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Abstract

Standing between two fluted Doric columns on a platform made of cool, snow-white Colorado-Yule marble, Edwin Markham looked out onto the National Mall. Some 50,000 people had congregated, including Civil War veterans clothed in their blue and gray, with an estimated two million more listening to the ceremonial proceedings by radio. He recited “Lincoln, Man of the People,” originally composed in 1899 and revised for the occasion. Sitting behind the poet on that May day in 1922, was the sole surviving son of the sixteenth President, Robert Todd Lincoln, who, as a young man had served on the staff of Ulysses S. Grant and stood witness to Robert E. Lee’s surrender at the Appomattox Court House, just days before his father’s assassination. Other speakers included President Harding and Chief Justice William Howard Taft, who headed the ceremonial committee. Members of that body also edited the speech prepared by the only African-American speaker on the platform, Dr. Robert Moton—who had taken over as principal of the Tuskegee Institute after the death of Booker T. Washington—excising his criticisms of continued discrimination throughout the country and toning down his note of defiance.2

Till change hath broken down

All things save Beauty alone.1

—Ezra Pound, “Envoi” (1919)

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Notes

  1. Ezra Pound, Poems, 1918–1921 (New York: Boni and Liveright, 1921), 62.

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  2. Christopher A. Thomas, The Lincoln Memorial and American Life (Princeton: Princeton University Press, 2002), xxvii–xxviii, 156–57.

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  3. Adam Fairclough, “Civil Rights and the Lincoln Memorial: The Censored Speeches of Robert R. Moton (1922).

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  4. John Lewis (1963), Journal of Negro History, 82 (Autumn 1997) 4, 408–16, “Harding Dedicates Lincoln Memorial, Blue and Gray Join,” The New York Times (31 May 1922), 1–2.

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  5. Scott Sandage, “A Marble House Divided: The Lincoln Memorial, the Civil Rights Movement, and the Politics of Memory,” Journal of American History, 80 (June 1993) 1, [136–67].

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  6. Markham continued to compose poems for civic occasions, including the Boston Tercentenary in 1930, where he recited his work before an audience of 10,000. See Jane Holtz Kay, Lost Boston (Amherst: University of Massachusetts Press, 2006 [Houghton Mifflin, 1980]), 285.

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  7. William Carlos Williams, “Supplement,” Others: A Magazine of the New Verse, 5 (July 1919) 5: 25–32.

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  8. Wendy Steiner, Venus In Exile: The Rejection of Beauty in Twentieth Century Art (New York: The Free Press, 2001), xv.

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  9. Arthur Danto, The Abuse of Beauty (New York: Open Court, 2003) and Uncontrollable Beauty: Toward A New Aesthetics. Ed. Bill Beckley (New York: Allworth Press, 2001).

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  10. Uncontrollable Beauty: Toward A New Aesthetics. Ed. Bill Beckley (New York: Allworth Press, 2001).

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  11. The Guild issued annual anthologies that retailed for one nickel. Anna Hempstead Branch, Smith Alumnae Quarterly (November 1920) 57–59. Widdemer, Friends, 208–11.

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  12. George Sylvester Viereck, “Hitler, The German Explosive,” The American Monthly (October 1923), 235–38.

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  13. James Rorty, “The Conquerer,” Poetry, 14 (September 1919) 6, 306–7, James Rorty, “California Dissonance,” in Braithwaite, Anthology of Magazine Verse for 1921 (Boston: Small, Maynard & Co., 1921), 136–38.

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  14. James Rorty, “The Bell Ringers, End of Farce,” Poetry Society of America Anthology (New York: Poetry Society of America, 1969 [1946]), 185–86. James Rorty included a chapter “Beauty and the Ad-Man” about the exploitation of beauty in the advertising industry in Our Master’s Voice-Advertising (New York: John Day, 1934).

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  15. Richard Rorty, “Trotsky and Wild Orchids,” in Wild Orchids and Trotsky: Messages from American Universities (New York: Penguin Books, 1993), 35–36 [31–50]. Also see Rorty, Contingency, Irony and Solidarity.

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© 2011 Lisa Szefel

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Szefel, L. (2011). Epilogue. In: The Gospel of Beauty in the Progressive Era. Palgrave Studies in Cultural and Intellectual History. Palgrave Macmillan, New York. https://doi.org/10.1057/9780230118973_8

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  • DOI: https://doi.org/10.1057/9780230118973_8

  • Publisher Name: Palgrave Macmillan, New York

  • Print ISBN: 978-1-349-29481-7

  • Online ISBN: 978-0-230-11897-3

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