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THE LOVELY LASS OF INVERNESS 297 STEPPING WESTWARD

335

A RED, RED ROSE

298 THE SOLITARY REAPER

335

AULD LANG SYNE

298

YARROW UNVISITED .

· 336

COMIN' THRO' THE RYE

298 TO THE CUCKOO

. 336

DUNCAN GRAY

299 “SHE WAS A PHANTOM OF DELIGHT' 337

Saw YE BONIE LESLEY

299 “I WANDERED LONELY AS A CLOUD 337

Scots, WHA HAE

. 299 ODE TO DUTY

. 337

HIGHLAND MARY

. 300 FIDELITY

338

Is THERE FOR HONEST POVERTY . 300 CHARACTER OF THE HAPPY WARRIOR 339

THERE WAS A LASS

. 301

“NUNS FRET NOT

AT THEIR CON-

MARY MORISON.

301

VENT'S NARROW ROOM”.

340

COMPOSED BY THE SIDE OF GRAS-

WILLIAM WORDSWORTH

MERE LAKE.

A NIGHT-PIECE

303 “THE WORLD IS TOO MUCH WITH

WE ARE SEVEN .

303

341

EXPOSTULATION AND REPLY . . 304

“WHERE LIES THE LAND TO WHICH

THE TABLES TURNED

304

YON SHIP MUST GO?”.

341

LINES COMPOSED A FEW MILES ABOVE

ODE. INTIMATIONS OF IMMORTALITY

TINTERN ABBEY

305

FROM RECOLLECTIONS OF EARLY

THERE WAS A Boy

. 307

CHILDHOOD

341

NUTTING

. 307 GIPSIES.

344

“STRANGE FITS OF PASSION HAVE I

SONG AT THE FEAST OF BROUGHAM

KNOWN"

308

CASTLE .

345

"SHE DWELT AMONG THE UNTRODDEN

THE EXCURSION .

346

WAYS”

309 YARROW VISITED

354

I TRAVELLED AMONG UNKNOWN

To A SKY-LARK.

355

MEN

309 “SCORN NOT THE SONNET

356

“THREE YEARS SHE GREW IN SUN

YARROW REVISITED

356

AND SHOWER

309 THE TROSACHS

357

“A SLUMBER DID MY SPIRIT SEAL 309 "IF THIS GREAT WORLD OF JOY AND

LUCY GRAY.

• 310

PAIN

357

RUTH

310

TAE PRELUDE

313

SAMUEL TAYLOR COLERIDGE

MICHAEL

324 THE RIME OF THE ANCIENT MARI-

“MY HEART LEAPS UP WHEN I BE-

NER

358

HOLD"

330 LOVE

. 367

RESOLUTION AND INDEPENDENCE 330 THE NIGHTINGALE

368

COMPOSED UPON WESTMINSTER

CHRISTABEL

370

BRIDGE, SEPT. 3, 1802.

332 KUBLA KHAN

. 377

COMPOSED BY THE SEA-SIDE, NEAR

HYMN BEFORE SUN-RISE, IN THE

CALAIS, August, 1802.

332 VALE OF CHAMOUNI

. 377

“IT IS A BEAUTEOUS EVENING, CALM

FROST AT MIDNIGHT

AND FREE”

332 DEJECTION: AN ODE

380

ON THE EXTINCTION OF THE VENE- YOUTH AND AGE

382

TIAN REPUBLIC .

333 WORK WITHOUT HOPE

382

To TOUSSAINT L'OUVERTURE

333 EPITAPH (Nov., 1833)

383

IN LONDON, SEPTEMBER, 1802 333

LONDON, 1802

333 SIR WALTER Scott

“IT IS NOT TO BE THOUGHT OF 334 THE LAY OF THE LAST MINSTREL 384

“WHEN I HAVE BORNE IN MEMORY 334 THE LADY OF THE LAKE

892

TO THE Daisy .

334 ROKEBY (SONG, “O, BRIGNALU BANKS

THE GREEN LINNET

334 ARE WILD AND FAIR").

412

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614

ALFRED, LORD TENNYSON

THE LADY OF SHALOTT

617

(ENONE

. 618

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THE LOTUS-EATERS

622 HOME-THOUGHTS, FROM THE SEA X 766

ULYSSES

624 SAUL

. 766

TITHONUS

625 MY STAR

. 773

“FLOWER IN THE CRANNIED WALL 626 INCIDENT OF THE FRENCH CAMP 773

“BREAK, BREAK, BREAK”

. 626 MY LAST DUCHESS.

773

SONGS FROM THE PRINCESS:

THE ITALIAN IN ENGLAND

THE LAST RIDE TOGETHER

776

“As THRO' THE LAND AT EVE WE

PROTUS.

. 777

WENT

627

THE STATUE AND THE Bust

. 778

"SWEET AND LOW

627

FRA LIPPO LIPPI

781

"THE SPLENDOR FALLS ON CASTLE

787

WALLS"

ANDREA DEL SARTO .

627

RABBI BEN EZRA

790

“TEARS, IDLE TEARS, I KNOW NOT

CALIBAN UPON SETEBOS .

793

WHAT THEY MEAN

627

PROSPICE

797

“HOME THEY BROUGHT HER WAR-

THE RING AND

627

THE BOOK (BOOK

RIOR DEAD"

VII. Pompilia)

798

“COME DOWN, O MAID, FROM YONDER

HERVÉ RIEL

823

MOUNTAIN HEIGHT"

628

825

IN MEMORIAM

PAEIDIPPIDES

. 628

CLIVE

. 827

Songs FROM MAUD:

EPILOGUE

. 832

“COME INTO THE GARDEN, Maud” . 664

"O THAT 'T WERE POSSIBLE” . 665 BIOGRAPHICAL SKETCHES

ODE ON THE DEATH OF THE DUKE OF

GEOFFREY CHAUCER.

835

WELLINGTON

666

EDMUND SPENSER

838

IDYLLS OF THE KING:

WILLIAM SHAKESPEARE

841

DEDICATION

669

ROBERT HERRICK

843

COMING OF ARTHUR

670 JOHN MILTON

846

GARETH AND LYNETTE

677 John DRYDEN

.850

LANCELOT AND ELAINE

699 ALEXANDER POPE

853

THE HOLY GRAIL

719

WILLIAM COLLINS

856

GUINEVERE

732 THOMAS GRAY

. 858

THE PASSING OF ARTHUR .

OLIVER GOLDSMITH

861

TO THE QUEEN

749 WILLIAM COWPER

865

CROSSING THE BAR

750 ROBERT BURNS.

867

WILLIAM WORDSWORTH

871

ROBERT BROWNING

SAMUEL TAYLOR COLERIDGE . 87+

PIPPA PASSES

751

WALTER SCOTT

GEORGE GORDON BYRON

. 879

CAVALIER TUNES:

PERCY BYSSHE SHELLEY

. 883

MARCHING ALONG

759

John KEATS

GIVE A ROUSE

. 760

MATTHEW ARNOLD

888

BOOT AND SADDLE

. 760

ALFRED TENNYSON

890

THE Lost LEADER

. 760

ROBERT BROWNING

. 893

“How THEY BROUGHT THE GOOD
NEWS FROM GHENT TO Aix"
GLOSSARY

897

CRISTINA

. 762

LOVE AMONG THE RUINS

. 763 INDEX OF FIRST LINES. . . 909

UP AT A VILLA DOWN IN THE CITY 764

HOME-THOUGHTS, FROM ABROAD

INDEX OF AUTHORS AND TITLES 914

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INTRODUCTION

AN OUTLINE SKETCH OF ENGLISH POETRY FROM

CHAUCER TO BROWNING

It is a curious fact that in the history of English poetry the even centuries have been the periods of the most noteworthy and original production. The age of Chaucer, the rich and exuberant English renaissance of Elizabeth's time, and the new springtide of the romantic revival came respectively in the fourteenth, sixteenth, and eighteenth centuries. We do not intend to imply that poetry lapsed in the intervals, that the odd centuries were wholly flat, stale, and unprofitable, nor do we imply that all the great poetry of our literature can be grouped around the even century marks. The exquisite lyrics of Lovelace and Suckling and Herrick, the noble verse of Milton, the polished heroic couplets of Dryden and Pope, the smooth melody and careful art of Tennyson, and the force and inspired insight of Browning would at once give us the lie. What we do mean is that the successive tides of original poetic inspiration seem to have flowed with the even and ebbed with the odd centuries. The Cavalier lyrists and even the sublime Milton are a continuation of the Elizabethan renaissance, and no one will deny the debt of Tennyson and Browning to the poetic revival in the latter part of the eighteenth century. Hence for our brief outline of the course of English poetry, we are led to dwell with special emphasis upon the poetry of the age of Chaucer, of the age of Elizabeth, and of the age of Wordsworth.

1. The CHAUCERIAN PERIOD

1340-1400 Any sketch of English poetry may well begin with Chaucer. Although it is trite now to speak of him as the “Father of English Poetry," that phrase expresses accurately his position in the history of our poetry. He won his eminence under peculiarly difficult conditions. The Norman Conquest in 1066 had prevented the establishment of a standard English speech and had given free scope to the welter of dialects, the remnants of the Anglo-Saxon contending with the new Anglo-Norman. In the field of literature, the English were in bondage to continental models. Men dreamed, maidens loved, and birds sang in England just as they conventionally did in Normandy and France. Before Chaucer, few English works have the native English flavor.

And what did Chaucer do that has won him his place as the first of our long line of English poets? Wbere there were no models in English for him to follow, he went in the beginning to the literatures of France and Italy, at first translating, paraphrasing, and adapting their material to his verse; but later, and herein his fame lies, he conceived (and executed in part) a great original English poem. By his association with continental Europe he tended to bring the restricted English world into a closer touch and sympathy with the great forerunners of the Renaissance. Among the chaos of Anglo-Saxon and Anglo-Norman speech, he chose with rare natural judgment the elements which combined strength and grace. With a perfect ear he introduced into English versification those meters and verse forms, with the exception of the sonnet and the

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