Macbeth
“At the time I began to write,” says EDITH SITWELL, “a change in the direction, imagery, and rhythms in poetry had become necessary, awing to the rhythmical flaccidity, the verbal deadness, the dead and expected patterns, oj some oj the poetry immediately preceding us.” In The Canticle of the Rose, Poems: 1917 to 1949, ice see the development oj England’s foremost woman poet. We feel the excitement of her early poems with their strange compelling rhythm, of which “Facade" is the perfect example, and we feel the power and penetration of her later work with its splendid sweep and color. On her visit to America last year, Dr. Sitwell showed the Atlantic her Notebook on William Shakespeare, from which we have drawn two papers, the first on Macbeth, the second on King Lear — each remarkable for its interpretation and scholarship.