in language and a variety in metre, a force and fire in narrative, a tenderness and bloom in feeling, an insight into the finer passages of the Soul and the inner meanings of the landscape, a larger and wiser Humanity,-hitherto hardly attained, and perhaps unattainable even by predecessors of not inferior individual genius. In a word, the nation which, after the Greeks in their glory, has been the most gifted of all nations for Poetry, expressed in these men the highest strength and prodigality of its nature. They interpreted the age to itself—hence the many phases of thought and style they present:-to sympathize with each, fervently and impartially, without fear and without fancifulness, is no doubtful step in the higher education of the Soul. For, as with the Affections and the Conscience, Purity in Taste is absolutely proportionate to Strength :-and when once the mind has raised itself to grasp and to delight in Excellence, those who love most will be found to love most wisely. 1. 11 stout Cortez: History requires here Balbóa: (A. T.) It may be noticed, that to find in Chapman's Homer the pure serene ' of the original, the reader must bring with him the imagination of the youthful poet; he must be a Greek himself,' as Shelley finely said of Keats. The most tender and true of Byron's smaller poems. This poem, with 236, exemplifies the peculiar skill with which Scott employs proper names :-nor is there a surer sign of high poetical genius. The Editor in this and in other instances has risked the addition (or the change) of a Title, that the aim of the verses following may be grasped more clearly and immediately. 1. 4 Nature's Eremite like a solitary thing in Nature. This beautiful Sonnet was the last word of a poet deserving the title 'marvellous boy' in a much higher sense than Chatterton. If the fulfilment may ever safely be prophesied from the promise, England appears to have lost in Keats one whose gifts in Poetry have rarely been surpassed. Shakespeare, Milton, and Wordsworth, had their lives been closed at twenty-five, would (so far as we know) have left poems of less excellence and hope than the youth who, from the petty school and the London surgery, passed at once to a place with them of high collateral glory.' It is impossible not to regret that Moore has written so little in this sweet and genuinely national style. A masterly example of Byron's command of strong thought and close reasoning in verse:-as the next is equally characteristic of Shelley's wayward intensity, and 204 of the dramatic power, the vital identification of the poet with other times and characters, in which Scott is second only to Shakespeare. Bonnivard, a Genevese, was imprisoned by the Duke of Savoy in Chillon on the lake of Geneva for his courageous defence of his country against the tyranny with which Piedmont threatened it during the first half of the seventeenth century.-This noble Sonnet is worthy to stand near Milton's on the Vaudois massacre. Switzerland was usurped by the French under This battle was fought Dec. 2, 1800, between the Hohen After the capture of Madrid by Napoleon, Sir J. Moore retreated before Soult and Ney to Corunna, and was killed whilst covering the embarkation of his troops. His tomb, built by Ney, bears this inscription- John Moore, leader of the English armies, slain in battle, 1809.' The Mermaid was the club-house of Shakespeare, Ben Jonson, and other choice spirits of that age. : 1. 1 Maisie Mary. Scott has given us nothing more complete and lovely than this little song, which unites simplicity and dramatic power to a wildwood music of the rarest quality. No moral is drawn, far less any conscious analysis of feeling attempted :the pathetic meaning is left to be suggested by the mere presentment of the situation. Inexperienced critics have often named this, which may be called the Homeric manner, superficial, from its apparent simple facility: but first-rate excellence in it (as shown here, in 196, 156, and 129) is in truth one of the least common triumphs of Poetry.-This style should be compared with what is not less perfect in its way, the searching out of inner feeling, the expression of hidden meanings, the revelation of the heart of Nature and of the Soul within the Soul,— the Analytical method, in short,-most completely represented by Wordsworth and by Shelley. correi covert on a hillside. Cumber: trouble. Two intermediate stanzas have been here omitted. They are very ingenious, but, of all poetical qualities, ingenuity is least in accordance with pathos. This poem has an exaltation and a glory, joined with an exquisiteness of expression, which place it in the highest rank amongst the many masterpieces of its illustrious Author. 1. 24 interlunar swoon : interval of the Moon's invisibility. 1. 1 Calpe Gibraltar. L. 11 Lofoden: the Maelstrom whirlpool off the N.W. coast of Norway. This lovely poem refers here and there to a ballad by Hamilton on the subject better treated in 127 and 128. 1. 10 Arcturi: seemingly used for northern stars. L. 20 And wild roses &c. Our language has no line modulated with more subtle sweetness. A good poet might have written And roses wild,-yet this slight change would disenchant the verse of its peculiar beauty. 1. 35 Ceres' daughter: Proserpine. L. 36 God of Torment: Pluto. This impassioned address expresses Shelley's most rapt imaginations, and is the direct modern representative of the feeling which led the Greeks to the worship of Nature. The leading idea of this beautiful description of a day's landscape in Italy is expressed with an obscurity not unfrequent with its author. It appears to be,-On the voyage of life are many moments of pleasure, given by the sight of Nature, who has power to heal even the worldliness and the uncharity of man. 1. 36 Amphitrite was daughter to Ocean. 1. 16 Sun-girt City: It is difficult not to believe that the correct reading is Sea-girt. Many of Shelley's poems appear to have been printed in England during his residence abroad: others were printed from his manuscripts after his death. Hence probably the text of no English Poet after 1660 contains so many errors. See the Note on No. 9. 1 1 Maenad: a frenzied Nymph, attendant on Dionysus in the Greek mythology. 1. 19 Plants under water sympathize with the seasons of the land, and hence with the winds which affect them. Written soon after the death, by shipwreck, of Wordsworth's brother John. This Poem should be compared with Shelley's following it. Each is the most complete expression of the innermost spirit of his art given by these great Poets :-of that Idea which, as in the case of the true Painter, (to quote the words of Reynolds,) subsists only in the mind: The sight never beheld it, nor has the hand expressed it; it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting.' 6 1. 34 the Kind: the human race. 1. 2 Proteus represented the everlasting changes, united with ever-recurrent sameness, of the Sea. 1. 1 the royal Saint: Henry VI. INDEX OF WRITERS Through the black, rushing smoke-bursts (The Song of WITH DATES OF BIRTH AND DEATH, AND FIRST LINES OF THE ALEXANDER, WILLIAM, EARL OF STERLINE (1567 ?-1640) PAGE O if thou knew'st how thou thyself dost harm (To Aurora) 15 ARNOLD, MATTHEW (1822-1888) 419 A wanderer is man from his birth (The Future) In the deserted moon-blanch'd street (4 Summer Night) We cannot kindle when we will (Morality) 422 416 415 423 414 418 AYTOUN, WILLIAM EDMONSTOUNE (1813-1865) Come hither, Evan Cameron (The Execution of Montrose) 392 BACON, FRANCIS, LORD VERULAM (1561-1626) The World's a bubble, and the Life of Man (Life) Since I noo mwore do zee your feäce (The Wife A-lost). BEAUMONT, FRANCIS (1584-1616) Mortality, behold and fear (On the Tombs in Westminster Abbey) 328 327 60 BROWNING, ELIZABETH BARRETT (1806-1861) How do I love thee? Let me count the ways 335 I thought once how Theocritus had sung 333 If thou must love me, let it be for naught. 334 What can I give thee back, O liberal. 333 What was he doing, the great god Pan (A Musical Instru BROWNING, ROBERT (1812-1889) Fear death? to feel the fog in my throat (Prospice) 378 391 Give her but a least excuse to love me! 373 Grow old along with me (Rabbi Ben Ezra) 384 Just for a handful of silver he left us (The Lost Leader) 374 Let us begin and carry up this corpse (A Grammarian's 378 Let's contend no more, Love (A Woman's Last Word). 376 375 Oh, to be in England (Home-Thoughts, from Abroad) 375 O Mary, at thy window be (Mary Morison) BROWNING ROBERT (1812-1889) (continued) The rain set early in to-night (Porphyria's Lover) This is a spray the Bird clung to (Misconceptions) Whither, 'midst falling dew (To a Waterfowl) Duncan Gray cam here to woo (Duncan Gray) O my Luve's like a red, red rose O saw ye bonnie Lesley (Bonnie Lesley) 149 Of a' the airts the wind can blaw (Jean) 156 The lovely lass o' Inverness (Lament for Culloden) 119 Ye banks and braes and streams around (Highland Mary) 151 131 Wee, sleekit, cow'rin', tim'rous beastie (To a Field Mouse). 141 BYRON, GEORGE GORDON NOEL, LORD (1788-1824) And thou art dead, as young and fair (Elegy on Thyrza) O talk not to me of a name great in story (All for Love). There be none of Beauty's daughters. There's not a joy the world can give like that it takes away (Youth and Age) 233 173 177 176 221 190 When we two parted CAMPBELL, THOMAS (1777-1844) A Chieftain to the Highlands bound (Lord Ullin's Daughter) Our bugles sang truce, for the night-cloud had lower'd (The 276 Star that bringest home the bee (To the Evening Star). 273 306 262 Ye Mariners of England CAREW, THOMAS (1598 ?-1639 ?) CAREY, HENRY (1693 ?-1743) 204 He that loves a rosy cheek (The True Beauty) 75 Of all the girls that are so smart (Sally in our Alley) O say what is that thing call'd Light (The Blind Boy). 111 As ships, becalmed at eve, that lay (Qua cursum ventus) 400 401 Where lies the land to which the ship would go? 401 COLERIDGE, HARTLEY (1796-1849) She is not fair to outward view. 178 COLERIDGE, SAMUEL TAYLOR (1772-1834) All thoughts, all passions, all delights (Love) 171 Verse, a breeze 'mid blossoms straying (Youth and Age). 300 |