New York, 1911. George Bellows. Oil on canvas, 42 x 60 in. National Gallery of Art, Washington, DC.

Collection of Mr. and Mrs. Paul Mellon.

586
 U N I T
FIVE
Beginnings
of the
Modern Age
1910–1930
“ It was a long time ago.
I have almost forgotten my dream.
But it was there then,
In front of me,
Bright like a sun—
My dream. ”
—Langston Hughes, from “As I Grew Older”

Theme 7
New Directions
pages 597–716

Theme 8
The Harlem Renaissance
pages 717–765

BEGINNINGS OF THE MODERN AGE
587

 Beginnings of the Modern Age

Setting the Scene

On March 3, 1913, a lanky, long-faced, scholarly man—Woodrow Wilson—arrived in
Washington, D.C. Though he would be sworn in as President of the United States the
following day, he arrived almost unnoticed. That same day, crowds flocked to a contro-
versial march by women demanding the right to vote. As the women marched, supporters
cheered and opponents yelled insults and jeered.
The next day, no competition drew attention from Wilson. A huge crowd of 50,000
people or more gathered to applaud his stirring inaugural address and his promise of a
“New Freedom” for ordinary people. Women’s right to vote, however, was not on his
ambitious agenda, nor was the devastating world war that was to come. But these issues
would come, and Wilson and the nation would face them.

Active Reading
Strategies
Reading the
Time Line
1. How many years
passed between
Germany’s attack
on the British ship
Lusitania and the
United States’
declaration of war
on Germany?
2. What European
economic troubles
occurred just three
years before the stock
market crash in 1929?

The National Urban League German submarines

is formed to assist African sink a British ship, the
U.S.A. Americans moving into cities Lusitania, killing 1,198 1917
people, including 128 The United States declares war on
Americans Germany

1910 1911 1914 1915 1915–16 1917

Japan takes Mexican President Porfirio The Panama Approximately one million In Russia, a revolution
over Korea Diaz is ousted; Manchu Canal opens Armenians die as Turkish troops overthrows the govern-
World dynasty is overthrown in China force them from their land ment of the Czar

588
UNIT 5

History of the Time
The New Freedom
“There is one great basic fact which underlies all the
questions that are discussed on political platforms at the
present moment,” declared Woodrow Wilson in 1913.
“That singular fact is that nothing is done in this country
as it was done twenty years ago.” New technology—the
automobile, the radio, the movies, the telephone, and
the airplane—opened up the world and bound the
expansive nation together.
Wilson’s election reflected a number of popular
demands. Many people wanted the government to limit
the power of huge business interests. Congress passed
laws to protect the rights of consumers and lowered
tariffs, or taxes, on imports into the United States.
Imported products could better compete with the
products of large U.S. corporations, reducing the profits
of these corporations. In addition, state governments
ratified constitutional amendments that granted women
the right to vote.
At the same time, more Americans left rural areas
for cities. By 1920, for the first time in the nation’s
history, city inhabitants outnumbered rural dwellers.
Many African Americans left the rural South with
hopes of greater freedom in northern cities.
The Nineteenth Amendment gives women the right to vote;
prohibition on the sale of alcohol begins
1921 1924
Congress passes the first law sharply Congress declares all Native Americans
limiting European immigration to be citizens of the United States
1920
The League of Nations meets for first time, in
Geneva, Switzerland; Mohandas Gandhi starts a
nonviolent movement against British rule in India
1910–1930
War!
In August 1914, Europe burst into war. Great Britain,
France, Japan, Belgium, Serbia, Russia, and Italy
formed an alliance against Germany, Austria-Hungary,
Turkey, and Bulgaria. In the Atlantic Ocean, German
submarines torpedoed ships carrying supplies to Great
Britain. As American passengers died on these ships,
anti-German sentiment grew in the United States. In
1917, with Wilson declaring that “the world must be
made safe for democracy,” the United States formally
entered the war against Germany.
In this war, tanks, artillery, machine guns, planes,
and poison gas caused death and destruction on a
scale previously unmatched. Finally, on November
11, 1918, the exhausted, bloodied opponents stopped
fighting after Germany and its allies surrendered.
About 115,000 Americans died in the war, but
Europe lost a generation—nearly 10 million
people.
The Roaring Twenties
Repulsed by the senseless slaughter of the war,
Americans attempted to withdraw from the rest of
the world. Politicians rejected Wilson’s pleas to join
the new League of Nations and approved severe
immigration restrictions.
Many Americans expressed a desperate yet creative
hysteria in new jazz rhythms, outrageous fashions, and
wacky fads, and in obsessions with money, motorcars,
and youth. On October 29, 1929, however, the excite-
ment ended. The stock market crashed and countless
investors lost all their savings. An extraordinary era
had come to an end.
1929
The stock market
crashes, marking the
beginning of the Great
Depression
1925 1926 1928 1930
Economic turmoil leads Fifteen countries sign
to a general strike in the Kellogg-Briand Pact,
Great Britain renouncing war
BEGINNINGS OF THE MODERN AGE
589
 Beginnings of the Modern Age

Life of the Time

People are talking about
Three Tragedies In 1911 a fire at New York City’s Triangle
Shirtwaist Company kills 146 people—most of them female
workers—trapped behind locked doors. The next year the
Titanic, a luxury ship on its first voyage, hits an iceberg and
sinks. About 1,500 of its 2,200 passengers die. In 1918 a deadly
influenza epidemic kills 500,000 in the United States, and an
estimated 30 million people worldwide—about three times the
number killed in World War I. º

Freedom for All?

Congress continues to close Triangle Shirtwaist Company, destroyed by fire, 1911.
the celebrated “open door” to
America. Immigration restrictions in 1921 and 1924 target Asians and
southern and eastern Europeans. Membership in the Ku Klux Klan surges
past 4 million in 1924. The Klan directs hate and violence against African
Americans, Jews, Roman Catholics, and union members.

≠ Wheels and Wings By 1927 there are more than 20 million automobiles
in the United States. In the air, stunt flyers become popular. In 1921 Bessie
Coleman becomes the first licensed female African American pilot. In 1927
the country goes wild when Charles Lindbergh flies solo from New York to
Paris in 331/2 hours. Five years later, Amelia Earhart becomes the first woman
Bessie Coleman to fly solo across the Atlantic Ocean.

Firsts
• Montana’s Jeannette Rankin becomes the first woman elected to Congress. (1916)
• Gertrude Ederle becomes the first woman to swim the English Channel. (1926)
• Robert Goddard launches the first rocket powered by liquid fuel. (1926)
• Donald F. Duncan introduces the yo-yo, based on a traditional toy from East
Asia. (1929)

1912
U.S.A. Native American 1914 1918
Jim Thorpe stars at the African American sculptor Meta Vaux The United States goes
Olympic Games Warrick Fuller completes Ethiopia on daylight saving
in Sweden Awakening time for the first time

1910 1911 1915 1916 1918

Norwegian explorer Roald Amundsen reaches German-born physicist Albert A worldwide influenza
the South Pole; Marie Curie wins the Nobel Einstein announces his general epidemic kills an estimated
World Prize for Chemistry theory of relativity 30 million people

590
UNIT 5
 1910–1930

Food & Fashion

New inventions and international events change the way people eat:
• Toast becomes easier to make with the development of the electric toaster in
1909—and easier still with the automatic toaster a few years later. º
• Anti-German sentiment is so powerful during World War I that sauerkraut is
now called “liberty cabbage.”
• In 1924 a typical family spends thirty-eight percent of its income on food, nearly
three times what an American family spends today.
Fashions change dramatically in the 1920s:
• Fashionable young women wear shorter and shorter skirts, which finally
skim the knee.
• Short “bobbed” hair shocks some people, who also watch in horror as women paint their lips and rouge their cheeks.
≠ Many of these fashion elements come together in the “flapper,” a symbol of
the new woman of the twenties. In reality, few women are “flappers.”
• Men’s clothes become more informal and more colorful.

Arts & Entertainment

• Many African Americans migrating from the South settle in New York’s Harlem. By the
mid-1920s, African American writers, artists, and musicians usher in the Harlem
Renaissance.
• The rhythms of jazz come north from the African American clubs of New Orleans, spread
by masters such as Louis Armstrong, Jelly Roll Morton, Duke Ellington, and Bessie Smith.
The music gives the Jazz Age its name and influences composers such as George Gershwin
and Aaron Copland.

• Americans burst into song. George M. Cohan’s “Over There”
sends soldiers to war, and “How Ya Gonna Keep ‘Em Down on the
Farm (After They’ve Seen Paree [Paris])?” welcomes them home.
Amusements
• “The Sultan of Swat,” Babe Ruth, hits sixty home runs in 1927,
setting a record that will last thirty-four years.
• Movies become the most popular form of entertainment. In
1930 weekly admissions totals reach ninety million.
Critical Thinking
Connecting Past and Present
1. Make a list of the popular pastimes and
forms of entertainment of the 1920s.
2. Write an essay comparing and contrasting
popular pastimes of the 1920’s with those of
today. Include at least two examples of popular
music, literature, or topics of conversation for
each time period.

1924
Duke Ellington and the Washingtonians 1928
make their first recording 1927 Walt Disney’s Mickey
The Jazz Singer Mouse makes his first
The population of the United is the first talking appearance in
States reaches 106 million motion picture Steamboat Willie

1920 1924 1925 1930

Chamonix, France, hosts the first Winter Olympics;
An earthquake in northwest China anthropologists find the fossils of an ancient The world population
kills nearly 200,000 people hominid, Australopithecus, in southern Africa approaches 2 billion

BEGINNINGS OF THE MODERN AGE
591

 Beginnings of the Modern Age

Literature of the Time

PEOPLE ARE READING . . .
War Propaganda When the United States goes to war in 1917, the govern-
ment’s Committee on Public Information blankets the country with 75 mil-
lion leaflets, pamphlets, and posters aimed at recruiting soldiers and
explaining President Wilson’s war aims to the people. º
About Manners The loosening of conventions after World War I leaves
people confused about proper behavior. Their search for guidance makes
Emily Post’s 1922 book, Etiquette, a best-seller. Post remains America’s
chief arbiter of manners for more than three decades.
Magazines, Magazines, Magazines New magazines reflect the changing times. In the
American Mercury, H. L. Mencken expresses the critical, mocking spirit of the day.
Time summarizes the news, and Reader’s Digest condenses magazine articles.
“Confession” magazines and gossipy movie magazines sell well.

People Are Writing

Parodies Americans react to political and social events with clever slogans and
humorous parodies in verse and song. Even the sacrifices of war (such as sending
supplies to the armed forces through the Y.M.C.A.) are parodied in rhyme:
“My Tuesdays are meatless,
My Wednesdays are wheatless,
I’m getting more eatless each day.
My coffee is sweetless,
My bed it is sheetless.
All sent to the Y.M.C.A.”

Petitions Supporters of woman suffrage produce a petition 18,000

feet long with nearly 500,000 names. However, during World War I, the government
jails petitioners demanding repeal of repressive laws designed to prevent antiwar
protests. º

1914
Jane Addams, Gertrude Stein,
U.S.A. Twenty Years at Tender Buttons
Hull-House 1912 1917
Edna St. Vincent Millay, Edgar Lee Masters, William Carlos Williams,
“Renascence” Spoon River Anthology “All Que Quiere”

1910 1912 1913 1915 1918

Switzerland: Carl England: George China: Lu Hsün,
Jung, Psychology Bernard Shaw, India: Muhammad Iqbāl, The Secrets of the Self; “A Madman’s
World of the Unconscious Pygmalion Japan: Akutagawa Ryūnosuke, Rashōmon Diary”

592
UNIT 5
 1910–1930

Literary Trends: Modernism

“World War I . . . destroyed faith in progress, but it did more than that—
it made clear to perceptive thinkers . . . that violence prowled underneath
man’s apparent harmony and rationality.”
—William E. Leuchtenburg, The Perils of Prosperity
With their belief in human reason shaken by war, artists strive for new
ways to portray the world. Painter Pablo Picasso, instead of reproducing
what one sees from a single perspective, shows
multiple perspectives in one painting. Composer
Arnold Schoenberg abandons the traditional
eight-note scale and creates music using a
twelve-tone scale.
Writers also abandon conventions. Many create
characters who, like real people, think in a continu-
ous flow of ideas that seem to go in several direc-
tions at once. T. S. Eliot, William Faulkner, and
Irish writer James Joyce make this stream-of- Portrait of Gertrude Stein, 1906. Pablo Picasso.
Oil on canvas, 100 x 81.3 cm. The Metropolitan
consciousness style famous. Another writer, E. E.
Museum of Art, New York.
Cummings, writes poetry without punctuation,
capitalization, or even straight lines of text. These
and other Modernists, with their emphasis on the new and
E. E. Cummings untried, throw open the doors of possibility to all who follow.

FOCUS ON . . .
The Harlem Renaissance
African Americans who throng to New York’s Harlem turn it into a
vigorous, fertile cultural center. As W. E. B. Du Bois and others urge the
expression of racial pride, writers focus on their own lives, culture, and
identity. The fresh, new subjects and skillful writing attracts publishers
and readers to the works of many writers, including Langston Hughes, Jean
Toomer, Countee Cullen, and later, Zora Neale Hurston. However, with
the economic depression of the 1930s, the Harlem Renaissance fades.

Harlem Renaissance novelist and

literary editor Jessie Fauset

1923 1924 1927

Jean Toomer, “Song of the Son”; Robert Frost wins the first of his Carl Sandburg,
Claude McKay, Harlem Shadows four Pulitzer Prizes for Poetry The American
1922 1926 Songbag 1928
T. S. Eliot, Langston Hughes, Margaret Mead, Coming
The Waste Land The Weary Blues of Age in Samoa

1920 1922 1924 1925 1930

England: Katherine Chile: Pablo Neruda, 1926
Mansfield, The Twenty Love Poems England: A. A. Milne,
Garden Party and a Song of Despair Germany: Adolf Hitler, Mein Kampf Winnie-the-Pooh

BEGINNINGS OF THE MODERN AGE
593

 Beginnings of the Modern Age

Novels of the Time

Like all of American culture, the novel is profoundly changed by World
War I. Many writers and artists see the war as a tragic failure of the old
ways and, more than ever, seek to cast off the traditions of the nineteenth
century. “Make it new,” is the cry of poet Ezra Pound, and novelists
explore new subject matter, new styles and points of view, and new narrative
techniques. In short, they create the modern novel.

The Great Gatsby

by F. Scott Fitzgerald (1925)
Both the glamor and the dark side of the twenties are reflected
in Fitzgerald’s story of Jay Gatsby, with his mysterious wealth, his
lavish parties, and his idealistic but doomed pursuit of a woman
and the American dream. The relationship between the un-
sophisticated Midwesterner Gatsby and socialite Daisy Buchanan
highlights the changing face of American society after World
War I. Told from the point of view of Gatsby’s neighbor, Nick
Carraway, the story captures the spirit of the Jazz Age, a period
that Fitzgerald called “an age of miracles, an age of art, and an F. Scott Fitzgerald
age of excess.”

The Age of Innocence

by Edith Wharton (1920)
Through the story of a doomed love, Edith Wharton presents an
illuminating study of upper-class New York society in the late
nineteenth century. In a perfect match, worldly and wealthy
Newland Archer is engaged to May Welland, young, beautiful,
and a member of the same elite social circle. Into this rosy picture
steps the exotic Ellen Olenska, wellborn but bearing the burden
of a mysterious past. Swept away by Olenska, Archer is torn
between her and his bride-to-be. Wharton was awarded a Pulitzer
Prize for this story of Archer’s struggle between passion and
society’s conventions.
Edith Wharton

1911
Edith Wharton, Ethan Frome
U.S.A. 1912
James Weldon Johnson, 1914
Autobiography of an Theodore Dreiser, 1918
Ex-Colored Man The Titan Willa Cather, My Ántonia

1910 1912 1913 1915

Germany: England: 1914 Mexico: Mariano Azuela,
Thomas Mann, D. H. Lawrence, Japan: Natsume Sōseki, Kokoro; The Underdogs
World Death in Venice Sons and Lovers Spain: Miguel de Unamuno, Mist

594
UNIT 5
 1910–1930

Critics Corner
Too Much Sun
“There was a time, and it went on for weeks, when you
could go nowhere without hearing of The Sun Also
Rises. Some thought it was without excuse; and some,
they of the cool, tall foreheads, called it the greatest
American novel, tossing Huckleberry Finn and The
Scarlet Letter lightly out the window. They hated it or
they revered it. I may say, with due respect to Mr.
Hemingway, that I was never so sick of a book in
my life.”

—Dorothy Parker in the New Yorker, October 29, 1927

Rises.
vie, The Sun Also
Scene from the mo

The Sun Also Rises

by Ernest Hemingway (1926)
World War I, though long over, casts a
heavy shadow over this story of members
of Hemingway’s own Lost Generation—
young people psychologically and perhaps
physically damaged by the war. Set in the
cafes of Paris and the bullrings of Spain,
Hemingway’s novel paints in poignant
detail the aimless lives of a group of cyni-
cal, disillusioned young people living in
Paris, a life Hemingway himself had lived.
Narrator Jake Barnes returns from the war
wounded. His love of Lady Brett and
resentment toward her fiancé Mike
Campbell fuel this story of longing and
loss. Ernest Hemingway

1929
Theodore Dreiser, An American Tragedy; William Faulkner, The Sound and the Fury;
Ellen Glasgow, Barren Ground Ernest Hemingway, A Farewell to Arms

Sinclair Lewis, 1922 1928

Main Street Sinclair Lewis, Babbitt Claude McKay, Home to Harlem

1920 1922 1925 1927 1928 1930

Germany: Hermann Hesse, Siddhartha; England: Virginia India: Bibhuti Bushan
Ireland: James Joyce, Ulysses, published Woolf, To the Banerji, The Song of
in Paris Lighthouse the Road

BEGINNINGS OF THE MODERN AGE
595

Beginnings of the Modern Age

Language of the Time

How People Speak
Radio Talk Individuals and families spend hours in front of the radio, which
delivers not only news and entertainment but a uniform English that begins to
influence the way people talk.
Marvelous! The Roaring Twenties generation goes to extremes in speech as in
everything else. Things are not merely good, they are “divine,” “keen,” “super,”
or “marvelous!” People take delight in clever, slangy expressions, such as the
following terms of approval:
– the cat’s meow
– the bee’s knees
– the tiger’s spots

Wordplay
Jazz What is the origin of jazz, the word that names a
decade? Some believe it came from the name of an African
American musician, Jasbo, or Jas, Brown. Others trace it to
West Africa. The Tshilubia word jaja means “to cause one to
dance,” and the Temne word yas means “lively or energetic.”
No one knows for certain. Jazz Horns, 1930s or early 1940s. Adolf Arthu
r Dehn.
Watercolor on paper, 15¹⁄₈ x 22⁵⁄₈ in. Priva
Crosswords On December 21, 1913, the first crossword te collection.
puzzle—called a word-cross—appears in the New York World newspaper.
In the 1920s, a book of crosswords is published, starting a national craze.
Critical Thinking
Beginnings of the Modern Age
1. In a small group, discuss the impact of World
War I on life in the 1920s.

New Words and Expressions 2. How was the experience of World War I
reflected in artistic, musical, and literary
“We could almost write the history of civilization merely from trends? Share your ideas in a group discussion.
linguistic evidence.” —Albert C. Baugh and Thomas Cable
From World War I From the Automobile
parachute camouflage sedan filling station, service
bomber shell shock sports car station, gas station
tank (weapon) bail out convertible backseat driver
blimp flame thrower blowout parking lot
dog tag slacker retread hitchhike
gas mask jalopy

596
UNIT 5
 7 New Directions
Do you ever feel like taking a new direction in your life, doing something
quite different? What new directions might you take? The writers in this
theme took new directions in their work and in their lives, creating new
forms of writing to accompany the great social and economic changes of
the “Modern Age.”

Abstract Portrait of
Marcel Duchamp,
1918. Katherine S.
Dreier. Oil on canvas,
18 x 32 in. Museum of
Modern Art, New York.

THEME PROJECTS
Learning for Life
Illustrate a Book Imagine you are illustrating a
book called New Directions: Poetry and Stories from
1910 to 1930.
1. Choose seven or more selections in this theme
that you enjoy. For each, identify one image that
has a strong effect on you.
2. On separate sheets of paper, sketch one image
for each selection you have chosen.
3. In a small group, discuss your sketches and the
reasons why you created each image. Then turn
your sketches into color illustrations and put
them in a book with copies of the selections.
Share your book with the class.
Listening and Speaking
What Should Poetry Be? With a small group, read
ten poems in this theme to answer the question:
“What should poetry be?”
1. As you read each poem, discuss how that poet
might answer the question. Support your ideas
with such details from the poem as subject,
rhyme, rhythm, images, figurative language, and
word choice.
2. After you have read and discussed all ten poems,
decide whether the poets have similar or differ-
ent ideas of what a poem should be. Then pre-
sent your findings to the class in the form of a
panel discussion.

BEGINNINGS OF THE MODERN AGE
597

 Literature
Imagist Poetry
The New Poets
At the beginning of the twentieth century,
poetry was changing. A new group of poets
known as the Imagists rebelled against tradi-
tional poetic forms and the romanticism of
nineteenth century poetry. They wanted no
part of predictable rhyme and rhythm or of
conventionally “beautiful” subjects. Imagists
found the tone of traditional poetry too
sentimental and “high-minded.”
Think, then, how a reader of the time,
unfamiliar with the works of these new poets,
might have responded to a poem describing
the evening:
“When the evening is spread out against
the sky
Like a patient etherised upon a table.”
These lines, from “The Love Song of
J. Alfred Prufrock,” by T. S. Eliot, provide
a classic example of imagist poetry.
Poetry Is . . .
The Imagists held the following principles:
Amy Lowell
598
UNIT 5
F O C U S
• The image is the essence, the raw material, of
poetry.
• Poetry should be expressed economically—
with brief, clear, concrete language to
convey precise images.
• These images should instantly convey to the
reader the poem’s meaning and emotion.
• The language of these poetic images should
be similar to the ways people speak—not
made up of predictable rhythms and
rhymes—but expressed in freer and more
modern verse forms.
• Topics for poems do not have to be high-
minded or “poetic.” In fact, no topic is
unsuitable for a poem.
The first poem in this theme is another
classic imagist work. Titled “In a Station of the
Metro,” it tells of a vision in a subway station.
The poet, Ezra Pound, had originally written
a poem of thirty lines. He then cut words,
making the poem more precise, until it con-
tained only two lines, fourteen words, and two
striking and powerful images.
Besides Ezra Pound, who founded the group,
the American Imagists included Hilda Doolittle
(who published her poetry under her initials,
H. D.), and Amy Lowell. Among the many
other modern poets who were influenced by
the Imagists were Conrad Aiken, Marianne
Moore, Wallace Stevens, and T. S. Eliot.
ACTIVITY
In a small group, discuss some everyday scenes that
might be good topics for imagist poetry. Choose one
scene and decide what its central image is. Then list
words and phrases that might clearly convey that
image and its emotional tone. Try to appeal to senses
other than just sight. Share your group’s work with
the class.
 Before You Read
In a Station of the Metro and A Pact

Meet Chicago’s Poetry magazine, a position

he used to nurture the careers of
Ezra Pound
Robert Frost, T. S. Eliot, and other

“person
Pound is a fine fellow, but not one
in a thousand likes him, and a
writers. In 1912 Pound founded the
literary movement known as Imagism,
great many people detest him.
”
—William Carlos Williams
which called for “direct treatment of
the ‘thing’” and “the language of
common speech, but always the
Whatever their feelings about Ezra
exact word.”
Pound may have been, many people
Though he urged other writers to
agreed with the poet T. S. Eliot that
“make it new,” Pound himself often
Pound was “more responsible for the twentieth-
drew upon the literature of the past. In his best-
century revolution in poetry than [was] any
known work, a collection of 117 poems called The
other individual.”
Cantos, he combined his own ideas with material
Pound’s achievements in poetry were no acci-
from different cultures and languages, historical
dent. As a young man, he determined that “at
texts, and newspaper articles.
thirty [he] would know more about poetry than
During World War II, Pound supported the
any man living,” and he worked hard to achieve
Fascist Italian dictator Benito Mussolini and made
his goal. While attending Hamilton College and
radio broadcasts openly criticizing the United
the University of Pennsylvania, he immersed
States and its efforts in the war. Though arrested
himself in literature from around the world and
for treason after Italy fell to the Allies, Pound was
remained a voracious reader throughout his life.
declared mentally unfit to stand trial. He was then
In 1908, at age twenty-three, Pound left for
sent to a mental hospital, where he continued to
Europe, settling first in London and later in Paris
write. Thirteen years later, the charges against him
and finally in Italy. There he wrote poetry and
were dropped, and Pound returned to Italy.
criticism and translated verse from nine different
languages. He also served as an overseas editor for Ezra Pound was born in 1885 and died in 1972.

Reading Focus Building Background

Think about a moment in time that
captured your attention. Where did it
take place? Who was involved?
Journal In your journal, describe
the essence of that moment in two
to three sentences.
Setting a Purpose Read to
find out how one poet captures a
moment in time.
The Time and Place
These two poems were written in 1913, a year after Ezra Pound joined Poetry
magazine and a year before he edited the first anthology of imagist poetry,
Des Imagistes.
Artistic Influences
Pound was influenced by the poems he read, as well as the paintings he saw and
the music he heard. He was impressed with the brief but evocative Japanese haiku
poetry (see page R7). One poet who particularly inspired Pound was Walt Whitman,
whom Pound considered an original genius, but also “an exceedingly nauseating
pill” for his “crudity” and for “that horrible air of rectitude with which Whitman
rejoices in being Whitman.”

BEGINNINGS OF THE MODERN AGE
599

 Ezra Pound 
The apparition° of these faces in the crowd;
Petals on a wet, black bough.°

The Metro refers to the Paris subway.

1 An apparition is a ghost or a phantom. It can also be a sight
that is unexpected or strange.
2 A bough is a branch of a tree, especially a main branch.

Ezra Pound 
I make a pact with you, Walt Whitman—
I have detested you long enough.
I come to you as a grown child
Who has had a pig-headed father;
5 I am old enough now to make friends.
It was you that broke the new wood,
Now is a time for carving.
We have one sap and one root—
Let there be commerce° between us.

9 Here, commerce means “an exchange of views and attitudes.”

600
UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
Which poem do you think reveals more about the poet?

Analyzing Literature
Recall and Interpret
1. In the first line, what word does the speaker use to describe how the faces look to him?
What might that word suggest about the faces?
2. To what image does the speaker compare the faces? Based on this image, how do you
think the speaker feels about the faces? Explain.
Evaluate and Connect
3. Pound once wrote, “Painters realize that what matters is form and color. The image is the
poet’s pigment.” In what ways is this poem like a painting?
4. In this poem, Pound focused on faces he sees in the Metro station. What would you focus
on if you were trying to capture the essence of the moment you described for the Reading
Focus on page 599?

Recall and Interpret

5. To whom is the poem addressed? How have the speaker’s feelings changed about that
person?
6. What extended metaphor does the poet use in lines 6–9? In your opinion, what idea does
the speaker express in these lines? (See Literary Terms Handbook, page R6.)
Evaluate and Connect
7. Theme Connections In what ways does this poem reflect the theme “New Directions”?
8. Name some of the people who have influenced your life in important ways. In what ways
did each person affect your life?

Literary ELEMENTS
Juxtaposition
Juxtaposition is the placing of two or more distinct First day of spring—
things side by side in order to compare or contrast them. I keep thinking about
Pound was inspired by Japanese verse forms, which the end of autumn.
often use juxtaposition to evoke an emotional response. 1. What two images does Pound juxtapose in “In a
In the following haiku, for example, the Japanese poet Station of the Metro”?
Matsuo Bashō expresses a melancholic view of spring by 2. In your opinion, what effect does this juxtaposition
juxtaposing a line about spring with lines about the end have? What emotion might it produce in the reader?
of autumn: • See Literary Terms Handbook, p. R9.

BEGINNINGS OF THE MODERN AGE
601

 Before You Read
The Love Song of J. Alfred Prufrock
Meet
T. S. Eliot
Along with Ezra Pound, T. S.
(Thomas Stearns) Eliot did more
to revolutionize poetry in the
twentieth century than any other
writer. His experiments in lan-
guage and form and his introduc-
tion into poetry of the scenes and
concerns of everyday life forever
changed literary tastes in this country
and profoundly influenced the next
generation of poets.
Eliot was born in St. Louis, Missouri, into a
distinguished family that provided him with the
best education available. In 1906 he entered
Harvard University, where he steeped himself in
literature and published his first poems. He then
studied philosophy at the Sorbonne in Paris, at
Harvard, and in England, where he would perma-
nently settle. It was there, when he was twenty-six,
that Eliot met the man who would champion his
art and serve as an editor of his poems—Ezra
Pound.
In 1915 Pound persuaded Harriet Monroe of
Poetry magazine to publish “The Love Song of J.
Alfred Prufrock.” Often called the first modernist
poem, “Prufrock” captures the emptiness and alien-
ation many people feel living in modern, imper-
sonal cities. The poem baffled, even angered, many
readers, however. They found its subject matter
“unpoetic.” They found its fragmented structure
off-putting and its allusions, or references, difficult
to understand.
The same month “Prufrock” was published,
Eliot married Vivien Haigh-Wood. For six years he
worked as a teacher and a bank clerk, and in his
spare time he wrote numerous literary essays, as
well as his best-known work, The Waste Land. In
this poem, Eliot expresses the disillusionment
602
UNIT 5
many people felt after the horrors
of World War I, and their lack
of and need for something to
believe in. The work brought
him international acclaim, but
not happiness. Eliot was facing
great strain in his marriage and
in his job as a bank clerk.
Eventually, Eliot began a new,
more satisfying career as a book editor
and joined the Church of England, finding
in Christianity a purpose in life. In poems such as
“The Hollow Men” (1925), “Ash Wednesday”
(1930), and his masterpiece, Four Quartets (1943),
he described the importance and difficulty of belief
in a spiritually impoverished world.
In the final years of his life, Eliot wrote several
plays. He also wrote essays of literary criticism
that have had a permanent impact on poetry. In
recognition of his achievements, Eliot received
in 1948 the Nobel Prize for Literature. At the time
of his death, many considered Eliot to be the most
important poet and critic writing in the English
language.
“understood.
Genuine poetry can communicate before it is
”
“Human kind cannot bear much reality.”
“And
We shall not cease from exploration
the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
” —Eliot
T. S. Eliot was born in 1888 and died in 1965.
 Before You Read

Reading Focus
The title of a poem often provides clues to its main idea. What do you think a “love
song” should be like?
List It! Create a list of words describing the nature of love songs.
Setting a Purpose Read to find out one writer’s unusual version of a love song.

Building Background
The Time and Place Stream of Consciousness
When Eliot wrote “The Love Song of J. Alfred Prufrock,” Stream of consciousness is a term first used by the American
cities were growing at a rapid rate. In many countries, people psychologist William James to describe the spontaneous flow
in cities outnumbered those inhabiting rural areas. Factories of a person’s thoughts, feelings, and emotions. Under the
were overrunning residential areas, people were crowding influence of James’s ideas, writers in the early 1900s began
into huge apartment buildings, and skyscrapers were being trying to represent the random movements of a character’s
built in great numbers. While factory owners were amassing mind. To achieve their goal, they eliminated conjunctions
great wealth, workers often toiled under miserable and other connecting devices from their writing. They also
conditions. linked thoughts and images that seemed dissimilar, but that
In his poems, T. S. Eliot expressed the feelings of loneli- could be associated in the mind.
ness, alienation, and frustration that came with these
Research
changes. To help communicate these feelings, he sometimes
made references to the work of fourteenth-century Italian Use an encyclopedia to research the term stream of
poet Dante Alighieri (d
antā a
´lē yārē). In “The Love consciousness. In what ways has stream of consciousness
Song of J. Alfred Prufrock,” Eliot begins with a quote from been important to literature? As you read “The Love Song
Dante’s epic poem The Divine Comedy. In this passage of J. Alfred Prufrock,” think about how this poem might be
(Inferno, Canto XXVII, lines 61–66), pre- an example of stream of consciousness.
sented in the original Italian, a condemned
spirit in Hell confesses his sins to the
speaker, wrongly believing that the speaker
cannot return to Earth. “If I believed my
answer were being given to someone who
could ever return to the world, this flame
[source of the spirit’s voice] would shake no
more; but since, if what I hear is true, no
one ever did return alive from this depth, I
answer you without fear of dishonor.”

Man viewing steel works, 1907.

BEGINNINGS OF THE MODERN AGE
603

 T. S . E l i o t 
S’io credessi che mia resposta fosse
a persona che mai tornasse al mondo,
questa fiamma staria senza più scosse.
Ma per ciò che giammai di questo fondo
non tornò vivo alcun, s’i’odo il vero,
senza tema d’infamia ti respondo.

Let us go then, you and I,

When the evening is spread out against the sky
Like a patient etherised° upon a table;
Let us go, through certain half-deserted streets,
5 The muttering retreats
Of restless nights in one-night cheap hotels
And sawdust restaurants with oyster-shells:
Streets that follow like a tedious° argument
Of insidious° intent
10 To lead you to an overwhelming question . . .
Oh, do not ask, ‘What is it?’
Let us go and make our visit.

In the room the women come and go

Talking of Michelangelo.°

15 The yellow fog that rubs its back upon the window-panes,
The yellow smoke that rubs its muzzle on the window-panes,

3 Etherised (etherized) (ē
thə r¯ zd´) means “anesthetized with ether, as before
an operation”; in other words, “made insensitive to pain.”
8 Tedious means “tiresome because of length” or “boring.”
9 Insidious (in sid
ē əs) means “slyly dangerous” or “deceitful.”
14 Michelangelo Buonarroti (m¯´ kəl an
jə lō´ bwo na ro
tē) (1475–1564) was a gifted
Italian sculptor and painter.

604
UNIT 5
 Licked its tongue into the corners of the evening,
Lingered upon the pools that stand in drains,
Let fall upon its back the soot that falls from chimneys,
20 Slipped by the terrace, made a sudden leap,
And seeing that it was a soft October night,
Curled once about the house, and fell asleep.

And indeed there will be time

For the yellow smoke that slides along the street
25 Rubbing its back upon the window-panes;
There will be time, there will be time
To prepare a face to meet the faces that you meet;
There will be time to murder and create,
And time for all the works and days of hands
30 That lift and drop a question on your plate;
Time for you and time for me,
And time yet for a hundred indecisions,
And for a hundred visions and revisions,
Before the taking of a toast and tea.

35 In the room the women come and go

Talking of Michelangelo.

And indeed there will be time

To wonder, ‘Do I dare?’ and, ‘Do I dare?’
Time to turn back and descend the stair,
40 With a bald spot in the middle of my hair—
(They will say: ‘How his hair is growing thin!’)

Rainy Night, 1930. Charles

Burchfield. Watercolor,
30 x 42 in. San Diego
Museum of Art.
Viewing the painting:
Which images or lines from
“The Love Song of J. Alfred
Prufrock” would you use to
Permission was denied to describe this painting?
Explain your choices.
reproduce this image in an
electronic format. Please
refer to the printed book.

BEGINNINGS OF THE MODERN AGE
605

 My morning coat,° my collar mounting firmly to the chin,
My necktie rich and modest, but asserted° by a simple pin—
(They will say: ‘But how his arms and legs are thin!’)
45 Do I dare
Disturb the universe?
In a minute there is time
For decisions and revisions which a minute will reverse.

For I have known them all already, known them all—

50 Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons;
I know the voices dying with a dying fall
Beneath the music from a farther room.
So how should I presume?°

55 And I have known the eyes already, known them all—

The eyes that fix you in a formulated° phrase,
And when I am formulated, sprawling on a pin,
When I am pinned and wriggling on the wall,
Then how should I begin
60 To spit out all the butt-ends of my days and ways?
And how should I presume?

And I have known the arms already, known them all—

Arms that are braceleted and white and bare
(But in the lamplight, downed with light brown hair!)?
65 Is it perfume from a dress
That makes me so digress?°
Arms that lie along a table, or wrap about a shawl.
And should I then presume?
And how should I begin?

70 Shall I say, I have gone at dusk through narrow streets

And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows? . . .

I should have been a pair of ragged claws

Scuttling across the floors of silent seas.

42 A morning coat is a man’s jacket that slopes away from a front button at the waist
to tails at the back. It was worn for formal daytime dress.
43 Here, asserted means “made more bold” or “enhanced.”
54 Presume (pri z¯¯¯oom
) means “to go beyond what is considered proper.”
56 Formulated means “reduced to or expressed as a formula,” thereby losing individuality.
66 Digress (d¯ res
) means “to depart from the main subject” or “to ramble.”

606
UNIT 5
 T. S . E l i o t 
75 And the afternoon, the evening, sleeps so peacefully!
Smoothed by long fingers,
Asleep . . . tired . . . or it malingers,°
Stretched on the floor, here beside you and me.
Should I, after tea and cakes and ices,
80 Have the strength to force the moment to its crisis?
But though I have wept and fasted, wept and prayed,
Though I have seen my head (grown slightly bald) brought in upon a platter°
I am no prophet°—and here’s no great matter;
I have seen the moment of my greatness flicker,
85 And I have seen the eternal Footman° hold my coat, and snicker,
And in short, I was afraid.

And would it have been worth it, after all,

After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me,
90 Would it have been worth while,
To have bitten off the matter with a smile,
To have squeezed the universe into a ball
To roll it towards some overwhelming question,
To say: ‘I am Lazarus, come from the dead,°
95 Come back to tell you all, I shall tell you all’—
If one, settling a pillow by her head,
Should say: ‘That is not what I meant at all.
That is not it, at all.’

And would it have been worth it, after all,

100 Would it have been worth while,
After the sunsets and the dooryards and the sprinkled streets,
After the novels, after the teacups, after the skirts that trail along the floor—
And this, and so much more?—
It is impossible to say just what I mean!

77 Someone who malingers (mə lin
ərz) pretends to be sick or injured in order to avoid working.
82 [head . . . platter] This biblical reference is to the beheading of the prophet John the Baptist (Matthew
14:1–11). King Herod was so pleased with the dancing of Salome, his stepdaughter, that he promised
her anything she desired. Prompted by her mother, Salome asked for the head of John on a platter.
Herod granted her request.
83 A prophet is a person who predicts the future or who speaks by divine inspiration.
85 The eternal Footman is Death.
94 [I am Lazarus . . . dead] This biblical reference is to (John 11:1–44) in which Jesus restored his friend
Lazarus to life after he had been dead for four days.

BEGINNINGS OF THE MODERN AGE
607

 105 But as if a magic lantern° threw the nerves in patterns on a screen:
Would it have been worth while
If one, settling a pillow or throwing off a shawl,
And turning toward the window, should say:
‘That is not it at all,
110 That is not what I meant, at all.’

No! I am not Prince Hamlet,° nor was meant to be;

Am an attendant lord, one that will do
To swell a progress,° start a scene or two,
Advise the prince; no doubt, an easy tool,
115 Deferential,° glad to be of use,
Politic,° cautious, and meticulous;
Full of high sentence,° but a bit obtuse;°
At times, indeed, almost ridiculous—
Almost, at times, the Fool.

120 I grow old . . . I grow old . . .

I shall wear the bottoms of my trousers rolled.

Shall I part my hair behind? Do I dare to eat a peach?

I shall wear white flannel trousers, and walk upon the beach.
I have heard the mermaids singing, each to each.

125 I do not think that they will sing to me.

I have seen them riding seaward on the waves

Combing the white hair of the waves blown back
When the wind blows the water white and black.

We have lingered in the chambers of the sea

130 By sea-girls wreathed with seaweed red and brown
Till human voices wake us, and we drown.

105 The magic lantern, a forerunner of the modern slide projector, was a device for projecting
enlarged images.
111 Prince Hamlet is the Prince of Denmark, the tragic hero of Shakespeare’s play Hamlet.
113 To swell a progress is to participate in, and thereby increase (swell) the number of people in
a royal procession or a play.
115 Deferential (def´ə ren
shəl) means “yielding to someone else’s opinions or wishes.”
116 Politic (pol
ə tik) means “characterized by prudence or shrewdness in managing, dealing, or
promoting a policy.”
117 High sentence is fancy, pompous speech full of advice, like that of the old counselor Polonius
in Hamlet. Obtuse (əb t¯¯¯
oos
) means “slow in understanding” or “dull.”

608
UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
What are your impressions of J. Alfred Prufrock? Literary
ELEMENTS
Analyzing Literature Allusion
Recall An allusion is a short reference to a per-
1. According to lines 1–10, with whom will Prufrock make his visit and son, a place, an event, or another work
through what places will they travel? To what will they be led? of literature. Writers use allusions to
2. What kinds of activities does Prufrock say he will have time for in lines express an idea or to clarify its meaning.
26–48? For example, in “The Love Song of J.
3. How does Prufrock describe himself and his life in lines 49–74? Alfred Prufrock,” Eliot includes an allu-
4. What does Prufrock debate with himself in lines 79–110? sion to Michelangelo in order to indicate
5. In lines 111–121, how does Prufrock characterize himself ? that the people discussing this great
artist are well educated and from the
Interpret middle or upper classes. The reader
6. In your opinion, what do Prufrock’s descriptions of the sky and of the might even picture well-dressed women
places he will travel through suggest about his state of mind? What do wandering about a room with a
these places have in common? museum-like atmosphere.
7. In your opinion, why does Prufrock emphasize having time for the activi- 1. To which biblical characters does Eliot
ties mentioned in lines 26–48? Prufrock asks, “Do I dare / Disturb the uni- refer in lines 82–83 and 94–95?
verse?” What might he mean by that question? Check the footnotes, if necessary.
8. What does Prufrock’s description of his life and what he has known sug-
2. In your opinion, why does he allude
gest about his self-image and the way he has conducted his life?
to these biblical characters?
9. What, in your opinion, is Prufrock’s “overwhelming question”? Why does
he expect the woman to react in a certain way and what does this suggest 3. Choose one of the allusions in lines
about his relationship with women? 82–83, 94–95, or 111–119, and
10. What do lines 111–131 suggest about how Prufrock sees himself and his explain how it contributes to the
future? In your opinion, what does the poem’s final line mean? poem’s meaning.
• See Literary Terms Handbook,
Evaluate and Connect p. R1.
11. In lines 15–22, Eliot compares the movements of the fog to those of a cat.
In your opinion, how does this extended metaphor contribute to the
meaning of the poem? (See Literary Terms Handbook, page R6.)
12. Prufrock says there will be time “To prepare a face to meet the faces that
Literary Criticism
you meet.” For what occasions do you prepare a “face” and why?
13. Compare the poem with the list you created for the Reading Focus on According to one critic, the character of Prufrock
page 603. Do you think the title of the poem fits its content? Explain. “is full of self-doubts, with a pessimistic outlook
14. In what ways does the poem express Eliot’s belief that society had on his future, as well as the future of society
become spiritually and morally empty? and the world.” What evidence of Prufrock’s
15. Does Prufrock seem like a real person with real problems? Explain your pessimistic outlook can you find in the poem?
answer, citing details from the poem for support. Write a paragraph to express your answer. Cite
details from the poem to support your opinion.

BEGINNINGS OF THE MODERN AGE
609

Responding to Literature
Literature and Writing
Writing About Literature
Men and Women A major theme in Eliot’s poetry is the
inability of a man and woman to communicate with each
other. With a partner, look through “The Love Song of J.
Alfred Prufrock” to find all the passages that explore this
theme. Read over each passage carefully and discuss its
meaning. Then, together, write two or three paragraphs
explaining the theme of communication. Support your
conclusions using details from the poem.
Extending Your Response
Literature Groups
Tragedy or Comedy? Is J. Alfred Prufrock a tragic charac-
ter—is the reader supposed to feel real sorrow about his situ-
ation? Or is he a comic character—is the reader supposed to
laugh at him or think he is foolish? Debate this question in
your group, using examples from the poem to support your
position. Then present your conclusions to the class. Invite
your classmates to comment on your group’s conclusions.
Learning for Life
Interview Imagine that you have the opportunity to inter-
view J. Alfred Prufrock. Write a dialogue of the interview
as you think it might develop. Include in your dialogue
Winter Night, 1928. Stefan Hirsch. Oil on
panel, 22¹⁄₂ x 19³⁄₄ in. Collection of the
Newark Museum, Newark, NJ.
610
UNIT 5
Creative Writing
Let Me Tell You Eliot’s poem is a dramatic monologue, or
a long speech by a character in which the character discloses
his or her thoughts and emotions to a silent listener. Invent a
character who knows Prufrock intimately, and then create a
dramatic monologue in which that character tells his or her
impressions of Prufrock. Your character might use images or
quotations from “The Love Story of J. Alfred Prufrock” in the
dramatic monologue.
references to the poem’s central themes, such as Prufrock’s
inability to act and his feelings of alienation. Write at least ten
questions and ten answers.
Performing
Put Yourself in Prufrock’s Shoes Choose a section of “The
Love Song of J. Alfred Prufrock” to perform. In planning your
performance, find or create a costume, select makeup, and
decide what facial expressions, gestures, and movements
you will use. Also practice speaking the lines to determine
how loudly and quickly to deliver them. Finally, perform your
piece for the class.
Interdisciplinary Activity
Art: Prufrock’s Setting How do you picture Prufrock and
the scenes he describes? In a painting, drawing, or collage,
create your own interpretation of a scene the poem suggests.
Try to include details from the poem in your scene. Title the
scene with a passage from the poem that it represents, such
as “In the room the women come and go / Talking of
Michelangelo.”
Reading Further
To read more by or about Eliot, try these works:
Poems: “The Hollow Men” and “The Waste Land” are
included in Eliot’s Complete Poems and Plays: 1909–1950.
Biography: T. S. Eliot: A Life, by Peter Ackroyd.
Save your work for your portfolio.
 Identifying the Author’s Purpose
Have you ever laughed at the wrong time, thinking something was a joke when it was really
serious? If so, then you know how important it is to recognize a speaker’s purpose so you know
how to respond. The same is true of recognizing an author’s purpose: once you understand it,
you can better evaluate what you are reading and respond appropriately.
An author typically writes to accomplish one or more of the following purposes: to persuade,
to inform or explain, to entertain, to describe, or to tell a story. You can begin to figure out which
of these is most likely the author’s main purpose by thinking critically about the aspects you first
encounter: the title and the first few paragraphs, lines, or stanzas.
Once you have formed an initial idea of the author’s purpose, however, it’s a good idea to
double-check your notion against the information you gather from the rest of the piece. For
example, the title of T. S. Eliot’s “The Love Song of J. Alfred Prufrock” might lead you to believe
that the purpose of the poem is to entertain or to tell a story. However, as you read on, the
content, structure, and language of Eliot’s poem reveal that the purpose of this poem is quite
complex. At some points Eliot amuses the reader; at others he describes a sense of
disillusionment with modern society.
To determine an author’s main purpose, ask yourself questions like these:

Elements to Examine Questions You Might Ask

Title What might the title suggest about the nature of the topic and the
author’s attitude toward it?
Author What do you know about the author? Does he or she have any
special concerns or biases?
Form For what purposes is this form of writing most often used?
Tone What is the nature of the tone: serious, formal, friendly, mocking?
What might the tone suggest about the author’s purpose?
Content Is there a thesis statement? What kinds of details does the selection
contain? For what purpose are such details most often used?
Structure/Organization How is the content presented? For what purpose(s) might this type
of organization be most appropriate?
Language What kinds of transitional words are present? Are there many
specialized terms? Are there a lot of descriptive words? For what
purpose might an author use these kinds of words?

• For more about author’s purpose, see Reading Handbook, p. R86–R93.

ACTIVITY

Choose a selection from this theme and use the questions above to try to identify the author’s
purpose. Explain to the class how you arrived at your conclusion.

BEGINNINGS OF THE MODERN AGE
611

 Before You Read
The Red Wheelbarrow and This Is Just to Say

Meet a part of the world he would mythologize

William Carlos Williams
“Eyes stand first in the poet’s
equipment.
” School, where he wrote many of the
“earliest childhood that America was
Of mixed ancestry I felt from
the only home I could ever possibly
call my own. I felt that it was
expressly founded for me. . .
”
—Williams
William Carlos Williams led a double life as a
medical doctor and an award-winning poet. Often
he would write between seeing patients, sometimes
even jotting down poems on prescription pads.
Despite his hectic schedule, Williams managed to
compose groundbreaking poems that celebrate
cultural diversity, colloquial speech, and everyday
events.
Williams himself had a diverse background; his
mother was born in Puerto Rico, and his father
was British. He was raised in northern New Jersey,
in his five-volume epic, Paterson. At age
twenty-three, he graduated from the
University of Pennsylvania Medical
poems that appear in his first book,
Poems, published in 1909.
Williams believed that poetry should
be grounded in everyday things and
scenes, not abstract ideas, and was famous
for saying, “No ideas but in things.” He
explored the world about him, writing of the
gritty, industrial landscape of northern New Jersey
and of his patients and neighbors, many of whom
were impoverished immigrants struggling to fash-
ion lives for themselves in the United States.
Williams left an important legacy of work includ-
ing poems, plays, essays, and stories. Somehow,
while accomplishing all this, he also managed,
as a doctor, to deliver more than two thousand
babies.
William Carlos Williams was born in 1883 and died in 1963.

Reading Focus Building Background

What simple but memorable scene
have you observed today that might
make a good poem?
Quickwrite For a few moments,
look at the world as a poet might.
What sights, smells, sounds, and
situations could be used as subjects
for poems? Jot down five possible
subjects in your journal.
Setting a Purpose Read to
see how William Carlos Williams
turns everyday situations into vivid
poems.
About the Poem
Williams saw the red wheelbarrow of this poem outside an old house. Rain was
pouring down, and white chickens were walking nearby. Williams said, “The sight
impressed me somehow as about the most important, the most integral [complete]
that it had ever been my pleasure to gaze upon.”
Literary Influences
While attending the University of Pennsylvania, Williams befriended poet Ezra Pound,
who had a major influence on Williams’s work. Pound originated the literary move-
ment called Imagism, which emphasized the presentation of concrete images and
the use of stripped-down language based on everyday speech. Williams himself rec-
ommended, “Cut and cut again whatever you write—while you leave by your art no
trace of your cutting—and the final utterance will remain packed with what you have
to say.”

612
UNIT 5
 so much depends
upon

a red wheel
barrow

5 glazed° with rain

water

beside the white

chickens.

Wi l l i a m C a r l o s Wi l l i a m s
5 Glazed means “covered with a

smooth, glossy coating.”

The Red Wheelbarrow, 1992. Frank Jensen. Painted steel sculpture: approximately
27 x 73 x 34 in.; concrete base: approximately 2 x 73 x 42 in. Collection of the artist.

613
 Wi l l i a m C a r l o s Wi l l i a m s

I have eaten
the plums
that were in
the icebox

5 and which
you were probably
saving
for breakfast

Forgive me
10 they were delicious
so sweet
and so cold

614  UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
What thoughts came to your mind as you read these poems?

Analyzing Literature
Recall and Interpret
1. What do the first two lines suggest about the speaker’s response to the scene?
2. What item is mentioned in stanza 2? What might be the significance of its color?
3. What two items does the poet describe in stanzas 3 and 4? What do you think Williams is
saying in this poem?
Evaluate and Connect
4. Williams carefully arranges his words, including breaking up the words rainwater and
wheelbarrow. How, in your opinion, does the arrangement of the words and stanzas affect
the look, feel, sound, and pace of the poem?
5. Would you have picked this red wheelbarrow as a topic for a poem? How is it similar to or
different from the subjects you listed for the Reading Focus on page 612?

Recall and Interpret

6. How does the title connect to the poem?
7. What does the speaker admit in the first two stanzas? What does this suggest about the
speaker’s relationship to the person being addressed?
8. What does the speaker want from the other person? What does the speaker describe in
the last three lines? In your opinion, why are these details included?
Evaluate and Connect
9. What tone does the speaker use? How would you react to this tone if you were the other
person? Why? (See Literary Terms Handbook, page R16.)
10. Theme Connections In what ways does this poem go in a new direction from earlier
poems about abstract concepts such as love or pleasure?

Extending Your Response

Literature Groups
The Perfect Poem? Williams felt that the meter (see page
R9) of “The Red Wheelbarrow” perfectly captured how
pleased and impressed he was with the scene. Do you agree
with Williams? Debate this issue in your group and share
your results with the class.
Creative Writing
This Is Just to Respond Write a brief reply to “This Is
Just to Say” that is in keeping with the poem’s tone and
simplicity. Write your message as either a note or a poem.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
615

 Before You Read
Anecdote of the Jar

Meet received little attention until it was

Wallace Stevens
“ In the world of words,
imagination is one of the forces of
nature.
” —Stevens
To the people around him, Wallace
Stevens probably didn’t seem like a
poet at all. He had a businesslike
manner and worked as a lawyer in New York and
later in the claims department of an insurance
company in Connecticut. In fact, in his journal,
Stevens expressed his embarrassment about writing
poetry: “Keep all this a great secret. There is some-
thing absurd about all this writing of verses; but
the truth is, it elates and satisfies me to do it.”
Stevens’s poetry didn’t stay a secret forever,
though. He had published a few poems while
attending Harvard University, but his more mature
poems began to appear in magazines when he was
thirty-five. Nine years later, in 1923, he published
his first volume of poetry, Harmonium. The book
republished in 1931. With this
revised edition and with other books
that soon followed, Stevens gained a
national reputation as an important
and skilled poet. In 1955 Stevens
won a Pulitzer Prize for his
Collected Poems.
Though Stevens never became a
full-time writer, he believed very
strongly in the importance and
power of poetry. A poet, he once wrote, can “help
people to live their lives.” With their sensuous
imagery, brilliant colors, and evocative language,
Stevens’s poems can indeed help people find joy
and beauty in the world in which they live.
“Poetry is a search for the inexplicable.”
“A poem should be part of one’s sense of life.”
“A poem is a meteor.” —Stevens
Wallace Stevens was born in 1879 and died in 1955.

Reading Focus Building Background

Think about a place in nature you
like to visit, such as a park, a forest,
or your own backyard. In what ways
might the appearance of a jar or
other manufactured object change
the feel of that place?
Freewrite Spend three or four
minutes freewriting to explore your
response to this question. Let your
imagination soar.
Setting a Purpose Read to
find out what happens to a wilder-
ness in Tennessee when a jar is
placed there.
Stevens and the Imagination
According to Stevens, the role of the poet is to use his or her imagination to
“become the light in the minds of others.” Stevens believed that only through the
imagination could people
understand the true nature
of reality and experience a
sense of order in a chaotic
world. Through his poetry,
Stevens explored the
complex relationship
between the physical world
and the shaping power of
the imagination.

616
UNIT 5
 Wa l l a c e S t e v e n s

I placed a jar in Tennessee,

And round it was, upon a hill.
It made the slovenly wilderness
Surround that hill.

5 The wilderness rose up to it,

And sprawled around, no longer wild.
The jar was round upon the ground
And tall and of a port° in air.°

It took dominion° everywhere.

10 The jar was gray and bare. Rainy Day on a Farm, 1940. Jack Delano. Photograph. Library of Congress,
Washington, DC.
It did not give of bird or bush,
Like nothing else in Tennessee.

8 Here, port means “the manner in which one carries oneself,”

and air means “the appearance or bearing of a person.” The
effect of the phrase of a port in air is that the jar has a certain
dignified quality or manner in its appearance.
9 Here, dominion means “supreme authority.”

BEGINNINGS OF THE MODERN AGE  617

 Active Reading and Critical Thinking
Responding to Literature
Personal Response
What did the jar “upon a hill” look like in your imagination?
Make a quick sketch to show what you pictured as you read
the poem.
Analyzing Literature
Recall and Interpret
1. What action does the speaker in the poem take?
2. What word describes the wilderness in line 3? What might
this word suggest about the speaker’s attitude toward the
wilderness?
3. What happens to the wilderness because of the jar? What
seems to be the speaker’s attitude toward this change?
4. How does the speaker describe the jar in lines 7–10?
According to the descriptions, how powerful does the jar
seem to be? What might it symbolize?
5. At the end of the poem, how is the jar different from the
things around it? What, do you think, is the purpose of
emphasizing this difference?
Evaluate and Connect
6. Examine the adjectives used to describe the jar and the
wilderness. In your opinion, how does the contrast
Stevens creates between the jar and its surroundings help
clarify the meaning of the poem?
7. In what ways might this poem illustrate Stevens’s belief in
the power of the imagination?
8. Refer to your response to the Reading Focus on page 616.
How do the changes you imagined occurring compare
with the changes Stevens describes in the poem?
Extending Your Response
Literature Groups
Sparking Your Imagination In your group, debate whether
the poem “Anecdote of the Jar” helps readers understand
the world. Does Stevens help you see the interaction
between people and nature in a new light? Share your con-
clusions with the class.
618
UNIT 5
Literary Criticism
Critic Joseph Miller contends that the theme of Stevens’s
poem “The Idea of Order in Key West” is “the emergence of
order out of chaos in the creation of a work of art.” In your
opinion, is this also the theme of “Anecdote of the Jar”?
Using evidence from the poem, discuss your opinion with a
partner.
Literary ELEMENTS
Symbol
A symbol is a person, place, or thing that has meaning
in itself and also stands for something other than itself.
A symbol in a poem may have many meanings and
feelings associated with it, or it may point to something
that cannot be precisely defined.
In “Anecdote of the Jar,” the symbolic meaning of the
jar may be understood in more than one way, requiring
readers to use their imaginations to come up with
several possible meanings.
1. What do you think the wilderness is a symbol for?
2. Use your answer to question 1 to explain what you
think the poem is saying.
• See Literary Terms Handbook,
p. R16.
Creative Writing
Anecdote Update This poem tells the story of a jar on
a hill in the wilderness. Rewrite the poem to fit the place
where you live. What is the object (instead of the jar), what
are the surroundings like, and what happens to the
surroundings? What message do you want to convey?
Save your work for your portfolio.
 Newspaper Article
What does it feel like to be jilted or
“dumped”? Read on to learn about one
couple’s experience of a canceled wed-
ding and broken relationship—and
what an expert had to say about their
experience.

“Let’s Call the Whole Thing Off”

Canceling a Wedding at the Last Minute Can Be Humiliating, Expensive . . . and Sensible
by Leila Cobo-Hanlon—St. Louis Post-Dispatch, August 16, 1995

G uests, flowers, cham-

pagne, band. One smil-
ing clergyman and one
nervous groom.
After months of prepara-
tion, the stage is set and the
cast is ready. But instead of
“Here Comes the Bride,”
the leading lady has opted
for “Let’s Call the Whole
Thing Off.”
Jilted at the altar. This is
the stuff legends—and
nightmares—are made of.
Courtney Thorne-Smith
fled before marrying
Andrew Shue on “Melrose
Place,” and in a scene that
made movie history, Dustin
Hoffman stole his loved one
from under her groom’s nose
in The Graduate.
The act is so devastating
that, centuries ago, the
Catholic Church was known
to punish it with excommu-
nication for the errant
groom and exile to nunnery
for the rejecting bride.
But no matter how
embarrassing the circum-
stances, ’tis far better to be
a scorned fiancee than an
unhappy spouse seeking a
divorce.
“Thank God my wedding
was canceled. I’d be divorced
by now,” said Robert, 44, of
Los Angeles, whose fiancee
called off their wedding a
week before the Big Day.
“We planned this incredi-
ble wedding on the beach.
The invitations were out for
200 people. We had met the
rabbi and planned the hon-
eymoon. I went for a jog on
a Sunday morning, and
when I came back, I found
her crying in the living
room. She said very coldly:
‘Call your guests, the wed-
ding is off.’”
Robert still doesn’t know
what made his bride-to-be
back out, and he admits he
was devastated. But in hind-
sight he can see everything
that was wrong about the
relationship.
“The whole thing was my
fault, because I should have
seen it. She was more
wrapped up in the wedding
than in what the wedding
meant.”
Talking about expectations
and goals in a marriage is a
must for couples thinking
about tying the knot, says Luz
Patricia Bayer, a marriage,
family, and child therapist in
Woodland Hills, Calif.
“Sometimes I ask people
what they expected from
marriage, and they have no
idea,” she says. “They just
know they liked each other.
These are the marriages that
end up having problems.”
Analyzing Media
1. Do you agree or disagree with
Luz Bayer’s statement? Why?
2. In what ways might being jilted
lead a person in a new direction?
Explain.
 Before You Read
The Jilting of Granny Weatherall

Meet memories for some of her most famous

Katherine Anne Porter
“ Ask what time it is in [Porter’s]
stories and you are certain to get the
answer: the hour is fateful. It is not
necessary to see the hands of the
clock in her work. It is a time of
racing urgency, and it is already
too late.
” —Eudora Welty
Over her long career, Katherine Anne Porter
traveled far from the rural Texas landscape of her
childhood. As a young woman she worked on
newspapers in Chicago and Denver. She then
spent most of her thirties living in Mexico and
Europe, meeting other writers and gathering
stories.
Porter described herself as “a late
starter,” publishing her first collection
of short stories, Flowering Judas, when
she was forty. Several collections of
short fiction and one novel, Ship of
Fools, followed. At age seventy-six,
Porter received a Pulitzer Prize and the
National Book Award for The Collected
Stories of Katherine Anne Porter.
Porter tried to tell each story “as clearly and
purely and simply as I can.” Many of her stories,
like “The Jilting of Granny Weatherall,” are set in
the South and feature women who have profound
self-realizations at crucial moments in their lives.
Katherine Anne Porter was born in 1890 and died in 1980.

Reading Focus Building Background

Life events occur in chronological
order, but our conscious memories
of them often unfold differently.
Chart It! Chart five things you
did yesterday in the order that you
did them. Then chart five important
events in your life in the order that
they come to mind.
The Time and Place
Porter sets her story in the American South in the early twentieth century. This was
an era in which many southerners, including Porter’s family, lived in extreme
poverty. In addition, women of the time were often confined to the traditional roles
of wife, mother, and homemaker.
Roman Catholicism figures prominently in Porter’s story. Granny Weatherall’s
religious beliefs and her ideas of guilt and forgiveness are important elements
in the story.

Yesterday’s Important Vocabulary Preview

Events Life Events
Setting a Purpose Read to
learn of one woman’s memories and
the order in which they unfold.
tactful (taktfəl) adj. able to speak or
act without offending others; p. 622
dutiful (d¯¯¯
ooti fəl) adj. careful to fulfill
obligations; p. 622
plague (plā) v. to annoy; to pester;
p. 623
vanity (vani tē) n. excessive pride, as
in one’s looks; p. 625
jilt (jilt) v. to drop or reject as a sweet-
heart; p. 625
piety (p¯ ə tē) n. religious devoutness;
goodness; p. 627
dwindle (dwindəl) v. to become
gradually smaller; p. 628

620
UNIT 5
 The White Bed Jacket, c. 1905. Lilla Cabot Perry. Pastel on tan paper, 25¹⁄₂ x 31¹⁄₂ in. Hirschl & Adler Galleries Inc., New York.
Katherine Anne Porter

he flicked her wrist neatly out of Doctor Harry’s pudgy careful fingers
and pulled the sheet up to her chin. The brat ought to be in knee-
breeches. Doctoring around the country with spectacles on his nose.
“Get along now, take your schoolbooks and go. There’s nothing wrong with me.”
Doctor Harry spread a warm paw like a cushion on her forehead where the
forked green vein danced and made her eyelids twitch. “Now, now, be a good girl,
and we’ll have you up in no time.”
“That’s no way to speak to a woman nearly eighty years old just because
she’s down. I’d have you respect your elders, young man.”

BEGINNINGS OF THE MODERN AGE  621

 “Well, missy, excuse me.” Doctor Harry
patted her cheek. “But I’ve got to warn you,
haven’t I? You’re a marvel,1 but you must be
careful or you’re going to be good and sorry.”
“Don’t tell me what I’m going to be. I’m
on my feet now, morally speaking. It’s
Cornelia. I had to go to bed to get rid of her.”
Her bones felt loose, and floated around in
her skin, and Doctor Harry floated like a bal-
loon around the foot of the bed. He floated
and pulled down his waistcoat 2 and swung his
glasses on a cord. “Well, stay where you are, it
certainly can’t hurt you.”
“Get along and doctor your sick,” said
Granny Weatherall. “Leave a well woman
alone. I’ll call for you when I want you . . .
Where were you forty years ago when I pulled
through milk-leg 3 and double pneumonia?
You weren’t even born. Don’t let Cornelia
lead you on,” she shouted, because Doctor
Harry appeared to float up to the ceiling and
out. “I pay my own bills, and I don’t throw my
money away on nonsense!”
She meant to wave good-bye, but it was
too much trouble. Her eyes closed of them-
selves, it was like a dark curtain drawn round
the bed. The pillow rose and floated under
her, pleasant as a hammock in a light wind.
She listened to the leaves rustling outside the
window. No, somebody was swishing newspa-
pers: no, Cornelia and Doctor Harry were
whispering together. She leaped broad awake,
thinking they whispered in her ear.
“She was never like this, never like this!”
“Well, what can we expect?” “Yes, eighty
years old . . .”
1. A marvel is a wonderful or astonishing thing.
2. A waistcoat is a vest.
3. Milk-leg is a painful swelling of the leg that may occur after
childbirth.
Vocabulary
tactful (takt
fəl) adj. able to speak or act without offending others
dutiful (d¯¯¯
oo
ti fəl) adj. careful to fulfill obligations
622  UNIT 5
Well, and what if she was? She still had
ears. It was like Cornelia to whisper round
doors. She always kept things secret in such a
public way. She was always being tactful and
kind. Cornelia was dutiful; that was the trou-
ble with her. Dutiful and good: “So good and
dutiful,” said Granny, “that I’d like to spank
her.” She saw herself spanking Cornelia and
making a fine job of it.
“What’d you say, Mother?”
Granny felt her face tying up in hard
knots.
“Can’t a body think, I’d like to know?”
“I thought you might want something.”
“I do. I want a lot of things. First off, go
away and don’t whisper.”
She lay and drowsed, hoping in her sleep
that the children would keep out and let her
rest a minute. It had been a long day. Not
that she was tired. It was always pleasant to
snatch a minute now and then. There was
always so much to be done. Let me see:
tomorrow.
Tomorrow was far away and there was
nothing to trouble about. Things were fin-
ished somehow when the time came; thank
God there was always a little margin over for
peace: then a person could spread out the
plan of life and tuck in the edges orderly. It
was good to have everything clean and folded
away, with the hairbrushes and tonic bottles
sitting straight on the white embroidered
linen; the day started without fuss and the
pantry shelves laid out with rows of jelly
glasses and brown jugs and white stone-china
jars with blue whirligigs4 and words painted
on them: coffee, tea, sugar, ginger, cinnamon,
4. Whirligigs (hwur
li iz´) are circular patterns, or swirls.

allspice; and the
bronze clock with the
lion on the top nicely
dusted off. The dust
that lion could col-
lect in twenty-four
hours! The box in
the attic with all
Did You Know? those letters tied up,
Allspice, a spice thought to well, she’d have to go
combine the flavors of through that tomor-
cloves, cinnamon, and nut-
meg, comes from the dried row. All those let-
berries of the pimento tree. ters—George’s letters
and John’s letters and
her letters to them both—lying around for the
children to find afterwards made her uneasy.
Yes, that would be tomorrow’s business. No use
to let them know how silly she had been once.
While she was rummaging round she found
death in her mind and it felt clammy and unfa-
miliar. She had spent so much time preparing
for death there was no need for bringing it up
again. Let it take care of itself now. When she
was sixty she had felt very old, finished, and
went round making farewell trips to see her
children and grandchildren, with a secret in her
mind: This is the very last of your mother, chil-
dren! Then she made her will and came down
with a long fever. That was all just a notion like
a lot of other things, but it was lucky too, for she
had once for all got over the idea of dying for a
long time. Now she couldn’t be worried. She
hoped she had better sense now. Her father had
lived to be one hundred and two years old and
had drunk a noggin5 of strong hot toddy6 on his
last birthday. He told the reporters it was his
daily habit, and he owed his long life to that. He
had made quite a scandal and was very pleased
5. A noggin is a small mug or cup.
6. A hot toddy is a drink made with liquor, hot water, sugar, and
spices.
Vocabulary
plague (plā) v. to annoy; to pester
Katherine Anne Porter

about it. She believed she’d just plague
Cornelia a little.
“Cornelia! Cornelia!” No footsteps, but a
sudden hand on her cheek. “Bless you, where
have you been?”
“Here, mother.”
“Well, Cornelia, I want a noggin of hot
toddy.”
“Are you cold, darling?”
“I’m chilly, Cornelia. Lying in bed stops the
circulation. I must have told you that a thousand
times.”
Well, she could just hear Cornelia telling her
husband that Mother was getting a little child-
ish and they’d have to humor her. The thing
that most annoyed her was that Cornelia
thought she was deaf, dumb, and blind. Little
hasty glances and tiny gestures tossed around her
and over her head, saying, “Don’t cross her, let
her have her way, she’s eighty years old,” and she
sitting there as if she lived in a thin glass cage.
Sometimes Granny almost made up her mind to
pack up and move back to her own house where
nobody could remind her every minute that she
was old. Wait, wait, Cornelia, till your own chil-
dren whisper behind your back!
In her day she had kept a better house and
had got more work done. She wasn’t too old
yet for Lydia to be driving eighty miles for
advice when one of the children jumped the
track, and Jimmy still dropped in and talked
things over: “Now, Mammy, you’ve a good
business head, I want to know what you think
of this . . . ?” Old. Cornelia couldn’t change the
furniture round without asking. Little things,
little things! They had been so sweet when
they were little. Granny wished the old days
were back again with the children young and
everything to be done over. It had been a hard
pull, but not too much for her. When she
thought of all the food she had cooked, and all
the clothes she had cut and sewed, and all the
BEGINNINGS OF THE MODERN AGE  623
gardens she had made—well, the children
showed it. There they were, made out of her,
and they couldn’t get away from that.
Sometimes she wanted to see John again and
point to them and say, “Well, I didn’t do so
badly, did I?” But that would have to wait.
That was for tomorrow. She used to think of
him as a man, but now all the children were
older than their father, and he would be a
child beside her if she saw him now. It seemed
strange and there was something wrong in the
idea. Why, he couldn’t possibly recognize her.
She had fenced in a hundred acres once, dig-
ging the post holes herself and clamping the
wires with just a Negro boy to help. That
changed a woman. John would be looking for
a young woman with the peaked Spanish comb
in her hair and the painted fan. Digging post
holes changed a woman. Riding country roads
in the winter when women had their babies
was another thing: sitting up nights with sick
horses and sick Negroes and sick children and
hardly ever losing one. John, I hardly ever lost
one of them! John would see that in a minute;
that would be something he could understand,
she wouldn’t have to explain anything!
It made her feel like rolling up her sleeves
and putting the whole place to rights again.
No matter if Cornelia was determined to be
everywhere at once, there were a great many
things left undone on this place. She would
start tomorrow and do them. It was good to be
strong enough for everything, even if all you
made melted and changed and slipped under
your hands, so that by the time you finished
you almost forgot what you were working for.
What was it I set out to do? she asked herself
intently, but she could not remember. A fog
rose over the valley, she saw it marching
across the creek swallowing the trees and
moving up the hill like an army of ghosts.
Soon it would be at the near edge of the
orchard, and then it was time to go in and
light the lamps. Come in, children, don’t stay
out in the night air.
624  UNIT 5
Lighting the lamps had been beautiful. The
children huddled up to her and breathed like
little calves waiting at the bars in the twilight.
Their eyes followed the match and watched
the flame rise and settle in a blue curve, then
they moved away from her. The lamp was lit,
they didn’t have to be scared and hang on to
mother any more. Never, never, never more.
God, for all my life I thank Thee. Without
Thee, my God, I could never have done it.
Hail, Mary, full of grace.7
I want you to pick all the fruit this year and
see that nothing is wasted. There’s always
someone who can use it. Don’t let good things
rot for want of using. You waste life when you
waste good food. Don’t let things get lost. It’s
bitter to lose things. Now, don’t let me get to
thinking, not when I am tired and taking a lit-
tle nap before supper . . .
The pillow rose about her shoulders and
pressed against her heart and the memory was
being squeezed out of it: oh, push down the pil-
low, somebody; it would smother her if she tried
to hold it. Such a fresh breeze blowing and such
a green day with no threats in it. But he had not
come, just the same. What does a woman do
when she has put on the white veil and set out
the white cake for a man and he doesn’t come?
She tried to remember. No, I swear he never
harmed me but in that. He never harmed me
but in that . . . and what if he did? There was the
day, the day, but a whirl of dark smoke rose and
covered it, crept up and over into the bright
field where everything was planted so carefully
in orderly rows. That was hell, she knew hell
when she saw it. For sixty years she had prayed
against remembering him and against losing her
soul in the deep pit of hell, and now the two
things were mingled in one, and the thought of
him was a smoky cloud from hell that moved
and crept in her head when she had just got rid
of Doctor Harry and was trying to rest a minute.
7. Hail, Mary, full of grace is the beginning of a Roman Catholic
prayer to the Virgin Mary.

Wounded vanity, Ellen, said a sharp voice in
the top of her mind. Don’t let your wounded
vanity get the upper hand of you. Plenty of girls
get jilted. You were jilted, weren’t you? Then
stand up to it. Her eyelids wavered and let in
streamers of blue-gray light like tissue paper
over her eyes. She must get up and pull the
shades down or she’d never sleep. She was in
bed again and the shades were not down. How
could that happen? Better turn over, hide from
the light; sleeping in the light gave you night-
mares. “Mother, how do you feel now?” and a
stinging wetness on her forehead. But I don’t
like having my face washed in cold water!
Hapsy? George? Lydia? Jimmy? No,
Cornelia, and her features were swollen and
full of little puddles. “They’re coming, darling,
they’ll all be here soon.” Go wash your face,
child, you look funny.
Instead of obeying, Cornelia knelt down
and put her head on the pillow. She seemed to
be talking but there was no sound. “Well, are
you tongue-tied? Whose birthday is it? Are you
going to give a party?”
Cornelia’s mouth moved urgently in
strange shapes. “Don’t do that, you bother me,
daughter.”
“Oh, no, Mother. Oh, no . . .”
Nonsense. It was strange about children.
They disputed your every word. “No what,
Cornelia?”
“Here’s Doctor Harry.”
“I won’t see that boy again. He just left five
minutes ago.”
“That was this morning, Mother. It’s night
now. Here’s the nurse.”
“This is Doctor Harry, Mrs. Weatherall. I
never saw you look so young and happy!”
“Ah, I’ll never be young again—but I’d be
happy if they’d let me lie in peace and get
rested.”
Vocabulary
vanity (van
i tē) n. excessive pride, as in one’s looks
jilt ( jilt) v. to drop or reject as a sweetheart
Katherine Anne Porter

She thought she spoke up loudly, but no
one answered. A warm weight on her fore-
head, a warm bracelet on her wrist and a breeze
went on whispering, trying to tell her some-
thing. A shuffle of leaves in the everlasting
hand of God, He blew on them and they
danced and rattled. “Mother, don’t mind, we’re
going to give you a little hypodermic.” “Look
here, daughter, how do ants get in this bed? I
saw sugar ants yesterday.” Did you send for
Hapsy too?
It was Hapsy she really wanted. She had to
go a long way back through a great many rooms
to find Hapsy standing with a baby on her arm.
She seemed to herself to be Hapsy also, and the
baby on Hapsy’s arm was Hapsy and himself and
herself, all at once, and there was no surprise in
the meeting. Then Hapsy melted from within
and turned flimsy as gray gauze and the baby was
a gauzy shadow, and Hapsy came up close and
said, “I thought you’d never come,” and looked
at her very searchingly and said, “You haven’t
changed a bit!” They leaned forward to kiss,
when Cornelia began whispering from a long
way off, “Oh, is there anything you want to tell
me? Is there anything I can do for you?”
Yes, she had changed her mind after sixty
years and she would like to see George. I want
you to find George. Find him and be sure to tell
him I forgot him. I want him to know I had my
husband just the same, and my children and my
house, like any other woman. A good house too
and a good husband that I loved and fine chil-
dren out of him. Better than I hoped for, even.
Tell him I was given back everything he took
away, and more. Oh, no, O God, no, there was
something else besides the house and the man
and the children. Oh, surely they were not all?
What was it? Something not given back . . . Her
breath crowded down under her ribs and grew
into a monstrous frightening shape with cutting
BEGINNINGS OF THE MODERN AGE  625

edges; it bored8 up into her head, and the agony
was unbelievable. Yes, John, get the doctor now,
no more talk, my time has come.
When this one was born it should be the
last. The last. It should have been born first,
for it was the one she had truly wanted.
Everything came in good time. Nothing left
out, left over. She was strong, in three days she
would be as well as ever. Better. A woman
needed milk in her to have her full health.
“Mother, do you hear me?”
“I’ve been telling you—”
“Mother, Father Connolly’s here.”
8. Here, to bore means ”to make a hole, as by drilling or pushing.”
626  UNIT 5
The Seamstress, 1914.
Knud Larsen. Oil on canvas,
20 x 18¹⁄₂ in. Private collection.
Viewing the painting:
Why might the woman in
the painting be like Cornelia
at that age?
“I went to Holy Communion only last
week. Tell him I’m not so sinful as all that.”
“Father just wants to speak to you.”
He could speak as much as he pleased. It
was like him to drop in and inquire about her
soul as if it were a teething baby, and then stay
on for a cup of tea and a round of cards and
gossip. He always had a funny story of some
sort, usually about an Irishman who made his
little mistakes and confessed them, and the
point lay in some absurd thing he would blurt
out in the confessional9 showing his struggles
9. A confessional is a small booth in a Catholic church where a
person confesses his or her sins to a priest and asks forgive-
ness from God through the priest.
 Katherine Anne Porter

between native piety and original sin. Granny handsome. For a picture, yes, but it’s not my
felt easy about her soul. Cornelia, where are husband. The table by the bed had a linen
your manners? Give Father Connolly a chair. cover and a candle and a crucifix. The light
She had her secret comfortable understanding was blue from Cornelia’s silk lampshades. No
with a few favorite saints who cleared a sort of light at all, just frippery.11 You had to
straight road to God for her. All as surely live forty years with kerosene lamps to appre-
signed and sealed as the papers for the new ciate honest electricity. She felt very strong
Forty Acres. For ever . . . heirs and assigns10 for and she saw Doctor Harry with a rosy nimbus12
ever. Since the day the wedding cake was not around him.
cut, but thrown out and wasted. The whole “You look like a saint, Doctor Harry, and I
bottom dropped out of the world, and there vow that’s as near as you’ll ever come to it.”
she was, blind and sweating, with nothing “She’s saying something.”
under her feet and the walls falling away. His “I heard you, Cornelia. What’s all this
hand had caught her under the breast, she had carrying-on?”
not fallen; there was the freshly polished floor “Father Connolly’s saying—”
with the green rug on it, just as before. He had Cornelia’s voice staggered and bumped like
cursed like a sailor’s parrot and said, “I’ll kill a cart in a bad road. It rounded corners and
him for you.” “Don’t lay a hand on him, for my turned back again and arrived nowhere.
sake leave something to God.” “Now, Ellen, Granny stepped up in the cart very lightly and
you must believe what I tell you . . .” reached for the reins, but a man sat beside
So there was nothing, nothing to worry her, and she knew him by his hands, driving
about any more, except sometimes in the night the cart. She did not look in his face, for she
one of the children screamed in a nightmare, knew without see-
and they both hustled out shaking and hunting ing, but looked
for the matches and calling, “There, wait a instead down the
minute, here we are!” John, get the doctor road where the trees
now, Hapsy’s time has come. But there was leaned over and
Hapsy standing by the bed in a white cap. bowed to each other
“Cornelia, tell Hapsy to take off her cap. I and a thousand birds
can’t see her plain.” were singing a Mass.
Her eyes opened very wide and the room She felt like singing
stood out like a picture she had seen some- too, but she put her Did You Know?
A rosary is a string of beads
where. Dark colors with the shadows rising hand in the bosom of used to help count specific
towards the ceiling in long angles. The tall her dress and pulled prayers as they are recited.
black dresser gleamed with nothing on it but out a rosary, and
John’s picture, enlarged from a little one, with Father Connolly murmured Latin in a very
John’s eyes very black when they should have solemn voice and tickled her feet.13 My God,
been blue. You never saw him, so how do you
know how he looked? But the man insisted 11. Frippery is a showy, useless display.
the copy was perfect, it was very rich and 12. A nimbus is a disk or ring of light; a halo.
13. The priest is administering the last rites, a Catholic ritual
which includes saying prayers and applying oil to the dying
10. Assigns are people to whom property is legally transferred. person’s feet.

Vocabulary
piety (p¯
ə tē) n. religious devoutness; goodness

BEGINNINGS OF THE MODERN AGE  627

will you stop that nonsense? I’m a married
woman. What if he did run away and leave me
to face the priest by myself? I found another a
whole world better. I wouldn’t have exchanged
my husband for anybody except St. Michael14
himself, and you may tell him that for me, with
a thank you into the bargain.
Light flashed on her closed eyelids, and a
deep roaring shook her. Cornelia, is that
lightning? I hear thunder. There’s going to be
a storm. Close all the windows. Call the chil-
dren in . . . “Mother, here we are, all of us.”
“Is that you, Hapsy?” “Oh, no, I’m Lydia. We
drove as fast as we could.” Their faces drifted
above her, drifted away. The rosary fell out of
her hands and Lydia put it back. Jimmy tried
to help, their hands fumbled together, and
Granny closed two fingers round Jimmy’s
thumb. Beads wouldn’t do, it must be some-
thing alive. She was so amazed her thoughts
ran round and round. So, my dear Lord, this
is my death and I wasn’t even thinking about
it. My children have come to see me die. But
I can’t, it’s not time. Oh, I always hated sur-
prises. I wanted to give Cornelia the
amethyst15 set—Cornelia, you’re to have the
amethyst set, but Hapsy’s to wear it when she
wants, and, Doctor Harry, do shut up.
Nobody sent for you. Oh, my dear Lord, do
wait a minute. I meant to do something about
the Forty Acres, Jimmy doesn’t need it and
14. St. Michael is an archangel, usually depicted as a handsome
knight.
15. Amethyst (am
ə thist) is purple or violet quartz, and is typi-
cally used in jewelry.
Vocabulary
dwindle (dwin
dəl) v. to become gradually smaller
628  UNIT 5
Lydia will later on, with that worthless
husband of hers. I meant to finish the altar
cloth and send six bottles of wine to Sister
Borgia for her dyspepsia.16 I want to send six
bottles of wine to Sister Borgia, Father
Connolly, now don’t let me forget.
Cornelia’s voice made short turns and
tilted over and crashed. “Oh, Mother, oh,
Mother, oh, Mother . . .”
“I’m not going, Cornelia. I’m taken by sur-
prise. I can’t go.”
You’ll see Hapsy again. What about her? “I
thought you’d never come.” Granny made a
long journey outward, looking for Hapsy. What
if I don’t find her? What then? Her heart sank
down and down, there was no bottom to death,
she couldn’t come to the end of it. The blue
light from Cornelia’s lampshade drew into a
tiny point in the center of her brain, it flickered
and winked like an eye, quietly it fluttered and
dwindled. Granny lay curled down within her-
self, amazed and watchful, staring at the point
of light that was herself; her body was now only
a deeper mass of shadow in an endless darkness
and this darkness would curl round the light
and swallow it up. God, give a sign!
For the second time there was no sign. Again
no bridegroom and the priest in the house. She
could not remember any other sorrow because
this grief wiped them all away. Oh, no, there’s
nothing more cruel than this—I’ll never forgive
it. She stretched herself with a deep breath and
blew out the light.
16. Dyspepsia is indigestion.
 Active Reading and Critical Thinking
Responding to Literature
Personal Response
What was your reaction to Granny Weatherall’s train of
thought?
Analyzing Literature
Recall
1. At the beginning of the story, what attitudes does
Granny have toward the doctor, toward Cornelia, and
toward her own illness?
2. How does Granny describe her life since her husband
John died? What examples does she give?
3. Who is Hapsy, and where does Granny see her?
4. Which event does Granny recall with particular anger
and sadness? What “message” does she have for the
person involved?
5. What does Granny ask of God in the next-to-last para-
graph? What happens “for the second time”?
Interpret
6. What do Granny’s attitudes early in the story reveal
about her state of mind?
7. How might Granny have changed due to her experiences
since her husband died? How does the name Weatherall
fit Granny?
8. How does Granny’s vision of Hapsy foreshadow the end
of the story? (See Literary Terms Handbook, page R7.)
9. Think about Granny’s “message” to the person who has
hurt and saddened her. What does this message tell you
about her feelings toward him? Explain.
10. Why do you think the jilting incident comes back to
Granny so frequently as she faces death?
Evaluate and Connect
11. In your opinion, does Porter bring this story to an effec-
tive climax (see page R3)? Explain your answer using
details from the story.
12. Which of Granny’s memories did you find most touch-
ing? Why?
13. In your opinion, did Granny live a full life? Support your
answer with details from the story.
14. Look back at the chart you created for the Reading Focus
on page 620. Did you list your five important life events
in chronological order? How is the order of your list
similar to or different from Granny Weatherall’s
death-bed memories?
15. Would you like to have had Granny as a grandmother?
Explain.
Literary Criticism
Writing about Porter’s story, critic Roseanne L. Hoefel argues
that “Hapsy . . . was not Ellen’s child, nor was she an unin-
volved servant or midwife, as critics have surmised. She was,
instead, Ellen’s close friend, with whom Ellen shared an
emotional, spiritual and perhaps intellectual bond.” With a
small group of classmates, discuss your opinion of Hoefel’s
statement. Use details from the story to support your
answer.
Literary ELEMENTS
Stream of Consciousness
Stream of consciousness is a technique that a writer
uses to imitate the flow of thoughts, feelings, images,
and memories of a character in a literary work. Stream
of consciousness replaces traditional chronological order
with a seemingly jumbled collection of impressions,
forcing the reader to piece together the plot or theme.
In “The Jilting of Granny Weatherall,” Porter uses stream
of consciousness to represent Granny’s thoughts and
memories.
1. Is stream of consciousness a good choice for telling
the story “The Jilting of Granny Weatherall”? Explain.
2. What kinds of clues help the reader follow Granny’s
thoughts?
• See Literary Terms Handbook,
p. R15.
BEGINNINGS OF THE MODERN AGE
629
Responding to Literature
Literature and Writing
Writing About Literature
Author’s Use of Symbolism The author uses several sym-
bols for death in this story. Granny blowing out the light is
one. Identify at least two more symbols that might represent
death. Write a few paragraphs describing the effects of these
symbols on the story’s overall impression.
Extending Your Response
Literature Groups
Discussing Women’s Roles Granny Weatherall grew up in
the rural United States at a time when women’s roles were
very different from what they are today. With your group,
discuss the kind of life Granny might have led if she had
lived in the later years of the twentieth century.
Listening and Speaking
Dear George What did Granny really want to say to
George? Imagine that George arrives in Granny’s room or
calls on the phone. What would she really say to him? Write
and present a monologue in which Granny talks to George.
As you write and present your monologue, keep Granny’s
character in mind.
VOCABULARY
SkillMinilesson
• Analogies
Analogies are comparisons based on relationships
between ideas. The relationship represented in some
analogies is that of antonym variants, where the words
are close to being, but are not exact opposites. For
example:
weak : strength :: cowardly : courage
Although weak, an adjective, and strength, a noun, are
not exact opposites, you can still determine the relation-
ship between the concepts they represent. Something
weak lacks strength. Something cowardly lacks courage.
630
UNIT 5
Creative Writing
Your Own Stream of Consciousness Write your own
stream-of-consciousness story. Make up a story or tell about
an important person or event in your life. Do not plan the
story; just write it as it comes to you. Then share your story
with the class and discuss its significance.
Performing
Granny on Stage How would you turn a stream-of-
consciousness narrative into a play? Discuss this question
with a group of students. Think of a strategy for bringing
“The Jilting of Granny Weatherall” to the stage. Have one
group member take notes as you discuss ways to express
Granny’s thoughts, the jumbled time order, and other
elements of the story. Then perform an improvised
rendition of one part of the story for the class.
Save your work for your portfolio.
To finish an analogy, determine the relationship
between the first two words. Then apply that relationship
to the second set of words.
PRACTICE Complete each analogy.
1. dwindle : increase :: stiffen :
a. cringe b. freeze c. relax
2. humble : vanity :: kind :
a. cruelty b. humility c. generosity
3. bad : piety :: polite :
a. rudeness b. sadness c. courtesy
• For more about analogies, see Communications
Skills Handbook, p. R83.
 Before You Read
Richness

Meet studied at home, and at age fifteen

Gabriela Mistral
“ Speech is our second possession,
after the soul, and perhaps we have
no other possession in the world.
”
—Mistral
At age twenty-five, Gabriela Mistral
(
a brē ā l
a mēs tr
al) was so shy that
she could not accept her first literary
award. Instead, she sat unnoticed in
the audience while another poet accepted it for
her. Mistral eventually matured to become an
internationally recognized poet and the first Latin
American writer to receive the Nobel Prize for
Literature.
She was born Lucila Godoy Alcayaga, in
Vicuña, Chile, north of the capital city of
Santiago. A solitary child, she found her class-
mates’ teasing so unbearable that she left school in
the sixth grade. Nevertheless, she read constantly,
began her first job as a teacher, a
vocation that she followed throughout
her life.
The suicide of her fiancé prompted
her to write “Sonetos de la muerte”
(“Sonnets of Death”), which she
entered in a national literary contest
under the pen name Gabriela Mistral.
Those poems, which later appeared in
her first book, Desolación (Desolation),
brought her recognition that furthered both her
teaching and her literary careers. “Material
resources may be limited,” Mistral once said, “but
those of the spirit are more powerful than we could
ever imagine.” She proved the truth of that state-
ment with many achievements—in teaching, in
literature, and in diplomacy as Chilean consul to
Italy and to the United States.
Gabriela Mistral was born in 1889 and died in 1957.

Reading Focus Building Background

How do you measure true richness
in life? Is money the greatest mea-
sure? Do you find richness in family
and good friends or perhaps in life
experiences?
Journal In your journal, note
ways that you could measure true
richness.
Setting a Purpose Read to
discover a speaker’s idea of life’s
richness.
Did You Know?
Gabriela Mistral never forgot the sights and sounds of her birthplace, Vicuña, an
agricultural community surrounded by the Andes Mountains. “I continue to speak
Spanish with the sing-song of the Elqui Valley,” she once said. “I have a sense of
smell that comes from those vineyards and fig orchards, and even my sense
of touch came from those hills covered with tender or hardy grasses.”
Research
Use the library and the Internet to find pictures of the land of Mistral’s childhood in
Chile—agricultural villages surrounded by the massive Andes Mountains. Imagine
what life might have been like growing up in such a setting. Then, as you read
“Richness,” think about how the visual images of that setting might have influenced
Mistral’s poetry.

Literary Influences
Besides the spoken language of her birthplace, Mistral also found inspiration in the
language of the Bible and Spanish-language classics. Two of her favorite writers were
the Italian poet Gabriele D’Annunzio and the (French) Provençal poet Frédéric Mistral.
From these two names, the young poet developed her pen name, Gabriela Mistral.

BEGINNINGS OF THE MODERN AGE
631

WORLD LITERATURE

Woman and the Cat, 1995. Maria Eugenia

Terrazas. Watercolor, 60 x 70 cm. Private
collection.

I have a faithful joy
and a joy that is lost.
One is like a rose,
the other, a thorn.
5 The one that was stolen 15
I have not lost.
I have a faithful joy
and a joy that is lost.
I am as rich with purple
10 as with sorrow.
Gabriela Mistral
Tr a n s l a t e d b y D o r i s D a n a


Ay! How loved is the rose,
how loving the thorn!
Paired as twin fruit,
I have a faithful joy
and a joy that is lost.
 Active Reading and Critical Thinking
Responding to Literature
Personal Response
Which idea from the poem struck you as the most powerful
or surprising? Why?
Analyzing Literature
Recall and Interpret
1. What joys does the speaker describe in the first two lines?
What can you infer from these descriptions?
2. To what does the speaker compare her two joys in lines
3–4? What connotations, or associations, does each
object have for you?
3. With what statement does the first stanza end? What
does this statement suggest to you about the speaker’s
view of life?
4. What simile, or comparison using like or as, describes the
relationship between the rose and the thorn? Why might
the speaker describe the thorn as “loving”? What might
the speaker be suggesting about the nature of joy?
Evaluate and Connect
5. What does the title of the poem lead you to expect?
What might the title suggest about the different kinds of
experiences people have?
6. What repetition does the speaker use? Where does it
occur, and what effect does it have? (See Literary Terms
Handbook, page R13.)
7. According to one critic, Mistral often wrote about “love
and anguish, life and death, nature and man.” Do you
think this statement applies to “Richness”? Give details
from the poem to support your answer.
8. How would you describe the speaker’s emotional state?
What life experiences might create similar emotions
for you?
Extending Your Response
Personal Writing
Personal Richness Review your responses for the Reading
Focus on page 631. Use one or more of these ideas in a brief
poem that conveys your idea of personal richness. Before
you write, select one or two powerful visual images to help
express your idea.
Literary Criticism
According to one critic, “[Mistral’s] simple, unadorned
writings evoke a sense of mystery and isolation.” Do you
think “Richness” evokes a sense of mystery and isolation?
Why or why not? Write your answer in a few paragraphs,
supporting your opinions with details from the poem.
Literary ELEMENTS
Speaker
The speaker in a poem is the voice that communicates
the ideas, actions, and emotions of a poem to the
reader. In some poems, the speaker is the voice of the
poet. In others, the speaker has his or her own identity
and may be a real or a fictional person, an animal, or a
thing such as a force of nature. In many cases, a poet
invents a speaker with a particular identity to create a
desired impression or impact. For example, the speaker
in “Richness” is someone revealing very personal
emotions.
1. How would you describe the speaker in “Richness”?
Why?
2. What, in your opinion, is the speaker’s tone in this
poem? Explain.
• See Literary Terms Handbook,
p. R15.
Interdisciplinary Activity
Biology: Rose and Thorn Do some research to discover
why roses have thorns. Share your findings with the class
and then discuss this question: How does knowing more
about the relationship between roses and thorns affect your
understanding of the poem?
Save your work for your portfolio.
BEGINNINGS OF THE MODERN AGE
633
 Critical Thinking

COMPARING
selections 

and

COMPARE CHARACTERS

The speaker in “Richness” reveals herself through few words; Granny Weatherall
provides many details as she sorts through a lifetime of memories. With a small group
of students, discuss these questions:
1. In what ways are Granny Weatherall’s experiences similar to the experiences of the
speaker in “Richness”? In what ways are their experiences different?
2. How are their reactions to life alike? In what ways do they react differently?
3. How does love affect each speaker?

COMPARE CULTURES

Although the characters in both selections share certain kinds of experiences, they
come from very different cultures. With a partner, investigate women’s social roles in
rural South America and in the rural southern United States in the early twentieth
century. Consider these questions:
• What was expected of women in each culture?
• What customs and everyday activities reveal these expectations?
• Do Granny Weatherall and the speaker of “Richness” reveal much about the role of
women in their respective cultures? Explain.
Discuss your answers to the questions with a partner. Then, working with your partner,
create and perform a dialogue between Granny Weatherall and the speaker in
“Richness.” The dialogue should reflect the speakers’ views of their lives and their
possible attitudes toward the roles of women in each culture. Perform your dialogue
for the class.

COMPARE TECHNIQUES

Both Porter and Mistral chose techniques they thought would best convey their ideas.
In her story Porter uses stream of consciousness, presenting ideas, events, and images
in the order in which a conscious mind might think of them. Mistral uses few words
but powerful images. Write a paragraph comparing the two writers’ techniques.
Consider the other techniques each writer uses and which writer’s techniques seem
most effective.

634
UNIT 5
 Before You Read
Ars Poetica

Meet years. In 1928, at the age of thirty-six,

Archibald MacLeish
“ But what, then, is the business of
poetry? Precisely to make sense of
the chaos of our lives. . . . To
compose an order which the
bewildered, angry heart can
recognize.
” —MacLeish
Archibald MacLeish was a poet with a purpose.
He believed that through love and awareness,
Americans could achieve the goals of freedom
and equality set down in the Declaration of
Independence. His ideals show in both his poetry
and his public life.
MacLeish attended Yale University, where he
played on the football team. Then, at the age of
twenty-three, MacLeish entered Harvard Law
School. Over the next two years he married singer
Ada Hitchcock and enlisted in the army. After
World War I he became a successful lawyer, then
suddenly quit his job. He moved with his wife and
two small children to Paris to become a writer.
There, he published four poetry collections in five
he returned with his family to the
United States. MacLeish continued
writing poetry and in 1933 won his first
Pulitzer Prize for Conquistador, an epic
poem about the conquest of Mexico by
the Spanish.
Concerned about the nation’s social
problems, MacLeish also wrote journal-
istic articles and supported President
Franklin D. Roosevelt in his economic reforms and
his arming against Hitler. In the 1940s, MacLeish
served as director of a wartime office of propaganda,
as assistant secretary of state, and as a librarian of
Congress. Through all this, he continued to write.
In the 1950s, MacLeish won two more Pulitzer
Prizes—one for Poetry and one for Drama.
Critic Hayden Carruth said of the poet:
“MacLeish wrote not as a personal crusader, never
as a political crank or lonely visionary, but instead
as the spokesman of the people. . . . His poems
were outgoing . . . products of basic poetic and
human loving kindness.”
Archibald MacLeish was born in 1892 and died in 1982.

Reading Focus Building Background

How do you judge a poem—by its
sounds, by its choice of words, by
the way you respond to it, or by
other characteristics?
Discuss In a small group of class-
mates, complete this statement:
“A good poem is . . .”
Setting a Purpose Read to
learn one writer’s ideas about what
poetry should be.
The Time and Place
Ars Poetica is a Latin phrase meaning “the art of poetry.” Ars Poetica was also the
title of a work written around 13 B.C., in which the Roman poet Horace expressed
his own rules for writing poetry. MacLeish published his “Ars Poetica” in 1926, in a
collection titled Streets in the Moon. When he wrote the poem, MacLeish was living
in Paris and was caught up in the study of poetry, working to perfect his own skills.
He was part of a circle of innovative American writers who had settled in Paris. His
friends included Ernest Hemingway, F. Scott Fitzgerald, and E. E. Cummings.
Research
Use the library or the Internet to learn more about the original Ars Poetica, written
by the Roman poet Horace. What are some of the rules for writing poetry that
Horace presents? As you read MacLeish’s Ars Poetica, think about how his rules for
poetry compare with the rules expressed by Horace. Why do you think MacLeish
named his poem after Horace’s work?

BEGINNINGS OF THE MODERN AGE
635

 Archibald MacLeish 
A POEM should be palpable° and mute° 1 palpable: tangible; able to be touched
As a globed fruit or felt. mute: silent.

Dumb° 3 Dumb: here, unable to speak.

As old medallions to the thumb

5 Silent as the sleeve-worn stone

Of casement° ledges where the moss has grown— 6 casement: a window that opens on
hinges.
A poem should be wordless
As the flight of birds

A poem should be motionless in time

10 As the moon climbs

Leaving, as the moon releases

Twig by twig the night-entangled trees,

Leaving, as the moon behind the winter leaves,

Memory by memory the mind—

15 A poem should be motionless in time

As the moon climbs

A poem should be equal to:

Not true

For all the history of grief

20 An empty doorway and a maple leaf

For love
The leaning grasses and two lights above the sea—

A poem should not mean

But be

636
UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
As you read the poem, which image could you see, feel, or hear most vividly Literary
in your imagination? Why?
ELEMENTS

Analyzing Literature Simile

A simile is a figure of speech that com-
Recall and Interpret pares two things by using words such as
1. What five adjectives in lines 1–8 describe what a poem should be? What is like or as. The comparison to something
ironic about the use of these words to describe a poem? (See Literary familiar provides new insights about the
Terms Handbook, page R8.) thing being compared, and creates a
2. To what does the speaker compare poetry in lines 9–16? What does this more vivid experience for the reader. In
image suggest about the function of poetry? “Ars Poetica,” MacLeish uses several sim-
3. How does the speaker suggest that grief and love be represented in iles to clarify and expand his meaning.
poetry? What can you infer from this suggestion about the way poems For example, he uses the simile “As old
should express emotions? medallions to the thumb” to clarify what
4. What does the speaker say poems should be in lines 17–18 and 23–24? he means by saying that a poem should
What might the speaker be saying about poetry in these lines? Explain. be “dumb.”
1. To what does MacLeish compare the
Evaluate and Connect
way a poem should be “motionless
5. How would you rate the images in this poem based on their appeal to the
in time”?
senses? Explain your rating.
6. In your opinion, do lines 20 and 22 adequately capture the emotions of 2. What other similes can you find in
grief and love? Why or why not? the poem? Explain how each simile
7. Do you agree with the statements made in lines 17–18 and lines 23–24? helps clarify and expand the term
Explain. that comes before it.
8. How does the speaker’s explanation of what a poem “should be” compare • See Literary Terms Handbook,
with the definition you created for the Reading Focus on page 635? Has p. R14.
your definition changed after reading this poem? Why or why not?

Extending Your Response

Literature Groups
A Matter of Image In your group, discuss each image
MacLeish uses in “Ars Poetica.” What exactly is the image
describing? What pictures does it bring to mind? How effec-
tively does it help readers understand what poetry should
be? Then come up with additional images to convey
MacLeish’s view of what poetry should be and present them
to the class.
Writing About Literature
Paraphrase the Poem “Ars Poetica” is an argument about
what a poem should be, but the argument is presented in
the form of a poem. In your own words, rewrite the main
ideas of the argument in paragraph form. Be sure your com-
pleted work has an effective introduction and conclusion.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
637

 Before You Read
Dirge Without Music and Recuerdo

Meet college, Millay moved to Greenwich

Edna St. Vincent Millay
“Oclose
world, I cannot hold thee
enough!
” —Millay
“I am not a tentative person,” wrote
Edna St. Vincent Millay. “Whatever I
do, I give my whole self up to it.” Her
passionate involvement with life made her
a spokesperson for the generation that grew up
in the Roaring Twenties. This was a carefree,
exuberant period, and its spirit was captured in
Millay’s poem “The First Fig.”
My candle burns at both ends;
It will not last the night;
But ah, my foes, and oh, my friends—
It gives a lovely light!
Millay began her writing career early and by the
age of fourteen had won her first poetry award. By
twenty, her poetry had landed her a patron who
helped pay her tuition at Vassar College. After
Village, a section of New York City
known for its writers, artists, and
unconventional lifestyles. There she
wrote, worked as an actress, fell in
and out of love, and became one of
the best-known poets of her day.
In 1923, when she was thirty-
one, Millay won the Pulitzer Prize for
Poetry. Eight years later, her book of fifty-
two love sonnets, Fatal Interview, received
enthusiastic reviews. As she grew older, Millay
threw herself into politics and social issues with
the same passion that she had put into her poetry.
Critics complained, however, and many of Millay’s
fans deserted her. Though her popularity declined
in her last years, she continued to write constantly.
Many of these later works have been published
since her death, and her fame is once again on
the rise.
Edna St. Vincent Millay was born in 1892 and died in 1950.

Reading Focus Building Background

What is your favorite memory?
List It! Make a list of all the
details you can recall from your
favorite memory. What happened?
What images do you associate with
the memory?
Setting a Purpose Read
“Recuerdo” to learn about a favorite
memory of one speaker.
The Time and Place
Recuerdo (rā kwerdō) is a Spanish word that can mean either “I remember,”
“remembrance,” or “souvenir.” The poem describes a ride on the Staten Island Ferry,
a boat that travels back and forth between Manhattan and Staten Island in New York.
The Spanish title suggests that the poem was inspired by a visit Millay made with the
young Nicaraguan poet Salomón de la Selva (s
al ō mōn dā l
a sel v
a) to Staten
Island—a place many young couples went for picnics and walks.
Literary Influences
Millay was influenced by many arts, particularly music. In her early years, she studied
to be a concert pianist but gave up because her hands were so small. Millay’s love of
music is reflected in her use of repetition, rhyme, and alliteration (see Literary
Terms Handbook, pages R13 and R1). For instance, Millay instills music in her poem
“Recuerdo” by repeating the first line in each stanza and by using end rhyme
throughout.

638
UNIT 5
 Bramble, 1980. Louisa Chase. Oil on canvas, 182 x 243.8 cm. Private collection.

E d n a S t . Vi n c e n t M i l l a y 
I am not resigned° to the shutting away of loving hearts in the hard ground.
So it is, and so it will be, for so it has been, time out of mind:
Into the darkness they go, the wise and the lovely. Crowned
With lilies and with laurel° they go; but I am not resigned.

5 Lovers and thinkers, into the earth with you.

Be one with the dull, the indiscriminate° dust.
A fragment of what you felt, of what you knew,
A formula, a phrase remains,—but the best is lost.

The answers quick and keen, the honest look, the laughter, the love,—
10 They are gone. They are gone to feed the roses. Elegant and curled
Is the blossom. Fragrant is the blossom. I know. But I do not approve.
More precious was the light in your eyes than all the roses in the world.

Down, down, down into the darkness of the grave

Gently they go, the beautiful, the tender, the kind;
15 Quietly they go, the intelligent, the witty, the brave.
I know. But I do not approve. And I am not resigned.

A dirge is a funeral song or a song expressing grief.

1 To be resigned to something means “to have given in without complaint” or “to have adjusted to some-
thing undesirable.”
4 The fragrant foliage from a laurel tree is often used to symbolize honor or victory. In ancient Greece and
Rome, a person may have been crowned with a wreath of laurel to honor a particular achievement.
6 Indiscriminate means “not noting differences or making distinctions.”

BEGINNINGS OF THE MODERN AGE
639

 Staten Island Ferry, 1937. Minna Wright Citron. Oil
on Masonite, 25¹⁄₄ x 16³⁄₈ in. ©Estate of Minna
Citron⁄Licensed by VAGA, New York⁄Collection of
The Newark Museum, Newark, NJ. Purchase, 1939.
Felix Fuld Bequest Fund.

E d n a S t . Vi n c e n t M i l l a y 

We were very tired, we were very merry—

We had gone back and forth all night on the ferry.
It was bare and bright, and smelled like a stable—
But we looked into a fire, we leaned across a table,
5 We lay on a hill-top underneath the moon;
And the whistles kept blowing, and the dawn came soon.

We were very tired, we were very merry—

We had gone back and forth all night on the ferry;
And you ate an apple, and I ate a pear,
10 From a dozen of each we had bought somewhere;
And the sky went wan,° and the wind came cold,
And the sun rose dripping, a bucketful of gold.

We were very tired, we were very merry,

We had gone back and forth all night on the ferry.
15 We hailed,° “Good-morrow, mother!” to a shawl-covered head,
And bought a morning paper, which neither of us read;
And she wept, “God bless you!” for the apples and pears,
And we gave her all our money but our subway fares.

11 Wan means “pale.”

15 Hailed means “called out to greet.”

640
UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
With which of the two poems’ speakers did you identify most? Why? Record your thoughts in
your journal.

Analyzing Literature
Recall and Interpret
1. Whom does the speaker mourn in the poem? What is her attitude toward losing these
people? What does she say has been lost along with them?
2. What does the speaker say she does not approve of and is not resigned to? What does this
suggest about her values and her view of humankind?
Evaluate and Connect
3. In your opinion, how effective is the mood of this poem in conveying the poem’s
message? Explain. (See Literary Terms Handbook, page R10.)
4. On the basis of this poem and your own experiences, how well do you think the speaker
understands what it is like to lose someone? Support your answer with details from the
poem.

Recall and Interpret

5. What details in the first two stanzas tell you about the characters’ actions? Why might they
have felt the way they did?
6. What do the characters do in the last stanza? Why might they have done this?

Evaluate and Connect

7. What two lines are repeated in each stanza? What is the effect of this repetition (see
page R13)?
8. In what ways might this poem reflect the poet’s love of nineteenth-century poetry? For
example, list words from the poem that seem old-fashioned.

Extending Your Response

Personal Writing
Souvenirs of Experience One critic wrote that Millay
shared “souvenirs of experience” with readers. In
“Recuerdo,” she does this with images that focus on all five
senses. Review your list for the Reading Focus on page 638.
Using “Recuerdo” as a model, relate your own experience in
a short poem or essay. Include strong sensory images as
Millay does.
Interdisciplinary Activity
Music: Sorrow and Joy Death and loss, as well as the joys
of life, are common themes for Millay. Locate a piece of
music that expresses grief comparable to “Dirge Without
Music” and another that expresses the joy of “Recuerdo.”
Play them for the class and explain your choices.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
641

 Before You Read
anyone lived in a pretty how town

Meet to serve as an ambulance driver in

World War I. Not long after, he was
E. E. Cummings
unjustly confined in a French deten-
“ to be nobody-but-myself—in
a world which is doing its best,
tion camp on charges of espionage.
Released a few months later,
night and day, to make me every- Cummings wrote an absorbing
body else—means to fight the hard- account of his imprisonment in
est battle which any human being The Enormous Room.
can fight, and never stop fighting.
—Cummings
” After the war, Cummings returned
to New York City, settling in
Greenwich Village. For much of the next two
To E. E. Cummings, being an individual—not
decades he divided his time between the Village
giving in to pressures to be just like everyone
and Paris and concentrated on writing poetry and
else—was life’s most important struggle. He
painting. Though his writing, not his painting,
challenged the forces that tend to suppress unique-
brought him acclaim, the latter had a tremendous
ness and make people conform, a challenge that
impact on his poetry.
is reflected in his poetry.
The first things readers often notice about
Cummings grew up in Cambridge,
Cummings’s poems are the unusual arrangement
Massachusetts, the son of a respected minister and
of the words, the lack of punctuation, and the use
a mother who loved poetry. Throughout his life,
of lowercase letters. Cummings also experimented
Cummings remained grateful to his mother for
with words, breaking them apart or changing their
encouraging his poetic ambitions. He wrote, “if
parts of speech. Many times, he made a single word
there are any heavens my mother will (all by
represent an entire idea. The experiments in lan-
herself) have / one.” Cummings began writing at
guage and grammar were Cummings’s way of
an early age. From the ages of eight to twenty-two,
expressing his individuality and of encouraging
he wrote a poem almost every day and experi-
readers to look at the world in a new way.
mented with a variety of poetic forms
A year after receiving a master’s degree from
Harvard University in 1916, Cummings volunteered Edward Estlin Cummings was born in 1894 and died in 1962.

Reading Focus Building Background

What is the “average” or “typical”
person of your age like?
Quickwrite Describe this person
and his or her way of life. For exam-
ple, what does he or she wear, do,
think, and say?
Setting a Purpose Read to
learn how one speaker describes the
“average” person’s life.
The Poet’s Themes
“Cummings was a lyric poet, ready to sing of love, the moon, the stars, and the
beauties of nature,” wrote one critic. Although Cummings’s poems are innovative in
style, they explore traditional poetic subjects such as love, the natural world, and
death. Cummings was also, however, a master of satire. He coined the word “most-
people” to describe people who follow the crowd. Cummings believed that individu-
als can only discover who they truly are if they don’t worry what “mostpeople” think.
Research
After returning to New York in 1918, E. E. Cummings spent much of his time painting
in the cubist style. Use the Internet or the library to learn more about the images
and ideas of cubism. Then, in a small group, discuss how cubism may have

influenced Cummings’ poetry.
642 UNIT 5
 E. E. Cummings

A Summer Evening on the Lake in Alexandra Park. Helen Bradley
(1900–1979). Oil on canvas board, 24 x 30 in. Private collection.

anyone lived in a pretty how town stars rain sun moon

(with up so floating many bells down) (and only the snow can begin to explain
spring summer autumn winter how children are apt to forget to remember
he sang his didn’t he danced his did. with up so floating many bells down)

5 Women and men(both little and small) 25 one day anyone died i guess
cared for anyone not at all (and noone stooped to kiss his face)
they sowed their isn’t they reaped their same busy folk buried them side by side
sun moon stars rain little by little and was by was

children guessed(but only a few all by all and deep by deep

10 and down they forgot as up they grew 30 and more by more they dream their sleep
autumn winter spring summer) noone and anyone earth by april
that noone loved him more by more wish by spirit and if by yes.

when by now and tree by leaf Women and men(both dong and ding)
she laughed his joy she cried his grief summer autumn winter spring
15 bird by snow and stir by still 35 reaped their sowing and went their came
anyone’s any was all to her sun moon stars rain

someones married their everyones

laughed their cryings and did their dance
(sleep wake hope and then)they
20 said their nevers they slept their dream

BEGINNINGS OF THE MODERN AGE  643

 Active Reading and Critical Thinking

Responding to Literature
Personal Response
What reactions did you have as you read this poem? In your journal, describe Literary
and explain your reactions.
ELEMENTS
Analyzing Literature Rhythm
Recall and Interpret In poetry, rhythm is the arrangement
1. What is the name of the main character of the poem and what is the name of stressed and unstressed syllables.
of his wife? What do their names suggest to you? Rhythm can convey meaning by
2. According to the speaker in this poem, what do “women and men” do? emphasizing certain words and phrases.
What seems to be the speaker’s attitude toward these people? How can It can also add a musical quality to a
you tell? poem and help set the tone. Regular
3. What does the speaker say about what children know? What happens to rhythm has a predictable pattern, while
them? What might Cummings be trying to convey about the difference irregular rhythm has no definite pattern.
between children and adults? Although “anyone lived in a pretty how
4. What happens to the two main characters at the end of the poem? How do town” has irregular rhythm, the particular
the townspeople seem to react to this event? What lesson about life do arrangement of stressed and unstressed
you think Cummings is trying to communicate with this poem? syllables plays an important role in the
poem.
Evaluate and Connect
Women and men  (both little
5. What two series of words are repeated in the poem? What might the poet  )
and small
have meant to emphasize through the use of repetition (see Literary    yone not
 at all

cared fo r an
Terms Handbook, page R13)?
6. The words in lines 2 and 24 don’t seem to make much sense. How do 1. Which lines seem to have the same
these words contribute to your impression of the town? or nearly the same rhythm? Which
7. How does the poem’s depiction of the “average person” compare with have rhythm that is quite different?
your response to the Reading Focus on page 642? From your comparison, 2. What do you think the differences in
would you say the poem also describes people of today? rhythm emphasize?
8. In this poem, Cummings uses unconventional word order and few capital • See Literary Terms Handbook,
letters and punctuation marks. In your opinion, how do these techniques p. R13.
contribute to the impact and meaning of the poem?

Extending Your Response

Writing About Literature
What Does It Really Mean? In choosing words, poets con-
sider both the denotation (literal meaning) and connotation
(suggested meaning). In a few paragraphs, describe how the
difference between the denotation and the connotation of
the words little, small, same, and never might affect the
reading of the poem.
Internet Connection
E. E. Cummings on the Web Look for Web sites devoted
to Cummings. Print out or copy down two more of his
poems. Compare your reactions to these poems with those
you had to “anyone lived in a pretty how town.” Share your
thoughts with a partner.
Save your work for your portfolio.

644
UNIT 5
 Anecdote
Marianne Moore’s fellow poet Alfred
Kreymborg once decided to take her in
a new direction—to a baseball game.
Here’s what happened, as Kreymborg
described it in his autobiography.

from The Oxford Book of American Literary Anecdotes

edited by Donald Hall

N ever having found her at a loss on any topic whatsoever, I

wanted to give myself the pleasure of at least once hearing
her stumped about something. Certain that only an experience
completely strange to her would be the thing, I invited her to a
game at the Polo Grounds [baseball stadium where the New
York Giants played].
Well, I got her safely to her seat and sat down beside her.
Without so much as a glance toward the players at practice grab-
bing grounders and chasing fungos [practice fly balls], she went on
giving me her impression of the respective technical achievements
of [poets] Mr. Pound and Mr. Aldington without missing a turn in
the rhythm of her speech, until I, a little impatient, touched her
arm and, indicating a man in the pitcher’s box winding up with
the movement Matty’s [Hall of Fame pitcher Christy Mathewson]
so famous for, interrupted: “But Marianne, wait a moment,
the game’s about to begin. Don’t you want to watch the first
ball?” “Yes indeed,” she said, stopped, blushed and leaned for-
ward. The old blond boy [Mathewson] delivered a tantalizing fadeaway
[pitch] which hovered in the air and then, just as it reached the batter,
Shorty Slagle, shot from his shoulders to his knees and across the plate.
“Strike!” bawled Umpire Emslie. “Excellent,” said Marianne.
Delighted, I quickly turned to her with: “Do you happen to know the
gentleman who threw that strike?”
“I’ve never seen him before,” she admitted, “but I take it it must be Mr.
Mathewson.”
I could only gasp, “Why?”
“I’ve read his instructive book on the art of
pitching—”
“Strike two!” interrupted Bob Emslie.
“And it’s a pleasure,” she continued,
“to note how unerringly his execution Analyzing Media
supports his theories.”
1. Does Kreymborg really take Marianne Moore in a new
direction? Explain.
2. If you were in Kreymborg’s position, would you be so
surprised? Why or why not?
 Before You Read
Poetry

Meet to England and France, taught business

courses, and even coached field sports.
Marianne Moore
At the age of thirty-one, Moore
“tiveWeabout
[writers] must not be too sensi-
not being liked or not being
moved with her mother to New York
City, a place that offered her “acces-
printed. . . . The thing is to see the sibility to experience.” There she
vision and not deny it; to care and worked in a school and a library, edited
admit that we do.
” —Moore
an influential literary magazine called
The Dial, and mingled with other avant-
garde writers and painters. In her spare
time, she wrote many books of poetry,
Marianne Moore followed her own
one of which won a Pulitzer Prize.
advice: she cared more about writing
Moore believed that poets should
poetry than about achieving fame. She
write with what she called “unbearable
wasn’t discouraged when she was called a
accuracy.” She revised her own poems again and
“poet’s poet” (meaning that only other poets
again, never really considering any to be truly fin-
appreciated her “difficult” poetry) or when her
ished. While her use of obscure words and complex
Selected Poems sold only 864 copies in seven years.
stanza patterns gave Moore a reputation for being
This original and whimsical writer was born in
difficult, she was greatly admired by fellow poets,
Missouri, grew up in Pennsylvania, and attended
including T. S. Eliot and William Carlos Williams.
Bryn Mawr College where she began writing
The poet John Ashbery once said of her, “I am
poetry. After graduating from Bryn Mawr, Moore
tempted to call her our greatest modern poet.”
continued writing poetry. Her poems appeared in
Poetry magazine and in a number of other publica-
tions. During these early years, Moore also traveled Marianne Moore was born in 1887 and died in 1972.

Reading Focus Building Background

Do you think you understand what
poetry is?
Think-Pair-Share Spend three
minutes jotting down a list of things
you know about poetry. Then share
your list with a partner.
Setting a Purpose Read to
learn one writer’s ideas of what
poetry is.
Scientific Influences
At Bryn Mawr College, Moore majored in biology and histology, the study of plant
and animal tissue structure. She even considered pursuing a career in medicine.
Moore’s interest in science never left her, as is apparent in both the subject matter
and the precision of her verse. Moore wrote extensively of the natural world, and in
a 1961 interview she discussed the importance of her scientific training to her poetry:
“Precision, economy of statement, logic employed to ends that are disinterested,
drawing and identifying, liberate—at least have some bearing on—the imagination.”
Did You Know?
Some of Moore’s poetry reflects her life-long interest in sports, particularly baseball,
which she called “a game of precision.” In 1967, the New York Yankees organization
invited her to throw out the first ball for the opening day of the 1968 season. Moore
became so excited at the prospect that she went to Yankee Stadium during the 1967
season to practice.

646
UNIT 5
 Marianne Moore

Georgia O’Keeffe, 1918. Alfred Stieglitz. Photograph. Metropolitan Museum of Art, New York.

BEGINNINGS OF THE MODERN AGE  647

 I, too, dislike it: there are things that are important beyond all this fiddle.°
Reading it, however, with a perfect contempt for it, one discovers in
it after all, a place for the genuine.
Hands that can grasp, eyes
5 that can dilate,° hair that can rise
if it must, these things are important not because a

high-sounding interpretation can be put upon them but because they are
useful. When they become so derivative° as to become unintelligible,
the same thing may be said for all of us, that we
10 do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to

eat, elephants pushing, a wild horse taking a roll, a tireless wolf under
a tree, the immovable critic twitching his skin like a horse that feels a flea, the base-
15 ball fan, the statistician—
nor is it valid
to discriminate against ‘business documents and

school-books’; all these phenomena are important. One must make a distinction
however: when dragged into prominence by half poets, the result is not poetry,
20 nor till the poets among us can be
‘literalists° of
the imagination’—above
insolence° and triviality and can present

for inspection, ‘imaginary gardens with real toads in them’, shall we have
25 it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.

1 Here, fiddle means “nonsense” or “aimless, trifling, or experimental activity.”

5 Dilate means “to become larger or wider.”
8 Here, derivative (di riv
ə tiv) may mean “unoriginal” or “based on someone else’s experience.”
21 Here, literalists are people who stick to observable facts.
23 Insolence is arrogance.

648  UNIT 5
 Active Reading and Critical Thinking
Responding to Literature
Personal Response
Were you convinced by the writer’s argument? Why or
why not?
Analyzing Literature
Recall and Interpret
1. What attitudes about poetry does the speaker express in
lines 1–3?
2. What things does the speaker present in lines 4–5? Why
are they important? What can you infer about the
speaker’s attitude toward poetry?
3. How does the speaker say people react to poems that
“become so derivative as to become unintelligible”?
According to the speaker, what kinds of “phenomena”
make good subjects for poetry? What point do you think
Moore is trying to make in lines 8–18?
4. According to lines 18–25, what accounts for the difference
between the work of “half poets” and that of poets? How
do you think presenting “‘imaginary gardens with real
toads in them’” results in poetry? Explain.
5. According to lines 25–29, what two demands indicate that
a person is interested in poetry? In your opinion, what
characteristics does the speaker believe a good poem
should have?
Evaluate and Connect
6. Moore begins the poem by stating a provocative opinion.
Do you think this is an effective way to begin the poem?
Explain.
7. Look back at your response to the Reading Focus on page
646. How do the ideas presented in this poem help you
understand what poetry is?
8. What subjects might the speaker suggest for poems
written today?
Extending Your Response
Writing About Literature
In Support of Poetry Make poetry fans out of an audience
of fourth or fifth graders. In your own words, rewrite Moore’s
ideas about poetry as stated in the poem. Be sure to write
for your younger audience. Then make your presentation to
a fourth- or fifth-grade class.
Literary Criticism
Marianne Moore’s “eccentric” rhyming, argues critic George
W. Nitchie, “testifies not to a defective ear but to a prickly
[troubling or irritating] and rigorous [exact and logical]
concern for craft.” Which rhymes, if any, seem eccentric to
you? Do you find Moore’s rhyming troubling yet logical? To
what purpose in the poem does she use eccentric rhymes?
Write a brief analytical essay answering these questions.
Literary ELEMENTS
Enjambment
Enjambment is a verse technique in which the sense and
grammatical structure of one line carries over to the next
line without a punctuated pause. Enjambed lines contrast
with end-stopped lines, in which both meaning and gram-
matical structure come to an end or a definitive pause. In
“Poetry,” enjambment serves to emphasize certain words
or to expand their meanings by relating them to different
contexts. This technique also serves to express the flow of
the speaker’s thought.
1. Identify three examples of enjambment in “Poetry.”
2. In each example, what word or words might Moore be
trying to emphasize or expand?
• See Literary Terms Handbook,
p. R5.
Listening and Speaking
Reading “Poetry” Moore’s rhythm, rhyme, and enjamb-
ment create challenges for reading aloud. (See Literary
Terms Handbook, pages R13 and R5.) With a partner,
prepare an oral reading of “Poetry.” Present your reading to
the class, alternating stanzas with your partner.
Save your work for your portfolio.
BEGINNINGS OF THE MODERN AGE
649
 Before You Read
The Bridal Party
Meet
F. Scott Fitzgerald
F. Scott Fitzgerald once wrote that
“all the stories that came into my
head had a touch of disaster in
them. . . . I was pretty sure living
wasn’t the reckless, careless business
these people thought.” Many of
Fitzgerald’s stories and novels
describe the lifestyle of young,
wealthy Americans during the
decade of the 1920s. Fitzgerald
shared this lifestyle, and the heroes in his fiction
often have values and conflicts that are very simi-
lar to his own.
Fitzgerald was born in 1896 in St. Paul,
Minnesota, into a family of little wealth but great
social ambition. A failure at business, Fitzgerald’s
father was often criticized by his wife. She had
high expectations for their children and sent them
to the best schools so that they could mingle with
the upper classes.
As a student, Fitzgerald had difficulty disciplin-
ing himself. He spent his time at Princeton
University writing for the newspaper and partici-
pating in the drama club, trying to achieve social
status through school clubs. After failing several
courses, he left college in his junior year to enlist
in the army. While stationed in the South, he fell
in love with Zelda Sayre.
Following his stint in the army, Fitzgerald set-
tled in New York City and struggled to earn a liv-
ing. His financial worries ended with the
publication of This Side of Paradise when he was
twenty-four. This novel about his life at Princeton
was an overnight success, making it possible for
Fitzgerald to marry Zelda.
In the 1920s, Fitzgerald wrote short stories and
novels and mingled with the rich in the United
650
UNIT 5
States and in Europe. While in
France and Italy, he wrote and
revised his most successful novel,
The Great Gatsby (1925). However,
he and Zelda also maintained a high
style of living and spent money
excessively. When the frantic
decade ended with the 1929 stock
market crash, Fitzgerald’s private life
and prosperous career also crashed.
His wife suffered a series of nervous
breakdowns from which she never
recovered, and his high-paying
magazine jobs dwindled with the onset of the
Great Depression.
Though Fitzgerald struggled in the 1930s with
alcoholism and with his marriage, he continued to
write stories, novels, and essays; “The Bridal Party”
was written during this period. He also spent some
time in Hollywood as a screenwriter in an attempt
to pay his debts. While in Hollywood, Fitzgerald
began working on his fifth novel, The Last Tycoon,
but he died of a heart attack at age forty-four
before he completed the novel.
“ Draw your chair up close to the edge of the
precipice and I’ll tell you a story.
”
“ Show me a hero and I will write you a
tragedy.
”
“haveMostly, we authors repeat ourselves. . . . We
two or three great and moving experiences
in our lives . . . and we tell our two or three
stories—each time in a new disguise.
”
—Fitzgerald
F. Scott Fitzgerald was born in 1896 and died in 1940.
 Before You Read

Reading Focus
Have you ever found yourself in a situation in which wanting to fit in with a group
was an issue?
Freewrite Take a few minutes to freewrite about a time in your life when you
especially wanted to fit in with a certain group. Why was it so important to fit in?
How did you handle the situation?
Setting a Purpose Read to see how the narrator of this story hopes to
“fit in.”

Building Background
The Time and Place
The Jazz Age The 1920s have been called the Jazz
Age for the relatively new musical form that was popular
during the era. Jazz’s vibrant and rebellious rhythms
mirrored the spirit of a decade in which many young people
were rebelling against the social rules of the previous
generation.
Economic prosperity fed the decade’s party atmosphere.
Business was booming, and some people made huge profits
on their investments. Giddy from the sudden wealth, people
partied and spent money recklessly.
The Stock Market Crash In the 1920s, manufacturing
experienced a great rise in productivity, but other sectors of
the economy, most notably agriculture and energy, were
sagging. Mergers between numerous small companies
Paris, around 1930.
meant that by the end of the decade a relatively small
number of corporations were earning nearly half of the
nation’s income. Stock prices rose sharply as many investors irreversible; on October 29, 1929—“Black Tuesday”—the stock
bought stocks, hoping to make quick profits before the market collapsed completely. Stocks became worthless, and
boom ended. In August 1929, production dropped drasti- the Great Depression, the worst period of economic hard-
cally, and two months later, panic began as many investors ship in U.S. history, dragged on through most of the next
began selling off their stocks. Banks and investment decade.
companies tried to intervene, but the situation proved

Vocabulary Preview
imminent (im
ə nənt) adj. about to take place; p. 652 impetuously (im pech
oo ¯¯¯ əs lē) adv. impulsively; suddenly;
reciprocate (ri sip
rə kāt´) v. to give, feel, or show in return; rashly; p. 658
p. 652 tentative (ten
tə tiv) adj. not fully worked out; somewhat
exhilarated (i zil
ə rā təd) adj. cheerful, lively, or excited; undecided; p. 658
filled with vigor; p. 656
exploit (iks ploit
) v. to use or develop for profit, often in a
selfish, unjust, or unfair way; p. 657

BEGINNINGS OF THE MODERN AGE
651


I
There was the usual insincere little note say-
ing: “I wanted you to be the first to know.” It
was a double shock to Michael, announcing, as
it did, both the engagement and the imminent
marriage; which, moreover, was to be held,
not in New York, decently and far away, but
here in Paris under his very nose, if that could
be said to extend over the Protestant
Episcopal Church of the Holy Trinity,
Avenue George-Cinq.1 The date was two
weeks off, early in June.
At first Michael was afraid and his stomach
felt hollow. When he left the hotel that morn-
ing, the femme de chambre,2 who was in love with
his fine, sharp profile and his pleasant buoyancy,
scented the hard abstraction that had settled
over him. He walked in a daze to his bank, he
bought a detective story at Smith’s on the
Rue de Rivoli,3 he sympathetically stared for
a while at a faded panorama of the battlefields
in a tourist-office window and cursed a Greek
tout who followed him with a half-displayed
packet of innocuous4 post cards warranted to be
very dirty indeed.
1. George-Cinq (zhōrzh sānk)
2. The femme de chambre (fem də sham
br) is the hotel’s
housekeeper.
3. Rue de Rivoli (r¯¯¯
oo də rē vo lē
); Rue de is French for
“street of.”
4. The tout (t¯¯¯
oo), an aggressive peddler, offers pornographic pic-
tures disguised as ordinary, innocent, or innocuous, post cards.
Vocabulary
imminent (im
ə nənt) adj. about to take place
reciprocate (ri sip
rə kāt´) v. to give, feel, or show in return
652
UNIT 5
But the fear stayed with him, and after a
while he recognized it as the fear that now he
would never be happy. He had met Caroline
Dandy when she was seventeen, possessed her
young heart all through her first season in
New York, and then lost her, slowly, tragi-
cally, uselessly, because he had no money and
could make no money; because, with all the
energy and good will in the world, he could
not find himself; because, loving him still,
Caroline had lost faith and begun to see him
as something pathetic, futile and shabby, out-
side the great, shining stream of life toward
which she was inevitably drawn.
Since his only support was that she loved
him, he leaned weakly on that; the support
broke, but still he held on to it and was carried
out to sea and washed up on the French coast
with its broken pieces still in his hands. He car-
ried them around with him in the form of pho-
tographs and packets of correspondence and a
liking for a maudlin5 popular song called
“Among My Souvenirs.” He kept clear of other
girls, as if Caroline would somehow know it
and reciprocate with a faithful heart. Her note
informed him that he had lost her forever.
It was a fine morning. In front of the shops
in the Rue de Castiglione,6 proprietors and
5. Maudlin means “overly sentimental.”
6. Castiglione (kas´tēl yō
nā)

patrons were on the sidewalk gazing upward,
for the Graf Zeppelin,7 shining and glorious,
symbol of escape and destruction—of escape, if
necessary, through destruction—glided in the
Paris sky. He heard a woman say in French that
it would not her astonish if that commenced to
let fall the bombs. Then he heard another
voice, full of husky laughter, and the void in
his stomach froze. Jerking about, he was face to
face with Caroline Dandy and her fiancé.
“Why, Michael! Why, we were wondering
where you were. I asked at the Guaranty Trust,
and Morgan and Company, and finally sent a
note to the National City——”
Why didn’t they back away? Why didn’t they
back right up, walking backward down the Rue
de Castiglione, across the Rue de Rivoli,
through the Tuileries Gardens,8 still walking
backward as fast as they could till they grew
vague and faded out across the river?
“This is Hamilton Rutherford, my fiancé.”
“We’ve met before.”
“At Pat’s, wasn’t it?”
“And last spring in the Ritz Bar.”
“Michael, where have you been keeping
yourself?”
“Around here.” This agony. Previews of
Hamilton Rutherford flashed before his
eyes—a quick series of pictures, sentences. He
7. The Graf Zeppelin, a German airship, carried passengers in
the 1930s. During World War I, such airships served as
bombers.
8. The Tuileries (twhēl
rē) Gardens are located in Paris, France,
and are noteworthy in that their design has changed little
since they were created in 1664.
F. S c o t t F i t z g e r a l d 
remembered hearing that he had bought a
seat in 1920 for a hundred and twenty-five
thousand of borrowed money, and just before
the break9 sold it for more than half a million.
Not handsome like Michael, but vitally
attractive, confident, authoritative, just the
right height over Caroline there—Michael
had always been too short for Caroline when
they danced.
Rutherford was saying: “No, I’d like it very
much if you’d come to the bachelor dinner. I’m
taking the Ritz Bar from nine o’clock on. Then
right after the wedding there’ll be a reception
and breakfast at the Hotel George-Cinq.”
“And, Michael, George Packman is giving a
party day after tomorrow at Chez10 Victor, and I
want you to be sure and come. And also to tea
Friday at Jebby West’s; she’d want to have you
if she knew where you were. What’s your hotel,
so we can send you an invitation? You see, the
reason we decided to have it over here is
because mother has been sick in a nursing
home here and the whole clan is in Paris. Then
Hamilton’s mother’s being here too——”
The entire clan; they had always hated him,
except her mother; always discouraged his
courtship. What a little counter he was in this
game of families and money! Under his hat his
brow sweated with the humiliation of the fact
9. A seat, or membership, in a stock exchange is expensive
because only a limited number of memberships exist. The
break is the October 1929 stock market crash.
10. Chez (shā) is French for “at.” It is often used in the names of
restaurants, and here, means “at the house of.”
BEGINNINGS OF THE MODERN AGE
653
 He had things to do also—he
had to get his laundry.
“Nothing will ever be the
same again,” he said to himself.
“She will never be happy in her
marriage and I will never be happy
at all any more.”
The two vivid years of his love
for Caroline moved back around
him like years in Einstein’s
physics. Intolerable memories
arose—of rides in the Long Island
moonlight; of a happy time at
Lake Placid with her cheeks so
cold there, but warm just under-
neath the surface; of a despairing
afternoon in a little café on Forty-
eighth Street in the last sad
months when their marriage had
come to seem impossible.
Viewing the drawing: How do the people in the sketch seem similar to
or different from the characters in “The Bridal Party”?
“Come in,” he said aloud.
The concierge with a
telegram; brusque because Mr.
Curly’s clothes were a little
that for all his misery he was worth just exactly shabby. Mr. Curly gave few tips; Mr. Curly was
so many invitations. Frantically he began to obviously a petit client.13
mumble something about going away. Michael read the telegram.
Then it happened—Caroline saw deep into “An answer?” the concierge asked.
him, and Michael knew that she saw. She saw “No,” said Michael, and then, on an
11
through to his profound woundedness, and impulse: “Look.”
something quivered inside her, died out along “Too bad—too bad,” said the concierge.
the curve of her mouth and in her eyes. He had “Your grandfather is dead.”
moved her. All the unforgettable impulses of “Not too bad,” said Michael. “It means that
first love had surged up once more; their hearts I come into a quarter of a million dollars.”
had in some way touched across two feet of Paris Too late by a single month; after the first
sunlight. She took her fiancé’s arm suddenly, as flush of the news his misery was deeper than
if to steady herself with the feel of it. ever. Lying awake in bed that night, he listened
They parted. Michael walked quickly for a endlessly to the long caravan of a circus mov-
minute; then he stopped, pretending to look in ing through the street from one Paris fair to
a window, and saw them farther up the street, another.
walking fast into the Place Vendôme,12 people
with much to do.
13. A concierge (kōn syerzh
) assists hotel guests by taking mes-
sages, making reservations, and so on. A brusque person is
11. Profound means “deep” or “complete.” blunt and rude. The French phrase petit client (pe
tē
12. Place Vendôme (plas van dōm
) klē
ən) means “small (unimportant) customer.”

654
UNIT 5

When the last van had rumbled out of hear-
ing and the corners of the furniture were pastel
blue with the dawn, he was still thinking of the
look in Caroline’s eyes that morning—the look
that seemed to say: “Oh, why couldn’t you have
done something about it? Why couldn’t you
have been stronger, made me marry you? Don’t
you see how sad I am?”
Michael’s fists clenched.
“Well, I won’t give up till the last moment,”
he whispered. “I’ve had all the bad luck so far,
and maybe it’s turned at last. One takes what
one can get, up to the limit of one’s strength, and
if I can’t have her, at least she’ll go into this mar-
riage with some of me in her heart.”

II
Accordingly he went to the party at Chez Victor
two days later, upstairs and into the little salon14
off the bar where the party was to assemble for
cocktails. He was early; the only other occupant
was a tall lean man of fifty. They spoke.
“You waiting for George Packman’s party?”
“Yes. My name’s Michael Curly.”
“My name’s——”
Michael failed to catch the name. They
ordered a drink, and Michael supposed that
the bride and groom were having a gay time.
“Too much so,” the other agreed, frowning.
“I don’t see how they stand it. We all crossed on
the boat together; five days of that crazy life and
then two weeks of Paris. You”—he hesitated,
smiling faintly—“you’ll excuse me for saying
that your generation drinks too much.”
“Not Caroline.”
“No, not Caroline. She seems to take only
a cocktail and a glass of champagne, and then
she’s had enough, thank God. But Hamilton
drinks too much and all this crowd of young
people drink too much. Do you live in Paris?”
“For the moment,” said Michael.
“I don’t like Paris. My wife—that is to say,
my ex-wife, Hamilton’s mother—lives in Paris.”
14. The French word salon means “drawing room.”
F. S c o t t F i t z g e r a l d 
“You’re Hamilton Rutherford’s father?”
“I have that honor. And I’m not denying
that I’m proud of what he’s done; it was just a
general comment.”
“Of course.”
Michael glanced up nervously as four people
came in. He felt suddenly that his dinner coat
was old and shiny; he had ordered a new one
that morning. The people who had come in
were rich and at home in their richness with one
another—a dark, lovely girl with a hysterical
little laugh whom he had met before; two con-
fident men whose jokes referred invariably to
last night’s scandal and tonight’s potentialities,
as if they had important rôles in a play that
extended indefinitely into the past and the
future. When Caroline arrived, Michael had
scarcely a moment of her, but it was enough to
note that, like all the others, she was strained
and tired. She was pale beneath her rouge;
there were shadows under her eyes. With a
mixture of relief and wounded vanity,15 he
found himself placed far from her and at
another table; he needed a moment to adjust
himself to his surroundings. This was not like
the immature set in which he and Caroline had
moved; the men were more than thirty and had
an air of sharing the best of this world’s good.
Next to him was Jebby West, whom he knew;
and, on the other side, a jovial man who
immediately began to talk to Michael about a
stunt for the bachelor dinner: They were going
to hire a French girl to appear with an actual
baby in her arms, crying: “Hamilton, you can’t
desert me now!” The idea seemed stale and
unamusing to Michael, but its originator shook
with anticipatory laughter.
Farther up the table there was talk of
the market—another drop today, the most
appreciable16 since the crash; people were kid-
ding Rutherford about it: “Too bad, old man.
You better not get married, after all.”
15. Vanity is excessive pride.
16. Appreciable means “enough to be noticed.”
BEGINNINGS OF THE MODERN AGE
655
 Michael asked the man on his left, “Has he
lost a lot?”
“Nobody knows. He’s heavily involved, but
he’s one of the smartest young men in Wall
Street. Anyhow, nobody ever tells you the truth.”
It was a champagne dinner from the start,
and toward the end it reached a pleasant level of
conviviality,17 but Michael saw that all these
people were too weary to be exhilarated by any
ordinary stimulant; for weeks they had drunk
cocktails before meals like Americans, wines
and brandies like Frenchmen, beer like
Germans, whisky-and-soda like the English, and
as they were no longer in the twenties, this pre-
posterous mélange,18 that was like some gigantic
cocktail in a nightmare, served only to make
them temporarily less conscious of the mistakes
of the night before. Which is to say that it was
not really a gay party; what gayety existed was
displayed in the few who drank nothing at all.
But Michael was not tired, and the cham-
pagne stimulated him and made his misery less
acute. He had been away from New York for
more than eight months and most of the dance
music was unfamiliar to him, but at the first bars
of the “Painted Doll,” to which he and Caroline
had moved through so much happiness and
despair the previous summer, he crossed to
Caroline’s table and asked her to dance.
She was lovely in a dress of thin ethereal19
blue, and the proximity of her crackly yellow
hair, of her cool and tender gray eyes, turned his
body clumsy and rigid; he stumbled with their
first step on the floor. For a moment it seemed
that there was nothing to say; he wanted to tell
her about his inheritance, but the idea seemed
abrupt, unprepared for.
17. Conviviality is merriment and the enjoyment of good
company.
18. Mélange (mā
lanzh) means “mixture.”
19. An ethereal (i thēr
ē əl) blue would be very light and
delicate.
Vocabulary
exhilarated (i zil
ə rā təd) adj. cheerful, lively, or excited; filled with vigor
656
UNIT 5
“Michael, it’s so nice to be dancing with you
again.”
He smiled grimly.
“I’m so happy you came,” she continued. “I
was afraid maybe you’d be silly and stay away.
Now we can be just good friends and natural
together. Michael, I want you and Hamilton to
like each other.”
The engagement was making her stupid; he
had never heard her make such a series of obvi-
ous remarks before.
“I could kill him without a qualm,”20 he said
pleasantly, “but he looks like a good man. He’s
fine. What I want to know is, what happens to
people like me who aren’t able to forget?”
As he said this he could not prevent his
mouth from dropping suddenly, and glancing up,
Caroline saw, and her heart quivered violently,
as it had the other morning.
“Do you mind so much, Michael?”
“Yes.”
For a second as he said this, in a voice that
seemed to have come up from his shoes, they
were not dancing; they were simply clinging
together. Then she leaned away from him and
twisted her mouth into a lovely smile.
“I didn’t know what to do at first, Michael. I
told Hamilton about you—that I’d cared for you
an awful lot—but it didn’t worry him, and he
was right. Because I’m over you now—yes, I am.
And you’ll wake up some sunny morning and be
over me just like that.”
He shook his head stubbornly.
“Oh, yes. We weren’t for each other. I’m
pretty flighty, and I need somebody like
Hamilton to decide things. It was that more
than the question of—of——”
“Of money.” Again he was on the point of
telling her what had happened, but again some-
thing told him it was not the time.
20. Qualm means “doubt,” “misgiving,” or “twinge of conscience.”

“Then how do you account for what hap-
pened when we met the other day,” he
demanded helplessly—“what happened just
now? When we just pour toward each other like
we used to—as if we were one person, as if the
same blood was flowing through both of us?”
“Oh, don’t,” she begged him. “You mustn’t
talk like that; everything’s decided now.
I love Hamilton with all my heart. It’s just that
I remember certain things in the past and I feel
sorry for you—for us—for the way we were.”
Over her shoulder, Michael saw a man come
toward them to cut in. In a panic he danced her
away, but inevitably the man came on.
“I’ve got to see you alone, if only for a
minute,” Michael said quickly. “When can I?”
“I’ll be at Jebby West’s tea tomorrow,” she
whispered as a hand fell politely upon
Michael’s shoulder.
But he did not talk to her at Jebby West’s
tea. Rutherford stood next to her, and each
brought the other into all conversations. They
left early. The next morning the wedding cards
arrived in the first mail.
Then Michael, grown desperate with pac-
ing up and down his room, determined on a
bold stroke; he wrote to Hamilton Rutherford,
asking him for a rendezvous21 the following
afternoon. In a short telephone communica-
tion Rutherford agreed, but for a day later than
Michael had asked. And the wedding was only
six days away.
They were to meet in the bar of the Hotel
Jena. Michael knew what he would say: “See
here, Rutherford, do you realize the responsi-
bility you’re taking in going through with this
marriage? Do you realize the harvest of trouble
and regret you’re sowing in persuading a girl
into something contrary to the instincts of her
21. A rendezvous is an appointment to meet at a certain place
or time.
Vocabulary
exploit (iks ploit
) v. to use or develop for profit, often in a selfish, unjust, or unfair way
F. S c o t t F i t z g e r a l d 
heart?” He would explain that the barrier
between Caroline and himself had been an
artificial one and was now removed, and
demand that the matter be put up to Caroline
frankly before it was too late.
Rutherford would be angry, conceivably
there would be a scene, but Michael felt that
he was fighting for his life now.
He found Rutherford in conversation with
an older man, whom Michael had met at sev-
eral of the wedding parties.
“I saw what happened to most of my
friends,” Rutherford was saying, “and I decided
it wasn’t going to happen to me. It isn’t so dif-
ficult; if you take a girl with common sense,
and tell her what’s what, and do your stuff
damn well, and play decently square with her,
it’s a marriage. If you stand for any nonsense at
the beginning, it’s one of these arrange-
ments—within five years the man gets out, or
else the girl gobbles him up and you have the
usual mess.”
“Right!” agreed his companion enthusiasti-
cally. “Hamilton, boy, you’re right.”
Michael’s blood boiled slowly.
“Doesn’t it strike you,” he inquired coldly,
“that your attitude went out of fashion about a
hundred years ago?”
“No, it didn’t,” said Rutherford pleasantly,
but impatiently. “I’m as modern as anybody. I’d
get married in an aeroplane next Saturday if
it’d please my girl.”
“I don’t mean that way of being modern.
You can’t take a sensitive woman——”
“Sensitive? Women aren’t so darn sensi-
tive. It’s fellows like you who are sensitive; it’s
fellows like you they exploit—all your devo-
tion and kindness and all that. They read a
couple of books and see a few pictures because
they haven’t got anything else to do, and then
they say they’re finer in grain than you are, and
to prove it they take the bit in their teeth and
BEGINNINGS OF THE MODERN AGE
657
tear off for a fare-you-well—just about as sensi-
tive as a fire horse.”
“Caroline happens to be sensitive,” said
Michael in a clipped voice.
At this point the other man got up to go;
when the dispute about the check had been set-
tled and they were alone, Rutherford leaned back
to Michael as if a question had been asked him.
“Caroline’s more than sensitive,” he said.
“She’s got sense.”
His combative eyes, meeting Michael’s,
flickered with a gray light. “This all sounds
pretty crude to you, Mr. Curly, but it seems to
me that the average man nowadays just asks to
be made a monkey of by some woman who
doesn’t even get any fun out of reducing him to
that level. There are darn few men who possess
their wives any more, but I am going to be one
of them.”
To Michael it seemed time to bring the talk
back to the actual situation: “Do you realize the
responsibility you’re taking?”
“I certainly do,” interrupted Rutherford.
“I’m not afraid of responsibility. I’ll make the
decisions—fairly, I hope, but anyhow they’ll
be final.”
“What if you didn’t start right?” said Michael
impetuously. “What if your marriage isn’t
founded on mutual love?”
“I think I see what you mean,” Rutherford
said, still pleasant. “And since you’ve brought it
up, let me say that if you and Caroline had mar-
ried, it wouldn’t have lasted three years. Do you
know what your affair was founded on? On sor-
row. You got sorry for each other. Sorrow’s a lot
of fun for most women and for some men, but it
seems to me that a marriage ought to be based
on hope.” He looked at his watch and stood up.
“I’ve got to meet Caroline. Remember,
you’re coming to the bachelor dinner day after
tomorrow.”
Vocabulary
impetuously (im pech
oo ¯¯¯ əs lē) adv. impulsively; suddenly; rashly
tentative (ten
tə tiv) adj. not fully worked out; somewhat undecided
658
UNIT 5
Michael felt the moment slipping away.
“Then Caroline’s personal feelings don’t
count with you?” he demanded fiercely.
“Caroline’s tired and upset. But she has
what she wants, and that’s the main thing.”
“Are you referring to yourself?” demanded
Michael incredulously.22
“Yes.”
“May I ask how long she’s wanted you?”
“About two years.” Before Michael could
answer, he was gone.
During the next two days Michael floated
in an abyss of helplessness. The idea haunted
him that he had left something undone that
would sever this knot drawn tighter under his
eyes. He phoned Caroline, but she insisted
that it was physically impossible for her to see
him until the day before the wedding, for
which day she granted him a tentative ren-
dezvous. Then he went to the bachelor din-
ner, partly in fear of an evening alone at his
hotel, partly from a feeling that by his pres-
ence at that function he was somehow nearer
to Caroline, keeping her in sight.
The Ritz Bar had been prepared for the
occasion by French and American banners
and by a great canvas covering one wall,
against which the guests were invited to
concentrate their proclivities23 in breaking
glasses.
At the first cocktail, taken at the bar,
there were many slight spillings from many
trembling hands, but later, with the cham-
pagne, there was a rising tide of laughter and
occasional bursts of song.
22. Incredulously means “with unwillingness or inability to
believe.”
23. At this bachelor party, the guests’ tendencies, or proclivities,
are to drink toasts repeatedly to the groom and then smash
their drinking glasses.
Rooftop Café, 1925. Everett Shinn. Pastel on blue paper laid down on board, 11¹⁄₄ x 15¹⁄₄ in. Berry Hill Galleries Inc.,
New York.
Viewing the painting: In what ways does the mood of the painting reflect the mood of the parties
described in “The Bridal Party”?
Michael was surprised to find what a dif-
ference his new dinner coat, his new silk hat,
his new, proud linen made in his estimate of
himself; he felt less resentment toward all
these people for being so rich and assured. For
the first time since he had left college he felt
rich and assured himself; he felt that he was
part of all this, and even entered into the
scheme of Johnson, the practical joker, for
the appearance of the woman betrayed, now
waiting tranquilly in the room across the hall.
“We don’t want to go too heavy,” Johnson
said, “because I imagine Ham’s had a pretty
anxious day already. Did you see Fullman
Oil’s sixteen points off this morning?”
“Will that matter to him?” Michael asked,
trying to keep the interest out of his voice.
“Naturally. He’s in heavily; he’s always in
everything heavily. So far he’s had luck; any-
how, up to a month ago.”
The glasses were filled and emptied faster
now, and men were shouting at one another
across the narrow table. Against the bar a group
of ushers was being photographed, and the flash
light surged through the room in a stifling cloud.
“Now’s the time,” Johnson said. “You’re to
stand by the door, remember, and we’re both to
try and keep her from coming in—just till we
get everybody’s attention.”
He went on out into the corridor, and
Michael waited obediently by the door.
Several minutes passed. Then Johnson reap-
peared with a curious expression on his face.
“There’s something funny about this.”
“Isn’t the girl there?”
“She’s there all right, but there’s another
woman there, too; and it’s nobody we
engaged either. She wants to see Hamilton
Rutherford, and she looks as if she had some-
thing on her mind.”
BEGINNINGS OF THE MODERN AGE
659
 They went out into the hall. Planted firmly
in a chair near the door sat an American girl a
little the worse for liquor, but with a deter-
mined expression on her face. She looked up at
them with a jerk of her head.
“Well, j’tell him?” she demanded. “The
name is Marjorie Collins, and he’ll know it.
I’ve come a long way, and I want to see him
now and quick, or there’s going to be more
trouble than you ever saw.” She rose unsteadily
to her feet.
“You go in and tell Ham,” whispered
Johnson to Michael. “Maybe he’d better get
out. I’ll keep her here.”
Back at the table, Michael leaned close to
Rutherford’s ear and, with a certain grimness,
whispered:
“A girl outside named Marjorie Collins says
she wants to see you. She looks as if she
wanted to make trouble.”
Hamilton Rutherford blinked and his mouth
fell ajar; then slowly the lips came together in a
straight line and he said in a crisp voice:
“Please keep her there. And send the head
barman to me right away.”
Michael spoke to the barman, and then,
without returning to the table, asked quietly
for his coat and hat. Out in the hall again, he
passed Johnson and the girl without speaking
and went out into the Rue Cambon.24 Calling
a cab, he gave the address of Caroline’s hotel.
His place was beside her now. Not to bring
bad news, but simply to be with her when her
house of cards came falling around her head.
Rutherford had implied that he was soft—
well, he was hard enough not to give up the
girl he loved without taking advantage of
every chance within the pale25 of honor.
Should she turn away from Rutherford, she
would find him there.
She was in; she was surprised when he
called, but she was still dressed and would be
24. Cambon (kam
bon)
25. A pale is a boundary, an enclosure, or a limit.
660
UNIT 5
down immediately. Presently she appeared in a
dinner gown, holding two blue telegrams in
her hand. They sat down in armchairs in the
deserted lobby.
“But, Michael, is the dinner over?”
“I wanted to see you, so I came away.”
“I’m glad.” Her voice was friendly, but
matter-of-fact. “Because I’d just phoned your
hotel that I had fittings and rehearsals all day
tomorrow. Now we can have our talk after all.”
“You’re tired,” he guessed. “Perhaps I
shouldn’t have come.”
“No. I was waiting up for Hamilton.
Telegrams that may be important. He said
he might go on somewhere, and that may
mean any hour, so I’m glad I have someone to
talk to.”
Michael winced at the impersonality in the
last phrase.
“Don’t you care when he gets home?”
“Naturally,” she said, laughing, “but I
haven’t got much say about it, have I?”
“Why not?”
“I couldn’t start by telling him what he
could and couldn’t do.”
“Why not?”
“He wouldn’t stand for it.”
“He seems to want merely a housekeeper,”
said Michael ironically.
“Tell me about your plans, Michael,” she
asked quickly.
“My plans? I can’t see any future after the
day after tomorrow. The only real plan I ever
had was to love you.”
Their eyes brushed past each other’s, and
the look he knew so well was staring out at
him from hers. Words flowed quickly from
his heart:
“Let me tell you just once more how well
I’ve loved you, never wavering for a moment,
never thinking of another girl. And now when
I think of all the years ahead without you,
without any hope, I don’t want to live,
Caroline darling. I used to dream about our
home, our children, about holding you in my

arms and touching your face and hands and
hair that used to belong to me, and now I just
can’t wake up.”
Caroline was crying softly. “Poor Michael—
poor Michael.” Her hand reached out and her
fingers brushed the lapel of his dinner coat. “I
was so sorry for you the other night. You looked
so thin, and as if you needed a new suit and
somebody to take care of you.” She sniffled and
looked more closely at his coat. “Why, you’ve
got a new suit! And a new silk hat! Why,
Michael, how swell!” She laughed, suddenly
cheerful through her tears. “You must have
come into money, Michael; I never saw you so
well turned out.”
For a moment, at her reaction, he hated his
new clothes.
“I have come into money,” he said. “My
grandfather left me about a quarter of a million
dollars.”
“Why, Michael,” she cried, “how perfectly
swell! I can’t tell you how glad I am. I’ve always
thought you were the sort of person who ought
to have money.”
“Yes, just too late to make a difference.”
The revolving door from the street groaned
around and Hamilton Rutherford came into
the lobby. His face was flushed, his eyes were
restless and impatient.
“Hello, darling; hello, Mr. Curly.” He bent
and kissed Caroline. “I broke away for a minute
to find out if I had any telegrams. I see you’ve
got them there.” Taking them from her, he
remarked to Curly, “That was an odd business
there in the bar, wasn’t it? Especially as I under-
stand some of you had a joke fixed up in the
same line.” He opened one of the telegrams,
closed it and turned to Caroline with the
divided expression of a man carrying two things
in his head at once.
“A girl I haven’t seen for two years turned
up,” he said. “It seemed to be some clumsy form
of blackmail, for I haven’t and never have had
any sort of obligation toward her whatever.”
“What happened?”
F. S c o t t F i t z g e r a l d 
“The head barman had a Sûreté Générale26
man there in ten minutes and it was settled in
the hall. The French blackmail laws make
ours look like a sweet wish, and I gather they
threw a scare into her that she’ll remember.
But it seems wiser to tell you.”
“Are you implying that I mentioned the
matter?” said Michael stiffly.
“No,” Rutherford said slowly. “No, you
were just going to be on hand. And since
you’re here, I’ll tell you some news that will
interest you even more.”
He handed Michael one telegram and
opened the other.
“This is in code,” Michael said.
“So is this. But I’ve got to know all the
words pretty well this last week. The two of
them together mean that I’m due to start life
all over.”
Michael saw Caroline’s face grow a shade
paler, but she sat quiet as a mouse.
“It was a mistake and I stuck to it too
long,” continued Rutherford. “So you see I
don’t have all the luck, Mr. Curly. By the way,
they tell me you’ve come into money.”
“Yes,” said Michael.
“There we are, then.” Rutherford turned
to Caroline. “You understand, darling, that
I’m not joking or exaggerating. I’ve lost
almost every cent I had and I’m starting life
over.”
Two pairs of eyes were regarding her—
Rutherford’s noncommittal27 and unrequiring,
Michael’s hungry, tragic, pleading. In a
minute she had raised herself from the chair
and with a little cry thrown herself into
Hamilton Rutherford’s arms.
“Oh, darling,” she cried, “what does it mat-
ter! It’s better; I like it better, honestly I do! I
want to start that way; I want to! Oh, please
don’t worry or be sad even for a minute!”
26. In Paris, Sûreté Générale (soer
tā zhen ā´ ral
) is the police
department’s criminal investigation unit.
27. Noncommittal means “unwilling to pledge oneself to a
particular opinion, view, or course of action.”
BEGINNINGS OF THE MODERN AGE
661
 The Wedding. Walter Richard Sickert (1860–1942). Oil on canvas. Private collection.
Viewing the painting: What adjectives would you use to describe the bride in the painting? Could the
adjectives you chose also apply to Caroline? Why or why not?

662
UNIT 5

“All right, baby,” said Rutherford. His
hand stroked her hair gently for a moment;
then he took his arm from around her.
“I promised to join the party for an hour,” he
said. “So I’ll say good night, and I want you to go
to bed soon and get a good sleep. Good night,
Mr. Curly. I’m sorry to have let you in for all
these financial matters.”
But Michael had already picked up his hat
and cane. “I’ll go along with you,” he said.

III
It was such a fine morning. Michael’s cutaway28
hadn’t been delivered, so he felt rather uncom-
fortable passing before the cameras and
moving-picture machines in front of the little
church on the Avenue George-Cinq.
It was such a clean, new church that it
seemed unforgivable not to be dressed prop-
erly, and Michael, white and shaky after a
sleepless night, decided to stand in the rear.
From there he looked at the back of
Hamilton Rutherford, and the lacy, filmy
back of Caroline, and the fat back of George
Packman, which looked unsteady, as if it
wanted to lean against the bride and groom.
The ceremony went on for a long time
under the gay flags and pennons29 overhead,
under the thick beams of June sunlight slant-
ing down through the tall windows upon the
well-dressed people.
As the procession, headed by the bride
and groom, started down the aisle, Michael
realized with alarm he was just where every-
one would dispense with their parade stiff-
ness, become informal and speak to him.
So it turned out. Rutherford and Caroline
spoke first to him; Rutherford grim with the
strain of being married, and Caroline lovelier
than he had ever seen her, floating all softly
down through the friends and relatives of her
28. A cutaway, also called a morning coat, is a man’s long, for-
mal coat with tails sloping back from the waistline.
29. Pennons are long, triangular flags.
F. S c o t t F i t z g e r a l d 
youth, down through the past and forward to
the future by the sunlit door.
Michael managed to murmur, “Beautiful,
simply beautiful,” and then other people
passed and spoke to him—old Mrs. Dandy,
straight from her sickbed and looking remark-
ably well, or carrying it off like the very fine
old lady she was; and Rutherford’s father and
mother, ten years divorced, but walking side by
side and looking made for each other and proud.
Then all Caroline’s sisters and their husbands
and her little nephews in Eton suits,30 and then
a long parade, all speaking to Michael because
he was still standing paralyzed just at that point
where the procession broke.
He wondered what would happen now.
Cards had been issued for a reception at the
George-Cinq; an expensive enough place,
heaven knew. Would Rutherford try to go
through with that on top of those disastrous
telegrams? Evidently, for the procession out-
side was streaming up there through the June
morning, three by three and four by four. On
the corner the long dresses of girls, five abreast,
fluttered many-colored in the wind. Girls had
become gossamer again, perambulatory flora;31
such lovely fluttering dresses in the bright
noon wind.
Michael needed a drink; he couldn’t face
that reception line without a drink. Diving into
a side doorway of the hotel, he asked for the bar,
whither a chasseur 32 led him through half a kilo-
meter of new American-looking passages.
But—how did it happen?—the bar was full.
There were ten—fifteen men and two—four
girls, all from the wedding, all needing a drink.
There were cocktails and champagne in the
bar; Rutherford’s cocktails and champagne, as
30. Eton is a prestigious boys’ school near London; the suits are
of the style—black, with short pants and waist-length jack-
ets—worn by Eton students.
31. Gossamer is light, filmy, delicate, and cobweb-like. Peram-
bulatory flora are walking plants or flowers.
32. A chasseur (sha s¯¯¯
oor
) runs errands and attends to guests’
needs.
BEGINNINGS OF THE MODERN AGE
663
it turned out, for he had engaged the whole
bar and the ballroom and the two great recep-
tion rooms and all the stairways leading up
and down, and windows looking out over the
whole square block of Paris. By and by
Michael went and joined the long, slow drift of
the receiving line. Through a flowery mist of
“Such a lovely wedding,” “My dear, you were
simply lovely,” “You’re a lucky man, Rutherford”
he passed down the line. When Michael came
to Caroline, she took a single step forward and
kissed him on the lips, but he felt no contact in
the kiss; it was unreal and he floated on away
from it. Old Mrs. Dandy, who had always liked
him, held his hand for a minute and thanked
him for the flowers he had sent when he heard
she was ill.
“I’m so sorry not to have written; you know,
we old ladies are grateful for——” The flowers,
the fact that she had not written, the wedding—
Michael saw that they all had the same relative
importance to her now; she had married off five
other children and seen two of the marriages go
to pieces, and this scene, so poignant,33 so con-
fusing to Michael, appeared to her simply a
familiar charade in which she had played her
part before.
A buffet luncheon with champagne was
already being served at small tables and there
was an orchestra playing in the empty ball-
room. Michael sat down with Jebby West; he
was still a little embarrassed at not wearing a
morning coat, but he perceived now that he
was not alone in the omission and felt better.
“Wasn’t Caroline divine?” Jebby West said.
“So entirely self-possessed. I asked her this
morning if she wasn’t a little nervous at step-
ping off like this. And she said, ‘Why should I
be? I’ve been after him for two years, and now
I’m just happy, that’s all.’”
“It must be true,” said Michael gloomily.
“What?”
“What you just said.”
33. Poignant (poin
yənt) means “calling up sad emotions.”
664
UNIT 5
He had been stabbed, but, rather to his dis-
tress, he did not feel the wound.
He asked Jebby to dance. Out on the floor,
Rutherford’s father and mother were dancing
together.
“It makes me a little sad, that,” she said.
“Those two hadn’t met for years; both of them
were married again and she divorced again. She
went to the station to meet him when he came
over for Caroline’s wedding, and invited him to
stay at her house in the Avenue du Bois34 with a
whole lot of other people, perfectly proper, but
he was afraid his wife would hear about it and
not like it, so he went to a hotel. Don’t you
think that’s sort of sad?”
An hour or so later Michael realized sud-
denly that it was afternoon. In one corner of
the ballroom an arrangement of screens like a
moving-picture stage had been set up and pho-
tographers were taking official pictures of the
bridal party. The bridal party, still as death and
pale as wax under the bright lights, appeared, to
the dancers circling the modulated semidarkness
of the ballroom, like those jovial or
sinister 35groups that one comes upon in The Old
Mill at an amusement park.
After the bridal party had been pho-
tographed, there was a group of the ushers; then
the bridesmaids, the families, the children.
Later, Caroline, active and excited, having long
since abandoned the repose implicit 36 in her
flowing dress and great bouquet, came and
plucked Michael off the floor.
“Now we’ll have them take one of just old
friends.” Her voice implied that this was best,
most intimate of all. “Come here, Jebby,
George—not you, Hamilton; this is just my
friends—Sally——”
A little after that, what remained of formal-
ity disappeared and the hours flowed easily down
34. du Bois (d¯¯¯
oo bwa)
35. A jovial group is lively and full of fun; a sinister one threat-
ens harm or evil.
36. Repose means “peacefulness.” Something implicit is
suggested but not directly expressed.

the profuse stream of champagne. In the modern
fashion, Hamilton Rutherford sat at the table
with his arm about an old girl of his and assured
his guests, which included not a few bewildered
but enthusiastic Europeans, that the party was
not nearly at an end; it was to reassemble at
Zelli’s after midnight. Michael saw Mrs. Dandy,
not quite over her illness, rise to go and become
caught in polite group after group, and he spoke
of it to one of her daughters, who thereupon
forcibly abducted her mother and called her car.
Michael felt very considerate and proud of him-
self after having done this, and drank much
more champagne.
“It’s amazing,” George Packman was telling
him enthusiastically. “This show will cost Ham
about five thousand dollars, and I understand
they’ll be just about his last. But did he
countermand37 a bottle of champagne or a
flower? Not he! He happens to have it—that
young man. Do you know that T. G. Vance
offered him a salary of fifty thousand dollars a
year ten minutes before the wedding this morn-
ing? In another year he’ll be back with the
millionaires.”
The conversation was interrupted by a plan
to carry Rutherford out on communal shoul-
ders—a plan which six of them put into effect,
and then stood in the four-o’clock sunshine
waving good-bye to the bride and groom. But
there must have been a mistake somewhere, for
five minutes later Michael saw both bride and
groom descending the stairway to the reception,
each with a glass of champagne held defiantly
on high.
“This is our way of doing things,” he
thought. “Generous and fresh and free; a sort of
37. To countermand is to revoke or reverse an order or
command.
F. S c o t t F i t z g e r a l d 
Virginia-plantation hospitality, but at a differ-
ent pace now, nervous as a ticker tape.”38
Standing unself-consciously in the middle
of the room to see which was the American
ambassador, he realized with a start that he
hadn’t really thought of Caroline for hours. He
looked about him with a sort of alarm, and
then he saw her across the room, very bright
and young, and radiantly happy. He saw
Rutherford near her, looking at her as if he
could never look long enough, and as Michael
watched them they seemed to recede as he had
wished them to do that day in the Rue de
Castiglione—recede and fade off into joys and
griefs of their own, into the years that would
take the toll of Rutherford’s fine pride and
Caroline’s young, moving beauty; fade far
away, so that now he could scarcely see them,
as if they were shrouded39 in something as
misty as her white, billowing dress.
Michael was cured. The ceremonial func-
tion, with its pomp and its revelry,40 had stood
for a sort of initiation into a life where even his
regret could not follow them. All the bitter-
ness melted out of him suddenly and the world
reconstituted41 itself out of the youth and hap-
piness that was all around him, profligate42 as
the spring sunshine. He was trying to remem-
ber which one of the bridesmaids he had made
a date to dine with tonight as he walked for-
ward to bid Hamilton and Caroline
Rutherford good-bye.
38. A ticker is a telegraphic instrument that prints stock market
reports on a roll of narrow paper, or ticker tape.
39. Shrouded means “covered” or “concealed.”
40. Revelry means “noisy festivity” or “merrymaking.”
41. To be reconstituted is to be made over or renewed.
42. Profligate (prof
lə it) means “over-abundant” or “recklessly
extravagant.”
BEGINNINGS OF THE MODERN AGE
665
 Active Reading and Critical Thinking
Responding to Literature
Personal Response
What were your immediate responses to the main characters
in the story?
Analyzing Literature
Recall
1. How does Michael react to the news of Caroline’s wed-
ding? To his accidental meeting with Caroline and
Hamilton? To his grandfather’s death?
2. What comparisons does Michael make between himself
and the other people at the parties before the wedding?
3. What are Michael’s objections to Hamilton marrying
Caroline? How does Hamilton defend himself?
4. Why does Michael leave the bachelor party? What news
does Hamilton reveal to Caroline and Michael?
5. How does Michael’s attitude toward Caroline change
after the wedding? How do his views of the rich young
people at the party change?
Interpret
6. What do Michael’s reactions to the wedding invitation,
the unexpected meeting with Caroline and Hamilton,
and his grandfather’s death tell you about his character?
7. What personal traits does Michael seem to equate with
money and personal appearance? Explain.
8. What do Michael’s objections to Hamilton and
Hamilton’s responses to Michael reveal about each
character?
9. In your opinion, why does Caroline make the choice she
does?
10. Do you think Michael has really changed by the end of
the story? In your opinion, will this new attitude last?
Explain.
Evaluate and Connect
11. Why do you think Fitzgerald describes the bridal party as
both “jovial” and “sinister”?
12. Do you think Caroline made the better choice? Explain.
13. What do the references to actual places in Paris add to
the story?
666
UNIT 5
14. Does the conflict, or central struggle, faced by the
characters in “The Bridal Party” seem realistic to you?
Why or why not?
15. At the end of the story, Michael feels “cured” of his
”bitterness” and “regret.” How have you worked through
personal disappointment or hurt? Compare a situation of
your own with Michael’s.
Literary Criticism
Scholar W. R. Anderson makes the following statement about
“The Bridal Party”: “The weaker protagonist, Michael Curly,
finds at the end that his sorrow and self-pity evaporate in
admiration for Rutherford’s American strength of will.” Do
you agree with Anderson’s interpretation of the story’s
ending? Discuss your opinion with a partner.
Literary ELEMENTS
Characterization
Characterization is the way an author reveals the
personality of a character. In direct characterization,
the writer makes direct statements about a character’s
personality. In indirect characterization, the writer
reveals the personality of a character through physical
description and the actions, thoughts, speech, or percep-
tions of that character or of other characters. The reader
must then use these details to make inferences about
the character’s personality. For example, in “The Bridal
Party,” Fitzgerald shows Michael’s impressions of
Hamilton and Caroline through the use of indirect
characterization.
1. What do Michael’s thoughts and perceptions about
those around him reveal about his own personality?
2. Explain two ways in which Fitzgerald indirectly reveals
Hamilton’s sense of confidence.
• See Literary Terms Handbook,
p. R3.
 Responding to Literature

Literature and Writing

Writing About Literature
Point of View A narrator who knows the thoughts and
actions of all characters is a third-person omniscient (all-
knowing) narrator. A narrator who tells the story from one
character’s point of view is a third-person limited narrator.
Is the narrator of “The Bridal Party” omniscient or limited?
Support your answer with at least three examples from the
story. Then explain the effect of that point of view on
this story.
Personal Writing
The Right Fit Michael, obsessed about fitting in and with
wearing the right clothing, believes that having money will
bring him happiness. Look back at the writing you did for the
Reading Focus on page 651. What did fitting in with a certain
group represent for you? In your journal, compare your
experience with Michael’s.

Extending Your Response

Literature Groups
Life Goals Fitzgerald was both attracted to and repelled by
wealth and social status. In “The Bridal Party,” Michael voices
these conflicting attitudes. Using Michael and other charac-
ters as examples, discuss the power of money. What can
money buy? What can’t it buy? Do you think that Michael’s
money will make him happy over time? Do you think
Caroline and Hamilton will be happy?
Performing
Caroline’s Story Write and perform a monologue in which
either Caroline or Hamilton discusses her or his thoughts
about Michael. Review the story and try to determine what
the character would say.
Interdisciplinary Activity
Music: Create a Sound Track Jazz music came to define
the spirit of the 1920s. At your local library, listen to the
recordings of Jazz Age greats such as Louis Armstrong, Duke
Ellington, and Count Basie. Then choose at least three pieces
that could make up a sound track for the story. Decide at
which point in the story you would play each piece. Play the
pieces for the class and explain why you think each is
appropriate for that part of the story.
Save your work for your portfolio.

VOCABULARY
SkillMinilesson
• Using Prior Knowledge
to Understand New Words
Examining a new word can help you discover that the PRACTICE Use what you know about familiar words,
word is not as unfamiliar as it might seem. For example, word roots, prefixes, and suffixes to match each word to
Fitzgerald writes that Rutherford looked at Caroline in a its meaning.
noncommittal manner. You know what it means to 1. civility (n.) a. bad smelling
commit yourself to a cause or a relationship. The
2. inimitable (adj.) b. politeness
negating prefix non- is familiar from such words as
3. malodorous (adj.) c. doubtfulness
nonsense and nonviolence. By using what you know
about other words, you can figure out that noncom- 4. antiquity (n.) d. great age
mittal means “not committed to a particular view or 5. incertitude (n.) e. too good to be copied
course of action.”

BEGINNINGS OF THE MODERN AGE
667

 Using a Semantic Features Chart
In “The Bridal Party,” the narrator uses a number of words and phrases to describe Michael’s
character. Early in the story, Michael believes Caroline left him because she saw him as “pathetic,
futile, and shabby.” These words are similar in meaning, but they have subtle differences in both
denotation (dictionary definition) and connotation (other meanings suggested by the word). You
can use a semantic features chart like the one below to look more closely at these words—at
their similarities, their differences, and their shades of meaning. The chart will help you under-
stand Michael’s character more fully, and you may find clues about how Fitzgerald built the
character of Michael. In the process, you will also expand your own vocabulary.
Follow these instructions to create a semantic features chart.
• Place the words to be analyzed in the left-hand column of the chart.
• Check a dictionary and a thesaurus to gather denotations and connotations for each word that
you list.
• Write different meanings of each word at the top of the chart, creating column heads.
• Decide whether each word in the left column suggests the meanings at the top of the chart. If
it does, mark a check in the corresponding box. If it doesn’t, write a zero. If you are not sure,
write a question mark.
A semantic features chart has been started below for the words describing Michael. It will help
you understand the subtle differences between words that develop one part of Michael’s
character.

Extremely Useless or Faded

pitiful, sad Ineffective hopeless Worthless Weak and dingy

Pathetic

Futile
√ √ √
Shabby

EXERCISES

1. Draw this semantic features chart on a separate sheet of paper. Then complete the chart.
Examine your finished chart. With your classmates, discuss the various meanings of the three
words and why you think Fitzgerald uses them together to describe Caroline’s view of Michael
(as Michael sees it).
2. Find three or four similar words used to describe Caroline at various points in the story, and
create a semantic features chart with these words. What does your analysis suggest about her
character? Share your chart with classmates and compare findings.

668
UNIT 5
 Before You Read
Chicago
Meet
Carl Sandburg
In his lifetime, Carl Sandburg
had plenty of opportunities to
collect material for his poetry.
Besides being a poet and biogra-
pher, Sandburg worked as a milk
truck driver, bricklayer, carpen-
ter’s assistant, housepainter, trav-
eling salesman, and journalist.
Carl Sandburg grew up in
Galesburg, Illinois, the son of
Swedish immigrants. Feeling like an outsider, he
changed his name for a time from Carl to Charles
because he thought Charles sounded more
American. Sandburg quit school after eighth grade
and took odd jobs to help support his family.
When he was nineteen, he set out to explore
America, joining the many “hobos” of the period
who hitched rides on freight trains. Returning
from these journeys, he fought in the Spanish-
American War, attended college, and then moved
to Chicago. There he became a journalist, learning
to write clearly and launching his lifelong involve-
ment in protesting social and racial injustices.
When Sandburg was thirty-six, his first pub-
lished poems appeared in Poetry magazine; two
years later his first book, Chicago Poems, was
published. With the publication of his second
book, Cornhuskers, Sandburg’s national reputation
as a poet was established. Critics, however, were
divided over Sandburg’s poetic merits. Supporters
praised his original subject matter and voice, while
detractors criticized his free-verse technique and
focus on social issues. In response, Sandburg wrote
that his goal in writing poetry was simply “to sing,
blab, chortle, yodel, like people.”
In his lifetime, Sandburg published six original
volumes of poetry. His poems are noted for their
use of the rhythms of everyday
language, for their democratic
subjects and themes, and for
their colorful use of sayings and
anecdotes.
Sandburg was an extremely
popular performer, lecturing,
reading his poems aloud, and
singing folk songs while playing
the guitar. He won two Pulitzer
Prizes: one for his four-volume
biography, Abraham Lincoln: The
War Years, and the other for his
Complete Poems.
“I ammass.
the people—the mob—the crowd—the
Do you know that all the great work of the
world is done through me?
”
“ When [people] lose their poetic feeling for
ordinary life, and cannot write poetry of ordinary
things, their exalted poetry is likely to lose its
strength of exaltation.
” —Sandburg
Carl Sandburg was born in 1878 and died in 1967.
Reading Further
If you would like to read more by or about Carl Sandburg,
you might enjoy these works:
Poems: “North Atlantic,” “Prairie,” and “The Windy City”
are interesting poems that can be found in The Complete
Poems of Carl Sandburg.
Biography: Carl Sandburg: His Life and Works, by
North Callahan, is a complete and thorough story of the
poet’s life.
BEGINNINGS OF THE MODERN AGE
669
Before You Read

Reading Focus
Think of a significant time when you or someone else has been criticized and you
argued against that criticism.
Journal Write a journal entry describing the incident. Then describe how you felt
about the criticism and how you responded to the person who made it.
Setting a Purpose Read to discover how a speaker responds to criticisms of
his city.

Building Background
The Time and Place
During Sandburg’s youth in the late nineteenth century,
Chicago was an economic lifeline of the United States.
Sandburg himself was excited and deeply impressed when,
at age eighteen, he saw the bustling city for the first time. In
1896 Chicago’s waterways and web of railroads united the
nation, linking the wealth of the East with the agriculture of
the West, Midwest, and South. From farms on the nearby
prairies, wheat poured into the city’s grain elevators, and
cattle and hogs entered the city’s slaughterhouses. From
Chicago, meat and grain flowed out to feed the nation.
The city had grown amazingly fast, from a small trading
post in 1830 to an expanding metropolis at the turn of the
century. Beginning in the 1840s, waves of immigrants of
many different nationalities settled in Chicago. By the 1880s,
the city held more than half a million inhabitants; three-
fourths of them immigrants from northern and eastern
Europe or the sons and daughters of these immigrants. The
city’s rapid industrial growth brought many labor disputes,
including riots and a strike of railroad workers. During his
years as a Chicago newspaperman, Sandburg observed first-
hand the struggles and triumphs of the growing city.
Literary Influences
Walt Whitman was one of Sandburg’s greatest poetic inspira-
tions. Sandburg’s poetry shows the influence of Whitman’s
style, both in its free-verse form and its celebration of com-
mon American people. While one critic complained that
Sandburg had “sat too long at the feet of Walt Whitman,”
most critics agree that Whitman’s influence brought a lyrical
energy to Sandburg’s poetry.

Chicago skyline behind a railroad yard, 1909.

670
UNIT 5
Carl Sandburg

 Hog Butcher for the World,
Tool Maker, Stacker of Wheat,
Player with Railroads and the Nation’s Freight Handler;
Stormy, husky, brawling,
5 City of the Big Shoulders:
They tell me you are wicked and I believe them, for I have seen your painted
women under the gas lamps luring the farm boys.
And they tell me you are crooked and I answer: Yes, it is true I have seen the
gunman kill and go free to kill again.
And they tell me you are brutal and my reply is: On the faces of women and
children I have seen the marks of wanton° hunger.
And having answered so I turn once more to those who sneer at this my city,
and I give them back the sneer and say to them:
10 Come and show me another city with lifted head singing so proud to be alive
and coarse and strong and cunning.
Flinging magnetic curses amid the toil of piling job on job, here is a tall bold
slugger set vivid against the little soft cities;
Fierce as a dog with tongue lapping for action, cunning as a savage pitted
against the wilderness,
Bareheaded,
Shoveling,
15 Wrecking,
Planning,
Building, breaking, rebuilding,
Under the smoke, dust all over his mouth, laughing with white teeth,
Under the terrible burden of destiny laughing as a young man laughs,
20 Laughing even as an ignorant fighter laughs who has never lost a battle,
Bragging and laughing that under his wrist is the pulse, and under his ribs the
heart of the people,
Laughing!
Laughing the stormy, husky, brawling laughter of Youth, half-naked, sweat-
ing, proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player
with railroads and Freight Handler to the Nation.

8 Wanton means “resulting from extreme cruelty or neglect.”

 Active Reading and Critical Thinking

Responding to Literature
Personal Response
What are your impressions of the Chicago the speaker describes? Literary
ELEMENTS
Analyzing Literature
Apostrophe
Recall and Interpret Apostrophe is a figure of speech in
1. What names does the speaker give Chicago in lines 1–5? What do these which a writer directly addresses an
names reveal about the city? inanimate object, an idea, or an absent
2. In lines 6–8, what three negative adjectives describe the city? What person. For example, in “Chicago,” the
problems in the city do these adjectives indicate? What overall impressions speaker says to the city, “they tell me
do these problems give of Chicago? Explain. you are crooked and I answer . . .” Poets
3. Name some of the positive adjectives the speaker uses to describe often use apostrophe to achieve either a
Chicago. What do these words reveal about the city’s inhabitants and the formal tone or a sense of emotional
speaker’s attitude toward them? immediacy.
4. To what does Sandburg compare Chicago in lines 10–23? What final 1. Would you say the speaker in
impression do these comparisons give of the city? “Chicago” addresses the city directly
in the first five lines? Explain.
Evaluate and Connect
5. How does Sandburg’s diction, or choice of words, help create a vivid 2. In which lines does the speaker
image of the city? Provide examples from the poem. address the city as “you”? In your
6. Notice two similes, or comparisons using the word like or as, that opinion, what effect does this use of
Sandburg uses in lines 19–20. In your opinion, how effective are these apostrophe create?
similes in expressing the theme (see Literary Terms Handbook, page R16) 3. What effects do you think Sandburg’s
of the poem? overall use of apostrophe in the
7. How does Sandburg’s portrayal of early twentieth-century Chicago com- poem creates?
pare with a big city of today? Consider similarities as well as differences. • See Literary Terms Handbook,
8. Review what you wrote for the Reading Focus on page 670. How does your p. R1.
defense compare with Sandburg’s defense of Chicago? Would any of
Sandburg’s methods have helped you in your defense? Explain.

Extending Your Response

Creative Writing
Defending Your Community With a partner, write a poem
or a brief essay defending your own city, town, or neighbor-
hood. Use Sandburg’s poem as a model. What special char-
acteristics does your community have? What might some
people say to criticize it? How will you defend it against
those criticisms? Share your poem or essay with the class.
Literature Groups
Proud or Defensive? Is the speaker in “Chicago” proud of
the city or defensive about its poor public image? What do
you think? Debate this question in your group, and provide
examples from the poem to support your opinion. Share
your group’s ideas with the class.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
673

 Before You Read
from Songs of Gold Mountain

The first wave of Chinese immigrants consisted

“ Right after we were wed, Husband,
you set out on a journey.
How was I to tell you how I felt?
Wandering around a foreign country,
when will you ever come home?
”
—Anonymous
“Gold Mountain Poems” were written by numer-
ous anonymous poets—Chinese immigrants to the
United States who were detained at an immigra-
tion center in San Francisco.
In the mid-nineteenth century, Chinese people
began immigrating to the United States in large
numbers. Many left China to escape intense
fighting between the British and the Chinese and
between peasant farmers and the ruling class.
Others left China hoping to improve their eco-
nomic prospects by working in this country.
mostly of adventurous young men who dreamed of
striking it rich in the mines of “Gold Mountain,”
as the United States was called. Circulars distrib-
uted by labor brokers fueled such dreams. One
circular made the following claims: “Americans
are very rich people. They want the China man
to come and make him very welcome. There you
will have great pay, large houses, and food and
clothing of the finest description.”
Many of the young men who came from
China to California were married and planned
to remain just long enough to make their fortune.
In reality, however, about half of this group
never returned to China. When the profits of
the mining companies began to dwindle, many
of these young men went to work on the Central
Pacific Railroad and on farms in California.

Reading Focus Building Background

Think about a time when you experi-
enced a great feeling of disappoint-
ment. Describe exactly how you felt.
What did you do in response to this
feeling?
Quickwrite Spend three or four
minutes exploring your response to
these questions.
Setting a Purpose Read to
learn about the feelings of disap-
pointment experienced by many
Chinese immigrants as described by
anonymous poets.
The Time and Place
In 1849, the first year of
the great gold rush, 325
Chinese immigrants arrived
in California to prospect for
gold. In 1852 more than
20,000 arrived. Americans
welcomed these new-
comers at first, but they
soon began crying
“California for Americans,”
resulting in a special
miner’s tax for foreigners.
In 1882 the Chinese Chinese railroad workers, 1877.
Exclusion Act was passed, which prohibited the immigration
of Chinese laborers and eventually of all Chinese. The law remained in effect until
1943. Because of it, Chinese arriving after 1882 were detained for anywhere from
several weeks to more than a year in a place called the “Wooden Barracks” on San
Francisco Bay. On the walls of this place, they wrote short, powerful poems express-
ing their reactions to being detained.

674
UNIT 5
 Anonymous

Writing carved on the wooden

wall at Angel Island.

As soon as it is announced
the ship has reached America:
I burst out cheering,
I have found precious pearls.
5 How can I bear the detention upon arrival,
Doctors and immigration officials refusing
to let me go?
All the abuse—
I can’t describe it with a pen.
10 I’m held captive in a wooden barrack, like King Wen°
in Youli:°
No end to the misery and sadness in my heart.

10 The popular and reportedly wise ruler Wen Wang became known as King Wen
only after his death.
11 King Wen was imprisoned at Youli (yō l¯
) by the ruling Shang-dynasty king,
Zouxin ( jō shin). King Wen’s sons gained victory over the Shang and began the
Zhou ( jō) dynasty (c. 1122–221 B.C.).

BEGINNINGS OF THE MODERN AGE  675

 The moment I hear
we’ve entered the port,
I am all ready:
my belongings wrapped in a bundle.
5 Who would have expected joy to become sorrow:
Detained in a dark, crude, filthy room?
What can I do?
Cruel treatment, not one restful breath of air.
Scarcity of food, severe restrictions—all
10 unbearable.
Here even a proud man bows his head low.

Fellow countrymen, four hundred million

strong;
Many are great, with exceptional talents.
We want to come to the Flowery Flag Nation°
5 but are barred;
The Golden Gate° firmly locked, without even
a crack to crawl through.
This moment—
Truly deplorable is the imprisonment.
10 Our hearts ache in pain and shame;
Though talented, how can we put on wings and
fly past the barbarians?

4 The Flowery Flag Nation refers to the United States.

6 Literally, the Golden Gate is a narrow body of water in California that
connects the Pacific Ocean with the San Francisco Bay.

I am a man of heroic deeds;

I am a man with pride and dignity.
My bosom encompasses the height of Heaven
and the brilliance of Earth;
5 Everywhere they know me as a truly noble
man.
In search of wealth—
Greed led me on the road to Golden Mountain.
Denied landing upon reaching the shore, I am
10 filled with rage.
With no means to pass the border, what can a
person do?

676  UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
Which lines from these poems do you find most memorable? Which do you Literary
find most surprising?
ELEMENTS
Analyzing Literature
Recall and Interpret Literal Language
1. How do the speakers in the first two poems feel upon arriving in the Literal language is language that is sim-
United States? Which of their behaviors suggest that they have these ple, straightforward, and free of embell-
feelings? ishment. It is the opposite of figurative
2. Where are the speakers in the first two poems brought, and how are they language, or language that conveys
treated? What thoughts and feelings do the speakers have regarding this meaning by comparing one thing to
treatment? another. Examples of both types of lan-
3. How do the speakers in the third and fourth poems describe themselves, guage can be found in the poems from
their countrymen, and the events that follow their arrival in the United Songs of Gold Mountain. The line
States? “Doctors and immigration officials refus-
4. How do the speakers in the third and fourth poems refer to the United ing to let me go” is an example of literal
States? What does this tell you about their hopes for immigration? language.
1. Find three more examples of literal
Evaluate and Connect language in this selection. How does
5. Do you think the people who wrote these poems regretted their decision the literal language affect your appre-
to immigrate? Explain. How might they have evaluated their decision if they ciation of the poems?
could see how Chinese Americans live today? 2. Find three examples of figurative lan-
6. These poems were all translated from Chinese. In terms of style, structure, guage in this selection. Try rewriting
and syntax (ways of forming phrases and sentences), compare these them in literal language.
poems with poems by native English speakers. How are they similar? How
are they different? (See Literary Terms Handbook, page R15.) • See Literary Terms Handbook,
p. R9.
7. Do you think it would have been helpful for later Chinese detainees in San
Francisco to read poems like these on the walls of the barracks? Why or
why not?
8. How do the thoughts and feelings you conveyed for the Reading Focus on
page 674 compare with those expressed in these poems? Explain your
answer, citing details from the poems.

Extending Your Response

Creative Writing
Express Yourself Write a short poem like the poems here,
describing a time when you experienced great disappoint-
ment. Incorporate in your poem both figurative and literal
language. As you write the poem, choose each word with
care, avoiding any unnecessary words. Finally, read the
poem aloud to decide on natural line breaks.
Literature Groups
Make a Case for a Poem Debate the following question in
your group: Which of these four poems conveys the difficul-
ties faced by Chinese immigrants most powerfully? Have
each person support his or her opinion with details from the
poems. Then present your opinions to the class.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
677

 Before You Read
In Another Country
Meet
Ernest Hemingway
Born in Oak Park, Illinois, a sub-
urb of Chicago, Ernest Hemingway
began to write while still in high
school. By the age of eighteen,
Hemingway was working as a
reporter for the Kansas City Star
and was determined to go to
Europe to participate in World
War I. Rejected by the U.S. mili-
tary because of an eye defect, the
adventure-seeking Hemingway
became an ambulance driver for the American
Red Cross. Less than one month before his nine-
teenth birthday, Hemingway was seriously
wounded in Italy. The injury, according to
American literary critic Alfred Kazin, “was a
shock that went straight into Hemingway’s early
stories and fables of the war.”
After recuperating at home in the United
States, Hemingway accepted a position as a for-
eign correspondent for the Toronto Star and was
sent to Paris. There, the young newsman met and
sought the advice and encouragement of notable
American writers of the time. In fact, Hemingway
became part of a group of American artists and
writers who formed a colony of expatriates, peo-
ple who choose to live outside their homeland.
Hemingway’s friend Gertrude Stein was a nov-
elist and essayist who presided over this expatri-
ate community. Stein, who acted as a mentor for
the young Hemingway, summed up the alienation
and disillusionment of these early Modernists
when she told him, “You’re all a lost generation.”
Stein applied the phrase to Hemingway and other
young men who had experienced the horrors
678
UNIT 5
of World War I and had returned
feeling demoralized and alienated
from society. The term “Lost
Generation” was later widely
quoted as a concise expression of
the aimlessness and despair felt
by American expatriates in Paris
in the 1920s.
In 1925, while in Paris,
Hemingway published his first
major work, In Our Time. This
collection of short stories estab-
lished Hemingway as an important
new writer whose simple,
unadorned style drew notice and praise.
Like Hemingway himself, the heroes of his
fiction lead lives of great physical adventure.
They are soldiers, big-game hunters, boxers, bull-
fighters, and deep-sea fishermen. Hemingway’s
major novels include The Sun Also Rises (1926) a
novel of the “lost generation,” set in Paris and
Spain; A Farewell to Arms (1929), a love story set
during World War I; For Whom the Bell Tolls
(1940), a novel set in Spain during the Spanish
Civil War of the 1930s where Hemingway had
worked as a war correspondent; and The Old Man
and the Sea (1952), a tale of a fisherman from
Cuba. In 1954 Hemingway received the Nobel
Prize for Literature.
“ All good books are alike in that they are truer
than if they had really happened. . . .
”
“A man can be destroyed but not defeated.”—Hemingway
Ernest Hemingway was born in 1899 and died in 1961.
 Before You Read

Reading Focus
How would you react if you suffered a serious injury to your leg or hand?
Discuss With a small group of classmates, briefly discuss how you would react to
a life-changing injury. Explore how you might feel and how your outlook on the
future might change.
Setting a Purpose Read to discover how the narrator and other characters
cope with their injuries and wounds.

Building Background
Literary Influences these “the best rules I ever learned for the business
Hemingway recalled that when he was a young reporter on of writing.” He learned much from Gertrude Stein’s efforts
the Kansas City Star, the newspaper’s style sheet instructed to write with concise, spare prose that created repetitive
reporters to “avoid the use of adjectives, especially such sentence rhythms. Hemingway also noted that Stephen
extravagant ones as splendid, gorgeous, grand, magnificent, Crane, another American writer who had been trained as a
etc.” Short sentences, brief opening paragraphs, and “vigor- journalist and served as a war correspondent, greatly
ous English” were also required. Hemingway later called influenced his prose style.

Kansas City Star newsroom, c. 1918.

Vocabulary Preview
lurch (lurch) v. to move suddenly and unevenly; p. 680 jostle ( jos
əl) v. to bump, push, or shove while moving, as
withered (with
ərd)
 adj. shriveled; p. 680 in a crowd; p. 681
detached (di tacht
) adj. not involved emotionally; resign (ri z¯ n
) v. to make oneself accept; p. 683
indifferent; p. 681

BEGINNINGS OF THE MODERN AGE
679

In the fall the war1 was always there, but we
did not go to it any more. It was cold in the
fall in Milan2 and the dark came very early.
Then the electric lights came on, and it was
pleasant along the streets looking in the win-
dows. There was much game3 hanging outside
the shops, and the snow powdered in the fur of
the foxes and the wind blew their tails. The
deer hung stiff and heavy and empty, and
small birds blew in the wind and the wind
turned their feathers. It was a cold fall and the
wind came down from the mountains.
We were all at the hospital every afternoon,
and there were different ways of walking across
the town through the dusk to the hospital. Two
of the ways were alongside canals, but they were
long. Always, though, you crossed a bridge
across a canal to enter the hospital. There was a
choice of three bridges. On one of them a
woman sold roasted chestnuts. It was warm,
standing in front of her charcoal fire, and the
chestnuts were warm afterward in your pocket.
The hospital was very old and very beautiful,
and you entered through a gate and walked
across a courtyard and out a gate on the other
side. There were usually funerals starting from
the courtyard. Beyond the old hospital were the
new brick pavilions, and there we met every
afternoon and were all very polite and inter-
ested in what was the matter, and sat in the
machines that were to make so much difference.
The doctor came up to the machine
where I was sitting and said: “What did you
1. The war is World War I (1914–1918). The United States, Italy,
and other countries fought Germany and its allies.
2. Milan is a city in northern Italy.
3. Here, game refers to wild animals and birds that have been
hunted and killed for food.
Vocabulary
lurch (lurch) v. to move suddenly and unevenly
withered (wi
thərd)


adj. shriveled
680
UNIT 5
like best to do before the war? Did you prac-
tice a sport?”
I said: “Yes, football.”
“Good,” he said. “You will be able to play
football again better than ever.”
My knee did not bend and the leg dropped
straight from the knee to the ankle without a
calf, and the machine was to bend the knee
and make it move as in riding a tricycle. But it
did not bend yet, and instead the machine
lurched when it came to the bending part. The
doctor said: “That will all pass. You are a fortu-
nate young man. You will play football again like
a champion.”
In the next machine was a major who had a
little hand like a baby’s. He winked at me when
the doctor examined his hand, which was
between two leather straps that bounced up and
down and flapped the stiff fingers, and said:
“And will I too play football, captain-doctor?”
He had been a very great fencer, and before the
war the greatest fencer in Italy.
The doctor went to his office in the back
room and brought a photograph which showed
a hand that had been withered almost as small
as the major’s, before it had taken a machine
course, and after was a little larger. The major
held the photograph with his good hand and
looked at it very carefully. “A wound?” he asked.
“An industrial accident,” the doctor said.
“Very interesting, very interesting,” the
major said, and handed it back to the doctor.
“You have confidence?”
“No,” said the major.
There were three boys who came each day
who were about the same age I was. They were
all three from Milan, and one of them was to
be a lawyer, and one was to be a painter, and

one had intended to be a soldier,
and after we were finished with the
machines, sometimes we walked
back together to the Café Cova,
which was next door to the Scala.4 We
walked the short way through the commu-
nist quarter because we were four
together. The people hated us because
we were officers, and from a wine-
shop some one would call out, “A basso gli
ufficiali!”5 as we passed. Another boy who
walked with us sometimes and made us five
wore a black silk handkerchief across his face
because he had no nose then and his face was
to be rebuilt. He had gone out to the front6
from the military academy and been wounded
within an hour after he had gone into the front
line for the first time. They rebuilt his face, but
he came from a very old family and they could
never get the nose exactly right. He went to
South America and worked in a bank. But this
was a long time ago, and then we did not any
of us know how it was going to be afterward.
We only knew then that there was always the
war, but that we were not going to it any more.
We all had the same medals, except the
boy with the black silk bandage across his face,
and he had not been at the front long enough
to get any medals. The tall boy with a very pale
face who was to be a lawyer had been a lieu-
tenant of Arditi7 and had three medals of the
4. The Scala (skalə) is Milan’s world-famous opera house.
5. In Italian, A basso gli ufficiali! (a basō lyē
¯¯¯ fē chalē) means “Down with officers!”
oo
6. The front is the line or area of conflict between opposing
armies.
7. The Arditi (ar dē tē) was a corps of soldiers specially selected
for dangerous operations.
Vocabulary
detached (di tacht) adj. not involved emotionally; indifferent
jostle ( josəl) v. to bump, push, or shove while moving, as in a crowd
Ernest Hemingway 
sort we each had only one of. He had lived a
very long time with death and was a little
detached. We were all a little detached, and
there was nothing that held us together
except that we met every afternoon at
the hospital. Although, as we walked to
the Cova through the tough part of
town, walking in the dark, with light
and singing coming out of the wine-shops, and
sometimes having to walk into the street when
the men and women would crowd together on
the sidewalk so that we would have had to
jostle them to get by, we felt held together by
there being something that had happened that
they, the people who disliked us, did not
understand.
We ourselves all understood the Cova,
where it was rich and warm and not too
brightly lighted, and noisy and smoky at cer-
tain hours, and there were always girls at the
tables and the illustrated papers on a rack on
the wall. The girls at the Cova were very patri-
otic, and I found that the most patriotic peo-
ple in Italy were the café girls—and I believe
they are still patriotic.
The boys at first were very polite about my
medals and asked me what I had done to get
them. I showed them the papers, which were
written in very beautiful language and full of
fratellanza and abnegazione,8 but which really
said, with the adjectives removed, that I had
been given the medals because I was an
American. After that their manner changed a
little toward me, although I was their friend
against outsiders. I was a friend, but I was
8. Fratellanza (fra tāl a nza) and abnegazione
(ab nā a tzyonā) are Italian for “brotherhood” and
“self-denial.”
BEGINNINGS OF THE MODERN AGE
681
never really one of them after they had read the
citations,9 because it had been different with
them and they had done very different things
to get their medals. I had been wounded, it was
true; but we all knew that being wounded, after
all, was really an accident. I was never ashamed
of the ribbons, though, and sometimes, after
the cocktail hour, I would imagine myself hav-
ing done all the things they had done to get
their medals; but walking home at night
through the empty streets with the cold wind
and all the shops closed, trying to keep near the
street lights, I knew that I would never have
done such things, and I was very much afraid to
die, and often lay in bed at night by myself,
afraid to die and wondering how I would be
when I went back to the front again.
The three with the medals were like
hunting-hawks; and I was not a hawk,
although I might seem a hawk to those who
had never hunted; they, the three, knew better
and so we drifted apart. But I stayed good
friends with the boy who had been wounded
his first day at the front, because he would
never know now how he would have turned
out; so he could never be accepted either, and
I liked him because I thought perhaps he
would not have turned out to be a hawk either.
The major, who had been the great fencer,
did not believe in bravery, and spent much
time while we sat in the machines correcting
my grammar. He had complimented me on
how I spoke Italian, and we talked together
very easily. One day I had said that Italian
seemed such an easy language to me that I
could not take a great interest in it; everything
was so easy to say. “Ah, yes,” the major said.
“Why, then, do you not take up the use of
grammar?” So we took up the use of grammar,
9. Citations are specific references to military duties worthy of
reward or praise.
682
UNIT 5
and soon Italian was such a difficult language
that I was afraid to talk to him until I had the
grammar straight in my mind.
The major came very regularly to the hospi-
tal. I do not think he ever missed a day, although
I am sure he did not believe in the machines.
There was a time when none of us believed in
the machines, and one day the major said it was
all nonsense. The machines were new then and
it was we who were to prove them. It was an idi-
otic idea, he said, “a theory, like another.” I had
not learned my grammar, and he said I was a stu-
pid impossible disgrace, and he was a fool to
have bothered with me. He was a small man and
he sat straight up in his chair with his right hand
thrust into the machine and looked straight
ahead at the wall while the straps thumped up
and down with his fingers in them.
“What will you do when the war is over if it
is over?” he asked me. “Speak grammatically!”
“I will go to the States.”
“Are you married?”
“No, but I hope to be.”
“The more of a fool you are,” he said. He
seemed very angry. “A man must not marry.”
“Why, Signor Maggiore?”10
“Don’t call me ‘Signor Maggiore.’”
“Why must not a man marry?”
“He cannot marry. He cannot marry,” he
said angrily. “If he is to lose everything, he
should not place himself in a position to lose
that. He should not place himself in a position
to lose. He should find things he cannot lose.”
He spoke very angrily and bitterly, and
looked straight ahead while he talked.
“But why should he necessarily lose it?”
“He’ll lose it,” the major said. He was look-
ing at the wall. Then he looked down at the
10. Signor Maggiore (sē nyor ma jōrā) means “Mr. Major.”
In Italy, one said Signor before an officer’s rank as a sign of
respect.

Piazza Corvetto in Genoa in 1918. Alessandro Milesi (1856–1945). Oil on canvas. Galleria
d’Arte Moderna di Nervi, Genoa, Italy.
Viewing the painting: In what ways does this painting reflect the sense of
detachment that the characters feel in “In Another Country”?
machine and jerked his little hand out from
between the straps and slapped it hard against
his thigh. “He’ll lose it,” he almost shouted.
“Don’t argue with me!” Then he called to the
attendant who ran the machines. “Come and
turn this thing off.”
He went back into the other room for the
light treatment and the massage. Then I heard
him ask the doctor if he might use his tele-
phone and he shut the door. When he came
back into the room, I was sitting in another
machine. He was wearing his cape and had his
cap on, and he came directly toward my
machine and put his arm on my shoulder.
“I am so sorry,” he said, and patted me on
the shoulder with his good hand. “I would not
be rude. My wife has just died. You must for-
give me.”
“Oh—” I said, feeling sick for him. “I am
so sorry.”
He stood there biting his
lower lip. “It is very difficult,” he
said. “I cannot resign myself.”
He looked straight past me
and out through the window.
Then he began to cry. “I am
utterly unable to resign myself,”
he said and choked. And then
crying, his head up looking at
nothing, carrying himself straight
and soldierly, with tears on both
his cheeks and biting his lips, he
walked past the machines and out
the door.
The doctor told me that the
major’s wife, who was very young
and whom he had not married until he was def-
initely invalided11 out of the war, had died of
pneumonia. She had been sick only a few days.
No one expected her to die. The major did not
come to the hospital for three days. Then he
came at the usual hour, wearing a black band on
the sleeve of his uniform. When he came back,
there were large framed photographs around the
wall, of all sorts of wounds before and after they
had been cured by the machines. In front of the
machine the major used were three photographs
of hands like his that were completely restored.
I do not know where the doctor got them. I
always understood we were the first to use the
machines. The photographs did not make much
difference to the major because he only looked
out of the window.
11. Invalided means “removed from active duty because of sick-
ness or disability.”

Vocabulary
resign (ri z¯ n) v. to make oneself accept

BEGINNINGS OF THE MODERN AGE
683

 Active Reading and Critical Thinking
Responding to Literature
Personal Response
How did you react to the end of the story? Which character
or event left you with this reaction?
Analyzing Literature
Recall and Interpret
1. Why do the narrator and the major go to the hospital every
afternoon? What are their attitudes toward the visits? Explain.
2. What does the narrator have in common with the other
young men who go to the hospital? What happens to the
narrator’s relationship with three of the young men? What
makes his relationship with the young man who wears the
handkerchief on his face different?
3. What wounds besides physical ones might the narrator and
the other soldiers have suffered? What might the machines
represent for them?
4. What bad news does the major receive? Why do you think
he feels “utterly unable to resign” himself to the news?
5. What strikes the narrator as odd about the photographs dis-
played by the doctor? How might the photographs affect the
narrator’s opinion of his treatments? What does this suggest
about the character’s future?
Evaluate and Connect
6. The author opens the story with a series of sensory
details (see page R14). In your opinion, how effective are
these details in setting the scene and in pulling the reader
into the story? Explain.
7. The narrator compares the three young men with the
medals to hunting-hawks. How does this comparison
affect your view of the young men? Of the narrator?
Extending Your Response
Literature Groups
Is There Any Hope? Does this story show any signs of
hope for its characters, or is it simply a sad story of isolation
and loneliness? Debate this issue in your group. Consider
each character’s actions, words, and hope for the future.
Share your conclusions with the class.
684
UNIT 5
8. In your opinion, what does the narrator do to cope with
his injury and rehabilitation? How do his methods com-
pare with those suggested by your group for the Reading
Focus on page 679?
Literary Criticism
The narrator of “In Another Country” is “disillusioned and
cynical,” argues critic James Nagel, and is “having a difficult
time retaining his sanity.” Do you share Nagel’s view of the
narrator? Why or why not? Explain your answer in a few
paragraphs.
Literary ELEMENTS
Style
Style is a writer’s individual, characteristic way of writing.
Elements such as diction, sentence structure, imagery,
and tone make up a writer’s style. Hemingway’s simple
language and sentence structure seem to reveal only the
facts of an event or situation. Readers must draw their
own conclusions about characters’ motivations
and Hemingway’s purpose.
1. What repeated words, images, and sentence rhythms
appear in the opening paragraph? What effect do
these elements have on the story’s mood or tone?
2. How does Hemingway’s style bring out the story’s
theme?
• See Literary Terms Handbook,
page R15.
Personal Writing
Something to Lose The major says, “A man must not
marry.” He goes on to explain that a man should not put
himself in a position to lose something dear to him, but that
“he should find things he cannot lose.” Do you agree or
disagree? Write a response to the major’s comments.
Save your work for your portfolio.
 Using Commas in a Series
In Hemingway’s writing, as in your own, you will often find a sentence with three or more
elements in a series. These three elements might be words, phrases, or clauses. Use commas
after each element in a series, including the element that precedes the conjunction.

Problem 1 Missing commas in a series of words

Hemingway writes of physical emotional and spiritual loss.
Solution Use commas after the words in a series, including the word that comes before
the conjunction.
Hemingway writes of physical, emotional, and spiritual loss.
Problem 2 Missing commas in a series of phrases
The soldiers were maimed in battle numbed by pain and defeated by loss.
Solution Use commas after the phrases in a series, including the phrase that comes
before the conjunction.
The soldiers were maimed in battle, numbed by pain, and defeated by loss.
Problem 3 Missing commas in a series of clauses
One boy wanted to be a lawyer one wanted to be a painter and the third had
intended to be a soldier.
Solution Use commas after the clauses in a series, including the clause that comes
before the conjunction.
One boy wanted to be a lawyer, one wanted to be a painter, and the third
had intended to be a soldier.
• For more about using commas in a series, see Language Handbook, p. R32.

EXERCISE

Rewrite each of the incorrect sentences, applying the solutions shown above. (One of the
sentences is correct.)

1. In our band Larry plays guitar, Yolanda plays keyboards and Tom plays percussion.
2. He wants ice cream milk and cake.
3. The weary tourists took a plane to Boston, a train to New York, and a bus to Baltimore.
4. Linda saw the balloon floating in the sky riding the air currents higher and higher, and
disappearing into a cloud.
5. I cleaned my room swept the kitchen floor and took out the trash.
6. Hemingway has a concise, simple and unadorned style.

BEGINNINGS OF THE MODERN AGE
685


T ECHNOLOGY
T IP
Spreadsheet programs
differ slightly, so if you
have trouble at any time
in this activity, browse
through the program’s
Help menu or consult
with your teacher or lab
instructor.
Spreadsheet: Determining Productivity
Spreadsheet software can help you manage your time better by allowing you to see, in graphic
form, how you actually spend your days. Start by listing everything you do on a typical school
day. Group the activities into categories such as sleeping, school, homework, time spent with
family, and so on. Then record how much time you spend on each group of activities during
an average twenty-four-hour day. Round each figure to the nearest half hour, and record the
times in decimals (for example, 3.5 hours). Make sure your hours add up to 24.
Reviewing Spreadsheet Tools
Take a few minutes to review the major functions of spreadsheets.
TERM FUNCTION
Worksheet A worksheet is the “page” where you insert and manipulate data.
Cells Each worksheet is divided into cells, the basic units for storing data.
Cell address The intersection of a column and a row forms a cell. The cell at column
D and row 4, for example, is called D4.
Chart Various types of graphs (bar graph, line graph, and so on) are referred
to as charts in spreadsheet programs. The data on a spreadsheet can
be made into a chart.
Formulas Formulas mathematically combine the data in cells to produce a new
value. For example, a formula may tell the program to add up all the
figures in a column or a row.

Estimating Your Productivity

Have your list of activities handy as you open your spreadsheet. Most spreadsheet software
opens to a blank worksheet. You will see columns, rows, and empty cells. You will also see
pull-down menus, one or more toolbars, a formula bar, and a cell-content space. When

Menus

Toolbars

Formula bar Cell contents

Row 1 Cell A1

Column A Worksheet

686
UNIT 5
you select a cell, the cell-content space shows the data entered into that
cell. If you wish to edit the data, do so in the cell-content space.

1. Activate Cell A1. To activate a cell, click on it. Type Weekday

Activities. (Note: You can change the cell width to fit the long label
by clicking and dragging on the line dividing columns A and B.)
2. Activate Cell B1, and type Time.
3. Activate Cell A2, and type the first of your activities. Then activate
Cell B2, and type the average amount of time you spend on that
activity. Continue in this way until all your activities and times are
listed.
4. Skip a row and click in the A-column cell that follows your data.
Type Total.
5. In the B column of that row, activate the cell that follows
your data. You now want the computer to add the esti-
mated times together. Click in the formula bar and type in
the formula command =. Then type SUM. In parentheses,
type in the first cell containing desired data, a colon, and
the last cell containing desired data. The colon indicates
that you want to add the first cell, the last cell, and all the
cells in between. Your formula should look something
like: =SUM(B2:B9).
6. Use your data to make a pie chart. Select the cells from
A2 to the last entry above the total in column B. These
contain your data for the chart.
7. Click on the icon for making a chart. (Or select Chart
from the appropriate pull-down menu.) A series of
dialogue boxes will then guide you through the process.
Select a pie chart with labels and percentages, and
include a title. When you finish, the chart will appear
on your worksheet.

ACTIVITY

1. Repeat the process explained above but this time use estimates of how you spend your
time on weekends.
2. Think about ways you might change your data—for example, to spend more time studying
or to get more time with your family. Experiment with the times. Note that your pie chart
will adjust automatically each time you make a change in the data on the worksheet.
3. Experiment with different types of charts. Which do you prefer? Why?

BEGINNINGS OF THE MODERN AGE
687

 Before You Read
Soldiers of the Republic and Penelope

Meet plays, and reviews. Her celebrated

wit and public pranks—she once
Dorothy Parker
displayed a sign reading “MEN”
“ I’d like to have money. And I’d
like to be a good writer. These two
on her office door to attract
company—often drew attention
can come together, and I hope they away from her involvement in
will, but if that’s too adorable, I’d social issues. Among her other
rather have money. I hate almost causes, she chaired an anti-fascist
all rich people, but I think I’d be committee during the Spanish
darling at it.
” —Parker
Civil War, and she willed most of
her money to Civil Rights leader, Martin Luther
King Jr.
As a writer, editor, and critic, Dorothy Parker was
When Parker got older, she regretted some of
both famous and feared for her biting and clever
her earlier snide remarks. “I wanted to be cute,”
wit. For example, she once described an actress’s
she said. “That’s the terrible thing. I should have
performance by saying, “She runs the gamut of
had more sense.” However, readers still recognize
emotion all the way from A to B.”
the quality of her writing and continue to enjoy
Cofounder of a group of writers and humorists
her works.
known collectively as the Algonquin Round
Table, Parker wrote stories, poems, plays, screen- Dorothy Parker was born in 1893 and died in 1967.

Reading Focus Building Background

What kind of people do you look up
to and admire?
List it! List some of the qualities
you admire, and explain why you
find each admirable.
Setting a Purpose Read to
notice the admirable qualities one
writer gives her characters.
Did You Know?
• The Spanish Civil War began in 1936 as a military coup against Spain’s Republican
government. Soldiers from around the world came to help the Republicans fend
off the Nationalists, who were supported by Fascist Italy and Nazi Germany. The
war ended, with victory for the Nationalists, in March 1939.
• The poem “Penelope” refers to the wife of Odysseus, hero of the ancient Greek
epic poem the Odyssey, by Homer. Penelope, traditionally associated with devo-
tion and faithfulness, waits twenty years for her husband to return from war.

Vocabulary Preview
dissembling (di sem
blin) n. the act of concealing one’s true character, feelings,
or intentions; p. 690
contrivance (kən tr¯
vəns) n. a cleverly designed device; p. 690
vehemently (ve
ə mənt lē) adv. in a strong or passionate manner; p. 690
whimsically (hwim
zik lē) adv. in a quaintly humorous manner; p. 691
stoically (sto
ik lē) adv. calmly and unemotionally, especially despite pain or
suffering; p. 691

688
UNIT 5

hat Sunday afternoon we sat with the
Swedish girl in the big café in Valencia.1 We
had vermouth2 in thick goblets, each with a
cube of honeycombed gray ice in it. The waiter
was so proud of that ice he could hardly bear to
leave the glasses on the table, and thus part
from it forever. He went to his duty—all over
the room they were clapping their hands and
hissing to draw his attention—but he looked
back over his shoulder.
It was dark outside, the quick, new dark that
leaps down without dusk on the day; but,
because there were no lights in the streets, it
seemed as set and as old as midnight. So you
wondered that all the babies were still up. There
were babies everywhere in the café, babies seri-
ous without solemnity 3 and interested in a toler-
ant way in their surroundings.
At the table next ours, there was a notably
small one; maybe six months old. Its father, a lit-
tle man in a big uniform that dragged his shoul-
ders down, held it carefully on his knee. It was
doing nothing whatever, yet he and his thin
young wife, whose belly was already big again
under her sleazy dress, sat watching it in a sort of
ecstasy of admiration, while their coffee cooled
in front of them. The baby was in Sunday white;
its dress was patched so delicately that you would
have thought the fabric whole had not the
patches varied in their shades of whiteness. In its
hair was a bow of new blue ribbon, tied with
1. Valencia (v
a lensē´ a
) is a port city and tourist resort on the
Mediterranean coast of Spain.
2. Vermouth (vər m¯¯¯ooth) is a white wine used in cocktails.
3. Solemnity is deep seriousness.
Dorothy Parker 
absolute balance of loops and ends. The ribbon
was of no use; there was not enough hair to
require restraint. The bow was sheerly an adorn-
ment, a calculated bit of dash.
“Oh, for God’s sake, stop that!” I said to
myself. “All right, so it’s got a piece of blue rib-
bon on its hair. All right, so its mother went
without eating so it could look pretty when its
father came home on leave. All right, so it’s her
business, and none of yours. All right, so what
have you got to cry about?”
The big, dim room was crowded and lively.
That morning there had been a bombing from
the air, the more horrible for broad daylight. But
nobody in the café sat tense and strained,
nobody desperately forced forgetfulness. They
drank coffee or bottled lemonade, in the pleas-
ant, earned ease of Sunday afternoon, chatting
of small, gay matters, all talking at once, all hear-
ing and answering.
There were many soldiers in the room, in
what appeared to be the uniforms of twenty dif-
ferent armies until you saw that the variety lay in
the differing ways the cloth had worn or faded.
Only a few of them had been wounded; here and
there you saw one stepping gingerly, leaning on
a crutch or two canes, but so far on toward
recovery that his face had color. There were
many men, too, in civilian clothes—some of
them soldiers home on leave, some of them gov-
ernmental workers, some of them anybody’s
guess. There were plump, comfortable wives,
active with paper fans, and old women as quiet
as their grandchildren. There were many pretty
girls and some beauties, of whom you did not
remark, “There’s a charming Spanish type,” but
BEGINNINGS OF THE MODERN AGE
689
said, “What a beautiful girl!” The women’s
clothes were not new, and their material was too
humble ever to have warranted skillful cutting.
“It’s funny,” I said to the Swedish girl, “how
when nobody in a place is best-dressed, you
don’t notice that everybody isn’t.”
“Please?” the Swedish girl said.
No one, save an occasional soldier, wore a
hat. When we had first come to Valencia, I
lived in a state of puzzled pain as to why every-
body on the streets laughed at me. It was not
because “West End Avenue” was writ across my
face as if left there by a customs officer’s chalked
scrawl. They like Americans in Valencia, where
they have seen good ones—the doctors who left
their practices and came to help, the calm
young nurses, the men of the International
Brigade.4 But when I walked forth, men and
women courteously laid their hands across their
splitting faces and little children, too innocent
for dissembling, doubled with glee and pointed
and cried, “Olé!”5 Then, pretty late, I made my
discovery, and left my hat off; and there was
laughter no longer. It was not one of those
comic hats, either; it was just a hat.
The café filled to overflow, and I left our
table to speak to a friend across the room. When
I came back to the table, six soldiers were sitting
there. They were crowded in, and I scraped past
them to my chair. They looked tired and dusty
and little, the way that the newly dead look lit-
tle, and the first things you saw about them were
the tendons in their necks. I felt like a prize sow.
They were all in conversation with the
Swedish girl. She has Spanish, French, German,
anything in Scandinavian,6 Italian, and English.
When she has a moment for regret, she sighs
that her Dutch is so rusty she can no longer
4. Allied with the Republicans, the Brigade was a military force
composed of citizens from many nations.
5. Olé! (ō lā) is similar to Hooray!
6. Scandinavian refers to Danish, Norwegian, and Swedish.
Vocabulary
dissembling (di semblin) n. the act of concealing one’s true character, feelings, or intentions
contrivance (kən tr¯vəns) n. a cleverly designed device
vehemently (veə mənt lē) adv. in a strong or passionate manner
690
UNIT 5
speak it, only read it, and the same is true of
her Rumanian.
They had told her, she told us, that they were
at the end of forty-eight hours’ leave from the
trenches, and, for their holiday, they had all
pooled their money for cigarettes, and some-
thing had gone wrong, and the cigarettes had
never come through to them. I had a pack of
American cigarettes—in Spain rubies are as
nothing to them—and I brought it out, and by
nods and smiles and a sort of breast stroke, made
it understood that I was offering it to those six
men yearning for tobacco. When they saw what
I meant, each one of them rose and shook my
hand. Darling of me to share my cigarettes with
the men on their way back to the trenches.
Little Lady Bountiful. The prize sow.
Each one lit his cigarette with a
contrivance of yellow rope that stank when
afire and was also used, the Swedish girl trans-
lated, for igniting grenades. Each one received
what he had ordered, a glass of coffee, and
each one murmured appreciatively over the
tiny cornucopia7 of coarse sugar that accompa-
nied it. Then they talked.
They talked through the Swedish girl, but
they did to us that thing we all do when we
speak our own language to one who has no
knowledge of it. They looked us square in the
face, and spoke slowly, and pronounced their
words with elaborate movements of their lips.
Then, as their stories came, they poured them at
us so vehemently, so emphatically that they
were sure we must understand. They were so
convinced we would understand that we were
ashamed for not understanding.
But the Swedish girl told us. They were all
farmers and farmers’ sons, from a district so
poor that you try not to remember there is that
kind of poverty. Their village was next that
7. Here, cornucopia means “abundance.” A cornucopia is a
curved horn overflowing with fruit, grain, and vegetables.
one where the old men and the sick men and
the women and children had gone, on a holi-
day, to the bullring; and the planes had come
over and dropped bombs on the bullring, and
the old men and the sick men and the women
and the children were more than two hundred.
They had all, the six of them, been in the war
for over a year, and most of that time they had
been in the trenches. Four of them were mar-
ried. One had one child, two had three chil-
dren, one had five. They had not had word
from their families since they had left for the
front. There had been no communication; two
of them had learned to write from men fight-
ing next them in the trench, but they had not
dared to write home. They belonged to a
union,8 and union men, of course, are put to
death if taken. The village where their families
lived had been captured, and if your wife gets
a letter from a union man, who knows but
they’ll shoot her for the connection?
They told about how they had not heard
from their families for more than a year. They
did not tell it gallantly or whimsically or
stoically. They told it as if—Well, look. You
have been in the trenches, fighting, for a year.
You have heard nothing of your wife and your
children. They do not know if you are dead or
alive or blinded. You do not know where they
are, or if they are. You must talk to somebody.
That is the way they told about it.
One of them, some six months before,
had heard of his wife and his three chil-
dren—they had such beautiful eyes, he
said—from a brother-in-law in France. They
were all alive then, he was told, and had a
8. The Republicans belonged to trade unions.
Vocabulary
whimsically (hwimzik lē) adv. in a quaintly humorous manner
stoically (stō ik lē) adv. calmly and unemotionally, especially despite pain or suffering
bowl of beans a day. But his wife had not
complained of the food, he heard. What had
troubled her was that she had no thread to
mend the children’s ragged clothes. So that
troubled him, too.
“She has no thread,” he kept telling us.
“My wife has no thread to mend with. No
thread.”
We sat there, and listened to what the
Swedish girl told us they were saying.
Suddenly one of them looked at the clock, and
then there was excitement. They jumped up,
as a man, and there were calls for the waiter
and rapid talk with him, and each of them
shook the hand of each of us. We went
through more swimming motions to explain to
them that they were to take the rest of the cig-
arettes—fourteen cigarettes for six soldiers to
take to war—and then they shook our hands
again. Then all of us said “Salud!”9 as many
times as could be for six of them and three of
us, and then they filed out of the café, the six
of them, tired and dusty and little, as men of a
mighty horde are little.
Only the Swedish girl talked, after they
had gone. The Swedish girl has been in Spain
since the start of the war. She has nursed splin-
tered men, and she has carried stretchers into
the trenches and, heavier laden, back to the
hospital. She has seen and heard too much to
be knocked into silence.
Presently it was time to go, and the
Swedish girl raised her hands above her head
and clapped them twice together to summon
the waiter. He came, but he only shook his
head and his hand, and moved away.
The soldiers had paid for our drinks.
9. Salud! (s
a l¯¯¯
ood), meaning “Health!” is a toast, like Cheers!
BEGINNINGS OF THE MODERN AGE
691
 Return of Ulysses to Penelope: From ‘The Odyssey,’ c. 1509. Bernardino Pintoricchio. Fresco, 49¹⁄₂ x 59³⁄₄ in.
National Gallery, London.

Dorothy Parker 
In the pathway of the sun,
In the footsteps of the breeze,
Where the world and sky are one,
He shall ride the silver seas,
5 He shall cut the glittering wave.
I shall sit at home, and rock;
Rise, to heed a neighbor’s knock;
Brew my tea, and snip my thread;
Bleach the linen for my bed.
10 They will call him brave.

692
UNIT 5
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
What surprised you most in the story and in the poem? Explain.

Analyzing Literature
Recall and Intepret
1. What difficult circumstances do the people of Valencia and the soldiers in the café face? In
your opinion, what attitude do the people of Valencia seem to have toward their difficult
circumstances?
2. How do the soldiers react to the gift of cigarettes? How would you explain their reactions?

Evaluate and Connect

3. In your opinion, how does the author want readers to feel about the people of Valencia
and about the soldiers? Do you think she was successful in making you feel a certain way?
Explain, using examples from the story.
4. In your opinion, are the soldiers in this story like other people who face danger, or do they
face danger differently than most people? Explain your answer.

Recall and Interpret

5. What is the person called “he” doing? How does the speaker describe what “he” does?
What is the speaker doing? How are her activities different from his?
6. Who are “they,” and what will “they” say? What does the speaker’s attitude seem to be
about this outcome?
Evaluate and Connect
7. The poem’s title is an allusion, or reference, to a well-known story—that of Odysseus. Does
the allusion effectively help you understand the poem? Explain. (See Literary Terms
Handbook, p. R1.)
8. Who are some of the brave people you know whose strength, like that of the speaker,
might not be recognized? Why do you consider them brave?

Extending Your Response

Literature Groups
How to Tell a Hero Keeping in mind the qualities you
listed for the Reading Focus on page 688, discuss the
admirable or heroic qualities of the characters in the story
and in the poem. Then, as a group, choose five essential
qualities a hero should have. Compare your group’s list with
those of other groups.
Writing About Literature
A Question of Attitude From what you have read, what
conclusions do you draw about Parker’s attitude toward
ordinary people during wartime? Using details from the
story, the poem, or both, identify the writer’s position and
write a few paragraphs to persuade your classmates to share
your point of view.
Save your work for your portfolio.

BEGINNINGS OF THE MODERN AGE
693

 Before You Read
Robert Frost’s Poetry
Meet
Robert Frost
Robert Frost has been one of the
most beloved as well as one of
the most criticized poets of the
twentieth century. During his
lifetime, he received more
awards than any other twentieth-
century poet and had the honor
of reciting one of his poems at
the inauguration of President
John F. Kennedy. Yet many crit-
ics felt he did not deserve such
accolades. They faulted him for emphasizing the
New England rural past over the urban, industrial
present and for using “old-fashioned” verse forms
instead of modernist innovations. To this day,
many readers, while recognizing Frost’s skill as a
literary craftsman, consider his range of subjects
narrow and his treatment of them often superficial.
If, however, Frost’s poems are read as he said poems
must be written—“with the ear on the speaking
voice”—they often reveal a startling freshness of
perception.
Although widely equated with the New England
farmer-sage he cultivated as a public persona, Frost
actually spent his first eleven years in San Francisco.
Following the death of his father, his family moved
to the gritty industrial city of Lawrence,
Massachusetts. Frost attended Dartmouth and
Harvard colleges during the 1890s, but he left each
school after a short period because of his frustration
with academic life. Frost preferred real-life experi-
ences to academic learning and worked as a mill
hand, journalist, farmer, and schoolteacher.
At age twenty-six, Frost moved to a farm near
Derry, New Hampshire, where he got to know the
rugged landscape and inhabitants of rural New
England. There, between farm chores, Frost wrote
poems describing the experiences of his fellow
694
UNIT 5
New Englanders and the feel-
ings of awe and terror evoked
in him by the New England
countryside. In many of these
poems, Frost deftly captured
New England speech patterns
in meter and rhyme.
Unable to find American
publishers for his work, Frost, at
age thirty-seven, uprooted his
family and moved to England.
There, his first two books, A
Boy’s Will and North of Boston,
were published to critical
acclaim, receiving positive reviews from literary
notables, including Ezra Pound. Frost returned to
New England in 1915 and found himself in great
demand. Prominent publishers backed his work
and the nation’s most prestigious universities asked
him to teach. He received the Pulitzer Prize for
Poetry on four separate occasions and a congres-
sional medal. By the time of Frost’s death, his
poetry had deeply embedded itself in the
American imagination, and it continues to live
there today.
“ [Frost] reminds us that poems, like love, begin
in surprise, delight, and tears, and end in
wisdom.
” —Robert Graves
“ [A poem] begins in delight and ends in wisdom
. . . in a clarification of life—not necessarily a
great clarification, . . . but in a momentary stay
against confusion.
”
“Poetry is a way of taking life by the throat.” —Frost
Robert Frost was born in 1874 and died in 1963.
 Before You Read

Reading Focus
Think about the people who live near you. Do you see them often? Are you good
friends, or do you barely speak? What activities, if any, bring you together? What
things keep you apart?
Freewrite Spend three or four minutes freewriting to explore your responses to
these questions.
Setting a Purpose Read to find out how two neighbors relate to each other.

Building Background
The Time and Place
From 1900 to 1909, Frost tried to earn a living on a small
family farm he had bought in Derry, New Hampshire. In
New England at this time, many farmers were moving west
or to factory towns in search of regular wages. Farming there
was difficult, owing to the rocky soil, short growing season,
small yields, and harsh climate. After feeding their families,
farmers had few surplus crops with which to support
themselves.
Although Frost loved the outdoors enough to become an
amateur botanist, he was basically unsuited for farm life. He
found working around livestock awkward, disliked regular
chores and early rising, feared darkness and storms, and had
a somewhat frail build. Frost and his family were able to sur-
vive only because of the farming skills of Frost’s friend Carl
Burell and because of an annual sum of $500 Frost received
from his grandfather’s estate. Three
years before Frost left for England, he
abandoned farming and, with a sense
of failure and frustration, resumed his
teaching career. Despite his lack of
success as a farmer, Frost drew inspi-
ration for many poems from his
memories of farm life.
Literary Influences
While living in England, Frost met the modernist writers
W. B. Yeats, Ford Madox Ford, and Ezra Pound. He found
their personalities pretentious and their writing style difficult
to appreciate. Frost preferred the company and work of
poets W. H. Davies, Wilfrid Gibson, Lascelles Ambercrombie,
and Edward Thomas. Under the influence of William
Wordsworth, these writers were composing lyrics about the
natural world. They understood and appreciated Frost’s
poetry, bolstering his confidence in his decision to be a poet.
Research
Use the library to learn more about the works of poet
William Wordsworth. Read some of Wordsworth’s poetry.
Then, as you read Frost’s works, think about the influences
Wordsworth may have had on Frost.

BEGINNINGS OF THE MODERN AGE
695

 Robert Frost

Something there is that doesn’t love a wall,

That sends the frozen-ground-swell under it,
And spills the upper boulders in the sun;
And makes gaps even two can pass abreast.
5 The work of hunters is another thing:
I have come after them and made repair
Where they have left not one stone on a stone,
But they would have the rabbit out of hiding,
To please the yelping dogs. The gaps I mean,
10 No one has seen them made or heard them made,
But at spring mending-time we find them there.
I let my neighbour know beyond the hill;
And on a day we meet to walk the line
And set the wall between us once again.
15 We keep the wall between us as we go.
To each the boulders that have fallen to each.
And some are loaves and some so nearly balls
We have to use a spell to make them balance:
‘Stay where you are until our backs are turned!’
20 We wear our fingers rough with handling them.
Oh, just another kind of out-door game,
One on a side. It comes to little more:
There where it is we do not need the wall:
He is all pine and I am apple orchard.
25 My apple trees will never get across
And eat the cones under his pines, I tell him.
He only says, ‘Good fences make good neighbours.’
Spring is the mischief in me, and I wonder
If I could put a notion in his head:

696  UNIT 5
 30 ‘Why do they make good neighbours? Isn’t it
Where there are cows? But here there are no cows.
Before I built a wall I’d ask to know
What I was walling in or walling out,
And to whom I was like to give offence.
35 Something there is that doesn’t love a wall,
That wants it down.’ I could say ‘Elves’ to him,
But it’s not elves exactly, and I’d rather
He said it for himself. I see him there
Bringing a stone grasped firmly by the top
40 In each hand, like an old-stone savage armed.
He moves in darkness as it seems to me,
Not of woods only and the shade of trees.
He will not go behind his father’s saying,

45
And he likes having thought of it so well
He says again, ‘Good fences make good neighbours.’ I

The Last Stone Walls, Dogtown, 1936–1937. Marsden Hartley. Oil on canvas, 17¹⁄₂ x 23¹⁄₂ in. Yale University Art
Gallery, New Haven, CT. Gift of Walter Bareiss, B.A. 1940.
Viewing the painting: In what ways might this wall be like the one in “Mending Wall”? In what ways
might it be different?

BEGINNINGS OF THE MODERN AGE  697

 Robert Frost

When I see birches bend to left and right
Across the lines of straighter darker trees,
I like to think some boy’s been swinging them.
But swinging doesn’t bend them down to stay
5 As ice-storms do. Often you must have seen them
Loaded with ice a sunny winter morning
After a rain. They click upon themselves
As the breeze rises, and turn many-colored
As the stir cracks and crazes their enamel.
10 Soon the sun’s warmth makes them shed crystal shells
Shattering and avalanching on the snow-crust—
Such heaps of broken glass to sweep away
You’d think the inner dome of heaven had fallen.
They are dragged to the withered bracken° by the load,
15 And they seem not to break; though once they are bowed
So low for long, they never right themselves:
You may see their trunks arching in the woods

14 Bracken is a type of fern that grows in humid, temperate areas. It has large,
triangular leaves.

698  UNIT 5
 Years afterwards, trailing their leaves on the ground
Like girls on hands and knees that throw their hair
20 Before them over their heads to dry in the sun.
But I was going to say when Truth broke in
With all her matter-of-fact about the ice-storm
I should prefer to have some boy bend them
As he went out and in to fetch the cows—
25 Some boy too far from town to learn baseball,
Whose only play was what he found himself,
Summer or winter, and could play alone.
One by one he subdued° his father’s trees
By riding them down over and over again
30 Until he took the stiffness out of them,
And not one but hung limp, not one was left
For him to conquer. He learned all there was
To learn about not launching out too soon
And so not carrying the tree away
35 Clear to the ground. He always kept his poise°
To the top branches, climbing carefully
With the same pains you use to fill a cup
Up to the brim, and even above the brim.
Then he flung outward, feet first, with a swish,
40 Kicking his way down through the air to the ground.
So was I once myself a swinger of birches.
And so I dream of going back to be.
It’s when I’m weary of considerations,
And life is too much like a pathless wood
45 Where your face burns and tickles with the cobwebs
Broken across it, and one eye is weeping
From a twig’s having lashed across it open.
I’d like to get away from earth awhile
And then come back to it and begin over.
50 May no fate willfully misunderstand me
And half grant what I wish and snatch me away
Not to return. Earth’s the right place for love:
I don’t know where it’s likely to go better.
I’d like to go by climbing a birch tree,
55 And climb black branches up a snow-white trunk
Toward heaven, till the tree could bear no more,
But dipped its top and set me down again.
That would be good both going and coming back.
One could do worse than be a swinger of birches.

28 Subdued means “brought under control” or “conquered.”

35 Here, poise means “balance.” I
BEGINNINGS OF THE MODERN AGE  699
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
Which images from the poems did you find the most powerful?

Analyzing Literature
Recall and Interpret
1. According to the speaker, what causes a wall to fall apart? To what might the “something”
that “doesn’t love a wall” refer?
2. Describe how the speaker and the neighbor fix the wall. How do the two differ on the issue
of walls? What might walls and fences symbolize in this poem?
Evaluate and Connect
3. How does dialogue help emphasize the differences between the speaker and the neigh-
bor? (See Literary Terms Handbook, page R4.)
4. Do you agree with the ideas suggested in this poem? Why or why not?

Recall and Interpret

5. What does the speaker want to think has caused the birches to bend? What really caused
them to bend? Why might the speaker want to believe in the first cause?
6. To what does the speaker compare the ice that falls from the birches? To what does he
compare their trunks and leaves? What can you infer about the speaker’s feelings regarding
the birches? What might the speaker mean when he says that “One could do worse than
be a swinger of birches”?
Evaluate and Connect
7. In this poem, Frost compares life to a pathless wood. Do you think this is an appropriate
simile (see Literary Terms Handbook, page R14) for life? Why or why not? To what might
you compare life?
8. This poem includes examples of onomatopoeia—words that imitate sounds. How, in your
opinion, does onomatopoeia contribute to the impact of the poem?

Extending Your Response

Performing
What They Might Have Said With a partner, role-play the
parts of the speaker and the neighbor in the poem “Mending
Wall.” Try to capture through words and gestures the rebel-
lious and playful nature of the speaker. Elaborate on the
single sentence spoken by the neighbor, without forgetting
that he is a man of few words.
Writing About Literature
Analyzing Theme Try to identify the theme of “Birches”
(see page R16). First make a list of all the ideas expressed in
the poem. Then determine which one is the most significant.
Finally, write two or three paragraphs explaining how this
idea is developed in the poem.
Save your work for your portfolio.

700
UNIT 5

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.
5 My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.
Country Doctor or Night Call,
1935. Horace Pippin. Oil on
fabric, 28¹⁄₈ x 32¹⁄₈ in. Museum
of Fine Arts, Boston. Abraham
Shuman Fund.
I
Robert Frost

He gives his harness bells a shake
10 To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.
The woods are lovely, dark and deep.
But I have promises to keep,
15 And miles to go before I sleep,
And miles to go before I sleep.
BEGINNINGS OF THE MODERN AGE  701
 Active Reading and Critical Thinking

Responding to Literature
Personal Response
Which lines from the poem did you find most powerful or meaningful? Literary
Write you answer in your journal.
ELEMENTS

Analyzing Literature Rhyme Scheme

A rhyme scheme is the pattern that end
Recall and Interpret rhymes form in a stanza or a poem. The
1. Where does the owner of the woods live, and what will he not see? Why rhyme scheme is identified by assigning
might the speaker care that the owner will not see this? a different letter of the alphabet to each
2. According to the speaker, what must the horse think, and why? What does new rhyming sound. For example, the
the speaker describe the horse as doing? How might the horse’s instincts rhyme scheme in the first stanza of this
differ from those of the speaker? poem is aaba. Because the “b” sound is
3. With what adjectives does the speaker describe the woods in line 13? What repeated in the second stanza, the
mood do these words create? What might the woods symbolize? (See rhyme scheme for that stanza is bbcb.
Literary Terms Handbook, pages R10 and R16.) 1. Determine the rhyme scheme for the
4. What does the speaker do at the end of the poem? Why? What larger final two stanzas.
meaning might lines 14–16 convey?
2. What is the effect of repeating a
Evaluate and Connect sound from each stanza in the one
5. Describe the setting (see page R14) of the poem. How does the setting that follows it?
contribute to the poem’s meaning? 3. How does the rhyme scheme in the
6. What specific sounds, sights, and tactile sensations does Frost include in last stanza reinforce the meaning of
this poem? Do you think these sensory details create a vivid portrait of the the poem?
event described? Explain, using details from the poem. (See Literary Terms • See Literary Terms Handbook,
Handbook, page R14.) p. R13.
7. The speaker finds comfort and peace in observing the snowy woods.
Where do you go to find comfort and peace? Why?
8. In line 14, the speaker mentions that he has “promises to keep.” What
“promises” have you made that might prevent you from pausing and
observing?

Extending Your Response

Literature Groups
Discuss the Theme Frost biographer Jeffrey Meyers wrote
that the theme (see page R16) of this poem is “the tempta-
tion of death.” In your group, discuss whether you agree
with Meyers. Use details from the poem to support your
opinions. Then summarize the results of your discussion for
the class.
Interdisciplinary Activity
Geography: New England Compare Robert Frost’s New
England with New England today. What changes are seen in
the following: flora (plants) and fauna (animals), climate,
and land use? Choose two of the topics to investigate and
then share your findings with the class.
Save your work for your portfolio.

702
UNIT 5
 Robert Frost 

Breadloaf, 1982. Daniel Lang. Oil on canvas, 48 x 72 in. Collection of Harrison Young, Peking, China.
Reproduced in Spirit of Place by John Arthur.

Mary sat musing° on the lamp-flame at the table

Waiting for Warren. When she heard his step,
She ran on tip-toe down the darkened passage
To meet him in the doorway with the news
5 And put him on his guard. ‘Silas is back.’
She pushed him outward with her through the door
And shut it after her. ‘Be kind,’ she said.
She took the market things from Warren’s arms
And set them on the porch, then drew him down
10 To sit beside her on the wooden steps.

1 Musing means “meditating” or “pondering.”

BEGINNINGS OF THE MODERN AGE
703

 ‘When was I ever anything but kind to him?
But I’ll not have the fellow back,’ he said.
‘I told him so last haying, didn’t I?
“If he left then,” I said, “that ended it.”
15 What good is he? Who else will harbour° him
At his age for the little he can do?
What help he is there’s no depending on.
Off he goes always when I need him most.
“He thinks he ought to earn a little pay,
20 Enough at least to buy tobacco with,
So he won’t have to beg and be beholden.”°
“All right,” I say, “I can’t afford to pay
Any fixed wages, though I wish I could.”
“Someone else can.” “Then someone else will have to.”
25 I shouldn’t mind his bettering himself
If that was what it was. You can be certain,
When he begins like that, there’s someone at him
Trying to coax° him off with pocket-money,—
In haying time, when any help is scarce.
30 In winter he comes back to us. I’m done.’

‘Sh! not so loud: he’ll hear you,’ Mary said.

‘I want him to: he’ll have to soon or late.’

‘He’s worn out. He’s asleep beside the stove.

When I came up from Rowe’s I found him here,
35 Huddled against the barn-door fast asleep,
A miserable sight, and frightening, too—
You needn’t smile—I didn’t recognise him—
I wasn’t looking for him—and he’s changed.
Wait till you see.’

40 ‘Where did you say he’d been?’

‘He didn’t say. I dragged him to the house,

And gave him tea and tried to make him smoke.
I tried to make him talk about his travels.
Nothing would do: he just kept nodding off.’

15 Harbour means “to give shelter or protection to.”

21 Beholden means “obligated” or “indebted.”
28 Coax means “to persuade gently.”

704
UNIT 5
 Robert Frost 
45 ‘What did he say? Did he say anything?’

‘But little.’

‘Anything? Mary, confess

He said he’d come to ditch° the meadow for me.’

‘Warren!’

50 ‘But did he? I just want to know.’

‘Of course he did. What would you have him say?

Surely you wouldn’t grudge the poor old man
Some humble way to save his self-respect.
He added, if you really care to know,
55 He meant to clear the upper pasture, too.
That sounds like something you have heard before?
Warren, I wish you could have heard the way
He jumbled everything. I stopped to look
Two or three times—he made me feel so queer°—
60 To see if he was talking in his sleep.
He ran on° Harold Wilson—you remember—
The boy you had in haying four years since.
He’s finished school, and teaching in his college.
Silas declares you’ll have to get him back.
65 He says they two will make a team for work:
Between them they will lay this farm as smooth!
The way he mixed that in with other things.
He thinks young Wilson a likely lad, though daft°
On education—you know how they fought
70 All through July under the blazing sun,
Silas up on the cart to build the load,
Harold along beside to pitch it on.’

‘Yes, I took care to keep well out of earshot.’

‘Well, those days trouble Silas like a dream.

75 You wouldn’t think they would. How some things linger!°

48 Here, ditch means “to dig long, narrow channels.” These channels, or ditches,
are often used for drainage or irrigation.
59 Queer means “odd” or “strange.”
61 Ran on means “talked continuously about.”
68 Daft means “foolish.”
75 Linger means “to continue to exist” or “to endure.”

BEGINNINGS OF THE MODERN AGE
705

 Harold’s young college boy’s assurance piqued° him.
After so many years he still keeps finding
Good arguments he sees he might have used.
I sympathise.° I know just how it feels
80 To think of the right thing to say too late.
Harold’s associated in his mind with Latin.
He asked me what I thought of Harold’s saying
He studied Latin like the violin
Because he liked it—that an argument!
85 He said he couldn’t make the boy believe
He could find water with a hazel prong°—
Which showed how much good school had ever done him.
He wanted to go over that. But most of all
He thinks if he could have another chance
90 To teach him how to build a load of hay—’

‘I know, that’s Silas’ one accomplishment.

He bundles every forkful in its place,
And tags and numbers it for future reference,
So he can find and easily dislodge° it
95 In the unloading. Silas does that well.
He takes it out in bunches like big birds’ nests.
You never see him standing on the hay
He’s trying to lift, straining to lift himself.’

‘He thinks if he could teach him that, he’d be

100 Some good perhaps to someone in the world.
He hates to see a boy the fool of books.
Poor Silas, so concerned for other folk,
And nothing to look backward to with pride,
And nothing to look forward to with hope,
105 So now and never any different.’

Part of a moon was falling down the west,

Dragging the whole sky with it to the hills.
Its light poured softly in her lap. She saw it
And spread her apron to it. She put out her hand
110 Among the harp-like morning-glory° strings,

76 Piqued means “aroused a feeling of anger or resentment in.”

79 Sympathise means “to share in or to agree with the feelings or ideas of another.”
86 A hazel prong is a stick believed to indicate the presence of underground water.
94 Dislodge means “to move or to force from a position.”
110 A morning glory is a vine that produces trumpet-shaped flowers. Gardeners often
position a lattice or strings for a vine to grow along.

706
UNIT 5
 Robert Frost 
Taut° with the dew from garden bed to eaves,
As if she played unheard some tenderness
That wrought° on him beside her in the night.
‘Warren,’ she said, ‘he has come home to die:
115 You needn’t be afraid he’ll leave you this time.’

‘Home,’ he mocked gently.

‘Yes, what else but home?

It all depends on what you mean by home.
Of course he’s nothing to us, any more
120 Than was the hound that came a stranger to us
Out of the woods, worn out upon the trail.’

‘Home is the place where, when you have to go there,

They have to take you in.’

‘I should have called it

125 Something you somehow haven’t to deserve.’

Warren leaned out and took a step or two,

Picked up a little stick, and brought it back
And broke it in his hand and tossed it by.
‘Silas has better claim on us you think
130 Than on his brother? Thirteen little miles
As the road winds would bring him to his door.
Silas has walked that far no doubt to-day.
Why didn’t he go there? His brother’s rich,
A somebody—director in the bank.’

135 ‘He never told us that.’

‘We know it though.’

‘I think his brother ought to help, of course.

I’ll see to that if there is need. He ought of right
To take him in, and might be willing to—
140 He may be better than appearances.
But have some pity on Silas. Do you think
If he had any pride in claiming kin
Or anything he looked for from his brother,
He’d keep so still about him all this time?’

111 Taut means “stretched tight.”

113 Wrought means “worked.”

BEGINNINGS OF THE MODERN AGE
707

 145 ‘I wonder what’s between them.’

‘I can tell you.

Silas is what he is—we wouldn’t mind him—
But just the kind that kinsfolk can’t abide.°
He never did a thing so very bad.
150 He don’t know why he isn’t quite as good
As anybody. Worthless though he is,
He won’t be made ashamed to please his brother.’

‘I can’t think Si ever hurt anyone.’

‘No, but he hurt my heart the way he lay

155 And rolled his old head on that sharp-edged chair-back.
He wouldn’t let me put him on the lounge.
You must go in and see what you can do.
I made the bed up for him there to-night.
You’ll be surprised at him—how much he’s broken.
160 His working days are done; I’m sure of it.’

‘I’d not be in a hurry to say that.’

‘I haven’t been. Go, look, see for yourself.

But, Warren, please remember how it is:
He’s come to help you ditch the meadow.
165 He has a plan. You mustn’t laugh at him.
He may not speak of it, and then he may.
I’ll sit and see if that small sailing cloud
Will hit or miss the moon.’

It hit the moon.

170 Then there were three there, making a dim row,
The moon, the little silver cloud, and she.

Warren returned—too soon, it seemed to her,

Slipped to her side, caught up her hand and waited.

‘Warren?’ she questioned.

175 ‘Dead,’ was all he answered.

148 Abide means “to put up with” or “to tolerate.” I

708
UNIT 5
 Active Reading and Critical Thinking
Responding to Literature
Personal Response
How did you feel about the characters in the poem?
Analyzing Literature
Recall
1. Describe what Mary does and says upon Warren’s return
in lines 1–10. What does Warren say in response to
Mary’s news?
2. How does Silas look when Mary first sees him? What
labor does he promise her he will perform?
3. Who is Harold Wilson, and why does Silas want him to
return to the farm? What about Harold bothers Silas, and
what two skills does Silas want to teach him?
4. According to Mary, why has Silas come to the house?
Why doesn’t he go to his brother instead?
5. What news does Warren give Mary at the end of the
poem?
Interpret
6. On the basis of lines 1–30, how would you characterize
the differences between Mary and Warren?
7. In your opinion, why does Warren refuse to believe that
Silas will tackle the chores he says he will?
8. What do Silas’s thoughts and emotions regarding Harold
reveal about Silas’s personality?
9. In your opinion, why does Silas avoid asking his brother
for help?
10. What does the end of the poem suggest about Warren’s
feelings toward Silas?
Evaluate and Connect
11. What can you infer about Frost’s opinion of Silas? How
do you feel about Silas? What details helped to shape
your opinion?
12. In your opinion, how does Frost’s use of dialogue affect
the tone of the poem? (See Literary Terms Handbook,
pages R4 and R16.)
13. What might you do if you found yourself in Mary and
Warren’s position?
14. In this poem, Frost presents two different definitions of
home. Which definition do you prefer, and why?
15. In many of his poems, Frost described the difficult lives
of New England farmers. What have you learned about
their lives from reading “The Death of the Hired Man”?
Literary Criticism
“The Death of the Hired Man,” contends scholar C. M.
Bowra, “is about the pathos of men who have no roots and
no ties and no firm grip on life.” Do you agree with Bowra’s
reading of the poem? Why or why not? Express your answer
in a brief essay.
Literary ELEMENTS
Dramatic Poetry
A dramatic poem is a poem that reveals the personali-
ties of one or more characters by using dialogue and
monologue as well as description. While a dramatic
poem may include narrative, the focus is on the charac-
ters, not the events. In “The Death of the Hired Man,”
Frost used dialogue to reveal the personalities of Silas,
Mary, and Warren. He also included purely descriptive
passages.
º. In your opinion, how is this poem similar to a play?
2. Do you think this poem would have been as powerful
if Frost had revealed Silas’s personality through
description instead of dialogue? Explain.
3. How does the language used in the dialogue between
Mary and Warren differ from that used in the descrip-
tive passages?
• See Literary Terms Handbook,
p. R5.
BEGINNINGS OF THE MODERN AGE
709
Responding to Literature
Literature and Writing
Writing About Literature
Analyzing Tone The tone is the reflection of the writer’s
attitude toward the subject of a work. For example, the tone
of “The Death of the Hired Man” could be described as quiet
and somber. Choose two other Frost poems from this theme
and write two to three paragraphs comparing and contrasting
their tones. Use specific examples from the selections to
support your ideas.
Extending Your Response
Literature Groups
Debate the Question In your group, debate the following
question: Could Frost have chosen a better ending for “The
Death of the Hired Man”? Have each side support its opinion
with details from the poem. Then present the results of the
debate to the class.
Learning for Life
Career Research Use the Internet or library sources to
research the kinds of jobs that are available on farms.
Choose and describe one farm job, and list the formal
education skills and experience necessary for that job. Based
on your research, do you think there would still be work
for a hired man such as Silas? Share the results of your
research with the class.
710
UNIT 5
Creative Writing
Home Is . . . Write a dramatic poem expressing your
concept of home. First choose an event and two or three
characters through which to convey your ideas. Then write
dialogue and monologue based on the speech patterns you
hear at home and in school. To help enliven your poem, try
also writing purely descriptive passages.
Interdisciplinary Activity
Art: Visual Representation Robert Frost’s poems are full of
striking visual images. Choose one of the poems you have
just read and create a painting, drawing, collage, or other
visual representation of it. Portray the poem realistically or
abstractly, depending on how you think you can best convey
its meaning. Display your artwork in your classroom and
invite constructive comments from classmates.
Reading Further
If you are interested in reading more by or about Robert
Frost, look for the following:
Poetry Collections: North of Boston (1914) and Mountain
Interval (1916) are collections of Frost’s poems.
Biographies: Frost: A Literary Life Reconsidered, by
William H. Pritchard, is a narrative exploring the interaction
between Frost’s life and work.
Into My Own: The English Years of Robert Frost,
by John Evangelist Walsh, gives a detailed
account of an important period in the life of
Robert Frost.
Save your work for your portfolio.
ISTENING, PEAKING, and IEWING

Oral Presentation of a Poem

Have you ever noticed that two people’s oral presentations of the same poem can sound
completely different? There is no single “correct” way to read a particular poem. Anyone can give
an oral presentation of a poem based on his or her own understanding and interpretation of
that poem.

Preparing Your Oral Presentation

These suggestions can help you present your oral interpretation of a poem.
• Choose a poem you know and like—one you would like to share with the class.
• Read the poem again. What is that speaker’s tone? Think about ways to use your voice to
convey that tone. For example, if the tone is angry, you might try to convey that anger by
changing your rate of speech and the tone of your voice.
• Read the poem to decide what the speaker is saying and why he or she is saying it. In
other words, what is the meaning of the poem, and what is the poet’s purpose?
• Read the poem once more, this time focusing on your own reactions to it. Think of ways
to use your voice to communicate your reactions.
• Look for imagery and figurative language the poet has used. Think about ways to com-
municate these images and figures of speech. Should you read them more slowly or
pause before or after important phrases?
• Examine how the poet has used sound devices, such as rhyme, rhythm, alliteration,
assonance, and consonance. Decide how you will emphasize these elements in your oral
presentation.
• Plan ahead to decide where you will pause for breath during your reading. Pause at the
end of a line only if there is a punctuation mark or if it seems like a natural place to
pause. Otherwise, read through the ends of lines, even those that end with a rhyme, until
you reach an appropriate place to pause.
• Practice your oral presentation, experimenting with different uses of voice, volume, speed,
and other vocal devices.
• If possible, record your reading; then play it back and listen critically for ways in which
you can improve your performance.

ACTIVITY

With a partner, choose a poem from this theme that you have enjoyed. Use the suggestions
above to plan an oral interpretation of the poem. Discuss each point with your partner until you
come up with a plan for presenting the poem. Determine how you will divide the poem for two
readers. Rehearse your performance carefully and offer each other suggestions for improvement.
Then make your oral presentation to the class. After your presentation, invite constructive feedback
from the class.

BEGINNINGS OF THE MODERN AGE
711

 Writing Workshop 
Persuasive Writing: Editorial E VALUATION R UBRIC
By the time you complete this Writing
New. The word carries with it a sense of excitement, of unlimited possibilities, Workshop, you will have
of better things. It’s a word that enthralled writers in this theme, with their • written an editorial that identifies an
“New Art” and their urging to “Make it new.” New doesn’t always mean better, issue and states your personal
however. What do you think about the new things that are happening in the position
world around you? In this workshop you will write an editorial persuading • used persuasive techniques appro-
others to share your opinion about a timely issue. priate to the issue and audience
• presented specific facts and
• As you write your editorial, refer to the Writing Handbook, pp. R62–R77. examples to support your position
• presented an editorial that is free of
errors in grammar, usage, and
mechanics

The Writing Process

PREWRITING
PREWRITING TIP
Be sure you feel Explore issues
strongly about an issue An editorial is a short persuasive piece that appears in a periodical and focuses on a condition or
before you try to per- an event of the moment. In an editorial you may use any of the following approaches:
suade others to feel the
same way. The most • Suggest a new direction. (A change I would like to see)
important person to • Criticize a new development or an existing situation. (A situation that bothers me)
have on your side is • Express praise or support. (A development I really like)
yourself. • Promote an activity or a cause. (Something I would like to do or to help happen)
Idea webs can help you choose an issue to write about. In the center circle, write one of the
parenthesized phrases above. In connecting circles, write any and all ideas that come to mind.
Then go on to build webs around the three other phrases. Mark ideas that strike your interest.
You may get some ideas for your webs by going back to the selections in this theme. Although
these writings spring from a time of emotional and cultural upheaval, new directions can be
considered—and old ones reconsidered—at any time. Which of the authors’ concerns are
relevant today?

A change I
would like to see

712
UNIT 5
 Writing Workshop 
Consider your purpose
Your aim is to persuade readers to agree with you on a certain issue, but precisely how do you
want them to react? Do you want them to take action? Become enraged? Become interested?
Shape your editorial accordingly.

Consider your audience

To a large extent, your issue determines your audience. Who cares about the issue? What groups
are affected by it? Who has the authority to do something about it? Those are the people you
want to address.

Make a plan
An editorial should pack a quick punch. In a relatively short space, you need to identify an issue,
state your position on that issue, and provide evidence—facts and opinions—to support your
position. One way to determine what kind of evidence to use is to list questions your audience
may have and then provide the answers to them. You may also want to look into opposing
arguments so that you can counter them.
When you’re ready to make a plan, consider using a chart like the one below. Number your
reasons in order of importance. This chart reflects one student’s plan for an editorial on providing
more frequent and more interesting activities for teenagers.

STUDENT MODEL

Issue The absence of interesting activities for teenagers

Position Schools and communities should provide more activities for teens.

Evidence Teenagers quickly run through their usual mundane activities on

weekends: trips to the mall, another movie, dinner at a franchise
restaurant. It gets pretty boring after awhile. As a result, some teens
turn to using illegal substances and trying dangerous activities for
excitement.

Evidence Schools and communities often fail to provide suitable recreational

opportunities for teens.

Evidence Most schools sponsor a few dances a year to give students a safe
place to socialize on a weekend night. But these events are usually
so infrequent and unappealing to teenagers that they have little
impact on the problem.

Suggestion The gyms and cafeterias of schools could be used more effectively to
provide places for activities for students. If schools became more
versatile and accessible, students could exercise their creativity to
plan activities that are fun and safe.

Complete Student Model on page. R101.

BEGINNINGS OF THE MODERN AGE
713

Writing Workshop 
DRAFTING
DRAFTING TIP
It’s not enough just to Write your draft
present your evidence. As you begin your draft, remind yourself of your purpose for writing and of your thesis. Because
You need to explain every element of your writing hinges on your thesis statement, write it down and refer to it often
why it supports your as you draft. Then include reasons, facts, and other evidence to support your thesis.
position. Your reader Think about your audience also. Be sure that your ideas and language are appropriate for your
reads your editorial, not intended audience. You might want to share your draft with a group to discuss its appropriateness
your mind. for your particular audience.
Think about organization
Once you are satisfied that your language and ideas are appropriate, ask yourself, “What will help
my audience to understand why I feel the way I do?” It may be best to start out with your most
convincing piece of evidence, or you may want to build up to it at the end. Either way, use appro-
priate transitions to lead the reader from one point to the next. At the end of your editorial, reaf-
firm your position. Don’t worry about expressing your ideas perfectly—just get them down.
Watch your language
You want to make the reader feel as strongly as you do, but don’t force the issue. Persuade rather
than preach. Explain rather than attack. You can appeal to readers’ emotions as well as their rea-
son as long as you stay honest and avoid overdramatizing. Unless you are writing about a very
serious topic, a little humor can also help to bring the reader over to your side.
Recognize connotations
Because persuasive writing appeals to emotions as well as to reason, you can strengthen your per-
suasive effectiveness by considering the connotations of words—that is, the thoughts and feelings
associated with a word that give the word meaning beyond its dictionary definition. For example,
think about the various connotations of the words noisy and rowdy. Both are synonyms for loud,
but to many people, rowdy has a more negative meaning associated with it than noisy does.
STUDENT MODEL

Teenagers everywhere complain because “there’s nothing to do.” And adults

complain that teenagers are rowdy and irresponsible. The solution to both
complaints is to make sure teenagers have opportunities for interesting,
acceptable activities. Most teens only have a few options on weekends: the mall,
a movie, dinner in a franchise restaurant. And schools only sponsor a few
dances a year to offer a safe place to socialize. Schools and communities could
offer teenagers opportunities to use facilities in creative, enjoyable ways, to
eliminate the problem of teens having “nothing to do.”
Schools have gyms and cafeterias, and our community has a skating rink
and other sports facilities. They could offer student-oriented activities like
sports, concerts, dances, or dinners. Paying for the activities wouldn’t be so
difficult either. Many teens would pay a small entry fee, and most parents
probably would be happy to contribute money or volunteer as chaperones so
that their teens could have a safe, fun place to go.

Complete Student Model on p. R101.

714
UNIT 5
 Writing Workshop 
REVISING
TECHNOLOGY TIP
Evaluate your work Search the Web
Put your editorial aside. After some time has passed, come back to it as if you were a first-time sites of various
reader. What works? What doesn’t? Mark sections that seem unclear, weak, or overstated. Then periodicals to find some
use the Rubric for Revising as a guide to improve your work. editorials. Identify which
of these are the most
Add elaboration persuasive, and use
Make sure that all the main points of your argument are fully elaborated. For each reason, those techniques in
your writing.
provide support such as examples, anecdotes, details, facts and statistics, opinions, or quotations
to fully explain your point. As you drafted your editorial, you may have included details, facts, and
statistics, about the problem you are addressing. Now consider quoting the opinions of people
concerned with this problem, or anecdotes to show why the problem requires attention. Keep in
mind, though, that to be effective in persuading an audience, your evidence should
be from reliable, responsible sources.
R UBRIC FOR R EVISING
Get some feedback Your revised editorial should have
Read your editorial aloud to a member of your target audience. Is he or she a clear statement of the issue and
persuaded to share your position? Why or why not? Ask questions about the piece your position
and talk over the answers. Jot down suggestions that seem to make sense to you, evidence and examples that
and make use of them as you polish your editorial. support your position
language appropriate for your
purpose and audience
transitions that make clear
STUDENT MODEL connections between ideas
t h at are designe d Your revised editorial should be free of
Most schools sponsor a few pitiful dances a year to give students a safe place to overstated, overdramatized
Howeve r i nfrequ ent and p oo rly o rgani zed examples and opinions
socialize on a weekend night. Big deal! But these dances are so lame and boring
of b o redo m unrelated or confusing arguments or
that they don’t really have an impact on the general problem. They don’t solve
examples that make the meaning
anything. What schools need to realize is that dances aren’t the only form of unclear
p rov i de to ke e p ki d s o ccu pi e d we re
entertainment they can have. If they ever bothered to take the trouble to
p rov i de eve ry we e ke n d
sponsor a variety of different events and activities, they would find that
decrease
antisocial behavior would totally disappear. Kids get tired of the same old thing
teenage rs
every weekend. Many would cut down on goofing around and doing irresponsible
pasti mes
or dangerous or stupid things if given the option of doing something else that
i nexp ensi ve
was fun, stimulating, and didn’t cost very much. I know I’d appreciate a chance
to play basketball on weekends on a team that just wanted to play for fun and
wasn’t too competitive.

Complete Student Model on p. R101.

BEGINNINGS OF THE MODERN AGE
715

Writing Workshop 
EDITING/PROOFREADING
PROOFREADING TIP
A fresh eye can help Satisfy yourself that your editorial is as good as you can make it. Then proofread it for errors in
you catch mistakes. grammar, usage, mechanics, and spelling. Using the Proofreading Checklist on the inside back
Trade editorials with cover of this book to guide you, check for one kind of error at a time.
another student and
proofread each other’s
work.
Grammar Hint
If the subject is an indefinite pronoun, determine whether it
is singular or plural and make the verb agree.
Each of the students has complained.
Many feel bored.
Some indefinite pronouns can be either singular or plural,
depending on the nouns to which they refer.
Most teenagers seem dissatisfied.
Most of the problem stems from a lack of activities.

Complete Student Model
For a complete version of the model
developed in this workshop, refer to
Writing Workshop Models, p. R101.
STUDENT MODEL
s ys
Each of the students decide which of our cities
facilities to use on a weekend.
Complete Student Model on p. R101.

PUBLISHING/PRESENTING
PRESENTING TIP
If you decide to read If you plan to submit your editorial to a newspaper or organization, you should include a cover
your editorial aloud, letter explaining who you are and why you are sending your work. Try to find out the name of the
make sure you suit your person to whom the letter should be addressed and submit a neat copy of your work. Send your
tone and manner to editorial to as many places as you think might be interested. Submitting it to several venues
your message. Try to
increases your chance of getting heard.
be both forceful and
engaging.

Reflecting
With a classmate, discuss how the process of writing an editorial affected your views on the issue.
What did you learn about yourself as a persuader? Consider what you might do differently if you
write another editorial.

Save your work for your portfolio.

716
UNIT 5