Trench Ballads and Other Verses

THIS BOOK IS DEDICATED TO THE MEMORY OF
MY FATHER,
the late Captain George L. Garrett, of the Union
Army, during the Civil War
AND TO
MY MOTHER,
whose lifelong devotion, unselfishness, tenderness
and loyalty to me, as to all her family and
friends, make this dedication a pleasure
and a joy only commensurate
with my thought of her.

PREFACE

I have divided this book into three distinct parts. Part I, Trench Ballads, consists of forty American soldier poems of America’s participation in the World War, 1917-19, based entirely on actual facts and incidents, and almost exclusively on my own personal experiences and observations, when a private in Company G, 16th Infantry, First Division, of the American Expeditionary Forces in France. Part II, Pre-war Poems, consists of three sets of verses written just before the active entry of America in the war, and appertaining to, but not an integral part of, it, and therefore grouped separately. Part III, Other Poems, contains those of a general and non-military character.

It is highly desirable the “Notes” at the end of this volume should be consulted, and that it be realized that with few exceptions, all these Trench Ballads were written in France, many scribbled on odd pieces of paper or on old envelopes in the trenches themselves, and consequently, when present locality is intimated, it is always France, that is to say, from the standpoint that I am speaking in and from the seat of operations. For example, when I use the term “over here,” it really means what the people at home in America would call “over there.” Hyperbole or little characteristic anecdotes that really never occurred, except in the brain of an author, I have absolutely shunned, and have endeavored to adhere strictly to “the truth, the whole truth and nothing but the truth,” and to set forth the vicissitudes; the dangers, joys and tribulations of the army man, and especially the man in the ranks, and more especially the man in the ranks of the Infantry, as these latter formed the actual front-line or combat troops that bore the brunt in this greatest of all wars.

Absolute continuity or sequence would seem superfluous, but it will be observed that I have endeavored to maintain it to a certain extent, i.e., by gradually leading from a number of military verses, without any strict inter-relation, to the day of being wounded, then on to several poems concerning the military hospital, and finally bringing the Trench Ballads to a close with those having to do with the returning home of the soldier.

My previous book, “Army Ballads and Other Verses,” is the result of my experiences when serving as a private in Companies “L” and “G,” 23rd Infantry and Troop “I,” 5th Cavalry (Regulars), during the Philippine Insurrection of 1899-1902, and if “Army Ballads and Other Verses” is taken in conjunction with this volume, it is my hope together they may prove a fairly comprehensive anthology of the American soldier of recent times.

PART I—TRENCH BALLADS

PART II—PRE-WAR POEMS

PART III—OTHER VERSES

MY COMRADES IN THE RANKS.

You chose no easy Service,
    No safe job, friends of mine,
But the mud of the shell-torn, trenches
    And the foremost battle-line.
No camouflage patriotism—
    Though you had from a wealth to choose
But the wicked work of No Man’s Land,
    Filling a man’s-size shoes.

You didn’t say you wouldn’t play
    If you got no shoulder bars—
You even placed your Country
    Above a general’s stars:
For shocking, very shocking,
    You didn’t give a damn
About your “social status,”
    When you fought for Uncle Sam.

Friends of mine, friends of mine,
    I’ve shared your toil and tears—
Your dangers and your little woes,
    When days were turned to years.
I may not make them understand
    The things that you have done,
But God bless you and God keep you—
    Every blessed mother’s son.

PART I. TRENCH BALLADS.

TRENCHES.

Trenches dripping, wet and cold—
Trenches hot and dry—
Long, drab, endless trenches
Stretching far and nigh.

Zigzag, fretted, running sere
From the cold North Sea,
’Cross the muddy Flanders plain
And vales of Picardy.

Through the fields of new, green wheat
Filled with poppies red,
While abandoned plow-shares show
Whence the peasants fled.

Past the great cathedral towns,
Where each gorgeous spire
Torn and tottering, slowly wilts
‘Neath the Vandals’ ire.

Hiding in the shadows
Of the hills of French Lorraine,
And bending south through rugged heights
To the land of sun again.

Trenches, endless trenches,
Shod with high desire—
All that man holds more than life,
And touched with patriot fire.

Trenches, endless trenches,
Where tightening draws the cord
’Round the throat of brutal Kultur,
And its red and dripping sword.

Trenches, endless trenches,
Bleached and choked with rain,
Could ye speak what tales ye’d tell
Of honor, death and pain.

Could ye speak, what tales ye’d tell
Of shame and golden worth,
To the glory and damnation
Of the spawn of all the Earth.

BARB-WIRE POSTS.

Five o ’clock; the shadows fall
    In mist and gloom and cloud;
And No Man’s Land is a sullen waste,
    Wrapped in a sodden shroud;
And the click of Big Mac’s moving foot
    Is a dangerous noise and loud.

Ten o’clock; the wind moans low—
    Each tree is a phantom gray:
And the wired posts are silent ghosts
    That move with a drunken sway;
(But never a gleam in No Man’s Land
    Till the dawn of another day).

Twelve o ‘clock; the heavens yawn
    Like the mouth of a chasm deep;
And see—that isn’t the fence out there—
    It’s a Boche—and he stoops to creep—
I’ll take a shot—oh hell, a post—
    (Oh God, for a wink o’ sleep).

Two o ’clock; the cold wet fog
    Bears down in dripping banks:
Ah, here they come—the dirty hounds—
    In swinging, serried ranks!
Why don’t the automatics start? . . .
    Or do my eyes play pranks?

It doesn’t seem a column now,
    But just two sneaking there:
And one is climbing over,
    While the other of the pair
Is clipping at the wires
    With exasperating care.

(I’m sober as a gray-beard judge
    I’m calm as the morning dew—
I’m wide awake and I’ll stake
    My eyes with the best of you;
But I can’t explain just how or why
    Posts do the things they do.)

Three o’clock; they’re on the move—
    Well, let the beggars come. . . .
A crash — a hush — a spiral shriek—
    And a noise like a big bass drum—
(I hope that Hun shot hasn’t found
    Our kitchen and the slum).

Five o’clock; the first faint streak
    Of a leaden dawn lifts gray;
And the barb-wire posts are sightless ghosts
    That swagger, click and sway,
And seem to grin, in their blood-stained sin,
    In a most unpleasant way.

FEET.

Some say this war was fought and won
    With gleaming bayonets,
That lift and laugh with Death’s own chaff
    And leave no fond regrets:
Some, by the long lean foul-lipped guns
    Where the first barrages meet,
But I, by the poor old weary limping
    Tired broken feet.

Some say this war was fought and won
    By the crawling, reeking gas;
Some, by the flitting birdmen,
    That dip and pause and pass:
Some, by the splitting hand-grenades—
    But I, I hear the beat
Of the poor old faithful worn limping
    Tired broken feet.

Some say the war was fought and won
    By This or That or Those—
But I, by heel and sunken arch
    And blistered, bleeding toes.
Drag on, drag on, oh weary miles,
    Through mire, slush and sleet,
To the glory of the rhythm
    Of the poor old broken feet.

YOUR GAS-MASK.

When over your shoulders your “full-field” you fling,
And you curse the whole load for a horrible thing,
What is it you reach for, as outward you swing?
Your gas-mask.

If you head for a bath by the small river’s flow—
Though only a distance of fifty or so—
What is it you carefully grab ere you go?
Your gas-mask.

When in full marching-order, where mules might suffice,
And you count your equipment, each having its price,
What is it you feel for and count over twice?
Your gas-mask.

In morning and afternoon, evening and night—
In first or support lines, in sleep or in fight,
What is it you cherish and cling to so tight?
Your gas-mask.

What is it you never leave thoughtless behind?
What is it you clutch for with fingers that bind
As you sniff that first odor that comes on the wind?
Your gas-mask.

SLUM AND BEEF STEW.

It’s a lot of dirty water
And some little dabs of spuds,
And dubious hunks of gristly meat
And divers other duds.

Served up to us in trenches,
Our hunger made it good,
But elsewhere—when we got it—
"We ate it, if we could.

And now about the time Josephus
Tells his gobs to call
Port and Starboard, left and right,
We’re ordered, one and all,

To most respectfully address
Our slum as “beef stew”—Gosh,
Methinks the Brains of the Army
Has dished-up awful bosh.

For slum is slum, and your Tummy-tum
Has called it so for aye;
As ‘twas when Thotmes III marched north
To check the Hittites’ sway.

As ‘twas when Cyrus’ doughboys swept
Through the Cilician Gates—
And as ’twill ever be so long
As a weary mess-line waits.

So long as Nations fight and eat—
Though all don’t feed as well—
For the Colonel is Sitting on the World—
While we are S. O. L.

Perhaps, kind friend, our logic may
Strike you as on the bum—
But as we’re Pershing’s slum-hounds,
We’ll call the damn thing “slum”.

SHELL-FIRE.

The Hun he taught us Gas and things—
But the high explosive shell
Was born of the Devil’s mirth
And the reddest forge in Hell.

Now one hits the village church,
And the ancient, wavering wall
And the little pointed tower swing
And stagger and sway and fall.

Now one hits a red-slag roof,
And eighty feet on high
Towers a monstrous, salmon cloud
Against an azure sky.

Now one hits in a field of wheat,
Fresh planted, fair and green,
And a mighty, thundering crater bursts
Where abandoned plows careen.

Now one nears with spiral shriek
And strikes in the long white road,
And the Lord ha’ mercy on the Red Cross truck,
And its helpless, weary load.

Now one comes where you crouching wait
In the trench’s far-flung line,
And you know there is never shelter against
The voice of that deadly whine.

Now one pierces the dugout’s roof,
And when the foul smokes pass,
What once was there a dozen men
Is a crimson, clotted mass.

In the pale moonlight or the black of night—
    When the sunset fires flare—
In the noontime’s calm, without alarm,
    The Great Arch Fiend is there,
With his frightful cry as he rushes nigh
    On his errand of despair.

MR. FLY.

There’s a nice stiff breeze ablowing,
Mr. Fly;
That keeps from out my trench.
The decomposing stench
Of a soldier, Boche or French,
Mr. Fly.

So please run off and play,
Mr. Fly.
So please run off and play
Like a good fly, right away,
For I want to sleep today,
Mr. Fly.

I’m dozing like a bull-finch,
Mr. Fly,
When you hop me, unaware,
And I wake and swat and swear,
And you return with thoughtful care,
Mr. Fly.

Can’t you see I’m very tired,
Mr. Fly?
That the G. I. Cans don’t bust,
And I’ve nibbled on a crust,
And deserve a snooze, I trust,
Mr. Fly.

Do you think it’s square and decent,
Mr. Fly,
When the Cooties cease to bite,
(And there is no sleep at night)
That you give me no respite,
Mr. Fly?

An hour’s calm is with us,
Mr. Fly;
And the endless battle strain,
And the shelling and the rain,
Ought to make it very plain,
Mr. Fly—

That I need a little nap,
Mr. Fly.
That I do need mighty well
Just to sun and rest a spell,
And to sleep here where I fell,
Mr. Fly.

So have a heart, oh have a heart!
Mr. Fly.
If you’re looking for a fight
And you must come ’round and bite,
Make your visit in the night,
Mr. Fly.

THE SALVATION ARMY WITH THE A. E. F.

You kept no roped-off rows of chairs
Or clubs “For Officers Only,”
But you toiled for John Doe when he was
Cold, tired, wet and lonely.

You didn’t squander millions
On soldiers warming benches,
But you worked like blazes for the ones
That frequented the trenches.

You didn’t stick to cast-iron rules
Of business most punctilious,
And you never treated Private Doe
With manner supercilious.

You had no boundless backing—
But just inside your doors
It seemed like, “Feel to home, Bill—
Sit down, the place is yours.”

Some things we fain remember—
Some things we fain forget—
But you, oh kindly people,
Live in our memory yet.

SHELL-HOLES.

They’re ugly, jagged, cone-shaped holes
That litter up the ground,
That ruin all the landscape
For miles and miles around.

That pock-mark fertile fields of green—
That rip the hard French roads,
And catch the lumbering trucks at night
Agroan beneath their loads.

And some of them are little uns
The shrill one-pounders plow—
About a meter—edge to edge—
But large enough, I trow.

And some of them nigh twice as broad,
And rather more straight down,
The “77” Boches’ gift,
Of dubious renown.

And some of them a dozen feet
From rim to ragged rim,
And deep enough to hide a horse—
A crater, gaunt and grim.

And some of them are yellow-black,
Where clings the reek of gas,
(But here we do not pause to gaze,
Nor linger as we pass).

And some of them are water-fouled—
Or dried and parched and dun;
And some of them are newly turned—
Fresh blotches ’neath the sun.

But all spell red destruction,
Blind rage and blinding hate,
To them who charge the shell-swept zone
Or in the trenches wait.

Should we say “all,” or modify
Our statement? Any fool
Knows that exceptions always rise
To prove an iron-clad rule.

And so in this case we can name
Some shell-holes we have met,
The thought of whose engulfing sides
Clings in our memory yet.

They were the holes we rolled into—
When iron or bullet struck—
Cursing the cursed Prussian,
And blessing our blesséd luck.

Oh lovely, beauteous shell-hole,
Wherein we helpless lay,
A wondrous couch of velvet
Ye seemed to us that day.

Our blood it stained your cushions
A deep and richer red,
As shrieking messengers of death
Sped harmless overhead.

Swept whining in their blood-lust,
Hell’s music, bleak and grim,
Splitting in rage the edges
Of your all-protecting rim.

Oh shell-holes, murderous shell-holes,
In vales of grass and wheat—
On hillside and in forest,
In road and village street—

Your toll of suffering and death
Is flashed to East and West—
But tell they of the wounded
Ye’ve sheltered in your breast?

FOOD.

We’ve eaten at the Plaza, at Sherry’s and the Ritz—
The Bellevue and the Willard and the Ponce de Leon
    too.
We’ve sampled all the cooking of the Savoy and
    Meurice,
Through a palate-tickling riot that Lucullus never
    knew.

From tables where the Northern Fires greet the
    coming night—
To Raffles out in Singapore and the Palace in Bombay;
From Shepheard’s (which means Cairo) to that little
    hostelry
Way down in Trinchinopoly where purring punkahs
    sway.

We’ve traveled north, we’ve traveled south by all
    routes known to man—
We’ve traveled east, we ’ve traveled west by some they
    scarcely came:
From canvasback and terrapin to Russian caviar,
From venison to bird-nest soup and curried things
    and game.

We’ve put them all beneath our belt with consummate
    address:
We’ve risen from the laden board and smacked our
    jowl in glee.
With organs sound and healthy we have murdered
    each menu
And left the wreck of good things with a gourmet’s
    ecstasy.

But do you wish to know the feasts that permeated
    deep—
That stirred the very bottom of my stomach to the
    core?
Quisine that brought such wondrous bliss, but satiated
    not, That saturating satisfied, but still left room for more?

The place—a little half deserted town in northern
    France:
The time—a time of carnage, of wanton strife and
    hate:
And I and my battalion on reserve a week or two
Till they call us to the Front again to force the hands
    of Fate.

Just from the Commissary, the Salvation or the Y,
I’ve got a bar of chocolate, some butter and some cake;
A canteen full of milk, and eggs, from the old
farmhouse near by,
And with this tout ensemble you can see I’m sitting
jake.

I’ve entered now a peasant’s house—an ancient,
    kindly dame—
Who’s seen me several times before, and knows just
    what I wish:
So the frying-pan is gotten out—the pewter fork and
    knife— A big bowl and the skillet and a large, substantial
    dish.

And I’m breaking up the bar of chocolate in a mighty
    bowl
(The while the eggs are frying, “Sur le plat, oui, s’il
    vous plait”),
And pouring from my canteen’s gurgling mouth a
    draught of milk,
To expedite proceedings in a purely tactful way.

And now the spluttering eggs are done, the chocolate’s
    hot and rich;
I have my feet beneath the board, the pewter weapons
    near:
A hunger from a front-line trench—the stomach of a
    goat—
And a battle-line that’s very far, though still the guns
    ring clear.

And thus, too full for utterance, I gently draw the
veil—
So leave me, kindly reader, in my joy—
And maybe you will understand why other dinners
pale,
And in comparison with this, appear to clog and cloy.

OVER THE TOP.

We’ve soldiered many, many moons
In this old plugging war,
And all the ills and all the thrills,
We’ve had ’em o’er and o’er.

Shell-fire, G. I. Cans and Gas—
Night work in No Man’s Land—
And everything that calls for nerve,
Endurance, guts and sand.

We’ve argued which we liked the worst—
Machine-guns, gas or shell.
We’ve ruminated carefully—
And done it rather well.

And after all our resumé
And cogitating bull,
We’ve reached a clear decision,
Most amplified and full:—

The greatest time in all the life
Of any living man—
The mightiest moment of the Game—
The proudest, high élan;

The thing we came three thousand miles
Across the seas to do—
“The Day,” the splendid hour
That waits for me and you,

Arrives—We spring into the wastes
Of land, ripped, roweled and barred—
The battle-lust in brain and eye—
The weary jaw set hard;

The rifle gripped in hands of steel,
Where, flashing in the sun,
Sweep on our blazing bayonets,
The terror of the Hun.

THE BATTLE MOTHER.

Over the sodden trenches—
Over the skirmish line—
High o’er the hole-torn fields and roads
Cometh a face to mine.

Under the burning gas attack,
And the stench of the bursting shell,
We hope we may live for her dear sake—
She who would wish us well.

(She who has ever cherished us—
But when the hour came
Choked back the tears of the faithful years,
As we left to play the game.)

Between the blazing horizons
That hammer the long night through,
Lapping their tongues of hatred—
Fearless she comes to you.

And over the roar of battle
Where the shrill-voiced shrapnel sings,
Shine forth the loving eyes we hold
Above all earthly things.

A World run mad with slaughter—
A charnel-house of blood—
But the face of the Battle Mother
Above the crimson flood.

SONG OF THE VOLUNTEERS OF 1917.

The drafted men fought hard and well,
The whole big army did,
But we prefer the spirit
Of the Bayard and the Cid.

The drafted men fought hard and well,
But when Jack sailed for France,
They didn’t have to drag us in
By the back of our neck and the seat of our pants.

The drafted men fought hard and well,
But when it first began,
From coast to coast, from Lakes to Gulf,
We rose, a single man.

The drafted men fought hard and well,
But when the days were black,
Glad we sprang to the call to front
The snarling, charging pack.

The red-fanged, savage hounds of hate,
In a victor’s drunken might:
The unleashed, howling gray hordes
Sweeping plain and height.

The drafted men fought hard and well,
But when the great floes pressed,
Came we to break the ice and clear
A channel for the rest.

The drafted men fought hard and well,
But now the thing is o’er,
We ’re glad we came the way we came
When the Nation rose to war.

The drafted men fought hard and well,
But now the thing is done,
We’re glad we came the time we came
In the heyday of the Hun.

Shades of Patrick Henry—
Of Washington and Hale,
God grant we’ve kept the trust—God grant
The Old Guard shall not fail.

The drafted men fought hard and well,
The whole vast army did,
But we prefer the spirit
Of the Bayard and the Cid.

O. D.

O. D., it ought to mean Oh Damn,
When in the pay of Uncle Sam:
But when you hear the soldier blab
“O. D.,” it just means Olive Drab.

The leggings, breeches and the boots
Of Uncle Samuel’s war galoots—
The overcoats and jackets too,
Confess the selfsame mournful hue.

It may be excellent camouflage
To try to fool a young barrage;
It may not show the bally dirt
So much upon your knees and shirt.

It may be serviceable and such
When you are beating-up the “Dutch;”
But from a calm esthetic point,
The color’s sadly out-of-joint.

A little mud on red or blue
May seem quite prominent to you;
But put the same upon O. D.,
And the whole blame thing looks mud to me.

But then, it matches trenches well,
And things that make you say, Oh Hell
For instance, hikes, inspections, drills,
And busted arms with C. C. pills.

It makes you heave a sigh or two
For the good old days of brass and blue;
But if it’s fit to beat the “Dutch”
I guess it doesn’t matter much.

ARTILLERY REGISTERING.

They’re shooting shrapnel o’er the trench—
My boy.
They’re shooting shrapnel o’er the trench,
Which means tonight they’ll surely drench
These works with shells that burst and stench
(And cloy).

They’re shooting shrapnel o’er the trench—
My lad.
It breaks with shrill and tinny sound,
And quite promiscuously around
It showers metal on the ground
(It’s bad).

They’re shooting shrapnel o’er the trench—
Recruit.
So do not stand and stupid stare
Till some comes down and parts your hair,
But hunt your dugout and beware
(To boot).

They’re shooting shrapnel o’er the trench—
Young man.
Which means tonight the gas shells’ thud
Will muffled fall like chunks of mud;
And th’ blinding, crashing Prince of Blood—
The G. I. Can.

They’re shooting shrapnel o’er the trench—
My child.
And ere the dawn is turning gray—
You mark the very words I say—
There’s going to be hell to pay
(High piled).

RECIPROCITY.

We haven’t been in this large strife
    So very long to date,
But we have learned our answer to
    The Prussian “Hymn of Hate.”
And we are feeding him for pap,
    As plain as A. B. C,
A pretty little ditty known
    As “Reciprocity.”

The Hun he planned for War, red War,
    By ocean, air and land;
And he is getting oodles of
    The same, to date, in hand.
He suddenly sprang poison gas
    Upon a valiant foe,
And now he’s getting gas and gas,
    And more gas, as you know.

He found new tricks and wrinkles for
    This gory battle game,
And now we stoop, no more his dupe,
    And beat him at the same.
He drowned our women in the sea—
    He ravished where he won—
But these were little things we couldn’t
    Copy from the Hun.

His crimson heel lie bade us feel,
    His lust and pride and scorn—
Till, echoing in our weary breasts
    A righteous hate was born. . . . .
Beware the patient man in wrath,
    The olden proverb saith;
And, Spawn of a Kultur nursed in blood—
    In blood meet ye your death.

TRUCKS.

Lunging-wild, careening trucks
    Plunging through the rain,
Sweeping down the rainbow road
    To the sunlit plain.
And echoing back with ponderous roar
    Their cargo’s wild refrain.

We’re bowling over the roads of France—
White roads.
We’re twenty gray tracks in a long, long line,
Twisting and rumbling and feeling fine.
And some day we’ll roll to the Watch on the Rhine—
Joyous loads.

But now we’re returning to billets for rest—
Earned repose.
We’ve been in the trenches for many a week.
In rain and in wind and in dugouts that leak.
Till we all are so hoarse we scarcely can speak.
Goodness knows.

Our clothes they are worn and tattered and torn,
And mud?
My heavens! we have it in our leggings and hair—
On breeches and jackets and all that we wear—
But we are so happy, we really don’t care—
’Tisn’t blood.

It isn’t those long, endless vigils at night,
On the rack.
It isn’t the fighting and hunger and heat—
It isn’t the slush and rheumatics and sleet—
It isn’t the once-a-day cold meal we eat
In the black.

It isn’t the shelling from sun unto sun—
Curséd shells:
It isn’t the camouflage that you must use
If you have to lie down in your trench for a snooze,
It isn’t the stenches the Hun corpses choose
For their smells.

But it’s clean clothes and gasoline-bath and a shave—
What a treat!
It’s sleeping on elegant straw, and undressed,
With never a Toto disturbing your rest;
It’s regaining your “pep” and a wonderful zest
When you eat.

We’re all of us willing, we’re all of us game
For the fray:
But now we have finished a good hitch, and more,
In conducting this large and salubrious war,
Do you think we should feel very tearful or sore
On this day?

So some we are singing and some shoot the bull,
                And some sleep.
(Don’t wake the poor devil, just leave him alone,
Though he’s jammed on your foot till it’s dead as a
    stone),
And we rumble through towns on the way to our own,
                Packed like sheep.

And your hand is afingering bills large and small—
Francs galore.
And you’ve visions of things that your poor stomach begs,
Including nuts, candy and chocolate and eggs;
And you find you’ve forgotten the crick in your legs—
Cramped and sore.

We’re a light-hearted, dirty-faced, rollicking crew—
Grimy pawed:
Though a few cogitate on the living and dead,
And some look behindward, and some look ahead,
And some think of bunkies that shrapnel has sped
To their God.

Lunging-wild, careening trucks
    Plunging through the rain,
Sweeping down the rainbow road
    To the sunlit plain,
And echoing back with ponderous roar
    Their cargo’s wild refrain.

MADEMOISELLE.

Oh Mademoiselle behind the Lines,
When we’re weary and covered with dirt,
And you make a promenade with us,
Or perhaps you mend our shirt.

You know our lives from your brothers,
Or your sweethearts who can’t come back,
But only your laughter greets us
When we shed that awful “pack.”

And some of you sell eggs to us
In a town whence most have fled:
And some of your names have “de” and your blood
Runs blue as well as red.

Oh Mademoiselle you sure are “chic”
From your head to the tip o’ your toes,
And if you like us, you just plain like us,
And you don’t give a damn who knows.

And Mademoiselle those eyes, Oo la la!
So sparkling, dark and rare,
With the love of all the ages lying
Deep and dormant there.

(Please, please don’t think us fickle—
That we didn’t play the game—
But you seemed so human and made to be loved,
And we murmured, “Je vous aime.”)

We hear you’re going back with us
To the tune of ten thousand wives,
And we wish you ten thousand blessings,
And ten thousand happy lives.

So here’s a health to you, Mademoiselle,
Who helped us see it through,
And the load that your laughter lightened
Is the debt that we owe to you.

THE FIRST DIVISION.

When the clarion call of Country
Bade strong men rise and go,
Came they the first of the willing first,
In the pride that leal men know.

When the Eagle soared and its broad wings spread
’Bove the shores of an angered land,
Sailed they the first of the Viking first
Where the treacherous waters spanned.

When the Eagle’s Brood awoke to the shriek
Of the great shells day and night,
First of the flock bled they beneath
The star-flare’s blinding light.

When the lunging, torn front lines locked
And the strife raged man and man,
Swept they the first of the fighting first—
And the van of the battle van.

From the training days of Gondrecourt—
Demange—cold, wet and gray—
To the trenches north of Lunéville—
To Bouconville—Xivray—

To the crater-pitted, wasted tracts
Of war-torn Picardy,
And the ghastly rubble hilltop
Where Cantigny used to be:

To the splendid days of Soissons—
The crisis of the strife:
To where giant pincers severed
St. Mihiel as a knife:

To the glorious, stubborn struggle
Up the rugged Argonne slopes,
Till the gates of Sedan crumbled
With the Vandals’ crumbling hopes.

Sweeping in conquering columns
To the banks of the vaunted Rhine—
Ever the first of the fighting first,
And the Lords of the Battle Line.

LITTLE GOLD CHEVRONS ON MY CUFFS.

Little gold chevrons on my cuffs,
What do you mean to me?
“We to the left mean hike and drill,
Trenches and mud and heat and chill—
And I to the right for the blood ye spill
Where the Marne runs to the sea.”

Little gold chevrons on my cuffs,
What is the tale ye tell?
“We to the left, of the long months spent
Where the somber seasons slowly blent—
And I to the right, of the ragged rent
That took so long to get well.”

Little gold chevrons on my cuffs,
What do you say to me?
“That ye would not trade us, master mine,
For ribbon or cross or rank, in fine,
That you are ours and we are thine
Through all the years to be.”

A TRIP-WIRE.

If you’re sneaking around on a night patrol,
Trying to miss each cock-eyed hole,
And you choke back a curse from the depths of your soul—
It’s a trip-wire.

If you think there isn’t a thing around
Except the desolate, shell-torn ground,
And you stumble and roll like a spool unwound—
It’s a trip-wire.

If you know a murmur would give the alarm,
And you’ve smothered a cough in the crotch of your arm,
And then you go falling all over the farm—
It’s a trip-wire.

If it’s cold and it’s rainy and everything’s mud,
And you’re groping your way through a nice little flood,
And you stand on your head with an elegant thud—
It’s a trip-wire.

When silence is golden (for “news” is the quest),
And you’re returning and stepping your best,
And your rifle goes part way and you go the rest—
It’s a trip-wire.

THE FAVORITE SONG.

They sing a song that the pines of Maine
    Hear in the winter’s blast—
They sing a song that the riders hum,
    Where the cattle plains spread vast;
But there is one they love the most—
    And they keep it for the last.

They sing the lays of Puget Sound
    Aglimmering in the sun—
Of the cotton fields of Alabam’,
    Where the Gulf-bound rivers run,
But one they sing with a wistful look,
    When all the rest are done.

They chant of the land of Dixie,
    And their “Little Gray Home in the West”—
Of how they’ll “can the Kaiser”—
    And they roar with bellowing zest;
But one they sing as it were a prayer—
    The song they love the best.

From Xivray to Cantigny—
    From Soissons to the Meuse —
From the Argonne wilds to the white-clad Vosges
    Agleam in the dawn’s first hues—
They sing a sacred song, for it
    Is red with battle-dews.

For it is sanctified by space—
    And the cruel wheel of Time;
And sacrifice has hallowed it,
    And mellowed every rhyme,
Until it wells from weary throats
    A thing men call sublime.

In frozen trench and billet—
    In mire, muck and rain—
Where the roar of unleashed batteries
    Hurl forth their fires again;
At rest, or back in Blighty,
    Torn with shell and pain—

There’s a song they dub the fairest—
    There’s a lilt they love the best—
“There’s a long, long trail awinding”
    To the haven of their quest,
Where the tip of the rainbow reaches
    A land in the golden west.

CAPTAIN BLANKBURG.

They knew he was a German—
They thought he was a spy—
Toujours they “covered” him and said,
“We’ll catch him by-and-by.”

They tried to find, by word or act,
In front-line trench or rear,
Some circumstance that would betray
His treacherous dealings clear.

They scanned his face when hostile flares
Set No Man’s Land alight—
They watched him when the Hun barrage
Tore craters left and right.

They noted every move he made,
With ever wakeful eye,
Reiterating o’er and o’er,
“We’ll catch him by-and-by.”

At last the opportunity
Loomed large in fact and view,
And every near-sleuth in the bunch
Saw that his hunch was true.

Because, upon an inky night,
When mist hung o’er the nation,
The captain took a picked patrol
To gather information.

And as they crept on hands and knees,
In Land No Man may own,
Their stomachs struck the dew-wet grass
With never sound or moan.

(The reason being that the Boche,
On selfsame errand set,
Were creeping hitherward unseen—
And likewise mad and wet.)

’Twas then the detail turned their heads
To where their captain lay,
And every rifle in that squad
Was pointed straight his way.

And he? He running true to form,
Two inches raised his chin,
And spouted German volubly
In accents clear and thin.

Click, click, click, click, click, down the line
Each safety-catch turned o’er,
But the captain did not hesitate,
And merely talked the more.

In conversation friendly
He rambled gently on
Unto the Boches’ leader,
Till it was nearly dawn.

The while his men they “covered” him—
The while their hearts grew black—
And you could feel the trigger fingers
Squeezing up the slack.

Just what the purport of his last
Remark was, no one knew,
But in a burst of confidence
A Boche head rose in view. . . .

Across the four-fold stillness
That covers No Man’s Land,
An automatic pistol shot
Rang clear and piercing and

The next day German papers told
How Captain Skunk von Skee
Was killed by a Yankee captain,
And Yankee treachery.

LITTLE WAR MOTHERS.

When you look at his picture and your eyes
    Are dimmed and mighty wet,
And it seems as though your trembling hands
    Could reach and touch him yet:
When you faintly call and he answers not
    Your supplicating prayer,
Remember his last thought was You:
    I know—for I was there.

When the day is done and the hearth-fire glows,
    And you slowly knit and knit;
And your furtive eyes from the embers rise
    To where he used to sit:
And you feel he never can slip up
    And kiss you unaware,
Remember his last word was You:
    I know—for I was there.

When your dear brave heart is breaking—
    And life is ’reft of joy;
And only the spark of memory—
    The face of a boy—your boy:
May the good God hover over you,
    And touch your silvered hair,
And tell you what I’ve tried to tell:
    He knows — for He was there.

INTERRUPTED CHOW.

I’ve had some mighty narrow calls—
Some close shaves not a few,
But one of the fairly closest
I’ll now narrate to you.

’Twas midnight—hush! the plot grows thick—
Crowd close, and hold your breath—
’Twas midnight—and the slum-cart came
Upon its round of death.

(It isn’t really that the slum
Was quite as bad as that,
But the playful Boche so often dropped
A shell where it was at.)

’Twas midnight—and our appetites
Were whetted large and keen,
As trench feed, once a day, must leave
An interval between.

And so we sought the buzzy-cart,
“Mess-kits alert” and found
It standing in a quiet spot
Where never came a sound—

Excepting that of bursting shells
Across the field a way,
(But as I said before, the Boche
Is very given to play).

All innocent and hungry-like
And empty to the core,
I came upon that buzzy-cart,
With never thought of war.

More calm, beneficent and mild—
More free from things of strife—
I promise you I never was
In all my mortal life.

The air was fair, the stars were out,
The mocking-bird sang clear;
The poppies bloomed, the sergeants fumed,
And food was very near.

When suddenly the ground gave way—
It seemed a mile or more—
And the whole adjacent landscape leapt
To heaven with a soar.

Earth, rocks and stars commingling
In a swirling mass arose,
Where I, recumbent in the hole,
Assumed an easy pose.

And when I found that I was there—
Both arms, both legs, and head,
I picked me up and cogitated
Why I wasn’t dead.

For information looked I ’round
North, south and east and west—
But the good platoon had up and cleared
Some several feet with zest.

(And the strangest phase of the whole strange thing,
For me to understand,
Was that when I got up I had
My mess-kit in my hand.)

And there I stood and gazed me down
Upon the hole and mud,
And found I was alive because
That blamed shell was a “dud.”

A dud’s a shell that fails to burst—
Whose crater’s microscopic—
And as I’d just sunk down in it,
My Fates were philanthropic—

For had the bally thing gone off—
Instead of sitting jake—
You’d ne’er have found my scattered parts
With a hair-comb or a rake.

You’d ne’er have found your humble slave—
For, sprinkled east and west,
My sad remains would scarce have bulged
The pocket of your vest.

A finger in Benares—
A toe in Timbuctoo—
And on the Mountains of the Moon
A portion of my shoe.

An eye on Kinchinjanga—
To greet the snow-peaked morn;
An ear at Cape Lopatka,
And my dog-tag at the Horn.

S. O. S.

There’s an S. O. S. behind the Lines
    That feeds us shells and hardtack,
And guns and clothes and beans and things,
    And heals our wounds and pain.
There’s an S. O. S. across the seas
    That knits for us and writes to us,
Buys bonds and whoops it up for us,
    And cheers us on again.

There’s an S. O. S. behind the Lines,
    We could not do without it:
Just go and ask the Army,
    If you’d know the reasons why.
There’s an S. O. S. across the seas,
    And if you ever doubt it,
Just go and ask a soldier,
    Who will promptly black your eye.

THE GAS-PROOF MULE.

I’ve heard the cat hath nine lives,
The hen and worm I’ve seen,
But a genuine, long eared, gas-proof mule
Is the toughest thing they wean.

Each night he hauled the water-cart—
(And to know what Water means,
You have to see a trench-bound bunch
When filling their canteens).

However, no digression now,
But straightway to my story,
And I’ll paint that black mule white
And crowned with a crown of glory.

We crowded ’round the faucets—
On each, six waited turns—
The thirstiest crew I ever knew—
With the ingrowing thirst that burns.

And all was peace and quiet—
The pause before the storm—
When the distant, whirling, demon shriek
Of the G. I. Cans took form.

And when the third one got our range,
With haste, but dignity,
We sought the dugouts ’cross the road,
Calm, though precipitously.

But the fastest thing I’ve seen on legs,
And I’ve seen the best, at that.
Was the water-mule when he took the road
At a hundred in nothing flat.

Whether he headed for gay Paree—
For Brussels or Berlin—
We didn’t stop to figure out—
But he sure was headed in.

We only thought of our thirst next day,
And a song we’d heard afar,
Of the farm recruit who bade good-bye
To his “mule with the old hee-haw.”

Well, all that night they threw us gas
And high explosive shells,
And four long hours we wore our masks,
To ward the murderous smells.

And when the first white streak of dawn
Told “Stand-to” was begun,
We stumbled back and took our posts
To wait our friend the Hun.

The Hun did not appear, but gas
Thick clothed both hill and dale
In clouds and sheets of dead-man’s drab,
And down in the deepest vale—

With perfect poise and nonchalance,
Sang-froid and savoir-faire,
Browsed that fool mule, capaciously,
With never thought or care.

INFANTRY OF THE WORLD WAR.

They shall tell of the Arms resplendent—
    The men who dared the air;
They shall tell of the work of the mighty guns
    Where the far horizons flare:
They shall tell the tale of the Centaurs—
    Each rear and flanking drive—
And the song of the Service of Supply,
    That kept them all alive.

And when they seem to have finished,
    And ye think that the chant is done,
They will tell the tale of the tramping men
    In the sweat of a torrid sun.
They will tell the tale of the marching men
    Who plod the live-long night,
To reach the crest at the break o’ dawn
    When the Nations go to fight.

They will tell the tale of the tired men
    Beneath a straining load;
Mile by mile with lunging step
    And glassy stare on the road.
They will tell the tale of the front-line trench,
    And the one cold meal at night,
And the terrible song of the bursting shells,
    And the flares’ uncanny light.

They will tell the tale of the moving ranks
    When the zero hour lifts,
And the khaki lines leap forward
    In the face of the steel-shod drifts.
Where the great shots split asunder,
    And clutter hill and plain
With the weary bodies of the men
    Who may not march again.

And so for a wide World’s wonder,
    And the ages yet to be,
They will sing in deathless numbers
    The song of the Infantry.
They will slowly close the volume—
    The story fully told, And a tear shall fall on the cover,
    Whose letters are flaming gold.

THE FLOWERS OF FRANCE.

The flowers of France are blooming
    Upon this bright June day,
The flowers of France are fragrant
    And smiling swing and sway,
(For what is death and carnage
    A dozen miles away?)

The flowers of France are blooming
    Among the wheat and grass—
The scarlet headed poppies
    That nod you as you pass,
And the blue cornflowers’ brilliant hue,
    And the daisies in a mass.

The flowers of France are blooming
    And beckoning in the breeze,
And laughing in the sunshine,
    And bending to the bees,
(But the wooden crosses in a row—
    Oh what know they of these?)

The flowers of France are blooming
    In every rainbow shade,
And as a rainbow is an arch
    By tears of heaven made,
I wonder if the flowers of France
    Are the tears that France has paid?

A FIRST-CLASS PRIVATE.

I haven’t a worry or a care—
My mind’s “at ease” and furled:
For I’m a First-class Private,
And I’m Sitting on the World.

The Loot, before the whole platoon,
    He up and called me forth
To drill my squad, “Squads east” and “west,”
    Not mentioning south and north.
To drill my squad, “Squads ’round-about,”
    For all the World to see—
But I’m a First-class Private and
    That’s good enough for me.

The Loot he is a dandy man
    And all that kind of thing,
And I know he wants to see how I
    A corporal’s job could swing:
But back here in a “rest town”
    It just means dirty work,
And I must take the bawling-out
    For what the squad may shirk.

’Tis I they’d turn and eye with scorn
    If some gun wasn’t clean;
’Tis I would play the wet nurse
    For a rookie none could wean:
And if a pair of frozen shoes
    Makes Smith miss reveille,
It isn’t Smith or “Sunny France,”
    It’s me, yes dammit, me.

So forth I take the Squad to drill,
    With ne’er a fault or slip;
But a smile is in my glance, forsooth,
    And a jest is on my lip,
Akidding with each friend o’mine—
    And the Loot was never fain
To try to make a non-com
    Of Private Me again.

Oh nothing, oh no nothing
May your resolution shake,
When you’re a First-class Private,
And you know you’re Sitting Jake.

BIRDS OF BATTLE.

Keats sings in peerless stanzas
    To the lovely Nightingale—
And Shelley tells of the Skylark
    Above the summer gale—
But I to the Birds of Battle
    Needs lift my numbers frail.

For far by the out-flung wires,
    Where the shell-torn tree stumps stand,
And over the barren, hole-strewn tracks
    Of the wastes of No Man’s Land,
In the morning light and the black of night,
    The Birds of Battle stand.

No shrieking shots may quell them—
    Nor gloom nor storm nor rain,
As out of the crash or stillness
    A wondrous, shrill refrain
Cuts clear and glad and lithesome
    Above the death-strewn plain.

The weary heavens welcome,
    And echo back the song,
And weary soldiers linger,
    And pause to listen long
To the one glad cry in a war-torn sky,
    That holds so much of wrong.

ONLY FOR YOU.

The torturous hike up the hill road,
    Plowing through snow and mud;
The poor weary arches breaking—
    The socks that are wet with our blood:
The terrible, binding, burning strap
    That’s cutting our shoulder through—
And our parched lips stammer, “My Country,
    For you and only for you.”

The slight and the slur and the nagging
    We must take from a rowdy or cad;
And we simply salute and say “Yes sir,”
    And pretend that we never feel mad:
Though our heart is a forest of hatred—
    And justice seems hidden from view—
And we mutter, “For you, oh my Country—
    For you, yea, and only for you.”

When all evening long the guns’ reddened glares
    Turn night into hellish day,
Till in Berserker rage their silver bursts cut
    The drab of the dawn’s growing gray:
When over the top we are starting again—
    Full knowing the thing that we do—
We murmur, “For you, oh my Country—
    For you, aye and only for you.”

COOTIES.

Some people call ’em Totos—
    Some people call ’em Lice;
Some people call ’em several things
    That really aren’t nice;
But the Soldier calls ’em “Cooties,”
    So “Cooties” must suffice.

We’ve met the dear Mosquito—
    We’ve met the festive Fly—
It seems to me we’ve seen the Flea
    That jumpeth far and high;
Yea, we have known various bugs—
    Though not the reason why.

But when you’re in the trenches
    And cannot take a bath,
As one canteen of water
    Is all one day one hath,
You raise the comely Cooties—
    Who raise, in turn, your wrath.

You can’t escape the Cooties
    By day nor yet by night.
No G. I. Can alarms them,
    Nor other sound of fight.
Not even Gas affects them—
    Which doesn’t seem just right.

You may not eat, you may not sleep,
    You may not bat an eye:
You may not duck a six-inch shell
    That’s singing gaily by,
But that a Cootie, like the Poor,
    Is with you—very nigh.

They bite you singly and in squads,
    They have a whole parade;
They form a skirmish line and sweep
    Across each hill and glade;
But seek their dugouts when you think
    Your grip is firmly laid.

It does no good to curse ’em—
    They cannot hear or talk.
It does no good to chase ’em—
    To still-hunt or to stalk.
The only thing is hand-grenades,
    At which, ’tis said, they balk.

Oh Cooties, little Cooties,
    You have no sense of shame;
You are not fair, you are not square,
    You do not play the game—
But east and west and south and north
    Is spread afar your fame.

OLD FUSEE.

I really hate to leave you,
Old Fusee—
Where the land is scarred and peeled,
And the broken battlefield
Bears its red and deadly yield—
Wearily.

I really hate to leave you,
Old Fusee—
To the wind and dew and rain
Of a shorn and shotted plain,
Till stranger hands again
Discover thee.

I really hate to leave you,
Old Fusee—
To the clinging, clogging dust—
To the all-destroying crust
Of a clawing, gnawing rust—
Unmercifully.

I really hate to leave you,
Old Fusee—
But they’ve plugged me good and hard,
So I quit you, trusty pard,
As I creep back rather marred,
To old Blightee.

I really hate to leave you,
Old Fusee—
With your bore a brilliant sheen,
And your metals black and clean,
Where your brown striped stock and lean
Gleams tigerishly.

I really hate to leave you,
Old Fusee—
For the wanton weather’s hate,
And careless hands to desecrate
Barrel, bolt and butt and plate,
Unthinkingly.

I really hate to leave you,
Old Fusee—
And I bear a double pain
As I pause to turn again
Where I left you on the plain,
Unwillingly.

THE COLORS OF BLIGHTY.

The shades of red an’ white an’ blue
Mean rather more to me an’ you,
Than just parades an’ bands an’ such
And hollerin’ loud an’ talking much.

The wounds are dark and red—
All jagged-red in Blighty:
And untamed hearts are red
Where, stretching bed on bed,
Lies lax each weary head,
In Blighty.

The walls are blank and white—
All fresh and white in Blighty:
And cheeks are gaunt and white,
Where through the endless night
They fight the second fight,
In Blighty.

Outside the skies are blue—
Soft, cloud-flecked blue o’er Blighty
But clear, relentless blue
Of purpose steeled anew
Lies there revealed to you
In every eye in Blighty.

The shades of red an’ white an’ blue
Mean rather more to me an’ you,
Than just parades an’ bands an’ such
And hollerin’ loud an’ talking much.

WHEN NURSE COMES IN.

The stories sure are rich and rare,
They’d strike you blind, they’d turn your hair,
They’re dark as coal down in the bin—
Till Nurse comes in.

The language is an awful hue,
Astreak with crimson shades and blue;
’Twould scorch a mammoth’s leather skin—
Till Nurse comes in.

Words run the gamut of the trench—
They beat old Mustard Gas for stench,
They rise with oscillating din—
Till Nurse comes in.

The cussin’s quaint and loud and strong,
Imported stuff, that don’t belong
In dictionaries fat or thin—
Till Nurse comes in.

And then you’d be surprised to hear
The change of pace, the shift o’ gear,
The dainty tales that just begin—
When Nurse comes in.

CHARLIE CHAPLIN IN BLIGHTY.

The mess-hall windows blanketed
To bar the western light—
The tables cleaned and cleared away,
And bench by bench in close array
Five hundred convalescents sway
To catch the caption bright.

And there are men with helpless legs,
And torn chest and back;
And men with arms in sling and splint,
And one poor eye that bears no glint,
And muscles limp or turned to flint—
And souls upon the rack.

They came from Chateau Thierry—
From Fere-en-Tardenois—
From Soissons, Oulchy-le-Chateau,
From Rheims and Fismes, where blow by blow,
’Cross Marne and Oureq and Vesle aflow
They hammered them afar.

And now upon the screen is thrown
An old familiar form:
’Tis Charlie of the strong appeal,
At skating-rink or riot meal,
And every mirth-producing reel
Awakes the farthest dorm.

The aching head, the splintered arm,
The weary, dragging feet;
The wound that took a month to drain—
The everlasting, gnawing pain—
Are all forgot and gone again
When Charlie strikes the street.

Your esoteric shrug and sneer
And call him crude and quaint;
But we who’ve seen him “over here”—
Who’ve heard the laugh that brings the tear—
Who’ve heard the bellowing roar and cheer—
We call him Charles the Saint.

TWO WORLDS.

Here in the Jardin des Plantes of Nantes
    I sit in the nickering shade,
Watching the scampering children play—
    And the way of a man and a maid—
And the noble women of France in the black
    Of a Nation unafraid.

The lace of the shadows across the paths
    Where the warm sun niters through,
And the open vista between the trees,
    With the swan pond half in view,
And the flowers and sloping lawns and the pines
    ’Neath an arch of Brittany’s blue.

The air is soft as a day in June,
    The blossoms manifold
Throw streaks and patches of rainbow hue
    Across the green and gold,
And earth and sky in witchery
    Entwine you in their hold.

And it comes to me, Can it really be
    But two full moons have fled,
Since I limped from a scarred and riven field
    Where lay the newly dead,
Bathed in the light of a splendid fight,
    And blotched with their blood’s own red.

A world of crimson slaughter
    Where the grim locked legions sway—
And the mad machine guns whistle
    Their endless roundelay—
And the sinister sound of the thundering pound
    Of the great guns night and day.

Night and day, night and day,
    With scarce a pause between,
As out of the empty dark a voice
    From the farthest hills unseen,
Comes whirling, swirling, shrieking down
    Where the helpless front lines lean.

The air is soft as a morn in June—
    The filmy shadows sway;
And only the joyous music
    Of the prattle of children at play,
And the gentle rustle of whispering leaves
    That tell of the closing day.

EMBARKATION HOME.

If you’re a homebound soldier
    Who’s done his little best,
And you are going ’board the boat
    At St. Nazaire or Brest,
Bordeaux or any other port,
    Steam-up and headed west:

If you are full o’ the joy o’ life
    And “pep” and all that stuff;
And the ozone permeates your soul
    And makes you gay and bluff,
Don’t turn and yell, “Who won the War?—
    The M Ps,”—Can that guff.

For the M Ps are a sacred caste
    That boss the city street
A hundred miles behind the Lines
    Where dangers never greet,
Nor roaming shells come swirling by,
    Nor surging first waves meet.

So if the long, tense session
    Of soul-engulfing war,
And “Prussian” discipline and rule,
    And heart-enslaving law
Say, “Open wide the throttle
    Of lung and throat and jaw”—

Repress that natural impulse,
    For you’re not human—yet:
Sedately up the gangplank walk,
    Eyes front and lips tight set,
Or you’ll come back and spend six weeks
    In a mud-dump, nice and wet.

The wind is blowing ’cross the bow,
    The first smoke lags alee—
The sun that’s broken through the clouds
    Is dancing on the sea,
So, homebound soldier, watch your step,
    And take advice from me.

THE STATUE OF LIBERTY.

Sing of the Venus de Milo,
    The lady without any arms;
Sing of the Venus of this and of that,
    And tell of their marvelous charms:
Rave of your wonderful statues,
    In divers lands here o’er the sea,
In bushels and reams, but the Girl of our Dreams
    Is our godmother, Miss Liberty.

Its contour may not be perfection—
    Its technique we really don’t know—
If you ever asked, “Who was the artist?”
    It would come as a terrible blow.
But to us it is home, friends and Country,
    To us it means all that is best,
’Tis the first that lifts out of the waters
    Of “Our little Gray Home in the West.”

’Tis the first on that endless horizon
    Where the clouds meet the wind driven spume,
And the scavenger gulls wing to greet us
    From out of the gathering gloom—
’Tis the first that calls beckoning to us
    Through the mist of the swaggering sea—
“Oh lay down your guns my knight-errant sons,
    And come back to the bosom of me.”

PART II. PRE-WAR POEMS.

TO FRANCE—1917.

The sea that kisses France’s shore,
    It beats on yours and mine.
Her love and faith and chivalry,
    That sparkle as her wine,
With all our faith and all our love
    Commingling combine.

The colors of the flag of France
    Are ours by hue and hue:
The blazing red of courage—
    The white of purpose true,
And constancy and loyalty
    Awoven in the blue.

The spirit and the soul of France,
    That shatter fetters free,
They came to us in darkest days
    To weld our destiny;
And so with sword in hand we come
    To pay our debt to Thee.

To pay our debt a hundredfold—
    Friend of our new-born years.
To march with you and fight with you,
    Till rise the final cheers—
And hand in hand, o’er a grave-strewn land,
    We blend our mingled tears.

Where blends our blood as once it did
    In days of a long gone
When the Bourbon lilies leapt and gleamed
    Among the Stars on high—
And the white and crimson bands of dawn
    Rose in the eastern sky.

And the the white and crimson bands of dawn,
    And the Stars that glow and glance,
Shall girdle them their armor on,
    With buckler, sword, and lance,
And leap to the charge and sweep the field
    With the Trois Couleurs of France,

If right is might and Honor lives—
    Oh Sister? ’cross the seas—
And Liberty and Justice still
    Hold high commune with these;
A four-fold vengeans waits the Hun,
    And his iniquities.

THE PACIFIST.

Cowards and curs and traitors,
    Fatuous dreaming fools—
Binding us, stripped, for the madman
    Nurtured of dastard schools,
Where right of might and who springs first
    Are the only known rules.

Well fed, well housed and sleek and smug,
    Full pursed and full of pride—
Your fields are green, your lanes are fair
    Where peaceful homes abide,
And your children play by sunny streams
    That laughing seaward glide.

What Primal Power tells you eat
    To the ends of your belly-greed—
What holds your fields with harvests full,
    And answers every need—
And bids your bairns play laughingly
    With never care or heed?

The answer, Fool, is written large
    In words of blazing light—
They are rewards of dwelling in
    A Land of kingly might,
That grants you surety and wealth
    And guards you, day and night.

And whence, Fool, came its splendid strength—
    And why, and how and when?
In a World of strife and reddened knife
    Did it rise by tongue and pen?
No, Dolt, but by the strong right arms,
    The arms of its fighting men.

And Ye, Ye would sit with folded hands,
    Agaze into Heaven’s blue,
With sanctimonious murmurings
    Of what the Lord will do;
While your neighbor and your neighbor’s son
    Go forth and fight for you.

For you, you cur, and your belly-need—
    For your hearth and kith and kin:
For your harvest and your banking-house
    Where you shovel the shekels in,
Till the labor has hardened your hands and heart,
    And your soul is parchment skin.

Religion cannot cover
    A dog whose liver is white.
Your Christ, with righteous anger,
    Smote hard to left and right
The usurers. And never said
    He was too proud to fight.

When we are another Belgium
    And the land with blood is dyed,
And your homes are burned and your women raped,
    And ye know that ye have lied—
Mayhap ye will say with your final gasp
    That ye are satisfied.

BATTLE HYMN OF 17.

Not with vain boasts and mouthings—
Not with jesting light—
But for Duty and Love of Country
Come we in armor dight.

Not for our own advantage—
Not for Adventure’s lust—
Not for the hope of honor—
But a Cause that is high and just.

Not for the praise of our fellow-man,
Or greed or gain or creed,
But for the sight of the suffering eyes
That call us in their need.

(The withering, mad machine-guns
Shall drop us one by one,
Where the red, red streams of No Man’s Land
Gleam ’neath a blood-red sun.)

(The shriek of the spraying shrapnel—
The roar and the blinding glare,
And the gaping crater’s dripping fangs
Shall ope and find us there.)

Not in the strong man’s tyranny
Or the pride of worldly things,
But guarding clean traditions,
Unstained by the hands of kings.

Not with sudden yearning,
But knowing the risks we dare,
We board the waiting galleons
For a Nation brave and fair.

(For a Nation bearing the battle’s brunt—
The strength of the Vandals’ blast—
With an even keel and a steady wheel,
And her Colors nailed to the mast.)

Not with hectic fire,
But weighing the thing we do,
We cross to the coasts of the fighting hosts—
To the France our Fathers knew.

Brothers in blood of old—and now—
Together to hunt and slay,
Till we drive the Beast to his bone-strewn lair—
An eye for an eye—a hair for a hair—
And we leave him broken and bleeding there
Forever and a day.

Not with vain boasts and mouthings—
But in silent, grim parade—
We come, Lord God of Battles,
To the last and great Crusade.

PART III. OTHER VERSES.

MY SAPPHIRE.

I have a sapphire rich and fair
And soft as a velvet sky,
When only the stars are shining low
And the heavens hold a mystic glow
And a hushed world stands agaze to know
The wonderful Whence and Why.

I have a sapphire that I turn
In the dark of somber days:
And the darting tongues of nickering blue
Flash deep and rare in wondrous hue,
Sharp as the lightning, pure as the dew,
And true as m’lady’s gaze.

I have a sapphire that I hold
Beneath the chandelier:
And the phosphor of its azure gleam
Sweeps clear as the depths of the mountain stream
Where the Sun-god hurls his molten beam
In the morn of the golden year.

I have a sapphire I adore—
Of varying whims and moods—
Blue-black it lies with never a mark
Across the dim unfathomed dark,
Till there lifts the glow of a tiny spark—
And again it sullen broods.

I have a sapphire that I bend
’Neath the light of burning rays:
And the flames spread forth a fairy fire,
Seething and writhing and leaping higher
Till they come to the land of my heart’s desire,
In a glittering, blinding blaze.

I have a sapphire that I hold.
When the goal seems far away:
When the lee shore churns in saffron spume.
And the fluctuant ocean’s plume on plume
Bears down to a rock-ribbed hidden doom,
And the sky is ashen gray.

I have a sapphire that I turn;
And the clouds break, and the wine
Of a glorious sun spreads east and west
To where the Islands of the Blest
Raise verdant shores at my behest,
And a golden world is mine.

Oh Sapphire from a distant vale
Where the white Himalayas tower:
Where the Kashmir lakes are royal blue,
And passions strong and hearts are true,
All these are met and blent in you,
A princely heir and dower.

THE TWINS.

Out of the wonderful nowhere,
Into the lowly here;
Laughing and loving and lithesome,
And radiating cheer.

Twin rose-buds o’ Killarney hue—
Fragrant and fresh and fair—
And eyes of blue, wide-gazed and true,
And tawny yellow hair.

And smiles as sweet as any meet
In pleasant paths above:
And golden laughter that echoes after,
To finger the chords of love.

Two wee buds o’ Killarney hue
That beckon and beguile—
And ’neath your spell we’re learning well
There is something still worth while.

Though drab days break and drab thoughts wake
O’er fields of sleet and snow,
There’s sunshine rare just everywhere—
For you have taught us so.

ON SENDING MY BOOK TO AN ENGLISH FRIEND.

“It’s a long lane that knows no turnings”—
    And the seas are wide indeed,
But there are no barriers dividing
    The Anglo-Saxon creed.
Fair fighting when the skies are lowering—
    Fair peace when skies are clear—
And the faith of fair intentions, unfaltering,
    And the heart that holds no fear.

“It’s a long lane that knows no turnings”—
And Browning never said a thing more true,
So I know you’ll know the spirit that impels me
To send this little messenger to you.

IMMORTAL KEATS.

Matchless bard of all the ages—
    Lyric sounder of the lyre—
Wake among your golden echoes—
    Rise amid your latent fire—
Tell us, Master of the Muses—
    Sweetest singer ever sung—
By what law of Earth or Heaven
    Ye were called away so young?

By what law of God or Mammon—
    By what creed of land or sea—
Was a weary World forsaken
    Of the mind that harbored thee?
Ere that wondrous mind’s fruition
    Scarce had grown to the tree.

If the half-fledged sapling gave us
    Melodies past human praise—
If such virgin buddings crowded
    Those few sad and glorious days;
If such flowers, barely opened,
    Swept us in a wild amaze—

What, Oh Lord and Prince of Poesy,
    Would your soul have given to men—
What the marvelous meed and measure
    Of your pulsing, choral pen—
Had your numbered days been lengthened
    To a three score years and ten?

As through mystic lands ye led us
    O’er the paths your feet had gone:
Pipes of Pan—and fain we followed—
    Glad and willing slave and pawn,
Till we reached the fields Elysian—
    Till we faced the gorgeous dawn:

Till the lanes seemed filled with roses—
    Roses lipped with opal dew:
Till the vales seemed filled with incense—
    Incense slowly drifting through:
Till the seas seemed filled with grottoes—
    Grottoes amber, gold and blue:

Till the songs of birds rang clearer
    And the sunshine shone more rare,
And the moon above the meadows
    Gathered love, and left it there;
And the swaying stars rose whiter—
    And the World was very fair:

As your thoughts’ eternal fountains,
    Shot with iridescent gleams,
Floating down through glades enchanted,
    On the breast of faery streams,
To a pearl-strewn bay of beryl—
    Reached the haven of our dreams.

TO A LITTLE GIRL.

Flammarion and Kelvin and Herschel every one,
Said Heaven was a hundred, million, billion miles away.
So I couldn’t contradict them—it wouldn’t do at all—
But they had never heard your laughter innocent and gay.

Flammarion and Kelvin and Herschel every one,
They said the Milky Way was fair beyond all human ken:
But they had never seen your face, upturned, aquestioning—
A dainty bit of rapture in a leaden world o’ men.

Flammarion and Kelvin and Herschel every one,
    They told of gorgeous comets and their manes so bright and rare:
But comet glow could never show the living threads of light
    That dance and gleam in th’ rippling stream and fragrance of
        your hair.

Flammarion and Kelvin and Herschel every one,
They said the azure ether stretched in miles of lapis hue;
But they had never known eyes that gaze into your soul
In longing little wonder wells of limpid gray and blue.

Flammarion and Kelvin and Herschel every one,
They said no melody could match the singing of the spheres:
But they had never heard your voice ring joyously at play—
The music of a weary world of roil and toil and tears.

Flammarion and Kelvin and Herschel every one.
    They’ve told the tale of the double stars, and their faith the
        eons through—
But constant though they be, their hearts could never know the love,
    The yearning burning tender love, dear child, we bear for you.

GOD.

They would give hands to Thee, head to Thee, feet to Thee—
They who are blind:
They would give form to Thee, fashion Thee manikin,
After their kind.

They would give hate to Thee, spite to Thee, jealousy—
Thou the adored:
Only have fear in Thee, only repel Thee,
Master and Lord.

They would bring shame to Thee, even in worship—
Each empty rite:
Bigotry, canting and sere superstition,
Knowing no light.

Faiths esoteric, pedantic and recondite—
Mystical creeds:
False and insipid and brutal and selfish—
And wrought to their needs.

They whom Ye nurtured from primal conceiving,
And ne’er a flaw—
They know Thee not, or in knowing, reject Thee,
Thee and Thy law.

Saying, "We see Thee not, come to us, speak to us—
Tangible stand.
Come in the purple, crowned, robed and resplendent—
Sceptre in hand.

"Even as kings have done, through all the ages,
Brave to behold—
Fanfare of trumpets, be jeweled and refulgent
And girdled with gold:

"Or in a chariot welded of star-dust—
Glittering white—
Pause at the cloud-line ’mid crashing of thunder
And blazing of light.

"Rolling Thy voice till the Pleiades tremble—
The spheres are amoan;
The Earth for a footstool—the outermost planets
Grouped for a throne.

“Thus would we see Thee, acclaim Thee; and worship Thee,
Thou in Thy might—
Concrete, conglomerate, human and splendid—
Aflame in our sight.”

They who have drunk of the River of Knowledge
Only a quaff,
Pity them, Father that know not Thy meaning,
Children who laugh.

Atoms that reck not the wherefore of atoms—
Dust of the dust:
Groping in darkness, recusant and doubting—
And bearing no trust.

They would make mock of Thee, saying the life-spark,
Came not of Thee:
Function by function in wonderful unison—
Each mystery.

Sunshine and rain-fall and food to their needing,
Air, sea and land:
Seed-time and fruit-time and harvest and gleaning—
Made to their hand.

They would gainsay Thee by calling it Nature,
Calling it Chance:
And by their impotent wonder, Thy glory,
Only enhance.

But when in mercy the last word is spoken—
When the gates yawn;
Father of Nations—take Thou Thy children
Into the dawn.

Crowning Thy marvelous works with a crowning—
Ultimate—vast—
Showing compassion and loving they knew not,
E’en to the last.

THE GOLDEN DAY.

Have ye a day that bears the glare
Of the flaming morning sun?
Have ye a day the mind may search,
Weighing what ye have done?

Have ye a day ye are satisfied
Will stand the acid test—
From the first gray strand of the eastern skies
To the last red glow in the west?

Have ye a day ye grappled with
And hurled in mortal throes,
When, ’bove the white horizon,
The Great Occasion rose?

Mayhap the World bore witness
To the things of your Golden Day:
Mayhap it is locked from the gaze of men,
And ye’ve thrown the key away.

NOTES

NOTES.

Herein is described a common optical illusion or phenomenon seen by all soldiers, old and young, experienced or green, during the long night vigils looking through the wires, across No Man’s Land.

While realizing that my personal affairs are of no possible interest to the reader, it would seem, however, almost obligatory for me to do myself justice, and explain that I was quite willing to shoulder responsibility, which this poem might make it appear I was not. Hence the following little anecdote:—During a rest period back from the trenches, which was the only occasion when you had time to bother your head about smaller things, several men had applied for officers’ commissions, so I got some civilian letters of recommendation, and put in an application to be permitted to go up for examination for a commission. This application was forwarded “approved” by my company commander, together with personal recommendations from my three previous company commanders. As this officer is the one who sees you daily, his recommendation is, from a military standpoint, of more value than that of a major-general. But in spite of my application being forwarded with the approval of all four of the company commanders that I had had up to that time, it was disapproved higher up by someone who very seldom could ever have even seen me. But having had no thought or intention of getting a commission, when I entered the Army, and having crossed over to Europe as a civilian, at my own expense, in August, 1917, to enlist in the American Army in France, which I did on September 1st, 1917, in Paris, so as to absolutely insure getting into the trenches, and as at the time of my application I had already accomplished my purpose, it may readily be discerned that the return of my application did not perturb the habitual equanimity of my soul, nor cause me to lose any of my natural sleep or youthful charm.

*** END OF THE PROJECT GUTENBERG EBOOK TRENCH BALLADS, AND OTHER VERSES ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

• You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.
• You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.
• You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

The Project Gutenberg eBook of Trench Ballads, and Other Verses

Trench Ballads and Other Verses

Erwin Clarkson Garrett

Trench Ballads and Other Verses

PREFACE

CONTENTS

PART I—TRENCH BALLADS

PART II—PRE-WAR POEMS

PART III—OTHER VERSES

MY COMRADES IN THE RANKS.

PART I. TRENCH BALLADS.

TRENCHES.

BARB-WIRE POSTS.

FEET.

YOUR GAS-MASK.

SLUM AND BEEF STEW.

SHELL-FIRE.

MR. FLY.

THE SALVATION ARMY WITH THE A. E. F.

SHELL-HOLES.

FOOD.

OVER THE TOP.

THE BATTLE MOTHER.

SONG OF THE VOLUNTEERS OF 1917.

O. D.

ARTILLERY REGISTERING.

RECIPROCITY.

TRUCKS.

MADEMOISELLE.

THE FIRST DIVISION.

LITTLE GOLD CHEVRONS ON MY CUFFS.

A TRIP-WIRE.

THE FAVORITE SONG.

CAPTAIN BLANKBURG.

I

II

LITTLE WAR MOTHERS.

INTERRUPTED CHOW.

S. O. S.

THE GAS-PROOF MULE.

INFANTRY OF THE WORLD WAR.

THE FLOWERS OF FRANCE.

A FIRST-CLASS PRIVATE.

BIRDS OF BATTLE.

ONLY FOR YOU.

COOTIES.

OLD FUSEE.

THE COLORS OF BLIGHTY.

WHEN NURSE COMES IN.

CHARLIE CHAPLIN IN BLIGHTY.

TWO WORLDS.

EMBARKATION HOME.

THE STATUE OF LIBERTY.

PART II. PRE-WAR POEMS.

TO FRANCE—1917.

THE PACIFIST.

BATTLE HYMN OF 17.

PART III. OTHER VERSES.

MY SAPPHIRE.

THE TWINS.

ON SENDING MY BOOK TO AN ENGLISH FRIEND.

IMMORTAL KEATS.

TO A LITTLE GIRL.

GOD.

I

II

THE GOLDEN DAY.

NOTES

NOTES.

THE FULL PROJECT GUTENBERG LICENSE