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Hence the title of Christopher Darlington Morley's first venture into print, The Eighth Sin, which was published by B. H. Blackwell of London, England, in 1912. The print run was a mere 250 copies, which was enough to whet Morley's appetite for seeing his name in print.
In 1967, The University of Texas, Austin, mounted an exhibition of the works of Christopher Darlington Morley and the university saw fit on that occasion to print an edition of The Eighth Sin, of which my copy is number 478.
There is an essay by Morley which first appeared in The Colophon, Part 3, about this small volume of poetry that adds interest to the whole adventure. The essay is reprinted in its entirety in the 1967 exhibition catalog, and also can be found reprinted in the 1937 anthology Breaking Into Print.
It has become fashionable to call The Eighth Sin "juvenalia" but it is clearly much better than adolescent verse. A good bit of joy and humor shows clearly. This modest collection of fifty-eight poems is significant not so much for the quality of the verse, though, as for the glimmers it contains of the themes that later became the signature elements of Morley's career. And therein lies the privilege of reading The Eighth Sin. It is a rare glimpse of the beginning of a life in letters.
There are also a number of poems that speak to Morley's youthful passion for the woman who was to become his wife, Helen Fairchild Booth. Elsewhere there are hints of some of his literary beacons, such as Keats or R. L. Stevenson; a poem here about an experience in a ship (A Song of the Steerage); a poem there about the comforts of home (Our House). All are very important seeds in this spring garden, cultivated and harvested throughout a fine career. ( )