Synthesized answer
The acknowledgements list numerous authors, publishers, and institutions—such as the British Museum, the University of Tennessee, and various periodicals like the *Fortnightly Review* and the *Spectator*—who granted permission for poems to be used [1][3][4]. This network implies a widespread engagement with war poetry in 1917, as the editor had to secure rights from many sources, indicating a broad public appetite for such verse. The collective effort of these permissions suggests that war poetry was in high demand, with publishers and authors willing to contribute to an anthology that aimed to capture the poetic voices of the Great War [2].
This collaborative network likely influenced the poems selected for inclusion. The editor’s policy was "humanly hospitable rather than academically critical," especially toward soldiers' verses, which were valued for their "psychological value as sincere transcripts of personal experience" even if technically slight [2]. The permissions from diverse sources—ranging from famous poets like Laurence Binyon to soldiers like Captain Charles Hamilton Sorley—show that the anthology prioritized a wide representation of voices, including those from…
Synthesized from the book passages below. Chat with the book on Feynman for follow-up.
From the book
XVII. INCIDENTS AND ASPECTS XVIII. POETS MILITANT XIX. AUXILIARIES XX. KEEPING THE SEAS XXI. THE AIRMEN XXII. THE WOUNDED XXIII. THE FALLEN XXIV. WOMEN AND THE WAR XXV. PEACE ACKNOWLEDGMENTS T HE Editor desires to express his cordial appreciation of the assistance rendered him in his undertaking by the officials of the British Museum (Mr. F. D. Sladen, in particular) and the Librarians of the University of Tennessee; Professor W. Macneile Dixon, of the University of Glasgow; Professor Kemp Smith, of Princeton University; Mr. Norreys Jephson O'Connor, of Harvard University; Mr.…
ollowing pages will attest, English and American literatures have both received genuine accessions during the Great War. With its close, the attempt to review and assemble its poetic voices becomes measurably possible. In the present Anthology the editorial policy has been humanly hospitable rather than academically critical, especially in the case of some of the verses written by soldiers at the Front, which, however slight in certain instances their technical merit may be, are yet of psychological value as sincere transcripts of personal experience, and will, it is thought, for that very…
win). Captain William G. Shakespeare :—"The Cathedral," from Ypres and Other Poems (Messrs. Sidgwick & Jackson, London). Professor Odell Shepard :—"The Hidden Weaver," from A Lonely Flute (Messrs. Houghton Mifflin Company). Professor Stuart P. Sherman and the Nation (New York):—"Kaiser and Councillor." Mr. Edward Shillito and the London Chronicle :—"Invalided." Miss C. Fox Smith :—"Farewell to Anzac" (the Spectator ) and "St. George of England," from Fighting Men (Elkin Mathews, London); Miss Smith and the Spectator :—"British Merchant Service," from The Naval Crown (Elkin Mathews); Miss…
owner of the copyright:— Dr. John Ernest Adamson and the Fortnightly Review:— "Resurrection." The Right Honourable H. H. Asquith , Lady Cynthia Asquith and the Spectator:— "On a Troopship, 1915," and "A Flemish Village"; "The Volunteer" and "The Fallen Subaltern," from The Volunteer, and Other Poems (Messrs. Sidgwick & Jackson, London), by Lieutenant Herbert Asquith. The Honourable Maurice Baring :—"In Memoriam A. H.", from Poems : 1914-1917 (Martin Seeker). Dr. H. H. Bashford and the Nation (London):—"The Vision of Spring, 1916," from Songs out of School (Messrs. Constable & Company, London,…
ge Herbert Clarke . Messrs. Angus & Robertson, Sydney, Australia: "England Yet," by Henry Lawson , from Selected Poems . The Cambridge Press: "Battle Hymn," from Poems , by Lieut. Donald F. Goold Johnson . Messrs. Cassell & Company, London, and the Funk & Wagnalls Company, New York:—"A Confession of Faith," by Captain James Sprent , from The Anzac Book (Anzac Book Committee). Messrs. Constable & Company:—"I have a Rendezvous with Death," and "Champagne, 1914-15," by the late Alan Seeger , from Poems (published also by Messrs. Charles Scribner's Sons, New York). The George H. Doran Company,…
More questions about this book
- Given that "A Treasury of War Poetry" was published in 1917, mid-World War I, how might its dedication "To all those who have fought for freedom" and the inclusion of epigraphs celebrating honor and duty shape the reader's immediate perception of the war, and what unstated expectations might this create for the poems within?
- The detailed "Contents" organize the poems by geographical regions, specific battles, and thematic aspects like "The Wounded," "The Fallen," and "Peace." What does this organizational structure reveal about how the editor intended to portray or make sense of the multifaceted experience of World War I for his contemporary audience?
- The title "Treasury" implies value and preservation. What does the act of compiling and presenting war poetry as a "treasury" during wartime suggest about the perceived cultural or emotional function of poetry itself in times of national conflict?
- If you were approaching this "Treasury" from a post-war or modern perspective, what questions might you ask about the perspectives or experiences of war that are potentially emphasized or, conversely, downplayed by an anthology published during the conflict, especially one framed with such a specific dedication and set of epigraphs?