The English poet John Masefield, following in the footsteps of peers like Rudyard Kipling, seized upon shanties as a nostalgic literary device, and included them along with much older, non-shanty sea songs in his 1906 collection "A Sailor's Garland". Although Masefield had sea experience (1891–95), he was not an expert on shanties and the versions he gave of songs cannot be assumed entirely authentic. For example, he admits to never having heard a pumping shanty, and yet he goes on to present one without citing its source. In one of his earlier articles, his shanties are set to melodies taken verbatim from Davis and Tozer's earlier work, and he mentions having utilized that and the other widely available collection (L.A. Smith, 1888) as resources. Masefield desired to connect shanties with much older English traditions and literature, and his characterization of individual items as such would prove attractive to later enthusiasts. So for example, Masefield implied that the shanty "A-roving" (which he titled "The Maid of Amsterdam") was derived from Thomas Heywood's "The Tragedy of the Rape of Lucrece" (1608). Lyrics and ideas from Masefield's collection became among the most quoted or plagiarized in later shanty collections, and by their sheer ubiquity these contributed to 20th century audiences' perceptions of the genre.