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 on God, civilization, and immortality, conceived on the brink of the Grand Canyon of the Colorado.

Now, the considerable obscurity in Mr. Sandburg's work may be accounted for in two ways.

In the first place, his literary allegiance is mixed. When in his interesting poem on "The Windy City" he begins a lucid paragraph thus: "Mention proud things, catalogue them"—he is writing under the formative influence of Whitman; and both his language and his emotion are straightforward and sincere. But in "Fins," for example, and in "Pearl Horizons," where he asks the "pearl memories" to flick him and hold him even and smooth, he is writing under the deformative influence of the most artificial phase of Imagism; and both his language and his emotion are tortured and insincere.

In the second place, Mr. Sandburg thinks that he is really sympathetic with the "working classes" and with the unloved and not altogether lovely portion of humanity which Mr. Masefield has sung as "the scum of the earth"; and he imagines that he is pretty much out of sympathy with "the great ones of the earth" and with all those who speak complacently of "the established order." Robert Burns sympathized with the Scotch peasant and wrote of him and for him, incidentally pleasing the rest of mankind. The late James Whitcomb Riley sympathized with the farmer's boy and wrote of him and for him; and as there were a great many farmers' boys in the land, he pleased a wide audience. But Mr.