A LITTIE
TREASURY
OF
A
Ijifl^
/>V///W/
I n\it*
I
\hiri i
The
Little
Treasury Series
OSCAR WILLIAMS, Editor
A LITTLE TREASURY OF MODERN POETRY *
edited by Oscar Williams
A LITTLE TREASURY OF GREAT POETRY
edited by Oscar Williams
A
LITTLE TREASURY OF AMERICAN POETRY
edited by Oscar Williams
A
LITTLE TREASURY OF BRITISH POETRY
edited by Oscar Williams
A LITTLE TREASURY OF AMERICAN
PROSE
edited by George Maybernj
A LITTLE TREASURY OF LOVE POEMS
edited by John
Holmes
A LITTLE TREASURY OF WORLD POETRY
edited by Hubert Crcekmore
* Available
in
Itemed Editions
**
e7,*w**W)*
Coi-utunrr, 1051, BY
CHARLES SCIUBXKH'S
Printed
Most
m
of the
the United States
poems
<>i
.SONS
America
in Fart II of this
anthology
arc protected by
copyright, and may wot be
reproduced in any form without the consent ol
the poets, their publishers, or their agents. Since
this
pugc cannot
legibly
accommodate
all
the
copyright notices, the opposite page and the
two pages following it (pages v to vii) con
stitute
an extension of the copyright page.
JDJLMJ.oJllIJ
COPYRIGHT NOTICES
AND ACKNOWLEDGMENTS
"'
'
\,\]
\ V
'
V
'
u
Thanks
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,
;
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and Company
HOGARTH PRESS, LiMiMP-for
Fuller,
''Spring "TO8'
publisl^T^ByeiMojaHt^BBMg.
ll
l
"il Dra*liKI
'
book by Roy
V
COPYRIGHT NOTICES AND ACKNOWLEDGMENTS
& COMPANY- for the poems by Walter do la Male from
Collected Poems, 1901-1918, by Waller de la Mare, copyright, 1920, by
Henry Holt and Company, Inc., copyright, 1948, by Walter do la JMare,
used by permission of the publishers; for three poems by A. K. Ilousman from The Collected Poems of A. E. lions man, copyright, 1922,
1940, by Henry Holt and Company, Inc., copyright, 11)36, 1950, by
Barclays Bank, Ltd., used by permission ol the publishers.
Au'RKi) A. KNOW for three poems by I). II. Lawrence reprinted trom
/Vmsfcs by I), H. Lawrence, by pcnmssion of Alfred A. Knopi, Inc.,
copyright, 1929, by Alfred A. Knopt, Inc.
THE MACMHJUAN COMPANY- -for the selections by Thomas Hardy trom
Collected Poems by Thomas Hardy, copyright, 1925, by The Macmillan Company, and used with their permission; for the selections
by William Butler Yeats from Collected P or ins by William Butler
Yeats, copyright, 1933, by The Maemillan Company, and used with
their permission
lor the selections by William Butler Yeats from
Last, Poems by William Butler Yeats, copyright, 1940, by Georgia
Yeats, and used with the permission of The Maemillan Company; i<r
the selections by John Masefield from Poems Complete Edition, by
John Masefield, copyright, 1913, by Haipor and Brothers, copyright,
1914, by The Century Company and by the McClure Publications,
copyright, 1912, 1913, 1914, by The Maemillan Company, copyright,
1915, 1923, 1924, 1926, 1930, 1931, 1932, 1935, 1940, and 11)41, by John
Masofield, from Collected Poems by John Masefiehl, copyright, 1918,
by John Masefield, and usod with the permission of The Maemillan
Company; for the selections by George Barker, from Selected Poems
by George Barker, copyright, 1941, by Tho Maemiilim Company and
used with their permission;; for the selection from Collected Poems by
James Stephens, copyright, 1926, by Tho Maemillan Company and
HKNIIY HOLT
t
;
f
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.
Mum
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
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
;
Oscar Williams, copyright,
VI
1943,
by OHCOT
COPYRIGHT NOTICES AND ACKNOWLEDGMENTS
& REGAN PAUL LIMITED for the selections from Under the
by GeoUrey Gngson, Shadows of Chrysanthemums by Miss E. J.
Man by Julian Symons, Time to Mourn by D. S.
Savage and The Collected Poems of Sidney Kcyes.
CHARLES SCUWNEU'B SONS for the elections by A. E. Housman reprinted
from My Brother, A. E, H. by Laurence Housman, copyright, 1938,
by Laurence Housman., used by pel mission of the publishers, Charles
ROUTLEDGE
Cliff
Scovdl, The Second
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
,
m
THE VIKING Pnsssfor
the selections from Last Poems by D. H.
foi the selections
1933, by Frieda Lawrence
Poems
from Collected
by D. H. Lawrence, copyright, 1929, by Jona
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.
VEENON WATKINH
for
"Music
of Colours:
The Blossom Scattered" from
Poetry (Chicago).
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
ANN
;
Williams.
vii
ACKNOWLEDGMENTS FOR
PORTRAITS AND PHOTOGRAPHS
John Donne, from Miniature by Isaac Oliver.
Andrew Marvell, from portrait bij Adrian Hannemann in
I? arena Art
Gallery, Hull
Edmund Spenser, from Portrait at Pembroke College,
Richard Lovelace, from portrait at Dulwick College.
tlie
of Rochester, from portrait Inj Jacob
in the National Portrait Gallery.
Ralegh, portrait in National Portrait Gallery.
John Wilmot, Earl
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.
Algernon Charles Swinburne,
Elliott 6- Pry,
W.
S. Gilbert, Elliot 6* Fry.
Elliot 6Francis
Sir
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
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
&
TITLES, 859 TO 874
INTRODUCTION
Part
I:
xi
The Chef
Ballads ...
Anonymous:
Anonymous: Songs
17
31
Lyrics
Thomas More
Sir Thomas Wijatt
Henry Howard, Earl
Surrey
Sir Philip Sidney
Fulke Grevilte, Lord
Brooke
Walter Ralegh
Sir
Edward Dyer
Edmund
Spenser
Thomas Lodge
3
6-
Sir
Sir
Poets,
33
of
35
38
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
1500
John
William
Richard
Richard
Sir
to
1QOO
203
203
205
211
213
217
225
232
238
Suckling
Gartright
Crashaw
Lovelace
Abraham Cowlcy
Andrew Marvell
Henry Vaughan
Thomas Traherne
John Dry den
John Wilmot, Earl of
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
Rochester
Matthew
Prior
.
.
Walter Savage Landor. .353
Thomas Campbell
Thomas Moore
George Gordon, Lord
Byron
Percy Bysshe Shelley
John Clare
John Keats
George Darley
Thomas Hood
William Barnes
354
355
357
.
.
.368
377
380
395
396
400
IX
CONTENTS
Thomas
Edward
Lovcll
BcddocsAOO
.404
Alfred* Lord Tennyson. .416
Pitzgcrald
.
.
.
ElizabctJi Barrett
.439
Browning
Robert Browning
Edward Lear
440
451
453
Emily Bronte
Arthur Hugh Clough
Matthew Arnold
Dante Gabriel
.
.
.456
457
Rossetti. .459
Christina Georgina
Rcmctti
Part
II:
463
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
.
.
.
. ,
Edward Thomas
.676
T. S. Eliot
Wilfred Owen
Herbert Read
Robert Grawx
.
679
702
710
712
720
721
728
.
F. R. Biggins
SacJwverctt Sltwctt
Roy Campbell
PORTRAITS
of
S. Gilbert
464
467
473
478
480
Algernon Charles
Swinburne
.486
Sir
W.
495
497
497
Alice Mcijncll
W. E. Henley
Oscar Wilde
Francis Thompson . . , .499
Lionel Johnson
504
Ernest Dowson ...... .506
.
The Chief Poets, 1QOO
Thomas Hardy
INDEX
George Meredith
Lewis Carroll
James Thomson
William Morris
of the
C. Day Leivis
Peter Quenndl
.
,
729
733
736
737
.
Geoffrey Grigson
William
Enwwn
Vernon Watkins
,743
W. IL Audcn
748
767
775
776
777
Louis MacNcice
Christopher Fry
JS. /.
Scovell /.
Kathleen Raine
.
,
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
POETS
AUTHORS
1QSO
to
and TITLES
.
,
.
,
,
opposite 858
859
Introduction
To
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
there are so
body
many good
of English poetry
its brilliant
is
so massive
past have been made
choice and pruning of countless
new
discoveries or
be made,
and the
so clear
by
critics of all
new judgments about
it
outlines of
the repeated
periods, that
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,
It is
my
in its organic relationship with its past
Anthologies have, for many people, a cachet of final
ity
and are often
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
of the great poems presented carries its authority
over into the plan of the book itself. Thus, for many of
power
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
us, the first
suffered
by contemporary
poetry, for obvious reasons,
A
such as the
the great
Little
Treasury of British Poetry
difficulty of anticipating the verdicts of time,
number
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.
need
to
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.
The Oxford Book
of English Verse, in its attempt
so half-hearted a gesture of
to 'modern' poetry that a naive reader of its
to correct this error,
welcome
made
pages could get only an impression of the feebleness, in
quantitative productiveness at least, of his own time, in
contrast to the robust fecundity of the past. The editors
of other general anthologies (including the
ones of the
last
decade) also seem
into a kind of paralysis
to
many good
have been dazzled
by the glory of the past
so that,
if
they do include modern pieces at all, they include so
few, stop at so early a date and give so little space to
contemporary work that the unalerted reader receives an
impression that modern poetry is virtually non-existent,
or if it exists, almost unworthy of attention, The Paher
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
should that emphasis be?
arbitrarily answered this question by devoting
approximately two-fifths of the pages herein to the verso
I
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
tive judgments, this ratio
XII
historical
compara
might well seem grotesque and
INTRODUCTION
biased,
But there
is
no reason why an
anthology should
were being
offer precisely that kind of
judgment, as if it
brought to print two centuries in the future.
will
have
its
own
criteria,
The
future
and by them determine what
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
is
pleasure
and even bear them after emotional styles
peculiar to ourselves and our time, and to no other.
peculiar to
also
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,
they should be as important
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
A
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
I
have begun the
first
section of this collection, de
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
Thomas Wyatt and
medium for the
tongue became a perfectly expressive
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
are included in full, together with
poems and
passages from plays, as well as ballads and lyrics, in
order to make this selection representative.
poems
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.
pages. Here, too,
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
Eighteenth centuries as in those of the Twentieth:
Turning and turning in the widening gyre
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
Little Treasury of British
Poetry
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
an nsnrpt town, to another duo,
to admit you, but oh, to no end.
John Donne
Labour
Truly, my Satan, Ihou art but a dunce,
And dost not know the garment from the
Kvory harlot was
Nor
man;
a virgin once,
can'st thoti ever
change Kate
into
Nan,
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,
Tho* thou
-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
intolerable neural itch,
of weaning, the liar's (juinsy,
the distortions of ingrown virginity.
-W. IL' Audcn
Curing
tin*
The exhaustion
And
T. S. Eliot's work
is often considered too difficult be
loaded with classical and scholarly quotations
and references. But .surely the same accusation can be
cause
it is
made
against Milton, for who, without a knowledge of
mythology, Christian theology, and the English
classical
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
Jones':
But
t,
The
seas to service that her
Babble
Ann's bard on a raised hearth,
XVI
bellbuoy over the hymning heads,
the walls of the ferned and foxy woods,
like a
Bow down
call all
wood-ton gucd virtue
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
In a fiercely mourning house in a crooked year.
with a passage from 'The Phoenix and the Turtle':
Let the bird of loudest lay
On the sole Arabian tree,
Herald sad and trumpet be,
To whose sound chaste wings obey.
But thou shrieking harbinger,
Foul prccurrer of the fiend,
Augur
To
can
this
of the fever's end,
come thou not near,
troop
be
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
it
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,
has perhaps better
it
critics
than any preceding
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
sensibility to his reading of it. To people
could neither read nor write, all poetry would reach
knowledge and
who
them words would
no more than mysterious marks upon the
the ultimate of obscurity; for to
appear
paper.
who
as
I
believe that
it is
the education of the person
modern poetry obscure which
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
Little
Treasury of British Poetry
cated, or the uneducated, is equivalent to asking it to be
art of the illiterate. Illiterature will flourish without
an
help; the lovers of poetry will continue to
it
want
to
keep
literature.
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,
and influenced by predecessors from
all
periods of the past. Largely because of extraordinary de
velopments in criticism, they are aware of their whole
tradition with a kind of immediacy; there is no
telling
or by what period a
poet of
whom
by
today may be
instructed. Formerly, period succeeded period with a
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
we can think of doing that ourselves with
No poet of the past, even of the recent
no incongruity.
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
favour. This
is
transportation, interlocking interests and wars, local cul
tural restrictions have been loosened and all areas of
reading have been opened by travel and translation.
While there may be dangers
in this catholic
reading
always the advantage that the modern poet must
set himself a high standard, since he knows
just how far
and high poetry has already reached.
But no matter how many the resemblances of modern
poetry to the poetry of former times, its differences are
there
is
noticeable and various enough to
xviu
make
the literature of
INTRODUCTION
the Twentieth century distinctive.
To make any general
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
physical, etc., each creating a minor revolution, make
seem impossible to find any general classification for
it
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,
scholarly or technical terminology they have a use for;
is no
longer written in the speech of 'an English
poetry
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
A
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
economic pressures,
new
in the
midst of his
travels, wars,
and social upheavals, with
myth and depth psychology for
threats
understandings of
compass and sounding lead.
But the one characteristic that can be
definitely dis
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
a poet used the plural 'we* rather than
he meant himself and his beloved, or his
immediate class-kind. His attitude was
T
friend, or his
definitely
his
personal one.
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
some extent as others
from his own.
feel,
from their
situation as well as
I think that this
in
beginning
"Dover Beach.'
On
'my beloved and
that of
change of attitude can he marked as
Victorian times with
the surface the
Matthew Arnold's
Ve' of the poem is
I/ yet the feeling of the actual 'we'
is
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
all
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
may be
need comment.
It is
of especial interest to trace this atti
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
most important. Poets as different
Auden and George Barker yet have
Such poems as 'Soldiers Bathing' by
this
as
W.
common
H.
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
A
Little
Treasury of British Poetry
the immediate environment, as in such
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
This attitude
is
a gain,
all
1
periods.
think, since
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
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.
exacting reader will find,
to
OSCAR WILLIAMS
Ncio
"York City,
July S,
19SL
* See Editorial Note,
xxw
on page 808.
II
A
Little
Treasury
of
Modern
British Poetry
The Chief Poets
from 1QOO
to
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
section in the present
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
poems written during
this
decade starred in the Index of
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
Authors
&
the English tongue.
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,
And this time, spreads
The Earth has killed
m
tentious,
scheme.
I
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
THE
place where our two gardens meet
undivided by a street,
And mingled flower and weed caress
And fill our double wilderness,
Is
Among whose riot undismayed
And unreproached, we idly played,
While, unaccompanied by fears,
The months extended into years,
Till we went down one day in June
To pass the usual afternoon
And
there discovered, shoulder-tall,
Rise in the wilderness a wall:
The wall which put us out of reach
And
into silence split our speech.
843
A Little Treasury of Modern British Poetry
We knew, and we had always known
That some dark, unseen hand of stone
Hovered across our days of ease,
And strummed its
tunes upon the breeze.
had not tried us overmuch,
But here it was, for us to touch.
It
The wilderness
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
And
Frozen to transparency;
it an icy music swells
And a brittle, brilliant chime of
Through
Would you
We
bells:
conjecture that, in Spring,
lean upon it, talk and sing,
Or climb upon it, and play chess
Upon its summer silentness?
One certain thing alone we know:
Silence or song,
it
does not go.
A habit now
to
And watch
catch the sun's
it
wake with day
first
ray,
Or terrorised, to scramble through
The depths of night to prove it true.
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.
Though you build on
A
But you can cage the woods.
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
You can even
alter their wants,
and
their smallest long
ings
Press to your own desires. The woods succumb
To the paths made through their life, withdraw the trees,
Betake themselves where you
tell
them, and acquiesce.
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
A
stream has rights, for a stream is always water;
cross it you have to bridge it; and it will not flow
To
uphill.
845
A Little Treasury
of
Modern
British
Poetry
LESSONS OF THE WAR
Vixi duelhs nuper idoneus
militavi non sine gloria
Et
I.
NAMING OF PARTS
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,
We
We
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
swivel,
in your case
you have not got. The branches
in the gardens their silent, eloquent gestures,
Which in our case we have not got.
Which
Hold
This
is
the safety-catch, which is always released
of the thumb. And please do not let
With an easy flick
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
of
Any
And
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
They
call it
easing the Spring.
They call it easing the Spring: it is perfectly easy
If you have any strength in your thumb: like the bolt,
And
the breech, and the cocking-piece, and the point of
balance,
Which in our case we have not got; and the almond-
blossom
846
HENRY REED
and the bees going back
wards and forwards,
For to-day we having naming of parts.
Silent in all of the gardens
H. JUDGING DISTANCES
Not only how
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
right of arc and that, which
And at least you know
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
poplar,
those which have bushy tops too;
And
That things only seem
A barn
Or a
is
to
and
lastly
be things.
it more
plainly,
where sheep may be safely
not called a barn, to put
field in the distance,
grazing.
You must never be
over-sure.
You must
say,
when
re
porting:
At five o'clock in the central sector is a dozen
Of what appear to be animals; whatever you
Don't
do,
call the bleeders sheep.
am
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
I
Vestments of purple and gold.
The
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
And under
A Little
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
tq
be humans
Appear
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
Well
important.
beings, now: in
The human
what
direction are
they,
away, would you say? And do not forget
There may be dead ground in between.
And how
far
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
Which you may sometimes meet.
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
But the various holds and
848
rolls
and throws and
foot.
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.)
Nothing will matter
The
if
readiness
for him.
only you are ready
is all.
I
readiness is all How can I help but feel
have been here before? But somehow then,
I
was the
The
tied-up one.
How
to get out
And even if I had
always then my problem.
of rope I was always the sort of person
piece
Who threw the rope aside.
Was
A
And
in
I have given them all I had,
never as good as I got, and it got
my time
Which was
me no
where.
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
in a strong position,
I had some weakness
foot
got hurt, or
my
least expected. But I think I see your point.
a
issue, we must learn the lesson
was never
Or
Where I had
the ball of
While awaiting proper
Of the ever-important question
It is
Things
Not
of
human
balance.
courage that counts.
the same again; and we must fight
of winning but rather of keeping
alive: so that when we meet our end,
may be
in the
hope
Something
wherever we could,
may be said that we tackled
and
we
lived,
though defeated,
That battle-fit
It
Not without
glory fought.
849
Index of Authors and Titles
Anonymous: Songs
&
Lyrics
continued
London
Anonymous: Ballads
Sir Patrick
.
5
6
8
Bells
Foggy, Foggy Dew
Broom, Green Broom
3
Spens
The Falcon
The Demon Lover
Lord Randal
9
Edward, Edward
Helen of Kirconnell .... 10
Bonny Barbara Allan ... 12
The Wife of Usher's Well 13
Arnold, Matthew
(18S&-1888)
Thomas
Auden, W. H.
the
Rhymer
...
14
Bell
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
Away
Western Wind
more Tree
God
Rest
I Saw Your
Face
Devotion
There Is a Lady Sweet
and Kind
Back and Side Go Bare,
Go Bare
The Sea Hath Many
Thousand Sands ....
20
22
23
Since First
.
,
1907)
Petition
*Musee des Beaux
Arts.
*Paysage Moralise
*In Memory of W.
748
749
750
B.
Yeats
751
Lay Your Sleeping Head,
753
My Love
O What Is That Sound. 754
O Where Are You Go
756
756
757
ing
Doom
*
Is
Dark
Spain 1937
Consider This
and
in
Our Time
*In
Memory
760
of
Sigmund
Freud
23
24
29
29
30
457
458
Requiescat
20
You Merry,
Gentlemen
The First Nowell
Love Not Me
,
Dover Beach
(b.
Anonymous: Songs & Lyrics
I
17
Sing of a Maiden
The Bailey Beareth the
.
*Mundus
et Infans
762
765
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
INDEX OF AUTHORS AND TITLES
Blake, William
Barker, George
continued
continued
The Three Dead and
To
the Muses
289
90
291
the Three Living
.805
*The Death of Yeats ...806
The Tiger
The Immortal
^Triumphal Ode
For the Sexes: The Gates
.
.
MCMXXXIX
*
807
Allegory of the Adoles
cent and the Adult. .809
*Sonnet
to
Mother. .810
My
Elegy V: Separation of
Man from God
811
*News of the World I.. 812
*News of the World II 813
.
*News
of the
.
World 111,814
Barnes, William
(1801-1886)
The May Tree
400
Beddoes, Thomas
Lovell
(1808-1849)
400
Dirge
Song: Old Adam,
Carrion Crow
292
Bridges, Robert
(1844-1930)
I
Heard a Linnet Court
550
551
London Snow
552
A Passer-by
552
554
Nightingales
Eros
554
Johannes Milton, Senex.555
ing
a Dead Child
On
Noel:
Christmas
Eve,
1913
Low Barometer
The Storm Is Over
The Psalm
556
557
558
559
the
401
Times
Do I Love Thee, Dear 402
402
Dream-Pedlary
Song:
of Paradise
How Many
Bronte, Emily
(1818-184S)
No Coward Soul Is Mine 453
Stanzas: Oft Rebuked
.454
.
The Visionary
Remembrance
Blake, William
(1757-1827)
Reeds of Innocence
.
.
.
.281
The Lamb
281
Auguries of Innocence. .282
I
Saw
a Chapel All of
Gold
The Angel
London
The Scoffers
The Garden
Song
285
286
286
287
of
Love
A Poison Tree
The New Jerusalem
860
.
.
454
455
.287
288
288
289
Brooke, Rupert
(1887-1915)
The Soldier
The Dead
The Great Lover
Heaven
667
668
668
670
Browning, Elizabeth Barrett
(1SOG-1861)
How Do
If
I Love Thee.
.439
Thou Must Love Me. 439
.
INDEX OF AUTHORS AND TITLES
Browning, Robert
(181&-1889)
Home-Thoughts from
Abroad
Campbell,
Pippa's Song
Soliloquy of the Spanish
Cloister
My
440
440
441
443
444
Last Duchess
Prospice
A
Toccata of Galuppfs. .445
The Last Ride Together, 447
Roy
(b. 1902)
The Serf
The Zebras
728
729
Campbell, Thomas
(1774-1844)
of Life
The River
354
Campion, Thomas
(1667-1880)
Follow Thy Fair Sun,
Bums, Robert
My
Love
Is
Like a
Red
A
Welcome
to
His
ter
300
301
302
?
Carew, Thomas
(1595P-1639?)
Song: Ask Me No More
Where Jove Bestows .169
He That Loves a Rosy
Cheek
Carroll,
Love-Begotten Daugh
The Rigs o Barley
To a Louse
112
113
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
A Poet's
Un
happy Shadow
(1769-1796)
170
Lewis
(Charles L. Dodgson)
(1832-1898)
467
Jabberwocky
The Walrus and the Car
468
penter
Father William
472
Byron, Lord, George Gordon
Cartright, William
(1788-1824)
She Walks in Beauty.
There Be None of
We
11
Go No
.357
No
.357
More a
Beauty's Daughters
So,
.
.
358
358
The Sea
359
It Is the Hush of
Night. 361
Darkness
363
The Isles of Greece
365
Roving
Sonnet on Chillon
(1611-1643)
Platonic Love
To Chloe
203
204
Chatterton, Thomas
(1752-1770)
An Excellente Balade of
Charity
Sing Unto
lay
276
My Rounde
279
fifil
INDEX OF AUTHORS AND TITLES
Clare,
John
Cowper, William
continued
(1739-1864)
377
378
378
379
Badger
I
Am
Mouse's Nest
Clock-a-Clay
Light Shining
Darkness
Out
of
275
Crashaw, Richard
(161B-1649)
Clough, Arthur
Hugh
(1819-1861)
Say Not the Struggle.
.
.456
The Tear
For Hope
The Flaming Heart
D
Coleridge, Samuel Taylor
(1772-1834)
Kubla Khan
The Rime
328
of the Ancient
329
348
352
Mariner
Dejection:
An Ode
Epigram
205
206
208
Daniel, Samuel
(1562-1619)
Fair Is My Love
Care-Charmer Sleep
Davidson, John
Collins,
(1857-1909)
William
Thirty
(1721-1759)
Ode
to
The
(b. 1920)
Corbet, Richard
(1582-1635)
The Fairies* Farewell
.
853
853
.151
Cowley, Abraham
Beauty
Hope
The Wish
Solitary
...561
213
214
215
Lyre
.
,.395
Davies, Sir John
(1569-1629)
In What Manner the Soul
Is United to the
Body. 115
Davies, W. H.
(1810-1940)
A Great
Leisure
(1018-1667)
Against
Week
a
Darley, George
(1795-1S46)
Comfort, Alex
*Hoc Est Corpus
*The Atoll in the Mind
Bob
266
Evening
Time
The White Monster
De
la
622
622
623
Mare, Walter
(b. 1873)
i
Cowper, William
An Epitaph
(17S1-1SOQ)
The Solitude of Alexan
der Selkirk
274
The Linnet
The Listeners
The Miracle
862
631
631
632
633
INDEX or AUTHOKS AND TITLES
Donne, John
Go
Dryden, John
(1678-1681)
and Catch a Falling
Star
The
The
The
The
124
125
125
126
128
129
130
Good-Morrow
Flea
Ecstasy
Canonization
Love's Deity
The Anniversary
The Dream
The Sun Rising
131
132
133
134
135
138
139
140
141
Lovers' Infmiteness
On His Mistress
Love's Progress
Going to Bed
The Blossom
Break of Day
The Will
A
(1681-1700)
A
Nocturnal Upon Saint
143
Lucy's Day
Poisonous Minerals
.144
Valediction
Forbid
If
Song for St.
Day, 1687
Cecilia's
238
Farewell, Ungrateful
Traitor
240
No, No, Poor Suffering
Heart
241
246
Alexander's Feast
Durrell,
Lawrence
(b. 1912)
*At Epidaurus
794
Dyer, Sir Edward
(1545P-1607)
My Mind
dom
to
Me
a King
56
Is
.
A
144
145
ding Mourning
The
Relic
Death, Be Not Proud. .146
What If This Present ... 147
.
At
the
Round
Earth's
Imagined Corners
Batter
My
A Hymn
.
.
Heart
to
God,
Father
A Hymn
.
to Christ
147
148
the
148
149
Eliot, T. S.
(b. 1888)
The Love Song
of
J.
Alfred Prufrock
The Hippopotamus
A
Song for Simeon
Animula
679
.
.
.
.
.683
.684
685
Fragment of an Agon .686
The Wind Sprang Up
at
Four O'clock
692
Chorus from 'The Rock'
III
692
*The Dry Salvages
694
Dowson, Ernest
Empson, William
(1867-1900)
Cynarae
506
(b. 1906)
Letter I
IV
*Aubade
*
Courage Means Run
^Letter
Drayton, Michael
(1563-1631)
Night and Day
The
Parting
70
70
737
738
739
740
ning
(More Empson, next page)
863
INDEX OF AUTHORS AND TITLES
Graves, Robert
continued
Empson, William
continued
741
742
Legal Fiction
Missing Dates
FitzGerald, Edward
(1809-1883)
The Rubaiyat
Khayyam
of
Omar
404
Solstice
Gray,
Roy
(b. 1912)
....
Spring 1943
........... 718
.719
.796
Thomas
Drowned
in a
Greville, Fulke,
(1685-17S&)
To a Lady on Her Pas
Old China ...251
W.
S.
(1863-1911)
Sir Joseph's
Tub
of
Gold Fishes ........ 265
Gay, John
Gilbert, Sir
.
Elegy Written in a Coun
try Churchyard ..... 258
Ode on a Distant Pros
pect of Eton College. .262
On a Favourite Cat
G
sion for
.713
.
(1716-1771)
775
Cart'
*
.
*The Persian Version
Fry, Christopher
(b. 1907)
From 'The Boy with a
Fuller,
Ogres and Pygmies
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
Song
480
481
Bunthorne's Song
482
Ko-~Ko's Song
The Mikado's Song .... 484
Ko Ko's Winning Song. 485
O
Lord Brooke
(1554-1628)
Wearisome Condition
of
Humanity ........ 45
Epitaph on Sir Philip
Sidney .............
Three Things There Be.
When as Man's Life ...
To Myra .............
Grigson, Geoffrey
(b. 1905)
*The Landscape
Goldsmith, Oliver
46
48
49
49
Heart
of
the
............ 736
(1788-177 4)
Woman
Sweet Auburn
272
272
H
Hardy, Thomas
Graves, Robert
(b. 1895)
Interruption
864
The Darkling Thrush .509
(More Hardy, next page]
.
712
AUTHORS AND TITLES
IISBEX OF
Hardy, Thomas
continued
The
Souls of the Slain
.510
.
To an Unborn Pauper
Child
The Ruined Maid
The Last Chrysanthe
mum
In Tenebris
In Tenebris
In Tenebris
II
III
Killed ....518
Channel Firing
519
The Convergence of the
Twain
520
The Statue of Liberty. .521
Under the Waterfall
.523
The Going
525
.
.
.
Afterwards
Refusal
A
No
Buyers
In Time of 'The Break
Henley,
W.
526
527
528
528
ing of Nations'
The
Make
154
Night-Piece, to
Julia's Clothes
.
.
.
Delight in Disorder
A
Child's Grace
The Bad Season Makes
the Poet Sad
Tis Hard to Find God
Mirth
Prayers
Poise
156
.156
.
156
Must Have
The Rod
Temptation
Thanksgiving
Neutrality Lothsome
Sins Loathed, and Yet
.
.
.
Loved
Good Christians
To Daffodils
Good Men Afflicted
Most
497
157
157
157
157
157
157
157
158
158
E.
(1849-190S)
Invictus
154
155
155
156
Julia
Upon
515
515
516
517
I
The Man He
513
514
Herrick, Robert
(1691-1674)
To the Virgins, to
Much of Time
Higgins, F. R.
(1896-1941)
the Clatter-
*Song for
Bones
Herbert, George
Easter- Wings
Redemption
The Collar
The Quip
Love
The
Pulley
Discipline
Life
Jordan
The Rose
Avarice
Affliction
,
.
159
159
160
161
162
162
163
164
164
165
166
166
720
Hodgson, Ralph
(b.
187%)
of Honour
The Song
Eve
. .
.
624
630
Hood, Thomas
(1198-1845)
I
Remember,
I
Remem
ber
Autumn
The Sea
of
Death
396
397
398
865
INDEX OF AUTHORS AND TITLES
Hopkins, Gerard Mauley
(1844-1S89)
'
529
530
God's Grandeur
Pied Beauty
The Wreck
of the
Deutschland
Echo
The Windhover
The Candle Indoors
and
Spring
.
.
To
Fall:
.
No
Worst, There
1
564
564
565
Am
Not the
566
First
571
Returning
The Chestnut Casts His
Flambeaux
572
When Israel Out of
573
Egypt Came
The Jar of Nations
574
574
566
Twenty
in the
Long Road
Moon
Lies
Howard, Henry, Earl of
Surrey
(1616-1547)
How No Age
Is
Con
tent
Description of Spring
Translation from The
.
.
Aeneid
35
36
36
The Dark Angel
the
568
504
Jonson, Ben
(1673-1637)
To Celia
On My
Was One-and-
Oh, When I Was in Love
567
with You
To an Athlete Dying
567
Young
866
Wars
Johnson, Lionel
(1SG7-190&J
On Wenlock Edge
White
the
.
Reveille
I
569
from
Infant Innocence
Is
(1869-1986)
Loveliest of Trees
When
559
Stuff
Housman, A. E.
I
Is
Soldier
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
Others,
568
Heart
540
542
543
544
544
None
The Habit
My
Terence, This Is Stupid
.543
a
Young Child
Inversnaid
With Rue
Laden
530
The Leaden Echo and
the Golden
Felix Randal
Housraan, A. E.
continued
Into My Heart
It Is
First
116
116
Son
Not Growing Like a
117
117
Tree
The Hour Glass
Inviting a Friend to
per
Sup
117
The Triumph of Charis.118
(More Jonson, next page)
INDEX OF AUTHORS AND TITLES
Jonson, Ben
continued
To the Memory of My
Beloved, Master Wil
liam Shakespeare
119
Keyes, Sidney
(1988-1948)
*The Wilderness
Kipling,
Rudyard
An Ode to Himself ....122
To Heaven
123
(1865-1936)
Recessional
Joyce, James
Danny Deever
Gunga Din
(1888-1941)
of Persse
854
611
612
613
615
Mandalay
The Ballad
the
of
Sestina
639
O'Reilly
Tramp617
Royal
The Law
of the Jungle. .619
Earth's Last Pic
When
621
ture Is Painted
Keats, John
(1796-1881)
On
Landor, Walter Savage
First
Looking
Chapman's Homer
On
the
Seeing
into
.
.
.
(1775-1864)
380
380
To One Who Has Been
Long in City Pent ..381
.
On
the Grasshopper
and
381
When I Have Fears That
I May Cease to Be. ..382
the Cricket
Would
Star!
Bright
Were
Steadfast
Thou Art
On The Sea
La Belle Dame Sans
as
382
383
383
Merci
.
A Thing
There
Boy
of
.385
.387
Beauty
Was
a
On
His Seventy-fifth
Birthday
Death Stands Above
lanthe
Lately
Our
353
Me. 353
Poets
354
354
Lawrence, D. H.
(188S-19SO)
I
Ode to a Nightingale.
Ode on a Grecian Urn.
Ode to Psyche
Ode on Indolence
Ode on Melancholy
To Autumn
353
353
Dirce
Elgin
Marbles
Rose Aylmer
388
390
392
393
394
Bavarian Gentians ..... 642
643
Piano
When
I
Went
to the Cir
cus
Don'ts
Humming
645
647
Bird
The Elephant
Mate
Is
Slow to
Snake
The Ship
Lear,
of
Death
647
648
651
Edward
(1818r-1888)
Naughty
395
The Jumblies
451
867
INDEX OF AUTHORS AND TITLES
Lewis, C. Day (b. 1904)
Consider These, for We
Marlowe, Christopher
(1664r-169S)
Who
Have Condemned
Them
Do Not
Expect Again a
730
Phoenix Hour
Nearing Again the
Legendary Isle
The
Conflict
(1556?-1625)
Rosaline
on
Going
... .211
Beyond the Seas
To
71
73
Helen
The Passionate Shepherd
to His Love
73
Marvell, Andrew (1621-1678)
To His Coy Mistress
.217
.
65
Lovelace, Richard
(1618-1668)
To Lucasta, On Going to
211
the Wars
Lucasta,
71
Sight
Fair Is Too Foul an
Epi
thet
731
731
Lodge, Thomas
To
Ever Loved that
Not at First
Loved
729
The Garden
The Picture
.
218
of
Little
T. C. in a
Prospect of
Flowers
220
The Definition of Love .221
The Mower Against Gar
dens
a Drop of
On
222
Dew
.
.
.
.223
Althea from Prison. .212
Masefield,
John
(b. 1878)
On Growing Old
The West Wind
M
654
655
There on the Darkened
MacNeice, Louis
Deathbed
(b. 1907)
767
Sunday Morning
Among These
Turf-
Stacks
The
Sunlight
on
Garden
767
The
.
.
768
Meredith, Georgef/ 828-1909)
Lucifer in Starlight
.464
Love in the Valley
465
.769
770
771
772
the Minutes. 774
^Bagpipe Music
"Entirely
^Refugees
^Entered in
An Old Song Re-Sung. .657
658
Lolling don Downs
the
*Prayer Before Birth
Passing Strange
(b.
1016)
*Fife Tune
850
*The Sirens
850
*The Bunyip and the
Whistling Kettle
868
851
.
.
.
.
.
665
.
Meynell, Alice
(1847-1988)
A
Letter from a Girl to
Her
Manifold, John
656
657
How Many Ways
Own
Old Age ...495
Milton, John (1608-1674)
On His Blindness
171
On His Deceased Wife.. 171
(More Milton, next
INDEX OF AUTHORS AND TITLES
O
Milton. John
continued
How
On
Soon Hath Time
.
172
.
the Late Massacre in
Piedmont
Lycidas
L/ Allegro
111
Penseroso
On Time
Blindness of Samson
Ode on the Morning of
.
.
.
Christ's Nativity
Satan
and
the
172
173
178
182
186
187
Owen, Wilfred (1893-1918)
Greater Love
702
The Send-Off
703
Dulce
et
Arms and
Decorum
the Boy
Est. .703
704
705
706
708
709
Spring Offensive
Insensibility
The Show
Strange Meeting
188
Fallen
Pope, Alexander (1688-1744)
Know Theu Thyself
253
Vital Spark of
Heavenly
Satan's Guile
195
196
197
199
True & False Glory
201
A
Angels
Light
Satan's
Soliloquy
Monro, Harold (1879-1982)
634
635
Living
Bitter Sanctuary
Moore, Thomas (1779-1852)
Believe Me
355
Oft in the
Stilly
Night. .356
More, Sir Thomasfj? 478-1 58S)
A Rueful Lamentation
31
.
.
Morris, William (1 834-1896)
The Earthly Paradise .478
.
Muir, Edwin
FLime
256
256
Learning
Engraved on the Collar
Little
of a
The Coxcomb Bird
258
258
Prince, F. T. (b. 1912)
*
Soldiers Bathing
800
Dog
Matthew (1664-1721)
To a Child of Quality. .250
Prior,
.
Quennell, Peter (b. 1905)
Hero Entombed
The
I
733
Flight Into Egypt. .734
Procne
735
(b. 1887)
*The Road
*Too Much
*The Combat
*The Interrogation
*The Castle
671
672
673
674
675
N
Nashe, Thomas (1567-1602)
Spring, the Sweet Spring 112
Raine, Kathleen (b. 1908)
*Easter Poem
777
*Love Poem
777
Ralegh, Sir Walter
(1668-1618)
The Nymph's Reply
to
the Shepherd
50
(More Ralegh, next page)
869
INDEX OF AUTHORS AND TITLES
Ralegh, Sir Walter
continued
Shakespeare, William
(1564-1616)
Even Such Is Time
The Passionate Man's
51
Pil
Me Where
Tell
Bred
Under the
Tree
51
The Silent Lover ...... 53
The Merit of True Pas
sion ............... 53
53
Walsinghame .........
The Lie .............. 55
Full
Read, Herbert (b. 1898)
*To a Conscript of 1940.710
How
grimage
Is
Fancy
74
Greenwood
75
Blow, Blow, Thou
ter
Fear
Win
Wind
No More
75
76
Fathom Five Thy
Father Lies
77
Hark Hark! the Lark ... 77
Should
I
Your True
Love Know
Reed, Henry
(b.
1914)
It
*The Wall ........... 843
*Lives ............... 844
*
Lessons of the War:
Naming
of Parts ----
Judging Distances
Unarmed Combat
.
.
.
.
846
847
848
W. R. (b. 1911)
*
.786
Apollo and Daphne
*Stormy Day ......... 787
Rodgers,
.
.
^Neither Here Nor There 788
^Summer Holidays
... .789
Rossetti, Christina Georgina
(1890-1894)
A
Birthday ........... 463
When
Am
Dead, My
Dearest ............ 463
I
Rossetti,
Lass
the
Roars
(1888-1888)
Hungry Lion
Mine
Mistress
Sigh No More, Ladies
When That I Was and
Little
Tiny
Take
O
Who
Is
When
.
.
a
80
81
Take Those Lips 81
Silvia?
81
Icicles
Day
.
.
Hang by
Wall
the
78
79
79
Boy
Saint Valentine's
82
You Spotted Snakes
82
Did Not the Heavenly
Rhetoric of Thine
Eye 83
Sonnets:
From
Fairest Creatures
Desire Increase
83
We
.
Thy Brow
Thy Glass
Besiege
.
.459
Look
in
Shall I
a
Savage, D. S. (b. 1917)
*
Winter Offering ...... 852
Scovell, E. J. (b. 1907)
*
Love's Immaturity ....
870
78
Now
O
77
a Lover and His
.
When Forty Winters Shall
Dante Gabriel
The Blessed Damozel
Was
776
Compare Thee
Summer s Day
When
...
in
84
84
to
....
85
Disgrace with
Fortune & Men's Eyes 85
When
to the Sessions of
Sweet Silent Thought. 85
(More Shakespeare, next page)
INDEX OF AUTHORS AND TITLES
Shakespeare, William
continued
Full Many a Glorious
Morning Have I Seen.
What Is Your Substance.
Not Marble, nor the
Gilded Monuments ...
Like as the Waves
When
86
86
87
87
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.
.
No Longer Mourn for Me
When I Am Dead ...
in
Dear
Have Power
Absent
I
in the Spring
.
Not to the Mar
True Minds
riage of
104
Not to Be
Tomorrow and Tomor
105
row and Tomorrow
or
To
.
.
106
Gild Refined Gold
Antony's Oration Over
.
Caesar's
.
106
Body
90
Shelley,
.
90
.
of
Percy Bysshe
One Word
Is
Too Often
368
368
Profaned
Music
Ode to the West Wind. .369
The Cloud
371
The Indian Serenade
.373
.
.
91
Shame
... 92
My Mistress' Eyes Are
Nothing Like the Sun. 92
Poor Soul, the Center of
93
My Sinful Earth
Waste
.
(1798-1828)
Th' Expense of Spirit in
93
Opportunity
Passages from Plays:
All the World's a Stage.
The Uses of Adversity.
.
Cleopatra
104
True
To Be
Been
the Prophetic Soul ... 91
a
Be
Self
The Phoenix & the Turtle 109
in the Chronicle of
Me
.
To Thine Own
89
91
Wasted Time
Not Mine Own Fears, nor
Let
100
101
Imagination
Ulysses Advises Achilles. 102
Our Revels Are Ended. .103
The Quality of Mercy. .103
to
Hurt
From You Have
When
Mab
Speech
Behold. 89
My Possessing
for
that
Queen
98
99
99
.
Thou Art Too
Farewell!
They
Me
Jests at Scars
.
.
89
That Time of Year Thou
Mayest
He
Mercutio's
Have Seen by
I
Shakespeare, William
continued
The Cares of Majesty
Wolsey's Farewell
95
96
97
To
a Skylark
.
374
James (1596-1666)
168
Death the Leveller
Shirley,
Sidney, Sir VhStttf 1664-1686)
38
Desire
39
39
40
Delight of Solitariness... 40
41
The Nightingale
42
Heart Exchange
43
Double Sestine
871
Loving in Truth
The Highway
Leave Me, O Love
INDEX OF AUTHORS AND TITLES
Sitwell, Sacheverell (b. 1897)
Agamemnon's Tomb
.
.721
.
Smart, Christopher
(1788-1770)
The
My
of Prayer
Go by
Spencer, Bernard (b. 1909)
^Behaviour of Money. .784
.
785
*Part of Plenty
Spender, Stephen (b. 1909)
Ultima Ratio Regurn .778
.
Palaces,
An
Era's
779
Crown
An Elementary
Classroom in a Slum. 780
All These Events. 781
Think Continually of
782
Those
.783
*The Double Shame
I
.
.
Edmund (1552-1599)
Lord .... 58
I
Wrote Her
Name
Ye Tradeful Merchants
59
59
60
.
Prothalamion
Stephens, James (1882-1950)
637
The Goat Paths
Suckling, Sir John
(1609-1642)
The Constant Lover
.
.
.203
Swinburne, Algernon Charles
(1837-1909)
Before the Beginning
When
the
Spring
872
799
Hounds
Tennyson, Alfred, Lord
(1809-1898)
Tears, Idle Tears
Ask
416
416
417
Me No More
Blow, Bugle, Blow
Flower, in the Crannied
Wall
417
418
Agnes' Eve
As Through the Land
T
Eve
We
at
W ent
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
.
Fresh Spring, the Herald 58
My Love Is Like to Ice. 59
One Day
(b. 1912)
*Pub
St.
School
*From
Spenser,
Most Glorious
Pros
67
68
Turns
The Burning Babe
Not
of
492
Symons, Julian
Southwell, Hoben(ieei-lS9S)
Times
Garden
erpine
268
271
Cat Jeoffry
The Man
Swinburne, Algernon Charles
continued
A Forsaken Garden .... 489
.
.
.
486
of
488
.
.
INDEX OF AUTHOKS AND TITLES
Thomas, Dylan
*A
Refusal
(b. 1914)
To Mourn
the
Fire of a
Death by
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
.
.
mer
818
On No Work
of
in October
*Fern Hill
*Over Sir John's Hill
*In Country Sleep
*In Memory of
Jones
^Especially
October
*A Winters
*In
the
824
826
.
.
.828
830
Ann
834
When
the
Wind
the
232
234
Wonder
Shadows
in the Water. ,236
Treece, Henry (b. 1912)
*In the Beginning
798
*The Dyke-Builder
798
Vaughan, Henry (1621-1695)
The Shower
225
The Morning-Watch
The Retreat
The World
They Are All Gone
The Night
Giant's
840
Thigh
Thomas, Etow&(1878-1917)
The Gallows
676
677
677
678
Tears
The Owl
Adlestrop
Thompson, Francis
.
.
.225
226
227
229
230
W
835
836
Tale
White
On Leaping Over
Moon
Words. 820
Not from This Anger. .820
I, in My Intricate Image 821
*Poem
Traherne, Thomas
(1637P-1674)
Edmund
Waller,
On A Girdle
(1606-1687)
170
WatMns, Veraon (b. 1906)
*
Music of Colours: The
Blossom Scattered
.
.743
*The Cave-Drawing
.745
*The Yew-Tree
746
*The Lady with the Uni
.
.
corn
746
(1S59-1907)
The Hound
In
No
of
Strange
Heaven. .499
503
Land
Thomson, James (1834-1882)
The
As
I
City
Came
Desert
.473
Night
Through the
Is of
.
Webster, John (1680P-1830?)
the Flowers of the
All
A
150
150
Spring
Dirge
.
475
Tichborne, Chidiock
(1668-1586)
Written on the Eve of
Execution
66
Wilde, Oscar (1856-1900)
In Reading Gaol
497
Wilmot, John, Earl of
Rochester (1647-1680)
A
Satire
kind
Against
Man
247
873
INDEX OF AUTHORS AND TITLES
(1588-1667)
Wither, George
Shall
I
Wasting
in
152
Despair
The Second Coming
To a Shade
Wordsworth, William
(1770-1860)
Daffodils
and
Resolution
304
A
304
Among
Happy
Slumber Did
A
308
Strange Fits of Passion. .311
A
My
Spirit
Solitary Reaper ...313
She Was a Phantom of
314
Delight
Ode: Intimations o Im
315
mortality
321
Tintern Abbey
Too Much
Is
327
327
Wotton,
Sir
Henry
(1668-1639)
The Character
Happy Life
Wyatt, Sir
End
of
584
584
584
Day
Race
Courage
.
586
Meditations
Civil
in
Time
of
War:
Ancestral Houses .... 592
My
My
My
House
Table
Descendants
593
594
.
.
.595
.
The Road at My Door. 595
596
The Stare's Nest
a Beauteous Eve
ning
Surprised by Joy
583
.
325
326
326
Mutability
Dialogue of Self and
Soul
580
The Tower
325
London, 1802
School Children. 579
Friends Bring Her
a Christmas Tree. .585
.585
Sailing to Byzantium
Westminster
Bridge
It
575
My Daugh
576
The
Her
Her
Her
The
Upon
.575
Certain Artists
583
She Turns the Dolls
Faces to the Wall. .583
She Dwelt Among the
312
Untrodden Ways
312
The Rainbow
Is
.
Upon a Dying Lady:
Her Courtesy
312
Seal
The World
With Us
Prayer for
.
ter
Inde
pendence
Character of the
Warrior
Yeats, William Butler
(1865-1939)
See Phantoms of
597
Hatred
597
1919
Two Songs from a Play. 602
603
1 Am of Ireland'
I
.
of
a
114
Thomas
(1503-15W
They Flee from Me
Farewell, Love
33
33
I Find No Peace ...... 34
34
My Galley
874
News
for
the
Delphic
604
605
Oracle
Lapiz Lazuli
The
Municipal
Gallery
607
608
Revisited
A
Bronze Head
The
Circus Animals'
sertion
De
609
CONTINUED FROM FRONT FLAP
verse the emphasis it should have for a
modern reader, its relation to the work of
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
also the author of four published
books of poetry.
"Oscar Williams
is
probably the best an
Robert Lowell in
thologist in America."
The Sewanee Review