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Arthur Davison Ficke (November 10, 1883 – November 30, 1945) was an American poet, playwright, and expert of Japanese art. Ficke had a national reputation as "a poet's poet", and "one of America's most expert sonneteers".[1] Under the alias Anne Knish, Ficke co-authored Spectra (1916). Intended as a spoof of the experimental verse which was fashionable at the time, the collection of strange poems unexpectedly caused a sensation among modernist critics which eclipsed Ficke's recognition as a traditional prose stylist.[2] Ficke is also known for his relationship with poet Edna St. Vincent Millay.

Arthur Davison Ficke
Born
Arthur Davison Ficke

November 10, 1883
Davenport, Iowa, US
DiedNovember 30, 1945(1945-11-30) (aged 62)
Hudson, New York, US
Other namesAnne Knish
Alma materHarvard
OccupationPoet
Known forSonnets of a Portrait Painter; Spectra
Spouses
  • Evelyn B Blunt
  • Gladys Brown
Children1

After several years of illness, Ficke committed suicide in 1945.[3]


Biography


A native of Davenport, Iowa, Ficke is associated with other local writers known as the Davenport group. His work was influenced by Japanese artistic traditions, which he had been familiar with since childhood; his father, an art dealer, imported Japanese art in the last decade of the nineteenth century, when it was extremely popular. Ficke wrote several popular treatises on Japanese art during his career, among them Chats on Japanese Prints, published in 1915.

Ficke's boyhood home in Davenport.
Ficke's boyhood home in Davenport.

Sticking to traditional styles and forms when modernism was dominating the world of literature and poets were prone to experimentation, Ficke was noted for being "in the best sense a conservative force in our poetry."[4] Much of his early work was in traditional meter and rhyme scheme; Sonnets of a Portrait-Painter (1914) is a noteworthy example.

Ficke was displeased by what he saw as the inaesthetic nature of contemporary experimentation, which was the main motivation for the Spectra hoax, intended as a satire of modern poetry. His collaborators on the Spectra hoax were fellow poets Witter Bynner (writing as 'Emanuel Morgan') and Marjorie Allen Seiffert (writing as 'Elijah Hay'). Ironically, his experience writing Spectra influenced him to begin experimenting with other forms; Christ in the Desert was his first more modernistic work, without traditional meter or rhyme scheme.


Partial bibliography


Poetry

Plays

Novels

Non-fiction


Further reading



References


  1. Brynner, Witter. "Ave Atque Vale." Poetry. Vol. 68, No. 1 (April 1946), pp. 56–58. Poetry Foundation, 1946. p. 57.
  2. Stump, Bethany. "Ficke, Arthur Davison" The Biographical Dictionary of Iowa. University of Iowa Press, 2009. Web. 10 February 2014
  3. Noe, Marcia. "Arthur Davison Ficke" Dictionary of Midwestern Literature Volume One: The Authors. Bloomington, Indiana: Indiana University Press, 2001. pp. 194. Print.
  4. Floyd Dell, "The Ficke Wing," Measure, no. 42 (August 1924) : 13.



На других языках

- [en] Arthur Davison Ficke

[fr] Arthur Davison Ficke

Arthur Davison Ficke, né le 10 novembre 1883 à Davenport – mort le 30 novembre 1945 à New York, est un poète, dramaturge et expert américain de l'art japonais. Ficke bénéficie d'une réputation nationale comme « poète de poète » et « l'un des sonnetistes les plus expert d'Amérique »[2]. Sous le pseudonyme Anne Knish, Ficke coécrit Spectra (en) (1916). Parodie de la tendance vers l'expérimental de l'époque, ce recueil de poèmes étranges cause une sensation inattendue parmi les critiques modernistes qui éclipse la reconnaissance de Ficke comme styliste de la prose traditionnelle [3]. Ficke est également connu pour sa relation avec le poète Edna St. Vincent Millay.


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