The Poems and Plays of John Masefield, Vol. 1
Excerpt from The Poems and Plays of John Masefield, Vol. 1 I do not remember writing verses in my childhood; I made many but did not write them down. I remember writing two poems when I was nine years and nine months old, one about a pony called Gypsy, the other about a Red Indian. Two or three years later I wrote a few more poems, a birthday poem to one of my brothers, a poem about a horse, a satire on a clergyman, and some fragments in imitation of Sir Walter Scott. Early verses are nearly always reflections from early reading. I remember my early reading fairly clearly. The first poems which moved me were these: 1. A poem about An Old White Horse, in some way connected with the 10th Hussars in the Soudan Campaign. This poem appeared in a daily paper, perhaps The Standard, perhaps The Daily Telegraph, during or just after, the Soudan Campaign. 2. A poem in Good Words - -, A Friend, by Adeline Sargent. I liked this poem quite as much for its little engraved illustrations as for its words. 3. The poems of Longfellow, especially Hiawatha. 4. The Ingoldsby Legends. 5. The Wild Swan by Tennyson, "I remember, I remember," by Thomas Hood. I had to learn these by heart for my Mother. I thought them beautiful at the time and think so still. 6. Du Maurier's Ballad of Camelot, in Punch for (I think) 1864. I did not understand the words of this poem, but the pre-Raphaelite engravings which illustrated it, moved me deeply. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.