One of the best-known of the group of Yale poets is Brian Hooker, who was graduated from Yale in 1902, and for some years was a member of the Faculty. His _Poems_ (1915) are an important addition to contemporary literature. He is a master of the sonnet-form, as any one may see for himself in reading GHOSTS The dead return to us continually; Not at the void of night, as fables feign, In some lone spot where murdered bones have lain Wailing for vengeance to the passer-by; But in the merry clamour and full cry Of the brave noon, our dead whom we have slain And in forgotten graves hidden in vain, Rise up and stand beside us terribly. Sick with the beauty of their dear decay We conjure them with laughters onerous And drunkenness of labour; yet not thus May we absolve ourselves of yesterday-- We cannot put those clinging arms away, Nor those glad faces yearning over us. Mr. Hooker also includes in this volume a number of _Turns_, which he describes as "a new fixed form: Seven lines, in any rhythm, isometric and of not more than four feet; Rhyming AbacbcA, the first line and the last a Refrain; the Idea (as the name suggests) to Turn upon the recurrence of the Refrain at the end with a different sense from that which it bears at the beginning." For example: MISERERE Ah, God, my strength again!-- Not power, nor joy, but these: The waking without pain, The ardour for the task, And in the evening, peace. Is it so much to ask? Ah, God, my strength again! American literature suffered a loss in the death of Robert Cameron Rogers, of the class of 1883. His book of poems, called _The Rosary_, appeared in 1906, containing the song by which naturally he is best known. Set to music by the late Ethelbert Nevin, it had a prodigious vogue, and inspired a sentimental British novel, whose sales ran over a million copies. The success of this ditty ought not to prejudice readers against the author of it; for he was more than a sentimentalist, as his other pieces prove.