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TO ALFRED TENNYSON
This book in its progress has recalled often to my memory a man with whose friendship we were once honoured, to whom no region of English Literature was unfamiliar, and who, whilst rich in all the noble gifts of Nature, was most eminently distinguished by the noblest and the rarest, -just judgement and highhearted patriotism. It would have been hence a peculiar pleasure and pride to dedicate what I have endeavoured to make a true national Anthology of three centuries to Henry Hallam. But he is beyond the reach of any human tokens of love and reverence; and I desire therefore to place before it a name united with his by associations which, whilst Poetry retains her hold on the minds of Englishmen, are not likely to be forgotten.
Your encouragement, given while traversing the wild scenery of Treryn Dinas, led me to begin the work; and it has been completed under your advice and assistance. For the favour now asked I have thus a second reason : and to this I may add, the homage which is your right as Poet, and the gratitude due to a Friend, whose regard I rate at no common value.
Permit me then to inscribe to yourself a book which, I hope, may be found by many a lifelong fountain of innocent and exalted pleasure ; a source of animation to friends when they meet; and able to sweeten solitude itself with best society,—with the companionship of the wise and the good, with the beauty which the eye cannot see, and the music only heard in silence. If this Collection proves a storehouse of delight to Labour and to Poverty,-if it teaches those indifferent to the Poets to love them, and those who love them to love them more, the aim and the desire entertained in framing it will be fully accomplished.
This little Collection differs, it is believed, from others in the attempt made to include in it all the best original Lyrical pieces and Songs in our language, by writers not living,—and none beside the best. Many familiar verses will hence be met with ; many also which should be familiar :-the Editor will regard as his fittest readers those who love Poetry so well that he can offer them nothing not already known and valued.
The Editor is acquainted with no strict and exhaustive definition of Lyrical Poetry; but he has found the task of practical decision increase in clearness and in facility as he advanced with the work, whilst keeping in view a few simple principles. Lyrical has been here held essentially to imply that each Poem shall turn on some single thought, feeling, or situation. In accordance with this, narrative, descriptive, and didactic poems—unless accompanied by rapidity of movement, brevity, and the colouring of human passion-have been excluded. Humorous poetry, except in the very unfrequent instances where a truly poetical tone pervades the whole, with what is strictly personal, occasional, and religious, has been considered foreign to the idea of the book. Blank verse and the ten-syllable couplet, with all pieces markedly dramatic, have been rejected as alien from what is commonly understood by Song, and rarely conforming to Lyrical conditions in treatment. But it is not anticipated, nor is it possible, that all readers shall think the line accurately drawn.
Some poems, as Gray's Elegy, the Allegro and Penseroso, Wordsworth's Ruth or Campbell's Lord Ullin, might be claimed with perhaps equal justice for a narrative or descriptive selection : whilst with reference especially to Ballads and Sonnets, the Editor can only state that he has taken his utmost pains to decide without caprice or partiality.
This also is all he can plead in regard to a point even more liable to question ;—what degree of merit should give rank among the Best. That a Poem shall be worthy of the writer's genius,—that it shall reach a perfection commensurate with its aim,—that we should require finish in proportion to brevity,that passion, colour, and originality cannot atone for serious imperfections in clearness, unity, or truth,that a few good lines do not make a good poem, -that popular estimate is serviceable as a guidepost more than as a compass,-above all, that Excellence should be looked for rather in the Whole than in the Parts, such and other such canons have been always steadily regarded. He may however add that the pieces chosen, and a far larger number rejected, have been carefully and repeatedly considered ; and that he has been aided throughout by two friends of independent and exercised judgement, besides the distinguished person addressed in the Dedication. It is hoped that by this procedure the volume has been freed from that one-sidedness which must beset individual decisions :—but for the final choice the Editor is alone responsible.
It would obviously have been invidious to apply the standard aimed at in this Collection to the Living. Nor, even in the cases where this might be done without offence, does it appear wise to attempt to anticipate the verdict of the Future on our contemporaries. Should the book last, poems by Tennyson, Bryant, Clare, Lowell, and others, will no doubt claim and obtain their place among the best. But the Editor trusts that this will be effected by other hands, and in days far distant.
Chalmers’ vast collection, with tho whole works of all accessible poets not contained in it, and the best Anthologies of different periods, have been twice systematically read through ; and it is hence improbable that any omissions which may be regretted are due to oversight. The poems are printed entire, except in a very few instances (specified in the notes) where a stanza has been omitted. The omissions have been risked only when the piece could be thus brought to a closer lyrical unity : and, as essentially opposed to this unity, extracts, obviously such, are excluded. In regard to the text, the purpose of the book has appeared to justify the choice of the most poetical version, wherever more than one exists : and much labour has been given to present each poem, in disposition, spelling, and punctuation, to the greatest advantage.
For the permission under which the copyright pieces are inserted, thanks are due to the respective Proprietors, without whose liberal concurrence the scheme of the collection would have been defeated.
In the arrangement the most poetically-effective order has been attempted. The English mind has passed through phases of thought and cultivation so various and so opposed during these three centuries of Poetry, that a rapid passage between Old and New, like rapid alteration of the eye's focus in looking at the landscape, will always be wearisome and hurtful to the sense of Beauty. The
have been therefore distributed into Books corresponding, I to the ninety years closing about 1616, II thence to 1700, III to 1800, IV to the half century just ended. Or, looking at the Poets who more or less give each portion its distinctive character, they might be called the Books of Shakespeare, Milton, Gray, and Wordsworth. The volume, in this respect, so far as the limitations of its range allow, accurately reflects the natural growth and evolution of our Poetry. A rigidly chronological sequence, however, rather fits a collection aiming at instruction than at pleasure, and the Wisdom which comes through Pleasure :within each book the pieces have therefore been arranged in gradations of feeling or subject. The development of the symphonies of Mozart and Beeth