"I have seen and endured the sufferings of the troops, and I can no longer be a party to prolong these sufferings for ends which I believe to be evil and unjust. I am not protesting against the conduct of the war, but against the political errors and insincerities for which the fighting men are being sacrificed. On behalf of those who are suffering now I make this protest against the deception which is being practised on them; also I believe that I may help to destroy the callous complacency with which the majority of those at home regard the contrivance of agonies which they do not share, and which they have not sufficient imagination to realize."

"I am making this statement as an act of wilful defiance of military authority, because I believe that the War is being deliberately prolonged by those who have the power to end it. I am a soldier, convinced that I am acting on behalf of soldiers. I believe that this War, on which I entered as a war of defence and liberation, has now become a war of aggression and conquest."

"The visionless officialized fatuity That once kept Europe safe for Perpetuity."

"I must add that in the light of subsequent events it is difficult to believe that a Peace negotiated in 1917 would have been permanent. I share the general opinion that nothing on earth would have prevented a recurrence of Teutonic aggressiveness."

"Let no one ever, from henceforth say one word in any way countenancing war. It is dangerous even to speak of how here and there the individual may gain some hardship of soul by it. For war is hell, and those who institute it are criminals. Were there even anything to say for it, it should not be said; for its spiritual disasters far outweigh any of its advantages."

"Everyone suddenly burst out singing; And I was filled with such delight As prisoned birds must find in freedom."

"Here was the world's worst wound. And here with pride 'Their name liveth for evermore' the Gateway claims. Was ever an immolation so belied As these intolerably nameless names? Well might the Dead who struggled in the slime Rise and deride this sepulchre of crime."

"Who will remember, passing through this Gate, The unheroic Dead who fed the guns? Who shall absolve the foulness of their fate, — Those doomed, conscripted, unvictorious ones? Crudely renewed, the Salient holds its own. Paid are its dim defenders by this pomp; Paid, with a pile of peace-complacent stone, The armies who endured that sullen swamp."

"October's bellowing anger breakes and cleaves The bronzed battalions of the stricken wood In whose lament I hear a voice that grieves For battle's fruitless harvest, and the feud Of outrage men. Their lives are like the leaves Scattered in flocks of ruin, tossed and blown Along the westering furnace flaring red. O martyred youth and manhood overthrown, The burden of your wrongs is on my head."

"You smug-faced crowds with kindling eye Who cheer when soldier lads march by, Sneak home and pray you'll never know The hell where youth and laughter go."

"I'd say — "I used to know his father well; Yes, we've lost heavily in this last scrap." And when the war is done and youth stone dead, I'd toddle safely home and die — in bed."

"If I were fierce, and bald, and short of breath, I'd live with scarlet Majors at the Base, And speed glum heroes up the line of death."

"Soldiers are dreamers; when the guns begin They think of firelit homes, clean beds, and wives."

"Soldiers are citizens of death's grey land, Drawing no dividend from time's to-morrows. In the great hour of destiny they stand, Each with his feuds, and jealousies, and sorrows."

"Lost in a blurred confusion of yells and groans... Down, and down, and down, he sank and drowned, Bleeding to death. The counter-attack had failed."

"We knew...that Sappho had written love poems to women in 600 B.C."

"Stanley Lombardo, Sappho: Poems and Fragments (Hackett Publishing, 2002)"

"Anne Carson, If Not, Winter: Fragments of Sappho (New York: Alfred A. Knopf, 2002)"

"David A. Campbell, Greek Lyric, vol. 1: Sappho and Alcaeus, LCL 142 (1982)"

"Suzy Q. Groden, The Poems of Sappho (Bobbs-Merrill Co, 1966)"

"Willis Barnstone, Sappho: Lyrics in the Original Greek with Translations (New York: Anchor, 1965; 2nd ed., New York UP)"

"Mary Barnard, Sappho: A New Translation (University of California Press, 1958)"

"C. M. Bowra, Greek Lyric Poetry: From Alcman to Simonides (Oxford: Clarendon Press, 1961) p. 197"

"Richmond Lattimore, Greek Lyrics (Chicago: University of Chicago Press, 1949; revised 1960)"

"Douglas Young, A Braird o Thristles (1947) — into Scots"

"T. F. Higham, C. M. Bowra and W. S. Marris, The Oxford Book of Greek Verse in Translation (1938) nos. 140–157"

"E. M. Cox, The Poems of Sappho (London: Williams and Norgate, 1924)"

"J. M. Edmonds, Lyra Graeca, vol. 1 (1922)"

"A. E. Housman, Last Poems (1922) no. 24 · More Poems (1936) nos. 10 and 11"

"A. S. Way, Sappho, and the Vigil of Venus (London: Macmillan and Co, 1920)"

"Rennell Rodd, Love, Worship and Death: Some Renderings from the Greek Anthology (London: Edward Arnold, 1919)"

"W. G. Headlam, A Book of Greek Verse (Cambridge UP, 1907) pp. 4–17"

"Thomas Hardy, Poems of the Past and the Present (1901)"

"Frederick Tennyson, The Isles of Greece: Sappho and Alcaeus (1890) p. 91"

"H. T. Wharton, Sappho: Memoir, Text, Selected Renderings and a Literal Translation, 2nd ed. (London: David Stott, 1887)"

"J. A. Symonds, Studies of the Greek Poets (1st series, 1873; 2nd series, 1876; revised 1883)"

"D. G. Rossetti, Poems (1870; 2nd ed., 1881)"

"Edwin Arnold, The Poets of Greece (London: Cassell, Fetter, and Galpin, 1869)"

"Thomas Moore, Evenings in Greece (1826) p. 18"

"Ambrose Philips, Pastorals, Epistles, Odes, &c. with Translations from Pindar, Anacreon, and Sappho (1748)"

"John Addison, The Works of Anacreon, [with] the Odes, Fragments and Epigrams of Sappho (London: J. Watts, 1735)"

"William Bowles, in Poems by Several Hands, and on Several Occasions, collected by N. Tate (London: J. Hindmarsh, 1685) p. 85"

"Ben Jonson, The Sad Shepherd: or, A Tale of Robin Hood (1641) act 2, sc. 5"

"Philip Sidney, printed with The Countess of Pembroke's Arcadia (F1, 1593)"

"The small dark body's Lesbian loveliness That held the fire eternal."

"Living unloved, to die unknown, Unwept, untended and alone."

"Sappho speaks words mingled truly with fire; through her song she communicates the heat of her heart."

"Poetry changes with every generation, but it does not improve or progress. It just changes its styles, trappings and some of its obsessions, but we can still enjoy Sappho and Homer; they are today's news as much as when they were written or recited."

"Sappho is a great poet because she is a lesbian, which gives her erotic access to the Muse. Sappho and the homosexual-tending Emily Dickinson stand alone above women poets, because poetry's mystical energies are ruled by a hierach requiring the sexual subordination of her petitioners. Women have achieved more as novelists than as poets because the social novel operates outside the ancient marriage of myth and eroticism."

"Non veniunt in idem pudor atque amor."