The sun. [volume] (New York [N.Y.]) 1833-1916, 1905-05-09

trely lacking N kis work. Can YOU say
anything more Injurious Of poet than THAR
q, Whati A, That he was not poet at all.
" DO YOU not deprive him OF the two
great elements OF poetic excellence? A. Or
the great creative poet; yes, Dir.
Y, Assuming that there can be a great
poet Mthout imagination or that there can
be s gLeat poet Without passion can th N.
a great poet Of the first class, no sir: and
clearly lonEfellow IL not Of the major poetic
=. He does not belong 4. He does not
belong with Shakespeare or Milton or Dante;
q Re does not belong 20 the same tribe
p @ Where would you put Whitman A.
Poo and Whltman-POe Whitman and EmeT-
. son are In the major class In American ltera-
2. Having taken away his imagination
ana ne passion you also take from him ai
thAt 10 spontaneous and all bis inspiratlonT
Answer that, Have you notY A. / said
] used those words, yes, cir.
q His SMILES are often trite you mean
2. His metaphors Outyorp'l 4. Yes, or.
His -allusion superacisl"? A. Yes. sir.
II, Y. Have you ever read anywhere In your
Of Longfellow as this contained In your
leCturel A. You will find such criticisms
~ rents work on literature and Spiel Carpeh-
Q. You say you have a right TO rldicple
LonRfellow. but We have no right 70 criticize
IrlgRsl A. ] did not say that.
indeed to have little real comprehension ,of
the actual people he met. That Is, he dla
not have Intelligence enough and perceptl9h
enough even 20 comprehend the poor people ne
met In ordinary life, IL that 90? A. Yes, SIR.
Q: Would you consider an article written
by your literary efforts, OF your own pro-
duGtion IN the same language that you We
OF Longfellow llbelous or not? A. II would
depend upon the motive. sir.
q. Suppose we Use the same language OF
your products. of your articles, the same
language which you have used here OF Long
not? 4 would not.
Q. He had no ina gination. no passion, or
no Drawn OF no vuility, and no command OF
language except poor. simple, unatuacuve
stylel A. Yes, sir.
Q. viii You tell this jury that the language
you use OF longfellow here Is not harsh' A.
q. Take your choice. Tell them whether
II Is harsh or not? A 1t Is not harsh; no. cir
.. i depends upon whose OK Is gored'
Mr. osborne-our OF is Eored now any
how.
An ExcunsIox INTO WHITTIER.
O. Who wrote the words NO doubtful
balance Of right and wrong, nor weary laW-
yers," &c? 4. | am not prepared 70 say
sir.
What low Of cattle and song Of birds
And healthfl and Quiet and loving WORDS
O. Who wrote that? -. am not prepared
@ What' A. am not prepared to say. sir.
Y. Who wrote the words
Eor Of AZ sad words o. 'GHgggs; SIy pen
4. / am not prepared to say.
o. You can't telf US? lent that one Of the
most familiar quotations. A. Yes. sir. you
o Yes Yes, but here you are professor Of
English literature? A. do not study htera-
20 % You are professor OF English Hterature1
4. ] do not profess TO study literature In
o Q. 4 critic Of Shakespeare, critic, Of
I grit Of TaOU
o, And You address young men on thos,'
o. And yet You can't tell me where that
quotation T.? A. That is not involved in the
o But implies some familiarity with the
great poets, doesn't 1t? A. do not study
literature In that way.
O. Can man lecture on Homer who has
on Whittier and Longfellow who does not
know their poems? A., knowing is various
thing. sir. / know when ! have the text.
/ have a hundred poems
o. Do YOU know who wrote il. whichever
Of the two. or whether either Of them at wnSte
wrote the words
For Of all sad words Of tongue or pen.
me ssddest are these It might have beeni
Q. You do DO not SS'I place IT, A. No. sir.
Q DO you know where these words are
iound:
And the lawyer smiled that afternoon
When in court he hummcd an old love tune.
8 Do You know Who wrote these words;
u from the meadows rch with corn,
clear IN the cool September nom,
Tee elusterd spires Of Frederick stand
Green walled BY tle hills OF Maryland
Mr. osborne-Thst has sort Of familiar
The Witness-l really don Z place the poem.
! do not study i in that way.
Q Did You ever hear of Maud Nulleri
O You did, A. Yes, SIR
o You remember that? A. Yes, cir
. Did YOU ever hear OF Barbara FLETCHER
4 Yes. sir.
MISCELLANEOUS
q You remember the words In Holy Writ
Judge not that ye be not Judged A. Yes,
You claim the right to criticize the
{s5sd P0s yoa Or nG Ye 81 s Of
70 appear before the pu bic as the exponent
exempt from criticism az the hands ~ the
press lObiection sustained.
q You thought it was. smart thing 10
smuEe a hundred aud thirty men IN telling
about your dificulties in finding name for
yorr child2 A / made that speech yes, sir.
Q. And you introduced voluntarily before
these gentlemen your domestic affairs 10
that extent2 A. To that extent. yes, sir.
o. And YOU. complain Of our noticing II in
70 And now tie god has spoken DO
Won object 20 that? A. Yes. cir
O. In your speech a. kiDsley's you called
yoI rself a great man. didn't YOU 4 In a
sattricsi wav: az a matter Of satire.
| o Well you can use the weapon Of satire
Al YOUR own expense, and yet our writer's
cannot? lOhiect ion sustained
B o For these reasons ! decided that the
boy ought 20 have some other name than
his fathers, and vet do not believe IN nam
means YOU we're a great mani A No sir
o You thought Il a clever term? A. II
was intended a. a satire and taken as a "a 70
tire.
o But YOU object to our speaking Of you
as hthe god d? A. Yes. sir, In those articles.
@. You are public man. 70 some extent.
made notorious OF famous by the news
papers? A Yes, sir
o And vet YOU claim that while the news
pa pers can notice you and your work they
must not say that you are egotistiCal-is that
- unnld nrefer they ehould not