If I should die, think only this of me: That there's some corner of a foreign field That is for ever England. From The Soldier to Anthem for Doomed Youth Rupert Brooke and Wilfred Owen are two of the best-loved poets from the heroic lost generation of the First World War. Brooke's work was well-known before the war, with the now iconic lines: 'Stands the Church clock at ten to three? And is there honey still for tea?' from The Old Vicarage, Grantchester. And Wilfred Owen, awarded the Military Cross, had been writing poetry since he was ten years old. This superb collection is the perfect introduction to two of our greatest poets.

No poetry has touched readers' hearts more deeply than the soldier poets of the First World War. Published to commemorate the centenary of 1914, this stunning set of books, with specially commissioned covers by leading print makers, is an essential gathering of our most beloved war poets introduced by leading poets and biographers of our present day. Dying at twenty-five, a week before the end of the First World War, Wilfred Owen (1893-1918) has come to represent a generation of young men sacrificed - as it seems to the next generation, one in unprecedented rebellion against its fathers - by guilty old men: generals, politicians, profiteers. Owen has now taken his place in literary history as perhaps the first, certainly the quintessential, war poet.

Documentary about the poetic accounts of the Great War as written by veterans Wilfred Owen, John McCrae, Rupert Brooke, A.E. Houseman and Siegfried Sassoon.

Wilfred Owen was twenty-two when he enlisted in the Artists' Rifle Corps during World War I. By the time Owen was killed at the age of 25 at the Battle of Sambre, he had written what are considered the most important British poems of WWI. This definitive edition is based on manuscripts of Owen's papers in the British Museum and other archives.

This selection of Wilfred Owen's war poems is being published partly to provide an ideal edition of the poems for schools, who essentially read the war poems and need a short, thorough edition. It contains a new introduction by Jon Stallworthy, which is aimed at a general audience, but will be thorough and academic enough to work for schoolsas well. Constable have a similar edition planned, but Chatto's will be out first, and contains copyright material unavailable to other editions.

'Orpheus, the pagan saint of poets, went through hell and came back singing. In twentieth-century mythology, the singer wears a steel helmet and makes his descent "down some profound dull tunnel" in the stinking mud of the Western Front. For most readers of English poetry, the face under that helmet is that of Wilfred Owen.' Professor Jon Stallworthy, from his Introduction. When Wilfred Owen was killed in the days before the Armistice in 1918, he left behind a shattering, truthful and indelible record of a soldier's experience of the First World War. His greatest war poetry has been collected, edited and introduced here by Professor Jon Stallworthy. This special edition is published to commemorate the end of the hellish war that Owen, though the hard-won truth and terrible beauty of his poetry, has taught us never to forget.

A collectible new Penguin Classics series: stunning, clothbound editions of ten favourite poets, which present each poet's most famous book of verse as it was originally published. Designed by the acclaimed Coralie Bickford-Smith and beautifully set, these slim, A format volumes are the ultimate gift editions for poetry lovers. Poems is Wilfred Owen's only volume of poetry, first published posthumously in 1920 and edited by his friend and mentor, Siegfried Sassoon. Owen is regarded as one of the best poets of World War I and composed nearly all of his poems in just over a year, between August 1917 and September 1918. Owen was virtually unknown at the time of his death, yet his poetic account of a soldier's experience of war has shaped our impression of the horrors of the Western Front. This collection includes the well-known 'Anthem for Doomed Youth' and 'Dulce et Decorum Est'.

'Tonight he noticed how the women's eyes Passed from him to the strong men that were whole.' The true horror of the trenches is brought to life in this selection of poetry from the front line. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Wilfred Owen (1893-1918). Owen is available in Penguin Classics in Three Poets of the First World War: Ivor Gurney, Isaac Rosenberg, Wilfred Owen.

Wilfred Edward Salter Owen MC (18 March 1893 - 4 November 1918) was an English poet and soldier, one of the leading poets of the First World War. His shocking, realistic war poetry on the horrors of trenches and gas warfare was heavily influenced by his friend Siegfried Sassoon and stood in stark contrast to both the public perception of war at the time, and to the confidently patriotic verse written by earlier war poets such as Rupert Brooke. Among his best-known works - most of which were published posthumously - are "Dulce et Decorum Est," "Insensibility," "Anthem for Doomed Youth," "Futility" and "Strange Meeting." Owen was killed in action on 4 November 1918 during the crossing of the Sambre-Oise Canal, exactly one week (almost to the hour) before the signing of the Armistice and was promoted to the rank of Lieutenant the day after his death.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge

Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge