Chapter I: Shall Not Die for Thee (1)

For thee, I shall not die,
Woman of high fame and name;
Foolish men thou mayest slay
I and they are not the same.

Why should I expire
For the fire of an eye,
Slender waist or swan-like limb,
Is't for them that I should die?

The round breasts, the fresh skin,
Cheeks crimson, hair so long and rich;
Indeed, indeed, I shall not die,
Please God, not I, for any such.

The golden hair, the forehead thin,
The chaste mien, the gracious ease,
The rounded heel, the languid tone,--
Fools alone find death from these.

Thy sharp wit, thy perfect calm,
Thy thin palm like foam o' the sea;
Thy white neck, thy blue eye,
I shall not die for thee.

Woman, graceful as the swan,
A wise man did nurture me.
Little palm, white neck, bright eye,
I shall not die for ye.

_Amy Levy_

Amy Levy, a singularly gifted Jewess, was born at Clapham, in 1861. A fiery young poet, she burdened her own intensity with the sorrows of her race. She wrote one novel, _Reuben Sachs_, and two volumes of poetry--the more distinctive of the two being half-pathetically and half-ironically entitled _A Minor Poet_ (1884). After several years of brooding introspection, she committed suicide in 1889 at the age of 28.

EPITAPH

(_On a commonplace person who died in bed_)

This is the end of him, here he lies:
The dust in his throat, the worm in his eyes,
The mould in his mouth, the turf on his breast;
This is the end of him, this is best.
He will never lie on his couch awake,
Wide-eyed, tearless, till dim daybreak.
Never again will he smile and smile
When his heart is breaking all the while.
He will never stretch out his hands in vain
Groping and groping--never again.
Never ask for bread, get a stone instead,
Never pretend that the stone is bread;
Nor sway and sway 'twixt the false and true,
Weighing and noting the long hours through.
Never ache and ache with the choked-up sighs;
This is the end of him, here he lies.

IN THE MILE END ROAD

How like her! But 'tis she herself,
Comes up the crowded street,
How little did I think, the morn,
My only love to meet!

Who else that motion and that mien?
Whose else that airy tread?
For one strange moment I forgot
My only love was dead.

_Katharine Tynan Hinkson_

Katharine Tynan was born at Dublin in 1861, and educated at the Convent of St. Catherine at Drogheda. She married Henry Hinkson, a lawyer and author, in 1893. Her poetry is largely actuated by religious themes, and much of her verse is devotional and yet distinctive. In _New Poems_ (1911) she is at her best; graceful, meditative and with occasional notes of deep pathos.

SHEEP AND LAMBS

All in the April morning,
April airs were abroad;
The sheep with their little lambs
Pass'd me by on the road.

The sheep with their little lambs
Pass'd me by on the road;
All in an April evening
I thought on the Lamb of God.

The lambs were weary, and crying
With a weak human cry;
I thought on the Lamb of God
Going meekly to die.

Up in the blue, blue mountains
Dewy pastures are sweet:
Rest for the little bodies,
Rest for the little feet.

Rest for the Lamb of God
Up on the hill-top green;
Only a cross of shame
Two stark crosses between.

All in the April evening,
April airs were abroad;
I saw the sheep with their lambs,
And thought on the Lamb of God.

ALL-SOULS

The door of Heaven is on the latch
To-night, and many a one is fain
To go home for one's night's watch
With his love again.

Oh, where the father and mother sit
There's a drift of dead leaves at the door
Like pitter-patter of little feet
That come no more.

Their thoughts are in the night and cold,
Their tears are heavier than the clay,
But who is this at the threshold
So young and gay?

They are come from the land o' the young,
They have forgotten how to weep;
Words of comfort on the tongue,
And a kiss to keep.

They sit down and they stay awhile,
Kisses and comfort none shall lack;
At morn they steal forth with a smile
And a long look back.

_Owen Seaman_

One of the most delightful of English versifiers, Owen Seaman, was born in 1861. After receiving a classical education, he became Professor of Literature and began to write for Punch in 1894. In 1906 he was made editor of that internationally famous weekly, remaining in that capacity ever since. He was knighted in 1914. As a writer of light verse and as a parodist, his agile work has delighted a generation of admirers. Some of his most adroit lines may be found in his _In Cap and Bells_ (1902) and _The Battle of the Bays_ (1892).

TO AN OLD FOGEY

(_Who Contends that Christmas is Played Out_)

O frankly bald and obviously stout!
And so you find that Christmas as a fete
Dispassionately viewed, is getting out
Of date.

The studied festal air is overdone;
The humour of it grows a little thin;
You fail, in fact, to gather where the fun
Comes in.

Visions of very heavy meals arise
That tend to make your organism shiver;
Roast beef that irks, and pies that agonise
The liver;

Those pies at which you annually wince,
Hearing the tale how happy months will follow
Proportioned to the total mass of mince
You swallow.

Visions of youth whose reverence is scant,
Who with the brutal _verve_ of boyhood's prime
Insist on being taken to the pant-
-omime.

Of infants, sitting up extremely late,
Who run you on toboggans down the stair;
Or make you fetch a rug and simulate
A bear.

This takes your faultless trousers at the knees,
The other hurts them rather more behind;
And both effect a fracture in your ease
Of mind.

My good dyspeptic, this will never do;
Your weary withers must be sadly wrung!
Yet once I well believe that even you
Were young.

Time was when you devoured, like other boys,
Plum-pudding sequent on a turkey-hen;
With cracker-mottos hinting of the joys
Of men.

Time was when 'mid the maidens you would pull
The fiery raisin with profound delight;
When sprigs of mistletoe seemed beautiful
And right.

Old Christmas changes not! Long, long ago
He won the treasure of eternal youth;
_Yours_ is the dotage--if you want to know
The truth.

Come, now, I'll cure your case, and ask no fee:--
Make others' happiness this once your own;
All else may pass: that joy can never be
Outgrown!

THOMAS OF THE LIGHT HEART

Facing the guns, he jokes as well
As any Judge upon the Bench;
Between the crash of shell and shell
His laughter rings along the trench;
He seems immensely tickled by a
Projectile while he calls a "Black Maria."

He whistles down the day-long road,
And, when the chilly shadows fall
And heavier hangs the weary load,
Is he down-hearted? Not at all.
'Tis then he takes a light and airy
View of the tedious route to Tipperary.[4]

His songs are not exactly hymns;
He never learned them in the choir;
And yet they brace his dragging limbs
Although they miss the sacred fire;
Although his choice and cherished gems
Do not include "The Watch upon the Thames."

He takes to fighting as a game;
He does no talking, through his hat,
Of holy missions; all the same
He has his faith--be sure of that;
He'll not disgrace his sporting breed,
Nor play what isn't cricket. There's his creed.

FOOTNOTES:

[4] "_It's a long way to Tipperary_," the most popular song of the Allied armies during the World's War.

_Henry Newbolt_

Henry Newbolt was born at Bilston in 1862. His early work was frankly imitative of Tennyson; he even attempted to add to the Arthurian legends with a drama in blank verse entitled _Mordred_ (1895). It was not until he wrote his sea-ballads that he struck his own note. With the publication of _Admirals All_ (1897) his fame was widespread. The popularity of his lines was due not so much to the subject-matter of Newbolt's verse as to the breeziness of his music, the solid beat of rhythm, the vigorous swing of his stanzas.

In 1898 Newbolt published _The Island Race_, which contains about thirty more of his buoyant songs of the sea. Besides being a poet, Newbolt has written many essays and his critical volume, _A New Study of English Poetry_ (1917), is a collection of articles that are both analytical and alive.

DRAKE'S DRUM

Drake he's in his hammock an' a thousand mile away,
(Capten, art tha sleepin' there below?)
Slung atween the round shot in Nombre Dios Bay,
An' dreamin' arl the time o' Plymouth Hoe.
Yarnder lumes the island, yarnder lie the ships,
Wi' sailor lads a-dancin' heel-an'-toe,
An' the shore-lights flashin', an' the night-tide dashin'
He sees et arl so plainly as he saw et long ago.

Drake he was a Devon man, an' ruled the Devon seas,
(Capten, art tha sleepin' there below?),
Rovin' tho' his death fell, he went wi' heart at ease,
An' dreamin' arl the time o' Plymouth Hoe,
"Take my drum to England, hang et by the shore,
Strike et when your powder's runnin' low;
If the Dons sight Devon, I'll quit the port o' Heaven,
An' drum them up the Channel as we drummed them long ago."

Drake he's in his hammock till the great Armadas come,
(Capten, art tha sleepin' there below?),
Slung atween the round shot, listenin' for the drum,
An' dreamin' arl the time o' Plymouth Hoe.
Call him on the deep sea, call him up the Sound,
Call him when ye sail to meet the foe;
Where the old trade's plyin' an' the old flag flyin',
They shall find him, ware an' wakin', as they found him long ago.

_Arthur Symons_

Born in 1865, Arthur Symons' first few publications revealed an intellectual rather than an emotional passion. Those volumes were full of the artifice of the period, but Symons's technical skill and frequent analysis often saved the poems from complete decadence. His later books are less imitative; the influence of Verlaine and Baudelaire is not so apparent; the sophistication is less cynical, the sensuousness more restrained. His various collections of essays and stories reflect the same peculiar blend of rich intellectuality and perfumed romanticism that one finds in his most characteristic poems.

Of his many volumes in prose, _Spiritual Adventures_ (1905), while obviously influenced by Walter Pater, is by far the most original; a truly unique volume of psychological short stories. The best of his poetry up to 1902 was collected in two volumes, _Poems_, published by John Lane Co. _The Fool of the World_ appeared in 1907.

IN THE WOOD OF FINVARA

I have grown tired of sorrow and human tears;
Life is a dream in the night, a fear among fears,
A naked runner lost in a storm of spears.

I have grown tired of rapture and love's desire;
Love is a flaming heart, and its flames aspire
Till they cloud the soul in the smoke of a windy fire.

I would wash the dust of the world in a soft green flood;
Here between sea and sea, in the fairy wood,
I have found a delicate, wave-green solitude.

Here, in the fairy wood, between sea and sea,
I have heard the song of a fairy bird in a tree,
And the peace that is not in the world has flown to me.

MODERN BEAUTY

I am the torch, she saith, and what to me
If the moth die of me? I am the flame
Of Beauty, and I burn that all may see
Beauty, and I have neither joy nor shame,
But live with that clear light of perfect fire
Which is to men the death of their desire.

I am Yseult and Helen, I have seen
Troy burn, and the most loving knight lie dead.
The world has been my mirror, time has been
My breath upon the glass; and men have said,
Age after age, in rapture and despair,
Love's poor few words, before my image there.

I live, and am immortal; in my eyes
The sorrow of the world, and on my lips
The joy of life, mingle to make me wise;
Yet now the day is darkened with eclipse:
Who is there still lives for beauty? Still am I
The torch, but where's the moth that still dares die?

_William Butler Yeats_

Born at Sandymount, Dublin, in 1865, the son of John B. Yeats, the Irish artist, the greater part of William Butler Yeats' childhood was spent in Sligo. Here he became imbued with the power and richness of native folk-lore; he drank in the racy quality through the quaint fairy stories and old wives' tales of the Irish peasantry. (Later he published a collection of these same stories.)

It was in the activities of a "Young Ireland" society that Yeats became identified with the new spirit; he dreamed of a national poetry that would be written in English and yet would be definitely Irish. In a few years he became one of the leaders in the Celtic revival. He worked incessantly for the cause, both as propagandist and playwright; and, though his mysticism at times seemed the product of a cult rather than a Celt, his symbolic dramas were acknowledged to be full of a haunting, other-world spirituality. (See Preface.) _The Hour Glass_ (1904), his second volume of "Plays for an Irish Theatre," includes his best one-act dramas with the exception of his unforgettable _The Land of Heart's Desire_ (1894). _The Wind Among the Reeds_ (1899) contains several of his most beautiful and characteristic poems.

Others who followed Yeats have intensified the Irish drama; they have established a closer contact between the peasant and poet. No one, however, has had so great a part in the shaping of modern drama in Ireland as Yeats. His _Deirdre_ (1907), a beautiful retelling of the great Gaelic legend, is far more dramatic than the earlier plays; it is particularly interesting to read with Synge's more idiomatic play on the same theme, _Deirdre of the Sorrows_.

The poems of Yeats which are quoted here reveal him in his most lyric and musical vein.

THE LAKE ISLE OF INNISFREE

I will arise and go now, and go to Innisfree,
And a small cabin build there, of clay and wattles made;
Nine bean rows will I have there, a hive for the honey bee,
And live alone in the bee-loud glade.

And I shall have some peace there, for peace comes dropping slow,
Dropping from the veils of the morning to where the cricket sings;
There midnight's all a glimmer, and noon a purple glow,
And evening full of the linnet's wings.

I will arise and go now, for always night and day
I hear lake water lapping with low sounds by the shore;
While I stand on the roadway, or on the pavements gray,
I hear it in the deep heart's core.

THE SONG OF THE OLD MOTHER

I rise in the dawn, and I kneel and blow
Till the seed of the fire flicker and glow.
And then I must scrub, and bake, and sweep,
Till stars are beginning to blink and peep;
But the young lie long and dream in their bed
Of the matching of ribbons, the blue and the red,
And their day goes over in idleness,
And they sigh if the wind but lift up a tress.
While I must work, because I am old
And the seed of the fire gets feeble and cold.

THE CAP AND BELLS

A Queen was beloved by a jester,
And once when the owls grew still
He made his soul go upward
And stand on her window sill.

In a long and straight blue garment,
It talked before morn was white,
And it had grown wise by thinking
Of a footfall hushed and light.

But the young queen would not listen;
She rose in her pale nightgown,
She drew in the brightening casement
And pushed the brass bolt down.

He bade his heart go to her,
When the bats cried out no more,
In a red and quivering garment
It sang to her through the door.

The tongue of it sweet with dreaming
Of a flutter of flower-like hair,
But she took up her fan from the table
And waved it off on the air.

'I've cap and bells,' he pondered,
'I will send them to her and die.'
And as soon as the morn had whitened
He left them where she went by.

She laid them upon her bosom,
Under a cloud of her hair,
And her red lips sang them a love song.
The stars grew out of the air.

She opened her door and her window,
And the heart and the soul came through,
To her right hand came the red one,
To her left hand came the blue.

They set up a noise like crickets,
A chattering wise and sweet,
And her hair was a folded flower,
And the quiet of love her feet.

AN OLD SONG RESUNG

Down by the salley gardens my love and I did meet;
She passed the salley gardens with little snow-white feet.
She bid me take love easy, as the leaves grow on the tree;
But I, being young and foolish, with her would not agree.

In a field by the river my love and I did stand,
And on my leaning shoulder she laid her snow-white hand.
She bid me take life easy, as the grass grows on the weirs;
But I was young and foolish, and now am full of tears.

_Rudyard Kipling_

Born at Bombay, India, December 30, 1865, Rudyard Kipling, the author of a dozen contemporary classics, was educated in England. He returned, however, to India and took a position on the staff of "The Lahore Civil and Military Gazette," writing for the Indian press until about 1890, when he went to England, where he has lived ever since, with the exception of a short sojourn in America.

Even while he was still in India he achieved a popular as well as a literary success with his dramatic and skilful tales, sketches and ballads of Anglo-Indian life.

_Soldiers Three_ (1888) was the first of six collections of short stories brought out in "Wheeler's Railway Library." They were followed by the far more sensitive and searching _Plain Tales from the Hills_, _Under the Deodars_ and _The Phantom 'Rikshaw_, which contains two of the best and most convincing ghost-stories in recent literature.

These tales, however, display only one side of Kipling's extraordinary talents. As a writer of children's stories, he has few living equals. _Wee Willie Winkie_, which contains that stirring and heroic fragment "Drums of the Fore and Aft," is only a trifle less notable than his more obviously juvenile collections. _Just-So Stories_ and the two _Jungle Books_ (prose interspersed with lively rhymes) are classics for young people of all ages. _Kim_, the novel of a super-Mowgli grown up, is a more mature masterpiece.

Considered solely as a poet (see Preface) he is one of the most vigorous and unique figures of his time. The spirit of romance surges under his realities. His brisk lines conjure up the tang of a countryside in autumn, the tingle of salt spray, the rude sentiment of ruder natures, the snapping of a banner, the lurch and rumble of the sea. His poetry is woven of the stuff of myths; but it never loses its hold on actualities. Kipling himself in his poem "The Benefactors" (from _The Years Between_ [1919]) writes:

Ah! What avails the classic bent
And what the cultured word,
Against the undoctored incident
That actually occurred?

Kipling won the Nobel Prize for Literature in 1907. His varied poems have finally been collected in a remarkable one-volume _Inclusive Edition_ (1885-1918), an indispensable part of any student's library. This gifted and prolific creator, whose work was affected by the war, has frequently lapsed into bombast and a journalistic imperialism. At his best he is unforgettable, standing mountain-high above his host of imitators. His home is at Burwash, Sussex.

GUNGA DIN

You may talk o' gin an' beer
When you're quartered safe out 'ere,
An' you're sent to penny-fights an' Aldershot it;
But if it comes to slaughter
You will do your work on water,
An' you'll lick the bloomin' boots of 'im that's got it
Now in Injia's sunny clime,
Where I used to spend my time
A-servin' of 'Er Majesty the Queen,
Of all them black-faced crew
The finest man I knew
Was our regimental _bhisti_,[5] Gunga Din.

It was "Din! Din! Din!
You limping lump o' brick-dust, Gunga Din!
Hi! _slippy hitherao!_
Water, get it! _Panee lao!_[6]
You squidgy-nosed old idol, Gunga Din!"

The uniform 'e wore
Was nothin' much before,
An' rather less than 'arf o' that be'ind,
For a twisty piece o' rag
An' a goatskin water-bag
Was all the field-equipment 'e could find.
When the sweatin' troop-train lay
In a sidin' through the day,
Where the 'eat would make your bloomin' eyebrows crawl,
We shouted "_Harry By!_"[7]
Till our throats were bricky-dry,
Then we wopped 'im 'cause 'e couldn't serve us all.

It was "Din! Din! Din!
You 'eathen, where the mischief 'ave you been?
You put some _juldees_[8] in it,
Or I'll _marrow_[9] you this minute,
If you don't fill up my helmet, Gunga Din!"

'E would dot an' carry one
Till the longest day was done,
An' 'e didn't seem to know the use o' fear.
If we charged or broke or cut,
You could bet your bloomin' nut,
'E'd be waitin' fifty paces right flank rear.
With 'is _mussick_[10] on 'is back,
'E would skip with our attack,
An' watch us till the bugles made "Retire."
An' for all 'is dirty 'ide,
'E was white, clear white, inside
When 'e went to tend the wounded under fire!

It was "Din! Din! Din!"
With the bullets kickin' dust-spots on the green.
When the cartridges ran out,
You could 'ear the front-files shout:
"Hi! ammunition-mules an' Gunga Din!"

I sha'n't forgit the night
When I dropped be'ind the fight
With a bullet where my belt-plate should 'a' been.
I was chokin' mad with thirst,
An' the man that spied me first
Was our good old grinnin', gruntin' Gunga Din.
'E lifted up my 'ead,
An' 'e plugged me where I bled,
An' 'e guv me 'arf-a-pint o' water--green;
It was crawlin' an' it stunk,
But of all the drinks I've drunk,
I'm gratefullest to one from Gunga Din.

It was "Din! Din! Din!
'Ere's a beggar with a bullet through 'is spleen;
'E's chawin' up the ground an' 'e's kickin' all around:
For Gawd's sake, git the water, Gunga Din!"

'E carried me away
To where a _dooli_ lay,
An' a bullet come an' drilled the beggar clean.
'E put me safe inside,
An' just before 'e died:
"I 'ope you liked your drink," sez Gunga Din.
So I'll meet 'im later on
In the place where 'e is gone--
Where it's always double drill and no canteen;
'E'll be squattin' on the coals
Givin' drink to pore damned souls,
An' I'll get a swig in Hell from Gunga Din!

Din! Din! Din!
You Lazarushian-leather Gunga Din!
Tho' I've belted you an' flayed you,
By the livin' Gawd that made you,
You're a better man than I am, Gunga Din!

THE RETURN[11]

Peace is declared, and I return
To 'Ackneystadt, but not the same;
Things 'ave transpired which made me learn
The size and meanin' of the game.
I did no more than others did,
I don't know where the change began;
I started as a average kid,
I finished as a thinkin' man.

_If England was what England seems
An not the England of our dreams,
But only putty, brass, an' paint,
'Ow quick we'd drop 'er!_ But she ain't!

Before my gappin' mouth could speak
I 'eard it in my comrade's tone;
I saw it on my neighbour's cheek
Before I felt it flush my own.
An' last it come to me--not pride,
Nor yet conceit, but on the 'ole
(If such a term may be applied),
The makin's of a bloomin' soul.

Rivers at night that cluck an' jeer,
Plains which the moonshine turns to sea,
Mountains that never let you near,
An' stars to all eternity;
An' the quick-breathin' dark that fills
The 'ollows of the wilderness,
When the wind worries through the 'ills--
These may 'ave taught me more or less.

Towns without people, ten times took,
An' ten times left an' burned at last;
An' starvin' dogs that come to look
For owners when a column passed;
An' quiet, 'omesick talks between
Men, met by night, you never knew
Until--'is face--by shellfire seen--
Once--an' struck off. They taught me, too.

The day's lay-out--the mornin' sun
Beneath your 'at-brim as you sight;
The dinner-'ush from noon till one,
An' the full roar that lasts till night;
An' the pore dead that look so old
An' was so young an hour ago,
An' legs tied down before they're cold--
These are the things which make you know.

Also Time runnin' into years--
A thousand Places left be'ind--
An' Men from both two 'emispheres
Discussin' things of every kind;
So much more near than I 'ad known,
So much more great than I 'ad guessed--
An' me, like all the rest, alone--
But reachin' out to all the rest!

So 'ath it come to me--not pride,
Nor yet conceit, but on the 'ole
(If such a term may be applied),
The makin's of a bloomin' soul.
But now, discharged, I fall away
To do with little things again....
Gawd, 'oo knows all I cannot say,
Look after me in Thamesfontein!

_If England was what England seems
An' not the England of our dreams,
But only putty, brass, an' paint,
'Ow quick we'd chuck 'er!_ But she ain't!

THE CONUNDRUM OF THE WORKSHOPS

When the flush of a newborn sun fell first on Eden's
green and gold,
Our father Adam sat under the Tree and scratched with
a stick in the mold;
And the first rude sketch that the world had seen was
joy to his mighty heart,
Till the Devil whispered behind the leaves: "It's pretty,
but is it Art?"

Wherefore he called to his wife and fled to fashion
his work anew--
The first of his race who cared a fig for the first, most
dread review;
And he left his lore to the use of his sons--and that was
a glorious gain
When the Devil chuckled: "Is it Art?" in the ear of
the branded Cain.

They builded a tower to shiver the sky and wrench the
stars apart,
Till the Devil grunted behind the bricks: "It's striking,
but is it Art?"
The stone was dropped by the quarry-side, and the idle
derrick swung,
While each man talked of the aims of art, and each in
an alien tongue.

They fought and they talked in the north and the south,
they talked and they fought in the west,
Till the waters rose on the jabbering land, and the poor
Red Clay had rest--
Had rest till the dank blank-canvas dawn when the dove
was preened to start,
And the Devil bubbled below the keel: "It's human, but
is it Art?"

The tale is old as the Eden Tree--as new as the new-cut
tooth--
For each man knows ere his lip-thatch grows he is
master of Art and Truth;
And each man hears as the twilight nears, to the beat of
his dying heart,
The Devil drum on the darkened pane: "You did it,
but was it Art?"

We have learned to whittle the Eden Tree to the shape
of a surplice-peg,
We have learned to bottle our parents twain in the yolk
of an addled egg,
We know that the tail must wag the dog, as the horse
is drawn by the cart;
But the Devil whoops, as he whooped of old: "It's clever,
but is it Art?"

When the flicker of London's sun falls faint on the club-
room's green and gold,
The sons of Adam sit them down and scratch with their
pens in the mold--
They scratch with their pens in the mold of their graves,
and the ink and the anguish start
When the Devil mutters behind the leaves: "It's pretty,
but is it art?"

Now, if we could win to the Eden Tree where the four
great rivers flow,
And the wreath of Eve is red on the turf as she left it
long ago,
And if we could come when the sentry slept, and softly
scurry through,
By the favor of God we might know as much--as our
father Adam knew.

AN ASTROLOGER'S SONG[12]

To the Heavens above us
O look and behold
The Planets that love us
All harnessed in gold!
What chariots, what horses
Against us shall bide
While the Stars in their courses
Do fight on our side?

All thought, all desires,
That are under the sun,
Are one with their fires,
As we also are one:
All matter, all spirit,
All fashion, all frame,
Receive and inherit
Their strength from the same.

(Oh, man that deniest
All power save thine own,
Their power in the highest
Is mightily shown.
Not less in the lowest
That power is made clear.
Oh, man, if thou knowest,
What treasure is here!)

Earth quakes in her throes
And we wonder for why!
But the blind planet knows
When her ruler is nigh;
And, attuned since Creation
To perfect accord,
She thrills in her station
And yearns to her Lord.

The waters have risen,
The springs are unbound--
The floods break their prison,
And ravin around.
No rampart withstands 'em,
Their fury will last,
Till the Sign that commands 'em
Sinks low or swings past.

Through abysses unproven
And gulfs beyond thought,
Our portion is woven,
Our burden is brought.
Yet They that prepare it,
Whose Nature we share,
Make us who must bear is
Well able to bear.

Though terrors o'ertake us
We'll not be afraid.
No power can unmake us
Save that which has made.
Nor yet beyond reason
Or hope shall we fall--
All things have their season,
And Mercy crowns all!

Then, doubt not, ye fearful--
The Eternal is King--
Up, heart, and be cheerful,
And lustily sing:--
_What chariots, what horses
Against us shall bide
While the Stars in their courses
Do fight on our side?_

FOOTNOTES:

[5] The _bhisti_, or water-carrier, attached to regiments in India, is often one of the most devoted of the Queen's servants. He is also appreciated by the men.

[6] Bring water swiftly.

[7] Tommy Atkins' equivalent for "O Brother!"

[8] Speed.

[9] Hit you.

[10] Water-skin.

[11] From _The Five Nations_ by Rudyard Kipling. Copyright by Doubleday, Page & Co. and A. P. Watt & Son.

[12] From _Rewards and Fairies_ by Rudyard Kipling. Copyright by Doubleday, Page and Co. and A. P. Watt & Son.

_Richard Le Gallienne_

Richard Le Gallienne, who, in spite of his long residence in the United States, must be considered an English poet, was born at Liverpool in 1866. He entered on a business career soon after leaving Liverpool College, but gave up commercial life to become a man of letters after five or six years.

His early work was strongly influenced by the artificialities of the aesthetic movement (see Preface); the indebtedness to Oscar Wilde is especially evident. A little later Keats was the dominant influence, and _English Poems_ (1892) betray how deep were Le Gallienne's admirations. His more recent poems in _The Lonely Dancer_ (1913) show a keener individuality and a finer lyrical passion. His prose fancies are well known--particularly _The Book Bills of Narcissus_ and the charming and high-spirited fantasia, _The Quest of the Golden Girl_.

Le Gallienne came to America about 1905 and has lived ever since in Rowayton, Conn., and New York City.

A BALLAD OF LONDON

Ah, London! London! our delight,
Great flower that opens but at night,
Great City of the midnight sun,
Whose day begins when day is done.

Lamp after lamp against the sky
Opens a sudden beaming eye,
Leaping alight on either hand,
The iron lilies of the Strand.

Like dragonflies, the hansoms hover,
With jeweled eyes, to catch the lover;
The streets are full of lights and loves,
Soft gowns, and flutter of soiled doves.

The human moths about the light
Dash and cling close in dazed delight,
And burn and laugh, the world and wife,
For this is London, this is life!

Upon thy petals butterflies,
But at thy root, some say, there lies,
A world of weeping trodden things,
Poor worms that have not eyes or wings.

From out corruption of their woe
Springs this bright flower that charms us so,
Men die and rot deep out of sight
To keep this jungle-flower bright.

Paris and London, World-Flowers twain
Wherewith the World-Tree blooms again,
Since Time hath gathered Babylon,
And withered Rome still withers on.

Sidon and Tyre were such as ye,
How bright they shone upon the tree!
But Time hath gathered, both are gone,
And no man sails to Babylon.

REGRET

One asked of regret,
And I made reply:
To have held the bird,
And let it fly;
To have seen the star
For a moment nigh,
And lost it
Through a slothful eye;
To have plucked the flower
And cast it by;
To have one only hope--
To die.

_Lionel Johnson_

Born in 1867, Lionel Johnson received a classical education at Oxford, and his poetry is a faithful reflection of his studies in Greek and Latin literatures. Though he allied himself with the modern Irish poets, his Celtic origin is a literary myth; Johnson, having been converted to Catholicism in 1891, became imbued with Catholic and, later, with Irish traditions. His verse, while sometimes strained and over-decorated, is chastely designed, rich and, like that of the Cavalier poets of the seventeenth century, mystically devotional. _Poems_ (1895) contains his best work. Johnson died in 1902.

MYSTIC AND CAVALIER

Go from me: I am one of those who fall.
What! hath no cold wind swept your heart at all,
In my sad company? Before the end,
Go from me, dear my friend!

Yours are the victories of light: your feet
Rest from good toil, where rest is brave and sweet:
But after warfare in a mourning gloom,
I rest in clouds of doom.

Have you not read so, looking in these eyes?
Is it the common light of the pure skies,
Lights up their shadowy depths? The end is set:
Though the end be not yet.

When gracious music stirs, and all is bright,
And beauty triumphs through a courtly night;
When I too joy, a man like other men:
Yet, am I like them, then?

And in the battle, when the horsemen sweep
Against a thousand deaths, and fall on sleep:
Who ever sought that sudden calm, if I
Sought not? yet could not die!

Seek with thine eyes to pierce this crystal sphere:
Canst read a fate there, prosperous and clear?
Only the mists, only the weeping clouds,
Dimness and airy shrouds.

Beneath, what angels are at work? What powers
Prepare the secret of the fatal hours?
See! the mists tremble, and the clouds are stirred:
When comes the calling word?

The clouds are breaking from the crystal ball,
Breaking and clearing: and I look to fall.
When the cold winds and airs of portent sweep,
My spirit may have sleep.

O rich and sounding voices of the air!
Interpreters and prophets of despair:
Priests of a fearful sacrament! I come,
To make with you mine home.

TO A TRAVELLER

The mountains, and the lonely death at last
Upon the lonely mountains: O strong friend!
The wandering over, and the labour passed,
Thou art indeed at rest:
Earth gave thee of her best,
That labour and this end.

Earth was thy mother, and her true son thou:
Earth called thee to a knowledge of her ways,
Upon the great hills, up the great streams: now
Upon earth's kindly breast
Thou art indeed at rest:
Thou, and thine arduous days.

Fare thee well, O strong heart! The tranquil night
Looks calmly on thee: and the sun pours down
His glory over thee, O heart of might!
Earth gives thee perfect rest:
Earth, whom thy swift feet pressed:
Earth, whom the vast stars crown.

_Ernest Dowson_

Ernest Dowson was born at Belmont Hill in Kent in 1867. His great-uncle was Alfred Domett (Browning's "Waring"), who was at one time Prime Minister of New Zealand. Dowson, practically an invalid all his life, was reckless with himself and, as disease weakened him more and more, hid himself in miserable surroundings; for almost two years he lived in sordid supper-houses known as "cabmen's shelters." He literally drank himself to death.

His delicate and fantastic poetry was an attempt to escape from a reality too big and brutal for him. His passionate lyric, "I have been faithful to thee, Cynara! in my fashion," a triumph of despair and disillusion, is an outburst in which Dowson epitomized himself--"One of the greatest lyrical poems of our time," writes Arthur Symons, "in it he has for once said everything, and he has said it to an intoxicating and perhaps immortal music."

Dowson died obscure in 1900, one of the finest of modern minor poets. His life was the tragedy of a weak nature buffeted by a strong and merciless environment.

TO ONE IN BEDLAM

With delicate, mad hands, behind his sordid bars,
Surely he hath his posies, which they tear and twine;
Those scentless wisps of straw that, miserable, line
His strait, caged universe, whereat the dull world stares.

Pedant and pitiful. O, how his rapt gaze wars
With their stupidity! Know they what dreams divine
Lift his long, laughing reveries like enchanted wine,
And make his melancholy germane to the stars'?

O lamentable brother! if those pity thee,
Am I not fain of all thy lone eyes promise me;
Half a fool's kingdom, far from men who sow and reap,
All their days, vanity? Better than mortal flowers,
Thy moon-kissed roses seem: better than love or sleep,
The star-crowned solitude of thine oblivious hours!

YOU WOULD HAVE UNDERSTOOD ME

You would have understood me, had you waited;
I could have loved you, dear! as well as he:
Had we not been impatient, dear! and fated
Always to disagree.

What is the use of speech? Silence were fitter:
Lest we should still be wishing things unsaid.
Though all the words we ever spake were bitter,
Shall I reproach you, dead?

Nay, let this earth, your portion, likewise cover
All the old anger, setting us apart:
Always, in all, in truth was I your lover;
Always, I held your heart.

I have met other women who were tender,
As you were cold, dear! with a grace as rare.
Think you, I turned to them, or made surrender,
I who had found you fair?

Had we been patient, dear! ah, had you waited,
I had fought death for you, better than he:
But from the very first, dear! we were fated
Always to disagree.

Late, late, I come to you, now death discloses
Love that in life was not to be our part:
On your low lying mound between the roses,
Sadly I cast my heart.

I would not waken you: nay! this is fitter;
Death and the darkness give you unto me;
Here we who loved so, were so cold and bitter,
Hardly can disagree.

"_A. E._"

(_George William Russell_)

At Durgan, a tiny town in the north of Ireland, George William Russell was born in 1867. He moved to Dublin when he was 10 years old and, as a young man, helped to form the group that gave rise to the Irish Renascence--the group of which William Butler Yeats, Doctor Douglas Hyde, Katharine Tynan and Lady Gregory were brilliant members. Besides being a splendid mystical poet, "A. E." is a painter of note, a fiery patriot, a distinguished sociologist, a public speaker, a student of economics and one of the heads of the Irish Agricultural Association.

The best of his poetry is in _Homeward Songs by the Way_ (1894) and _The Earth Breath and Other Poems_. Yeats has spoken of these poems as "revealing in all things a kind of scented flame consuming them from within."

THE GREAT BREATH

Its edges foamed with amethyst and rose,
Withers once more the old blue flower of day:
There where the ether like a diamond glows,
Its petals fade away.

A shadowy tumult stirs the dusky air;
Sparkle the delicate dews, the distant snows;
The great deep thrills--for through it everywhere
The breath of Beauty blows.

I saw how all the trembling ages past,
Moulded to her by deep and deeper breath,
Near'd to the hour when Beauty breathes her last
And knows herself in death.

THE UNKNOWN GOD

Far up the dim twilight fluttered
Moth-wings of vapour and flame:
The lights danced over the mountains,
Star after star they came.

The lights grew thicker unheeded,
For silent and still were we;
Our hearts were drunk with a beauty
Our eyes could never see.

_Stephen Phillips_

Born in 1868, Stephen Phillips is best known as the author of _Herod_ (1900), _Paola and Francesca_ (1899), and _Ulysses_ (1902); a poetic playwright who succeeded in reviving, for a brief interval, the blank verse drama on the modern stage. Hailed at first with extravagant and almost incredible praise, Phillips lived to see his most popular dramas discarded and his new ones, such as _Pietro of Siena_ (1910), unproduced and unnoticed.

Phillips failed to "restore" poetic drama because he was, first of all, a lyric rather than a dramatic poet. In spite of certain moments of rhetorical splendor, his scenes are spectacular instead of emotional; his inspiration is too often derived from other models. He died in 1915.

FRAGMENT FROM "HEROD"

_Herod speaks_:
I dreamed last night of a dome of beaten gold
To be a counter-glory to the Sun.
There shall the eagle blindly dash himself,
There the first beam shall strike, and there the moon
Shall aim all night her argent archery;
And it shall be the tryst of sundered stars,
The haunt of dead and dreaming Solomon;
Shall send a light upon the lost in Hell,
And flashings upon faces without hope.--
And I will think in gold and dream in silver,
Imagine in marble and conceive in bronze,
Till it shall dazzle pilgrim nations
And stammering tribes from undiscovered lands,
Allure the living God out of the bliss,
And all the streaming seraphim from heaven.

BEAUTIFUL LIE THE DEAD

Beautiful lie the dead;
Clear comes each feature;
Satisfied not to be,
Strangely contented.

Like ships, the anchor dropped,
Furled every sail is;
Mirrored with all their masts
In a deep water.

A DREAM

My dead love came to me, and said:
'God gives me one hour's rest,
To spend with thee on earth again:
How shall we spend it best?'

'Why, as of old,' I said; and so
We quarrelled, as of old:
But, when I turned to make my peace,
That one short hour was told.

_Laurence Binyon_

Laurence Binyon was born at Lancaster, August 10, 1869, a cousin of Stephen Phillips; in _Primavera_ (1890) their early poems appeared together. Binyon's subsequent volumes showed little distinction until he published _London Visions_, which, in an enlarged edition in 1908, revealed a gift of characterization and a turn of speech in surprising contrast to his previous academic _Lyrical Poems_ (1894). His _Odes_ (1901) contains his ripest work; two poems in particular, "The Threshold" and "The Bacchanal of Alexander," are glowing and unusually spontaneous.

Binyon's power has continued to grow; age has given his verse a new sharpness. "The House That Was," one of his most recent poems, appeared in _The London Mercury_, November, 1919.

A SONG

For Mercy, Courage, Kindness, Mirth,
There is no measure upon earth.
Nay, they wither, root and stem,
If an end be set to them.

Overbrim and overflow,
If your own heart you would know;
For the spirit born to bless
Lives but in its own excess.

THE HOUSE THAT WAS

Of the old house, only a few crumbled
Courses of brick, smothered in nettle and dock,
Or a squared stone, lying mossy where it tumbled!
Sprawling bramble and saucy thistle mock
What once was firelit floor and private charm
Where, seen in a windowed picture, hills were fading
At dusk, and all was memory-coloured and warm,
And voices talked, secure from the wind's invading.

Of the old garden, only a stray shining
Of daffodil flames amid April's cuckoo-flowers,
Or a cluster of aconite mixt with weeds entwining!
But, dark and lofty, a royal cedar towers
By homely thorns: whether the white rain drifts
Or sun scorches, he holds the downs in ken,
The western vale; his branchy tiers he lifts,
Older than many a generation of men.

_Alfred Douglas_

Lord Alfred Douglas was born in 1870 and educated at Magdalen College, Oxford. He was the editor of _The Academy_ from 1907 to 1910 and was at one time the intimate friend of Oscar Wilde. One of the minor poets of "the eighteen-nineties," several of his poems rise above his own affectations and the end-of-the-century decadence. _The City of the Soul_ (1899) and _Sonnets_ (1900) contain his most graceful writing.

THE GREEN RIVER

I know a green grass path that leaves the field
And, like a running river, winds along
Into a leafy wood, where is no throng
Of birds at noon-day; and no soft throats yield
Their music to the moon. The place is sealed,
An unclaimed sovereignty of voiceless song,
And all the unravished silences belong
To some sweet singer lost, or unrevealed.

So is my soul become a silent place....
Oh, may I wake from this uneasy night
To find some voice of music manifold.
Let it be shape of sorrow with wan face,
Or love that swoons on sleep, or else delight
That is as wide-eyed as a marigold.

_T. Sturge Moore_

Thomas Sturge Moore was born March 4, 1870. He is well known not only as an author, but as a critic and wood-engraver. As an artist, he has achieved no little distinction and has designed the covers for the poetry of W. B. Yeats and others. As a poet, the greater portion of his verse is severely classical in tone, academic in expression but, of its kind, distinctive and intimate. Among his many volumes, the most outstanding are _The Vinedresser and Other Poems_ (1899), _A Sicilian Idyll_ (1911) and _The Sea Is Kind_ (1914).

THE DYING SWAN

O silver-throated Swan
Struck, struck! A golden dart
Clean through thy breast has gone
Home to thy heart.
Thrill, thrill, O silver throat!
O silver trumpet, pour
Love for defiance back
On him who smote!
And brim, brim o'er
With love; and ruby-dye thy track
Down thy last living reach
Of river, sail the golden light--
Enter the sun's heart--even teach
O wondrous-gifted Pain, teach Thou
The God of love, let him learn how!

SILENCE SINGS

So faint, no ear is sure it hears,
So faint and far;
So vast that very near appears
My voice, both here and in each star
Unmeasured leagues do bridge between;
Like that which on a face is seen
Where secrets are;
Sweeping, like veils of lofty balm,
Tresses unbound
O'er desert sand, o'er ocean calm,
I am wherever is not sound;
And, goddess of the truthful face,
My beauty doth instil its grace
That joy abound.

_William H. Davies_

According to his own biography, William H. Davies was born in a public-house called Church House at Newport, in the County of Monmouthshire, April 20, 1870, of Welsh parents. He was, until Bernard Shaw "discovered" him, a cattleman, a berry-picker, a panhandler--in short, a vagabond. In a preface to Davies' second book, _The Autobiography of a Super-Tramp_ (1906), Shaw describes how the manuscript came into his hands:

"In the year 1905 I received by post a volume of poems by one William H. Davies, whose address was The Farm House, Kensington, S. E. I was surprised to learn that there was still a farmhouse left in Kensington; for I did not then suspect that the Farm House, like the Shepherdess Walks and Nightingale Lane and Whetstone Parks of Bethnal Green and Holborn, is so called nowadays in irony, and is, in fact, a doss-house, or hostelry, where single men can have a night's lodging, for, at most, sixpence.... The author, as far as I could guess, had walked into a printer's or stationer's shop; handed in his manuscript; and ordered his book as he might have ordered a pair of boots. It was marked 'price, half a crown.' An accompanying letter asked me very civilly if I required a half-crown book of verses; and if so, would I please send the author the half crown: if not, would I return the book. This was attractively simple and sensible. I opened the book, and was more puzzled than ever; for before I had read three lines I perceived that the author was a real poet. His work was not in the least strenuous or modern; there was indeed no sign of his ever having read anything otherwise than as a child reads.... Here, I saw, was a genuine innocent, writing odds and ends of verse about odds and ends of things; living quite out of the world in which such things are usually done, and knowing no better (or rather no worse) than to get his book made by the appropriate craftsman and hawk it round like any other ware."

It is more than likely that Davies' first notoriety as a tramp-poet who had ridden the rails in the United States and had had his right foot cut off by a train in Canada, obscured his merits as a genuine singer. Even his early _The Soul's Destroyer_ (1907) revealed that simplicity which is as _naif_ as it is strange. The volumes that followed are more clearly melodious, more like the visionary wonder of Blake, more artistically artless.

With the exception of "The Villain," which has not yet appeared in book form, the following poems are taken from _The Collected Poems of W. H. Davies_ (1916) with the permission of the publisher, Alfred A. Knopf.

DAYS TOO SHORT

When primroses are out in Spring,
And small, blue violets come between;
When merry birds sing on boughs green,
And rills, as soon as born, must sing;

When butterflies will make side-leaps,
As though escaped from Nature's hand
Ere perfect quite; and bees will stand
Upon their heads in fragrant deeps;

When small clouds are so silvery white
Each seems a broken rimmed moon--
When such things are, this world too soon,
For me, doth wear the veil of Night.

THE MOON

Thy beauty haunts me heart and soul,
Oh, thou fair Moon, so close and bright;
Thy beauty makes me like the child
That cries aloud to own thy light:
The little child that lifts each arm
To press thee to her bosom warm.

Though there are birds that sing this night
With thy white beams across their throats,
Let my deep silence speak for me
More than for them their sweetest notes:
Who worships thee till music fails,
Is greater than thy nightingales.

THE VILLAIN

While joy gave clouds the light of stars,
That beamed where'er they looked;
And calves and lambs had tottering knees,
Excited, while they sucked;
While every bird enjoyed his song,
Without one thought of harm or wrong--
I turned my head and saw the wind,
Not far from where I stood,
Dragging the corn by her golden hair,
Into a dark and lonely wood.

THE EXAMPLE

Here's an example from
A Butterfly;
That on a rough, hard rock
Happy can lie;
Friendless and all alone
On this unsweetened stone.

Now let my bed be hard,
No care take I;
I'll make my joy like this
Small Butterfly;
Whose happy heart has power
To make a stone a flower.

_Hilaire Belloc_

Hilaire Belloc, who has been described as "a Frenchman, an Englishman, an Oxford man, a country gentleman, a soldier, a satirist, a democrat, a novelist, and a practical journalist," was born July 27, 1870. After leaving school he served as a driver in the 8th Regiment of French Artillery at Toul Meurthe-et-Moselle, being at that time a French citizen. He was naturalized as a British subject somewhat later, and in 1906 he entered the House of Commons as Liberal Member for South Salford.

As an author, he has engaged in multiple activities. He has written three satirical novels, one of which, _Mr. Clutterbuck's Election_, sharply exposes British newspapers and underground politics. His _Path to Rome_ (1902) is a high-spirited and ever-delightful travel book which has passed through many editions. His historical studies and biographies of _Robespierre_ and _Marie Antoinette_ (1909) are classics of their kind. As a poet he is only somewhat less engaging. His _Verses_ (1910) is a rather brief collection of poems on a wide variety of themes. Although his humorous and burlesque stanzas are refreshing, Belloc is most himself when he writes either of malt liquor or his beloved Sussex. Though his religious poems are full of a fine romanticism, "The South Country" is the most pictorial and persuasive of his serious poems. His poetic as well as his spiritual kinship with G. K. Chesterton is obvious.

THE SOUTH COUNTRY