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For permission to quote poems reprinted, wholly or in part, in this volume, grateful acknowledgments are tendered the following publishers and poets:

The Poetry Lovers, New York, through Florence Wilkinson Evans: the poetic definition of "Poetry" by Annie Laurette Laney used on title page.

The Youth's Companion Company: "Rainy Days" by Mabel Earle.

Charles Scribner's Sons: "Invictus" from Poems by W. E. Henley, "The Flight of Youth" by Richard Henry Stoddard, and "Today I Went Among the Mountain Folk" from The Cycle's Rim by Olive Tilford Dargan.

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Ralph Fletcher Seymour: Song of an April Fool" from Songs of the Skokie and Other Poems by Anne Higginson Spicer and "The Shop" from Profiles from China by Eunice Tietjens.

George H. Doran Company: "Trees" from Trees and Other Poems by Joyce Kilmer.

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The John C. Winston Company: "A Cyprian Woman," also known as 'Under Dusky Laurel Leaf" from The Factories with Other Lyrics by Margaret Widdemer.

The Independent Company for "The Cornucopia of Red and Green Comfits" by Amy Lowell.

Alfred A. Knopf: "Women Before a Shop" from Ezra Pound's Lustra.

Alfred A. Knopf and Alfred Kreymborg: "Ing" by Walter Conrad Arensberg, included in Others, 1917.

Houghton Mifflin Company: "Oread" and "Sea Gods " from Sea Garden by "H. D.," ""Rain Poem" and "Over the Roof-Tops" from Irradiations by John Gould Fletcher, "Paradox" from The Door of Dreams by Jessie B. Rittenhouse, and Longfellow's "Morituri Salutamus."

The Macmillan Company: "Elsa Wertman" and "Hamilton Greene" from The Spoon River Anthology by Edgar Lee Masters, "I Love My Life" from You and I by Harriet Monroe, "Flammonde" from The Man Against the Sky by Edwin Arlington Robinson, and Spring Night" from Rivers to the Sea by Sara Teasdale.


Henry Holt and Company: "Birches" from Mountain Interval, and "October" from A Boy's Will by Robert Frost, "Days," and "The Four Brothers" from Chicago Poems, and "The Corn Huskers" by Carl Sandburg.

John Lane Company: "The Soldier" from Rupert Brooke's Poems, and "What of the Darkness?" from the English Poems of Richard Le Gallienne.

D. Appleton and Company: "Thanatopsis" from the Collected Poems of William Cullen Bryant.

Duffield & Company: "A Club Man's Requiem" by Martha Gilbert Dickinson Bianchi.

Zona Gale for "Mother."

Mitchell Kennerley: "It Rained All Day" from The Quiet Singer and Other Poems by Charles Hanson Towne. Frederick A. Stokes Company: "The Barrel Organ" from the Collected Poems of Alfred Noyes.

The Century Co. for "The Night Court" by Ruth Comfort Mitchell.

John Vance Cheney: "The Happiest Heart."


It may be plainly stated, in beginning, that this little book is in no sense a didactic or technical treatise, that it sheers humbly far away from the academic or educational religion. Textbooks, conveying formal poetic information, offering best and most incontrovertible of studious reasons for the why and how of poetry reading, are thicker than flowers in May or sad hearts in war time, but here is no hint of addition to their number.

The best argument that can be advanced in favor of marriage is that marriage has been found happy. The best of all reasons for reading poetry is because one loves it. And the best way to read poetry is with the love that, for love's sake, finds its own pathway, works its own miracles of sympathy and understanding.

The simple intent, therefore, of "How to Read Poetry" is to assist the lay poetry lover-far more numerous and universal

than might be imagined-to comprehend and, if necessary, defend his affection; to remove the curse too widely laid by scholastic injunctions and "required reading;" to persuade the non-poetic reader who, for whatever reason, believes that he does not like poetry that at heart he really does.

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