During the Great War and in its aftermath, many poets expressed hopes for an eventual and lasting peace. Volumes composed during WWI often personified Peace as the antithesis to War, as in Paul Williamson’s “Plan for Peace,” or as a “faithful sentinel” who lay “martyred on the plain” in G. O. Warren’s The Sword. Volumes published after the Treaty of Versailles ended the conflict in June 1919 might celebrate the “New Peace,” as with Cease Firing: Fifty Poems of the New Peace (1930), a collection of poems designed for reading and recitation aloud. Other volumes, such as Edward Blunden’s The Shepherd and other poems of peace and war (1922), turn the conventional trajectory from war to peace on its head. Both of these retrospective volumes establish their authority by invoking famous soldier poets: Anna Whittaker Roussel, the compiler of Cease Firing, provides an epigraph from Siegfried Sassoon’s Counter Attack, while Blunden inscribes his volume to Sassoon, his close friend and fellow soldier poet.