Project Gutenberg's The War Poems of Siegfried Sassoon, by Siegfried Sassoon This eBook is for the use of anyone anywhere 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.net Title: The War Poems of Siegfried Sassoon Author: Siegfried Sassoon Release Date: January 22, 2005 [EBook #14757] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK THE WAR POEMS OF SIEGFRIED SASSOON *** Produced by Ted Garvin, Linda Cantoni, and the PG Online Distributed Proofreading Team. THE WAR POEMS OF SIEGFRIED SASSOON 1919 LONDON: WILLIAM HEINEMANN Dans la trêve désolée de cette matinée, ces hommes qui avaient été tenaillés par la fatigue, fouettés par la pluie, bouleversés par toute une nuit de tonnerre, ces rescapés des volcans et de l'inondation entrevoyaient à quel point la guerre, aussi hideuse au moral qu'au physique, non seulement viole le bon sens, avilit les grandes idées, commande tous les crimes--mais ils se rappelaient combien elle avait développé en eux et autour d'eux tous les mauvais instincts sans en excepter un seul; la méchanceté jusqu'au sadisme, l'égoïsme jusqu'à la férocité, le besoin de jouir jusqu'à la folie. HENRI BARBUSSE. (_Le Feu._) NOTE Of these 64 poems, 12 are now published for the first time. The remainder are selected from two previous volumes. CONTENTS I PRELUDE: THE TROOPS 11 DREAMERS 13 THE REDEEMER 14 TRENCH DUTY 16 WIRERS 17 BREAK OF DAY 18 A WORKING PARTY 21 STAND-TO: GOOD FRIDAY MORNING 24 "IN THE PINK" 25 THE HERO 26 BEFORE THE BATTLE 27 THE ROAD 28 TWO HUNDRED YEARS AFTER 29 THE DREAM 30 AT CARNOY 32 BATTALION RELIEF 33 THE DUG-OUT 35 THE REAR-GUARD 36 I STOOD WITH THE DEAD 38 SUICIDE IN TRENCHES 39 ATTACK 40 COUNTER-ATTACK 41 THE EFFECT 43 REMORSE 44 IN AN UNDERGROUND DRESSING-STATION 45 DIED OF WOUNDS 46 II "THEY" 47 BASE DETAILS 48 LAMENTATIONS 49 THE GENERAL 50 HOW TO DIE 51 EDITORIAL IMPRESSIONS 52 FIGHT TO A FINISH 53 ATROCITIES 54 THE FATHERS 55 "BLIGHTERS" 56 GLORY OF WOMEN 57 THEIR FRAILTY 58 DOES IT MATTER? 59 SURVIVORS 60 JOY-BELLS 61 ARMS AND THE MAN 62 WHEN I'M AMONG A BLAZE OF LIGHTS 63 THE KISS 64 THE TOMBSTONE-MAKER 65 THE ONE-LEGGED MAN 66 RETURN OF THE HEROES 67 III TWELVE MONTHS AFTER 68 TO ANY DEAD OFFICER 69 SICK LEAVE 72 BANISHMENT 73 AUTUMN 74 REPRESSION OF WAR EXPERIENCE 75 TOGETHER 77 THE HAWTHORN TREE 78 CONCERT PARTY 79 NIGHT ON THE CONVOY 81 A LETTER HOME 83 RECONCILIATION 87 MEMORIAL TABLET (GREAT WAR) 88 THE DEATH-BED 89 AFTERMATH 91 SONG-BOOKS OF THE WAR 93 EVERYONE SANG 95 I PRELUDE: THE TROOPS Dim, gradual thinning of the shapeless gloom Shudders to drizzling daybreak that reveals Disconsolate men who stamp their sodden boots And turn dulled, sunken faces to the sky Haggard and hopeless. They, who have beaten down The stale despair of night, must now renew Their desolation in the truce of dawn, Murdering the livid hours that grope for peace. Yet these, who cling to life with stubborn hands, Can grin through storms of death and find a gap In the clawed, cruel tangles of his defence. They march from safety, and the bird-sung joy Of grass-green thickets, to the land where all Is ruin, and nothing blossoms but the sky That hastens over them where they endure Sad, smoking, flat horizons, reeking woods, And foundered trench-lines volleying doom for doom. O my brave brown companions, when your souls Flock silently away, and the eyeless dead, Shame the wild beast of battle on the ridge, Death will stand grieving in that field of war Since your unvanquished hardihood is spent. And through some mooned Valhalla there will pass Battalions and battalions, scarred from hell; The unreturning army that was youth; The legions who have suffered and are dust. DREAMERS Soldiers are citizens of death's gray land, Drawing no dividend from time's to-morrows. In the great hour of destiny they stand, Each with his feuds, and jealousies, and sorrows. Soldiers are sworn to action; they must win Some flaming, fatal climax with their lives. Soldiers are dreamers; when the guns begin They think of firelit homes, clean beds, and wives. I see them in foul dug-outs, gnawed by rats, And in the ruined trenches, lashed with rain, Dreaming of things they did with balls and bats, And mocked by hopeless longing to regain Bank-holidays, and picture shows, and spats, And going to the office in the train. THE REDEEMER Darkness: the rain sluiced down; the mire was deep; It was past twelve on a mid-winter night, When peaceful folk in beds lay snug asleep: There, with much work to do before the light, We lugged our clay-sucked boots as best we might Along the trench; sometimes a bullet sang, And droning shells burst with a hollow bang; We were soaked, chilled and wretched, every one. Darkness: the distant wink of a huge gun. I turned in the black ditch, loathing the storm; A rocket fizzed and burned with blanching flare, And lit the face of what had been a form Floundering in mirk. He stood before me there; I say that he was Christ; stiff in the glare, And leaning forward from his burdening task, Both arms supporting it; his eyes on mine Stared from the woeful head that seemed a mask Of mortal pain in Hell's unholy shine. No thorny crown, only a woollen cap He wore--an English soldier, white and strong, Who loved his time like any simple chap, Good days of work and sport and homely song; Now he has learned that nights are very long, And dawn a watching of the windowed sky. But to the end, unjudging, he'll endure Horror and pain, not uncontent to die That Lancaster on Lune may stand secure. He faced me, reeling in his weariness, Shouldering his load of planks, so hard to bear. I say that he was Christ, who wrought to bless All groping things with freedom bright as air, And with His mercy washed and made them fair. Then the flame sank, and all grew black as pitch, While we began to struggle along the ditch; And some one flung his burden in the muck, Mumbling: "O Christ Almighty, now I'm stuck!" TRENCH DUTY Shaken from sleep, and numbed and scarce awake, Out in the trench with three hours' watch to take, I blunder through the splashing mirk; and then Hear the gruff muttering voices of the men Crouching in cabins candle-chinked with light. Hark! There's the big bombardment on our right Rumbling and bumping; and the dark's a glare Of flickering horror in the sectors where We raid the Boche; men waiting, stiff and chilled, Or crawling on their bellies through the wire. "What? Stretcher-bearers wanted? Some one killed?" Five minutes ago I heard a sniper fire: Why did he do it?... Starlight overhead-- Blank stars. I'm wide-awake; and some chap's dead. WIRERS "Pass it along, the wiring party's going out"-- And yawning sentries mumble, "Wirers going out." Unravelling; twisting; hammering stakes with muffled thud, They toil with stealthy haste and anger in their blood. The Boche sends up a flare. Black forms stand rigid there, Stock-still like posts; then darkness, and the clumsy ghosts Stride hither and thither, whispering, tripped by clutching snare Of snags and tangles. Ghastly dawn with vaporous coasts Gleams desolate along the sky, night's misery ended. Young Hughes was badly hit; I heard him carried away, Moaning at every lurch; no doubt he'll die to-day. But _we_ can say the front-line wire's been safely mended. BREAK OF DAY There seemed a smell of autumn in the air At the bleak end of night; he shivered there In a dank, musty dug-out where he lay, Legs wrapped in sand-bags,--lumps of chalk and clay Spattering his face. Dry-mouthed, he thought, "To-day We start the damned attack; and, Lord knows why, Zero's at nine; how bloody if I'm done in Under the freedom of that morning sky!" And then he coughed and dozed, cursing the din. Was it the ghost of autumn in that smell Of underground, or God's blank heart grown kind, That sent a happy dream to him in hell?-- Where men are crushed like clods, and crawl to find Some crater for their wretchedness; who lie In outcast immolation, doomed to die Far from clean things or any hope of cheer, Cowed anger in their eyes, till darkness brims And roars into their heads, and they can hear Old childish talk, and tags of foolish hymns. He sniffs the chilly air; (his dreaming starts). He's riding in a dusty Sussex lane In quiet September; slowly night departs; And he's a living soul, absolved from pain. Beyond the brambled fences where he goes Are glimmering fields with harvest piled in sheaves, And tree-tops dark against the stars grown pale; Then, clear and shrill, a distant farm-cock crows; And there's a wall of mist along the vale Where willows shake their watery-sounding leaves. He gazes on it all, and scarce believes That earth is telling its old peaceful tale; He thanks the blessed world that he was born.... Then, far away, a lonely note of the horn. They're drawing the Big Wood! Unlatch the gate, And set Golumpus going on the grass: _He_ knows the corner where it's best to wait And hear the crashing woodland chorus pass; The corner where old foxes make their track To the Long Spinney; that's the place to be. The bracken shakes below an ivied tree, And then a cub looks out; and "Tally-o-back!" He bawls, and swings his thong with volleying crack,-- All the clean thrill of autumn in his blood, And hunting surging through him like a flood In joyous welcome from the untroubled past; While the war drifts away, forgotten at last. Now a red, sleepy sun above the rim Of twilight stares along the quiet weald, And the kind, simple country shines revealed In solitudes of peace, no longer dim. The old horse lifts his face and thanks the light, Then stretches down his head to crop the green. All things that he has loved are in his sight; The places where his happiness has been Are in his eyes, his heart, and they are good. * * * * * Hark! there's the horn: they're drawing the Big Wood. A WORKING PARTY Three hours ago he blundered up the trench, Sliding and poising, groping with his boots; Sometimes he tripped and lurched against the walls With hands that pawed the sodden bags of chalk. He couldn't see the man who walked in front; Only he heard the drum and rattle of feet Stepping along the trench-boards,--often splashing Wretchedly where the sludge was ankle-deep. Voices would grunt, "Keep to your right,--make way!" When squeezing past the men from the front-line: White faces peered, puffing a point of red; Candles and braziers glinted through the chinks And curtain-flaps of dug-outs; then the gloom Swallowed his sense of sight; he stooped and swore Because a sagging wire had caught his neck. A flare went up; the shining whiteness spread And flickered upward, showing nimble rats, And mounds of glimmering sand-bags, bleached with rain; Then the slow, silver moment died in dark. The wind came posting by with chilly gusts And buffeting at corners, piping thin And dreary through the crannies; rifle-shots Would split and crack and sing along the night, And shells came calmly through the drizzling air To burst with hollow bang below the hill. Three hours ago he stumbled up the trench; Now he will never walk that road again: He must be carried back, a jolting lump Beyond all need of tenderness and care; A nine-stone corpse with nothing more to do. He was a young man with a meagre wife And two pale children in a Midland town; He showed the photograph to all his mates; And they considered him a decent chap Who did his work and hadn't much to say, And always laughed at other people's jokes Because he hadn't any of his own. That night, when he was busy at his job Of piling bags along the parapet, He thought how slow time went, stamping his feet, And blowing on his fingers, pinched with cold. He thought of getting back by half-past twelve, And tot of rum to send him warm to sleep In draughty dug-out frowsty with the fumes Of coke, and full of snoring, weary men. He pushed another bag along the top, Craning his body outward; then a flare Gave one white glimpse of No Man's Land and wire; And as he dropped his head the instant split His startled life with lead, and all went out. STAND-TO: GOOD FRIDAY MORNING I'd been on duty from two till four. I went and stared at the dug-out door. Down in the frowst I heard them snore. "Stand-to!" Somebody grunted and swore. Dawn was misty; the skies were still; Larks were singing, discordant, shrill; _They_ seemed happy; but _I_ felt ill. Deep in water I splashed my way Up the trench to our bogged front line. Rain had fallen the whole damned night. O Jesus, send me a wound to-day, And I'll believe in Your bread and wine, And get my bloody old sins washed white! "IN THE PINK" So Davies wrote: "This leaves me in the pink." Then scrawled his name: "Your loving sweetheart, Willie." With crosses for a hug. He'd had a drink Of rum and tea; and, though the barn was chilly, For once his blood ran warm; he had pay to spend. Winter was passing; soon the year would mend. He couldn't sleep that night. Stiff in the dark He groaned and thought of Sundays at the farm, When he'd go out as cheerful as a lark In his best suit to wander arm-in-arm With brown-eyed Gwen, and whisper in her ear The simple, silly things she liked to hear. And then he thought: to-morrow night we trudge Up to the trenches, and my boots are rotten. Five miles of stodgy clay and freezing sludge, And everything but wretchedness forgotten. To-night he's in the pink; but soon he'll die. And still the war goes on; _he_ don't know why. THE HERO "Jack fell as he'd have wished," the Mother said, And folded up the letter that she'd read. "The Colonel writes so nicely." Something broke In the tired voice that quavered to a choke. She half looked up. "We mothers are so proud Of our dead soldiers." Then her face was bowed. Quietly the Brother Officer went out. He'd told the poor old dear some gallant lies That she would nourish all her days, no doubt. For while he coughed and mumbled, her weak eyes Had shone with gentle triumph, brimmed with joy, Because he'd been so brave, her glorious boy. He thought how "Jack," cold-footed, useless swine, Had panicked down the trench that night the mine Went up at Wicked Corner; how he'd tried To get sent home; and how, at last, he died, Blown to small bits. And no one seemed to care Except that lonely woman with white hair. BEFORE THE BATTLE Music of whispering trees Hushed by the broad-winged breeze Where shaken water gleams; And evening radiance falling With reedy bird-notes calling. O bear me safe through dark, you low-voiced streams. I have no need to pray That fear may pass away; I scorn the growl and rumble of the fight That summons me from cool Silence of marsh and pool, And yellow lilies islanded in light. O river of stars and shadows, lead me through the night. _June 25th, 1916._ THE ROAD The road is thronged with women; soldiers pass And halt, but never see them; yet they're here-- A patient crowd along the sodden grass, Silent, worn out with waiting, sick with fear. The road goes crawling up a long hillside, All ruts and stones and sludge, and the emptied dregs Of battle thrown in heaps. Here where they died Are stretched big-bellied horses with stiff legs; And dead men, bloody-fingered from the fight, Stare up at caverned darkness winking white. You in the bomb-scorched kilt, poor sprawling Jock, You tottered here and fell, and stumbled on, Half dazed for want of sleep. No dream could mock Your reeling brain with comforts lost and gone. You did not feel her arms about your knees, Her blind caress, her lips upon your head: Too tired for thoughts of home and love and ease, The road would serve you well enough for bed. TWO HUNDRED YEARS AFTER Trudging by Corbie Ridge one winter's night, (Unless old, hearsay memories tricked his sight), Along the pallid edge of the quiet sky He watched a nosing lorry grinding on, And straggling files of men; when these were gone, A double limber and six mules went by, Hauling the rations up through ruts and mud To trench-lines digged two hundred years ago. Then darkness hid them with a rainy scud, And soon he saw the village lights below. But when he'd told his tale, an old man said That _he'd_ seen soldiers pass along that hill; "Poor, silent things, they were the English dead Who came to fight in France and got their fill." THE DREAM I Moonlight and dew-drenched blossom, and the scent Of summer gardens; these can bring you all Those dreams that in the starlit silence fall: Sweet songs are full of odours. While I went Last night in drizzling dusk along a lane, I passed a squalid farm; from byre and midden Came the rank smell that brought me once again A dream of war that in the past was hidden. II Up a disconsolate straggling village street I saw the tired troops trudge: I heard their feet. The cheery Q.M.S. was there to meet And guide our Company in.... I watched them stumble. Into some crazy hovel, too beat to grumble; Saw them file inward, slipping from their backs Rifles, equipment, packs. On filthy straw they sit in the gloom, each face Bowed to patched, sodden boots they must unlace, While the wind chills their sweat through chinks and cracks. III I'm looking at their blistered feet; young Jones Stares up at me, mud-splashed and white and jaded; Out of his eyes the morning light has faded. Old soldiers with three winters in their bones Puff their damp Woodbines, whistle, stretch their toes _They_ can still grin at me, for each of 'em knows That I'm as tired as they are.... Can they guess The secret burden that is always mine?-- Pride in their courage; pity for their distress; And burning bitterness That I must take them to the accursèd Line. IV I cannot hear their voices, but I see Dim candles in the barn: they gulp their tea, And soon they'll sleep like logs. Ten miles away The battle winks and thuds in blundering strife. And I must lead them nearer, day by day, To the foul beast of war that bludgeons life. AT CARNOY Down in the hollow there's the whole Brigade Camped in four groups: through twilight falling slow I hear a sound of mouth-organs, ill-played, And murmur of voices, gruff, confused, and low. Crouched among thistle-tufts I've watched the glow Of a blurred orange sunset flare and fade; And I'm content. To-morrow we must go To take some cursèd Wood.... O world God made! _July 3rd, 1916._ BATTALION RELIEF "_Fall in! Now, get a move on!_" (Curse the rain.) We splash away along the straggling village, Out to the flat rich country green with June.... And sunset flares across wet crops and tillage, Blazing with splendour-patches. Harvest soon Up in the Line. "_Perhaps the War'll be done By Christmas-time. Keep smiling then, old son!_" Here's the Canal: it's dusk; we cross the bridge. "_Lead on there by platoons._" The Line's a-glare With shell-fire through the poplars; distant rattle Of rifles and machine-guns. "_Fritz is there! Christ, ain't it lively, Sergeant? Is't a battle?_" More rain: the lightning blinks, and thunder rumbles. "There's overhead artillery," some chap grumbles. "_What's all this mob, by the cross-road?_" (The guides).... "_Lead on with Number One_" (And off they go.) "_Three-minute intervals._" ... Poor blundering files, Sweating and blindly burdened; who's to know If death will catch them in those two dark miles? (More rain.) "_Lead on, Headquarters._" (That's the lot.) "_Who's that? O, Sergeant-major; don't get shot! And tell me, have we won this war or not?_" THE DUG-OUT Why do you lie with your legs ungainly huddled, And one arm bent across your sullen cold Exhausted face? It hurts my heart to watch you, Deep-shadow'd from the candle's guttering gold; And you wonder why I shake you by the shoulder; Drowsy, you mumble and sigh and turn your head.... _You are too young to fall asleep for ever; And when you sleep you remind me of the dead._ THE REAR-GUARD (Hindenburg Line, April 1917.) Groping along the tunnel, step by step, He winked his prying torch with patching glare From side to side, and sniffed the unwholesome air. Tins, boxes, bottles, shapes too vague to know, A mirror smashed, the mattress from a bed; And he, exploring fifty feet below The rosy gloom of battle overhead. Tripping, he grabbed the wall; saw some one lie Humped at his feet, half-hidden by a rug, And stooped to give the sleeper's arm a tug. "I'm looking for headquarters." No reply. "God blast your neck!" (For days he'd had no sleep,) "Get up and guide me through this stinking place." Savage, he kicked a soft, unanswering heap, And flashed his beam across the livid face Terribly glaring up, whose eyes yet wore Agony dying hard ten days before; And fists of fingers clutched a blackening wound. Alone he staggered on until he found Dawn's ghost that filtered down a shafted stair To the dazed, muttering creatures underground Who hear the boom of shells in muffled sound. At last, with sweat of horror in his hair, He climbed through darkness to the twilight air, Unloading hell behind him step by step. I STOOD WITH THE DEAD I stood with the Dead, so forsaken and still: When dawn was grey I stood with the Dead. And my slow heart said, "You must kill; you must kill: Soldier, soldier, morning is red." On the shapes of the slain in their crumpled disgrace I stared for a while through the thin cold rain.... "O lad that I loved, there is rain on your face, And your eyes are blurred and sick like the plain." I stood with the Dead.... They were dead; they were dead; My heart and my head beat a march of dismay; And gusts of the wind came dulled by the guns.... "Fall in!" I shouted; "Fall in for your pay!" SUICIDE IN TRENCHES I knew a simple soldier boy Who grinned at life in empty joy, Slept soundly through the lonesome dark, And whistled early with the lark. In winter trenches, cowed and glum With crumps and lice and lack of rum, He put a bullet through his brain. No one spoke of him again. * * * * * You smug-faced crowds with kindling eye Who cheer when soldier lads march by, Sneak home and pray you'll never know The hell where youth and laughter go. ATTACK At dawn the ridge emerges massed and dun In the wild purple of the glowering sun Smouldering through spouts of drifting smoke that shroud The menacing scarred slope; and, one by one, Tanks creep and topple forward to the wire. The barrage roars and lifts. Then, clumsily bowed With bombs and guns and shovels and battle-gear, Men jostle and climb to meet the bristling fire. Lines of grey, muttering faces, masked with fear, They leave their trenches, going over the top, While time ticks blank and busy on their wrists, And hope, with furtive eyes and grappling fists, Flounders in mud. O Jesu, make it stop! COUNTER-ATTACK We'd gained our first objective hours before While dawn broke like a face with blinking eyes, Pallid, unshaved and thirsty, blind with smoke. Things seemed all right at first. We held their line, With bombers posted, Lewis guns well placed, And clink of shovels deepening the shallow trench. The place was rotten with dead; green clumsy legs High-booted, sprawled and grovelled along the saps And trunks, face downward in the sucking mud, Wallowed like trodden sand-bags loosely filled; And naked sodden buttocks, mats of hair, Bulged, clotted heads, slept in the plastering slime. And then the rain began,--the jolly old rain! A yawning soldier knelt against the bank, Staring across the morning blear with fog; He wondered when the Allemands would get busy; And then, of course, they started with five-nines Traversing, sure as fate, and never a dud. Mute in the clamour of shells he watched them burst Spouting dark earth and wire with gusts from hell, While posturing giants dissolved in drifts of smoke. He crouched and flinched, dizzy with galloping fear, Sick for escape,--loathing the strangled horror And butchered, frantic gestures of the dead. An officer came blundering down the trench: "Stand-to and man the fire-step!" On he went.... Gasping and bawling, "Fire-step ... counter-attack!" Then the haze lifted. Bombing on the right Down the old sap: machine-guns on the left; And stumbling figures looming out in front. "O Christ, they're coming at us!" Bullets spat, And he remembered his rifle ... rapid fire ... And started blazing wildly ... then a bang Crumpled and spun him sideways, knocked him out To grunt and wriggle: none heeded him; he choked And fought the flapping veils of smothering gloom, Lost in a blurred confusion of yells and groans.... Down, and down, and down, he sank and drowned, Bleeding to death. The counter-attack had failed. THE EFFECT "The effect of our bombardment was terrific. One man told me he had never seen so many dead before." _War Correspondent._ "_He'd never seen so many dead before._" They sprawled in yellow daylight while he swore And gasped and lugged his everlasting load Of bombs along what once had been a road. "_How peaceful are the dead._" Who put that silly gag in some one's head? "_He'd never seen so many dead before._" The lilting words danced up and down his brain, While corpses jumped and capered in the rain. No, no; he wouldn't count them any more.... The dead have done with pain: They've choked; they can't come back to life again. When Dick was killed last week he looked like that, Flapping along the fire-step like a fish, After the blazing crump had knocked him flat.... "_How many dead? As many as ever you wish. Don't count 'em; they're too many. Who'll buy my nice fresh corpses, two a penny?_" REMORSE Lost in the swamp and welter of the pit, He flounders off the duck-boards; only he knows Each flash and spouting crash,--each instant lit When gloom reveals the streaming rain. He goes Heavily, blindly on. And, while he blunders, "Could anything be worse than this?"--he wonders, Remembering how he saw those Germans run, Screaming for mercy among the stumps of trees: Green-faced, they dodged and darted: there was one Livid with terror, clutching at his knees.... Our chaps were sticking 'em like pigs.... "O hell!" He thought--"there's things in war one dare not tell Poor father sitting safe at home, who reads Of dying heroes and their deathless deeds." IN AN UNDERGROUND DRESSING-STATION Quietly they set their burden down: he tried To grin; moaned; moved his head from side to side. * * * * * He gripped the stretcher; stiffened; glared; and screamed, "O put my leg down, doctor, do!" (He'd got A bullet in his ankle; and he'd been shot Horribly through the guts.) The surgeon seemed So kind and gentle, saying, above that crying, "You _must_ keep still, my lad." But he was dying. DIED OF WOUNDS His wet, white face and miserable eyes Brought nurses to him more than groans and sighs: But hoarse and low and rapid rose and fell His troubled voice: he did the business well. The ward grew dark; but he was still complaining, And calling out for "Dickie." "Curse the Wood! It's time to go; O Christ, and what's the good?-- We'll never take it; and it's always raining." I wondered where he'd been; then heard him shout, "They snipe like hell! O Dickie, don't go out" ... I fell asleep ... next morning he was dead; And some Slight Wound lay smiling on his bed. II "THEY" The Bishop tells us: "When the boys come back They will not be the same; for they'll have fought In a just cause: they lead the last attack On Anti-Christ; their comrade's blood has bought New right to breed an honourable race. They have challenged Death and dared him face to face." "We're none of us the same!" the boys reply. "For George lost both his legs; and Bill's stone blind; Poor Jim's shot through the lungs and like to die; And Bert's gone syphilitic: you'll not find A chap who's served that hasn't found _some_ change." And the Bishop said; "The ways of God are strange!" BASE DETAILS If I were fierce, and bald, and short of breath, I'd live with scarlet Majors at the Base, And speed glum heroes up the line to death. You'd see me with my puffy petulant face, Guzzling and gulping in the best hotel, Reading the Roll of Honour. "Poor young chap," I'd say--"I used to know his father well; Yes, we've lost heavily in this last scrap." And when the war is done and youth stone dead, I'd toddle safely home and die--in bed. LAMENTATIONS I found him in a guard-room at the Base. From the blind darkness I had heard his crying And blundered in. With puzzled, patient face A sergeant watched him; it was no good trying To stop it; for he howled and beat his chest. And, all because his brother had gone West, Raved at the bleeding war; his rampant grief Moaned, shouted, sobbed, and choked, while he was kneeling Half-naked on the floor. In my belief Such men have lost all patriotic feeling. THE GENERAL "Good-morning; good-morning!" the General said When we met him last week on our way to the Line, Now the soldiers he smiled at are most of 'em dead, And we're cursing his staff for incompetent swine. "He's a cheery old card," grunted Harry to Jack As they slogged up to Arras with rifle and pack. * * * * * But he did for them both by his plan of attack. HOW TO DIE Dark clouds are smouldering into red While down the craters morning burns. The dying soldier shifts his head To watch the glory that returns: He lifts his fingers toward the skies Where holy brightness breaks in flame; Radiance reflected in his eyes, And on his lips a whispered name. You'd think, to hear some people talk, That lads go West with sobs and curses, And sullen faces white as chalk, Hankering for wreaths and tombs and hearses. But they've been taught the way to do it Like Christian soldiers; not with haste And shuddering groans; but passing through it With due regard for decent taste. EDITORIAL IMPRESSION He seemed so certain "all was going well," As he discussed the glorious time he'd had While visiting the trenches. "One can tell You've gathered big impressions!" grinned the lad Who'd been severely wounded in the back In some wiped-out impossible Attack. "Impressions? Yes, most vivid! I am writing A little book called _Europe on the Rack_, Based on notes made while witnessing the fighting. I hope I've caught the feeling of 'the Line,' And the amazing spirit of the troops. By Jove, those flying-chaps of ours are fine! I watched one daring beggar looping loops, Soaring and diving like some bird of prey. And through it all I felt that splendour shine Which makes us win." The soldier sipped his wine. "Ah, yes, but it's the Press that leads the way!" FIGHT TO A FINISH The boys came back. Bands played and flags were flying, And Yellow-Pressmen thronged the sunlit street To cheer the soldiers who'd refrained from dying, And hear the music of returning feet. "Of all the thrills and ardours War has brought, This moment is the finest." (So they thought.) Snapping their bayonets on to charge the mob, Grim Fusiliers broke ranks with glint of steel. At last the boys had found a cushy job. * * * * * I heard the Yellow-Pressmen grunt and squeal; And with my trusty bombers turned and went To clear those Junkers out of Parliament. ATROCITIES You told me, in your drunken-boasting mood, How once you butchered prisoners. That was good! I'm sure you felt no pity while they stood Patient and cowed and scared, as prisoners should. How did you do them in? Come, don't be shy: You know I love to hear how Germans die, Downstairs in dug-outs. "Camerad!" they cry; Then squeal like stoats when bombs begin to fly. * * * * * And you? I know your record. You went sick When orders looked unwholesome: then, with trick And lie, you wangled home. And here you are, Still talking big and boozing in a bar. THE FATHERS Snug at the club two fathers sat, Gross, goggle-eyed, and full of chat. One of them said: "My eldest lad Writes cheery letters from Bagdad. But Arthur's getting all the fun At Arras with his nine-inch gun." "Yes," wheezed the other, "that's the luck! My boy's quite broken-hearted, stuck In England training all this year. Still, if there's truth in what we hear, The Huns intend to ask for more Before they bolt across the Rhine." I watched them toddle through the door-- These impotent old friends of mine. "BLIGHTERS" The house is crammed: tier beyond tier they grin And cackle at the Show, while prancing ranks Of harlots shrill the chorus, drunk with din; "We're sure the Kaiser loves the dear old Tanks!" I'd like to see a Tank come down the stalls, Lurching to rag-time tunes, or "Home, sweet Home,"-- And there'd be no more jokes in Music-halls To mock the riddled corpses round Bapaume. GLORY OF WOMEN You love us when we're heroes, home on leave, Or wounded in a mentionable place. You worship decorations; you believe That chivalry redeems the war's disgrace. You make us shells. You listen with delight, By tales of dirt and danger fondly thrilled. You crown our distant ardours while we fight, And mourn our laurelled memories when we're killed. You can't believe that British troops "retire" When hell's last horror breaks them, and they run, Trampling the terrible corpses--blind with blood. _O German mother dreaming by the fire, While you are knitting socks to send your son His face is trodden deeper in the mud._ THEIR FRAILTY He's got a Blighty wound. He's safe; and then War's fine and bold and bright. She can forget the doomed and prisoned men Who agonize and fight. He's back in France. She loathes the listless strain And peril of his plight. Beseeching Heaven to send him home again, She prays for peace each night. Husbands and sons and lovers; everywhere They die; War bleeds us white. Mothers and wives and sweethearts,--they don't care So long as He's all right. DOES IT MATTER? Does it matter?--losing your legs?... For people will always be kind, And you need not show that you mind When the others come in after football To gobble their muffins and eggs. Does it matter?--losing your sight?... There's such splendid work for the blind; And people will always be kind, As you sit on the terrace remembering And turning your face to the light. Do they matter?--those dreams from the pit?... You can drink and forget and be glad, And people won't say that you're mad; For they'll know that you've fought for your country, And no one will worry a bit. SURVIVORS No doubt they'll soon get well; the shock and strain Have caused their stammering, disconnected talk. Of course they're "longing to go out again,"-- These boys with old, scared faces, learning to walk, They'll soon forget their haunted nights; their cowed Subjection to the ghosts of friends who died,-- Their dreams that drip with murder; and they'll be proud Of glorious war that shatter'd all their pride.... Men who went out to battle, grim and glad; Children, with eyes that hate you, broken and mad. CRAIGLOCKHART, _Oct. 1917._ JOY-BELLS Ring your sweet bells; but let them be farewells To the green-vista'd gladness of the past That changed us into soldiers; swing your bells To a joyful chime; but let it be the last. What means this metal in windy belfries hung When guns are all our need? Dissolve these bells Whose tones are tuned for peace: with martial tongue Let them cry doom and storm the sun with shells. Bells are like fierce-browed prelates who proclaim That "if our Lord returned He'd fight for us." So let our bells and bishops do the same, Shoulder to shoulder with the motor-bus. ARMS AND THE MAN Young Croesus went to pay his call On Colonel Sawbones, Caxton Hall: And, though his wound was healed and mended, He hoped he'd get his leave extended. The waiting-room was dark and bare. He eyed a neat-framed notice there Above the fireplace hung to show Disabled heroes where to go For arms and legs; with scale of price, And words of dignified advice How officers could get them free. Elbow or shoulder, hip or knee,-- Two arms, two legs, though all were lost, They'd be restored him free of cost. Then a Girl-Guide looked in to say, "Will Captain Croesus come this way?" WHEN I'M AMONG A BLAZE OF LIGHTS ... When I'm among a blaze of lights, With tawdry music and cigars And women dawdling through delights, And officers at cocktail bars,-- Sometimes I think of garden nights And elm trees nodding at the stars. I dream of a small firelit room With yellow candles burning straight, And glowing pictures in the gloom, And kindly books that hold me late. Of things like these I love to think When I can never be alone: Then some one says, "Another drink?"-- And turns my living heart to stone. THE KISS To these I turn, in these I trust; Brother Lead and Sister Steel. To his blind power I make appeal; I guard her beauty clean from rust. He spins and burns and loves the air, And splits a skull to win my praise; But up the nobly marching days She glitters naked, cold and fair. Sweet Sister, grant your soldier this; That in good fury he may feel The body where he sets his heel Quail from your downward darting kiss. THE TOMBSTONE-MAKER He primmed his loose red mouth, and leaned his head Against a sorrowing angel's breast, and said: "You'd think so much bereavement would have made Unusual big demands upon my trade. The War comes cruel hard on some poor folk-- Unless the fighting stops I'll soon be broke." He eyed the Cemetery across the road-- "There's scores of bodies out abroad, this while, That should be here by rights; they little know'd How they'd get buried in such wretched style." I told him, with a sympathetic grin, That Germans boil dead soldiers down for fat; And he was horrified. "What shameful sin! O sir, that Christian men should come to that!" THE ONE-LEGGED MAN Propped on a stick he viewed the August weald; Squat orchard trees and oasts with painted cowls; A homely, tangled hedge, a corn-stooked field, With sound of barking dogs and farmyard fowls. And he'd come home again to find it more Desirable than ever it was before. How right it seemed that he should reach the span Of comfortable years allowed to man! Splendid to eat and sleep and choose a wife, Safe with his wound, a citizen of life. He hobbled blithely through the garden gate, And thought; "Thank God they had to amputate!" RETURN OF THE HEROES _A lady watches from the crowd, Enthusiastic, flushed, and proud._ "Oh! there's Sir Henry Dudster! Such a splendid leader! How pleased he looks! What rows of ribbons on his tunic! Such dignity.... Saluting.... (_Wave your flag ... now, Freda!_)... Yes, dear, I saw a Prussian General once,--at Munich. "Here's the next carriage!... Jack was once in Leggit's Corps; That's him!... I think the stout one is Sir Godfrey Stoomer. They _must_ feel sad to know they can't win any more Great victories!... Aren't they glorious men?... so full of humour!" III TWELVE MONTHS AFTER Hullo! here's my platoon, the lot I had last year. "The War'll be over soon." "What 'opes?" "No bloody fear!" Then, "Number Seven, 'shun! All present and correct." They're standing in the sun, impassive and erect. Young Gibson with his grin; and Morgan, tired and white; Jordan, who's out to win a D.C.M. some night: And Hughes that's keen on wiring; and Davies ('79), Who always must be firing at the Boche front line. * * * * * "Old soldiers never die; they simply fide a-why!" That's what they used to sing along the roads last spring; That's what they used to say before the push began; That's where they are to-day, knocked over to a man. TO ANY DEAD OFFICER Well, how are things in Heaven? I wish you'd say, Because I'd like to know that you're all right. Tell me, have you found everlasting day, Or been sucked in by everlasting night? For when I shut my eyes your face shows plain; I hear you make some cheery old remark-- I can rebuild you in my brain, Though you've gone out patrolling in the dark. You hated tours of trenches; you were proud Of nothing more than having good years to spend; Longed to get home and join the careless crowd Of chaps who work in peace with Time for friend. That's all washed out now. You're beyond the wire: No earthly chance can send you crawling back; You've finished with machine-gun fire-- Knocked over in a hopeless dud-attack. Somehow I always thought you'd get done in, Because you were so desperate keen to live: You were all out to try and save your skin, Well knowing how much the world had got to give. You joked at shells and talked the usual "shop," Stuck to your dirty job and did it fine: With "Jesus Christ! when _will_ it stop? Three years.... It's hell unless we break their line." So when they told me you'd been left for dead I wouldn't believe them, feeling it _must_ be true. Next week the bloody Roll of Honour said "Wounded and missing"--(That's the thing to do When lads are left in shell-holes dying slow, With nothing but blank sky and wounds that ache, Moaning for water till they know It's night, and then it's not worth while to wake!) * * * * * Good-bye, old lad! Remember me to God, And tell Him that our Politicians swear They won't give in till Prussian Rule's been trod Under the Heel of England.... Are you there?... Yes ... and the War won't end for at least two years; But we've got stacks of men ... I'm blind with tears, Staring into the dark. Cheero! I wish they'd killed you in a decent show. SICK LEAVE When I'm asleep, dreaming and lulled and warm,-- They come, the homeless ones, the noiseless dead. While the dim charging breakers of the storm Bellow and drone and rumble overhead, Out of the gloom they gather about my bed. They whisper to my heart; their thoughts are mine. "Why are you here with all your watches ended? From Ypres to Frise we sought you in the Line." In bitter safety I awake, unfriended; And while the dawn begins with slashing rain I think of the Battalion in the mud. "When are you going out to them again? Are they not still your brothers through our blood?" BANISHMENT I am banished from the patient men who fight. They smote my heart to pity, built my pride. Shoulder to aching shoulder, side by side, They trudged away from life's broad wealds of light. Their wrongs were mine; and ever in my sight They went arrayed in honour. But they died,-- Not one by one: and mutinous I cried To those who sent them out into the night. The darkness tells how vainly I have striven To free them from the pit where they must dwell In outcast gloom convulsed and jagged and riven By grappling guns. Love drove me to rebel. Love drives me back to grope with them through hell; And in their tortured eyes I stand forgiven. AUTUMN October's bellowing anger breaks and cleaves The bronzed battalions of the stricken wood In whose lament I hear a voice that grieves For battle's fruitless harvest, and the feud Of outraged men. Their lives are like the leaves Scattered in flocks of ruin, tossed and blown Along the westering furnace flaring red. O martyred youth and manhood overthrown, The burden of your wrongs is on my head. REPRESSION OF WAR EXPERIENCE Now light the candles; one; two; there's a moth; What silly beggars they are to blunder in And scorch their wings with glory, liquid flame-- No, no, not that,--it's bad to think of war, When thoughts you've gagged all day come back to scare you; And it's been proved that soldiers don't go mad Unless they lose control of ugly thoughts That drive them out to jabber among the trees. Now light your pipe; look, what a steady hand. Draw a deep breath; stop thinking; count fifteen, And you're as right as rain.... Why won't it rain?... I wish there'd be a thunder-storm to-night, With bucketsful of water to sluice the dark, And make the roses hang their dripping heads. Books; what a jolly company they are, Standing so quiet and patient on their shelves, Dressed in dim brown, and black, and white, and green And every kind of colour. Which will you read? Come on; O _do_ read something; they're so wise. I tell you all the wisdom of the world Is waiting for you on those shelves; and yet You sit and gnaw your nails, and let your pipe out, And listen to the silence: on the ceiling There's one big, dizzy moth that bumps and flutters; And in the breathless air outside the house The garden waits for something that delays. There must be crowds of ghosts among the trees,-- Not people killed in battle,--they're in France,-- But horrible shapes in shrouds--old men who died Slow, natural deaths,--old men with ugly souls, Who wore their bodies out with nasty sins. * * * * * You're quiet and peaceful, summering safe at home; You'd never think there was a bloody war on!... O yes, you would ... why, you can hear the guns. Hark! Thud, thud, thud,--quite soft ... they never cease-- Those whispering guns--O Christ, I want to go out And screech at them to stop--I'm going crazy; I'm going stark, staring mad because of the guns. TOGETHER Splashing along the boggy woods all day, And over brambled hedge and holding clay, I shall not think of him: But when the watery fields grow brown and dim, And hounds have lost their fox, and horses tire, I know that he'll be with me on my way Home through the darkness to the evening fire. He's jumped each stile along the glistening lanes; His hand will be upon the mud-soaked reins; Hearing the saddle creak, He'll wonder if the frost will come next week. I shall forget him in the morning light; And while we gallop on he will not speak: But at the stable-door he'll say good-night. THE HAWTHORN TREE Not much to me is yonder lane Where I go every day; But when there's been a shower of rain And hedge-birds whistle gay, I know my lad that's out in France With fearsome things to see Would give his eyes for just one glance At our white hawthorn tree. * * * * * Not much to me is yonder lane Where _he_ so longs to tread; But when there's been a shower of rain I think I'll never weep again Until I've heard he's dead. CONCERT PARTY (EGYPTIAN BASE CAMP) They are gathering round ... Out of the twilight; over the grey-blue sand, Shoals of low-jargoning men drift inward to the sound,-- The jangle and throb of a piano ... tum-ti-tum ... Drawn by a lamp, they come Out of the glimmering lines of their tents, over the shuffling sand. O sing us the songs, the songs of our own land, You warbling ladies in white. Dimness conceals the hunger in our faces, This wall of faces risen out of the night, These eyes that keep their memories of the places So long beyond their sight. Jaded and gay, the ladies sing; and the chap in brown Tilts his grey hat; jaunty and lean and pale, He rattles the keys ... some actor-bloke from town ... "_God send you home_"; and then "_A long, long trail_"; "_I hear you catting me_"; and "_Dixieland_" ... Sing slowly ... now the chorus ... one by one We hear them, drink them; till the concert's done. Silent, I watch the shadowy mass of soldiers stand. Silent, they drift away, over the glimmering sand. KANTARA, _April, 1918._ NIGHT ON THE CONVOY (ALEXANDRIA-MARSEILLES) Out in the blustering darkness, on the deck A gleam of stars looks down. Long blurs of black, The lean Destroyers, level with our track, Plunging and stealing, watch the perilous way Through backward racing seas and caverns of chill spray. One sentry by the davits, in the gloom Stands mute; the boat heaves onward through the night. Shrouded is every chink of cabined light: And sluiced by floundering waves that hiss and boom And crash like guns, the troop-ship shudders ... doom. Now something at my feet stirs with a sigh; And slowly growing used to groping dark, I know that the hurricane-deck, down all its length, Is heaped and spread with lads in sprawling strength,-- Blanketed soldiers sleeping. In the stark Danger of life at war, they lie so still, All prostrate and defenceless, head by head ... And I remember Arras, and that hill Where dumb with pain I stumbled among the dead. * * * * * We are going home. The troop-ship, in a thrill Of fiery-chamber'd anguish, throbs and rolls. We are going home ... victims ... three thousand souls. _May, 1918._ A LETTER HOME (To Robert Graves) I Here I'm sitting in the gloom Of my quiet attic room. France goes rolling all around, Fledged with forest May has crowned. And I puff my pipe, calm-hearted, Thinking how the fighting started, Wondering when we'll ever end it, Back to Hell with Kaiser send it, Gag the noise, pack up and go, Clockwork soldiers in a row. I've got better things to do Than to waste my time on you. II Robert, when I drowse to-night, Skirting lawns of sleep to chase Shifting dreams in mazy light, Somewhere then I'll see your face Turning back to bid me follow Where I wag my arms and hollo, Over hedges hasting after Crooked smile and baffling laughter, Running tireless, floating, leaping, Down your web-hung woods and valleys, Garden glooms and hornbeam alleys, Where the glowworm stars are peeping, Till I find you, quiet as stone On a hill-top all alone, Staring outward, gravely pondering Jumbled leagues of hillock-wandering. III You and I have walked together In the starving winter weather. We've been glad because we knew Time's too short and friends are few. We've been sad because we missed One whose yellow head was kissed By the gods, who thought about him Till they couldn't do without him. Now he's here again; I've seen Soldier David dressed in green, Standing in a wood that swings To the madrigal he sings. He's come back, all mirth and glory, Like the prince in a fairy story. Winter called him far away; Blossoms bring him home with May. IV Well, I know you'll swear it's true That you found him decked in blue Striding up through morning-land With a cloud on either hand. Out in Wales, you'll say, he marches Arm-in-arm with oaks and larches; Hides all night in hilly nooks, Laughs at dawn in tumbling brooks. Yet, it's certain, here he teaches Outpost-schemes to groups of beeches. And I'm sure, as here I stand, That he shines through every land, That he sings in every place Where we're thinking of his face. V Robert, there's a war in France; Everywhere men bang and blunder, Sweat and swear and worship Chance, Creep and blink through cannon thunder. Rifles crack and bullets flick, Sing and hum like hornet-swarms. Bones are smashed and buried quick. Yet, through stunning battle storms. All the while I watch the spark Lit to guide me; for I know Dreams will triumph, though the dark Scowls above me where I go. _You_ can hear me; _you_ can mingle Radiant folly with my jingle, War's a joke for me and you While we know such dreams are true! RECONCILIATION When you are standing at your hero's grave, Or near some homeless village where he died, Remember, through your heart's rekindling pride, The German soldiers who were loyal and brave. Men fought like brutes; and hideous things were done: And you have nourished hatred, harsh and blind. But in that Golgotha perhaps you'll find The mothers of the men who killed your son. _November, 1918._ MEMORIAL TABLET (GREAT WAR) Squire nagged and bullied till I went to fight (Under Lord Derby's scheme). I died in hell-- (They called it Passchendaele); my wound was slight, And I was hobbling back, and then a shell Burst slick upon the duck-boards; so I fell Into the bottomless mud, and lost the light. In sermon-time, while Squire is in his pew, He gives my gilded name a thoughtful stare; For though low down upon the list, I'm there: "In proud and glorious memory"--that's my due. Two bleeding years I fought in France for Squire; I suffered anguish that he's never guessed; Once I came home on leave; and then went west. What greater glory could a man desire? THE DEATH-BED He drowsed and was aware of silence heaped Round him, unshaken as the steadfast walls; Aqueous like floating rays of amber light, Soaring and quivering in the wings of sleep,-- Silence and safety; and his mortal shore Lipped by the inward, moonless waves of death. Some one was holding water to his mouth. He swallowed, unresisting; moaned and dropped Through crimson gloom to darkness; and forgot The opiate throb and ache that was his wound. Water--calm, sliding green above the weir; Water--a sky-lit alley for his boat, Bird-voiced, and bordered with reflected flowers And shaken hues of summer: drifting down, He dipped contented oars, and sighed, and slept. Night, with a gust of wind, was in the ward, Blowing the curtain to a glimmering curve. Night. He was blind; he could not see the stars Glinting among the wraiths of wandering cloud; Queer blots of colour, purple, scarlet, green, Flickered and faded in his drowning eyes. Rain; he could hear it rustling through the dark; Fragrance and passionless music woven as one; Warm rain on drooping roses; pattering showers That soak the woods; not the harsh rain that sweeps Behind the thunder, but a trickling peace Gently and slowly washing life away. * * * * * He stirred, shifting his body; then the pain Leaped like a prowling beast, and gripped and tore His groping dreams with grinding claws and fangs. But some one was beside him; soon he lay Shuddering because that evil thing had passed. And Death, who'd stepped toward him, paused and stared. Light many lamps and gather round his bed. Lend him your eyes, warm blood, and will to live. Speak to him; rouse him; you may save him yet. He's young; he hated war; how should he die When cruel old campaigners win safe through? But Death replied: "I choose him." So he went, And there was silence in the summer night; Silence and safety; and the veils of sleep. Then, far away, the thudding of the guns. AFTERMATH _Have you forgotten yet?..._ For the world's events have rumbled on since those gagged days, Like traffic checked awhile at the crossing of city ways: And the haunted gap in your mind has filled with thoughts that flow Like clouds in the lit heavens of life; and you're a man reprieved to go, Taking your peaceful share of Time, with joy to spare. _But the past is just the same,--and War's a bloody game,... Have you forgotten yet?... Look down, and swear by the slain of the War that you'll never forget._ Do you remember the dark months you held the sector at Mametz,-- The nights you watched and wired and dug and piled sandbags on parapets? Do you remember the rats; and the stench Of corpses rotting in front of the front-line trench,-- And dawn coming, dirty-white, and chill with a hopeless rain? Do you ever stop and ask, "Is it all going to happen again?" Do you remember that hour of din before the attack,-- And the anger, the blind compassion that seized and shook you then As you peered at the doomed and haggard faces of your men? Do you remember the stretcher-cases lurching back With dying eyes and lolling heads,--those ashen-grey Masks of the lads who once were keen and kind and gay? _Have you forgotten yet?... Look up, and swear by the green of the Spring that you'll never forget._ SONG-BOOKS OF THE WAR In fifty years, when peace outshines Remembrance of the battle lines, Adventurous lads will sigh and cast Proud looks upon the plundered past. On summer morn or winter's night, Their hearts will kindle for the fight, Reading a snatch of soldier-song, Savage and jaunty, fierce and strong; And through the angry marching rhymes Of blind regret and haggard mirth, They'll envy us the dazzling times When sacrifice absolved our earth. Some ancient man with silver locks Will lift his weary face to say: "War was a fiend who stopped our clocks Although we met him grim and gay." And then he'll speak of Haig's last drive, Marvelling that any came alive Out of the shambles that men built And smashed, to cleanse the world of guilt. But the boys, with grin and sidelong glance, Will think, "Poor grandad's day is done." And dream of lads who fought in France And lived in time to share the fun. EVERYONE SANG Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom Winging wildly across the white Orchards and dark green fields; on; on; and out of sight. Everyone's voice was suddenly lifted, And beauty came like the setting sun. My heart was shaken with tears and horror Drifted away ... O but every one Was a bird; and the song was wordless; the singing will never be done. _April, 1919._ End of the Project Gutenberg EBook of The War Poems of Siegfried Sassoon by Siegfried Sassoon *** END OF THIS PROJECT GUTENBERG EBOOK THE WAR POEMS OF SIEGFRIED SASSOON *** ***** This file should be named 14757-8.txt or 14757-8.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/4/7/5/14757/ Produced by Ted Garvin, Linda Cantoni, and the PG Online Distributed Proofreading Team. Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions 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-tm electronic works to protect the PROJECT GUTENBERG-tm concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for the eBooks, unless you receive specific permission. If you do not charge anything for copies of this eBook, complying with the rules is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. They may be modified and printed and given away--you may do practically ANYTHING with public domain eBooks. Redistribution is subject to the trademark license, especially commercial redistribution. *** START: FULL LICENSE *** THE FULL PROJECT GUTENBERG LICENSE PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK To protect the Project Gutenberg-tm 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-tm License (available with this file or online at http://gutenberg.net/license). Section 1. General Terms of Use and Redistributing Project Gutenberg-tm electronic works 1.A. By reading or using any part of this Project Gutenberg-tm 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-tm electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg-tm 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-tm 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-tm electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg-tm 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-tm electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is in the public domain 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-tm mission of promoting free access to electronic works by freely sharing Project Gutenberg-tm works in compliance with the terms of this agreement for keeping the Project Gutenberg-tm 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-tm 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-tm work. The Foundation makes no representations concerning the copyright status of any work in any country outside 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-tm License must appear prominently whenever any copy of a Project Gutenberg-tm 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 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.net 1.E.2. If an individual Project Gutenberg-tm electronic work is derived from the public domain (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-tm trademark as set forth in paragraphs 1.E.8 or 1.E.9. 1.E.3. If an individual Project Gutenberg-tm 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-tm 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-tm License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg-tm. 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-tm 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-tm work in a format other than "Plain Vanilla ASCII" or other format used in the official version posted on the official Project Gutenberg-tm web site (www.gutenberg.net), 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-tm 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-tm 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-tm electronic works provided that - You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg-tm works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg-tm 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-tm 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-tm 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-tm works. 1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from both the Project Gutenberg Literary Archive Foundation and Michael Hart, the owner of the Project Gutenberg-tm 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 public domain works in creating the Project Gutenberg-tm collection. Despite these efforts, Project Gutenberg-tm 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-tm trademark, and any other party distributing a Project Gutenberg-tm 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 F3. 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 MERCHANTIBILITY 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-tm electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg-tm 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-tm work, (b) alteration, modification, or additions or deletions to any Project Gutenberg-tm work, and (c) any Defect you cause. Section 2. Information about the Mission of Project Gutenberg-tm Project Gutenberg-tm 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, is critical to reaching Project Gutenberg-tm's goals and ensuring that the Project Gutenberg-tm 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-tm 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 web page at http://www.pglaf.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. Its 501(c)(3) letter is posted at http://pglaf.org/fundraising. 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 principal office is located at 4557 Melan Dr. S. Fairbanks, AK, 99712., but its volunteers and employees are scattered throughout numerous locations. Its business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email business@pglaf.org. Email contact links and up to date contact information can be found at the Foundation's web site and official page at http://pglaf.org For additional contact information: Dr. Gregory B. Newby Chief Executive and Director gbnewby@pglaf.org Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation Project Gutenberg-tm depends upon and cannot survive without wide spread 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 http://pglaf.org 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 including checks, online payments and credit card donations. To donate, please visit: http://pglaf.org/donate Section 5. General Information About Project Gutenberg-tm electronic works. Professor Michael S. Hart is the originator of the Project Gutenberg-tm concept of a library of electronic works that could be freely shared with anyone. For thirty years, he produced and distributed Project Gutenberg-tm eBooks with only a loose network of volunteer support. Project Gutenberg-tm eBooks are often created from several printed editions, all of which are confirmed as Public Domain 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 Web site which has the main PG search facility: http://www.gutenberg.net This Web site includes information about Project Gutenberg-tm, 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.