Transcriber's Note:

Obvious typographical errors have been corrected in this text. For a complete list, please see [the bottom of this document].

MODERN BRITISH
POETRY

EDITED BY

LOUIS UNTERMEYER

Author of "Challenge," "Including Horace,"
"Modern American Poetry," etc.

NEW YORK
HARCOURT, BRACE & COMPANY

COPYRIGHT, 1920, BY
HARCOURT, BRACE AND HOWE, INC.

PRINTED IN THE U. S. A. BY
THE QUINN & BODEN COMPANY
RAHWAY, N. J.

ACKNOWLEDGMENTS

For permission to reprint the material in this volume, the editor wishes, first of all, to acknowledge his debt to those poets whose co-operation has been of such assistance not only in finally determining upon the choice of their poems, but in collecting dates, biographical data, etc. Secondly, he wishes to thank the publishers, most of whom are holders of the copyrights. The latter indebtedness is specifically acknowledged to:

Doubleday, Page & Company and A. P. Watt & Son—

For "The Return" from The Five Nations and for "An Astrologer's Song" from Rewards and Fairies by Rudyard Kipling. Thanks also are due to Mr. Kipling himself for personal permission to reprint these poems.

Doubleday, Page & Company and Martin Secker—

For the poem from Collected Poems by James Elroy Flecker.

E. P. Dutton & Company—

For the poems from The Old Huntsman, Counter-Attack and Picture Show by Siegfried Sassoon.

Four Seas Company—

For poems from War and Love by Richard Aldington and The Mountainy Singer by Seosamh MacCathmhaoil (Joseph Campbell).

Henry Holt and Company—

For poems from Peacock Pie and The Listeners by Walter de la Mare and Poems by Edward Thomas.

Houghton Mifflin Company—

For two poems from Poems, 1908-1919, by John Drinkwater, both of which are used by permission of, and by special arrangement with, Houghton Mifflin Company, the authorized publishers.

B. W. Huebsch—

For the selections from Chamber Music by James Joyce, Songs to Save a Soul and Before Dawn by Irene Rutherford McLeod, Amores, Look! We Have Come Through!, and New Poems by D. H. Lawrence.

Alfred A. Knopf—

For poems from The Collected Poems of William H. Davies, Fairies and Fusiliers by Robert Graves, The Queen of China and Other Poems by Edward Shanks, and Poems: First Series by J. C. Squire.

John Lane Company—

For the selections from Poems by G. K. Chesterton, Ballads and Songs by John Davidson, The Collected Poems of Rupert Brooke, Admirals All by Henry Newbolt, Herod and Lyrics and Dramas by Stephen Phillips, The Hope of the World and Other Poems by William Watson, and In Cap and Bells by Owen Seaman.

The London Mercury—

For "Going and Staying" by Thomas Hardy and "The House That Was" by Laurence Binyon.

The Macmillan Company—

For the selections from Fires and Borderlands and Thoroughfares by Wilfrid Wilson Gibson, Poems by Ralph Hodgson, the sonnet from Good Friday and Other Poems by John Masefield, and the passage (entitled in this volume "Rounding the Horn") from "Dauber" in The Story of a Round-House by John Masefield.

G. P. Putnam's Sons—

For the title poem from In Flanders Fields by John McCrae.

The Poetry Bookshop (England)—

For two excerpts from Strange Meetings by Harold Monro and for the poems from the biennial anthologies, Georgian Poetry.

Charles Scribner's Sons—

For the quotations from Poems by William Ernest Henley.

Frederick A. Stokes Company—

For the poem from Ardours and Endurances by Robert Nichols.

Longmans, Green & Co., as the representatives of B. H. Blackwell, of Oxford—

For a poem by Edith Sitwell from The Mother.

CONTENTS

INTRODUCTORY

The New Influences and Tendencies

Mere statistics are untrustworthy; dates are even less dependable. But, to avoid hairsplitting, what we call "modern" English literature may be said to date from about 1885. A few writers who are decidedly "of the period" are, as a matter of strict chronology, somewhat earlier. But the chief tendencies may be divided into seven periods. They are (1) The decay of Victorianism and the growth of a purely decorative art, (2) The rise and decline of the Æsthetic Philosophy, (3) The muscular influence of Henley, (4) The Celtic revival in Ireland, (5) Rudyard Kipling and the ascendency of mechanism in art, (6) John Masefield and the return of the rhymed narrative, (7) The war and the appearance of "The Georgians." It may be interesting to trace these developments in somewhat greater detail.

the end of victorianism

The age commonly called Victorian came to an end about 1885. It was an age distinguished by many true idealists and many false ideals. It was, in spite of its notable artists, on an entirely different level from the epoch which had preceded it. Its poetry was, in the main, not universal but parochial; its romanticism was gilt and tinsel; its realism was as cheap as its showy glass pendants, red plush, parlor chromos and antimacassars. The period was full of a pessimistic resignation (the note popularized by Fitzgerald's Omar Khayyám) and a kind of cowardice or at least a negation which, refusing to see any glamour in the actual world, turned to the Middle Ages, King Arthur, the legend of Troy—to the suave surroundings of a dream-world instead of the hard contours of actual experience.

At its worst, it was a period of smugness, of placid and pious sentimentality—epitomized by the rhymed sermons of Martin Farquhar Tupper, whose Proverbial Philosophy was devoured with all its cloying and indigestible sweetmeats by thousands. The same tendency is apparent, though far less objectionably, in the moralizing lays of Lord Thomas Macaulay, in the theatrically emotionalized verses of Robert Buchanan, Edwin Arnold and Sir Lewis Morris—even in the lesser later work of Alfred Tennyson.

And, without Tupper's emptiness or absurdities, the outworn platitudes again find their constant lover in Alfred Austin, Tennyson's successor as poet laureate. Austin brought the laureateship, which had been held by poets like Ben Jonson, Dryden, Southey and Wordsworth, to an incredibly low level; he took the thinning stream of garrulous poetic conventionality, reduced it to the merest trickle—and diluted it.

The poets of a generation before this time were fired with such ideas as freedom, a deep and burning awe of nature, an insatiable hunger for truth in all its forms and manifestations. The characteristic poets of the Victorian Era, says Max Plowman, "wrote under the dominance of churchliness, of 'sweetness and light,' and a thousand lesser theories that have not truth but comfort for their end."

The revolt against this and the tawdriness of the period had already begun; the best of Victorianism can be found not in men who were typically Victorian, but in pioneers like Browning and writers like Swinburne, Rossetti, William Morris, who were completely out of sympathy with their time.

But it was Oscar Wilde who led the men of the now famous 'nineties toward an æsthetic freedom, to champion a beauty whose existence was its "own excuse for being." Wilde's was, in the most outspoken manner, the first use of æstheticism as a slogan; the battle-cry of the group was actually the now outworn but then revolutionary "Art for Art's sake"! And, so sick were people of the shoddy ornaments and drab ugliness of the immediate past, that the slogan won. At least, temporarily.

the rise and decline of the æsthetic philosophy

The Yellow Book, the organ of a group of young writers and artists, appeared (1894-97), representing a reasoned and intellectual reaction, mainly suggested and influenced by the French. The group of contributors was a peculiarly mixed one with only one thing in common. And that was a conscious effort to repudiate the sugary airs and prim romantics of the Victorian Era.

Almost the first act of the "new" men was to rouse and outrage their immediate predecessors. This end-of-the-century desire to shock, which was so strong and natural an impulse, still has a place of its own—especially as an antidote, a harsh corrective. Mid-Victorian propriety and self-satisfaction crumbled under the swift and energetic audacities of the sensational younger authors and artists; the old walls fell; the public, once so apathetic to belles lettres, was more than attentive to every phase of literary experimentation. The last decade of the nineteenth century was so tolerant of novelty in art and ideas, that it would seem, says Holbrook Jackson in his penetrative summary, The Eighteen-Nineties, "as though the declining century wished to make amends for several decades of artistic monotony. It may indeed be something more than a coincidence that placed this decade at the close of a century, and fin de siècle may have been at once a swan song and a death-bed repentance."

But later on, the movement (if such it may be called), surfeited with its own excesses, fell into the mere poses of revolt; it degenerated into a half-hearted defense of artificialities.

It scarcely needed W. S. Gilbert (in Patience) or Robert Hichens (in The Green Carnation) to satirize its distorted attitudinizing. It strained itself to death; it became its own burlesque of the bizarre, an extravaganza of extravagance. "The period" (I am again quoting Holbrook Jackson) "was as certainly a period of decadence as it was a period of renaissance. The decadence was to be seen in a perverse and finicking glorification of the fine arts and mere artistic virtuosity on the one hand, and a militant commercial movement on the other.... The eroticism which became so prevalent in the verse of many of the younger poets was minor because it was little more than a pose—not because it was erotic.... It was a passing mood which gave the poetry of the hour a hothouse fragrance; a perfume faint yet unmistakable and strange."

But most of the elegant and disillusioned young men overshot their mark. Mere health reasserted itself; an inherent repressed vitality sought new channels. Arthur Symons deserted his hectic Muse, Richard Le Gallienne abandoned his preciosity, and the group began to disintegrate. The æsthetic philosophy was wearing thin; it had already begun to fray and reveal its essential shabbiness. Wilde himself possessed the three things which he said the English would never forgive—youth, power and enthusiasm. But in trying to make an exclusive cult of beauty, Wilde had also tried to make it evade actuality; he urged that art should not, in any sense, be a part of life but an escape from it. "The proper school to learn art in is not Life—but Art." And in the same essay ("The Decay of Lying") he wrote, "All bad Art comes from returning to Life and Nature, and elevating them into ideals." Elsewhere he said, "The first duty in life is to be as artificial as possible. What the second duty is no one has discovered."

Such a cynical and decadent philosophy could not go unchallenged. Its aristocratic blue-bloodedness was bound to arouse the red blood of common reality. This negative attitude received its answer in the work of that yea-sayer, W. E. Henley.

william ernest henley

Henley repudiated this languid æstheticism; he scorned a negative art which was out of touch with the world. His was a large and sweeping affirmation. He felt that mere existence was glorious; life was coarse, difficult, often dangerous and dirty, but splendid at the heart. Art, he knew, could not be separated from the dreams and hungers of man; it could not flourish only on its own essences or technical accomplishments. To live, poetry would have to share the fears, angers, hopes and struggles of the prosaic world. And so Henley came like a swift salt breeze blowing through a perfumed and heavily-screened studio. He sang loudly (sometimes even too loudly) of the joy of living and the courage of the "unconquerable soul." He was a powerful influence not only as a poet but as a critic and editor. In the latter capacity he gathered about him such men as Robert Louis Stevenson, Rudyard Kipling, Thomas Hardy, H. G. Wells, W. B. Yeats, T. E. Brown, J. M. Barrie. None of these men were his disciples, but none of them came into contact with him without being influenced in some way by his sharp and positive personality. A pioneer and something of a prophet, he was one of the first to champion the paintings of Whistler and to proclaim the genius of the sculptor Rodin.

If at times Henley's verse is imperialistic, over-muscular and strident, his noisy moments are redeemed not only by his delicate lyrics but by his passionate enthusiasm for nobility in whatever cause it was joined. He never disdained the actual world in any of its moods—bus-drivers, hospital interiors, scrubwomen, a panting train, the squalor of London's alleys, all found a voice in his lines—and his later work contains more than a hint of the delight in science and machinery which was later to be sounded more fully in the work of Rudyard Kipling.

the celtic revival and j. m. synge

In 1889, William Butler Yeats published his Wanderings of Oisin; in the same year Douglas Hyde, the scholar and folk-lorist, brought out his Book of Gaelic Stories.

The revival of Gaelic and the renascence of Irish literature may be said to date from the publication of those two books. The fundamental idea of both men and their followers was the same. It was to create a literature which would express the national consciousness of Ireland through a purely national art. They began to reflect the strange background of dreams, politics, suffering and heroism that is immortally Irish. This community of fellowship and aims is to be found in the varied but allied work of William Butler Yeats, "A. E." (George W. Russell), Moira O'Neill, Lionel Johnson, Katharine Tynan, Padraic Colum and others. The first fervor gone, a short period of dullness set in. After reanimating the old myths, surcharging the legendary heroes with a new significance, it seemed for a while that the movement would lose itself in a literary mysticism. But an increasing concern with the peasant, the migratory laborer, the tramp, followed; an interest that was something of a reaction against the influence of Yeats and his mystic otherworldliness. And, in 1904, the Celtic Revival reached its height with John Millington Synge, who was not only the greatest dramatist of the Irish Theatre, but (to quote such contrary critics as George Moore and Harold Williams) "one of the greatest dramatists who has written in English." Synge's poetry, brusque and all too small in quantity, was a minor occupation with him and yet the quality and power of it is unmistakable. Its content is never great but the raw vigor in it was to serve as a bold banner—a sort of a brilliant Jolly Roger—for the younger men of the following period. It was not only this dramatist's brief verses and his intensely musical prose but his sharp prefaces that were to exercise such an influence.

In the notable introduction to the Playboy of the Western World, Synge declared, "When I was writing The Shadow of the Glen some years ago, I got more aid than any learning could have given me from a chink in the floor of the old Wicklow house where I was staying, that let me hear what was being said by the servant girls in the kitchen. This matter is, I think, of some importance; for in countries where the imagination of the people, and the language they use, is rich and living, it is possible for a writer to be rich and copious in his words—and at the same time to give the reality which is at the root of all poetry, in a natural and comprehensive form." This quotation explains his idiom, possibly the sharpest-flavored and most vivid in modern literature.

As to Synge's poetic power, it is unquestionably greatest in his plays. In The Well of the Saints, The Playboy of the Western World and Riders to the Sea there are more poignance, beauty of form and richness of language than in any piece of dramatic writing since Elizabethan times. Yeats, when he first heard Synge's early one-act play, The Shadow of the Glen, is said to have exclaimed "Euripides." A half year later when Synge read him Riders to the Sea, Yeats again confined his enthusiasm to a single word:—"Æschylus!" Years have shown that Yeats's appreciation was not as exaggerated as many might suppose.

But although Synge's poetry was not his major concern, numbering only twenty-four original pieces and eighteen translations, it had a surprising effect upon his followers. It marked a point of departure, a reaction against both the too-polished and over-rhetorical verse of his immediate predecessors and the dehumanized mysticism of many of his associates. In that memorable preface to his Poems he wrote what was a slogan, a manifesto and at the same time a classic credo for all that we call the "new" poetry. "I have often thought," it begins, "that at the side of poetic diction, which everyone condemns, modern verse contains a great deal of poetic material, using 'poetic' in the same special sense. The poetry of exaltation will be always the highest; but when men lose their poetic feeling for ordinary life and cannot write poetry of ordinary things, their exalted poetry is likely to lose its strength of exaltation in the way that men cease to build beautiful churches when they have lost happiness in building shops.... Even if we grant that exalted poetry can be kept successfully by itself, the strong things of life are needed in poetry also, to show that what is exalted or tender is not made by feeble blood."

rudyard kipling

New tendencies are contagious. But they also disclose themselves simultaneously in places and people where there has been no point of contact. Even before Synge published his proofs of the keen poetry in everyday life, Kipling was illuminating, in a totally different manner, the wealth of poetic material in things hitherto regarded as too commonplace for poetry. Before literary England had quite recovered from its surfeit of Victorian priggishness and pre-Raphaelite delicacy, Kipling came along with high spirits and a great tide of life, sweeping all before him. An obscure Anglo-Indian journalist, the publication of his Barrack-room Ballads in 1892 brought him sudden notice. By 1895 he was internationally famous. Brushing over the pallid attempts to revive a pallid past, he rode triumphantly on a wave of buoyant and sometimes brutal joy in the present. Kipling gloried in the material world; he did more—he glorified it. He pierced the coarse exteriors of seemingly prosaic things—things like machinery, bridge-building, cockney soldiers, slang, steam, the dirty by-products of science (witness "M'Andrews Hymn" and "The Bell Buoy")—and uncovered their hidden glamour. "Romance is gone," sighed most of his contemporaries,

"... and all unseen
Romance brought up the nine-fifteen."

That sentence (from his poem "The King") contains the key to the manner in which the author of The Five Nations helped to rejuvenate English verse.

Kipling, with his perception of ordinary people in terms of ordinary life, was one of the strongest links between the Wordsworth-Browning era and the latest apostles of vigor, beginning with Masefield. There are occasional and serious defects in Kipling's work—particularly in his more facile poetry; he falls into a journalistic ease that tends to turn into jingle; he is fond of a militaristic drum-banging that is as blatant as the insularity he condemns. But a burning, if sometimes too simple faith, shines through his achievements. His best work reveals an intensity that crystallizes into beauty what was originally tawdry, that lifts the vulgar and incidental to the place of the universal.

john masefield

All art is a twofold revivifying—a recreation of subject and a reanimating of form. And poetry becomes perennially "new" by returning to the old—with a different consciousness, a greater awareness. In 1911, when art was again searching for novelty, John Masefield created something startling and new by going back to 1385 and The Canterbury Pilgrims. Employing both the Chaucerian model and a form similar to the practically forgotten Byronic stanza, Masefield wrote in rapid succession, The Everlasting Mercy (1911), The Widow in the Bye Street (1912), Dauber (1912), The Daffodil Fields (1913)—four astonishing rhymed narratives and four of the most remarkable poems of our generation. Expressive of every rugged phase of life, these poems, uniting old and new manners, responded to Synge's proclamation that "the strong things of life are needed in poetry also ... and it may almost be said that before verse can be human again it must be brutal."

Masefield brought back to poetry that mixture of beauty and brutality which is its most human and enduring quality. He brought back that rich and almost vulgar vividness which is the very life-blood of Chaucer, of Shakespeare, of Burns, of Villon, of Heine—and of all those who were not only great artists but great humanists. As a purely descriptive poet, he can take his place with the masters of sea and landscape. As an imaginative realist, he showed those who were stumbling from one wild eccentricity to another to thrill them, that they themselves were wilder, stranger, far more thrilling than anything in the world—or out of it. Few things in contemporary poetry are as powerful as the regeneration of Saul Kane (in The Everlasting Mercy) or the story of Dauber, the tale of a tragic sea-voyage and a dreaming youth who wanted to be a painter. The vigorous description of rounding Cape Horn in the latter poem is superbly done, a masterpiece in itself. Masefield's later volumes are quieter in tone, more measured in technique; there is an almost religious ring to many of his Shakespearian sonnets. But the swinging surge is there, a passionate strength that leaps through all his work from Salt Water Ballads (1902) to Reynard the Fox (1919).

"the georgians" and the younger men

There is no sharp statistical line of demarcation between Masefield and the younger men. Although several of them owe much to him, most of the younger poets speak in accents of their own. W. W. Gibson had already reinforced the "return to actuality" by turning from his first preoccupation with shining knights, faultless queens, ladies in distress and all the paraphernalia of hackneyed mediæval romances, to write about ferrymen, berry-pickers, stone-cutters, farmers, printers, circus-men, carpenters—dramatizing (though sometimes theatricalizing) the primitive emotions of uncultured and ordinary people in Livelihood, Daily Bread and Fires. This intensity had been asking new questions. It found its answers in the war; repressed emotionalism discovered a new outlet. One hears its echoes in the younger poets like Siegfried Sassoon, with his poignant and unsparing poems of conflict; in Robert Graves, who reflects it in a lighter and more fantastic vein; in James Stephens, whose wild ingenuities are redolent of the soil. And it finds its corresponding opposite in the limpid and unperturbed loveliness of Ralph Hodgson; in the ghostly magic and the nursery-rhyme whimsicality of Walter de la Mare; in the quiet and delicate lyrics of W. H. Davies. Among the others, the brilliant G. K. Chesterton, the facile Alfred Noyes, the romantic Rupert Brooke (who owes less to Masefield and his immediate predecessors than he does to the passionately intellectual Donne), the introspective D. H. Lawrence and the versatile J. C. Squire, are perhaps best known to American readers.

All of the poets mentioned in the foregoing paragraph (with the exception of Noyes) have formed themselves in a loose group called "The Georgians," and an anthology of their best work has appeared every two years since 1913. Masefield, Lascelles Abercrombie and John Drinkwater are also listed among the Georgian poets. When their first collection appeared in March, 1913, Henry Newbolt, a critic as well as poet, wrote: "These younger poets have no temptation to be false. They are not for making something 'pretty,' something up to the standard of professional patterns.... They write as grown men walk, each with his own unconscious stride and gesture.... In short, they express themselves and seem to steer without an effort between the dangers of innovation and reminiscence." The secret of this success, and for that matter, the success of the greater portion of English poetry, is not an exclusive discovery of the Georgian poets. It is their inheritance, derived from those predecessors who, "from Wordsworth and Coleridge onward, have worked for the assimilation of verse to the manner and accent of natural speech." In its adaptability no less than in its vigor, modern English poetry is true to its period—and its past.

This collection is obviously a companion volume to Modern American Poetry, which, in its restricted compass, attempted to act as an introduction to recent native verse. Modern British Poetry covers the same period (from about 1870 to 1920), follows the same chronological scheme, but it is more amplified and goes into far greater detail than its predecessor.

The two volumes, considered together, furnish interesting contrasts; they reveal certain similarities and certain strange differences. Broadly speaking, modern American verse is sharp, vigorously experimental; full of youth and its occasional—and natural—crudities. English verse is smoother, more matured and, molded by centuries of literature, richer in associations and surer in artistry. Where the American output is often rude, extremely varied and uncoördinated (being the expression of partly indigenous, partly naturalized and largely unassimilated ideas, emotions, and races), the English product is formulated, precise and, in spite of its fluctuations, true to its past. It goes back to traditions as old as Chaucer (witness the narratives of Masefield and Gibson) or tendencies as classic as Drayton, Herrick and Blake—as in the frank lyrics of A. E. Housman, the artless lyricism of Ralph Hodgson, the naïf wonder of W. H. Davies. And if English poetry may be compared to a broad and luxuriating river (while American poetry might be described as a sudden rush of unconnected mountain torrents, valley streams and city sluices), it will be inspiring to observe how its course has been temporarily deflected in the last forty years; how it has swung away from one tendency toward another; and how, for all its bends and twists, it has lost neither its strength nor its nobility.

L. U.

New York City.
January, 1920.

MODERN BRITISH POETRY

Thomas Hardy

Thomas Hardy was born in 1840, and has for years been famous on both sides of the Atlantic as a writer of intense and sombre novels. His Tess of the D'Urbervilles and Jude the Obscure are possibly his best known, although his Wessex Tales and Life's Little Ironies are no less imposing.

It was not until he was almost sixty, in 1898 to be precise, that Hardy abandoned prose and challenged attention as a poet. The Dynasts, a drama of the Napoleonic Wars, is in three parts, nineteen acts and one hundred and thirty scenes, a massive and most amazing contribution to contemporary art. It is the apotheosis of Hardy the novelist. Lascelles Abercrombie calls this work, which is partly a historical play, partly a visionary drama, "the biggest and most consistent exhibition of fatalism in literature." While its powerful simplicity and tragic impressiveness overshadow his shorter poems, many of his terse lyrics reveal the same vigor and impact of a strong personality. His collected poems were published by The Macmillan Company in 1919 and reveal another phase of one of the greatest living writers of English.

IN TIME OF "THE BREAKING OF NATIONS"

Only a man harrowing clods
In a slow silent walk,
With an old horse that stumbles and nods
Half asleep as they stalk.

Only thin smoke without flame
From the heaps of couch grass:
Yet this will go onward the same
Though Dynasties pass.

Yonder a maid and her wight
Come whispering by;
War's annals will fade into night
Ere their story die.

GOING AND STAYING

The moving sun-shapes on the spray,
The sparkles where the brook was flowing,
Pink faces, plightings, moonlit May,—
These were the things we wished would stay;
But they were going.

Seasons of blankness as of snow,
The silent bleed of a world decaying,
The moan of multitudes in woe,—
These were the things we wished would go;
But they were staying.

THE MAN HE KILLED
(From "The Dynasts")

"Had he and I but met
By some old ancient inn,
We should have sat us down to wet
Right many a nipperkin!

"But ranged as infantry,
And staring face to face,
I shot at him as he at me,
And killed him in his place.

"I shot him dead because—
Because he was my foe,
Just so: my foe of course he was;
That's clear enough; although

"He thought he'd 'list, perhaps,
Off-hand like—just as I—
Was out of work—had sold his traps—
No other reason why.

"Yes; quaint and curious war is!
You shoot a fellow down
You'd treat, if met where any bar is,
Or help to half-a-crown."

Robert Bridges

Robert Bridges was born in 1844 and educated at Eton and Corpus Christi College, Oxford. After traveling extensively, he studied medicine in London and practiced until 1882. Most of his poems, like his occasional plays, are classical in tone as well as treatment. He was appointed poet laureate in 1913, following Alfred Austin. His command of the secrets of rhythm and a subtle versification give his lines a firm delicacy and beauty of pattern.

WINTER NIGHTFALL

The day begins to droop,—
Its course is done:
But nothing tells the place
Of the setting sun.

The hazy darkness deepens,
And up the lane
You may hear, but cannot see,
The homing wain.

An engine pants and hums
In the farm hard by:
Its lowering smoke is lost
In the lowering sky.

The soaking branches drip,
And all night through
The dropping will not cease
In the avenue.

A tall man there in the house
Must keep his chair:
He knows he will never again
Breathe the spring air:

His heart is worn with work;
He is giddy and sick
If he rise to go as far
As the nearest rick:

He thinks of his morn of life,
His hale, strong years;
And braves as he may the night
Of darkness and tears.

NIGHTINGALES

Beautiful must be the mountains whence ye come,
And bright in the fruitful valleys the streams, wherefrom
Ye learn your song:
Where are those starry woods? O might I wander there,
Among the flowers, which in that heavenly air
Bloom the year long!

Nay, barren are those mountains and spent the streams:
Our song is the voice of desire, that haunts our dreams,
A throe of the heart,
Whose pining visions dim, forbidden hopes profound,
No dying cadence nor long sigh can sound,
For all our art.

Alone, aloud in the raptured ear of men
We pour our dark nocturnal secret; and then,
As night is withdrawn
From these sweet-springing meads and bursting boughs of May,
Dream, while the innumerable choir of day
Welcome the dawn.

Arthur O'Shaughnessy

The Irish-English singer, Arthur William Edgar O'Shaughnessy, was born in London in 1844. He was connected, for a while, with the British Museum, and was transferred later to the Department of Natural History. His first literary success, Epic of Women (1870), promised a brilliant future for the young poet, a promise strengthened by his Music and Moonlight (1874). Always delicate in health, his hopes were dashed by periods of illness and an early death in London in 1881.

The poem here reprinted is not only O'Shaughnessy's best, but is, because of its perfect blending of music and message, one of the immortal classics of our verse.

ODE

We are the music-makers,
And we are the dreamers of dreams,
Wandering by lone sea-breakers,
And sitting by desolate streams;
World-losers and world-forsakers,
On whom the pale moon gleams:
Yet we are the movers and shakers
Of the world for ever, it seems.

With wonderful deathless ditties
We build up the world's great cities,
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song's measure
Can trample an empire down.

We, in the ages lying
In the buried past of the earth,
Built Nineveh with our sighing,
And Babel itself with our mirth;
And o'erthrew them with prophesying
To the old of the new world's worth;
For each age is a dream that is dying,
Or one that is coming to birth.

William Ernest Henley

William Ernest Henley was born in 1849 and was educated at the Grammar School of Gloucester. From childhood he was afflicted with a tuberculous disease which finally necessitated the amputation of a foot. His Hospital Verses, those vivid precursors of current free verse, were a record of the time when he was at the infirmary at Edinburgh; they are sharp with the sights, sensations, even the actual smells of the sickroom. In spite (or, more probably, because) of his continued poor health, Henley never ceased to worship strength and energy; courage and a triumphant belief in a harsh world shine out of the athletic London Voluntaries (1892) and the lightest and most musical lyrics in Hawthorn and Lavender (1898).

The bulk of Henley's poetry is not great in volume. He has himself explained the small quantity of his work in a Preface to his Poems, first published by Charles Scribner's Sons in 1898. "A principal reason," he says, "is that, after spending the better part of my life in the pursuit of poetry, I found myself (about 1877) so utterly unmarketable that I had to own myself beaten in art, and to indict myself to journalism for the next ten years." Later on, he began to write again—"old dusty sheaves were dragged to light; the work of selection and correction was begun; I burned much; I found that, after all, the lyrical instinct had slept—not died."

After a brilliant and varied career (see Preface), devoted mostly to journalism, Henley died in 1903.

INVICTUS

Out of the night that covers me,
Black as the Pit from pole to pole,
I thank whatever gods may be
For my unconquerable soul.

In the fell clutch of circumstance
I have not winced nor cried aloud.
Under the bludgeonings of chance
My head is bloody, but unbowed.

Beyond this place of wrath and tears
Looms but the Horror of the shade,
And yet the menace of the years
Finds, and shall find, me unafraid.

It matters not how strait the gate,
How charged with punishments the scroll,
I am the master of my fate:
I am the captain of my soul.

THE BLACKBIRD

The nightingale has a lyre of gold,
The lark's is a clarion call,
And the blackbird plays but a boxwood flute,
But I love him best of all.

For his song is all of the joy of life,
And we in the mad, spring weather,
We two have listened till he sang
Our hearts and lips together.

A BOWL OF ROSES

It was a bowl of roses:
There in the light they lay,
Languishing, glorying, glowing
Their life away.

And the soul of them rose like a presence,
Into me crept and grew,
And filled me with something—some one—
O, was it you?

BEFORE

Behold me waiting—waiting for the knife.
A little while, and at a leap I storm
The thick sweet mystery of chloroform,
The drunken dark, the little death-in-life.
The gods are good to me: I have no wife,
No innocent child, to think of as I near
The fateful minute; nothing all-too dear
Unmans me for my bout of passive strife.

Yet I am tremulous and a trifle sick,
And, face to face with chance, I shrink a little:
My hopes are strong, my will is something weak.
Here comes the basket? Thank you. I am ready
But, gentlemen my porters, life is brittle:
You carry Cæsar and his fortunes—Steady!

MARGARITÆ SORORI

A late lark twitters from the quiet skies;
And from the west,
Where the sun, his day's work ended,
Lingers as in content,
There falls on the old, grey city
An influence luminous and serene,
A shining peace.

The smoke ascends
In a rosy-and-golden haze. The spires
Shine, and are changed. In the valley
Shadows rise. The lark sings on. The sun,
Closing his benediction,
Sinks, and the darkening air
Thrills with a sense of the triumphing night—
Night with her train of stars
And her great gift of sleep.

So be my passing!
My task accomplished and the long day done,
My wages taken, and in my heart
Some late lark singing,
Let me be gathered to the quiet west,
The sundown splendid and serene,
Death.

Robert Louis Stevenson

Robert Louis Stevenson was born at Edinburgh in 1850. He was at first trained to be a lighthouse engineer, following the profession of his family. However, he studied law instead; was admitted to the bar in 1875; and abandoned law for literature a few years later.

Though primarily a novelist, Stevenson has left one immortal book of poetry which is equally at home in the nursery and the library: A Child's Garden of Verses (first published in 1885) is second only to Mother Goose's own collection in its lyrical simplicity and universal appeal. Underwoods (1887) and Ballads (1890) comprise his entire poetic output. As a genial essayist, he is not unworthy to be ranked with Charles Lamb. As a romancer, his fame rests securely on Kidnapped, the unfinished masterpiece, Weir of Hermiston, and that eternal classic of youth, Treasure Island.

Stevenson died after a long and dogged fight with his illness, in the Samoan Islands in 1894.

SUMMER SUN

Great is the sun, and wide he goes
Through empty heaven without repose;
And in the blue and glowing days
More thick than rain he showers his rays.

Though closer still the blinds we pull
To keep the shady parlour cool,
Yet he will find a chink or two
To slip his golden fingers through.

The dusty attic, spider-clad,
He, through the keyhole, maketh glad;
And through the broken edge of tiles
Into the laddered hay-loft smiles.

Meantime his golden face around
He bares to all the garden ground,
And sheds a warm and glittering look
Among the ivy's inmost nook.

Above the hills, along the blue,
Round the bright air with footing true,
To please the child, to paint the rose,
The gardener of the World, he goes.

WINTER-TIME

Late lies the wintry sun a-bed,
A frosty, fiery sleepy-head;
Blinks but an hour or two; and then,
A blood-red orange, sets again.

Before the stars have left the skies,
At morning in the dark I rise;
And shivering in my nakedness,
By the cold candle, bathe and dress.

Close by the jolly fire I sit
To warm my frozen bones a bit;
Or with a reindeer-sled, explore
The colder countries round the door.

When to go out, my nurse doth wrap
Me in my comforter and cap;
The cold wind burns my face, and blows
Its frosty pepper up my nose.

Black are my steps on silver sod;
Thick blows my frosty breath abroad;
And tree and house, and hill and lake,
Are frosted like a wedding-cake.

ROMANCE

I will make you brooches and toys for your delight
Of bird-song at morning and star-shine at night.
I will make a palace fit for you and me,
Of green days in forests and blue days at sea.

I will make my kitchen, and you shall keep your room,
Where white flows the river and bright blows the broom,
And you shall wash your linen and keep your body white
In rainfall at morning and dewfall at night.

And this shall be for music when no one else is near,
The fine song for singing, the rare song to hear!
That only I remember, that only you admire,
Of the broad road that stretches and the roadside fire.

REQUIEM

Under the wide and starry sky
Dig the grave and let me lie:
Glad did I live and gladly die,
And I laid me down with a will.

This be the verse you 'grave for me:
Here he lies where he long'd to be;
Home is the sailor, home from the sea,
And the hunter home from the hill.

Alice Meynell

Alice Meynell was born in London in 1850. She was educated at home and spent a great part of her childhood in Italy. She has written little, but that little is on an extremely high plane; her verses are simple, pensive and always distinguished. The best of her work is in Poems (1903).

A THRUSH BEFORE DAWN

A voice peals in this end of night
A phrase of notes resembling stars,
Single and spiritual notes of light.
What call they at my window-bars?
The South, the past, the day to be,
An ancient infelicity.

Darkling, deliberate, what sings
This wonderful one, alone, at peace?
What wilder things than song, what things
Sweeter than youth, clearer than Greece,
Dearer than Italy, untold
Delight, and freshness centuries old?

And first first-loves, a multitude,
The exaltation of their pain;
Ancestral childhood long renewed;
And midnights of invisible rain;
And gardens, gardens, night and day,
Gardens and childhood all the way.

What Middle Ages passionate,
O passionless voice! What distant bells
Lodged in the hills, what palace state
Illyrian! For it speaks, it tells,
Without desire, without dismay,
Some morrow and some yesterday.

All-natural things! But more—Whence came
This yet remoter mystery?
How do these starry notes proclaim
A graver still divinity?
This hope, this sanctity of fear?
O innocent throat! O human ear!

Fiona Macleod
(William Sharp)

William Sharp was born at Garthland Place, Scotland, in 1855. He wrote several volumes of biography and criticism, published a book of plays greatly influenced by Maeterlinck (Vistas) and was editor of "The Canterbury Poets" series.

His feminine alter ego, Fiona Macleod, was a far different personality. Sharp actually believed himself possessed of another spirit; under the spell of this other self, he wrote several volumes of Celtic tales, beautiful tragic romances and no little unusual poetry. Of the prose stories written by Fiona Macleod, the most barbaric and vivid are those collected in The Sin-Eater and Other Tales; the longer Pharais, A Romance of the Isles, is scarcely less unique.

In the ten years, 1882-1891, William Sharp published four volumes of rather undistinguished verse. In 1896 From the Hills of Dream appeared over the signature of Fiona Macleod; The Hour of Beauty, an even more distinctive collection, followed shortly. Both poetry and prose were always the result of two sharply differentiated moods constantly fluctuating; the emotional mood was that of Fiona Macleod, the intellectual and, it must be admitted the more arresting, was that of William Sharp.

He died in 1905.

THE VALLEY OF SILENCE

In the secret Valley of Silence
No breath doth fall;
No wind stirs in the branches;
No bird doth call:
As on a white wall
A breathless lizard is still,
So silence lies on the valley
Breathlessly still.

In the dusk-grown heart of the valley
An altar rises white:
No rapt priest bends in awe
Before its silent light:
But sometimes a flight
Of breathless words of prayer
White-wing'd enclose the altar,
Eddies of prayer.

THE VISION

In a fair place
Of whin and grass,
I heard feet pass
Where no one was.

I saw a face
Bloom like a flower—
Nay, as the rainbow-shower
Of a tempestuous hour.

It was not man, or woman:
It was not human:
But, beautiful and wild,
Terribly undefiled,
I knew an unborn child.

Oscar Wilde

Oscar Wilde was born at Dublin, Ireland, in 1856, and even as an undergraduate at Oxford he was marked for a brilliant career. When he was a trifle over 21 years of age, he won the Newdigate Prize with his poem Ravenna.

Giving himself almost entirely to prose, he speedily became known as a writer of brilliant epigrammatic essays and even more brilliant paradoxical plays such as An Ideal Husband and The Importance of Being Earnest. His aphorisms and flippancies were quoted everywhere; his fame as a wit was only surpassed by his notoriety as an æsthete. (See Preface.)

Most of his poems in prose (such as The Happy Prince, The Birthday of the Infanta and The Fisherman and His Soul) are more imaginative and richly colored than his verse; but in one long poem, The Ballad of Reading Gaol (1898), he sounded his deepest, simplest and most enduring note. Prison was, in many ways, a regeneration for Wilde. It not only produced The Ballad of Reading Gaol but made possible his most poignant piece of writing, De Profundis, only a small part of which has been published. Salomé, which has made the author's name a household word, was originally written in French in 1892 and later translated into English by Lord Alfred Douglas, accompanied by the famous illustrations by Aubrey Beardsley. More recently this heated drama, based on the story of Herod and Herodias, was made into an opera by Richard Strauss.

Wilde's society plays, flashing and cynical, were the forerunners of Bernard Shaw's audacious and far more searching ironies. One sees the origin of a whole school of drama in such epigrams as "The history of woman is the history of the worst form of tyranny the world has ever known: the tyranny of the weak over the strong. It is the only tyranny that lasts." Or "There is only one thing in the world worse than being talked about, and that is not being talked about."

Wilde died at Paris, November 30, 1900.

REQUIESCAT

Tread lightly, she is near
Under the snow,
Speak gently, she can hear
The daisies grow.

All her bright golden hair
Tarnished with rust,
She that was young and fair
Fallen to dust.

Lily-like, white as snow,
She hardly knew
She was a woman, so
Sweetly she grew.

Coffin-board, heavy stone,
Lie on her breast;
I vex my heart alone,
She is at rest.

Peace, peace; she cannot hear
Lyre or sonnet;
All my life's buried here,
Heap earth upon it.

IMPRESSION DU MATIN

The Thames nocturne of blue and gold
Changed to a harmony in grey;
A barge with ochre-coloured hay
Dropt from the wharf: and chill and cold

The yellow fog came creeping down
The bridges, till the houses' walls
Seemed changed to shadows, and St. Paul's
Loomed like a bubble o'er the town.

Then suddenly arose the clang
Of waking life; the streets were stirred
With country waggons; and a bird
Flew to the glistening roofs and sang.

But one pale woman all alone,
The daylight kissing her wan hair,
Loitered beneath the gas lamps' flare,
With lips of flame and heart of stone.

John Davidson

John Davidson was born at Barrhead, Renfrewshire, in 1857. His Ballads and Songs (1895) and New Ballads (1897) attained a sudden but too short-lived popularity, and his great promise was quenched by an apathetic public and by his own growing disillusion and despair. His sombre yet direct poetry never tired of repeating his favorite theme: "Man is but the Universe grown conscious."

Davidson died by his own hand in 1909.

A BALLAD OF HELL

'A letter from my love to-day!
Oh, unexpected, dear appeal!'
She struck a happy tear away,
And broke the crimson seal.

'My love, there is no help on earth,
No help in heaven; the dead-man's bell
Must toll our wedding; our first hearth
Must be the well-paved floor of hell.'

The colour died from out her face,
Her eyes like ghostly candles shone;
She cast dread looks about the place,
Then clenched her teeth and read right on.

'I may not pass the prison door;
Here must I rot from day to day,
Unless I wed whom I abhor,
My cousin, Blanche of Valencay.

'At midnight with my dagger keen,
I'll take my life; it must be so.
Meet me in hell to-night, my queen,
For weal and woe.'

She laughed although her face was wan,
She girded on her golden belt,
She took her jewelled ivory fan,
And at her glowing missal knelt.

Then rose, 'And am I mad?' she said:
She broke her fan, her belt untied;
With leather girt herself instead,
And stuck a dagger at her side.

She waited, shuddering in her room,
Till sleep had fallen on all the house.
She never flinched; she faced her doom:
They two must sin to keep their vows.

Then out into the night she went,
And, stooping, crept by hedge and tree;
Her rose-bush flung a snare of scent,
And caught a happy memory.

She fell, and lay a minute's space;
She tore the sward in her distress;
The dewy grass refreshed her face;
She rose and ran with lifted dress.

She started like a morn-caught ghost
Once when the moon came out and stood
To watch; the naked road she crossed,
And dived into the murmuring wood.

The branches snatched her streaming cloak;
A live thing shrieked; she made no stay!
She hurried to the trysting-oak—
Right well she knew the way.

Without a pause she bared her breast,
And drove her dagger home and fell,
And lay like one that takes her rest,
And died and wakened up in hell.

She bathed her spirit in the flame,
And near the centre took her post;
From all sides to her ears there came
The dreary anguish of the lost.

The devil started at her side,
Comely, and tall, and black as jet.
'I am young Malespina's bride;
Has he come hither yet?'

'My poppet, welcome to your bed.'
'Is Malespina here?'
'Not he! To-morrow he must wed
His cousin Blanche, my dear!'

'You lie, he died with me to-night.'
'Not he! it was a plot' ... 'You lie.'
'My dear, I never lie outright.'
'We died at midnight, he and I.'

The devil went. Without a groan
She, gathered up in one fierce prayer,
Took root in hell's midst all alone,
And waited for him there.

She dared to make herself at home
Amidst the wail, the uneasy stir.
The blood-stained flame that filled the dome,
Scentless and silent, shrouded her.

How long she stayed I cannot tell;
But when she felt his perfidy,
She marched across the floor of hell;
And all the damned stood up to see.

The devil stopped her at the brink:
She shook him off; she cried, 'Away!'
'My dear, you have gone mad, I think.'
'I was betrayed: I will not stay.'

Across the weltering deep she ran;
A stranger thing was never seen:
The damned stood silent to a man;
They saw the great gulf set between.

To her it seemed a meadow fair;
And flowers sprang up about her feet
She entered heaven; she climbed the stair
And knelt down at the mercy-seat.

Seraphs and saints with one great voice
Welcomed that soul that knew not fear.
Amazed to find it could rejoice,
Hell raised a hoarse, half-human cheer.

IMAGINATION
(From "New Year's Eve")

There is a dish to hold the sea,
A brazier to contain the sun,
A compass for the galaxy,
A voice to wake the dead and done!

That minister of ministers,
Imagination, gathers up
The undiscovered Universe,
Like jewels in a jasper cup.

Its flame can mingle north and south;
Its accent with the thunder strive;
The ruddy sentence of its mouth
Can make the ancient dead alive.

The mart of power, the fount of will,
The form and mould of every star,
The source and bound of good and ill,
The key of all the things that are,

Imagination, new and strange
In every age, can turn the year;
Can shift the poles and lightly change
The mood of men, the world's career.

William Watson

William Watson was born at Burley-in-Wharfedale, Yorkshire, August 2, 1858. He achieved his first wide success through his long and eloquent poems on Wordsworth, Shelley, and Tennyson—poems that attempted, and sometimes successfully, to combine the manners of these masters. The Hope of the World (1897) contains some of his most characteristic verse.

It was understood that he would be appointed poet laureate upon the death of Alfred Austin. But some of his radical and semi-political poems are supposed to have displeased the powers at Court, and the honor went to Robert Bridges. His best work, which is notable for its dignity and moulded imagination, may be found in Selected Poems, published in 1903 by John Lane Co.

ODE IN MAY[1]

Let me go forth, and share
The overflowing Sun
With one wise friend, or one
Better than wise, being fair,
Where the pewit wheels and dips
On heights of bracken and ling,
And Earth, unto her leaflet tips,
Tingles with the Spring.

What is so sweet and dear
As a prosperous morn in May,
The confident prime of the day,
And the dauntless youth of the year,
When nothing that asks for bliss,
Asking aright, is denied,
And half of the world a bridegroom is,
And half of the world a bride?

The Song of Mingling flows,
Grave, ceremonial, pure,
As once, from lips that endure,
The cosmic descant rose,
When the temporal lord of life,
Going his golden way,
Had taken a wondrous maid to wife
That long had said him nay.

For of old the Sun, our sire,
Came wooing the mother of men,
Earth, that was virginal then,
Vestal fire to his fire.
Silent her bosom and coy,
But the strong god sued and pressed;
And born of their starry nuptial joy
Are all that drink of her breast.

And the triumph of him that begot,
And the travail of her that bore,
Behold, they are evermore
As warp and weft in our lot.
We are children of splendour and flame,
Of shuddering, also, and tears.
Magnificent out of the dust we came,
And abject from the Spheres.

O bright irresistible lord,
We are fruit of Earth's womb, each one,
And fruit of thy loins, O Sun,
Whence first was the seed outpoured.
To thee as our Father we bow,
Forbidden thy Father to see,
Who is older and greater than thou, as thou
Art greater and older than we.

Thou art but as a word of his speech,
Thou art but as a wave of his hand;
Thou art brief as a glitter of sand
'Twixt tide and tide on his beach;
Thou art less than a spark of his fire,
Or a moment's mood of his soul:
Thou art lost in the notes on the lips of his choir
That chant the chant of the Whole.

ESTRANGEMENT[2]

So, without overt breach, we fall apart,
Tacitly sunder—neither you nor I
Conscious of one intelligible Why,
And both, from severance, winning equal smart.
So, with resigned and acquiescent heart,
Whene'er your name on some chance lip may lie,
I seem to see an alien shade pass by,
A spirit wherein I have no lot or part.

Thus may a captive, in some fortress grim,
From casual speech betwixt his warders, learn
That June on her triumphal progress goes
Through arched and bannered woodlands; while for him
She is a legend emptied of concern,
And idle is the rumour of the rose.

SONG

April, April,
Laugh thy girlish laughter;
Then, the moment after,
Weep thy girlish tears,
April, that mine ears
Like a lover greetest,
If I tell thee, sweetest,
All my hopes and fears.
April, April,
Laugh thy golden laughter,
But, the moment after,
Weep thy golden tears!

FOOTNOTES:

[1] From The Hope of the World by William Watson. Copyright, 1897, by John Lane Company. Reprinted by permission of the publishers.

[2] From The Hope of the World by William Watson. Copyright, 1897, by John Lane Company. Reprinted by permission of the publishers.

Francis Thompson

Born in 1859 at Preston, Francis Thompson was educated at Owen's College, Manchester. Later he tried all manner of strange ways of earning a living. He was, at various times, assistant in a boot-shop, medical student, collector for a book seller and homeless vagabond; there was a period in his life when he sold matches on the streets of London. He was discovered in terrible poverty (having given up everything except poetry and opium) by the editor of a magazine to which he had sent some verses the year before. Almost immediately thereafter he became famous. His exalted mysticism is seen at its purest in "A Fallen Yew" and "The Hound of Heaven." Coventry Patmore, the distinguished poet of an earlier period, says of the latter poem, which is unfortunately too long to quote, "It is one of the very few great odes of which our language can boast."

Thompson died, after a fragile and spasmodic life, in St. John's Wood in November, 1907.

DAISY

Where the thistle lifts a purple crown
Six foot out of the turf,
And the harebell shakes on the windy hill—
O breath of the distant surf!—

The hills look over on the South,
And southward dreams the sea;
And with the sea-breeze hand in hand
Came innocence and she.

Where 'mid the gorse the raspberry
Red for the gatherer springs;
Two children did we stray and talk
Wise, idle, childish things.

She listened with big-lipped surprise,
Breast-deep 'mid flower and spine:
Her skin was like a grape whose veins
Run snow instead of wine.

She knew not those sweet words she spake,
Nor knew her own sweet way;
But there's never a bird, so sweet a song
Thronged in whose throat all day.

Oh, there were flowers in Storrington
On the turf and on the spray;
But the sweetest flower on Sussex hills
Was the Daisy-flower that day!

Her beauty smoothed earth's furrowed face.
She gave me tokens three:—
A look, a word of her winsome mouth,
And a wild raspberry.

A berry red, a guileless look,
A still word,—strings of sand!
And yet they made my wild, wild heart
Fly down to her little hand.

For standing artless as the air,
And candid as the skies,
She took the berries with her hand,
And the love with her sweet eyes.

The fairest things have fleetest end,
Their scent survives their close:
But the rose's scent is bitterness
To him that loved the rose.

She looked a little wistfully,
Then went her sunshine way:—
The sea's eye had a mist on it,
And the leaves fell from the day.

She went her unremembering way,
She went and left in me
The pang of all the partings gone,
And partings yet to be.