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Now Let No Charitable Hope

acceptance of life's hardships, charting a middle path between
POEM TEXT naiveté and cynicism.
The speaker dispels both flattering illusions about the self and
1 Now let no charitable hope unwarranted optimism about the world. She expresses a wish
2 Confuse my mind with images that "no charitable hope" will "Confuse" her into thinking she's
3 Of eagle and of antelope: any more powerful or graceful than she is. The word
"charitable" here implies "excessively generous"—she doesn't
4 I am by nature none of these.
want an overly rosy self-image.
5 I was, being human, born alone; Rather than comparing herself to noble, free-roaming animals
6 I am, being woman, hard beset; such as eagles, she views herself as humbly "human." She
indicates that to be human is to be fundamentally "alone," and
7 I live by squeezing from a stone
to be a "woman," in particular, is to be "hard beset" (bedeviled)
8 What little nourishment I get.
by challenges. She views her life as a matter of hard-won
survival, deriving "What little nourishment I get" from the
9 In masks outrageous and austere
harsh world around her.
10 The years go by in single file;
Despite this unillusioned outlook, however, the speaker isn't
11 But none has merited my fear,
totally disillusioned or pessimistic. She serenely suggests that,
12 And none has quite escaped my smile.
as hard as life is, it's not all bad—or even as bad as "fear"
sometimes makes it out to be. Personifying the years of life as a
parade of "mask[ed]" figures passing by, she notes that some
years look like they'll be "outrageous" (which might mean wild,
SUMMARY terrible, bizarre, etc.), and some look like they'll be "austere"
May no excessive hope fool me into thinking I'm noble and free, (meaning stark and harsh). But in reality, none of the years lives
like an eagle or antelope. I'm nothing like that by nature. up to her "fear" or fails to raise a "smile" now and then.
Since I'm a human being, I was born alone. Since I'm a woman, In other words, the speaker rejects false pessimism as much as
I'm surrounded by troubles. I survive by working hard for very false hope. The poem promotes a worldview that's neither
little, as if squeezing sustenance from a rock. overly "charitable" nor overly uncharitable; it recognizes life's
difficulties while still appreciating the "little nourishment" and
The years pass as though they're parading by me, presenting
joy even a difficult life offers.
themselves as extremely strange or harsh. But none of them
has turned out to warrant my fears, and none of them has failed
to make me smile at least a little. Where this theme appears in the poem:
• Lines 1-12

THEMES
LINE-BY
LINE-BY-LINE
-LINE ANAL
ANALYSIS
YSIS
REALISM, STOICISM, AND ACCEPTANCE
"Now Let No Charitable Hope" portrays an attempt LINES 1-4
to shed illusions—both the comforting and the Now let no charitable hope
frightening kind—and gain a realistic outlook on the world. Its Confuse my mind with images
speaker rejects the false hope that she's anything more than a Of eagle and of antelope:
vulnerable human being. She refuses to imagine herself as I am by nature none of these.
powerful or exceptional (like an "eagle" or "antelope"), and she Lines 1-4 consist of a single sentence, which forms the poem's
frankly acknowledges the challenges she faces as a woman first stanza
stanza.
surviving in a harsh world. At the same time, she rejects doom-
and-gloom thinking, noting that she's never experienced a year Abruptly, without introduction, the speaker makes a kind of
that "merited [her] fear" or failed to bring at least some wish or prayer: that "hope" will not "Confuse [her] mind" with
happiness. Overall, the poem embraces a level-headed misleading "images." Specifically, she seems to fear that "hope"
(here personified as a potential source of false ideas) will flatter

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her into thinking she's particularly impressive—like an "eagle" mid-line commas slow the language down noticeably, so that
or "antelope." the lines themselves seem to struggle, just as the speaker has
Symbolically
Symbolically, these animals often represent grace, beauty, struggled.
physical prowess, and/or freedom. The speaker doesn't believe The last two lines of the stanza play on a common metaphor for
she embodies these kinds of virtues, and she doesn't want attempting the impossible: trying to squeeze blood from a stone.
"charitable" (here meaning overly generous) hope to fool her According to the speaker,
into believing otherwise. As line 5 will state, she knows she's
only "human." I live by squeezing from a stone
This speaker seems to be seeking a realistic perspective on her What little nourishment I get.
life, and on human life in general. She knows that human nature
has its limits, and she knows hopeful illusions can make people In other words, her "nourishment" (literal food, metaphorical
forget those limits. She's guarding herself against a common rewards, and everything in between) doesn't come easily.
mistake—possibly one that she's made in the past and wants to Simply sustaining herself in a hostile world requires exhausting
avoid "Now." At the same time, she's trying to express, humbly effort.
and directly, what her true "nature" is.
LINES 9-12
These opening lines establish the poem's form: quatr
quatrains
ains that
In masks outrageous and austere
use iambic tetrameter (a da-DUM
DUM, da-DUM
DUM, da-DUM
DUM,
The years go by in single file;
da-DUM
DUM rhythm) and an ABAB rh rhyme
yme scheme
scheme. Alliter
Alliteration
ation in
But none has merited my fear,
lines 1 and 4 ("N
Now"/"nno"; "n
nature none") underscores the
And none has quite escaped my smile.
negative words "no" and "none," adding emphasis to the
speaker's rejection of false hope. The final stanza (lines 9-12) presents a metaphor for the
passage of time. In the process, it expresses the speaker's
LINES 5-8 general attitude toward time, aging, and the future.
I was, being human, born alone; The speaker imagines "The years" as figures "go[ing] by in
I am, being woman, hard beset; single file," wearing "masks outrageous and austere." In other
I live by squeezing from a stone words, she pictures the years of her life as a parade passing one
What little nourishment I get. by one, sporting bizarre and/or severe-looking disguises. The
Lines 5-8 sum up the speaker's life experience in a few short "masks" make the years seem unknowable and a little
statements, which add up, again, to one stanza
stanza-length sentence. frightening; clearly, they reflect the speaker's anxieties about
(The poem contains three equal-sized stanzas, each composed the future (and/or about aging).
of a single sentence—an effect that enhances its balanced, In the end, however, the speaker contemplates these
orderly, logical quality.) "years"—the passage of time—as serenely and stoically as she
Like line 4 in the previous stanza, lines 5-7 all begin with "I." This accepts life's hardships. Out of all the years she's experienced,
repetition (specifically an example of anaphor
anaphoraa) makes the she says,
poem seem personal, even if it's not especially confessional. This
speaker is defining herself and her experience: what "I was," [...] none has merited my fear,
what "I am," and how "I live." And none has quite escaped my smile.
The first two lines of the stanza use a par
parallel
allel structure to make
Once again, the par
parallel
allel phrasing gives her thoughts a calm,
complementary claims. First, the speaker suggests that she has
balanced clarity. The years have never been as bad as she
experienced loneliness as an inevitable part of "being human";
"fear[ed]," nor have they ever failed to bring her some
then, she suggests that she's been "beset" by difficulties as an
happiness. That is, they haven't "quite
quite escaped [her] smile"—a
inevitable part of "being woman":
phrasing that seems to acknowledge that some years have
brought only a little happiness. (Compare the "little
I was, being human, born alone;
nourishment" she mentions in the previous stanza.)
I am, being woman, hard beset;
All in all, the speaker accepts her limitations as a human being
In other words, all human beings suffer, but being a woman and recognizes the fundamental difficulty of life. Yet she
comes with special challenges. (There's an implied feminist ultimately finds no reason to "fear," and at least some reason to
statement here; the speaker indicates that the world is "smile," as she faces the future.
especially "hard" on, or hostile to, women.)
These lines also contain the poem's only caesur
caesuras
as. The four

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SYMBOLS • Line 1: “Now,” “no”

• Line 4: “nature none”
THE EAGLE AND ANTELOPE • Line 5: “being,” “born”
• Line 6: “being,” “beset”
The speaker refers to "images / Of eagle and of • Line 7: “squeezing,” “stone”
antelope," calling to mind the symbolism typically • Line 11: “merited my”
associated with these animals. Eagles often symbolize power,
majesty, and grace; antelopes are associated with grace, speed,
PARALLELISM
and beauty. Both are wild animals, meaning that they enjoy a
kind of freedom most human beings don't. The poem contains several par
parallel
allel phrases and clauses, which
add to the smoothly logical, balanced tone of the speaker's
The speaker invokes these animals in order to say that she lacks
language.
the traits associated with them: "I am by nature none of these."
She no longer "hope[s]" for—aspires to—their qualities. She has The first example comes in line 3: "Of
Of eagle and of antelope."
stoically resigned herself to living an ordinary human life. The second "of" places the two phrases in parallel, clarifying
that the speaker is rejecting "images" of these creatures
individually, not in combination. That is, she's not refusing to
Where this symbol appears in the poem:
picture a natural scene featuring both eagles and antelope;
• Lines 2-3: “images / Of eagle and of antelope:” she's rejecting these animals as separate, overly hopeful
symbols of grace, freedom, etc.
Lines 5-6 are also structured in parallel:
POETIC DEVICES
I was,, being human,, born alone;
ALLITERATION I am,, being woman,, hard beset;
Alliter
Alliteration
ation pops up frequently in the poem, adding emphasis to
the speaker's statements. Again, this effect presents the speaker's ideas in a clear, logical
manner. The second phrase builds on the first and clarifies her
For example, the /n/ alliteration in "N
Now let no charitable hope"
perspective: her life has been a struggle not only because she's
adds a little extra stress to "no," making the speaker's rejection
"human," but because she's a "woman" (in a world that
of false hope more resounding. Something similar happens in
"beset[s]" women with challenges).
line 4 ("I am by nature none of these"): alliteration accentuates
"none," driving home the speaker's rejection of a false self- Finally, lines 11-12 use parallelism as they arrive at their serene
image. conclusion:
The second stanza contains lots of /b/ and /s/ alliteration:
But none has merited my fear,
And none has quite escaped my smile.
I was, being human, born alone;
I am, being woman, hard beset;
I live by squeezing from a stone [...] "My fear" and "my smile" here are almost an antithesis
antithesis; the
speaker is saying that the years of her life never fully warrant
her anxieties or fully deny her happiness. Once more, parallel
That crowd of plosive /b/ sounds helps evoke the "hard"
problems that "beset" (crowd in on) the speaker. The phrase structure helps the speaker highlight fine distinctions and
"ssqueezing from a stone" is emphatically alliterative, matching express her ideas in a clear, balanced fashion.
the forcefulness of the action it's describing.
Where P
Par
arallelism
allelism appears in the poem:
Finally, there's a gentler touch of alliteration in line 11, as the
phrase "m merited my fear" contains a double /m/ sound. This is • Line 3: “Of eagle and of antelope:”
echoed in the /m/ consonance of the poem's final phrase: "m my • Lines 5-6: “I was, being human, born alone; / I am, being
smmile" (line 12). These softer consonants occur as the poem woman, hard beset;”
itself is softening its outlook slightly; life may be tough, these • Lines 11-12: “But none has merited my fear, / And none
closing lines suggest, but it's not as awful as people sometimes has quite escaped my smile.”
make it out to be.
ANAPHORA
Where Alliter
Alliteration
ation appears in the poem: Anaphor
Anaphoraa appears in lines 4 through 7, all of which begin with
the word "I":

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I am by nature none of these.
Where Caesur
Caesuraa appears in the poem:
I was, being human, born alone; • Line 5: “was, being human, born”
I am, being woman, hard beset; • Line 6: “am, being woman, hard”
I live by squeezing from a stone [...]
METAPHOR
These recurring "I"s, followed by the words "am," "was," and
The poem contains two major metaphors
metaphors, both of which are
"live," signal that this is a poem of self-definition. The speaker is
variations on conventional metaphors. (The references to
expressing her true "nature," articulating her experience as a
"eagle" and "antelope" in line 3 are more symbolic than
"human" and a "woman," and marking her place in the world.
metaphorical; these animals are conventionally associated with
There's something serene about the repetition here: this is a
grace, beauty, freedom, etc. See the Symbols section of this
speaker who knows who she is and isn't afraid to tell the reader.
guide for more.)
There's also a near-anaphora in lines 11-12: "ButBut none has
In lines 7-8, the speaker claims:
merited my fear, / And none has quite escaped my smile." Again,
the repetition conveys steadiness and poise; it also suggests
I live by squeezing from a stone
that these two lines are making par
parallel
allel claims. Both are saying,
What little nourishment I get.
ultimately, that the years of the speaker's life never turn out as
badly as she fears they will.
This isn't a literal claim, of course; the speaker is playing on the
proverbial expression "try to squeeze blood from a stone"
Where Anaphor
Anaphoraa appears in the poem: (forcefully attempt to obtain something unobtainable). The
• Line 4: “I” poem reworks this cliché by having its speaker figurfigurativ
atively
ely
• Line 5: “I” squeeze "nourishment" from a stone. Basically, the speaker is
• Line 6: “I” saying that whatever sustenance she earns in life (whether
• Line 7: “I” literal food or intangibles like money and respect) comes
through constant struggle. She practically has to do the
CAESURA impossible just to survive.
Notably, most of the poem contains no caesur
caesuras
as. In general, the The following lines also play on a conventional image: that of
lines flow evenly and smoothly in a reflection of the speaker's years passing by like figures in a parade. (Illustrators have long
stoic serenity. However, lines 5 and 6 are exceptions to this used similar images for New Year's cartoons and the like.) The
rule, as each contains two caesuras: speaker specifies that these figures wear "masks" that look
"outrageous and austere" (wild and severe). This is her
I was, being human, born alone; metaphorical way of suggesting that the years—or the
I am, being woman, hard beset; future—seem frightening and unknowable as they approach.
The closing lines indicate, however, that the future isn't as
These pauses serve several purposes. For example, the first terrible as her worst "fear[s]" suggest.
pause in each line helps emphasize the distinction between "I
was" and "I am." These lines end up drawing more of a Where Metaphor appears in the poem:
comparison than a distinction, however, because both indicate • Lines 7-8: “I live by squeezing from a stone / What little
that the speaker's life has always been hard. nourishment I get.”
The commas also emphasize two key par parallel
allel phrases: "being • Lines 9-12: “In masks outrageous and austere / The
human" and "being woman." These phrases signal, in turn, that years go by in single file; / But none has merited my fear, /
the poem itself is about being human and being a woman. In the And none has quite escaped my smile.”
speaker's view, loneliness is an inherent part of the first
condition, and constant difficulties are an inherent part of the PERSONIFICATION
second. (The poem can be read as a kind of feminist statement The poem personifies two abstractions: "hope" in the first
as well as a statement about life in general.) stanza and "years" in the third.
Finally, the commas slow the lines down, so that the language First, the speaker treats hope as an entity to be avoided or even
itself seems to flow with greater difficulty. They function almost feared. She prays that "no charitable hope" will "Confuse my
as obstacles for the language to overcome—similar to the mind" with false impressions of herself—in other words, that
obstacles that have "beset" the speaker throughout her life. hope won't flatter her into thinking she's something she's not.
The adjective "charitable" here carries a hint of iron
ironyy: it literally

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means "generous," but in context, it implies "too generous," like theme. The speaker has made a kind of peace with the difficult
an overestimation of one's own capabilities. By personifying world around her, and she views her life with a serene, stoic
hope, the speaker dramatizes her struggle against this potential eye. No wonder she expresses herself in such a balanced and
error; it's as if she's warding off an internal enemy. steady fashion.
Later, she imagines "The years" as masked figures "go[ing] by in It's also worth noting that Wylie wrote this poem during a time
single file." In other words, they're like costumed revelers (the early-20th-century Modernist movement) when many
parading past her—a metaphor for the passage of time. poets were gravitating toward free vverse
erse and experimental
Symbolically
Symbolically, the masks also suggest that years are mysterious poetic forms. This poem—and Wylie's work in
until they arrive; no one knows what they'll bring, or perhaps general—maintains a traditional style, which seems to suit the
even knows quite what they mean as they pass. Even so, they're speaker's unflappable consistency in the face of change (the
never as bad as the speaker fears, and they never fail to bring passing "years" in the final stanza).
her at least a little happiness. By personifying
them—humanizing them—she makes the future seem less METER
scary. In the poem's view, the passage of time may be hard to The poem is written in iambic tetr
tetrameter
ameter. This means that its
comprehend, and it may not provide any special reason for lines generally consist of four iambs (metrical
metrical feet, or units,
hope, but it's nothing to panic about, either. containing an unstressed followed by a stressed syllable). That
is, they typically follow a "da-DUM
DUM, da-DUM
DUM, da-DUM
DUM,
Where P
Personification
ersonification appears in the poem: da-DUM
DUM" rhrhythm
ythm.
As in most metrical poems, the meter varies in small ways from
• Lines 1-2: “Now let no charitable hope / Confuse my
mind with images” line to line. Readers can hear a couple of variations in the
• Lines 9-12: “In masks outrageous and austere / The opening stanza
stanza, for example:
years go by in single file; / But none has merited my fear, /
And none has quite escaped my smile.” Now let | no char
char- | ita- | ble hope
Confuse
fuse | my mind | with im im- | ages
ges
Of ea
ea- | gle and | of an
an- | telope
lope:
I am | by na
na- | ture none | of these
these.
VOCABULARY
Charitable (Line 1) - Generous (here implying overly generous Arguably, the third foot of line 1 contains two unstressed
or indulgent). syllables (it's a pyrrhic foot rather than an iamb), though this
line can be read in other ways as well. The first foot of line 4
Beset (Line 6) - Besieged; bedeviled; pressured or attacked on seems to be a trochee (stressed
stressed-unstressed) rather than an
all sides. iamb; that is, it sounds a little more natural when read as "II am"
Outrageous (Line 9) - Outlandish, wild, bizarre; perhaps rather than "I amam." Again, however, this is a minor variation, and
shocking and upsetting. some readers might hear it differently.
Austere (Line 9) - Stark, simple, and severe. In general, the meter remains steady, with few variations,
throughout this stoic and even-keeled poem.

FORM, METER, & RHYME RHYME SCHEME

The poem uses ABAB-rhymed quatr quatrains
ains: four-line stanzas in
FORM which the first and third lines, as well as the second and fourth
The poem consists of three four-line stanzas (quatr
quatrains
ains), each lines, rh
rhyme
yme with each other. The rh
rhyme
yme scheme for the entire
of which rh
rhymes
ymes ABAB (that is, the first line of the stanza poem looks like this:
rhymes with the third and the second with the fourth). The ABAB CDCD EFEF
poem's meter is iambic tetrameter, meaning that the lines
Most of the rhymes in the poem are exact, with the exception of
generally follow a "da-DUM
DUM, da-DUM
DUM, da-DUM DUM, da-DUMDUM"
"images"/"these" in lines 2 and 4 (which is a bit of a slant
rhythm.
rh
rhyme
yme). In general, the poem's rhyming is smooth and
Overall, then, the poem's form is neat, balanced, and consistent. consistent, in keeping with its even-keeled tone
tone. Together with
Its language flows at a smooth and steady pace; it doesn't even the steady meter
meter, it helps convey the speaker's poise and
contain many mid-line pauses (lines 5 and 6 are the only lines serenity in the face of life's hardships.
with caesur
caesuras
as).
This smoothness and consistency suit the poem's tone and

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Wylie's career overlapped with, though it didn't fully participate
SPEAKER in, the "modernist" revolution in English-language poetry.
Between 1910 and 1940—and particularly after World War
The poem's first-person speaker presents herself as an
I—poets in the UK and America began experimenting radically
ordinary woman leading an ordinary life—which is to say, a
with poetic form and content. Many switched to free vverse
erse (or a
challenging life.
much looser type of metrical verse) and made their poems
In the first stanza
stanza, she humbly declares that she's not like an more fragmentary, allusiv
allusivee, and elusive.
"eagle" or "antelope": a majestic, wild creature. "I am by nature
In doing so, they joined a wave of experimentation across many
none of these," she insists, adding in the next stanza that she's
art forms, a movement that collectively came to be known as
simply "human." She suggests that being human involves a
"modernism." In fact, 1922, when "Now Let No Charitable
certain degree of loneliness, and that, as a woman in a world
Hope" first appeared, was a landmark year in poetic
often hostile to women, she is "hard beset" (besieged) by
modernism: it also saw the publication of two era-defining
problems. With a touch of hyperbole
yperbole, she compares her
experimental books, T. S. Eliot's The W
Waste
aste Land and William
struggle to make her way in the world to the impossible task of
Carlos Williams's Spring and All.
"squeezing [nourishment] from a stone." At the same time, she
acknowledges that the passing "years" never quite live up to Although Wylie is sometimes classified as a modernist, her style
her fears or fail to raise a "smile" now and then. generally remained traditional in its imagery and use of meter
and rh
rhyme
yme. In this way, she had more in common with
Implicitly, she's old enough to have gained a bit of life
contemporaries such as Sara Teasdale and Edna St. Vincent
experience and reflect on what time has brought her. And her
Millay (though Millay's subject matter was often more radical).
perspective as a woman seems important to her sense of the
world; "I am, being woman, hard beset" suggests that she In 1923, Wylie married another formally traditional poet,
believes men face fewer challenges on the whole. Otherwise, William Rose Benét, who went on to win the Pulitzer Prize for
she doesn't provide any specifics about her life; her voice seems Poetry in 1942. Though Wylie died without winning major
relatively timeless and broadly relatable. awards, she earned high praise from contemporaries and
remains frequently anthologized alongside other poets of the
period.
SETTING
HISTORICAL CONTEXT
The poem has no specific setting
setting. Although the speaker refers The poem makes no direct reference to historical events.
to "eagle[s]," "antelope," "a stone," and a "mask[ed]" parade of Instead, it uses a generalized, "timeless" voice to comment
"years," these aren't literal features of her location or time broadly on the human condition.
period; they're symbols and metaphors
metaphors.
However, Wylie wrote it in the aftermath of historic upheaval.
The poem's lack of specificity makes it seem timeless and World War I (1915-1918), along with the influenza pandemic
universal. The speaker delivers broad statements about life of 1918-1920, caused deaths in the tens of millions, shook up
rather than tying her observations to a particular era, place, or the world political order, and accelerated the cultural/artistic
situation (apart from her gendered experience as a "woman"). revolution known as modernism (see above). In its restrained
She's an ordinary person contemplating the nature of life and way, "Now Let No Charitable Hope" seems to reflect the
the passage of time, and she could be doing so from just about soberly realistic mood of the postwar "years."
anywhere.
It also refers to the problems that "beset" women in particular.
At the time it was published, American women had gained the
CONTEXT right to vote only two years earlier (1920). American historians
often cite this victory as the end of "first-wa
first-wavve feminism
feminism," a
LITERARY CONTEXT decades-long struggle that focused mainly but not exclusively
on voting and property rights. Meanwhile, the "second
During her brief career in the 1920s, American poet Elinor wave"—a broader fight against patriarchal institutions,
Wylie (1885-1928) found acclaim as a writer of polished, including unequal workplaces—was still decades away. In the
formally traditional verse. "Now Let No Charitable Hope" was 1920s, Wylie's own field, literature, remained largely male-
first published, under the slightly different title "Let No dominated and exclusionary toward women. Thus, Wylie's
Charitable Hope," in Literary Digest in July 1922. It appeared the speaker, and Wylie herself, had good reason to note the
following year in Wylie's second collection, Black Armour. (This hostility and deprivation (lack of metaphorical "nourishment")
original version had one other difference: line 8 began with women often face.
"The" rather than "What.") It has since become one of Wylie's
best-known poems.

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• Wylie
Wylie's
's Old Haunts — A brief biography, plus pictures of
MORE RESOUR
RESOURCES
CES two of Wylie's former homes.
(https:/
(https:///dcwritershomes.
dcwritershomes.wdchumanities.org/elinor-wylie/)
wdchumanities.org/elinor-wylie/)
EXTERNAL RESOURCES
• The PPoet's
oet's Life and W
Work
ork — Read a biography of Wylie at
the Poetry Foundation. HOW T
TO
O CITE
(https:/
(https://www
/www.poetryfoundation.org/poets/elinor-wylie
.poetryfoundation.org/poets/elinor-wylie))
• The PPoem
oem Sung Aloud — Listen to composer Lori Laitman's MLA
musical adaptation of the poem. Allen, Austin. "Now Let No Charitable Hope." LitCharts. LitCharts
(https:/
(https://www
/www..youtube.com/watch?v=Y8Di39j5UvY) LLC, 31 Mar 2022. Web. 5 Apr 2022.
• More on Wylie
Wylie's
's Life — Read about the poet at CHICAGO MANUAL
Encyclopedia Britannica. (https:/
(https://www
/www.britannica.com/
.britannica.com/
Allen, Austin. "Now Let No Charitable Hope." LitCharts LLC, March
biogr
biograph
aphyy/Elinor-Wylie
/Elinor-Wylie))
31, 2022. Retrieved April 5, 2022. https://www.litcharts.com/
• Black Armour — Browse the 1923 volume in which the poetry/elinor-morton-wylie/now-let-no-charitable-hope.
poem was first collected. (https:/
(https:///archiv
archive.org/details/
e.org/details/
blackarmourbook
blackarmourbooko00wyli/mode/2up
o00wyli/mode/2up))

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