“Not Death But Love”: A Poetry Video Homage to Elizabeth Barrett Browning

Posted on April 12, 2021 by Jennifer Borderud

By Gerard Wozek

In anticipation of the Armstrong Browning Library & Museum’s Browning Day Celebration on April 16, we are excited to present a recently completed video poem titled, “Not Death But Love,” produced by myself, Gerard Wozek as writer, and directed by artist Mary Russell in collaboration with Rob Kurland. In this brief film collage, it is our intention to honor the buried personal history of poet Elizabeth Barrett Browning. By reimagining her meditative garden strolls, our poetry video seeks to reveal her abiding love with her husband Robert Browning, her deep affinity for nature, her later experiments with the occult, and her ability to transcend the boundaries of time.

My creative partner Mary Russell and I have had the idea for years to develop a tribute video that honors Elizabeth Barrett Browning, her life as a writer and what informed her creative process. Our keen interest in the life of the poet really hit a peak when we were teaching in a study abroad program offered through our university that took us to Florence, Italy. There we discovered Barrett Browning’s attraction for long strolls in the Florentine Boboli Gardens and her life at Casa Guidi. We were so enchanted with what we discovered about the life of the poet in Italy, that we at once began to put together the idea of “restaging” and reimagining her walks alongside a narrative that would serve as an homage to the poet’s craft and genius.

Still frame from “Not Death But Love”

I developed a tribute poem that would take the reader and listener on a journey through various elements and time periods inhabited by Barrett Browning. I wanted the viewer to feel as though they were walking alongside the poet, in order to not only see what she might be encountering in the Boboli Gardens of Florence, but also to feel and connect with her internal creative vision:

We listen for Pan’s pipes. A leopard’s growl as it grazes the bark of an overgrown cypress. Your hushed voice moving through the lines of a sonnet.

Elizabeth! Your handwriting is the black-ink edge of a storm cloud curling into infinity.

Puffs of red dust that once clung to your petticoat, now stain our sandal straps as we make our way to the Egyptian obelisk.

Poetry video is a unique way of expressing this particular kind of tribute to a poet. Also known as videopoems, cine-poetry, or poetry films, poetry video unites spoken text (or sometimes text that is written on the screen or text that is simply interpreted by the visual artist) with imagery and music. Situated somewhere between installation art and music video, poetry video is an evolving genre. When a resonant image couples with the poet’s text, alchemy can occur between the two disciplines of poetry and film. The visual images often deepen the author’s meaning, provide startling contrast, or locate new alliances within the inherent metaphors of the poet’s text. Stills, animation, computer graphics, and filmed imagery, complimented often by a soundtrack and/or the poet’s voice, can broaden and enhance the experience of the listener/viewer.

Jamie Stoik as Elizabeth Barrett Browning in “Not Death But Love”

“Not Death But Love,” which was completed earlier last year, will screen this summer at the 2021 International Poetry Video Festival in Athens, Greece. We were so thrilled that Jennifer Borderud, Director of the Armstrong Browning Library at Baylor University, offered us an opportunity to share our newly completed work with the community at Baylor, and most especially with those individuals who will celebrate the University’s annual Browning Day held virtually on April 16, 2021.

The video is available below. You can also contact me at Gerard.Wozek@gmail.com for more information about the video.

The Armstrong Browning Library & Museum’s annual Browning Day Celebration will be held virtually this year on April 16. For more information, visit baylor.edu/library/browningday.

19th Century Valentines

Posted on February 6, 2019 by Laura French

“Wilt Thou Be Mine?” Victorian Valentine Collection, Armstrong Browning Library

Much of today’s Valentine’s Day expectations were created by the Victorians. While sending and receiving Valentines had been fairly commonplace before the 19^thcCentury, it was the Industrial Revolution’s advances in paper making and printing which greatly reduced the cost of the traditional, small, and elaborate Valentines. Machine made paper and new printing processes and techniques allowing for combined colors (chromolithography), metallic inks, and die-cutting worked together to decrease the price of Valentines. Victorian Valentines could be purchased ready-made or senders could create original assemblages of materials available from a stationer’s shop. These items included paper lace, mirrors, bows, ribbons, seeds, sachets, gold and silver foil appliques, silk flowers, die-cut mottos or designs, and other items. Additionally, postal pricing reform recommended by Rowland Hill in 1837 and fully adopted in Britain in 1840 with the introduction of the Uniform Penny Post incentivized mass production of Valentines.

“A loving heart is a priceless treasure” Victorian Valentine Collection, Armstrong Browning Library

The growth of Valentine’s Day’s commercialization is clearly demonstrated in the increased sending of Valentines as tracked by the British Post Office. Its records indicate that up to 60,000 Valentines were sent in England in 1836. After the introduction of the Uniform Penny Post, 400,000 Valentines were posted throughout England in 1841. The numbers continued to climb, with 542,000 Valentines mailed within London in 1865 and nearly double that amount were sent into London from the surrounding countryside. These numbers led to Victorian postmen receiving a special allowance for refreshments to help them keep up their energy in the 2-3 days leading up to February 14^th.

“Valentine’s Day; ‘Oh! Here’s The Postman!'”, The Illustrated London News, February 10th, 1872. From the British Library’s Collections, Copyright British Newspaper Archive.

If you are lamenting Valentine’s Day as a commercial racket, blame the Victorians. If you are looking forward to sharing tokens of affection with friends and loved ones, thank the Victorians. Either way here are some Victorian Valentines that you can download and print to share with those in your life expecting or deserving a Valentine’s Day expression of love:

The following links to PDFs contain scans of Victorian Valentines from the Armstrong Browning Library’s Victorian Valentines Collection. Each PDF contains one or two valentines laid out with cut and crop marks to make printing, cutting, folding, and sharing your cards fun and easy!

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Reflections from a Summer Intern – Stories from Victorian Letters: Drawings in Victorian Letters

Posted on August 4, 2017 by melindacreech

By Katie Mackenzie, Museum Studies Summer Intern

During my internship, I have discovered that some of my most favorite things to find in Victorian letters are little drawings or sketches. It is especially fun when they relate to and help illustrate the story that the letter is telling. I am so excited to be able to share some of these drawings with you through the blog!

The first drawing that I will share with you comes from a letter written on December 24, 1869 by an Englishwoman named Rose Georgina Kingsley. She writes her letter to her little brother Grenville Kingsley. Rose was living in Trinidad and most of her letter consists of her excitedly describing the fantastic plants and animals that she has seen there. Rose included a drawing in her letter of one of the animals she had found in her room – a spider, drawn life size to the one she saw. On the letter it is almost 4 inches across. Rose comments that, for Trinidad, this giant spider is actually small! Below is an excerpt from the letter on the spider,

I found [letter torn] spider in my room as big as this. But that is considered quite tiny here!!

Letter from Rose Georgina Kingsley to Grenville Kingsley. 24 December 1869. Drawing of a spider.

You will notice that Rose’s drawing does not depict the correct number of legs for a spider, but I still wonder if the spider could be identified. Do you recognize this spider?

The next letter that I will share with you may be especially interesting to those who love music. This letter was between two musicians, from N. J. Heineken to Miss Hodge. The letter is not dated but believed to have been written in the Victorian era. Unfortunately, I was not able to find any more identifying information about the musicians. Heineken writes Miss Hodge to praise her music as well as to offer her advice. Heineken seems to admire Miss Hodge’s music very much. He writes, “I have been much pleased with your truthful and ingenious song.” When referring to particular parts of Miss Hodge’s song, Heineken draws musical notations. It is amazing to see these musical notations, as it could give us clues as to what Miss Hodge’s song sounded like. An example of Heineken’s drawing can be seen below.

Letter from N.J. Heineken to Miss Hodge. Undated. Musical notations.

The last letter I will share with you contains a sketch by the Scottish artist Sir George Reid. Reid wrote to Mrs. Tom Taylor, nee Laura Wilson Barker, on February 18, 1879. Laura was the wife of the English playwright Tom Taylor. One of his most famous plays is Our American Cousin. In his letter, Sir George Reid, describes to Mrs. Taylor how harsh the winter was in Scotland that year. Reid writes,

We have had a trying and tedious winter here. For weeks the snow lay a foot and a half deep – it vanished at last slowly and led me to think that the winter was over. Yesterday and today it is back to the old story – snow has fallen steadily since morning and now lies 6 or 8 inches deep –

Along with his description of the winter weather, Reid adds a sketch of a man he names as Macdonald, whom Reid is painting a portrait of. Reid could have possibly been referring to the Scottish author, George Macdonald, whom Reid is known to have created portraits of. Macdonald is depicted outside sitting in his carriage, bundled up to protect himself from the cold. His face is barely visible peeking out underneath his hat.

Letter from G.W. Reid to Mrs. Tom Taylor. 18 February 1879. Sketch of Macdonald.

These three drawings provide amazing illustrations of the stories the letters tell. They all help to bring to the past to life. Rose’s letter helps us to see what she saw, by depicting a life sized spider; Heineken’s musical notations give us clues to Miss Hodge’s song; Reid’s sketch helps us imagine the bitterly cold Scottish winter in 1879.

This will be my last blog for my internship at the Armstrong Browning Library. I had so much fun discovering all the amazing stories to be found in the Armstrong Browning Library’s Victorian letters this summer. Thank you for letting me share these stories with you!

Armstrong’s Stars: Robert Frost

Posted on June 9, 2015 by Jennifer Borderud

“Armstrong’s Stars” is a collaboration between the Armstrong Browning Library and Baylor’s Texas Collection. Once a month we feature a story about a celebrity that Dr. A.J. Armstrong brought to Baylor. These stories highlight an interesting part of Baylor’s history and include collection materials housed in both the Armstrong Browning Library and the Texas Collection.

This month’s story was contributed by Ph.D. candidate Jeremy Land.

Signed photograph of Robert Frost by Farmer, Waco (Celebrities Visiting Baylor photo file, Armstrong Browning Library)

When he arrived at Baylor in 1922, Robert Frost was one of the most famous poets in America. He had yet to win many of the accolades that would come later in life, but he was well on his way to becoming the household name that he is today. By the time Dr. A. J. Armstrong asked Robert Frost to come and read at Baylor, the poet was already known for his dramatic monologues and innovative blank verse celebrating the lives of New England farmers. Many of his more famous works like “Mending Wall,” “Birches,” and “The Road Not Taken” were well on their way to becoming staples in the American literary canon and poems to study for many American students.

Because of this popularity Frost earned a series of teaching jobs and public readings around the country. However, his confessed love for “barding around, ” a phrase he used to describe his itinerate lecturer lifestyle, had not really brought him very far South, and it apparently would take some convincing before the poet would come to Baylor in 1922 (Burnshaw). To sell Frost on the merits of reading poetry in Texas, Dr. Armstrong relied on his relationship with other literary luminaries who had previously read here. It even took the efforts of fellow poet and mutual friend Carl Sandburg to write Frost on Dr. Armstrong’s behalf and promise him that “they [Baylor students] not only read a man’s books before he arrives but they buy them in record-breaking numbers” (Sandburg 213). We may never know whether or not Sandburg’s promise of profits and literate crowds was the tipping point in convincing Frost to come to Texas, but we can say that within a few months of Sandburg’s letter Frost arrived in Dallas for a five city tour of Texas universities. Throughout November of 1922, Robert Frost gave readings at Southern Methodist University, Mary Hardin Baylor, the City of Temple, and Southwestern University in Georgetown in addition to Baylor, all of course were arranged by Baylor’s own Dr. A.J. Armstrong. According to the Baylor Lariat , Frost was said to have enjoyed his time at Baylor so much that he frequently said over the next few years that he would like to return to Waco (“Robert Frost, Famous Poet Speaks Here” 1).

Page from the 1923 Baylor yearbook The Round Up (The Texas Collection)

Robert Frost was featured in the 1923 Baylor yearbook The Round Up (The Texas Collection)

It may have taken him a decade, but in 1933 Dr. Armstrong again convinced the New England poet to return to Texas for a second reading. By that time Frost’s reputation as a poet had only grown exponentially. Just two years earlier, he won his second of four Pulitzer prizes for his collected works and was well on his way to completing his seventh volume of original poetry. When he arrived for the second time, Frost was greeted with close to 500 audience members all eager to hear him recite his most famous works (“Robert Frost, Famous Poet Speaks Here” 1). Ultimately, Frost’s two visits to Baylor left a lasting mark on the University. When he died in 1963, the Lariat dedicated two full pages to the poet’s life and praised his contribution to the American literary landscape. In the end, Robert Frost’s time at Baylor might be best summed up by the students themselves who claimed in their 1923 yearbook that Robert Frost’s visits “materially help[ed] put Baylor on the map” (The Round Up 161).

Works Cited

Burnshaw, Stanley. “Robert Frost.” American National Biography Online. American National Biography Online, Feb. 2000. Web. 5 June 2015

“Robert Frost, Famous Poet Speaks Here.” The Daily Lariat [Waco] 19 Apr. 1933: 1. Web. 5 June 2015

The Round Up. Ed. Enid Eastland. Vol. 22. Jefferson City: Hugh Stephens, 1923. 161. Web. 5 June 2015

Sandburg, Carl. Letter to Robert Frost. Summer 1922. The Letters of Carl Sandburg. Orlando: HBJ, 1968. 213. Print.

Learn more about Armstrong’s Stars in previous posts.

Armstrong’s Stars: Marian Anderson

Posted on May 11, 2015 by Jennifer Borderud

Friday’s Lariat announced the expectation of a performance on Monday by Marian Anderson, Baylor Lariat, March 24, 1939.

“Armstrong’s Stars” is a collaboration between the Armstrong Browning Library and Baylor’s Texas Collection. Once a month we feature a story about a celebrity who Dr. A.J. Armstrong brought to Baylor. These stories highlight an interesting part of Baylor’s history and include collection materials housed in both the Armstrong Browning Library and the Texas Collection.

This month’s story was contributed by Amanda Mylin, graduate assistant, The Texas Collection.

When renowned African-American singer Marian Anderson was not permitted to sing in the Daughters of the American Revolution’s Constitution Hall in Washington, D. C., in March 1939, the nation reacted (in large part) with astonishment. Anderson is quoted in an article published in the Baylor Lariat saying, “It shocks me beyond words that after having appeared in the capitols of most of the countries of the world, I am not wanted in the capitol of my own country” (“D.A.R. and Americanism,” 2).

Eleanor Roosevelt’s response was the most notable: the First Lady protested the move by resigning from the DAR, and encouraging a concert at an even more prominent venue. Anderson performed a free open-air concert at the Lincoln Memorial on Easter Sunday, April 9, encouraged and arranged by the First Lady, Anderson’s manager, Walter White of the NAACP, and Secretary of the Interior Harold Ickes.

In the midst of this drama, Anderson came to Baylor. Two weeks before her famed Easter concert, Anderson performed at Baylor University’s Waco Hall at the behest of Dr. A. J. Armstrong and Sigma Tau Delta. She was the first African-American soloist to grace the Hall. Her March 27 performance included an array of spirituals and compositions by Handel, Schubert, and Carissimi. The Baylor Lariat for March 3 stated that Sigma Tau Delta had taken the “liberal side of the week’s race question” by selecting Marian Anderson to perform (“Negro Singer Will Follow First Lady,” 4). The same article also noted that Mrs. Roosevelt would speak in Waco Hall on March 13, two weeks before the concert. A nationwide commotion had found its way to Baylor’s campus in a small capacity.

Anderson’s performance was well-received by the Waco audience even though it was primarily formed of a distinct “cross-section of the community’s white citizenship.” The Waco News-Tribune for the next day stated that this turn-out “was pretty much proof that the DAR of Washington, D. C., acted in silly fashion to say the least” (“Marian Anderson is Well Received by Waco Audience”). Furthermore, this article mentioned that Anderson’s well-attended performance was an instance of a slow but steady “solution of a leading American problem.”

“‘Procrastination is the thief of time’–and good seats!” Tickets sold quickly for Anderson’s upcoming performance, according to this ad in tThe Waco News-Tribune, February 26, 1939. Newspapers.com.

“‘Procrastination is the thief of time’–and good seats!” Tickets sold quickly for Anderson’s upcoming performance, according to this ad in The Waco News-Tribune, February 26, 1939. Newspapers.com.

Interestingly enough, even Waco Hall remained segregated for Anderson’s concert, with a special portion of the balcony reserved for African-Americans. Eventually, Anderson would insist upon what she called “vertical” seating for her concerts, with available seats throughout the auditorium reserved for African-Americans, and by 1950, she refused to sing for segregated audiences. Yet in the wake of the Constitution Hall incident, Anderson was pleased to perform at Baylor by invitation of Dr. Armstrong.

Dr. Armstrong attempted to bring Anderson back to Waco again in the 1940s, but her schedule was full. Her booking agency offered instead the Don Cossack Chorus, which did come to Waco that February. Anderson, Marian, Records of Visiting Celebrities, Armstrong Browning Library.

Although Anderson was in a hurry and allegedly declined to discuss her recent deterrence by the DAR and the First Lady’s defense of her attempt to perform, she did offer a small informal interview to the Baylor Lariat. She had never been to Waco and commented on the beauty of driving through the Texas countryside from San Antonio. Her enthusiasm and unstoppable energy seemed to bubble over as she explained, “I think America offers vast unlimited opportunities for youthful singers who have the seriousness and determination to become great artists no matter what their race or color” (“Eleanor Roosevelt Versus D.A.R. Feud is Closed; Field Unlimited, Says Anderson,” 1).

Sources:

“Negro Singer Will Follow First Lady,” Baylor Lariat, March 3, 1939.

“D.A.R. and Americanism,” Baylor Lariat, March 23, 1939.

“Eleanor Roosevelt Versus D.A.R. Feud is Closed; Field Unlimited, Says Anderson,” Baylor Lariat, March 28, 1939.

“Marian Anderson to Sing in Waco Hall: Famous Conductor Says Negro Artist is Best Living in This Day,” Baylor Lariat, March 22, 1939.

http://marian-anderson.com

“Marian Anderson is Well Received by Waco Audience,” The Waco News-Tribune, March 28, 1939, Newspapers.com (accessed April 9, 2015).

Armstrong’s Stars: Katharine Cornell

Posted on April 20, 2015 by Jennifer Borderud

“Armstrong’s Stars” is a collaboration between the Armstrong Browning Library and Baylor’s Texas Collection. Once a month we feature a story about a celebrity who Dr. A.J. Armstrong brought to Baylor. These stories highlight an interesting part of Baylor’s history and include collection materials housed in both the Armstrong Browning Library and the Texas Collection.

This month’s story was contributed by Geoff Hunt, Audio and Visual Curator, The Texas Collection.

Andrew Joseph Armstrong, and Katharine Cornell at Armstrong Browning Library, Baylor University

Katharine Cornell and A.J. Armstrong enjoy a moment of laughter on the dedication day of Armstrong Browning Library, Baylor University, on December 3, 1951. Cornell was the main speaker at the event, along with Baylor President W.R. White. Jimmie Willis photographic collection, 4×5 photo negative 1038.

While A.J. Armstrong’s stars included celebrities with little to no connection to the Brownings—his primary area of interest—some had very deep affiliations with the poets. In fact, a few of the stars played them!

Katharine Cornell visited Baylor twice, both times in relation to her role as Elizabeth Barrett Browning in Rudolf Besier’s play, The Barretts of Wimpole Street. The part became her signature role, one she started playing in 1931. According to her 1974 New York Times obituary, “The Barretts” ran for a year on Broadway, and then Miss Cornell shepherded her company on a 20,853-mile tour of the United States, a daring venture in the Depression…” Cornell was “actress-manager” for this performance, and her husband, Guthrie McClintic, was director.

Of course, Armstrong could not miss an opportunity to have this production come to Baylor, and the tour made a stop in Waco in 1934. In her obituary, Cornell is quoted saying, “‘The Barretts’ never played to an empty house—the receipts would be something like $33,000…so we came back having more than broken even. We really felt prideful.” Additionally, Cornell, along with Brian Aherne (playing Robert Browning), performed this production for servicemen and women during World War II in USO Camp Shows.

It was thus fitting that when Armstrong’s efforts came to fruition at the dedication of the Armstrong Browning Library on December 2 and 3, 1951, Cornell would be a part of the festivities. The library was a $2 million facility and called “a shrine to the poet, Robert Browning.” Armstrong stated it is “not far below the Taj Mahal in beauty.” For such a special occasion, the dedication called for a grand ceremony.

Katharine Cornell and group at the Armstrong Browning Library, Baylor University, Waco, TX

Left to right: Baylor President William Richardson White, Andrew Joseph Armstrong, Katharine Cornell, Marrs McLean, former Baylor president and Texas governor Pat M. Neff. This photograph was taken on the dedication day of Armstrong Browning Library, Baylor University, on December 3, 1951. Jimmie Willis photographic collection photo negative 1045.

Well-known in the world of Browning enthusiasts, and those of the stage and Broadway, Katharine Cornell was the main speaker for the event. Waco Hall was the venue for Cornell’s appearance in what A.J. Armstrong called the “the cultural and literary dedication program” for the new Armstrong Browning Library. Although Basil Rathbone played Robert Browning in the 1934 touring production, Brian Aherne was the original Robert, “brought from his native England by Miss Cornell,” and he came with Cornell to the dedication.

On the day of the event, Ms. Cornell received an honorary Doctor of Laws during a dedication convocation. Aherne, as well as notable Baylor figures D.K. Martin, Marrs McLean, Herbert Dunnico, and A.J. Armstrong, received the same honor. Robert Roussel of the Houston Post, upon witnessing a portion of the dedication, commented: “It was indeed an inspirational day… All the humane arts were represented, and the theatre was as handsomely served as it could have been with Katharine Cornell and Brian Aherne as its messengers.”

Katharine Cornell Portrait, Armstrong Browning Library, Baylor University

Katharine Cornell portrait by the artist Alexander Clayton. The painting depicts the actress in the role of Elizabeth Barrett Browning. The item was unveiled at Waco Hall on February 9, 1956, and hangs in the Austin Moore-Elizabeth Barrett Browning Salon, Armstrong Browning Library, Baylor University. Photo by Geoff Hunt.

Roussell uses the term “messengers,” and Katharine Cornell rightly served the part as one for the Brownings’ legacy. That legacy lives on in the portrait that adorns the wall of the Armstrong Browning’s Austin Moore-Elizabeth Barrett Browning Salon, as well as her other donations such as the shadow box depicting a scene from the “Barretts” stage production. Further, her impact far beyond Baylor as “messenger” for Elizabeth Barrett Browning and Robert Browning in her role in the “Barretts” made many audiences more familiar with their poetic works while entertaining and bringing joy to many along the way.

Sources

“Baylor Opens World Shrine to Poets…,” Waco Tribune-Herald (Waco, TX.), Dec. 2, 1951.

“Broadway Stars To Be Here For Browning Dedication,” Waco Tribune-Herald (Waco, TX.), Nov. 4, 1951.

Campbell, Reba. “Waco Dedicates Its Taj Mahal,” Waco Tribune-Herald (Waco, TX.), Dec. 4, 1951.

“Death Claims Dr. ‘A’,” Baylor-Line, v.16 (March-April, 1954): p. 5.

Roussel, Hubert. “Some Out-of-Town Drama With Cornell In a Leading Role,” The Houston-Post (Houston, TX), Dec. 9, 1951.

Katharine Cornell Papers, Armstrong Browning Library, Baylor University.

Thomas E. Turner, Sr., Papers, Accession #2200, The Texas Collection, Baylor University.

Whitman, Alden. “Obituary: Katharine Cornell is Dead at 81,” The New York Times (New York City, NY), June 10, 1974.

Learn more about Armstrong’s Stars in previous posts, and see more photos of Katharine Cornell’s 1950 visit to Baylor in our Flickr slideshow below.

Created with flickr slideshow.

Armstrong’s Stars: Richard Halliburton

Posted on March 20, 2015 by Jennifer Borderud

Richard Halliburton on one of his adventures. General Texas Collection Photographs–People–Richard Halliburton

This month’s story was contributed by Amie Oliver, Librarian/Curator of Print Materials, The Texas Collection.

One of the most exciting personalities to ever visit Baylor is one who has seemingly been forgotten by many. Writer and adventurer Richard Halliburton came to Baylor twice at the invitation of Sigma Tau Delta. His first visit occurred on March 23, 1929, just after appearances in Austin and Dallas, where thousands were turned away. Crowds from as far away as Hillsboro, Mexia, Belton, and Temple were expected in Waco (“‘Playboy Adventurer’ to be Presented in Chapel Tonight at 8” 1).

Apparently Halliburton’s lecture did not disappoint. He began by stating, “I am the only lecturer who has ever come to you with no philosophy, with no message, with no uplift, and with no problem to solve.” He then regaled the audience with tales of adventure exploring three continents as he “would rise to romantic heights and would dramatically sway his body as he told of a tense moment in one of his thrilling adventures” (“Tales of Adventure Captivate Audience” 1). Halliburton entertained the audience for two and half hours. So moved by the performance, an article appearing on the Lariat editorial page nearly a week later declared:

“We were sorry that there were many in his audience who did not catch in a slight way the spirit of adventure and romance…. We were sorry that many went away still satisfied with their own little lives, content with the lethargy which had characterized their former days, and content to remain in Waco or in McLennan County the remainder of their brief span on this globe. They are the mediocre men and women who spend their time admiring the works of other men and pitying themselves for not being greater” (“Wanderlust” 2).

Halliburton’s appearance raised more than $100, which was earmarked for the purchase of a bookcase for the Browning Collection (“English Frat Plans Trip to Fort Worth” 1).

Student newspaper article promoting Halliburton’s first appearance at Baylor University. Baylor Lariat, February 15, 1929.

Seven years, three books, and one film later, Halliburton returned to Baylor for a lecture on March 19, 1936. Student tickets were reduced from 75 to 35 cents in an effort to entice many to attend the event at Waco Hall (“Halliburton to Speak Thursday in Waco Hall” 1). A McGregor high school student, Richard Phelan, longed to see his hero and hoped to interview him for his school paper (Phelan 64). Once at Baylor for the event, Phelan learned that a private post-lecture reception would limit opportunities to meet him. However, Mrs. Armstrong encouraged him to wait with other students seeking autographs backstage in the hopes that Halliburton would answer some questions (78).

When Halliburton took the stage, he noticed empty seats in the orchestra and invited students in the balcony to come down. Phelan noted that after Halliburton’s invitation, an older gentleman walked on stage and stepped into the wings. Just a few remarks into his lecture, Halliburton was called off stage. When he returned to the podium, he appeared shaken, but he continued his presentation (80).

After the event, Phelan headed backstage, where he got his autograph—and more. Mrs. Armstrong personally introduced Phelan to Halliburton and proposed an interview. Phelan and Halliburton dined at the Elite Café, where Halliburton told him that Dr. Armstrong was the gentleman who called him off stage to inform him that orchestra seats were sold at full price and students should not have been asked to move from the balcony. Halliburton was embarrassed by the faux pas. He was also disinvited from the reception in his honor, which is why Phelan was able to score the dinner and interview with his hero (103). Of course, most never knew about the exchange between Halliburton and Armstrong. Luther Truett of the Lariat published an article praising the lecture and Halliburton, the man who “held an audience spellbound for two hours without a blank moment.” Truett did note Halliburton’s gracious invitation for students to move from the balcony to the “best seats in the house” (Truett 3).

Halliburton was declared legally dead in late 1939 after the boat he was traveling on from Hong Kong to San Francisco sank during a typhoon. The Lariat published an article about Halliburton’s death, praising the “unique and unusual man” for accomplishing amazing feats, exploring foreign lands, for living a life that others envied, and who “died doing exactly what he wanted to do” (“Halliburton: American Ulysses” 2).

Works Cited

“English Frat Plans Trip to Fort Worth.” Lariat 29 March 1929: 1. Web. 26 Feb. 2015.

“Halliburton: American Ulysses.” Lariat 13 Oct. 1939: 2. Web. 26 Feb. 2015.

“Halliburton to Speak Thursday in Waco Hall.” Lariat 17 March 1936: 1. Web. 26 Feb. 2015.

Phelan, R.C. “Halliburton’s Banana Peel.” Vogue Feb. 1960: 64-105. Print. Richard C. Phelan papers, The Texas Collection, Baylor University.

“‘Playboy Adventurer’ to be Presented in Chapel Tonight at 8.” Lariat 23 March 1929: 1. Web. 26 Feb. 2015.

“Tales of Adventure Captivate Audience.” Lariat 26 March 1929: 1. Web. 26 Feb. 2015.

Truett, Luther. “Author Captures Audience Praise.” Lariat 20 March 1936: 3. Web. 26 Feb. 2015.

“Wanderlust.” Lariat 27 March 1929: 2. Web. 26 Feb. 2015.

Armstrong’s Stars: Vachel Lindsay

Posted on February 20, 2015 by Jennifer Borderud

This month’s story was contributed by Baylor graduate (BA ’14) and Sigma Tau Delta member Susie Park.

March 27, 1919, issue of The Lariat announcing Vachel Lindsay’s upcoming visit to Baylor (Texas Collection)

One of the most memorable scenes from the movie Dead Poets Society captures the musical aesthetics of American poet Vachel Lindsay’s style of singing poetry. The cave scene of the schoolboys chanting Lindsay’s poem “The Congo” begins with one of them rhythmically reciting a few lines and escalates to all of the boys joining in by clapping, hissing, chanting along, hollering, and banging on drums to create a musical performance out of a written work of poetry. As described in the March 27, 1919, issue of Baylor’s student newspaper The Lariat, “[Vachel Lindsay] is a singer in addition to being a poet, and chants many of his verses, often persuading his audience through his magnetic personality to join him” (“Vachel Lindsay Here Saturday” 1).

Vachel Lindsay made several appearances at Baylor University at the invitation of Dr. A.J. Armstrong. His first major public appearance at Baylor was on March 29, 1919. Interestingly, an article from The Lariat, dated March 13, 1919, specifically notes that Lindsay is scheduled to visit on March 28, but a later article from March 27 states that Lindsay will visit on March 29 at 8:15 in the evening at Carroll Chapel (“Vachel Lindsay to Be in Baylor March 28” 1; “Vachel Lindsay Here Saturday” 1).

The April 3, 1919, issue of The Lariat includes details of Lindsay’s March 29 visit to Baylor, listing the poems that he recited as well as the students’ reactions to the poet. Lindsay read some of his poems, like “The Santa Fe Trail” and “The Chinese Nightingale,” and shared a series of interpretations of the works. The Lariat praises the poet’s unique style and his outlook on poetry. When discussing his style of reciting poetry, Lindsay is quoted as saying that the human voice “‘is the perfect instrument of musical expression, and with the twenty-six letters in the alphabet as keys upon which the human voice may play at will, true poetry is capable of being brought to its highest rhythmical perfection’” (“Vachel Lindsay Has Extended Visit to Baylor and Waco” 1).

After his eventful visit to Baylor in 1919, Lindsay announced that he would visit again on March 20, 1920. The Lariat article from February 19, 1920, notes the poet’s future visit to Baylor and that he has come out with a new volume of poems (“Vachel Lindsay to Be Here on March 20” 10).

Poets participating in Baylor’s Diamond Jubilee celebration (Trantham, page 43)

The celebration of the seventy-fifth anniversary of Baylor University, or the Baylor University Diamond Jubilee in June 1920, brought together many celebrities, including Vachel Lindsay. Lindsay was one of the visiting poets who participated in “The Browning Benefit,” or “All Artists’ Benefit.” This program was a presentation event to showcase the “Clasped Hands,” an original bronze casting of the clasped hands of Robert and Elizabeth Barrett Browning that was being added to the Baylor Browning Collection. The other three visiting poets participating in this presentation ceremony included Edwin Markham, Judd Mortimer Lewis, and Harriet Monroe (Trantham 44).

An article in The Lariat, dated May 20, 1920, expresses the excitement surrounding the Diamond Jubilee, listing some of the distinguished guests to be present at the celebration: “Among the celebrated poets and writers who will honor Baylor in June will be William Butler Yeats, Vachel Lindsay, Edwin Markham, Amy Lowell, Dorothy Scarborough, and the poet laureate of Texas, Judd Mortimer Lewis” (“Distinguished Guests to Be Present at Diamond Jubilee” 6).

The 1922 issue of Baylor’s yearbook The Round Up highlighting celebrities who had visited Baylor (The Texas Collection)

“The death Saturday of Vachel Lindsay brought to a close a friendship of eighteen years between one of America’s greatest poets and Baylor University” (“Baylor Loses Friend as Lindsay Succumbs” 2). Vachel Lindsay passed away on December 5, 1931. The December 8, 1931 issue of The Lariat mentions the poet’s death, tracing back Lindsay’s close relationship with Dr. Armstrong. Lindsay supposedly planned to visit Baylor University again in the spring of 1932; Sigma Tau Delta wanted to present the poet to the Baylor student body. From his initial participation in Dr. Armstrong’s contemporary poetry class in 1913 to his planned visit in 1932, it is not an overstatement to say that Vachel Lindsay and the Baylor Browning Collection grew together in time.

Works Cited

“Baylor Loses Friend as Lindsay Succumbs.” The Daily Lariat 8 December 1931: 2. Web. 19 Feb. 2015.

“Distinguished Guests to Be Present at Diamond Jubilee.” The Lariat 20 May 1920: 6. Web. 18 Feb. 2015.

The Round-Up 1922. [Waco, Tex.: Baylor University, 1922]. Web. 19 Feb. 2015.

Trantham, Henry. The Diamond Jubilee, 1845-1920: A Record of the 75^th Anniversary of the Founding of Baylor University. Waco, Tex.: Baylor University Press, 1921. Web. 19 Feb. 2015.

“Vachel Lindsay Has Extended Visit to Baylor and Waco.” The Lariat 3 April 1919: 1. Web. 18 Feb. 2015.

“Vachel Lindsay Here Saturday.” The Lariat 27 March 1919: 1. Web. 18 Feb. 2015.

“Vachel Lindsay to Be Here on March 20.” The Lariat 19 February 1920: 10. Web. 18 Feb. 2015.

“Vachel Lindsay to Be in Baylor March 28.” The Lariat 13 March 1919: 1. Web. 18 Feb. 2015.

Armstrong’s Stars: Carl Sandburg

Posted on December 8, 2014 by Jennifer Borderud

This month’s story was contributed by Ph.D. candidate Jeremy Land.

In 1920 Baylor University celebrated its Diamond Jubilee with help from the English department’s Dr. A.J. Armstrong. The university used the occasion to invite some of the most important names in American letters to speak at Baylor. A year later Baylor was developing a reputation as a place where not only poets were welcomed, but a place where they could find a receptive student body.

Letter from Carl Sandburg to A.J. Armstrong, dated 11 May 1921 (Armstrong Browning Library)

One of the first and most important writers to travel to Baylor was the noted poet, journalist, historian, and folk musician Carl Sandburg. By the time Dr. Armstrong persuaded Sandburg to visit and read his work at Baylor in the spring of 1921, the poet had already won the first of his eventual three Pulitzer prizes—Sandburg won the Pulitzer Prize for his books Cornhuskers (1918), Abraham Lincoln: The War Years (1939), and Complete Poems (1951). In the early 1920s Sandburg was building a reputation as a first rate poet of the American people. His early poetry drew inspiration from his time as a hobo traveling across the west, his years working as a journalist in Chicago, and the lives of ordinary Americans. His first major volume Chicago Poems established him as an innovative and powerful new voice in American poetry. It was this reputation that prompted Baylor’s student newspaper The Daily Lariat to describe Sandburg as a “man’s poet” as early as 1925, and perhaps attracted so many young Baylor Bears to Sandburg’s readings (“Carl Sandburg, Noted Poet, Coming Here for Reading on April 3” 1).

A sketch of Carl Sandburg’s 1925 reading by Baylor undergraduate Henry Cecil Spencer, class of 1929 (Carroll Science Building)

The poet apparently enjoyed his time at Baylor and made great efforts to ingratiate himself to the students while he was here. He even went so far as to visit a sick Baylor undergraduate in the hospital and give him a private recitation of his work when he discovered that the young fan could not make his reading. Ultimately, Sandburg was so impressed with the Baylor students he met that he cited them to his fellow poet and friend Robert Frost as a reason to journey to Texas (Douglas 129-135).

Over the next thirty years, Sandburg would make an additional three visits to Baylor. Each time his stays were heralded as the coming of a great poet, and each time he offered his audience something new and innovative. By his third visit in 1932 Sandburg’s critically successful collection of American folk music, American Songbag (1927), was fully integrated into his performance and, in addition to reading poetry, he would sing from his collection to Baylor students during chapel (“Carl Sandburg Will Speak Here Friday” 1).

Tickets to Carl Sandburg’s March 10, 1952 reading at Waco Hall (Armstrong Browning Library)

By his fourth visit in 1952, Sandburg had achieved an elder statesman status among American writers. During his final trip to Baylor, Sandburg used his last time before the student body to discuss the value of going into the world and experiencing life first hand as opposed to vicariously living through pop culture, going so far as to critique one student who claimed to have sat through over 200 episodes of “The Jack Benny Show” (“Poet Slams TV, Movies, Radio” 1). As anarchistic as Sandburg’s criticism sounds to modern readers, his intent illustrates Dr. Armstrong’s ultimate goal in bringing writers like Sandburg to Baylor. Dr. Armstrong’s programs routinely brought Baylor’s students great writers from across the world. His intent was always to “give students an opportunity to come into contact with world forces and world geniuses” (Douglas 173). Sandburg’s time at Baylor surely exposed the students who came to see him to one of the greater geniuses and challenged them to see their lives in a new light.

A.J. Armstrong (left) and Carl Sandburg (right) before Sandburg’s 1952 reading at Waco Hall (Texas Collection)

Works Cited

“Carl Sandburg, Noted Poet, Coming Here for Reading on April 3.” The Daily Lariat 23 March 1925: 1. Web. 1 Dec. 2014

“Carl Sandburg Will Speak Here Friday.” The Daily Lariat 2 February 1932: 1. Web. 1 Dec. 2014

Douglas, Lois Smith. Through Heaven’s Back Door: A Biography of A. Joseph Armstrong. Waco, TX: Baylor UP, 1951. Print.

“Poet Slams TV, Movies, Radio.” The Daily Lariat 12 March 1952: 1. Web. 1 Dec. 2014

Armstrong’s Stars: Amy Lowell

Posted on November 10, 2014 by Jennifer Borderud

This month’s story was contributed by Ph.D. candidate Jeremy Land.

In 1920 Baylor began preparing for its Diamond Jubilee celebration. Primarily under the direction of Dr. A. Joseph Armstrong, Baylor invited a series of famous literary and cultural figures to travel to Texas and partake in the celebration. Among the first to arrive was the poet Amy Lowell.

By the early ‘20s Amy Lowell had already established herself as one of America’s leading female poets, an innovative writer, a noted critic, and promoter of American verse. Even the Lowell family name had become associated with academic excellence and American letters by the time Ms. Lowell accepted her honorary degree from Baylor (Amy Lowell’s brother was the president of Harvard and her first cousin, James Russell Lowell, was a famous American poet from the nineteenth century). Thus the decision to ask Ms. Lowell to come and speak at Baylor was a natural part of the university’s mission to bolster its presence in the academic world.

Amy Lowell, second from the left, about to accept an honorary degree during the commencement ceremony at Baylor’s Diamond Jubilee celebration (Texas Collection)

Before she even arrived, there seemed to be great anticipation and discussion about Ms. Lowell’s coming to Waco. Every aspect of her journey was up for speculation and debate. Even her hotel room, which was reported to cost more than $30 a night, caused quite a shock among the students on campus (“Another Treat in Amy Lowell” 1). Yet the promise of her appearance prompted several student groups to greet her with excitement. Baylor’s Calliopean, at the time the second oldest women’s literary society in Texas, honored Lowell with membership before she even arrived, an honor she was happy to receive (“Calliopeans Honor Famous American Poet” 3; “Calliopean Society Has Long History Behind It” 5).

When Lowell did finally arrive in Waco, she apparently lived up to people’s expectations. She was reported to be equal parts exciting house guest and engaging scholar. In one example of her irrepressible spirit, Lowell encouraged Mrs. Armstrong to speed through Cameron Park as fast as possible, and when Mrs. Armstrong suggested the police might object, Lowell is reported to have replied, “Damn the police. I’ll pay the fine” (Douglas 114-115). However when it came time for Ms. Lowell to engage Baylor’s students and their academic pursuits, she was a most gracious and well received visitor. When she was not giving a formal lecture on the nature of modern poetry, she was reported to sit in the open air smoking a cigar and indulging undergraduates and their questions about modern literature.

Perhaps because her visit to Baylor must have been rather colorful, Amy Lowell developed a fondness for central Texas. In a letter to A.J. Armstrong dated April 11, 1924, Lowell claimed her poem “Texas” was inspired by Waco’s lone skyscraper (probably the ALICO building in downtown Waco) set against the central Texas landscape (Douglas 116). And until her death in 1925, Lowell and Dr. Armstrong continued to write, share ideas, and reminisce about her time in Texas. So impressed was she by Baylor and Dr. Armstrong that even after her death her estate saw to it that Baylor and Dr. Armstrong both were notified of her passing (“Death of Amy Lowell is Mourned by Many” 1).

Works Cited

“Another Treat in Amy Lowell.” The Lariat 3 June 1920: 1. Web. 7 Nov. 2014

“Calliopeans Honor Famous American Poet.” The Lariat 6 May 1920: 3. Web. 7 Nov. 2014

“Calliopean Society Has Long History Behind It.” The Lariat 20 May 1920: 5. Web. 7 Nov. 2014

“Death of Amy Lowell is Mourned by Many.” The Lariat 14 May 1925: 1. Web. 7 Nov. 2014

Douglas, Lois Smith. Through Heaven’s Back Door: A Biography of A. Joseph Armstrong. Waco, TX: Baylor UP, 1951. Print.

Armstrong Browning Library & Museum

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