The Project Gutenberg eBook of Oxford Poetry 1917, by W. R. C., T. W. E., and D. L. S.

EUGENE PARKER CHASE

(MAGDALEN)

ON SUSSEX DOWNS

A boy stood on the windy Sussex downs,

Resting a moment in his lonely walk

To gaze at the fresh fields, and their neighbour towns

Sunk in the valleys watered by thin streams

And sheltered by the pallid hills of chalk.

It seemed a land for slow and leisured dreams,

For fantasy, vague and cool as the mist.

The church there in the field, with yew-trees round

Should send across the air a silver sound

Of holy bells. The loud rooks should desist

A moment from their cawing; the dim sun

Brighten his face, the rounded meadows glisten,

And all the windswept grassy hillsides listen

And then take up the sound the bells begun.

Slowly, at length, rounding the hill, a white,

Long, slender, floating airship flies.

It, of this quiet landscape, is the sight

Most peaceful—white splash on the blue spring skies.

It passes over the church-crowned slope, it blends

Its whiteness for a moment with the cloud,

And finally, with nose a little bowed,

Off towards the distant sea its course it bends.

The watching boy beheld no other change

In all the placid, comfortable scene,

And yet he deeply realized what mean

The airships and the other things that are strange,

But form a living part of England now;

And when he left the place where he had been,

He seemed to have become a man somehow.

W. R. CHILDE

(MAGDALEN)

THE LAST ABBOT OF GLOUCESTER

The Middle Ages sleep in alabaster

A delicate fine sleep. They never knew

The irreparable hell of that disaster,

That broke with hammers Heaven's fragile blue.

Yea, crowned and robed and silent he abides,

Last of the Romans and that ivory calm,

Beneath whose wings august the minster-sides

Trembled like virgins to the perfect Psalm.

Yea, it is gone with him, yea, it returns not;

The gilt proud sanctuaries are dust, the high

Steam of the violet fragrant frankincense burns not:

All gone; it was too beautiful to die.

It was too beautiful to live; the world

Ne'er rotted it with her slow-creeping hells:

Men shall not see the Vision crowned and pearled,

When Jerusalem blossomed in the noontide bells!

THE GOTHIC ROSE

Amid the blue smoke of gem-glassed chapels

You shall find Me, the white five-wounded Flower,

The Rose of Sarras. Yea, the moths have eaten,

And fretted the gold cloths of the duke of York,

And lost is the scarlet cloak of the cardinal Beaufort;

Tapers are quencht and rods of silver broken,

Where once king Richard dined beneath the leopards:

But think you that any beautifulness is wasted,

Wherewith Mine angels have blessed the blue-eyed English,

Twining into stone an obscure dream of Heaven,

A crown of flinty spines about the Rose,

A slim flame blessing the coronal of thorns?

And York is for ever the White Rose of Mary,

And Lancaster is dipt in the Precious Blood,

Though the high shrine that was built by the king of the Romans

Be down at Hayles, and the abbey of saint Mary

Be shattered now in three-towered Eboracum.

GERALD H. CROW

(HERTFORD)

AD DOMINAM SUAM MARIAM VIRGINEM

O lily Lady of loveliness,

O tender-hearted, marvellous-eyed,

Bend from Thine aureate throne and bless

The lonely people and comfortless

At Jesu-Mass and Vespertide.

And bless the mighty and proud of mien,

The scornful folk that pity and pass,—

For they are lonely as none have been,

The proud that lack on whom to lean—

At Vespertide and Jesu-Mass.

And bless before Thou makest end

Both me and mine in sorrow and pride,

Where frankincense and prayer ascend

And kneeling lilies whisper and bend

At Jesu-Mass and Vespertide.

DESIDERIO DESIDERAVI

Dear Father God, I want but one thing now.

Because I have been heart-proud all my days,

And given and asked all proudly for Love's sake,

In search of some lost tenderness out of the world,

And somehow never found it, I want this.

I want to choose my death as I have chosen

Mine other lovers proudly, and cleave to him.

I do not want to die afraid and failing

Some king that trusted me; nor yet to leave

This beautiful bright-coloured world in anguish,

Dirt, ugliness, old age, or shamefully

Eaten up with lust. I want to make myself

Lovelier on that last day than any of these

My lovers yet have found me, and so to die

Calmly by mine own hand and follow after

That tenderness that somehow passed me by,

That tenderness that will not let me be.

HUMILITY

Take counsel, O my friend, of your heart's pride,

And choose the proud thing alway. Never heed

The "wretched, rash, intruding fools" of the world,

Nor take the half-truths that life brings old men

For wisdom: nor the naked indecencies

That purity-mongers have shamed children with

For goodness: nor the silly hypocrisies

Of mean men for humility. But say,

"God is my Father. Christ was young and died

To comfort me. The towering archangels

With all their blue and gold and steely mail

Are my strong helpers and mine elder brothers.

The sweet white virgins gone to martyrdom

Calm-eyed and singing are my sisters." Yea,

Because of all these things keep your heart proud.

Be proud enough to serve the poor, too proud

To attend the rich: enough to love, not hate,

And give, not sell. Remember gentleness

Is the heart's pride of understanding, truth

Her greatness that will not be afraid for wrath

Nor flatter favour. This remember also,

The pure in heart shall walk like fierce white flames

Questing across the world in goodlier hope

And knightlier courtesy than they of the Graal,

For these are they in the end that shall see God.

D. N. DALGLISH

(ST. HILDA'S)

OTMOOR

The armies take the field in May,

And trees go marching all the day

On Otmoor, where the winds are strong

And mornings are a season long;

Where shining clouds halt for a pace,

Idling behind out of the race.

On Otmoor, hedges never die

Once spring has flung her tapestry;

And there most kindly summer throws

The lightest snowflakes of the rose,

And buttercups grow tall and straight

In fields that keep an open gate,

And daisies make a frosty gleam;

And yet you may not sleep nor dream,

Though field and road and wood are blessed,

Touched by the peaceful hands of rest.

On Otmoor, you may hear the voice

Of living green things that rejoice—

Hedges that boast defended fields,

And green seclusions proud of shields;

Great open deserts in the sky,

Cool icebergs slowly riding by

In the unruffled sea of blue;

Branches that let the sun pass through,

The cuckoo and the ecstatic lark,

Shadows that play at being dark—

In every leaf and stem and flower

There throbs a kindly, silent power,

And energies of being pass

From every breeze that stirs the grass,

And close around, with friendly care,

I feel the encircling sky and air,

That keep me safe, that hold without

Each shuddering fear, each traitorous doubt.

So am I safe and fenced around;

Boundless themselves, they set my bound,

For, should I make the ring less wide,

My fears start up on every side;

And only in unmeasured space

Can lives meet Life with braver face.

Here I may watch the silent earth

Consuming what shall come to birth;

For every leaf that falls and dies

Unbounded woodlands shall arise,

And though the roadside stream be dead,

New springs leap at the mountain head.

E. C. DICKINSON

(NON-COLL.)

A CHILD'S VOICE

'Twas in a far back swallow-time

When the air was filled with chime

Of Sunday bells that danced in tune

With Eastern phantasies,

A child within a garden's boon

Oft sighed with saddened eyes.

A swallow screamed and wheeled at him

Beside the greenhouse door;

It knew that there he strove to limn

The need in his soul's core:

And he is lonely and sad who tells

His need to Sunday bells.

Of playfellows there was not one

To whom at wake of sun

The child might turn to speak a dream

Of lazy summer seas

O'er which a ship rode fair of beam

Bringing his soul's keys;

And how a wondrous alien boy

Trod proud that ship of Fate.

There mid the bells of Sunday joy

He whispered, "Come not late

Within my longing, for my play

Won't keep for any day."

"The greenhouse tank is stagnant now

Under the cherry bough;

And there a ship is by the quay,

The joy of my Baghdad.

Oh come, oh come and play with me

That I should not be sad."

The jewelled shade of evening's hood

Held many Eastern tales;

And cinnamon and sandalwood

Lurked in his camels' bales.

But then a swallow harshly screamed

And tumbled what he dreamed.

And that was back in swallow-time

With life a child's rhyme.

And some came true of what he dreamed,

And some has been forgot.

But life with sadness still is seamed,

And thorns take long to rot.

RIVER SONG

One day I would be glad

And with all quiet be

Except your cadenced murmur

Beside the willow-tree.

One day I would be glad

With fields of king-cup gold:

One day of dancing water

Below the cuckoo-fold.

One day I would be glad

With crowned vermilion kings

Whose scarves are lilies blowing

Where youth for ever sings.

One day I would be glad

With Oxford's poplared grace:

One day with love between us

And then—to lose your face.

E. R. DODDS

(UNIVERSITY)

MEASURE

I think we are made the prisoners of the sun,

Snared in the waxing and the waning passion,

Lest life should grow intense

To burn up sense

And lose life's fashion in the unfashioned One.

I believe the cool unlabouring dark is sent

Swift on the wildness of the day's mad ending

Lest the delight of fire

Consume desire

And in Love's spending Love itself be spent.

I believe the rain-soft autumn has its task

To curb the stretched importunate flame of summer,

For fear too strong a fever

Should quite dissever

The invisible murmur from the coloured mask.

This is the sun's wisdom: that change and rest

And change, the embodied world's recurrent measure,

In check and counterpoise

Contain all joys

Lest the one treasure perish, being possessed.

C. J. DRUCE

(NON-COLL.)

THE MEETING

But we should meet in very different wise—

On some clear-lifted crest when sunset stills

Wide cleansing winds, and transient beauty lies

Immortal in the moment it fulfils:

Or down a deep glade you should come to me,

Moving your limbs with slow primordial ease,

With eyes whose calm has caught the mystery

That walks at dawn beneath the gloom of trees:

Or by the tenderness of a placid stream:

Or anywhere where trivial clamours cease,

And things irrelevant fade like a dream,

That souls may grow articulate in peace.

Instead of this, I know what will befall:—

The seething station where, urged and confined,

Chaotic energies interweave and brawl,

And confused sights and sounds beat on my mind;

There I shall wait, and feel my spirit's flame

(Trained upwards, purged, for that white moment's sake)

Flicker, burn thickly, bowing to the claim

Of alien currents that I cannot break.

For all the folk who come and go, or stand

With strained expectant eyes, or talk with those

From whom they soon must part, have at command

Some part of my unwilling brain, impose21

Conjectured joys and griefs upon my sense,

As they, perhaps, guess at my purpose here;

And jealous egotisms feed suspense

As the desired, half-dreaded hour draws near.

At last a rumble, distant, ominous, hoarse,

Swells to a shattering roar that daunts the world;

And round the curve, a black embodied force

Triumphantly increases, and is hurled

Like a great wave upon us, swallowing all.

Vague figures wax and wane and fluctuate

In the inane, till one, more steadfast-small,

Persists, grows luminous, letting penetrate

Some likeness of your shape, and of your face

Some strange reflected charm: I grope to find

A hand with mine in the resisting space,

Hear my tongue utter what no thought designed,

Weak ineffectual words, unheedful of replies—

Questions of tickets, luggage, urge and swarm—

But far beneath all this, in secret lies

An infant consciousness, yet feebly warm

With life, and promise that the time is nigh

That crowds or things no longer may subdue,

When the dull futile body that is I

Shall feel the quickening spirit that is you.

T. W. EARP

(EXETER)

THE CANAL

When you're tired of books and the dusty, well-known room

It's good to put on a gown and go for a walk,

Taking deep breaths and smelling the hawthorn bloom

By the canal, where shadowy lovers talk.

They are far too happy to care if anyone passes,

And you envy a little, as you go along,

Those happy lovers of the lower classes

Whose emotions are like the rhythm of a rag-time song.

The breath of the summer night is about your head,

Burdened with fragrance, lulling the brain to sleep,

You begin to forget the dull things you have read,

And just go walking on and breathing deep.

SOLITUDE

They have been sitting here until eleven,

The loud and the quiet and the one who is never shocked,

And we talked of most of the things between hell and heaven,

But now the last friend has gone and the door is locked.

And I cannot help feeling, though it's rather silly,

A little afraid to be left so quiet and alone;

I can hear a petal drop from the tiger-lily,

So complete and awful has the silence grown.

I long to hear that tramp of the policeman's

Outside the shutters, but the night is dumb,

And in a state of tension unknown to Huysmans

I wait and wait for the sound that will not come.

U. ELLIS-FERMOR

(SOMERVILLE)

SED MILES...

Bear the hearse, bear the pall,

We shall fare forward,

We have answered the problem,

We have closed the volume.

In the doubt, in the strife,

We chose the giving,

We have had light for doubt,

We have had our answer.

Doubts of the end of life,

We have been spared them;

We have given the tangled skein

To be cut by the shearers.

Violet scent, flower of broom,

We have foregone them,

We have given the morning,

The gods have accepted,

They have pardoned the reckoning.

JOAN EVANS

(ST. HUGH'S)

THE HAMADRYAD

Her flitting form is slim and pale

As beechen stems at night,

Her hair is dark as barren trees

Against the moon's pale light.

Her dreadful seeking hands are curved

Like chestnut buds in spring;

Against her bosom close she holds

A dove with frightened wing.

We may not see her as she goes

Over the leaf-strewn moss;

But see the russet leaves are stirred,

Feel some strange sense of loss.

We cannot see her cold sad eyes

Filled with a craving pain—

We only hear upon the leaves

Patter of April rain.

FLORA FORSTER

(SOMERVILLE)

DUCKLINGTON

Down there at Ducklington

The ducks are never old;

The geese are always goslings,

The catkins always gold.

The orchards blossom ever

Like foam heaped on a cup,

Down there at Ducklington

Where never a duck grows up!

Down there at Ducklington

The years linger yet

At April, with its little leaves

And ash-buds of jet.

And I could be a child again

And drink, as from a cup,

Youth, down at Ducklington,

Where never a duck grows up!

Down there at Ducklington,

With its ducklings ever young,

With its year ever at April,

And the songs of June unsung—

The potion of eternal youth

Is brewed there in a cup—

Down there at Ducklington

Where never a duck grows up!

L. GIELGUD

(MAGDALEN)

SUMMER DEVILRY

The sky is very near to me to-night:

It breathes, as from a throat of molten lead,

A damnèd effluence about my head,

An effluence of hell, a fœtid blight:

Dark visions break on my distorted sight

Of bloody lust and cruelty and dread,

Devils unnamed in their own likeness tread

The ways of earth, and are not put to flight.

In rifts of voiceless lightning, such as breaks

This goitrous firmament, have stood revealed

Over the dead in some old battlefield

The ghastly dogs of death, and bloated snakes

Dripping the slime of Acherontian lakes

On some dead sovereign's blood-emblazoned shield.

ROBERT GRAVES

(ST. JOHN'S)

DOUBLE RED DAISIES

Double red daisies, they're my flowers

Which nobody else may grow

In a big quarrelsome house like ours

They try it sometimes, but no,

I root them up because they're my flowers

Which nobody else may grow.

Claire has a tea-rose, but she didn't plant it;

Ben has an iris, but I don't want it.

Daisies, double red daisies for me,

The beautifullest flowers in the garden.

Double red daisy, that's my mark:

I paint it in all my books.

It's carved high up on the beech-tree bark—

How neat and lovely it looks!

So don't forget that it's my trademark;

Don't copy it in your books.

Claire has a tea-rose, but she didn't plant it;

Ben has an iris, but I don't want it.

Daisies, double red daisies for me,

The beautifullest flowers in the garden.

DEAD COW FARM

It's told in those old sagas, how

In the beginning the First Cow

(For nothing living yet had birth

But Elemental Cow on earth)

Began to lick cold stones and mud.

Under her warm tongue flesh and blood

Blossomed, a miracle to believe.

And so was Adam born, and Eve.

Here now is Chaos once again,

Primæval mud, cold stones and rain;

Here flesh decays and blood drips red,

And the Cow's dead, the old Cow's dead.

RUSSELL GREEN

(QUEEN'S)

DE MUNDO

... And then arose the vision of the world

Immense, a tangle of dark ravelled time,

Twisted and knotted by a surge of men:

Vast sombre tribes forth from the old abyss

Clambering, travailed, hated, fought and fell.

The slow tower, stone upon laborious stone,

Compacting men and clans, cities and states,

Aspired through ages to the unknown god:

Adventurers with the guidance of no star,

Discovering all, rich isle and barren shore,

And ever seas beyond the indolent seas

Rounding known courses with uncharted doubt:

A people wandering in the wilderness,

So vague a cloud, so dim a pillar of fire

They blindly followed to a promised land

Flowing with rivers of perennial truth—

And they the chosen vessel,—who of old

Knew not wherefore they broke their bonds and fled.

Yet in the end a desolation came

And the golden bowl was broken....31

I saw men, symbols of humanity,—

Immortal longings bound in mortal clay,—

Wayfaring still upon the ancient road

Winding away to the invisible hills.

Still on the visionary scaffolding

The players played the old Morality,—

The pilgrim Life waylaid by cruel Despair,

Wealth dowering Evil and maltreating Good,

And Pain and Care tormenting Body and Soul,

And Giant Sin bestriding hill and dale,

Building his shrines for men to worship him;

Corruption, too, with serpents in his hair,

And next, obscene Ungodliness, whose eyes

Vacant and dull, bent ever on the earth.

Then, last of all, Humanum Genus came

Bearing a scroll with the Apostle's words—

"Having no hope and without God in the world."

So from the seat of vision I arose

Trembling, appalled, and went upon my way

Sadly, for all my vision ended in this—

Piercing of heart, reason's bewilderment—

"We've come from mystery and to mystery go."

What shall be said when all things have been said?

What shall be said when this is pondered on—

"Either He lives not who created man,

Or man for sin is cast forth from His grace;

Yea, between Him and man a gulf is set"?

This poem originally appeared in The Westminster Gazette.

MERCY HARVEY

(ST. HILDA'S)

SONG

For Beauty's sake I weep,

Because my love is beautiful,

I came upon her lying asleep

Within a bower sweet and cool.

The tall trees intertwined

And made a bower for my love,

With green shrubs nestling there behind,

And a blue strip of sky above.

For Beauty's sake I grieve,

That Beauty soon must fade and die,

As lilac blossoms fall, nor leave

One ghostly fragrance lingering nigh.

For Beauty's sake I strive

For one long moment's raptured bliss

To hold her in her form alive

And give her one impassioned kiss.

For her own sake she dies,

Nor leaves behind one memory;

The light out of the western skies

Is gone, and thou art gone from me.

H. C. HARWOOD

(BALLIOL)

CALL OF THE DEAD

Have you not waited there too long,

Little brother of mine,

With a spirit too weak in a world too strong?

You do not play as you used to do

When you and I were an army of two.

Surely you dally there too long,

Little brother of mine.

Death is an old benevolent king,

Little brother of mine,

And around his throne the children sing.

Time, life's sullen minister,

Dulls the heart and dulls the hair,

But does not stand before my king,

Little brother of mine.

Hopes we cherish down below,

Little brother of mine,

Melt in manhood like the snow.

Tranquil in inexperience,

Call on Death for your defence,

And leave the tangle down below,

Little brother of mine.

Forgotten laughter, remembered tears,

Little brother of mine,

Would be the burden of your years.

So let us play together again

With a child's swift joy and swifter pain,

And reckon no more of months and years,

Little brother of mine.

RETURN

Against the ebbing tide we make our way.

Beyond the low green banks the fenlands stretch

To a far horizon. Trawler, smack and ketch

Are passing for the business of the day.

There is the inlet where the immortal boys,

As white and slim as ever, splash and call.

Deserted on the other bank Blake Hall

Still contemplates contemptuously their noise.

There are the docks where the tall mastheads shine

Of mighty Helsingfors, the timber ship.

And a new craft is lying in the slip

Which presently shall be baptized with wine.

The houses gather thicker, and a girl

Waves her indifferent smiling welcome. See!

The loungers are awakened on the quay

And stand to catch the rope the sailors curl.

Now grey and swift the startled seagulls wheel.

The engine-room is silent which so long

Has shaped our lives to its monotonous song.

The fenders bump against the slowing keel.

The smoke is rising from my father's home

Across the street, and flapping in the breeze

A curtain welcomes me from off the seas,

The querulous seas, where I was wont to roam.35

And there miraculously free from age

The faces of my playfellows are seen.

And all is now as it has ever been,

Or smiling destiny turns back the page.

But always ere my feet are firm upon

The natal shore, dream ship, dream river fade,

And I am burdened with the choice I made

And lonely in the land where I am gone.

E. E. ST. L. HILL

(KEBLE)

DIFFIDENCE

Dulled is the azure of the skies.

Can aught but woe my woes beget?

My inmost self in anguish cries

"I love my Love"—My Love!—and yet

I cannot as a lover say

"I love my Love," because I know

I am not worthy. Still I may

Win in the end the right to show

My Love what is my heart's desire.

For more than this I may not hope,

To naught beyond can I aspire.

Alone, in secret, I must grope

My way and be content to see

The beauty of my star above,

For never will my Love love me

Though I so truly love my Love.

A. L. HUXLEY

(BALLIOL)

L'APRÈS-MIDI D'UN FAUNE

(From the French of Stéphane Mallarmé.)

I would immortalize these nymphs: so bright

Their sunlit colouring, so airy-light,

It floats like drowsing down. Loved I a dream?

My doubts, born of oblivious darkness, seem

A subtle tracery of branches grown

The tree's true self—proving that I have known

No triumph, but the shadow of a rose.

But think. These nymphs, their loveliness ... suppose

They bodied forth my senses' fabulous thirst.

Illusion! which the blue eyes of the first,

As cold and chaste as is the weeping spring,

Beget: the other, sighing, passioning,

Is she the wind, warm in your fleece at noon?

No. Through this quiet, when a weary swoon

Crushes and chokes the latest faint essay

Of morning, cool against the encroaching day,

There is no murmuring water, save the gush

Of my clear fluted notes; and in the hush

Blows never a wind save that which through my reed

Puffs out before the rain of notes can speed

Upon the air, with that calm breath of art

That mounts the unwrinkled zenith visibly,

Where inspiration seeks its native sky.38

You fringes of a calm Sicilian lake,

The sun's own mirror, which I love to take,

Silent beneath your starry flowers, tell

How here I cut the hollow rushes, well

Tamed by my skill, when, on the glaucous gold

Of distant lawns about their fountain cold,

A living whiteness stirs like a lazy wave,

And at the first slow notes my panpipes gave

These flocking swans, these naiads rather, fly

Or dive.

Noon burns inert and tawny-dry,

Nor marks how clean that Hymen slipped away

From me who seek in song the real A.

Wake, then, to your first ardour and the sight,

O lonely faun, of the old fierce white light,

With, lilies, one of you for innocence.

Other than their lips' delicate pretence,

The light caress that quiets treacherous lovers,

My breast, I know not how to tell, discovers

The bitten print of some immortal's kiss.

But hush! a mystery so great as this

I dare not tell, save to my double reed,

Which, sharer of my every joy and need,

Dreams down its cadenced monologues that we

Falsely confuse the beauties that we see

With the bright palpable shapes our song creates:

My flute, as loud as passion modulates,

Purges the common dream of flank and breast,

Seen through closed eyes and inwardly caressed,

Of every empty and monotonous line.

Bloom then, O Syrinx, in thy flight malign,

A reed once more beside our trysting-lake.

Proud of my music let me often make

A song of goddesses and see their rape

Profanely done on many a painted shape.

So, when the grape's transparent juice I drain,

I quell regrets for pleasure past and feign

A new real grape. For holding towards the sky

The empty skin, I blow it tight and lie

Dream-drunk till evening, eyeing it.

Tell o'er

Remembered joys and plump the grape once more.

Between the reeds I saw their bodies gleam

Who cool no mortal fever in the stream,

Crying to the woods the rage of their desire:

And their bright hair went down in jewelled fire

Where crystal broke and dazzled shudderingly.

I check my swift pursuit; for see where lie,

Bruised, being twins in love, by languor sweet,

Two sleeping girls, clasped at my very feet.

I seize and run with them, nor part the pair,

Breaking this covert of frail petals, where

Roses drink scent of the sun and our light play

'Mid tumbled flowers shall match the death of day.

I love that virginal fury, ah! the wild

Thrill when a maiden body shrinks, defiled,

Shuddering like arctic light, from lips that sear

Its nakedness ... the flesh in secret fear!

Contagiously through my linked pair it flies

Where innocence in either, struggling, dies,

Wet with fond tears or some less piteous dew.

Gay in the conquest of these fears, I grew

So rash that I must needs the sheaf divide

Of ruffled kisses heaven itself had tied.

For as I leaned to stifle in the hair

Of one my passionate laughter (taking care

With a stretched finger, that her innocence

Might stain with her companion's kindling sense,

To touch the younger little one, who lay

Child-like unblushing) my ungrateful prey

Slips from me, freed by passion's sudden death,

Nor heeds the frenzy of my sobbing breath.

Let it pass! others of their hair shall twist

A rope to drag me to those joys I missed.

See how the bursting currants ripe and red

To quench the thirst of the mumbling bees have bled;

So too our blood, kindled by some chance fire,

Flows for the swarming legions of desire.

At evening, when the woodland green turns gold

And ashen-grey, 'mid the quenched leaves, behold!

Red Etna glows, by Venus visited,

Walking the lava with her snowy tread

Whene'er the flames in thunderous slumber die.

I hold the goddess!

Ah, sure penalty!

But the unthinking soul and body swoon

At last beneath the heavy hush of noon.

Forgetful let me lie where summer's drouth

Sifts fine the sand, and then with gaping mouth

Dream, planet-struck by the grape's round wine-red star.

Nymphs, I shall see the shade that now you are.

C. R. JURY

(MAGDALEN)

LOVE

Though life has stooped before its height,

And beauty, that I still shall trust,

The child of a diviner light

Be torn, and lower than the dust,

Love has a life beyond the heat

Of sorrow, pain, desire or dread;

He holds as his eternal seat

The great remembrance of the dead.

They lose no splendour by decay;

They are a fixed immortal power,

And I their lover, though I stay

Surrounded by the dying hour.

And now thy beauty, as that fire

Which walks against the morning, bears

Of day and night one great desire,

Has made life's splendour one with theirs.

They live; I see them in thine eyes;

Thy life is theirs; no death can stem

Their torrent. When I watch it rise,

I love thee, as I worship them.

SONNET

I would to God thou wert mine own good son

Thy face is fair, thy body strong and pure,

Thy spirit nobly high, thy deeds well done,

Thy heart well set to love and to endure.

'Tis such a fearless boy I would beget,

To give the venerable world its due;

Yea, to be bold and lovely ere I set,

To take the time, and mould what shall ensue.

I would thou wert the fruit of my best hour,

So that I might bequeathe thee my strong fire;

But I am like to die before my flower

And lose inheritors for my desire.

O if thou wert mine own, I had this boast;

Therefore I love thee better than thou know'st.

CHAMAN LALL

(JESUS)

"THIRTY YEARS AFTER"

It is thirty years since we two parted,

It is thirty unswept, cobweb years

Since, with a look of indifference, in a storm of elegance,

Like some knowing, hungering bird,

Like some forewarned, huckstering drone of a butterfly,

Like a swift passion—she swept past my youth unhonied.

And I am now a very old man—almost dead;

I am now a very old ornament of lead;

Weismann and Ellis, Burton I have read

These thirty years in bed.

This room;

And the shadows lengthening on the lawn;

And the distant boom, boom of the world;

Wearisome watchings for the first star;

And the toil, toil of the dawn:

These have emptied my soul of its waves,

These have made cold prisons of my faery caves,

These have frosted

The red, red poppy-leaf of time.

Who now cares for my politics?

Who now cares for my brilliant repartees

That crushed one with an epigram,

That struck one like an oriflamme?

But now they ask me who I am.44

Once women came to me,

And she,

Once women came to me with their offerings

Like long lines of brown bees

Burdened with offerings,

Like naked houris of turbaned Kings,

Once——But now drifts

Across the living-deadness

Of an Egyptian desert

My barren Arab way,

My unflowered desert way.

It is thirty years since we two parted,

It is thirty unswept, cobweb years

Since, with a look of indifference, in a storm of elegance,

Like a swift passion—she swept past my youth unhonied.

And I am now a very old man—almost dead;

I am now a very old ornament of lead;

Weismann and Ellis, Burton I have read

These thirty years in bed.

M. LEIGH

(SOMERVILLE)

TWO EPITAPHS

ON TWO LOVERS

Love, when we walked on earth, your chastity

Was all to you, your body all to me;

Now the grave holds the flesh that parted us,

And being nought, we shall united be.

ON AN ARISTOCRAT DYING UNDER A DEMOCRACY

Living, your constitution levelled me;

Dead, all are equal in their six-foot graves:

But God counts not by heads; in His regard

One freeborn man is worth a host of slaves.

E. H. W. MEYERSTEIN

(MAGDALEN)

THE FINGER

(To R. T.)

How curiously this triple whole

Of skin and blood and bone

Consenteth to the mind's control

And to the mind's alone.

'Tis for diurnal uses mine,

To move howe'er I please,

Or mingle with its brothers nine

Enclasped about my knees.

Yet often when the mind's afar,

By vagrant thought bestirred,

It gaily shifts and beats the bar

To songs and sounds unheard.

Mute eloquence! 'Tis plain to see

As face in looking-glass

That more than one is lord of me

When this is brought to pass.

What else but mind and mind alone

Should rule the triple whole,

But how if skin and blood and bone

Themselves enshroud a soul?

LONDON

Sir, you're from Oxford, seat of bliss

Arrived in the Metropolis;

We hold you well and think we can

Make you, in your despite, a man.

'Tis here our wont, though strange it seems,

To deal in solid facts, not dreams;

For lies are lies, and gold is gold,

And men are daily bought or sold.

Parade the purlieus if you wish

To study poor-law and fried fish;

There's much that waits to be improved,

And an improver's rarely loved.

Or yours is the creative touch;

We have a score of shops for such,

Where novelties in paint and words

Are scrutinized by lonely herds.

Colour and motion are aglow

In streets above and tubes below.

We energize: to meditate

Only befits a culture-state.48

Such friends we'll give you as will prove

The world is only made of love;

But life is necessary too,

And vices, seeing you are you.

For in this pantomimic scene

There's nothing common or unclean;

You lodge upon the second floor

And opposite a noted whore.

So, when your dreams are laid to rest,

You're part of what you most detest,

And know this nightmare was made real

To dissipate a false ideal.

EVAN MORGAN

(CHRIST CHURCH)

IN OLDEN DAYS

AN ALLEGORY

Down from the flowering tulip-tree

The birds of love flew down to me,—

The birds of love with plumage rare

Sped in circles 'bout my hair,

And it was dawn and I was glad,

And Dawn appeared, a Spartan lad;

With flowers twined about his hair,

A countenance that knew not care.

The flow'rs waved in careless joy

As they nodded and danced o'er the head of the boy.

Lo! he picked the birds up one by one

And he killed them in his wanton fun,

So I cried to him: "They're the birds of love

That abide in the jewelled tree above,

And the tree and the birds are the jewels of love."

But the youth of the morn with laughter cried:

"Those birds are mine that you espied;

Mine are these birds, and mine this tree:

I am the God of Love," cried he,

"The God of Love, of birds and tree."

"I weep for the birds, for they brought me love

Down from the tulip-tree above,

From the tree above they brought me love."

"I'll give you love, my sorrowful brave—

I'll give you myself to hold as a slave,"

So taking Love as a slave with me,

Fast I fled from the tulip-tree;

I fled from the tree and my slave with me,—

Love was the slave and I Poetry.

A SERENADE

Your love is like some wondrous scented rose.

The evening sees a purple pool of blood

Beneath the tree that Summer's glory chose

Crimsonly thick with passion'd joys to flood.

Your love is like the harvest of the sun

Moltenly golden, gloriously sublime.

Were I the reaper, swiftly would I run

And reap thy golden love till death were time.

Your love is like the shadows of the ev'n,

The gold-green tints that linger in the sky;

When the red king in opal cloud flies heav'n,

Leaving the dewy earth to sleep and cry.

Your love is like the mystery of the night,

When the wan mists the dreamy violets kiss,

It comes like ghostly owl with muted flight,

It comes like Death;—but Death from you is bliss.

F. ST. V. MORRIS

(WADHAM)
[3rd Batt. Sherwood Foresters, attached
R.F.C. Died of wounds, April 29, 1917]

LAST POEM

Through vast

Realms of air

we passed

On wings all-whitely fair.

Sublime

On speeding wing

we climb

Like an unfettered Thing,

Away

Height upon height;

and play

In God's great Lawns of Light.

And He

Guides us safe home

to see

The Fields He bade us roam.

ROBERT NICHOLS

(TRINITY)

THE MAN OF HONOUR

O had I died when o'er the sullen plain

The harsh light drifted and the roaring guns

Lifted their voices summoning amain

Youth from its joy in storms and flying suns

And happy comradeship of weathered men,

All had been as in purpose due and well,

Honourable my service had been then

And honoured the blank spot on which I fell.

But now—O heart!—how much dishonoured I,

And by my own hand too—twice bitter case—

My true love stained with secret infamy,

My treachery disguised by friendship's face,

And that bare passion bade me forth to die

Fouled to the instrument of my disgrace!

II.

What has a man but honour? When 'tis gone

The man is gone: for all that in him blent

To strike a star for men to gaze upon

Becomes his quicker ruin's instrument.

For from that height to which with toil we climb,

From that we fall and to the further pit,

Who honour bore and lost. This is my crime

And this the daily punishment of it:—

To honour honour more than e'er I did

When I possessed it, to esteem the lot

Of those whose treasure from themselves lies hid

Or those who lose it and yet miss it not.

O God, now raise me to the thing forbid

Or from my eyes its pure light wholly blot!

III.

Wherefore on God thou callest? 'Tis in vain:

Our hearts our fortunes are until we die,

And naught can change them or for loss or gain

Save Courage at least glance of Honour's eye.

For Honour, daughter of sound brain and blood,

Motions us ever though we may not heed;

She is imperative hunger for the good,

Good so instinctive that to gain we bleed.

Wherefore, dishonoured soul, part from thy love—

Fearfuller wrench than muscle torn from bone—

Or her soul too must perish here. Enough!

I cannot leave her. Then there is but one

Refuge for us now to make trial of,—

Refuge to which I cannot fare alone.

IV.

They burned too deep. Had they but taken that lightly

Which take they must, Love being absolute lord—

Parted by now they yet had rendered rightly

Memory each to each, love's last reward.

But of their love maybe a fiercer glow

They had who saved their honour at the last

By direst means. Whether it be or no,

In death their faces held a something fast.

Beneath the fall's white glare and drumming zest,

Where on black depths an hundred suns are burning,

Their bodies bound, like faggots, breast to breast

Rose for a peaceful space, lazily turning:

Their mutual smile acknowledged this was best.

Love had found Honour's way. O bitter learning!

ELIZABETH RENDALL

(HOME STUDENT)

MY SOUL IS AN INFANTA

(From the French of Albert Samain.)

My soul is an Infanta, robed for state,

Whose exiled years, termless, imperial,

Are mirrored in some dim Escurial,

Forgotten as old galleys in the roads disconsolate.

Fleet as the wind, her daïsed throne beside,

Twin greyhounds couch majestical, and seem

To course, through Forests of Enchanted Dream,

At will, a phantom fancied quarry, melancholy-eyed.

Stirless, she holds a tulip flower, attent

The while her page, whose name is Yesterday,

Reads with hushed breath an old bewitching lay,

And hears its magic in her heart die impotent.

Before her—marbled fountains, terraced slopes,

And all the green of Spring. Sombre, her mind

She mads with those high dreams, the unconfined

Horizon hides, and turns, for our despair, to wistful hopes.

Here dwells she, gracious, unrebellious, kind,

Knowing, since Fate is Lord, the strife how vain;

Knowing, for all her birthright of disdain,

Her spirit touched to pity as the sea stirs to the wind.55

Here dwells she, unrebellious, past surprise,

Tranquil through tears, save when she evokes the ghost

Of Hope's Armadas with their piteous host

Foundering, betrayed anew eternally before her eyes.

Yet, in some magic, purple, sunset hour,

Old portraits, shadowy on the tarnished gold—

Ivory, black of velvet—wake to hold

New promise from the past of splendid insubstantial power.

Pale painted hands Velasquez pictured, guide

Her soaring thoughts again to nothingness

Miraged so fair, dies all her weariness

And glows a sudden glory from the rubies of her pride.

But lo, old horror of the world of men

And all its brazen clangour stills her blood...

Life flows—a distant murmur—like the flood...

More secret and more strange the smile is on her lips again.

No breath may trouble now her eyes' repose

Where haunt the veilèd ghosts of cities dead;

Adown dim corridors with tranquil tread

Singing she passes where an idle fountain idly flows.

Pale at her casement sits she, to await

Till pride and peace shall have an end at last,

Holding her tulip, mirrored in the past,

Forgotten as old galleys in the roads disconsolate.

My soul is an Infanta, robed for state.

D. L. SAYERS

(SOMERVILLE)

FAIR EREMBOURS

A SONG OF THE WEB. FRENCH, XII c.

When in the long-day month, the month of May,

The Franks of France from king's court ride away,

Reynault rides foremost, the first in rank alway.

Passes the tower where Erembours doth stay;

He never deigned to lift his head her way,

Ha, Reynault, ha, true love!

Fair Erembours, within the window's ray,

Holds on her knees a web of colours gay,

Sees Franks of France from king's court ride away,

Sees Reynault riding the first in rank alway,

Speaketh aloud, on this wise she doth say:

Ha, Reynault, ha, true love!

Reynault, true love, I have beheld the day

When if my father's castle stood on your way

You had been sad, had I had nought to say.

—Ill hast thou wrought with me, king's daughter, yea,

Hast loved another, cast my love away.

Ha, Reynault, ha, true love!

Reynault, fair sir, on relics solemnly

I'll swear, before an hundred maidens free

And thirty ladies that I shall bring with me,

I never loved another man save thee;

Take this amends, I'll give thee kisses three.

Ha, Reynault, ha, true love!57

O then Count Reynault up by the stairway ran,

Wide were his shoulders, and small his girdle's span,

His hair close-curled, and very fair to scan,

In all the world is not so fine a man.

Erembours saw him, and so to weep began.

Ha, Reynault, ha, true love!

Count Reynault mounts into her highest towers

And sets him on a bed of broidered flowers,

And close beside him sits fair Erembours.

Then they take up their loves of former hours.

Ha, Reynault, ha, true love!

H. SIMPSON

(HOME-STUDENT)

"THERE ARE QUANTITIES OF THINGS..."

There are quantities of things

One would like to be and do

When one's mind unfurls its wings;

Clouds full chase across the blue

All unthinking in their flight;

Overcasting me and you,

Sometimes raining out of spite.

Or perhaps you would prefer

To go coasting through the night

With a flutter and a stir,

Like a nightjar in a wood

Rising softly with a whirr.

Or with cold and scanty blood

Don a fish's suit of scales,

And go oaring through the flood

Under bigger fishes' tails,

Into warm and open sea

While above you blow the gales—

So my mind spins constantly

In unprofitable rings

Almost to infinity—

Such innumerable things

One would like to do and be

When one's thoughts shake out their wings.

E. E. SMITH

(UNIVERSITY)

THE VOYAGE

O my soul that fliest over never-ending seas

That are so still their deeps lie dark beneath the sun,

Untroubled by any foam, so that the ship-boy sees

All the world's water, and thinks his voyage never done:

Some day thou wilt stay thy wings and stoop to land

Where the sea's edge lies sharp like a bright sword,

And hardly break the waves, and sweet is the sand

Where the keel runs home and ships are gently shored.

There sit the solemn seamen, with rings in their brown ears,

Who are grave when they laugh and are not ashamed to weep;

Their hair and their beards are grown long with the long years,

And some are too old and too wise for speaking, and some sleep.

And when the night grows cold they stir, and touch their lips

With dark-red sluggish liquor, and kindle a fire from wood

Washed up by a quiet wave from the wracked majestical ships,

The planks where the feet of the sea-captains and the ship-boys stood.

Their eyes grow silent and dark, their gnarled bodies swing

Like trees that are stript in a wind; they go mad with moon and stars,

Murmuring songs like water, and beating their hands as they sing

Of how they are fled far off from the foam of tides and the handling of bars.

L. A. G. STRONG

(WADHAM)

THE MAD MAN

I think I'll do a fearful deed

Of wickedness and cruelty,

And then, if Father Walsh speaks truth,

Jesus will weep a tear for me,

And I will catch it in my hat

Just here outside my cabin door:

And put it on my little field

Where nothing ever grew before.

And it will sprout so fine and brave,

That lovely birds with yellow bills

Will come to peck my crowded corn

From all the Seven Holy Hills.

THE BAIT-DIGGER'S SON

Aye, there's many a man does be drownded,

An' carried a middling way:

But never the like o' me brother

Was floated from Dublin to Bray.

An' him only two days in it—

Sure ye'd hardly believe it at all:

But it's God's truth. He went down fishing

One night from the North Wall.

What way was it? There's none knows rightly—

He was there one turn o' the light,

An' when next it came round he was no place:

An' no sign of him till next night,

When two men out o' Coliemore Harbour,

Rowin' back from the fishin' ground,

Seen him floatin' by on his belly

Down the middle o' Dalkey Sound:

But they didn't dare stop for to get him,

For the boat was a heavy weight,

An' the wind was strong, an' the current

Was runnin' the divil's own gate.62

An' he crossed the Bay o' Killiney;

Till next mornin', at twelve o' the clock,

They found him all swelled an' puffy,

At Bray, in the slit of a rock.

Aye, there's many a man does be drownded,

An' carried a middling way:

But never the like o' me brother

Was floated from Dublin to Bray.

D. E. A. WALLACE

(SOMERVILLE)

SONNET IN CONTEMPT OF DEATH

When I consider some day wanton Death

With sudden hand ungently laid above

The heart of her, my softly-sleeping love,

Shall fright away her sweet and rhythmic breath;

Shall quell the colour in her flower-face,

Inevitable and unheralded

As frosts in May that strike the blossom dead—

Shall quench her eyes, transfix her dreaming grace;

When I consider that her limbs shall be

Set stiffly in a strong rigidity;

That by-and-by her flesh shall fall away,

Unsightly in a horrible decay,

Then do I laugh, despite my catching breath—

A piteous fool, a sad, blind fool is Death!

LEO WARD

(CHRIST CHURCH)

THE LAST COMMUNION

There is a time wherein eternity

Takes rest upon the world: King Charity

Bow'd to our fallen state: the God of Grace

Made visible upon a human face:—

When the deep harmony, the eternal Word,

The unfallen Wisdom (only love has heard!)

Touches the troubled body, bruised and hard

With the long fight, yet now set heavenward:—

When the deep argument of souls must cease,

Dying—to meet the victory of peace!

*** END OF THE PROJECT GUTENBERG EBOOK OXFORD POETRY, 1917 ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

P. BLOOMFIELD (Balliol)		PAGE
	Second-Best	1
M. ST. CLARE BYRNE (Somerville)
	Favete Linguis	2
J. E. A. CARVER (Magdalen)
	Tintagil	3
EUGENE PARKER CHASE (Magdalen)
	On Sussex Downs	4
W. R. CHILDE (Magdalen)
	The Last Abbot of Gloucester	5
	The Gothic Rose	6
GERALD H. CROW (Hertford)
	Ad Dominam Suam Mariam Virginem	7
	Desiderio Desideravi	8
	Humility	9
D. N. DALGLISH (St. Hilda's)
	Otmoor	10
E. C. DICKINSON (Non-Coll.)
	A Child's Voice	12
	River Song	14
E. R. DODDS (University)
	Measure	15
C. J. DRUCE (Non-Coll.)
	The Meeting	16
T. W. EARP (Exeter)
	The Canal	18
	Solitude	19
U. ELLIS-FERMOR (Somerville)
	Sed Miles	20
JOAN EVANS (St. Hugh's)
	The Hamadryad	21
FLORA FORSTER (Somerville)
	Ducklington	22
L. GIELGUD (Magdalen)
	Summer Devilry	23
ROBERT GRAVES (St. John's)
	Double Red Daisies	24
	Dead Cow Farm	25
RUSSELL GREEN (Queen's)
	De Mundo	264
MERCY HARVEY (St. Hilda's)
	Song	28
H. C. HARWOOD (Balliol)
	Call of the Dead	29
	Return	30
E. E. St. L. HILL (Keble)
	Diffidence	32
A. L. HUXLEY (Balliol)
	L'Après-Midi d'un Faune	33
C. R. JURY (Magdalen)
	Love	37
	Sonnet	38
CHAMAN LALL (Jesus)
	Thirty Years After"	39
M. LEIGH (Somerville)
	Two Epitaphs	41
E. H. W. MEYERSTEIN (Magdalen)
	The Finger	42
	London	43
EVAN MORGAN (Christ Church)
	In Olden Days	45
	A Serenade	46
F. St. V. MORRIS (Wadham)
	Last Poem	47
ROBERT NICHOLS (Trinity)
	The Man of Honour	48
ELIZABETH RENDALL (Home Student)
	My Soul is an Infanta	50
D. L. SAYERS (Somerville)
	Fair Erembours	52
H. SIMPSON (Home Student)
	There are Quantities of Things"	54
E. E. SMITH (University)
	The Voyage	55
L. A. G. STRONG (Wadham)
	The Mad Man	56
	The Bait-Digger's Son	57
D. E. A. WALLACE (Somerville)
	Sonnet in Contempt of Death	59
LEO WARD (Christ Church)
	The Last Communion	60