W. M. LETTS (1887- ) Grandeur 201 The Spires of Oxford 203 FRANCIS BRETT YOUNG Lochanilaun 204 F. S. FLINT London 205 EDITH SITWELL The Web of Eros 206 Interlude 207 F. W. HARVEY (1888- ) The Bugler 208 T. P. CAMERON WILSON (1889-1918) Sportsmen in Paradise 209 W. J. TURNER (1889- ) Romance 210 PATRICK MACGILL (1890) By-the-Way 211 Death and the Fairies 212 FRANCIS LEDWIDGE (1891-1917) An Evening in England 213 Evening Clouds 214 IRENE RUTHERFORD MCLEOD (1891- ) "Is Love, then, so Simple" 215 Lone Dog 215 RICHARD ALDINGTON (1892- ) Prelude 216 Images 217 At the British Museum 218 EDWARD SHANKS (1892- ) Complaint 219 OSBERT SITWELL (1892- ) The Blind Pedlar 220 Progress 221 ROBERT NICHOLS (1893- ) Nearer 222 CHARLES H. SORLEY (1895-1915) Two Sonnets 223 To Germany 225 ROBERT GRAVES (1895- ) It's a Queer Time 226 A Pinch of Salt 227 I Wonder What It Feels Like to be Drowned? 228 The Last Post 229 INDEX OF AUTHORS AND POEMS 231 INTRODUCTORY _The New Influences and Tendencies_ Mere statistics are untrustworthy; dates are even less dependable. But, to avoid hairsplitting, what we call "modern" English literature may be said to date from about 1885. A few writers who are decidedly "of the period" are, as a matter of strict chronology, somewhat earlier. But the chief tendencies may be divided into seven periods. They are (1) The decay of Victorianism and the growth of a purely decorative art, (2) The rise and decline of the AEsthetic Philosophy, (3) The muscular influence of Henley, (4) The Celtic revival in Ireland, (5) Rudyard Kipling and the ascendency of mechanism in art, (6) John Masefield and the return of the rhymed narrative, (7) The war and the appearance of "The Georgians." It may be interesting to trace these developments in somewhat greater detail. THE END OF VICTORIANISM