In the admirable and stimulating lecture given to the English Association by Professor Spurgeon on "Poetry in the Light of War," I came again upon that poem of Rupert Brooke's in which he enumerates certain material things that have given him most pleasure in life. "I have been so great a lover," he writes, and then he makes a list of his loves, thus following, perhaps all unconsciously, Lamb's John Woodvil in that rhymed passage which, under the title "The Universal Lover," has been detached from the play. But Lamb, pretending to be Elizabethan, dealt with the larger splendours, whereas Rupert Brooke's modernity took count of the smaller. John Woodvil's list of his loves begins with the sunrise and the sunset; Rupert Brooke sets down such mundane and domestic trifles as white plates and cups, the hard crust of bread, and the roughness of blankets.

This, to strangers to the poem, may not sound very poetical, but they must read it before they judge. To me it is at once one of the most satisfying and most beautiful leaves in the Georgian anthology. Here is a passage:

My reason in quoting these fine and tender lines is to point out how simple a thing poetry can be; how easily we, at any rate for a few moments—even the most material, the most world-brutalized of us,—can become poets too. For I hold that any man searching his memory for the things that from earliest days have given him most delight, and sincerely recording them, not necessarily with verbal garniture at all, is while he does so a poet. A good deal of Whitman is little else but such catalogues; and Whitman was a great poet. The effort (even without the reward of this not-always-desired label) is worth making, because (and this is where the poetry comes in) it forces one to visit the past and dwell again in the ways of pleasantness before the world was too much with us and life's hand had begun to press heavily: most of such loves as Rupert Brooke recalls having their roots in our childhood. Hence such poetry as we shall make cannot be wholly reading without tears.

I find that on my list of loves scents would take a very important place—the scent of gorse warmed by the sun coming almost first, gorse blossoms rubbed in the hand and then crushed against the face, geranium leaves, the leaves of the lemon verbena, the scent of pine trees, the scent of unlit cigars, the scent of cigarette smoke blown my way from a distance, the scent of coffee as it arrives from the grocer's (see what a poet I am!), the scent of the underside of those little cushions of moss which come away so easily in the woods, the scent of lilies of the valley, the scent of oatcake for cattle, the scent of lilac, and, for reasons, above all perhaps the scent of a rubbish fire in the garden.

Rupert Brooke mentions the feel of things. Among the loves of the sense of touch I should include smooth dried beans, purple and spotted, and horse-chestnuts, warm and polished by being kept in the pocket, and ptarmigan's feet, and tortoiseshell spoons for tea-caddies. And among sounds, first and foremost is the sound of a carriage and pair, but very high in position is that rare ecstasy, the distant drum and panpipes of the Punch and Judy. Do they play the panpipes still, I wonder. And how should I behave if I heard them round the corner? Should I run? I hope so. Scent, sound, touch, and sight. Sight? Here the range is too vast, and yet here, perhaps, the act of memory leads to the best poetry of all. For to enumerate one's favourite sights—always, as Rupert Brooke may be said to have done, although not perhaps consciously, in the mood of one who is soon to lose the visible world for ever—is to become, no matter how humble the list, a psalmist.

The mere recollecting and recording even such haphazard memories as these has had the effect of reconstructing also many too-long-forgotten scenes of pure happiness, and has urged me about this dear England of ours too, for I learned to love gorse on Harpenden Common, and pinewoods at Ampthill, and moss in Kent, and the scent of coffee in the kitchen of a home that can never be rebuilt, and—but poetry can be pain too.