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Arthur Davison Ficke
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."〔Brynner, Witter. "Ave Atque Vale." Poetry. Vol. 68, No. 1 (April 1946), pp. 56-58. Poetry Foundation, 1946. p. 57.〕 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.〔Stump, Bethany. "Ficke, Arthur Davison" The Biographical Dictionary of Iowa. University of Iowa Press, 2009. Web. 10 February 2014〕 Ficke is also known for his relationship with poet Edna St. Vincent Millay.
After years of illness, Ficke took his own life in 1945.〔Noe, Marcia. "Arthur Davison Ficke" ''Dictionary of Midwestern Literature Volume One: The Authors''. Bloomington, Indiana: Indiana University Press, 2001. pp. 194. Print.〕
==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.
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."〔Floyd Dell, "The Ficke Wing," Measure, no. 42 (August 1924) : 13.〕 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. 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.
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