922:
172:
335:(I). There is little time for a lad to live and enjoy the spring (II). Death awaits the soldier (III–IV). Maids are not always kind (V–VI) and the farmer also comes to the grave (VII). Some lads murder their brothers and are hanged (VIII–IX). The spring's promise of love and renewal may be false (X). The ghost of a lad dead of grief begs the consolation of a last embrace (XI). Unattainable love leaves the lad helpless and lost (XIII–XVI). The playing of a game of cricket or football consoles a broken heart (XVII). But on this dubious sentiment
375:
were suggested by a report on the death of a naval cadet in August 1895 who had left behind him a letter mentioning these reasons for taking his own life. Bring no living branches to the grave of such a one, but only what will never flower again (XLVI). A carpenter's son once died on the gallows so that other lads might live (XLVII). He was happy before he was born, but he will endure life for a while: the cure for all sorrows will come in time (XLVIII). If crowded and noisy London has its troubles, so do quiet
617:
292:." Yet while it is true that "very little in the book is biographical", he could not entirely escape his literary formation, as he had already speculated in a letter written three decades previously. "I suppose my classical training has been of some use to me in furnishing good models, and making me fastidious, and telling me what to leave out." Nevertheless, some have found a sign in the oversimplification that results, not of Terence's but of Housman's own emotional immaturity.
644:. It proved so popular that frequent reprintings followed and latterly other presses have recycled the illustrations as well. The example of rather traditional woodcuts was also taken up in the US in the Peter Pauper Press edition (Mount Vernon, NY, 1942) with its 'scenic decorations' by Aldren Watson (1917–2013); that too saw later reprintings. Other American editions have included the Illustrated Editions issue (New York, 1932) with drawings by
1747:
237:, where I have never spent much time," he admitted later in a letter to Maurice Pollet dated 5 February 1933. "I had a sentimental feeling for Shropshire because its hills were on our Western horizon." Thus the "blue remembered hills" of his "land of lost content" in Poem XL are mostly a literary construct. Though the names there can be found on the map, their topographical details are admittedly not factual.
374:
flowering gold on
Wenlock Edge (XXXVIII–XL). London is full of cold-hearted men who fear and hate one another, but he will make the best of life while he has a living will (XLIII). The suicide is wise, for he prefers to die cleanly rather than harm others and live in shame (XLIV–XLV). These two poems
228:
in the wake of World War I, "these were the poems which I and my contemporaries used to recite to ourselves, over and over, in a kind of ecstasy". They responded to
Housman's lament for the transience of love, idealism and youth in what was in essence a half-imaginary pastoral countryside in a county
283:
In the letter to Pollet already mentioned, Housman pointed out that there was a discontinuity between the
Classical scholar who wrote the poems and the "imaginary" Shropshire Lad they portrayed. "No doubt I have been unconsciously influenced by the Greeks and Latins, but chief sources of which I am
688:
The repeated mannerisms, lilting style and generally black humour of
Housman's collection have made it an easy target for parody. The first to set the fashion was Housman himself in "Terence, this is stupid stuff" (LXII) with its humorously voiced criticism of the effect of his writing and the wry
303:
contains several repeated themes. It is not a connected narrative; though the "I" of the poems is in two cases named as
Terence (VIII, LXII), the "Shropshire Lad" of the title, he is not to be identified with Housman himself. Not all the poems are in the same voice and there are various kinds of
342:
Continuing this theme, the athlete who died young was lucky, for he did not outlive his renown (XIX). The poet exchanges a glance with a marching soldier and wishes him well, thinking they will never cross paths again (XXII). He envies the country lads who die young and do not grow old (XXIII).
308:
424:
Several composers wrote song cycles in which the poems, taken out of their sequence in the collection, contrast with each other or combine in a narrative dialogue. In a few cases they wrote more than one work using this material. The earliest, performed in 1904, less than ten years after the
390:
type. Those he loved are dead, and other youths eternally re-live his own experiences (LV). Like the lad that becomes a soldier, one can choose to face death young rather than put it off out of cowardice (LVI). Dick is in the graveyard, and Ned is long in jail, when he returns by himself to
194:. A friend of his remembered otherwise, however, and claimed that Housman's choice of title was always the latter. He had more than a year to think about it, since most of the poems he chose to include in his collection were written in 1895, while he was living at Byron Cottage in
1750:
163:, published in 1896. Selling slowly at first, it then rapidly grew in popularity, particularly among young readers. Composers began setting the poems to music less than ten years after their first appearance, and many parodists have satirised Housman's themes and poetic style.
443:(1909) in settings which include piano and string quartet; there was also an orchestral version in 1924. Later he returned to Housman again for another cycle, a first version of which was performed in 1927 with solo violin accompaniment, but in this only four were taken from
395:(LVIII). Take your pack and go: death will be a journey into eternal night (LX). It matters not if he sleeps among the suicides, or among those who died well – they were all his friends (LXI). Some mock his melancholy thoughts but he has used them like the poisons sampled by
792:
is frequently quoted still and was described by
Housman in a letter dated 19 September 1925 as "the best I have seen, and indeed the only good one." The second by Kingsmill keeps equally closely to Housman's themes and vocabulary and has the same mix of macabre humour:
944:. A wall hanging named after the book is now displayed near the south door there. The book's centenary was also celebrated by Wood's Shropshire Brewery, when they named their bitter after it. In the same year, a pink climbing rose with a strong fragrance, bred by
213:, so as to keep the price down, and also encouraged small, cheap pocket (and even waistcoat pocket) editions. By 1911 sales were at an annual average of 13,500 copies, and by its fiftieth anniversary there had been approaching a hundred UK and US editions.
886:
too acknowledges that there is more to
Housman's writing than the monotonously macabre. His later "A.E.H." is more of "an admiring imitation, not a parody," and reproduces the effect of Housman's mellifluous rejoicing in nature and skilful versifying:
271:
is described in the book as "encircled by the Severn on all sides but the North, and locally termed 'the Island'", which
Housman condenses to "Islanded in Severn stream" in his poem XXVIII. Murray also mentions that the last fair of the year at
875:
A new context is also found for
Housman's celebratory tone as "Loveliest of cheese, the Cheddar now" by Terence Beersay, a pseudonym claimed to conceal "a literary figure of some note" in the preface to an 8-page booklet titled
663:
Translations of poems from all of
Housman's collections into Classical Greek and Latin have been made since he first appeared as an author. The earliest was of poem XV in Greek elegiacs, published in the
648:(1900–94) and the Heritage Press edition (New York, 1935) with coloured woodcuts by Edward A. Wilson (1886–1970). Single poems from the collection have also been illustrated in a distinctive style by the
416:
with composers. All but eight poems in the collection have been set to music, and eleven of them in ten or more settings. Among the latter, "Loveliest of trees, the cherry now" (II) has 47 settings and
1319:
367:(XXXI). Man is a chance combination of elements – make the most of him while there is time! (XXXII) If he is of no use to those he loves, he will leave, perhaps to enlist as a soldier (XXXIV, XXXV).
1704:
386:
Though he is in London, his spirit wanders about his home fields (LII). From the grave the suicide's ghost visits the beloved (LIII), a theme apparently derived from a traditional ballad of the
248:, but my topographical details – Hughley, Abdon under Clee – are sometimes quite wrong". He did, however, have one source to guide him, echoes from which are to be found in the poems. This was
714: dead already.
1440:
276:
is called 'Dead Man's Fair', the event with which "In midnights of November" begins. Written about the same time as the others, this poem was held over until it was incorporated in
825:'s "A. E. Housman and a few friends" is almost as often quoted as Kingsmill's first parody. Written in 1939, its humour is equally black and critical of Housman's typical themes:
370:
One may live in distant exile in London, but without forgetting home and friends (XXXVII, XXXVIII). The wind sighs across England to him from Shropshire, but he will not see the
339:
commented acidly, "If he means to say that cricket, and cricket alone, has prevented men from committing suicide, then their continuation on this earth seems hardly worthwhile."
1546:
1059:
1372:
1353:
201:
At first the book sold slowly; the initial printing of 500 copies, some 160 of which were sent to the United States, did not clear until 1898. Sales revived during the
735:(13 May 1911), written on learning of Housman's appointment as Kennedy Professor of Latin at Cambridge University. These began, in imitation of the opening of poem L,
909:
Another parodic approach is to deal with the subject of one poem in the style of another. This will only work when both are equally well known, as is the case with
209:, when the book accompanied many young men into the trenches but it also benefited from the accessibility that Housman encouraged himself. Initially he declined
636:. Those did not meet with Housman's approval, however: "They were in colour, which always looks vulgar," he reported. The poet was dead by the time of the 1940
1323:
1682:
1485:
399:
and will survive to die old (LXII). Perhaps these poems are not fashionable, but they survive the poet to please other lads like him (LXIII).
1528:
532:
347:, then, to cultivate friendship (XXIV). A lover may die, and his girl will walk out with another (XXV–XXVII). The hostility of the ancient
1601:
205:(1899–1902), due in part to the prominence of military themes and of dying young. Its popularity increased thereafter, especially during
913:'s subversion of heterosexual relations between Shropshire youth in "Georgie, Porgie, pudding and pie fashioned after A.E. Housman".
1543:
1424:
1056:
1369:
921:
198:. The book was published the following year, partly at the author's expense, after it had already been rejected by one publisher.
527:
216:
Housman later repeated the claim made in the final poem of the sequence (LXIII) to have had a young male readership in mind. For
1113:
The source for this synopsis is the work itself. The numerals are those of the poems, in sequence, to which each comment refers.
562:
541:
and a purely instrumental epilogue titled "Spring will not wait", which is based on "'Tis time, I think, by Wenlock town" from
1126:
1653:
1781:
320:
1275:
1466:
1387:
Mihail Evans, "Housman's Spectral Shropshire", Victorian Literature and Culture 43, Cambridge University Press 2015,
1223:
1776:
20:
1717:
1295:
480:
1786:
549:, who made 24 Housman settings, united some in cycles of two (1921–1922), seven (1934) and three songs (1940).
1688:
1307:
220:
and his generation "no other poet seemed so perfectly to express the sensibility of a male adolescent"; and
604:
set four songs and Mayme Chanwai (born Hong Kong, 1939) set two. One of the most recent is the Argentinian
438:
101:
412:
The strong combination of emotional feeling, lyricism and folk qualities contributed to the popularity of
1566:
486:
592:, set for baritone and chamber orchestra (Op. 50, 1969); Robert F. Baksa (b.1938) who set eleven in his
572:
Composers outside the UK have also set individual poems by Housman. Several were from the US, including
1771:
937:
1482:
171:
418:
1634:
1578:
940:, it was visited in 1996 by the City of Birmingham Symphony Orchestra to celebrate the centenary of
1623:
637:
1404:
1388:
1234:
952:
731:
522:
324:
1671:
1148:
1137:
1730:
434:
1456:
956:
633:
332:
160:
47:
37:
1662:
517:
During the immediate postwar period, two other composers made extensive use of the poems in
494:, first performed in 1913. Butterworth was killed during the war, but towards the end of it
252:(originally published in 1870), in which is to be found the jingle with which poem L opens,
1037:
605:
8:
1159:
641:
546:
285:
141:
945:
507:
475:
1512:
1462:
933:, often with characters in novels or dramas quoting a few lines or even whole poems.
701:(1911). A poem of three stanzas, it begins with a glum acknowledgement of mortality:
668:
for 1897. Some thirty more appeared between then and 1969. Included among these were
645:
576:, who set "With rue my heart is laden" (as the second of his "3 Songs", Op.2, 1928),
387:
601:
1612:
910:
577:
426:
355:
are in his blood, and he owes his life to violence and rape (XXVIII). The storm on
304:
dialogue between the speaker and others, including conversations beyond the grave.
112:
1264:
1218:
Kate Kennedy, "Ambivalent Englishness: Ivor Gurney's song cycle Ludlow and Teme",
1590:
1550:
1489:
1376:
1063:
585:
550:
380:
352:
273:
210:
202:
848:
771:
652:
478:
was particularly drawn to Housman's poems, composing within a short period the
462:
Among other cycles composed during the period before World War 1 were the four
328:
289:
230:
191:
1765:
1452:
1033:
883:
822:
726:
669:
573:
371:
336:
221:
1364:
David Butterfield, "Classical verse translations of the poetry of Housman",
616:
608:'s arrangement of poem XL for voice and drum, titled "Lost Content" (2004).
455:; in the meantime, "The Soldier" (XXII) was dropped and two more added from
751:
558:
396:
360:
356:
348:
245:
225:
510:
was another combatant in the war and afterwards set the four songs in his
1658:
855:, and included it under the title "Cherry White" in her collected poems,
649:
495:
467:
229:
only visited by him after he had begun writing the poems. "I was born in
217:
206:
1738:
847:"Loveliest of trees, the cherry now" (II) has twice come in for parody.
1400:
694:
690:
597:
344:
268:
234:
146:
128:
319:
The collection begins with an imperial theme by paying tribute to the
581:
433:
in which ten were set for baritone and piano. There are six songs in
364:
1756:
774:'s "Two poems after A. E. Housman". The first of these, beginning
307:
195:
1696:
Donna Richardson, "The Can of Ail: A. E. Housman's Moral Irony,"
311:"On the Teme", one of William Hyde's coloured illustrations for
240:
Indeed, Housman confessed in his letter to Pollett that "I know
392:
241:
19:
For the song "A Shropshire Lad" by Half Man Half Biscuit, see
451:(1922). The revised work was eventually published in 1954 as
1712:
Gilmore Warner, "The 50th anniversary of A Shropshire Lad",
1500:
588:. Other Americans composed song cycles: Alan Leichtling in
376:
186:, referring to a character there, but changed the title to
951:
Later, the collection was commemorated by the short-lived
754:
joined in the fun a decade later with six lines beginning
742: And St Catharine's, and St John's,
697:, whose "Mr Housman's Message" appeared in his collection
113:
561:. Another cycle composed since then has been the five in
537:(1928) includes two poems for voice and piano taken from
250:
Murray's Handbook for Shropshire, Cheshire and Lancashire
159:
is a collection of sixty-three poems by the English poet
502:(1919), and later went on to compose the eight poems in
632:
was published in 1908, with eight county landscapes by
1224:– Issue 1: Literature and Music of the First World War
963:. After closure, the nameplate was auctioned in 2015.
851:
returned it to the context of suicide so prevalent in
474:(Op. 22, 1911) by Charles Fonteyn Manney (1872–1951).
383:, and the only cure for any of them is the grave (L).
182:Housman is said originally to have titled his book
1561:Archie Burnett, "A. E. Housman's level tones", in
955:railway company (2008–11), which named one of its
676:(Oxford 1929) and those by L. W. de Silva in his
1763:
929:There have been numerous literary references to
359:symbolizes the same turmoil in his soul as the
175:Byron Cottage in Highgate, where Housman wrote
693:. He was followed early in the new century by
640:edition, which carried monochrome woodcuts by
331:(1887) is celebrated with a beacon bonfire on
1664:Parry to Finzi: Twenty English Song-composers
557:(Op.14/3, 1940) also dates from the start of
259: Clungunford and Clun,
323:who have died as soldiers in the service of
1123:Wilfrid Mellors, Between Old Worlds and New
689:justification of his stance in the tale of
600:who set seven. Outside America, the Polish
288:'s songs, the Scottish Border ballads, and
1700:Volume 48, Number 2, Summer 2010 (267–285)
1042:. New York: John Lane Company. p. 76.
746: And full of dons.
525:included six poems for piano and tenor in
224:remembered that, among his generation at
920:
615:
306:
190:at the suggestion of a colleague in the
170:
166:
1681:, 1940; University of Adelaide e-book,
1527:, Fairleigh Dickinson University 2000,
1032:
936:Since Housman's ashes were interred at
761:'Twixt you, your love, and the clover;
498:was working on the songs in his cycle,
263: Under the sun.
1764:
1077:, Clarendon Press 2007, pp. 146–7
866:A cherry bough gone white with Spring—
1451:
1399:
1196:
1194:
868:But what I think, "How gay t'would be
729:sent a parody of twelve quatrains to
1437:Marginalia: Readers Writing in Books
624:(1908), cover design by William Hyde
870:To hang me from a flowering tree."
470:and the six for voice and piano in
425:collection's first appearance, was
295:
13:
1191:
1125:, Fairleigh Dickinson University,
896:Sounds of battle joined at morning
781:A clean upstanding chap like you?
712:Therefore let us act as if we were
402:
16:Poetry collection by A. E. Housman
14:
1798:
1723:
1409:. London: E. Mathews. p. 38.
948:, was also named after the book.
892:Flame the westward skies adorning
864:I never see that prettiest thing—
834:"Let's go and kill a neighbour,"
779:What, still alive at twenty-two,
766:written into the 1920 edition of
710:We also shall be dead pretty soon
628:The first illustrated edition of
620:The first illustrated edition of
1745:
1734:e-text at University of Virginia
1706:The Penguin Book of English Song
1461:. New York: Norton. p. 98.
925:The Blue Plaque on Byron Cottage
830:When lads have done with labour
611:
453:Along the Field: 8 Housman songs
431:Song Cycle from A Shropshire Lad
407:
21:Voyage to the Bottom of the Road
1642:
1628:
1617:
1606:
1595:
1584:
1571:
1555:
1533:
1517:
1505:
1494:
1475:
1445:
1429:
1423:, Cambridge University 1995,
1421:A Literary History of Cambridge
1413:
1393:
1381:
1358:
1347:
1338:
1312:
1301:
1289:
1280:
1269:
1257:
1248:
1239:
1228:
1212:
1203:
1182:
1173:
1164:
1153:
1142:
1131:
1116:
1107:
1098:
1089:
1080:
898:Wane and wander and are still.
894:Leaves no like on holt or hill;
658:
481:Six Songs from A Shropshire Lad
52:(1908 Ballantyne Press edition)
1458:The Norton Book of Light Verse
1068:
1046:
1026:
1017:
1008:
999:
990:
981:
972:
674:12 Poems from A Shropshire Lad
590:11 songs from A Shropshire Lad
490:(1912) as well as his emotive
472:A Shropshire Lad: A Song Cycle
1:
1511:The first stanza of three at
966:
1075:The Letters of A. E. Housman
978:Firchow 2002, pp. 12–13
832:In Shropshire, one will cry,
809:But when the mists in autumn
806:And blush at what they hear.
744:Are the dreariest of places,
184:The Poems of Terence Hearsay
7:
1755:public domain audiobook at
1652:, LIT Verlag Münster 2002,
1245:Hold 2002, pp. 199–203
1104:Firchow 2002, pp. 21–2
1086:Firchow 2002, pp. 21–3
836:And t'other answers "Aye!"
798:'Tis Summer Time on Bredon,
683:
487:Bredon Hill and Other Songs
10:
1803:
1782:English poetry collections
1540:Housman Society Newsletter
1354:An example of poem XXXVIII
1344:Warner 1946, pp.12, 14, 16
1254:Hold 2002, pp. 316–25
1209:Hold 2002, pp. 236–41
1188:Hold 2002, pp. 119–20
1179:Hold 2002, pp. 112–15
1053:Housman Society Newsletter
1023:Firchow 2002, pp. 7–9
938:St Laurence Church, Ludlow
817:The cattle then are sick.
813:And happy hymns of farmers
802:The cattle rise and listen
800:And now the farmers swear:
759:And now, lad, all is over,
534:We'll to the woods no more
492:Rhapsody, A Shropshire Lad
18:
1320:"Cultural Heritage Books"
916:
815:Go up from fold and rick,
596:(1981); and the Canadian
464:Songs of A Shropshire Lad
419:When I Was One-and-Twenty
136:
123:
111:
99:
91:
83:
73:
65:
57:
43:
33:
1439:, Yale University 2002,
1170:Hold 2002, pp. 91–3
953:Wrexham & Shropshire
811:On Bredon top are thick,
804:In valleys far and near,
770:. They were followed by
740:Emmanuel, and Magdalene,
708:People are born and die,
528:The Land of Lost Content
447:, along with three from
1777:Poetry by A. E. Housman
1648:Peter Edgerly Firchow,
1366:Housman Society Journal
1220:First World War Studies
732:The Westminster Gazette
261:Are the quietest places
1602:Ludlow Quilt & Sew
1549:1 October 2015 at the
1375:1 October 2015 at the
926:
907:
873:
845:
820:
790:
764:
749:
723:
678:Latin Elegiac Versions
625:
435:Ralph Vaughan Williams
316:
266:
179:
1787:Shropshire in fiction
1488:20 March 2016 at the
924:
889:
861:
857:Not So Deep as a Well
827:
795:
776:
756:
737:
703:
619:
310:
257:Clunton and Clunbury,
254:
174:
167:A Shropshire rhapsody
161:Alfred Edward Housman
38:Alfred Edward Housman
1670:Lieder Net Archive (
1650:Reluctant Modernists
1591:St Laurence's Church
1525:A Gendered Collision
1483:A. E. Housman Papers
1263:Catalogue of Works,
1062:4 March 2016 at the
504:The Western Playland
1742:e-text at Gutenberg
1481:Bryn Mawr College,
642:Agnes Miller Parker
547:Charles Wilfred Orr
30:
1716:1/14, March 1946,
1624:David Austin Roses
1579:a recorded lecture
1577:"Play in poetry",
1542:, September 2012,
1523:Rhonda S. Pettit,
1235:Lieder Net archive
1222:, Volume 2, 2011,
1200:Lieder Net Archive
1138:Lieder Net Archive
1095:Firchow 2002, p.22
996:Stokes 2016, p.lii
927:
878:The Shropshire Lag
626:
508:Ernest John Moeran
476:George Butterworth
317:
180:
28:
1772:1896 poetry books
1698:Victorian Poetry,
1667:, Woodbridge 2002
1298:from this edition
1014:Stokes 2016, p.li
987:Parker 2016, ch.1
725:In the same year
646:Elinore Blaisdell
606:Juan María Solare
421:" (XIII) has 44.
325:The Queen Empress
152:
151:
84:Publication place
29:A Shropshire Lad
1794:
1752:A Shropshire Lad
1749:
1748:
1739:A Shropshire Lad
1731:A Shropshire Lad
1703:Richard Stokes,
1679:Inside the Whale
1637:
1632:
1626:
1621:
1615:
1610:
1604:
1599:
1593:
1588:
1582:
1575:
1569:
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1553:
1537:
1531:
1521:
1515:
1509:
1503:
1498:
1492:
1479:
1473:
1472:
1449:
1443:
1433:
1427:
1419:Graham Chainey,
1417:
1411:
1410:
1397:
1391:
1385:
1379:
1362:
1356:
1351:
1345:
1342:
1336:
1335:
1333:
1331:
1322:. Archived from
1316:
1310:
1305:
1299:
1293:
1287:
1286:Warner 1946, p.7
1284:
1278:
1273:
1267:
1261:
1255:
1252:
1246:
1243:
1237:
1232:
1226:
1216:
1210:
1207:
1201:
1198:
1189:
1186:
1180:
1177:
1171:
1168:
1162:
1157:
1151:
1146:
1140:
1135:
1129:
1120:
1114:
1111:
1105:
1102:
1096:
1093:
1087:
1084:
1078:
1072:
1066:
1050:
1044:
1043:
1039:A Shropshire Lad
1030:
1024:
1021:
1015:
1012:
1006:
1003:
997:
994:
988:
985:
979:
976:
961:A Shropshire Lad
942:A Shropshire Lad
931:A Shropshire Lad
911:Louis Untermeyer
905:
853:A Shropshire Lad
843:
788:
768:A Shropshire Lad
721:
666:Classical Review
630:A Shropshire Lad
622:A Shropshire Lad
578:David Van Vactor
567:A Shropshire Lad
543:A Shropshire Lad
519:A Shropshire Lad
445:A Shropshire Lad
427:Arthur Somervell
414:A Shropshire Lad
313:A Shropshire Lad
301:A Shropshire Lad
296:Thematic summary
211:royalty payments
188:A Shropshire Lad
177:A Shropshire Lad
156:A Shropshire Lad
142:A Shropshire Lad
124:Followed by
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75:Publication date
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1690:Housman Country
1677:George Orwell,
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680:(London 1966).
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586:John Woods Duke
555:5 Housman Songs
551:Lennox Berkeley
500:Ludlow and Teme
440:On Wenlock Edge
410:
405:
403:Interpretations
321:Shropshire lads
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274:Church Stretton
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1328:. Retrieved
1324:the original
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659:Translations
650:lithographer
634:William Hyde
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559:World War II
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48:William Hyde
25:
1718:pp. 217–232
1659:Trevor Hold
1401:Pound, Ezra
706:O woe, woe,
691:Mithridates
512:Ludlow Town
496:Ivor Gurney
484:(1911) and
468:Graham Peel
397:Mithridates
286:Shakespeare
218:W. H. Auden
207:World War I
44:Illustrator
1766:Categories
967:References
695:Ezra Pound
598:Nick Peros
539:Last Poems
457:Last Poems
449:Last Poems
278:Last Poems
269:Shrewsbury
235:Shropshire
147:Wikisource
129:Last Poems
119:PR4809.H15
1683:section 2
1501:Wikiquote
1308:Abe books
1276:Biblio.co
787:lines 1–2
720:lines 1–5
582:Ned Rorem
545:(XXXIX).
333:Clee Hill
327:, as her
1757:LibriVox
1654:pp. 7–26
1635:BBC news
1547:Archived
1486:Archived
1403:(1911).
1373:Archived
1060:Archived
1036:(1906).
959:engines
957:Class 67
904:Stanza 1
902:—
880:(1936).
859:(1936):
842:Stanza 1
840:—
785:—
718:—
684:Parodies
569:(1980).
514:(1920).
506:(1921).
381:Knighton
365:Wroxeter
363:knew at
280:(1922).
196:Highgate
58:Language
1406:Canzoni
1330:1 March
699:Canzoni
246:Wenlock
87:England
61:English
1709:, 2016
1581:, 1961
1465:
1368:2011,
917:Legacy
638:Harrap
584:, and
393:Ludlow
361:Romans
353:Briton
315:(1908)
242:Ludlow
233:, not
131:
69:Poetry
34:Author
1529:p.113
1441:p.220
1425:p.221
1127:p.100
372:broom
349:Saxon
290:Heine
107:821.8
95:Print
66:Genre
1544:p.10
1463:ISBN
1332:2017
1265:p.76
1057:p.12
379:and
377:Clun
351:and
244:and
137:Text
79:1896
1672:LNA
1661:,
1567:p.1
1160:LNA
1149:LNA
672:'s
565:'s
553:'s
466:by
429:'s
145:at
1768::
1193:^
655:.
580:,
521:.
459:.
437:'
1674:)
1471:.
1334:.
417:"
23:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
