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 and landscape. Francis Thompson, Baudelaire, and Swinburne were all early "influences." He learnt from them but he was seldom mastered by them. He did not imitate their rhythms or borrow their thought. The Swinburnian "Anapæsts"—in the first volume—written in a weak moment, were an exception. In Flecker's printed copy the title has first, in a half-hearted effort to save the poem whilst repudiating its second-hand music and insincere sentiments, been changed to "Decadent Poem"; and then a thick pencil has been drawn right through it. From his English contemporaries Flecker was detached. He admired some of them—Mr. Yeats, Mr. A.E. Housman, Mr. de la Mare, and others; and with some he was friendly, especially Rupert Brooke, with whom he had been at Cambridge. Of Mr. Chesterton's "Flying Inn" he writes in January 1914: "A magnificent book—his masterpiece; and the humorous verse splendid." But his physical absence, first in the Levant and then in Switzerland, in itself prevented him from getting into any literary set, and his temperament and opinion of current tendencies was such that, even had he lived in England, he would probably have escaped "infection" by any school or individual. Flecker's vision of the world was his own; his dreams of the East and Greece were born with him. He knew the streets of Stamboul and the snows of Lebanon, and the caravans departing for Bagdad and the gates of Damascus, and the bazaars heaped with grapes and "coffee-tables botched with pearl and little beaten brassware pots"; but his hankering long antedated his travels. There is an unpublished poem written when he was twenty xxviii