Masefield's work soon attracted the attention of William Butler Yeats, John Galsworthy, Sturge Moore, and other English men of letters, and largely through their efforts was brought to the attention of the public. American readers first became aware of him through the publication of two long poems--"The Everlasting Mercy" and "The Widow in the Bye Street." To say that these were long narrative, poems, dealing with intensely tragic and dramatic events in the life of the British poor, is not to describe them adequately. They were a poetry new to our generation. They showed an intimate knowledge of the lives of the poor, especially of the criminal poor, not to be found in the amiable poems of Mr. W. W. Gibson and similar socialistic dilettantes. They were not socialistic in message; rather they were individualistic. Saul Kane was not a drunkard because of economic pressure; Jimmy's siren lived an evil life merely because she was evil, not as a result of the injustice of man-made laws or anything else of the sort. So precedents were violated and Masefield scored a success of sensation. The savage colloquialisms of the poems, their violent emotionalism, their melodrama--these things brought them to the attention of a large number of people not ordinarily interested in the work of new poets, and thus an audience was prepared for the poet's later and more important work. There can be no doubt that the work published later was more important. There were crudities in these two narrative poems which seemed to be put there deliberately, in order to startle and shock the reader. Masefield followed these poems with other poems in the same manner done with much greater technical skill and with a more convincing sincerity. "Dauber" and "Biography" and the "Daffodil Fields" are more likely to be read by the next generation than are "The Widow in the Bye Street" and "The Everlasting Mercy," in spite of the fact that the last mentioned poem was awarded the Edward de Polignac prize of $500 by the Royal Society of Literature. It is hard to tell just what form Masefield will finally select for the expression of his genius. He has written ballads, lyrics, plays, novels, short-stories, even histories, and all these forms he has molded to his own use. At the time of writing he is in France actively engaged in Red Cross work, and has begun to send to the magazines stories of the things that he has seen which entitle him to be called a great reporter. The quest for beauty has been and is his ruling passion--he is splendidly explicit on this subject in the magnificent sequence of Shakespearean sonnets printed in "Good Friday and Other Poems." He has searched for this beauty on the boundless sea, in noisy barrooms, in English meadows, in the streets of New York. He is seeking it now, we may believe, in the tragedy and heroism of the battlefield. And always, his sonnets tell us, it is evasive and very distant, because its real dwelling place is his own soul.