War Poems

Thomas Hardy (1840–1928) · 1901

iambic pentameter · 67 lines · from Poems of the Past and the Present

(Southampton Docks: October, 1899)

HERE, where Vespasian’s legions struck the sands,And Cerdic with his Saxons entered in,And Henry’s army leapt afloat to winConvincing triumphs over neighbour lands,

Vaster battalions press for further strands,To argue in the self-same bloody modeWhich this late age of thought, and pact, and code,Still fails to mend.—Now deckward tramp the bands,Yellow as autumn leaves, alive as spring;And as each host draws out upon the seaBeyond which lies the tragical To-be,None dubious of the cause, none murmuring,

Wives, sisters, parents, wave white hands and smile,As if they knew not that they weep the while.

(Southampton Docks: October, 1899)

WHILE the far farewell music thins and fails,And the broad bottoms rip the bearing brine—All smalling slowly to the gray sea line—And each significant red smoke-shaft pales,

Keen sense of severance everywhere prevails,Which shapes the late long tramp of mounting menTo seeming words that ask and ask again:“How long, O striving Teutons, Slavs, and GaelsMust your wroth reasonings trade on lives like these,That are as puppets in a playing hand?—When shall the saner softer politiesWhereof we dream, have play in each proud land,And patriotism, grown Godlike, scorn to standBondslave to realms, but circle earth and seas?”

(Southampton Docks: October, 1899)

“THE quay recedes. Hurrah! Ahead we go! . . .It’s true I’ve been accustomed now to home,And joints get rusty, and one’s limbs may growMore fit to rest than roam.

“But I can stand as yet fair stress and strain;There’s not a little steel beneath the rust;My years mount somewhat, but here’s to’t again!And if I fall, I must.

“God knows that for myself I’ve scanty care;Past scrimmages have proved as much to all;In Eastern lands and South I’ve had my shareBoth of the blade and ball.

“And where those villains ripped me in the flitchWith their old iron in my early time,I’m apt at change of wind to feel a twitch,Or at a change of clime.

“And what my mirror shows me in the morningHas more of blotch and wrinkle than of bloom;My eyes, too, heretofore all glasses scorning,Have just a touch of rheum . . .

“Now sounds ‘The Girl I’ve left behind me,’—Ah,The years, the ardours, wakened by that tune!Time was when, with the crowd’s farewell ‘Hurrah!’’Twould lift me to the moon.

“But now it’s late to leave behind me oneWho if, poor soul, her man goes underground,Will not recover as she might have doneIn days when hopes abound.

“She’s waving from the wharfside, palely grieving,As down we draw . . . Her tears make little show,Yet now she suffers more than at my leavingSome twenty years ago.

“I pray those left at home will care for her!I shall come back; I have before; though whenThe Girl you leave behind you is a grandmother,Things may not be as then.”

Words in this poem 17
afloat adv.
Borne on the water; floating; on board ship. [Pref. a- + float.]
neighbour v. i.
To dwell in the vicinity; to be a neighbor, or in the neighborhood; to be near.
pact n.
An agreement; a league; a compact; a covenant. [L. pactum, fr. paciscere to make a bargain or contract, fr. pacere to settle, or agree upon; cf. pangere to fasten, Gr. paca bond, and E. fang: cf. F. pacie. Cf]
tragical a.
Of or pertaining to tragedy; of the nature or character of tragedy; as, a tragic poem; a tragic play or representation. [L. tragicus, Gr.tragique.]
dubious a.
Doubtful or not settled in opinion; being in doubt; wavering or fluctuating; undetermined. [L. dubius, dubiosus, fr. duo two. See Two, and cf. Doubt.]
severance n.
The act of severing, or the state of being severed; partition; separation. Milman.
wroth a.
Full of wrath; angry; incensed; much exasperated; wrathful. [OE. wroth, wrap, AS. wraedh wroth, crooked, bad; akin to wriedhan to writhe, and to OS. wreedhangry, D. wreed cruel, OHG. reid twisted, Icel. reiedhr angry, Dan]
shall v. i.
To owe; to be under obligation for. [OE. shal, schal, imp. sholde, scholde, AS. scal, sceal, I am obliged, imp. scolde, sceolde, inf. sculan; akin to OS. skulan, pres. skal, imp. skolda, D. zullen,]
whereof adv.
Of which; of whom; formerly, also, with which; -- used relatively.
bondslave n.
A person in a state of slavery; one whose person and liberty are subjected to the authority of a master.
quay n.
A mole, bank, or wharf, formed toward the sea, or at the side of a harbor, river, or other navigable water, for convenience in loading and unloading vessels. [F. quai. See Key quay.]
hurrah interj.
A word used as a shout of joy, triumph, applause, encouragement, or welcome. [Cf. G., Dan., & Sw. hurra. Cf. Huzza.]
ahead adv.
In or to the front; in advance; onward. [Pref. a- + head.]
flitch n.
The side of a hog salted and cured; a side of bacon. [OE. flicche, flikke, AS. flicce, akin to Icel. flikki; cf. Icel. flik flap, tatter; perh. akin to E. fleck. Cf. Flick, n.]
clime n.
A climate; a tract or region of the earth. See Climate. [L. clima. See Climate.]
blotch n.
A blot or spot, as of color or of ink; especially a large or irregular spot. Also Fig.; as, a moral blotch. [Cf. OE. blacche in blacchepot blacking pot, akin to black, as bleach is akin to bleak. See Black, a., or cf. Blot a spot.]
palely adv.
In a pale manner; dimly; wanly; not freshly or ruddily. [From Pale, a.]

Definitions and etymologies from Webster's Unabridged Dictionary, 1913.

About this text

War Poems is in the public domain. This text is taken from Poems of the Past and the Present, Project Gutenberg ebook #3168; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.

Cite as: Thomas Hardy, War Poems, in Poems of the Past and the Present (1901), text of Project Gutenberg ebook #3168, Laurel, https://laurelpoetry.com/poem/hardy-past-and-present/war-poems.html, id L16854.

Form and metre

War Poems is 67 lines in 17 stanzas. The commonest rhyme scheme is ABAB, in 7 of the 17 stanzas; the rest vary or could not be confirmed. The metre is iambic pentameter, measured from the stress the words themselves fix (confidence 88%). 95% of its stressed syllables fall where the metre puts the beat. The lines average 9.4 syllables. 11 lines end on an unstressed syllable, a feminine ending. 22% of the lines run on without a stop at the line end.

See other poems in iambic pentameter.

Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.

Rhyme words, stanza by stanza

The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.

  1. 2 ABBA sandsA · inB · winB · landsA
  2. 3 ABBACDDC strandsA · modeB · codeB · bandsA · springC · seaD · beD · murmuringC
  3. 4 AA smileA · whileA
  4. 6 ABBA failsA · brineB · lineB · palesA
  5. 7 ABBACDCDDC prevailsA · menB · againB · gaelsA · theseC · handD · politiesC · landD · standD · seasC
  6. 9 ABAB goA · homeB · growA · roamB
  7. 10 ABAB strainA · rustB · againA · mustB
  8. 11 ABAB careA · allB · shareA · ballB
  9. 12 ABAB flitchA · timeB · twitchA · climeB
  10. 13 A-A- morningA · bloom · scorningA · rheum
  11. 14 ABAB ahA · tuneB · hurrahA · moonB
  12. 15 ABAB oneA · undergroundB · doneA · aboundB
  13. 16 ABAB grievingA · showB · leavingA · agoB
  14. 17 -A-A her · whenA · grandmother · thenA
Scansion, line by line

Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic pentameter. How this is done.

LineSyl.Stress
(Southampton Docks: October, 1899)7˘/˘·˘/˘
HERE, where Vespasian’s legions struck the sands,10·····/˘···
And Cerdic with his Saxons entered in,10·····/˘/˘·
And Henry’s army leapt afloat to win10·/˘/˘·˘/··
Convincing triumphs over neighbour lands,10˘/˘/˘··/˘·
Vaster battalions press for further strands,10··˘/˘··/˘·
To argue in the self-same bloody mode10·/˘····/˘·
Which this late age of thought, and pact, and code,10··········
Still fails to mend.—Now deckward tramp the bands,10··········
Yellow as autumn leaves, alive as spring;10/˘·/˘·˘/··
And as each host draws out upon the sea10··········
Beyond which lies the tragical To-be,10··········
None dubious of the cause, none murmuring,11·/˘˘····/˘˘
Wives, sisters, parents, wave white hands and smile,10·/˘/˘·····
As if they knew not that they weep the while.10··········
(Southampton Docks: October, 1899)7˘/˘·˘/˘
WHILE the far farewell music thins and fails,10····//˘···
And the broad bottoms rip the bearing brine—10···/˘··/˘·
All smalling slowly to the gray sea line—10·/˘/˘·····
And each significant red smoke-shaft pales,10··˘/˘˘····
Keen sense of severance everywhere prevails,10···/˘/˘·˘/
Which shapes the late long tramp of mounting men10·······/˘·
To seeming words that ask and ask again:10·/˘·····˘/
“How long, O striving Teutons, Slavs, and Gaels10···/˘·····
Must your wroth reasonings trade on lives like these,10···/˘·····
That are as puppets in a playing hand?—10···/˘··/˘·
When shall the saner softer polities10···/˘/˘˘/˘
Whereof we dream, have play in each proud land,10··········
And patriotism, grown Godlike, scorn to stand11·/˘·˘·/˘···
Bondslave to realms, but circle earth and seas?”10/˘···/˘···
(Southampton Docks: October, 1899)7˘/˘·˘/˘
“THE quay recedes. Hurrah! Ahead we go! . . .10··˘/˘/˘/··
It’s true I’ve been accustomed now to home,10····˘/˘···
And joints get rusty, and one’s limbs may grow10···/˘·····
More fit to rest than roam.6······
“But I can stand as yet fair stress and strain;10··········
There’s not a little steel beneath the rust;10···/˘·····
My years mount somewhat, but here’s to’t again!10···//···˘/
And if I fall, I must.6······
“God knows that for myself I’ve scanty care;10·····/·/˘·
Past scrimmages have proved as much to all;10·/˘˘······
In Eastern lands and South I’ve had my share10·/˘·······
Both of the blade and ball.6······
“And where those villains ripped me in the flitch10···/˘·····
With their old iron in my early time,10···/˘··/˘·
I’m apt at change of wind to feel a twitch,10··········
Or at a change of clime.6······
“And what my mirror shows me in the morning11···/˘····/˘
Has more of blotch and wrinkle than of bloom;10·····/˘···
My eyes, too, heretofore all glasses scorning,11····˘/·/˘/˘
Have just a touch of rheum . . .7·····/˘
“Now sounds ‘The Girl I’ve left behind me,’—Ah,10··········
The years, the ardours, wakened by that tune!10···/˘/˘···
Time was when, with the crowd’s farewell ‘Hurrah!’10·······/˘/
’Twould lift me to the moon.6······
“But now it’s late to leave behind me one10··········
Who if, poor soul, her man goes underground,10·······/˘·
Will not recover as she might have done10··˘/˘·····
In days when hopes abound.6····˘/
“She’s waving from the wharfside, palely grieving,11·/˘····/˘/˘
As down we draw . . . Her tears make little show,10·······/˘·
Yet now she suffers more than at my leaving11···/˘····/˘
Some twenty years ago.6·/˘·˘/
“I pray those left at home will care for her!10··········
I shall come back; I have before; though when10··········
The Girl you leave behind you is a grandmother,12·········/·˘
Things may not be as then.”6······

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