Even in war-time men cannot think only of what they are doing here and now. Their desire goes beyond the immediate job; and when their outer world falls to bits they turn to God, if they believe in Him and seek Him, or to the Future that is always going to be so much better than the past, or to their own souls. Belief that the human soul is somehow, vaguely, ‘divine’ is intensified by the horrors that surround it and to which it seems a stranger even while it directs them. The sense of the strangeness of man’s soul in this world, of its unconformity to the outer madness, causes wonder; and wonder has traditionally found expression, in England, in the individual voice of poets. Yet as a citizen and in public the poet is expected not merely to draw poetry from the situation, but to relate it back to the situation. He must be practical, he must provide propaganda or, in the -widest sense of the word, amusement. If Shakespeare is ever played nowadays, he is expected, officially at least, either to help people to forget the War completely or to make them remember it all the more intensely. Teach us to forget ourselves for a night. Teach us to remember ourselves to-night so that to-morrow we may fight like Englishmen.