and we shall not name them. The aged Thomas Hardy comes out of his twilight brooding with his "Song of the Soldier," which has all the vigor of his vanished youth; and Wells forgets his everlasting reform to show, in Mr. Britling Sees It Through, a cross section of English life as the war discovers it. (Too bad he was not content with that, but must at the end tinker up a reformed god to supplant his helpless science!) William Watson the poet, who as a lover of peace used to be recommended to us as an antidote to Kipling's jingoism, comes out bravely with The Man Who Saw in the old martial spirit of his forebears. Masefield leaves his poetry to haunt the trenches; in vivid prose he writes Gallipoli and The Old Front Line, one dealing with the Dardanelles expedition, the other with the Battle of the Somme, each a splendid story of heroism splendidly told.

Besides these familiar writers (we have mentioned but a few of those who reflect the national feeling) a number of unlookedfor poets appeared in both England and America, in Canada and Australia also, and poetry resumed its old function of speaking more urgently and more truly than is possible in prose. The general quality of their work is surprisingly good, as you may judge from any one of a dozen volumes of war songs; and the strange thing is, that of scores of names attached to this poetry rarely is there one that was before known to the literary world.

The third phenomenon is the change that has mysteriously come over writers in their attitude toward the strife of arms. Poetry of the War

From Beowulf to Tennyson practically all English poets sang the glory and heroism and panoply of war in the trump-and-drum style of "The Charge of the Light Brigade" and "The Helmet of Navarre." But now, though we have witnessed such heroism as was never sung or dreamed, and this not in plumed knights but in neighborly men, our poets are strangely mute to the glory of conflict; when they write of war they pass over its martial splendor to

show you a soldier's heart with its tender memories. So for one old-style poem of "How the Guard Came Through" there are hundreds, like Lieutenant Asquith's "The Volunteer," which say nothing whatever of fighting, though they leave you with deeper respect for human courage and almost a reverence for the men of your own breed. Masefield's "August, 1914" is typical of another strange kind of war poem; it draws a picture of quiet English fields, leaving your imagination to see or hear the stark horror of the trenches, the flash and boom of guns and the glare of burning homes across the Channel.

In all these poets, young or old, two noble qualities appear: a deathless loyalty to an ideal England and a deep love of peace as the only normal condition of human life. Both qualities appear, with a promise that was never fulfilled, in the work of Rupert Brooke, for example, a young poet who went out as a soldier on the Dardanelles expedition. He died there, in the Ægean, and they made his grave in Skyros that Achilles knew. Ere he gave a life for his country he bravely wrote, as our Nathan Hale spoke, his own immortal epitaph:

If I should die, think only this of me:
That there's some corner of a foreign field
That is forever England. There shall be

In that rich earth a richer dust concealed,
A dust whom England bore, shaped, made aware,
Gave once her flowers to love, her ways to roam,
A body of England's, breathing English air,
Washed by the rivers, blest by suns of home.

And think this heart, all evil shed away,

A pulse in the eternal mind, no less,

Gives somewhere back the thoughts by England given, Her sights and sounds, dreams happy as her day,

And laughter learnt of friends, and gentleness

In hearts at peace, under an English heaven.1

1 Reprinted from Collected Poems of Rupert Brooke by permission of the literary executor and of the publishers, Sidgwick and Jackson, Ltd., and Dodd, Mead & Company, Inc. Copyright, 1915, by Dodd, Mead & Company, Inc.

Bibliography. There are near a hundred books dealing with recent literature, but not one to tell you what you want to know; that is, for each important author such events of his life as may color his work, his chief books in order, his philosophy or world view, his motive in writing, and then a word of criticism or appreciation. The books available are mostly collections of magazine articles; the selection of authors is consequently haphazard, many of the most important being omitted; and they are almost wholly critical, giving you not the author or his work but the critic's reaction on the author. Among the best of these reactions are:

Phelps, Advance of the English Novel (Dodd), and Essays on Modern Novelists (Macmillan); Cooper, Some English Story Tellers (Holt); Follett, Some Modern Novelists (Holt); Freeman, The Moderns (Crowell). Phelps, Advance of English Poetry in the Twentieth Century (Dodd). Chandler, Aspects of Modern Drama (Macmillan); Phelps, Twentieth Century Theatre (Macmillan); Andrews, The Drama of To-day (Lippincott); Howe, Dramatic Portraits (Kennerley); Clark, British and American Drama of To-day (Holt). A book which attempts to continue the history of English prose and verse from the Victorian Age to the present day is Cunliffe, English Literature during the Last Half-Century (Macmillan, 1919).

In addition to the above collective studies there are numerous presentations of Kipling, Barrie, Chesterton, Yeats, Synge and other recent writers and dramatists, each in a single volume.

GENERAL BIBLIOGRAPHY

Books dealing with individual authors and with special periods of English literature are listed in the various chapter endings of this history. Following are some of the best works for general reference, for extended study and for supplementary reading.

History. A brief, trustworthy textbook of history, such as Cheyney's Short History of England (Ginn and Company) or Gardiner's Student's History (Longmans), should always be at hand in studying English literature. More detailed works are Traill, Social England, 6 vols. (Putnam); Bright, History of England, 5 vols. (Longmans); Green, History of the English People, 4 vols. (Harper); Green, Short History of the English People, revised edition, 1 vol. (American Book Co.); latest revision of Green's Short History, with appendix of recent events to 1900, in Everyman's Library (Putnam); Kendall, Source Book of English History (Macmillan); Colby, Selections from the Sources of English History (Longmans); Lingard, History of England, to 1688, 10 vols. (a standard Catholic history). Mitchell, English Lands, Letters and Kings, 5 vols. (Scribner), a series of pleasant essays of history and literature.

Literary History. Cambridge History of English Literature, to be completed in 14 vols. (Putnam), by different authors, not always in harmony; Channels of English Literature (Dutton) treats of epic, drama, history, essay, novel and other types, each in a separate volume; Jusserand, Literary History of the English People, to 1650, 2 vols. (Putnam), a fascinating record; Ten Brink, English Litera ture, to 1550, 3 vols. (Holt), good material, clumsy style; Taine, English Literature, 2 vols. (Holt), brilliant but not trustworthy; Handbooks of English Literature, 9 vols. (Macmillan); Garnett and Gosse, Illustrated History of English Literature, 4 bulky volumes (Macmillan), good for pictures; Nicoll and Seccombe, History of English Literature, from Chaucer to end of Victorian era, 3 vols. (Dodd); Morley, English Writers, to 1650, 11 vols. (Cassell); Chambers, Cyclopedia of English Literature, 3 vols. (Lippincott).

Biography. Dictionary of National Biography, 63 vols. (Macmillan). English Men of Letters, a volume to each author (Macmillan);

briefer series of the same kind are Great Writers (Scribner), Beacon Biographies (Houghton), Westminster Biographies (Small). Allibone, Dictionary of Authors, 5 vols. (Lippincott). Hinchman and Gummere, Lives of Great English Writers (Houghton), offers thirty-eight biographies in a single volume.

Literary Types. Courthope, History of English Poetry, 4 vols. (Macmillan); Gummere, Handbook of Poetics (Ginn and Company); Stedman, Nature and Elements of Poetry (Houghton); Saintsbury, History of English Prosody (Macmillan); Alden, Specimens of English Verse (Holt).

Steenstrup, The Medieval Popular Ballad, translated from the Danish by Edward Cox (Ginn and Company); Gummere, The Popular Ballad (Houghton).

Ward, History of Dramatic Literature, to 1714, 3 vols. (Macmillan); Caffin, Appreciation of the Drama (Baker).

Raleigh, The English Novel (Scribner); Hamilton, Materials and Methods of Fiction (Baker); Cross, Development of the English Novel (Macmillan); Perry, Study of Prose Fiction (Houghton).

Saintsbury, History of Criticism, 3 vols. (Dodd); Gayley and Scott, Introduction to Methods and Materials of Literary Criticism (Ginn and Company); Winchester, Principles of Criticism (Macmillan); Worsfold, Principles of Criticism (Longmans); Moulton, Library of Literary Criticism, 8 vols. (Malkan).

Essays of Literature. Bagehot, Literary Studies; Hazlitt, Lectures on the English poets; Lowell, Literary Essays; Mackail, Springs of Helicon (English poets from Chaucer to Milton); Minto, Characteristics of English Poets (Chaucer to Elizabethan dramatists); Matthew Arnold, Essays in Criticism; Leslie Stephen, Hours in a Library; Stevenson, Familiar Studies of Men and Books; Birrell, Obiter Dicta ; Hales, Folia Litteraria; Walter Pater, Appreciations; Woodberry, Makers of Literature; Dowden, Studies in Literature and Transcripts and Studies; Gates, Studies in Appreciation; Harrison, The Choice of Books; Bates, Talks on the Study of Literature.

Collections of Poetry and Prose. Manly, English Poetry, English Prose, 2 vols., containing selections from all important English authors (Ginn and Company); Newcomer and Andrews, Twelve Centuries of English Poetry and Prose (Scott); Century Readings in English Literature (Century Co.); Pancoast, Standard English Poetry, Standard English Prose, 2 vols. (Holt); Leading English Poets from Chaucer to Browning (Houghton); Oxford Book of English Verse,