Professional Documents
Culture Documents
OF
Ijifl^
I n\it*
/>V///W/
\hiri i
The
Little
Treasury Series
**
PROSE
Holmes
Itemed Editions
e7,*w**W)*
Coi-utunrr, 1051, BY
CHARLES SCIUBXKH'S
Printed
.SONS
America
<>i
Most
of the
poems
in Fart II of this
anthology
arc protected by copyright, and may wot be reproduced in any form without the consent ol
pugc cannot
legibly
accommodate
all
the
copyright notices, the opposite page and the two pages following it (pages v to vii) con
stitute
COPYRIGHT NOTICES
AND ACKNOWLEDGMENTS
"'
'
\,\] \ V
Thanks
'
V
'
are due the following poets, their copyright owners and their publishers for permission to reprint certain poems in this anthology:
JONATHAN CAPE LiMiTEi>(and Mrs. W. H. Davies) for the poems by W. H. Davies from Collected Poems', for the poems from A Map of Verona by Henry Reed CHATTO & WINDUS -for the poems by Wilfred Owen; for the poems by Peter Quennell; for "Legal Fiction" and "Letter I" by William Empson. CLARENDON PRESS for poems by Robert Bridges from the Poems in Classical Prosody of Robert Bridges, from October and Other Poems of Robert Bridges, from New Verse of Robert Bridges, from New Poems of Robert Bridges, all by pci mission of the Clarendon Press, Oxford. JOHN DAY COMPANY- for the poems from Selected Verse by John Mani fold, copyright, 1946, by The John Day Company. DIAL PRESS- for the poems reprinted from Adamastor, Poems, by Roy Campbell by permission of the Dial Press, Inc., copyright, 1931, by
the Dial Press, Inc. DODD, MEAD & COMPANY for the poems from The Collected Poems of Rupert Brooke, copyright, 1915, by Dodd, Mead & Company, Inc,, copyright, 1943, by Edward Marsh, reprinted by permission of Dodd, Mead & Co, DOUBLEDAY & COMPANY for the poems from Aegean Islands and Other Poems by Bernard Spencer, copyright, 1946, by Bernard Spencer, re for the poems printed by permission of Doubleday & Company, Inc by Eudyard Kipling from Departmental Ditties and Ballads and Barrack- Room Ballads by Rudyard Kipling, from The Seven Seas by
;
Rudyard Kipling, from The Jungle, Book by Rudyard Kipling,, from The Five Nations by Rudyard Kipling, all repiinted by permission of Mrs. George Bambiidge and Doubleday & Company, Inc. FABBR & FADER LIMITED for the poems from Collected Poems by T. S. Eliot; for "The Dry Salvages" from Four Quartets by T. S. Eliot; for the poem from A Private Country by Lawrence Durrell; for "Agamemnon's Tomb" from Giant Art by Sacheverell Sitwell; for the poems by George Barker from News of the World by George Barker and Sros in Dogma by George Barker; for the poems from The Lady with the Unicorn by Vernon Watkms; for the poems from The Gathering jStorm by William Empson; for the poems by Edwin Muir from The "Voyage and The Labyrinth by Edwin Muir and from A Little Book of Modern Verse edited by Anne Ridler. THE FORTUNE PRESS for four poems by Dylan Thomas from 18 Poems by Dylan Thomas. HARCOURT, BRACE & COMPANY for the poems by T. S. Eliot from Col lected Poems 1909-1935 by T. S. Eliot, copyright, 1936, by Harcourt, Brace and Company, Inc.; for "The Dry Salvages" from four Quar 1943, by T. S. Eliot, reprinted by permission of tets, copyright, Harcourt, Brace and Company, Inc. for the poems by William Emp son from Collected Poems, copyright, 1935, 1940, 1949, by William Empson, reprinted by permission of Harcourt, Brace and Company, for the poems by Henry Reed from A Map of Verona, copy Inc. right, 1947, by Henry Reed, reprinted by permission of Harcourt, Brace and Company, Inc. for the poem from A World Within a War,
;
and Company
'
''Spring "TO8'
ll
"il Dra*liKI
book by Roy
publisl^T^ByeiMojaHt^BBMg.
used with their permission; for the selection from The (fa ft of Brightness by F. R. Hig^ms, copyright, 1940, by The Maemillan Com pany and used with their permission; for the selections from Poems by Ralph Hodgson, copyright, 1945, by The Maemillan Company, and used with their permission. HAROLD MATOONfor the four poems by C. pay Lewis. MRS. ALIDA, MONRO for the two poems (from Collected Poems) by
Harold Monro.
FREDERICK LIMITED for the selection from The, Hoy With a Cart by Christopher Fry. NKW DIRECTIONS- for six poems by Dylan Thomas from Selected Writ
Mum
ings by Dylan Thomas, copyright, 1946, by Now Directioiw, QXFQRP UNIVERSITY PREKB, London for the selections by Gerard Manley Hopkins from The, Collected Poems of (Gerard Mantey Hopkins by permission of Oxford University Press, London. F. T. PRiNCB-for his poem "Holdiem Bathing" from New Pnem* M44, edited by Oscar Williams, copyright, 1944, by Oscar Williams, KATHLEKN RAINK for two poems, from titonc and JPlmwr by Kathleen
Raino.
RANDOM HOXJSR -for the selections by W. II. Auden from (Collected Poetry of W. H. Auden, copyright, 1945, by W, IL Auden; for iho selections from Another Time by W. H, Audon, copyright, 15)40, by W, IL Auden; for ilia selections by Stephen Hpender from Pocms copyright, 1934^ by Modern Library. Inc.; for the neluctionH fniiu Ruvn* and VISLOHB by Stephen Spender, copyright, 1042, by Htephen Spender; for the selections by Robert Graven from Collected Poem* by Robert Graves, reprinted by permission of Random llouwe, Inc, for the selections by Louis MacNcuu* front Poems WM ti)40, copyright, 1940, by Louis MucNoico, and from^prm^^oarc/, copyright, 1945, by Random House,, Inc., all by permission of Random lfoue, Ine. W. R. RODOKRH for the poems by W, tt. Hodgers from Awake! and Other Wartime Potxms, copyright, 1942, by W. U* RotlgWH, publinhed by Uarcourt Brace and (Company; from Ne>w Poems, 19$ t edit<d }t
t ;
1943,
by OHCOT
VI
Scribner's Sons. SOCIETY OF AUTHORS for selections by A. E, Housman by permission of The Society ot Authors as the Literary Representative of the Trustees of the Estate of the late A. E. Housman, and Messrs. Jonathan Cape, Ltd., publishers of A. E, Housman's Collected Poems. DYLAN THOMAS for five poems (exclusive of those poems acknowledged to The Fortune Press, Ann Watkins, Inc. and New Directions) fiom from The The of Love, published by J. M. Dent & Son, Ltd Atlantic Monthly, copyright, 1947, and copyright, 1951, by The Atlantic Monthly Company, and from The Hudson Review, copyright, 1950 by The Hudson Review, Inc. (The poem, In the White Oiant's Thigh, was revised in 1951 by Mr. Thomas, and appeared for the first time America in The Atlantic Monthly.) MRS. HELEN THOMAS for the poems by Edward Thomas. HENRY TBEKCB for hi two poems.
THE
Map
the selections from Last Poems by D. H. foi the selections 1933, by Frieda Lawrence Poems by D. H. Lawrence, copyright, 1929, by Jona from Collected than Cape and Harrison Hmith; for the selections from The Song of Lazarus by Alex Comfort, copyright, 1945, by Alex Comfort; for the selection from Finnvyans Wake by James Joyce, copyright, 1939, by JniucH Joyce, all reprinted by permission of The Viking Press, Inc.,
Lawrence, copyrighted,
New
York.
for
VEENON WATKINH
"Music
of Colours:
WATKINH, INC. for four poems (by Dylan Thomas) from IB Poems by Dylan Thomas, published by The Fortune Press. A. P. WATT & SON (and Mrs. George Bambndgo and The Macmillan Company of Canada) for the selections by Rudyard Kipling fiom ttarrack-lioom Ballads, The Seven Seas, The Second Jungle Book and The Five Nations for the poems by Robert Graves from Poems 10381946 by Robert Graves, published by Creative Age Press, copyright, 1946, by Robert Graves; ior "Homage to Texas" by Robert Graves, from The New Yorker, copyright, 1950, by The Yorker Magazine, Inc. and from Poems and Satirett, 1 9 fit by Robert Graves. OHCAR WILUAMH- for the poem "Klegy V" by George Barker, from New Poems 1043 edited by Oscar Williams, copyright, 1943, by Oscar
Poetry (Chicago).
ANN
Williams.
vii
Huysnwns
Sir Walter John Dry den, by unknown artist, Bodleian Library. Sir Philip Sidney, from the original by Sir. Ant. More. William Blake, from oil painting by Phillips. John Milton, from a print; by Faithorne. Emily Bronte, by "Branwdl Bronte. Robert Ilerrick, from a print by Marshall. Christina Georgina Rosaetti, by D. G. Rowetti. Lewis Carroll, portrait by Hcrkomer, Christ Church, Oxford Thomas Moore, from painting In/ Sir T. Lawrence, P.R.A.
of Rochester, from portrait Inj Jacob in the National Portrait Gallery. Ralegh, portrait in National Portrait Gallery.
Elliott 6- Pry,
Fry. Thompson, John Clare, portrait by W. Hilton, National Portrait Gallery Thomas Lovell Beddoes, from portrait by N. C. Branwhite, George Meredith, photograph by J. Thomson. William Butler Yeats from a charcoal drawing by John S Sargent, H,A James Stephens, Lafayette, Dublin, John Maaefield, Gillman and Soame. W. H. Dames, portrait by Harold Knight. Herbert Read, photograph by Charles Leirons. Vernon Watkins, portrait by Alfred /anew, photograph by
W.
Tal Williams.
F. H. Iliggins, photograph by Bachrach, Wilfred Given, from frontispiece in his first book of poems, published by Chatto 6- Windus in 1920,
Rupert Brooke, from a photograph by Sherril Schett. Dylan Thomas, portrait by Gene DerwoocL Robert Bridgesf photograph by Bachrach*
VIM
C ontents
See ALPHABETICAL INDEX OF AUTHORS
&
INTRODUCTION
Part
I:
The Chef
Ballads ...
6-
Poets,
3
Sir
1500
to
1QOO
203 203 205 211 213 217 225 232 238
17 31
Suckling
Gartright
Crashaw
Lovelace
33
of
35 38
Abraham Cowlcy Andrew Marvell Henry Vaughan Thomas Traherne John Dry den
John Wilmot, Earl of
Rochester
Sir
Edward Dyer
Spenser
Edmund
45 50 56 58
65 66 Chidiock Tichborne 67 Robert Southwell 69 Samuel Daniel 70 Michael Drat/ton Christopher 'Marlowe ..71 William Shakespeare ... 74 112 Thomas Nashe 112 Thomas Campion 114 Sir Henry Wotton 115 Sir John Dames 116 Ben Jonson 124 John Donne 150 John Webster 151 Richard Corbet 152 George Wither 154 Robert Ilerrick 159 George Herbert 168 James Shirley 169 Thomas Carew 170 Edmund Waller 171 John Milton
Thomas Lodge
247 250 251 John Gay 253 Alexander Pope 258 Thomas Gray William Collins 266 268 Christopher Smart 272 Oliver Goldsmith 274 William Cowper Thomas Chatterton ....276 281 William Blake 294 Robert Burns .304 William Wordsworth Samuel Taylor Coleridge 328
Matthew
Prior
354 355
357
.
.
.368
Thomas Hood
William Barnes
CONTENTS
Thomas Edward
Lovcll
BcddocsAOO
. . .
Browning
Robert Browning Edward Lear
.439
W.
S. Gilbert
Emily Bronte
Arthur Hugh Clough Matthew Arnold
.
.
457
Oscar Wilde
.
Dante Gabriel
Rcmctti
Rossetti. .459
Christina Georgina
463
Francis Thompson . . , .499 Lionel Johnson 504 Ernest Dowson ...... .506
Part
II:
to
1QSO
729 733 736 737
,743
509 Gerard Manic}/ Hopkins 529 Robert Bridges 550 561 John Davidson A. E. Ihmsman 564 William Butler Yeats ,575 611 Rudyard Kipling W. Jf. Dories 622 624 Ralph Hodgson Walter deh Marc 631 Harold Monro 634 James Stephens ....... 637 639 James Joyce . D. If. Lawrence 64 654 John Mascfield 667 Rupert Brooke Edwin Muir 671
. .
Thomas Hardy
Geoffrey Grigson
William
Enwwn
Vernon Watkins
W. IL Audcn
Louis MacNcice
Christopher Fry
JS. /.
Scovell /.
. ,
Kathleen Raine
. ,
Edward Thomas
T. S. Eliot
.676
Roy Campbell
Stephen Spender ..... .778 Bernard Spencer ,784 W. H, jRw/gm...786 Lawrence Durrcll .... .794 796 Roy Fuller ... 798 Henry T recce 799 Julian Si/mons F. T. Prince 800 803 George Barker Dylan Thomas ....... .815 843 Henry Reed 850 John Manifold D. 5, Sewage 852 Alex Comfort ..853 854 Sidney Keycs
. ,
,
PORTRAITS
of the
POETS
and TITLES
INDEX
of
AUTHORS
opposite 858
859
Introduction
there are so
anthology of British poetry when ones already available might seem presumptuous if the new collection did not present a new point of view or perform a new function. The
offer another
To
many good
body
of English poetry
is
so massive
and the
outlines of
its brilliant
so clear
by
it
critics of all
new
discoveries or
It is
cannot well
hope that this anthology will offer the reader a new perspective by showing the natural cul mination of the tradition, that is, modern British poetry,
be made,
my
in its organic relationship with its past Anthologies have, for many people, a cachet of final
ity
read, especially
by the young,
in a
fashion that raises receptivity to a maximum, so that the general air of the book seems inevitably the only air in which poetry can breathe its life and be read. The
power
of the great poems presented carries its authority over into the plan of the book itself. Thus, for many of
important anthology which we cherished, which made us drunk with poetry, becomes our uncon scious criterion forever. In such a manner, The Golden Treasury, The Oxford Book of English Verse and The Faber Book of Modern Verse have determined, rather than influenced, the taste of whole generations. It is fortunate that only good anthologies have such force, and that, on the whole, the basis of taste so established is solid even if limited in area. But a certain injustice is worked by the very authority which exists only be cause it is justified. This injustice has, in the main, been
suffered
by contemporary
A
such as the
the great
to
Little
of contemporary poems that would be read by the editor and the fact that they are hard to find whether in manuscript or printed in obscure periodicals and unrecognized books, etc.
number
need
The Gold&n Treasury barred from its pages all con temporary poetry as well as the kinds of poetry that another taste than its editor's would certainly have in
cluded.
welcome
of English Verse, in its attempt so half-hearted a gesture of to 'modern' poetry that a naive reader of its
made
ones of the
last
to
they do include modern pieces at all, they include so few, stop at so early a date and give so little space to
Book
of
Modern
Ve.rse created
an active audience
for
living poets throughout the English-speaking world and cannot be praised too highly for this feat. But there has
been no previous collection of winch 1 am aware that has attempted to show, by giving contemporary verse the emphasis it should have for a modern reader, its
relation to the
work
of the past.
And
just
how
strong
have
of the past fifty years and the remaining three-fifths to the verse of previous periods. If the sole function of an
anthology were to
make long-range
historical
compara
INTRODUCTION
biased,
But there
is
offer precisely that kind of judgment, as if it brought to print two centuries in the future.
The
future
will
is
have
its
own
criteria,
important to it. This anthology is being published for living readers. We belong to a specific period of time, our own, and this period though not yet fully understood, is fully felt, since in it we live and bear the shocks of pain or
pleasure
peculiar to
also
and even bear them after emotional styles peculiar to ourselves and our time, and to no other.
it,
poets who understand us, who articulate for us, are the poets who live beside us in our own historical situation. To us, once the needs of education have been
The only
fulfilled,
as, if
not more im
portant than, the poets of the past. To appreciate Dylan Thomas it is not necessary either to deny the pre-emi
nence of Shakespeare or to forgo the pleasure of reading him. But to Shakespeare our reading is of no importance,
living poet and to the continuance of the great tradition it is of vital importance that there should be a
to the
and aware audience* Only by appreciation contemporary verse can the audience participate
sensitive
of
in
maintaining the values of poetry, especially at a period when the general public has lost almost all respect for learning and the arts.
Hence, by devoting approximately two-fifths of this book to modern verse I am making a judgment on func tion, rather than a judgment on comparative quality. To do the latter would be as impossible as absurd, since only
succeeding generations can decide what shall or shall not live through and beyond their time. It may well be that many poems here included will later be dropped from the record of English literature and that the
great
figures of the past will loom even larger over our chief poets of today than we guess. But if we do not exercise
XIII
Little
Treasury of
BritisJi
Poetry
our privileges as an audience for the poets of today. there will be no poets except the poets of the past in
that future*
ii
first
voted to the poetry of the past, with the period at which the language shows itself to have definitely changed into what we can recognize as modern English and read
without major translation or extensive glossaries. It was the time when Henry Howard, Earl of Surrey, first used the iambic pentameter of blank verse, that fundamental
of great English poetry, in his translation of The /Eneid, the time when the spirit of the Renaissance had finally
of the Middle Ages. Sir those in correspondence with him brought the influences of Italy to English verse and it is with their efforts that it may be said that the English
sxiparseded
the
attitudes
One of the chief figures greatness of English poetry. of the sixteenth century was Edmund Spenser, who
utilized all of the devices
and
insights of
Europe
to
create his yet characteristically and magically English verse, Then there followed closely the massive work of
the richest of all poetic Shakespeare, and English became media, This first section runs to SOB pages and covers the to 1900, obviously too restricted a space period from 1500 to contain the full glory of English poetry over those
of that glory is made by productive four centuries. Much of the greatest magnitude, poets who, while not names contributed greatness to the tradition. yet have certainly Such poets are represented by one or two poems. But* most of the space is devoted to the chief poets; all trans
except for the above mentioned &ndd by Henry Howard, Earl of Surrey, and The Rubdtydt by Edward FiteGerald, are omitted; and a number of long
lations,
XIV
INTRODUCTION
poems
are included in full, together with poems and passages from plays, as well as ballads and lyrics, in order to make this selection representative.
ni
The second section of the anthology is devoted to modern poetry, beginning with 1900, and contains 350
I have placed emphasis upon the chief and included many long poems in full, such as poets 'The Tower' and "Meditations in Time of Civil War' by W. B. Yeats, 'Fragment of an Agon' and 'The Dry Salvages' by T. S. Eliot, 'Spain' and In Memory of Sigmund Freud' by W. H. Auden, In Country Sleep' and *A Winter's Tale' by Dylan Thomas, etc.
A comparative examination of particular poems in both sections of the anthology will, I think, be useful to the reader, and, to those readers who have taken for
granted the too-often quoted, and believed, notion that modern poetry is obscure, this inspection should be re vealing. The most conspicuous fact about modern poetry, and therefore, perhaps, the most over-looked, is the similarity which it bears to the poetry of past centuries.
For the poetry of the Twentieth century, and particularly of the last twenty years, has many more resemblances to
the poetry of the past than it has differences. If modern poetry is obscure, it is obscure only to those to whom all good poetry of any period is obscure, A comparison of
the following passages will show as many subtle and 'difficult' depths in the poems of the Seventeenth and
The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood- dimmed tide is loosed, and everywhere The ceremony of innocence is drowned.
-W.
B. Yeats
xv
A
Batter
my heart, three-pets on'd (Joel; for, you As yet but knock, breathe, shine, and seek lo mend; That I may rise, and stand, overthrow me, and bond Your forces to break, blow, burn and make mo new.
I,
like
Labour
an nsnrpt town, to another duo, to admit you, but oh, to no end. John Donne
Truly, my Satan, Ihou art but a dunce, And dost not know the garment from the
man;
a virgin once,
Nor
change Kate
into
Nan,
Tho* thou
art worshipped by the names divine Of Jesus and Jehovah, llum art still The son of morn in weary night's decline, The lost traveller's dream under the hill,
-William Make
Sir, no man's enemy, forgiving all But will his negative inversion, be prodigal; Send to us power and light, a sovereign touch
Curing
The exhaustion
And
intolerable neural itch, of weaning, the liar's (juinsy, the distortions of ingrown virginity. -W. IL' Audcn
tin*
is often considered too difficult be loaded with classical and scholarly quotations and references. But .surely the same accusation can be
T. S. Eliot's work
it is
cause
made
classical
against Milton, for who, without a knowledge of mythology, Christian theology, and the English
preceded him, could understand him at is perhaps more often considered obscure and difficult than other contemporary poets. But when we compare a passage from., for example, 'In Mem
literature that
all?
Dylan Thomas
ory of
Ann
t,
Jones':
call all
But
The
Babble
XVI
Bow down
bellbuoy over the hymning heads, the walls of the ferned and foxy woods,
INTRODUCTION
That her love sing and swing through a brown chapel,
Bless her bent spirit with four, crossing birds. Her flesh was meek as milk, but this skyward statue With the wild breast and blessed and giant skull Is carved from her in a room with a wet window
Augur
To
can
it
this
troop
rightly said that the language is less complex or more easily understood in Shakespeare than in Thomas? Poems do not live because their content is
be
the meaning
confined to easy language and one simple surface mean ing; nor are contemporary critics so incompetent or
naive as to be taken in by a hocus pocus without mean ing. Not only is our time richly endowed with good
poetry,
it
critics
period.
Some fundamental education is certainly required for the satisfactory reading of any good poetry, and it is rather evidence of its quality than of any failure that modem poetry requires that the reader bring some
knowledge and
who
sensibility to his reading of it. To people could neither read nor write, all poetry would reach
appear
paper.
as
I
believe that
who
is suspect, not the poetry itself. Poetry is, after all, literature, and to demand that it be easily understood by the half-edu-
finds
XVII
A
an
it
Little
cated, or the uneducated, is equivalent to asking it to be art of the illiterate. Illiterature will flourish without
want
to
keep
Contemporary poetry resembles the poetry thai has preceded it not only in presenting those 'difficulties' essential to express the profound and ambiguous quality which is one of the values of poetry, but in its technical structures as well. Modern poets make use of the whole category of craft devices and have extended the range of
poetry in form, in phonetics, in rhythms, etc. They are influenced more consciously and knowingly than wen*
their forebears,
all
periods of the past. Largely because of extraordinary de velopments in criticism, they are aware of their whole
whom
by
young
and indigenous progression. It is scarcely Pope spending a stimulating evening reading Donne, Beowulf and translations from the
sort of natural
possible to imagine
Chinese. Yet
no incongruity.
favour. This
we can think of doing that ourselves with No poet of the past, even of the recent
is
number of poets are back in a development that might have boon anticipated; as the world has been narrowed by modern
past, is in total disrepute; a
transportation, interlocking interests and wars, local cul tural restrictions have been loosened and all areas of
make
the literature of
xviu
INTRODUCTION
the Twentieth century distinctive.
ization about a period of fifty years, especially the first of this century, might, at first view, seem im fifty years
possible, since these daring decades have included tal ents as various as Yeats, Eliot, Graves, Auden, Thomas
and Barker. Perhaps never before have the 'generations' of poets arisen so close upon each other's flourishing. Group after group has appeared to change or overthrow the standards of the preceding few years. Hardy, Yeats, Eliot and Graves, the influence of Hopkins, the popu larity of Auden and his group, the rise of George Barker and Dylan Thomas, all the 'schools' which followed each
other in rapid succession, the Georgian, the Imagist, the pinkish Marxian and the palely loitering meta
it
physical, etc., each creating a minor revolution, make seem impossible to find any general classification for
all.
Yet, probably because the same social upheaval has been going on throughout the period, there are traits held in common by the poets of this century, diverse as their qualities, styles and perceptions may be.
It is safe to say that the poetry of today has an intense verbal richness; the poets have extended their vocabu laries to include whatever common speech or idiom,
poetry
scholarly or technical terminology they have a use for; is no longer written in the speech of 'an English
gentleman/ pastoral language or 'poetic' lingo. A kind of telescoping of language is a frequent device which permits a dense texture of images, words and meaning. This splendour and freedom of vocabulary is to be found in the work of the majority of living poets and perhaps reaches its height in that of Dylan Thomas. That a
reaction from this verbal loading will eventually take place is probable, but meantime it is a characteristic of
our period which we should enjoy here and now. And as the poets handle words, so they also use a great variety XIX
Little
Treasury of
BritisJi
Poetry
of insights gained from the extension of experience into the many fields of adventure which are common to
Twentieth-century
man
in the
midst of his
travels, wars,
economic pressures,
threats
new
understandings of
compass and sounding lead. But the one characteristic that can be
to the whole Twen tinguished as a development common tieth century may be defined as a change of personal atti tude. This change exhibits itself as a shift from the poet's as the centre of observation or individual
personality that includes the observation and feel feeling to a circle of other human beings of his generation, or locale ings in time. It can be observed in the work of poets whose
as well as in the work of poets point of view is classical who are thoroughly romantic. What is here meant is not the 'socialistic* statement to be found in verse that has been written, especially in the 'thirties, with the object
of furthering a political idea, but a genuine organic social feeling tluit causes the poet to bo as intimately involved in concern for others as for himself. Poets, of
course, have always expressed a concern for mankind, but in past centuries that concern was likely to be over the universal fate of men, such as the inevitability of
death, the shortness of youth, the imminence, in other words, of mortality. Lyric poets sang of their own sub in poems such jective feelings; the philosophy expressed as Gray's 'Elegy Written in a Country Churchyard' was the poet's own rumination centred around his own con
victions.
When
he meant himself and his beloved, or his immediate class-kind. His attitude was
personal one.
friend, or his
his
But now, when the poet says *wc/ and also, in spite of himself, as it were, when he says 'I,' ho is not only speaking of himself and his immediate companions in
xx
INTRODUCTION
the situation, but of other individuals of his time, not in the sense of 'mankind' but truly as individuals. Further,
not expressing his own subjective feelings alone, by a new kind of osmosis, he actually feels, with the intimate involvement of an emotion exactly as personal
he
is
but,
as his
own,
to
situation as well as
I think that this
feel,
from their
in
On
Imagists, said here, did not develop this attitude, and although they caused some ferment in their hour, we scarcely think of them today as important. The socially human concern of Yeats and Eliot is too well-known to
it
people caught in the dilemma of the time. And yet it is not as 'mankind/ always something apart from the poet, that Arnold feels for others. The tone of the poem shows that others are realized as individuals. This identical concern continues in Hardy, and it is to be found in all the poets who follow, if they are noteworthy at all (Wilfred Owen's true-to-type preoccupation with the suffering of the soldiers around him has made him the leading war poet of a war century.) The
may be
need comment.
It is
tude through the fluctuations of the various styles and influences of each decade of the century and to note that the poets who most strongly manifest it are those who
seem
to us
as
W.
H.
Auden and George Barker yet have Such poems as 'Soldiers Bathing' by
common
trait.
F. T. Prince (page 800), or 'Winter Offering' by D. S. Savage (page 852), or almost any other which affects us as both good and
contemporaneous show the poet's modern sensitivity to the subjective world of others as certainly as to his own. When this attitude is expressed in language drawn from
XXI
Little
poems
as
'Nam
ing of Parts' by Henry Reed (page 846) and 'On the Refusal to Mourn the Death of a Child, by Fire, in London' by Thomas (page 815), we receive an imme
diate awareness of our
own
time which in
itself
should
intensify our experience of reading poetry since it gives us participation in particulars as well as in the universals
common
to the poetry of
is
all
This attitude
a gain,
it
tends to miti
gate the fault of romantic poetry, which is really that of narrowness of perception. Instead of xittering from one
mouth, the modern romantic poet, while thoroughly in volved with his own personality, has, whether in spite of himself or not, a double voice that gives him some of
the quality of the classical tone.
Out of the approximately 250 poems to be found in the modern section* of this collection, even the most
exacting reader will find,
to
I am sure, many that will seem him worthy to carry on the great tradition of English poetry, poems that have the inevitable ring of per manence, the magic of immortality.
OSCAR WILLIAMS
Ncio
"York City,
July S,
19SL
on page 808.
xxw
II
A
Little
Treasury
of
Modern
British Poetry
ig
Editorial
Note
This collection of British poetry is intended primarily for the American reader as a companion volume to A Little Treasury of American Poetry. Both volumes have been ar ranged on a chronological plan, i.e., according to the birth dates of the poets. T. S. Eliot and W. H. Auden have work included in each volume but the selections are different and complementary. For instance, any reader who notes that 'The Waste Land' and 'Ash Wednesday* by Eliot and 'September 1, 1939* and *At the Grave of Henry James' by Auden are not included in this volume will find them in the American
collection.
There
is
no separate
volume
entitled
The Poetry
of the Forties as there is in the American Little but readers interested in comparing British poetry Treasury, of the Forties with American poetry of the Forties will find
this
Tides (pages 859 to 874). Used together A Little Treasury of British Poetry and A Little Treasury of American Poetry constitute one comprehensive anthology of poetry in
&
DYLAN THOMAS
And the countrymen of heaven crouch all together under the hedges, and, among themselves, in the tear-salt darkness, surmise which world, which
turning homes in the skies has gone for ever. the heavenly hedgerow rumour, it is the Earth. itself. It is black, petrified, wizened, poisoned, burst; insanity has blown it rotten, and no creatures at all, joyful, despairing, cruel, kind, dumb, afire, loving, dull, shortly and brutishly hunt their days down like enemies on that corrupted face. And, one by one, these heavenly hedgerow men who once were of the Earth, tell one another, through the long night, Light and His tears falling, what they the submerged wilderness and on the ex remember, what they sense posed hairs-breadth of the mind, of that self-killed place. They remem ber places, fears, loves, exultation, misery, animal joy, ignorance and mysteries, all you and I know and not not know. The poem- to -be is made of these tellings. And the poem becomes, at last, an affirmation of the beautiful and terrible worth of the earth. It grows into a praise of what is and what could be on this lump in the skies. It is a poem about happiness. I do not, of course, know how this first part of the poem called In the White Giant's Thigh, will, eventually, take its place in that lofty, pre
star,
which of their
late,
tentious,
scheme.
structure.
down-to-earth-mto-the-secrets, optimistic, ludicrous, mooney do not yet know myself its relevance to the whole, hypothetical But I do know it belongs to it. D.T.
Henry Reed
THE WALL
place where our two gardens meet undivided by a street, And mingled flower and weed caress And fill our double wilderness,
Is
THE
And And
there discovered, shoulder-tall, Rise in the wilderness a wall: The wall which put us out of reach
into silence split our speech.
843
A Little Treasury of Modern British Poetry We knew, and we had always known
And strummed its
It
That some dark, unseen hand of stone Hovered across our days of ease,
tunes upon the breeze. had not tried us overmuch, But here it was, for us to touch.
is still as wild, separately unreconciled The tangled thickets play and sprawl Beneath the shadows of our wall, And the wall varies with the flowers And has its seasons and its hours. Look at its features wintrily
The wilderness
And
Through
bells:
Would you
We
lean upon it, talk and sing, Or climb upon it, and play chess Upon its summer silentness? One certain thing alone we know:
A habit now
And watch
Silence or song,
to
it
it
We need not
Is
doubt, for such a wall based in death, and does not fall.
LIVES
You cannot cage a field. You cannot wire it, as you wire a summer's roses To sell in towns; you cannot cage it Or kill it utterly. All you can do is to force Year after year from the stream to the cold woods The heavy glitter of wheat, till its body tires
844
HENRY REED
And the
yield grows
weaker and
dies.
But the
field
never
dies,
it, burn it black, or domicile thousand prisoners upon its empty features. You cannot kill a field. A field will reach Right under the streams to touch the limbs of its brothers.
You can throw up fences, as round a recalcitrant heart Spring up remonstrances. You can always cage the woods, Hold them completely. Confine them to hill or valley, You can alter their face, their shape; uprooting their
outer saplings
and
ings Press to your own desires. The woods succumb To the paths made through their life, withdraw the trees,
tell
The woods
Pitifully
retreat; their protest of leaves whirls to the cooling heavens, like dead or
dying
prayers.
But what can you do with a stream? You can widen it here, or deepen it there, but even
you alter its course entirely it gives the impression That this is what it always wanted. Moorhens return To nest or hide in the reeds which quickly grow up there, The fishes breed in it, stone settles on to stone. The stream announces its places where the water will bubble Daily and unconcerned, contentedly ruffling and scuffling With the drifting sky or the leaf. Whatever you do,
If
To
stream has rights, for a stream is always water; cross it you have to bridge it; and it will not flow
uphill.
845
A Little Treasury
of
Modern
British
Poetry
NAMING OF PARTS
We We
TO-DAY we have naming of parts. Yesterday, had daily cleaning. And to-morrow morning, shall have what to do after firing. But to-day,
To-day we have naming
of parts. Japonica
Glistens like coral in all of the neighbouring gardens, And to-day we have naming of parts.
This is the lower sling swivel. And this the upper sling swivel, whose use you will see, When you are given your slings. And this is the piling
Is
Which
Hold
This
you have not got. The branches in the gardens their silent, eloquent gestures, Which in our case we have not got.
the safety-catch, which is always released of the thumb. And please do not let
is
me
See anyone using his finger. You can do it quite easy If you have any strength in your thumb. The blossoms Are fragile and motionless, never letting anyone see
Any
of
them using
their finger.
you can see is the bolt. The purpose of this open the breech, as you see. We can slide it Rapidly backwards and forwards: we call this Easing the spring. And rapidly backwards and forwards The early bees are assaulting and fumbling the flowers:
this
Is to
And
They
call it
They call it easing the Spring: it is perfectly easy If you have any strength in your thumb: like the bolt,
the breech, and the cocking-piece, and the point of balance, Which in our case we have not got; and the almond-
And
blossom
846
HENRY REED
Silent in all of the gardens
and the bees going back wards and forwards, For to-day we having naming of parts.
H. JUDGING DISTANCES
away, but the way that you say it very important. Perhaps you may never get The knack of judging a distance, but at least you know How to report on a landscape: the central sector,
far
Is
The
we had last
Tuesday,
That maps are of time, not place, so far as the army Happens to be concerned the reason being, Is one which need not delay us. Again, you know There are three kinds of tree, three only, the fir and the
And
and
lastly
to
be things.
A barn
Or a
is
grazing.
over-sure.
You must
say,
when
re
At five o'clock in the central sector is a dozen Of what appear to be animals; whatever you
Don't
I call the bleeders sheep.
do,
sure that's quite clear; and suppose, for the sake of example, The one at the end, asleep, endeavours to tell us What he sees over there to the west, and how far away, After first having come to attention. There to the west, On the fields of summer the sun and the shadows bestow
am
The
And under
white dwellings are like a mirage in the heat, the swaying elms a man and a woman Lie gently together. Which is, perhaps, only to say
still
Treasury of Modern British Poetry That there is a row of houses to the left of arc, And that under some poplars a pair of what appears
A Little
tq
be humans
Appear
Well
to
be
loving.
that, for an answer, is what we might rightly call Moderately satisfactory only, the reason being, Is that two things have been omitted, and those are
The human
what
And how
away, would you say? And do not forget There may be dead ground in between.
There may be dead ground in between; and I may not have got The knack of judging a distance; I will only venture A guess that perhaps between me and the apparent
lovers,
(Who, incidentally, appear by now to have finished,) At seven o'clock from the houses, is roughly a distance Of about one year and a half.
in.
UNARMED COMBAT
In due course of course you will be issued with Your proper issue; but until to-morrow, You can hardly be said to need it; and until that time, We shall have unarmed combat. I shall teach you. The various holds and rolls and throws and breakfalls
And the various holds and rolls and throws and breakfalls Do not depend on any sort of weapon,
But only on what I might coin a phrase and call The ever-important question of human balance, And the ever-important need to be in a strong
Position at the start.
There are many kinds of weakness about the body, Where you would least expect, like the ball of the
foot.
rolls
breakfalls
HENRY REED
Will always come in useful. And never be frightened To tackle from behind: it may not be clean to do so, But this is global war.
So give them all you have, and always give them As good as you get; it will always get you somewhere. tie a Jerry (You may not know it, but you can without rope; it is one of the things I shall teach
Up
you.)
if
The
readiness
is all.
The
I I
readiness is all How can I help but feel have been here before? But somehow then,
was the
Was
And even if I had always then my problem. of rope I was always the sort of person piece Who threw the rope aside.
in
tied-up one.
How
to get out
And
my time
Which was
where.
I have given them all I had, never as good as I got, and it got
me no
And the various holds and rolls and throws and breakf alls Somehow or other I always seemed to put In the wrong place. And as for war, my wars Were global from the start.
Perhaps
I
was never
Or Where I had
the ball of
in a strong position, foot got hurt, or I had some weakness my least expected. But I think I see your point. a issue, we must learn the lesson of
human
balance.
Things
may be
Not
It
in the
hope
Something wherever we could, may be said that we tackled we lived, and though defeated, That battle-fit
Not without
glory fought.
849
&
Lyrics
Anonymous: Ballads
Spens The Falcon The Demon Lover
Sir Patrick
London
3
Bells
. .
5
6 8
29 29 30
Lord Randal 9 Edward, Edward Helen of Kirconnell .... 10 Bonny Barbara Allan ... 12 The Wife of Usher's Well 13
Dover Beach
Requiescat
457 458
Thomas
the
Rhymer
...
14
Auden, W. H.
(b.
1907)
Arts.
B.
Anonymous: Songs & Lyrics I 17 Sing of a Maiden The Bailey Beareth the
17 18 Crabbed Age and Youth 18 1 Saw My Lady Weep. 18 Fine Knacks for Ladies 19 My Love in Her Attire. 19 As I Sat Under a Syca
Bell
Petition
more Tree
20 20 22 23
23 24
*
Doom
Is
Dark
and
in
God
Rest
You Merry,
Our Time
*In
760
of
Memory
Freud
Sigmund
762 765
Since First
*Mundus
et Infans
B
24 25
Barker, George (b. 1913) * Resolution of
Depend
26 ence 803 Tom O'Bedlam's Song. 26 (More Barker, next page] * Poems preceded by an asterisk can be considered part of The Poetry of the Forties. See Editorial Note, page 508. 859
continued
To
the Muses
289 90 291
^Triumphal Ode
MCMXXXIX
to
807
292
*Sonnet
My
Mother. .810
Bridges, Robert
Elegy V: Separation of Man from God 811 *News of the World I.. 812 *News of the World II 813
.
.
(1844-1930)
I
*News
of the
World 111,814
400
Lovell
550 551 London Snow 552 A Passer-by 552 554 Nightingales Eros 554 Johannes Milton, Senex.555
On
Noel:
Christmas
Eve,
400
the
How Many
Bronte, Emily (1818-184S) No Coward Soul Is Mine 453 Stanzas: Oft Rebuked .454
.
454 455
Reeds of Innocence
.281
The Lamb
Brooke, Rupert
(1887-1915)
Saw
Gold
a Chapel All of
A Poison Tree
The New Jerusalem
860
Love
.287
How Do
If
Campbell,
Roy
728 729
440 440
(b. 1902)
My
A
Last Duchess
Prospice
The River
(1774-1844) of Life
354
Campion, Thomas
(1667-1880)
Bums, Robert
(1769-1796)
Un
112 113
happy Shadow
My
Love
Is
Like a
Red
Cherry-Ripe
Red Rose 294 Auld Lang Synge 295 Comin' Thro* The Rye. .295 Green Grow the Rashes, O 296 297 John Anderson Sweet Afton 298 For A' That and That. 298
Carew, Thomas
(1595P-1639?)
Song: Ask Me No More Where Jove Bestows .169 He That Loves a Rosy
Cheek
Carroll,
170
A Poet's
ter
Welcome
?
to
His
Lewis
Love-Begotten Daugh
467 Jabberwocky The Walrus and the Car 468 penter Father William 472
Cartright, William
.357
No
.
We
11
Go No
.357 More a
To Chloe
203 204
358 358 The Sea 359 It Is the Hush of Night. 361 Darkness 363 The Isles of Greece 365
276
My Rounde
279
fifil
John
377 378 378 379
Cowper, William
continued
(1739-1864)
Badger
I
Am
Out
of
275
Mouse's Nest
Clock-a-Clay
Crashaw, Richard
(161B-1649)
Clough, Arthur
Hugh
.
.456
D
Daniel, Samuel (1562-1619) Fair Is My Love
Kubla Khan
328
329 348 352
The Rime
Mariner
Dejection:
of the Ancient
An Ode
Care-Charmer Sleep
Davidson, John
Epigram
Collins,
William
(1857-1909)
(1721-1759)
Thirty
Bob
Week
...561
Ode
to
Evening
266
Darley, George (1795-1S46)
Comfort, Alex
(b. 1920)
The
.
Solitary
Lyre
,.395
853 853
Davies, Sir John (1569-1629) In What Manner the Soul Is United to the Body. 115 Davies, W. H. (1810-1940)
.151
Cowley, Abraham
(1018-1667)
A Great Leisure
213 214 215
Time
Beauty
De
la
Mare, Walter
631 631 632 633
(b. 1873)
Cowper, William
(17S1-1SOQ) The Solitude of Alexan der Selkirk 274
An Epitaph
The Linnet The Listeners The Miracle
862
Go
The The The The
A
124 125 125 126 128 129 130
131 132 133 134 135 138 139 140 141
Star
Good-Morrow
Flea
Cecilia's
238
246
Lawrence
(b. 1912)
*At Epidaurus
Dyer, Sir Edward (1545P-1607)
794
My Mind
dom
Is
to
Me
a King
56
The Will
A
If
Nocturnal Upon Saint 143 Lucy's Day Poisonous Minerals .144 Valediction Forbid
.
Eliot, T. S.
(b. 1888)
ding Mourning
The
Relic
.
144 145
of
J.
679
. . .
At
the
Round
Heart
to
Earth's
.
The Hippopotamus
Imagined Corners
Batter
My A Hymn
Father
147 148
148 149
.683 .684
God,
the
A Hymn
to Christ
Four O'clock 692 Chorus from 'The Rock' III 692 *The Dry Salvages 694
Dowson, Ernest
(1867-1900)
Empson, William
506
(b. 1906) Letter I
Cynarae
Drayton, Michael
(1563-1631)
The
Parting
70 70
741 742
.713
of
Omar
404
The Legs ........... 714 Rocky Acres ........ 714 The Eremites ........ 715 ^Homage to Texas ..... 716 A Love Story ........ 717 The Door ........... 718 *To Juan at the Winter
Solstice
Thomas
(1716-1771)
775
Fuller,
*
Roy
.796
(b. 1912)
Elegy Written in a Coun try Churchyard ..... 258 Ode on a Distant Pros pect of Eton College. .262 On a Favourite Cat
G
Gay, John
(1685-17S&)
Drowned
in a
Tub
of
Lord Brooke
Humanity ........ 45
46 48 49 49
Gilbert, Sir
Sir Joseph's
W.
S.
(1863-1911)
Song
480
481 Bunthorne's Song 482 Ko-~Ko's Song The Mikado's Song .... 484 Ko Ko's Winning Song. 485
Goldsmith, Oliver
(1788-177 4)
Epitaph on Sir Philip Sidney ............. Three Things There Be. When as Man's Life ... To Myra .............
Grigson, Geoffrey (b. 1905)
*The Landscape
Heart
of
the
............ 736
Woman
Sweet Auburn
Graves, Robert
(b. 1895)
272 272
H
Hardy, Thomas
Interruption
712
864
IISBEX OF
Hardy, Thomas
continued
The
.510
Make
154 154 155 155 156
To an Unborn Pauper
Child
513 514
The
Night-Piece, to
Julia's Clothes
.
Julia
mum
Upon
515 515 516 517
519
Delight in Disorder
Child's Grace
II
III
156
.
The Man He
Killed ....518
.156
Channel Firing
156
157 157 157 157 157
The Convergence of the Twain 520 The Statue of Liberty. .521 Under the Waterfall .523 The Going 525
.
.
Must Have
The Rod
Temptation Thanksgiving Neutrality Lothsome Sins Loathed, and Yet
.
.
Afterwards Refusal
No
528
Henley,
W.
E.
(1849-190S) Invictus
497
Higgins, F. R.
Herbert, George
Easter- Wings
720
Redemption
Hodgson, Ralph
(b.
187%) of Honour
. .
624 630
The
Pulley
Discipline Life
Hood, Thomas
(1198-1845)
I
Remember,
ber
Remem
396 397 398 865
of
Death
(1844-1S89)
529 530
530
540 542 543
. .
568
Heart
Is
The Wreck
of the
My
559 569
Deutschland
Echo
from
the
Wars
571
Returning
and
Fall:
To
.543 a
544 544
Is
The Chestnut Casts His Flambeaux 572 When Israel Out of 573 Egypt Came The Jar of Nations 574
Infant Innocence
No
Worst, There
574
545 o Perfection 545 546 Carrion Comfort That Nature Is a Hera547 clitean Fire The Sea and the Sky 548 lark 548 Andromeda I Wake and Feel the Fell 549 of Dark The Lantern Out o 549 Doors
.
How No Age
tent
Is
Con
. .
35 36
36
Aeneid
Housman, A. E.
(1869-1986) Loveliest of Trees
Reveille
On Wenlock Edge
Others,
First
I
504
Am
Not the
566
When
Was One-and566
On My
It Is
First
Son
116 116
117 117
Oh, When I Was in Love 567 with You To an Athlete Dying 567 Young
Twenty
Tree
Sup
117
per
White
866
in the
Moon
the
Long Road
Lies
568
854
Rudyard
611 612 613 615
(1865-1936) Recessional
The Ballad
O'Reilly
(1888-1941) of Persse
of
the
Tramp617
639
Royal
The Law
When
ture Is Painted
621
On On
First
(1775-1864)
380 380
Rose Aylmer
Dirce
Elgin
353 353
353
Marbles
.
On
His Seventy-fifth
On
the Grasshopper
and
Me. 353
354 354
Our
Poets
Lawrence, D. H.
(188S-19SO)
Bright
Star!
Would
as
382 383
383
.
When
cus Don'ts
Went
to the Cir
Ode to a Nightingale. Ode on a Grecian Urn. Ode to Psyche Ode on Indolence Ode on Melancholy To Autumn
.385 .387
Humming
Snake
Bird
Is
645 647
A Thing
There
of
Beauty
a
Slow to
647 648 651
The Ship
Lear,
of
Death
Edward
451 867
Was
Naughty
395
(1818r-1888)
Boy
The Jumblies
Marlowe, Christopher
(1664r-169S)
Have Condemned
Who
729
Them Do Not
Loved
The
Conflict
731 731
Helen
Lodge, Thomas
(1556?-1625) Rosaline
65
218
of
Little
T. C. in a Prospect of
220
To
To
Lucasta,
on
Going
... .211
On
dens a Drop of
222
Dew
.223
John
(b. 1878)
M
MacNeice, Louis
(b. 1907)
654 655
Deathbed
767 767
on
the
Sunday Morning
Among These
Stacks
Turf-
656 657
665
The
Sunlight
Garden
*Prayer Before Birth
.
.
768
.769
^Bagpipe Music
"Entirely
^Refugees ^Entered in
Meredith, Georgef/ 828-1909) Lucifer in Starlight .464 Love in the Valley 465
.
.
.
Her
Manifold, John
1016)
*Fife Tune 850 *The Sirens 850 *The Bunyip and the
Own
Whistling Kettle
851
Milton, John (1608-1674) On His Blindness 171 On His Deceased Wife.. 171 (More Milton, next
868
O
.
.
continued
How
On
172
Piedmont
Lycidas
L/ Allegro
111
Penseroso
On Time
Blindness of Samson Ode on the Morning of
. . .
Arms and
Est. .703
Spring Offensive
Insensibility
The Show
Strange Meeting
Christ's Nativity
Satan
and
the
Fallen
Angels Light
Satan's
Soliloquy
Satan's Guile
Pope, Alexander (1688-1744) Know Theu Thyself 253 Vital Spark of Heavenly
FLime
256
201
of a
Dog
634 635
258 258
800
Night. .356
Hero Entombed
733
The
Procne
735
Muir, Edwin
(b. 1887)
*The Road *Too Much *The Combat *The Interrogation *The Castle
*Love Poem
Ralegh, Sir Walter
(1668-1618)
777
N
Nashe, Thomas (1567-1602) Spring, the Sweet Spring 112
to
869
51
Pil
Tell
Me Where
Is
51 The Silent Lover ...... 53 The Merit of True Pas sion ............... 53 53 Walsinghame ......... The Lie .............. 55
Fancy
74
Greenwood
75
Win
75 76
Fear
Full
Wind No More
Fathom Five Thy Father Lies 77 Hark Hark! the Lark ... 77
Should
I
How
It
Your True
77 78
Love Know
1914)
Was
Now
Hungry Lion
Mine
.
.
Naming
of Parts ---. .
Judging Distances
Unarmed Combat
Rodgers,
78 79 79
W. R. (b. 1911) * .786 Apollo and Daphne *Stormy Day ......... 787
. .
Tiny
Little
Saint Valentine's
Take
O
Is
Who
the
Boy
Day
When
Icicles
^Summer Holidays
... .789
Hang by
82
Wall
Eye 83
When
Am
From
We
Look
a
Rossetti,
Dante Gabriel
.
(1888-1888)
.459
in
...
to
84 84
85
Shall I
Compare Thee
in
When
Summer s Day
....
Disgrace with
When
776
870
86 86 87 87
He
Jests at Scars
98 99 99
100
Mercutio's
Queen
Mab
Speech
When
Have Seen by
87 Time's Fell Hand Since Brass, nor Stone, nor Earth, nor Bound 88 less Sea Tired with AIL These, for 88 Restful Death I Cry.
.
101 Imagination Ulysses Advises Achilles. 102 Our Revels Are Ended. .103 The Quality of Mercy. .103
.
To Thine Own
True
Self
Be
104
To Be
To
89
Me
Behold. 89
Caesar's
Body
.
106
Dear
for
My Possessing
Have Power
I
89
They
that
to
Hurt
90
Percy Bysshe
Is
Been
.
.
(1798-1828)
in the Spring
90
One Word
Profaned Music
Too Often
368 368
When
in the Chronicle of
Let
Me
riage of
Ode to the West Wind. .369 The Cloud 371 The Indian Serenade .373
.
91
To
a Skylark
374
Waste
of
Shame
Shirley,
Loving in Truth
Opportunity
Passages from Plays: All the World's a Stage. The Uses of Adversity.
93
95 96 97
Cleopatra
Agamemnon's Tomb
Smart, Christopher (1788-1770)
.721
The
268 271
67 68
Garden
of
Pros
The Man
Times
My
Cat Jeoffry
of Prayer
erpine
492
(b. 1912)
Symons, Julian
Southwell, Hoben(ieei-lS9S)
*Pub
799
Go by
Turns
*Part of Plenty
785
Ask
Me No More
Not
Palaces,
An
Era's
Crown
779
School
Wall
St.
An Elementary
*From
I
Agnes' Eve
Edmund (1552-1599)
Lord .... 58
One Day
Wrote Her
.
Name
Ye Tradeful Merchants
Prothalamion
59 59 60
.203
486
When
872
Hounds
of
Spring
488
419 419 All in All 420 420 Ulysses The Lotos-Eaters 422 Tithonus 427 Proem to "In Memoriam' 429 I Held It Truth 430 Oh Yet We Trust 431 Of One Dead 432 Dark House 432 433 Calm Is the Morn To-night the Winds Be 433 gin 434 Be Near Me I Cannot See the Fea 435 tures Right I Wage Not Any Feud 435 with Death I Envy Not 436 As Sometimes in a Dead 436 Man's Face .437 Ring Out, Wild Bells 438 Crossing the Bar
Break, Break, Break
.
Eve
We
W ent
at
*A
Refusal
To Mourn
Death by
the Fire of a
.
.
Child in London .815 Light Breaks Where No Sun Shines 816 The Force that Through the Green Fuse 817 I See the Boys of Sum
the
232 234
mer
818
of
On No Work
*Poem
*The Dyke-Builder
798
Words. 820
Vaughan, Henry (1621-1695) The Shower 225
824 826
.
.
.828
830
Ann
834
the
When
Wind
Tale
The Morning-Watch The Retreat The World They Are All Gone The Night
.225
October
*A Winters
*In
the
835 836
Giant's
W
Waller, On A Girdle
White
Edmund
(1606-1687)
Thigh
840
170
Thomas, Etow&(1878-1917)
The Gallows
Tears
The Owl
Adlestrop
.743
Thompson, Francis
(1S59-1907)
*The Cave-Drawing .745 *The Yew-Tree 746 *The Lady with the Uni
.
corn
746
The Hound
In
of
No
Strange
Land
All
The
As
I
City
Is of
Came
Spring Dirge
150 150
Desert
475
Satire
Against
Man
247
873
kind
(1588-1667)
in
Wasting
Despair
152
Wordsworth, William
(1770-1860) Daffodils and Resolution
.575
575
576
A A
Prayer for
ter
My Daugh
Inde
pendence
Character of the Warrior
304
Among
Happy
308
Spirit
Slumber Did
Seal
My
583
312
She Dwelt Among the 312 Untrodden Ways 312 The Rainbow
Certain Artists 583 She Turns the Dolls Faces to the Wall. .583
The
Solitary Reaper ...313 She Was a Phantom of 314 Delight Ode: Intimations o Im 315 mortality 321 Tintern Abbey
End
of
Day
Race
Courage
The Tower
Meditations
Civil
in
586
Is
Too Much
325 325 326 326
327 327
Time
of
War:
593 594
.
.
Upon
Westminster
Bridge
London, 1802
Mutability
It
Is
My My My
I
House
Table Descendants
.
.595
a Beauteous Eve
Wotton,
Sir
Henry
of
114
News
for
the
Delphic
Wyatt, Sir
Thomas
604 605
Gallery
The
Municipal
Revisited
Bronze Head
Circus Animals'
607 608
The
De
609
sertion
the past.
This present volume is an ideal com panion for A Little Treasury of American Poetry, and the two, together totaling al most 1,800 pages, comprise the most repre sentative and comprehensive two-volume
anthology available in the English lan guage at the present time.
OSCAR WILLIAMS
EDITOR
Oscar Williams, editor of A LITTLE TREASURY OF BRITISH POETRY, and
the originator of The Little Treasury Series of books, is himself a well-known poet
whose poems have appeared in The South ern Review, The Sewanee Review, Partisan
Review, Harper's Magazine, The Atlantic, Republic, The Nation, Horizon, New Verse and many other of the important periodicals of both England and America.
New
He
is
books of poetry.
"Oscar Williams
is
thologist in America."