~l8.S
resolved that
0:1ly
,
-----
Melodies
Sun By
-
-
The Gd den
Gate
Clatter,
p~tte~,
D01'J~
'l'he
Stairs.
:10P, Stop,
lIo
l~ore
C[',res.
I'm
Goi~G
outside.
I
r;Ct~'t
'.Jait.
?o sine a little sons
3y
'l'he
GD. te.
I love tho
sarde~,
It's
'rhe
-r..
J~lere
I
~eet
~e,
"?:'.ce
'To
i"71[lce.
O!le, tHo,
You corm 'cOO,
'I'hree, four,
01.:.t the door.
~"5.ve, six,
Some silly tricks,
eir:;ht,
I'm at the ~ate.
;::,eV8::1,
"7~i!1e,
_~lE1
te~,
cl"·ai~.
1
,::optoncor Shoos
T~!'a!'l(::
(J'.1
!'ler,; shoe s
ny featt
Sleek a C}cl s'-1'..1C[~ky,
Slick a!'ld s~iny.
~;ut,
oh--those shoe s,
':L'hey hurt so much-Rub-u:;J P i'.1c ':1,
=~ub-u:) ouch.
:To moos shoes
On my feot.
'1':1.ey':::->e ;:u t aHay
And I'm out to play-:59.!'cfooted!
October Leaves
October leaveD cs.me tuntlins,
;oHn,
yelloH, cold, !lnd brmvn.
l'opsy-turvy,
'rHisty-tur~y ,
Cr>isfy-curly,
Crunchy-curvy.
I
like the sound
3eneath 'Ily feet.
Oct ober l02.vcs
Are fun to :roetl
2
~:0'Tet1Cb8r
clays
Lots 0:: c
me~~
Om?~l:1y,
A bi~ fat turkey,
'1':1e !:,irs t u i~ter s~ow,
',rearin'-:; ;)oots (maybe),
lon:1:! a~(: T laC) ( y at home,
A sizzli~g, crackling fire,
:batinG hltterec l::opcorn,
Pumpkin l)ie,
A bi~ crunc~y pile of leaves,
A T,Ja':"'nJ., !tpuz~ylf blanket,
And ~ missi~c front toothL
A bat' e 1-1 as born,
~'ar 2vJay,
Jesus, this ba~e,
1'1 a m:::.'1:-;er lay.
A star watched oter
~~e peaceful child;
rl~he cattle 10Hed
Ane the mothe~ smiled.
rL'he s
t~r Has -;) ri ,":11 ter
all the rest,
It shone on a ;,abe-_:~ee\lc~1 blest.
Tha~
Ange Is on hiC;h
:_: 8.:1:::: 0 f I-I i s b ir t h ,
The news was srrand
Oter all th':3 eCtrth.
3
~oliday
:~ush
Scurry, ,oJ orry,
I1:t:r:.-rj, flurry,
Cr-_urch bells r i!1Si!1S,
Chi16re!1 si!1Si!1S.
Fe 0:;:,18 rushinc;,
S~oppers pushi!1S,
S~OH is fs.l1inr:;,
Traffic stalling.
:Iurry home,
::3efore they cotae,
~.=~ tche!1 sme lIs,
=Yciteme!1t swells.
l:Ihy the fuss?
the ntu.s s?
here!
Shr ist:r.8.s c he ar ~
l}h~J"
Compa~y's
January
The cold wi~d stings,
The snOH bloHs too,
.Ja~uary brinr:s
Snowy thi!1gs to do.
Skaters with cheeks
All rosy red,
file off a sled
Into crispy snow.
8n a dista!1t hill,
A skier takes
A flip-flop spill
Into snoH-',.;hi te i'lakes.
Choose a totogsan,
~ide on the sleieh,
A
?·u i 1 d 2.. S ~ O1.'J1nan
~o~ a 1'U!1 snowy day •
..
_-_...-._-----
~ebruary' 3
}
romise
is piled
IiSh a:1d deep,
Jut little childre~,
~)O:1 t t you \-Jeep.
3:1oirl
S!10H is falli!1g,
Hard B!1d pelting,
Look, little childrc!1,
It fast is melting.
Snow is tricklins,
',:i th a tinkli!1[~ ri:1[;,
~e5oice, little childre!1,
A hi!1t of spring.
Vale~ti!1e
Secret
I have a secret
As you'll soon sec.
It's hidfon in a valentine
To you from ::!e.
-,Tes t le(~ in ~'18arts
Are the words so true,
1-Ihispering t':1.e secret
That I love you!
5
i'larch's Secret
There's a secret in the air
That ~ature wants to share.
It rustles in leaves
And hides teneRth eaves,
It nestles in roots
sleeps amon3 shoots,
A~d
It speaks to the crocus
And rr:akes qulte a fuss,
Sh, sh,--it whispers atout-Thlt the secret is out.
SprinG-time is here-Si~sin~ [ood cheer.
April's
G01>JD
'.::'~'1e air is fres~'1
And life is new,
The Crass is pear1ed
'lith sparklin:-:o; deH.
The trees are crm-med
Hith lau[';:cin~ tresses,
',::li1e flowers sport
F~a~rant dresses.
~he hills resound
~ith birdland voices,
'Ta ture is que en,
Green world rejoices.
~l:l.e rai~boH hues
Are viewed by all,
YOI' April's dressed
?or I~y's sprine ball.
6
::ay's Spring'.all
A su~shine beam
Hade April seer.:!
j='.est c1 ressed of' all
"or I:ay' s sprinc ball.
~hi!e
bluebells rang
A::1d birdies Sa:1[,:,
The:;' croHne6 t he queen
On n carpet creen.
'l'hequeen Has nay.
The wee folk say,
~Ier crown Has blue,
And flecked \vith dew.
June entered and b oHee',
f:t snO'i·]-i·lhi te cloud.
'1':le '02.11 Has over,
In the field of clover.
On
June Is
June is a hot, MUggy day,
A Ions, lone play,
A s tra~Jberry sundae,
A long wedding on Sunday,
A firefly's light,
A squirt c~n fight,
A tllOSqui,to bite,
A lJ8. r'mish ni[~ht,
A castle in the sand,
A banc1a~ed hane:,
l1. sour lerno!1ade,
A booming parade.
7
A July Birthday
t'irthday to th.e U. S. A.,
hlly fourth i.s the day.
7ireworks a~6 pic~ics to celebrate
Our ~ra~d old America's birth date.
~Iappy
Auf3US t
O~e last sHim
~ith my pal, Jim.
SutTLt;1er fu~
"Till SOO:::1 be dO!1e.
school bells ring,
Just one last swi!1~
T~G
O~
the
School
garce~ Gate.
wo~'t wait.
8
Stop, Stoop,
a~d
See
'1' a1:e t lme, Hit h me,
To stop, stoor, a~d see,
To love a~d to pleasure,
~ach small earthly treasure.
A~
a~t
tU::';[,;inC,
A w orn
bugGin,~.
~ace in a
Your
brook,
A cool shady nook.
openi!lI:; flOl:.Jer,
ant's hill tower,
Or a slimy s~ail
On a t5_~y trail.
An
A~
A fossil's print
.\ S .ne 1"-'-- s p.J..nk~ t··l.n.
t
1l.
SOrle nossy roots
Or a clover's bee.
A dainty violet
i~ a shaded spot,
rreen plants in a :arde~ plot,
A tree's root--~narled a~d twisty
Or a ~)ieco of ba:rlc--1.-1et a:1d n:isty.
Or
~ew
please take tine
Ho, not a dilile,
3ecause it's free
~o stop, stoop, a~d see.
So
Rain
God se~ds tho rain
~hat fills the soa,
A~d God sonds tho rain,
~hat
~alls
on me.
9
h3.rD.~hu tos
from
Fairyla~c1
Litt:e snow:lakes floating,
DO-VI::1
fr Oln.
the
sky.
Gent:y, softly, whirling
I Honc1erec 1-111y ••••••••••
fairies, swirling,
Learning to fly.
Glic1in~
?ain l)rop Lancers
'.l.'ip-toe dancers,
Dainty and meek,
Have come to play
Upon My cheok.
crop slippers,
Satin {ew-pearled,
Lance the callet
~or srrin~'s new world.
~ain
10
A Good
~:or~i:1C
The oeami:1':; SU:1
Sl')liled a:1d said,
Quick, c;ot up-Get ::Jut of bed.
The U:1invited Visitor
I ca:1 be see~1
Jut I never talk,
I visit you
-'ut :1ever Halk.
I con't come to stay
Or c:oeep aroune,
I come to peep
1:'li thout a sou:1d.
I i:;rush your checks
And 8ovor your head,
I sleep with you
Til mor:1, in
~ed.
I am ahu1Ys dark
A:1d '1ever L gi1t,
I'll come a ,,;a1:1,
I an the niGht.
11
I: c O!1e 3u t
I:e
If I 1:Jere ny mother,
I'd !'lever climb a troe,
Or if I Here rry ('ad,
I Nould~'t chase a beo.
:;: ca!'l hop like a bunny
ljut never ever lJ8 one,
A:16 wic'linc; my nose
Is just the mostest fun.
T'lhen rolling cm'l!1 a hill,
Sliciins c',m,ln tl1e stairs,
Or slish, slosh, slishing puddles,
I haven't any cares.
~ishing
or wishi!'lg,
Hking or hildng,
I'm ahwys me, 1il:1e!'l I
Lo what I'm liki!1~.
If the Guestio!'l were asked,
Ih:'hat de: you wa~lt to be?"
I l{nOlv ] 'TrJoulcl a:1S1-Jer,
lIT,JTll'~
'",1 (, 0.1
"'e'0 1,1 t me. II
J'
Those Bilk Rules
1I1 Jr i!1k all your milk,"
'i'hey ahJays say,
tI,~
I I 'Loe
i1.nc" t':1e n you I _,
A ;:;'a!1 sornec18y.t!
c'irl'
n1r my Y\1'~ lk,?l!
I ali-Jr'.ys call.
1''1.'0 be a boy
Is best 0.1'" all! It
11'~'1\T
.'~""J
J,,4\.
~'_..L-.
12
~lllicht
lIy ship is 5_n orb it
Amidst the light of stars,
11hirri :1g, Hlli!'lin:~,
Past th.e rla!1et I~ar8.
I
won't have to say
'J.' ha!1k-you
2.~ld please
To little ~reen ~artians
For ~oon-~r8e!1ish cheese.
Gree::1 'blur, ~,hank-you, sir,
C~reen r:lo1-1 ,r~Y'een eyes,
GrG8~ c~1e8se, ~:;ree~ I:len.se,
~reen ll~ht of sll!1riso.
1: lease,
rlease,
Please,
;',y hOMe, not these.
Lother's voice,
f1 It's 0:11.
a dream,
Come have some l.reakfast
Of c or!1 fla]cc 3 a"l(~ c rearr:.
IJ
II
''JaS'l your ha~c s,
Scrub you:" face,
mJ your heaG,
Say your r~race.
I'To,
'10,
'10,
I say to f3ther,
To Dash my hands
Is t 00 :-:1U~ h botl'ler.
:jrink you::- milk,
=~8t your peas,
:cs~ your ha'1os,
.1'..'10 rJon't cli'11b trees.
Fo, "10, no,
s r"y to tlother,
I
All ihese rules,
I'll not hear another!
?ishery, fishery, fid~lefu~ fow,
I S08 a f:_sh
In the water
-::<0101-1.
'Hshepy, His!:1ery,
I ~'Ja'1t a fish;
'"Till :"10 i:;e
~jidc'leHum
Hhine,
',' •
'I
.1ne.
~lishol'l~T,
slis'-ter~r,
sli(,~:lesllm
sin[;,
I cntch a fish;
A 1011''i'';.'101y
fi. hi:1C.
1
1.is:1ery, c ishery, c'icc~locum dine,
I eat my 1'ish
A!1c >le ta:::'tes
.1ine!
:~;r bT'ot:1er, ~Iike,
Always seems to like,
l<'_uces hi c 'L1 Cl:'lC' tall
. T:::'Ol~e
!!..'~
::!:
c ".~ I
a. 1 1., n t
i-J
i·
~ll8
t :'~o,
:1.1, 0.. t
[,,11.
uree
.t..
If) I)rivac~T.
'-~ill8. t I ";1i'~:lt
fa.ll
If I try to climb,
A~ ~ll, at all, at all.
lJra:1c hc~-­
are no cha:1ces
~J'other<:J. ~iCi
~here
ill n eli ml) a !l.d fa 11 .
'r () fun for C'le,
At all, at all, at all.
Count nw
I
;'10. 'IT e
fi:'li(~erS,
t e :l ,
-1 o~ce-Cln-Llo,
1
'
,
fa tieD.
r'
~.FoeC1
,f;]
';j ;c;le
::,(").0 e Z 0
them,
t
hG~l,
',·:o.ve l; hem,
So G t ::.e~l,
'U de t ~e1'1,
,':1 nc1. t:l e;l •
Count my fingers,
I
'lave to:1,
~~08dle-~c-hQ-ho,
=~~T f ~ t
~:1 e ~1 •
1 ['
~7
-'-'-l·C'M--"') 0..);;
_~.
':;:'0
J.C1c?
li~·c<
.l... ~ ~ u
~0t
v
'1"
. . . . we
'--~
(;,,>,.-.1"
f.....4.~
..,'i
t'.Jist t :wir t3.ilS
;'":.3,1:0 t:ler1 cn:'ly.
-;.I~Je~
:1Y I'U.I;PY :ts S;,-c:,
'U s t 3.i 1 c: lunly la:~s,
3ut ~~C~ ~c i~ very clad,
~-1is
td. J.
~
r-ll1:T
-.J~;':~s.
the CflY is S Ilt.ry,
thero i3~lt ~ pool,
7 e ~cncock's tail
-Jill kO'Jp :11:-: cool.
';'0:1
A~.d
The Leaver is so clover,
:r:s tail
~l:le
c,:~
t?. le
t:::; n lever.
t8.il Oj~
a H :vo..l e =. s~, (; C 1. 0 '1 ~ 0 f 3.
t~.10 to tsll, for t~1e t3.1e
of t~e tsil of n w~21e is a
',;:lal0 of 2.. t G_lo t:) t G 11 H~18Vl
~T()uTr}e telli~'·~ ~~~C to.le of Ct
t:>.i 1.
16
c_~
·~):Je
~tf
It'~l
~cve~c
a Sni60r
~T:1~ ~ot 2c s})i6er,
other :=JlJC;-TCauso ITC suroly set lost
, 0 '-1 0 :~. t h'1 1" ,Flr 1 e r~ r';'; •
"lac"
l~or 8.n~r
I~
snider "!:;rio( to do
0
'.-:1:'. t
8 -",~.
)~.-
1~1·
nE'
.,-l.."'~e
i.1.
3~).. 1")'3~~,r
c:
'~e'
,;:.;ul(
~l.e
Ii'
:1L<f.;C
~~F'ke
e"""
c~o
r'
,d
'.
,
rlJ:")ol~'lCrlS,
:=':Or.1e
h~.n .~lun
8:1C ·olue.
Cl '.J icycla
t J_~y podct1 n,
someone Sr"10111c .', i ve :lin
e 0.11c :""'ic.1e
0 iC~lt
'J5. th
'i ~lC ~
_~:iGht
s~l.in:r
neeals.
:1O'J
l.-JO.t i~2;
s ~:a :~:.10 tt j.,
~t:~lli,::.~ 8t~lle-. ;(1J1(, :)0 'J. tri.cty
L~3ti:1~
,uite
n08.1
lo~~ w~ile.
n
It seer',S th8t a 8Tir:er
'(lule :1ovsr '~e 8. ble
=0
+-1 i_ (1
keep all ~is ei-~t loss
r: C:, ~ ~ l ~ (~ e ~ t ~ 0 tal) 1 e •
:[01-1 C;
. ~_ th
oes
II
prn~~r
:10
e 50'1:1 t f ole' ee
h~,nds It
Anc foes he t~row co~fetti
At ~ay ~archi~~ 1 ~nd3?
r;1:1 e
82. i c:. c :.")
1-J olll(:
~:~2J.:::C
~~ui te
a funn~T c J.:JHn
IC?use 1-e'c try to shalee
.:, '"l C i :1 S -;: 8 8. c~ - - .f' ~. 11 cl 01'1 ~ l
-r'itll
ei·-lit
~~
:
";.
i
I
_.'
leG''''
l-'~"",,r
v...J... _1. ,,:
......} ~.) ,.J
18 not fast,
race Hith ['le
1S paCE
I~1
3.
~8T~
i~
still como
last.
1eT~ s~roly ~ot ca~~ht
O~ a:1 oEcalator,
~\·-!C 802"( ',lC '10u16 08
!!~
~"~
,
'1('
:13.(
~o
~tn
c,t:18~"
\.,.aus o·~,c
f"'I
.; ot
3.
'"li
CO
spider
~o
l u3,
l .'10,.
t..
~1C
S'
mot:lG"C'-;"lU:;.
17
ic'ors
rJ~~1ericlcs
~8.~ed
:. >'l:.xed-u:;; lacy
::2 c1r,
lad trouble setti~s her caock,
':"le::1 :3',le li 01.l~C her alarn
She b~oke her arM,
·::;0 ::10,,1 she H8.]~e:J}~--; ,!it~l the cock.
sailor f.r-om Cuba,
0::1 the t1,lLa,
-..'itcl o~e 10'.lc L:last
:7e fl'3H to the 'TI2.0 t ,
A::1d f~i~hte~ec away all of the tu~a!
r,I:'..src;
O~ClJ ';8.8
8.
-,::J.o coulC' play quite Hell
cn~Tt be sold
0 r cilver or :010.
hll the :;Q::>lc C 0.:1 see
"'hat s:-nles .'J.re .1~ree •
S~i18G
0
lilee no~ey
your face Sl.El~y,
. :[',Vi'lQ; 8ni188
':0~T".;
:';0.1:0
::)~.
p"tlt 0.
r
tle
r>
f
s~"'1iJ~e
>'0'H~
o~
i~ r:l3.~e
your face.
~i~1:ert3 tlre "(* ri e~c s to \,'1l i~
,; ..~ th 8. 3'l1.le or a c~ri!1,
30 sive sone away
_"n.C:l a~c every day.
Look
Fleasa~t,
~lease
I~ you ~evo~ smile,
You'll lose your frie!1ds.
If you lose your
~~e~
you
ca~'t
If you
ca~lt
You'll
SOO!1
frie~ds,
play.
play,
be bored.
A-::cl 1:1'Je~ you're t)orcc1,
You look so ~lun •
.!:'le~l you G.1"O
r.~lum,
Lif cis so :mr.1-Ctrum.
,_~
0--
Loole p loas8.~ t,
19
~)leQse!
~-Iap
i~08S
lS
t~le
'--:lue flash of a ro11i:1.':, hoop,
~~loo_~:
!,)')e!3ts
~~ope~od,
'.'lit~
u~love~
2.
Fi~d-blOlr~
colori~s
-F':i>acrGnce,
hook,
.c- at:) terl I'? rayons,
'T8H-:1O'.-I'1 ':ro.ss .~et;,-J08~ my toes,
l'~-:)ro S8.!10 i!1 my 32..nc1 box,
A cud~ly ~itte!1 I call Alvin,
Is_per (lolls to c::ness,
Ilayinc house u~der tho droopin~ apple tree,
A boy sreodi~s O~ a two-wheeler, a roc one,
/-\, :'big 0!10" O!1 tile en(~ of my li:1.o,
~) '1iffli~:-: s :::apdra'~ons,
T,iscoverins -caby kitte'1s i~ the ho.yloft,
ri·:~e I; llnr ftt ·=r8.~dp~t' s 110use,
~~e first day of school,
~~o r~seLus~es i:1. our backyard,
Lime ~opsicles i~ summertime,
?layi~r ne~t ~oor for a 10:1.~ time,
A Depper~int-strifed dress my mommy made,
'lair ribt o~s a~( b10~c curls,
Gettin~: over a tonsil operation,
Goi~r fow'1tow:1. ~ith mother and bo.oy sister,
1" ~}UChi!1= 118.:-:")(,
A surpriso birthday party for me,
A
~ew
~_, 8. S
t
Cr
baby brother,
r_~ lJ:1C ,~:r
,
the b l~i(; '::::0,
Jot choco1~te for breakfast,
('-ra'j(~P8 t s n:Jo(los,
A lIbla~kot tent ll t'u~oHn over the r8~ce,
- ad(1y c Ol':1i~r: :lOD18,
A bir; rec' sucl:er,
'J 8.1":-1 POQ":U t Lnt tor cookies on the c upb 08 rc,
A plnr)ki~C'ace ::1:1(' ~rick-or-tr8atin[;,
A~d swi~cin~ on the carde~ setcL
T]~der
20
To be of real vD,lue, a!1Y task or project must have a
purpose or de;'i:-lite coal.
If the ,":0801 is set amont; the stars,
ever visicle :ret u!1atta:LnaLle a:.1d i:.1ta"1:~ible, tho r'~oal becomes
a guide '0;)' ~'lhlch to steer.
Goals.
Hi::;h achieve!11enGs r03ult from higher
As f!o'Jert 3rm-ln::ns apI'ropriately said, IIAh, but a r:1an t s
reach should ,3=:ceed his [~rasp, Or \"J~la t' s a hea~len for?1I1
'rhe values of both the research raper and the creative
project I,dll :-lot only l;t)nefit ti1.e author lut her stude:.1ts as VIell.
As she steps into tho role of a teacher, her love and i!1creased
knowled:e of poetry can be shared with them.
As J. D. Priestley
reflects:
To show a child what has once delighted you, to
fi!1d the child's deliGht added to your OW!1, so that
there is now a double delight seen in the Glow of
trust and affection, this is happiness;
The teacher is a prophet, an architect, an artist, a:.1d
hopefully, a poet.
Any experience he C3.!1 tuck into his pa;3t is
of use in thE prose!1t ann a foundation to build 0!1 in the future.
A child in ps,rt
Y'
ef'lects the teachers he has encou!1tered durinG
l::>PA I~ 300k of quotations, A ;;e'H Collection of [,'amous
Sayings, Hef~.ecting the ~disdom and t he '.Ii t of Times Past and
Present a!1d I!1cluding !..he Virtuous, =~umorous, r.hilosophic Commentary .2l} L~.fe E.;r Een a!10. ~,.romen of Every A.r'1'e 'Ioge ther "11 th'"
f{~c~es froPl !,h~ rro!.~und \-;el~_s o~ the l:)ibl~Proverbs, and Anon1m1ty as selected oJ Frank11n llerce Adams.
(New York:
I~nk
& ja S!18011, s, 1952), p. 68.
~i'rom "obort 2~01-minG' s IlAndrea del
Sarto.!!
T'
2u.-.J.,~o-.·.!1ts .u. 0 .J:'o:loer,
T,c,eac~er
,
I 8.1ges,
")".
t
("Larc.,
h 1962), 9L:,.
.'. Priestley quotec in The '~:lClish l'~;sst.)
T',
-
11
73
~is edu.c ati on.
er af f ects e t
IIenl'y D. Ac1ams r ea2-:'firms this sta ter:1ent,
·
ern~
rIA
teach-
t Y; h
h
,.
-I!Il
,e can never t e 11__ '.'Lere
QJ.S ~_:...n.1.-"1uenee. svop",.
<"'
~or
'1ritine poetry
children has been very rewarding and
She e~joys writinc poetry as well as
satisfyinc to the author.
prose using allec;ories flnd new np}'roaehes.
It is a real c~elieht
to her to t:-li::::t reality jLlst a ;Jit a:1c ada a special human touch
of her mm.
A real cha:nenr:e is !)rovided oJ.ch time she arranGes
the ideas in her ':"1ind
b~-
trial and error '1c1til the puzzle fi ts
just right.
T":1e author definitely foels tho.t the i:1volveme:1t in this
project
;'12lS
i~cen
an asset to l:er as a potential teacher.
,-]hole realm 0::' poetry
anc~
has been opened to her.
practical and
ar~licab1e
'The
'Hhat it can offer to yonn:; a:1c old alike
She is :ratefu1 that
t~e
project is so
so~ething
to her career and that it is
she enjoyed doinc.
confident and nore capaile in her
as a result of her
researc~1
a~ility
to write for children
,9'-:1C the ar">Tice
b: =_r. -allou.
[~ive:1
T
She feols that tho poetry founf in her research serve{ as both a
suide and a :08.1 for her
the
~'1any
o~n
poet:::: in the cnst1e cave her a clearer- insicht into
ri.Ol' oS
tudents can nou aprree iat e
poetry b (; C 8.1.:1, se t
tlE!3. ,_~ ti:lOl'
:1G.::';
1'~. ~<,
..,
3.
:1(1 bee o:rto a'.'Jape of S00d
e:l C OU!l tered
it.
1,-..Jeo ;..'eue_.
1
l
rn"(.lle~'~ Tnea"'lre
(ea" e J , ~~e
.......
-,"J"onJ·l·~e
;-Tal1
1 QE
D
1Cc
Cliffs, '~.,T.:
. . . . : '... v
___"
.;.
,
/:;;;,6) ,
.....
; _) •
~J.
l;OGC
p:etry.
-'-V,","", ... ~
~
....
..:;)
..L
...;)~ ..
S:'lC
~~o·~"
... i J t J
v~
'\~
i 11 not
'7r::,
1./
be forci~G pCletr~T C~ her s tUC;.0~tS because lIi t is :~00d
:::)1'
them.!!
I~stead it will be a shari~~ process resulting from her love for
'1'he l~,tter of course is the ('03i-
after the i.:::d. tial pilc;rir1a.:e.
To '.Jl'ito poetry for
chiJ.c1r8~,
e~vi1"on.,'ne!1t
the total child and the total
the child's eyes.
to sec
t~e
does
~ot
~:enuine
chilel' S :/Jorld;
~1e
obvim:s.
Th.e
i~
one r.n1St ()e 2.ble to perceive
of the c::lild throuGh
chi:1.dron's poot
(lOOS
not f'1'.'etend
he (;.oe3, his prete!1se 1".rill te
doos not r9:nem'cer chilclhooc; he l'olivos it.
concoct
exporie~ce-
,Ie
in nclult Misconceptions; he is as
a child and they are his own experiences.
l-lot many poots ::1.:':'e capalle of accurately recordinC': the
er::otio':1S, aspirations, thow-..;hts, 2nd cisap"C)oinh1e!1ts of chilcJhocc1
rarity of tho really
pl~eC":i.car:ent
i:1
set through
t~:1.e
~ood
"!onc1erla~1C"1
children's
~oet
as :-:'ornos puts it.
:,;arco:1 (oar.
1I·.Jhe~l
S~le
Has too big to
After S::1.e drank the cO!1te!'lts
bottle, S:le c-)uld not roacll t:18 keyhole.
ac.ults.
is analosous to Alice's
o~.,
the
So it seeMS 1r1ith
yO'J. are snall 8!1mF;h you haven't the key; H;len you
hE'. ve the key, you aren't small 8~OU~I1.• II 1
Alaster
hood
a~d
Rei~
effectivoly sunmarized the essence of child-
hmv the poe t v i.e~·J s the c hila:
LJalter 3arnes, The Childre~'s Foets, ~~alysis and
6.2·'1"ai33.18 of t~l.e 8-reatcSt'::n,;lish .?-nc] American 1 oets for 8hilc1:.~en (Yo':1kers-.on--::rucso~, ~T.Y.: ',,'orlc} .. ook Co., 192TiT:" p. 221.
76
The p7i~cipal differe~ce botweo~ childhood a~d the
stases of life i~to which it i~visibly dissolves is that
as childro~ De occupy a limitless preso~t.
T~e past has
scarcoly 700[1 to exist, si~ce, if it ~ea~s a~ythi~G at
all, it me a~s o~ly the previous day.
'Hmilarly, the
future is i~ abeya~co; we a~e ~ot Mea~t to do a~ythinG
about it u~til we l>each 8. s-litaole sizo.
Corresro~C1i~,:ly, tho pr8se~lt ~ s e.:1ormous, mainly because it is all
there is--a carde~ is as vast as Africa, a:1d ca~ easily
bee one Af]>ica, at t he drop of a Hish. '.:alks al. . c cizz:;i::1G
adve:1tures; t~e ~ay~ ti~11e with u~k~ow~s, waitinG to be
made i~to '\o7o::1(Jors.
Living so utterly in the present, childre~ l:ave an i ~fini te r Q1:Jo:n t o t ro. ~sform; t hey a re a::' Ie to
l'1ake t~e -.forld lnto anyt~lln[~ they 1·;ish, a~d til.ey c.~o so,
ir1:l.. th 2_lac.~>i ty.
T~lere are no proconceftions, which is
H:1Y, ';'Jl1e~l a child tElls '"lS ;10 in ~~D.!;oleo~, -iJe hael bettel'
Lehave "lith the respect due to 8 3t'1.9.11 o:1peror.
Later in
life, tho transf'ormf't io~s al. . O f o"lie'c3on: they may prove
dangerous~
~y then, we move in a context of eypectatio~s
and precedents, of rast o:1d ruture, a:1d the present, whenever He manac;e to c2,tcll it a!1d :::eali~e it, is a shifti.~lg,
elusive question marl-:.
]abit tQlc:es over, a"1d days tend
to slip i:ltO piceo:illoles, D.ccounted for becB,use every thin::;
has hap:re~led before, liecs-nse He knoVJ by then that life
is lone; a~'lfl has to be i!1telJie;ently endured .,:.:;ccept
that, e~ler'y nmr a:1Q a~ain, one of t hes e mone::1ts occurs,
so tra~scendent i::1 its imlediacy, so amazinG in its extraordinary ordi!lariness, that HO ."et a sudde:1 ~;limpse of
vJhat chilC'hooc1 'Has all a':Jo,"-1.t R..nd of h01-1 mu,ch the prese~t
has receded befOI'e a c lu ttered pas t a'lc! an ar. .>cious
.
future. 1
~:;:;leanor
~j1ar
jeon concluded her Recina AHara Acceptance
Speech with these thOUGhts for
re~lectio::1:
I kne'H--I knm'T--tha t chilohood :i.s one of' the s to. tes of
eternity, and lIin that state He carle He shall return. rr2
lAlaster Reid, IIi\. Poet's ViOH of Childhood, It T:le Atla::1tic Eonthly, CCXI, Ho. 3 (:,larch, 1963), 103.
"
2 ~'
~>.Joon,,,eglnE
c::;>
•
AHar,
d Ac ceptance, 11 TiJ.e T·Iorn
.w 1 ea::1or .far
~:~L\V (April, 1959), 108.
~:~ook rJ:ar;azine,
SUf1YlARY AND CONCLUSIONS
A. .F 1 'OBLEH
To peruse the field of
people who have
write
ori~i~al
ma~e
childre~'s
co~trihutio~s
major
poetry, to identify
to this field,
a~a
to
poetry for children.
B. SUIIHARY
in~a te
'1:'he
esse:1ce of !'"1c..n--t"lis love for rhythmic, beau-
enotional interactions
nature--has
(~rawn
~ith
his
him to poetry.
e~viro~ment
~le
of both people and
may be the crec.. tor of poetry
or he May be the reason for its creation; he nay be a poet or
he may::::e a child.
spoke~
~i'or
many ce'1turies, naY) has
thoUi.s~"1t
poetry, writte~ poetry, and/or hec..rd poetry.
poetry has
~ot
poetry,
AlthouSh
ali-laYs b:;s'.1 uri tten specificc..ll:r for ther1,
chilc1ro:1 res'onase to poetry Hritten for adults Ions before they
were discovered as
s~ecial
recipients.
S]oken poetry can be traced back to prehistoric times-the dawn of poetry.
The Holy Bible laid the oasis for the first
written poetry to
follmvec by the::Jall8.c1 1-;:"1ich
>'8
various forms since the fourth century.
century, the
which hsf
~ame
tee~
of
!~other
I~
the
l."'louJ~ished
in
seventee~th
Goose "'Jas attached to D1J,rsory rhymes
in the process of
re~i~emo:1t
~or
~enerations.
'1.' he :'listcric up':leaval '\.-Ji thin the ":ornaYl Catholic Church
follo1-Jed
of the
~)'y
the Irotestant
protestin~
grou~s
:~eforrJ.ation a~d
the
resulti~g
fivision
is telievef to have influenced the
':"iti~["
of poetry for chilc1Y'en. duri!1?; this period.
I<ol'3.lizin.S
tra6itio!1alists soupht to toach lessons in behavior
t~e
of
t~e
child, poets
chose to ezp:ore the
t:1C
O~
c~il~'s
~umopists,
the
=dward
from the chil{1s [oi!1t of
~e~a!1 writi!1~
Various ;oets reflectef
~uri!1~
re~lm
of nature.
vie~.
Sara Teasdale is
worlf of fairylan.d u!1d the super-
'1a tural.
T
•
~.'icturcd
roets for ch'.u1ren
l:i1no,
~.,le8..:1or
~r.
roetry tho.t
the~lselves
the
clemo~lstrr.te(::
~HJP1c1
as the c'lil0 S8.H it.
the i1':;, ination of
t~le
11
ns.l~es
8.;;
A. A.
ch.~ld's
child in their
:;euss aDc1 T (~rothy Alclis ape tHO poets 1Nno have
~',lritte!1
ci':i.l(l'e:t Imvn a:tc1 a110\13 chi1(lr8.:1 to look ::tt
t:V:ly v10uld in. a
to urite poetry for chi Idrc!1,
chi1c~re!1'
three of his contemporary
c:arjeon., ane' other poets recreated
Hor10 of play a!1C'
poem3.
a~c
tevenson
uOUlS
s aut'10rs as >er
nirror.
11.S
,~ll.ides
T l1e author has a.ttempted
in.r; t 1:Lei;oems of sue ce S 3fu1
a:ll~
coals.
different reaSO!1s.
: OE try perr"lits c1:lild.re!1 to see themselves,
it rlakes then smile
o~
lates their
terpret it.
SO!1S.
18.'J.~h,
~nn~i~atio~,
it stirs their thoushts,
and it describes tho worlf as
r''1i1_orc:n lil:e poetry
~~or
it stimut~ey
i!1-
SOT,e or "II of these rea-
It is probaLle that c'lildren.'3 needs and in.terests 1;lil1
80
me t:u
rl
a~:,.
+-,.0 'e
used
u
0.8
f,1)'c:1
e~
ts for ::::,oetry.
It
seems unlikely th2t ~hi~dron's love fop poetry will ever ~ie;
the roots of a ' reci&tion and enjoyment of poetry are ~oerly
i''11106r~er in t11e po.st.
:;ince:J. love for poetry s:·'ro'J.ts ane' thrives
in c~ild~cn's hearts in the pr0ssnt, it is likely that the ~lture
yie J. l..::ll ev3n
~ill
~rite
~ore
f~11·.·1_tful
:1'"r'J('.C'\ts
o.s 'l'':'1ets continue to
~. --
for children.
C. CnXCUJSIO:NS
'!riti:1S poetry ·"'or children is not an easy task.
out the
a
COUJ"8,3
Hi(~eninr.;
and 6ims
<=':8.)
7~he
childhood.
of history.
~;etHe8n
ji,'lturity ane a('ultho<'"'d seem to produce
the p.rusent a':1o t:1e past.
!lc1ult's nenories
,'}S
he
~,lttemr,ts
I-:, is ('if""'icult to nrite poetry
same time, to challenre younS mjnds, to send
of~'
into unexplored 1,::a1 ms.
Thus
'1'11e author also
A veil (:listorts
to ':"ecreai:;e his
simpl~T,
but at the
thei~
ima~inations
e:~p8rie:lcec.
c: i1"~>i-
cnlties i:1 remenGerin r ,; :,or child:lOOC: and of bei'v"", 0.'010 to see the
'.lor16 as only a chilcl is able to do.
easil;;r
a~10
ideas
C:J.r:J.8
s:r'o~'Sa:leously;
did :1ot seem to 111aterialize
a:1d
9:~~:,~reciation
o~
paper.
,Sometimes
HON'S
f101'Jed
flt other times thoughts just
II. cleeper
underst"~dinp;
for chjlclren's poetry has been oeveloped ',!ith the
author's research a:1c pErsonn.l o.tter:pts t:) 'tJrite poetry.
'ooks
\68,~1S
- ess;'orter.
Abo1.lt.',ooks End ClJ.ildren,
0:' C);.ilr~~''''8!1' s Llterntupc-.-'··'Ocl York:
qistorical ~urvey
F[olt ': ('0.,
:-;3~1:"Y
1953.
:'opot~lY
Aldis,
lCeeley.-:efo""e 'l'hi!1r,s
l'utC1a:::l'S ::)0:18, 1939.
~IaPJ~c:1.
iJel'] Yorlc:
C'. p.
;3 r ot-:--,
:'8 ",,':"'.U:,
'.;8.1 ':;or, \. 1'1.
[~l:~Jf
The
':I'he 'jili lc;:>on t 8 ~ oet ~}, "na lys is 3.::.(1 An raist .i:1 c'lis 1: a nc Amcri can Foe t s for Chil-
\..Tre~3.~C ~
(~:'C:l:-- -:'~0~J,:erS-)':1-r~ldson,
~\;.y.:
~Jorlc
~jook Co.-;--I9~
;::e!1et, I'l'l:c a.
-:<8.nous Aneric9.n roots.
Co., 1950.
;";o('·k,
TmJarc:Jill',pc'.
:'" co., 1929.
i)elr i'oets of 'j'ocay.
;'arl:lsc":',feleCl ~ler:1, a:1C' l.:.;ato::.,
Yo n1:e r S - Cl-{url son, , , • Y. ~
~:eH
York:
~,o(1c,
:.oa6,
'J'haxtor.
'1';le Foe t! s Craft.
'.-orle: Eook Co.;-1935.
A~1!1e
I7-QY'c1:1Cr, :Smely!1 I_lizabeth, 8.C1G :~rL,.'TIsey, Lloise. ~\. Hancl;ook of
Chilcl'cn's Literature, :~ethods 8..'l(; lInteri'als. ~T8H York:
~'COt' +·"orD8~a'"
f~, ('0
u ,
v,,- .. L1
• .1,
\/ ., ]027
_/ •
lo_",
'-Iuck,
C~apolotte 3., a:1-1 '!.oun::.:;, LOY'is A.
ChilcY'el1'
i!1 tr1.~ ;.:,lerlcl1tapy Sc hool.
'TeH YOl'k:
T{ol t,
s Litcrature
"i nehart, t·
-:i!1st;on, 1'1C., 1961.
Y'-,eiss, r-:or!1elio., ~at:):1, .'\"1'1e, ?Tes-l\itt,,,lizabeth, and lJicue;:>s,
=~uth -r.ill.
A Criti'-'''l -UstOY'Y of Childre:l t s Literature,
A ~)Ll.r\TeV of l;'lilcrref.l'TS ooks i!1. ::::'~u'lish fron :.r...arliest
Tin;:e;--r; the Fr1Jsent, :0Y'opared i~ four l;arts u!1.ccr the
e2itor:3rup of CO:"'1elia TIoif,s.
"Tel-: York:
l:acmilloJ1 Co.,
loe3
/./
.
81
i~lller,
: crt~'la ~:,. :.aho~ey, PClC~ ·~:'.it~oy, .. 1i:lOr.
Eealms 0:;:' ,'cld
i:1 r:::;ilcr'e~'s :'ooks.
''1'''08:1 City, 'T.Y.:
:Sonblec3n.7-,-1T
-.
'(',,0., ] _/029 •
(
rill
' p ..
'
--"' t,10:1
'
no "'~)
: -01"2.':1, ::
\.'le
._'2._,
L,n
.c,C1
0 I" II ,.
_c""0''''
'~oys a:1C) rarliJ--A 3lF~'C:;tivo :t,JrC~'1aSe IJ:Lst pr:".vicu81y
l'ubllshed b~r t:-e ,"oolesho!) for ~:J)oys a:1d C'irls,:or18'1' 8
:""cHc~ltio:18.1 :I.'--:>'C' I~f!~lstrial TInion, :ostO'l, Tiassachnsetts.)
C'
;'oore, A'1C1i8 L.
Literature Old a'1.d "Tell for C11ildren, l:aterials
- - 'JCH
--v
- k ----r'J OUr-;:,_ht 0':1 '"
for [l -Col1er,;e
Course.
~or:
1~1 f I~ l '
1'1. r... 0 . ,
- - " ".....
...
1934~~
-
~ewber7 :~eda:-
-~--:"~I'
I ...
,...;~:..;:.,-
1922-1955, ~ith
AcceptaClce Papers
_ _ Author~'
ho.te:>ials from :-Iorn ook.ii :c.azine. 'Sci ted by
"o2:',tha ~. I~c.ho~ley =:ill8'"ranc ~~:linor -.Jhitney"ield.
'"''
k -l'apers, 'I'',0.
1 I•) "'OS t ,on:
'r e.le.orn
.~'
(.:.:le'.orn
00.
~oo k ,
T
laC:'£:'
_nc.,
/,..J"';.
8:1C:
~ooks:
:~c18te(:
'
]'-'';]
_
'1
T
:]
,
. . cnerman,
,'a\'ll:"".,
3..'1C- ."lee- I'1C h , nosemarle.
• merlca, ~
~ ~
::Lts _Triters, 1':--.e Story of Americ:1'1. Literature~or YounG
Readers with Pictures of the Cou'1.try that Insp1red It •
. ,,eH -',',
d- ;
" -9,
lqt'6
--.
or.k---'
~
,';0 'C, ; eac , : '..;0.,
,,).
C!
C)
,
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'
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-('1-
The Gole,en 'l'J:'easury of Foetry.
So Ie c tee "1'1.(' 1'>1 i th a Commentary b:'
LouiE: TJntermeyer.
New York:
Golden Press, Inc., 1959.
Articles 0.'1.(: Popiodicals
Arbu thnot, I'ho_Y Hill.
"Sins It Asai'1., II Top of the News, XV, No.
(Ihrch, 1959), 5~.-5e..
SU'1.zel, Peter.
3
1!'J!acky;10rlo of 1.1". Seuss," Life, ~~LVI (April 6,
1959), 107-108+.
Cab..'1, T'obert.
"'J.'he '.ro!1deri'ul 'dorld of 1;1". Seuss,1I Satur>oay
-:::;ve'1i'1.g lost, CCXX\ (J1l1y 6, 1957), 17-19+.
::.:uff, An'1.is.
~~
0 •
..:
"'1'he ,:,Jorld a:1d the Sy!irit,fl '1' 0£ of the ":eHs. XV,
(,,'
h 1 0I:;>£:'9) ,>c-"(' 62 .
- -l"a:'c,
Parjeo'1, :.leBnor.
"Hegi'1a A~mrc Acceptance, If The dorn 300k 1,:a0'a,~l'1e,'C=:'=V (April, 1959), 10S-108.
(A"C"Cepted in Eis~r­
jeo!i'~: '1.ame by I.d~mrC' .'\r(':i:370'1.e at the rneeti'1g of the Catholic Lib:'ary Associatic'1 i'1 Chic9g0, Ill.,
,'arch 30, 195'9 •
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1'1.0
Ie 1 0'1.
"/.ill
.,. . .
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",10
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,1
r-100 '-r-,e,l~'
1. i-l·'iC'.~, II
(AIJril, 19S9), 112-119.
'P'
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k 1',8.00.>:
-- -
-
~)ei(l, ~·.laster.
12,
lfA ;oet';:, 'JieH of CClilc:100d," The Atlantic I"lonth,jC':I, Xo. 3 (?/arch, 1963), 102-10)+:--
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1aoo,;;: 'ooer s, ~ ~~ "i'.gaZ1'1.e,'.'c""L~
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1<11
1962), 137-11!D.