Quatrain is a form of stanza popularized by a Persian poet, Omar Khayyam, who called it a Rubai. Its invention is attributed to Adelaide Crapsey.
Sestet is a kind of stanza that consists of six lines. It is the second division of Italian or sonnets of Petrarch, following an octave or the first division comprising eight lines.
In a sonnet, a sestet marks a change of emotional state of a poet as they tend to be more subjective in the second part of the sonnet. Sits there no judge in Heaven, our sin to see? Was Christ a man like us? Let us try If we then, too, can be such men as he!
enter We Left school. We Lurk late. We Strike straight. We Sing sin.
We Thin gin. We Jazz June. We Die soon. I have walked out in rain — and back in rain. I have outwalked the furthest city light. I have looked down the saddest city lane.
I have passed by the watchman on his beat And dropped my eyes, unwilling to explain. But this may be asking too much of Underwood, whose first work is evidentiary, the judicious sifting of facts; this he does wonderfully well. This volume takes Tate through the publication of his novel, The Fathers , about which Underwood writes penetratingly.
But his life was complicated in numerous ways, including conspicuous marital infidelity. On Holy Saturday night, Allen and Caroline retired early, while others stayed up drinking:. One hopes Caroline took an enormous sleeping pill that night. Though he could be extremely generous at times, Tate proved, even for his close friends, a difficult character. And these difficulties cling to his reputation in ways unlikely to bolster it. But perhaps, in his defense of Pound, Tate discerned the very distinction between the life and the work that ought to obtain in his own case.
But it all began with Eliot. To my knowledge no broad survey has yet been written of the influence exerted on poets by Prufrock and Other Observations and The Waste Land when they appeared in and Certainly, the reviewers took notice. The only undergraduate when he joined, Tate held his own admirably, displaying both brilliance and a headstrong demeanor. Headstrong may indeed be the mot juste for Tate, whose defining physical trait was an elephantine pate.
When Tate returned to Vanderbilt in after time off due to respiratory illness , he met the new kid on campus Robert Penn Warren and invited him to join the fold. The two became roommates. Their short-lived journal put Vanderbilt and themselves on the map, winning praise from Mencken and other skeptical Yankees. While Ransom and the older Fugitives did not see eye to eye with Tate on his rage for modernism, they eventually warmed to the consistent and distinctive voice that emerged in his undergraduate poems.
Certain journals to which Tate sent work rejected his poems for their youthful ventriloquism of the older poet. Where Eliot rhymes irregularly, Tate employs couplets, but the lamps, the clock striking six, the dinner-hour imagery, and the treading feet remain unmistakable. Similar allusions abound in Tate, who later acknowledged the debt explicitly in his introduction to Essays of Four Decades :. Crane wrote me a letter. In Tate, Crane found a brilliant sympathetic writer, a man interested in the sort of technical problems he himself responded to.
In time, their sympathies would develop limits. When urban life began to wear on Allen and Caroline whom he married in , they rented a house in Patterson, New York, and invited the impecunious Crane to stay.
Just before arriving, Crane received a windfall of cash and once in Patterson proceeded to lord it over his hosts. Crane required an exalted mood to work on his new epic, The Bridge , and the excess overwhelmed the Tates. Crane left Patterson in a huff. As Unterecker suggests, an ill word from Tate would not cause Crane to destroy a portion of his work, but it would force him to reexamine and perhaps change tack.
I f Tate and Crane came together over Eliot, then it was also Eliot that divided them in the end. These remarks serve as a bracing critique of portions of The Bridge as well. Harshly articulate, musical steel shell Of angry worship, hurled religiously Upon your business of humility Into the iron forestries of hell.
Till broken in the shift of quieter Dense altitudes tangential of your steel, I am become geometries, and glut Expansions like a blind astronomer Dazed, while the worldless heavens bulge. Tate took pains, and even more so in later poems, that the vision not overwhelm the thing described.