"She brought a vast design to pass

When Europe and the scattered ends Of our fierce world did meet as friends And brethren, in her halls of glass." Other changes were made in the text. Another version of To the Queen, in thirteen stanzas, was published in Jones's Growth of the Idylls of the King, 1895, pp. 152-54. Tennyson was appointed poet laureate in 1850, to succeed Wordsworth.

Claribel, p. 3.

First printed in Poems, chiefly Lyrical, 1830. This poem is peculiarly Tennysonian in rhythm, diction, and feeling. It is appropriately placed first in the collection of Juvenilia.1

Nothing will die, p. 3.

First printed in 1830, and for a long time suppressed. The poem is a versified statement of the old Heraclitean philosophy of the eternity of matter. Cf. Lucretius, p. 160.

1 Most of the poems included in the Juvenilia were printed in the books of 1830 and

1832, but not all. Some of the pieces in these earlier volumes were for many years withdrawn from publication, and restored at various times in the collected editions (from 1869 to 1886).

First printed in 1830, and afterward suppressed. A companion poem to Nothing will die, giving the opposite view of the beginning and ending of the world.

Leonine Elegiacs, p. 4.

First printed, with the title Elegiacs, in 1830, and suppressed in later editions. Of Leonine Mr. Luce remarks: "From

Leo or Leoninus, canon of the Church of St. Victor, Paris, twelfth century, who wrote many such. The end of the line

rhymes with the middle." (Handbook

to Tennyson's Works, 1895, p. 80.) Cf. lines 13 and 14 with the paraphrase of Sappho's verses in Frederick Tennyson's Isles of Greece:

"Hesper, thou bringest back again
All that the gaudy daybeams part,
The sheep, the goat back to their pen,
The child home to his mother's heart."

Also see couplet on Hesper in Locksley Hall Sixty Years After, p. 645.

Supposed Confessions, p. 4.

First printed in 1830, with the title Supposed Confessions of a Second-Rate Sensitive Mind not in Unity with Itself; suppressed in later editions, and afterward restored. The poem probably contains some autobiographical touches, revealing the poet's introspective habits and questioning moods in youth, notwithstanding the pious atmosphere of his Somersby home. Cf. In Memoriam, XCVI.

The Kraken, p. 7.

First printed in 1830; suppressed in later editions, and afterward restored.

Song, p. 7.

First printed in 1830, but suppressed in later editions. The influence of Shelley is apparent in this song, as in other roems of Tennyson's.

Lilian, p. 7.

First published in 1830. Of Tennyson's portraits of women, Lilian, Adeline, etc., Taine says: "I have translated many ideas and many styles, but I shall not attempt to translate one of these portraits. Each word of them is like a tint, curiously deepened or shaded by the neighboring tint, with all the boldress and results of the happiest refinement. The least alteration would obscure all. And there an art so just, so consummate, is necessary to paint the charming prettinesses, the sudden hauteurs, the half-blushes, the imperceptible and fleeting caprices of feminine beauty." (Hist. Eng. Lit., V., vi.)

Isabel, p. 7.

First printed in 1830. The poet's much-loved mother is the woman whose praises are sung in this poem and elsewhere in his works. See Memoir by his son, 1897, Vol. I., pp. 17, 18.

Mariana, p. 8.

First printed in 1830, substantially as it is now. Even then Tennyson was fond of using uncommon words, such as marish for marsh, a habit that clung to him through life. The poem is an admirable piece of word-painting, built on the merest suggestion in Shakespeare's drama. Cf. Spenser's Faerie Queene, III., ii., stanzas 28, 29. According to Tennyson, "the Moated Grange is an imaginary house in the fen." Napier

Ode to Memory, p. 14. First printed in 1830. Stanza IV. is reminiscent of Tennyson's boyhood home in Somersby. 'In later life he would often recall with affection his early haunts, the gray hill near the Kectory, the winding lanes shadowed by tall elm trees, and the two brooks that meet at the bottom of the glebefield." Stanza V. refers to the seaside

town of Mablethorpe on the Lincolnshire coast, where the Tennysons used to spend the summer months.

Song, p. 15.

Printed in 1830. Luce regards it as poor poetry. There seems to be an echo of the refrain,

"Heavily hangs the broad sunflower Over its grave i' the earth so chilly," etc., in Poe's Dreamland.

A Character, p. 16.

Printed in 1830. The poem is said to be a portraiture of Thomas Sunderland, a man of eccentric tastes and materialistic views, whom the poet knew at Cambridge.

The Poet, p. 16.

Printed in 1830. Like Milton, Tennyson, when a young man, realized the bard's exalted mission. The true poet is here represented to be a seer rather than a literary artist.

The Poet's Mind, p. 17. Printed in 1830. Tennyson's point of view in this poem is the same as Wordsworth's in A Poet's Epitaph.

The Sea-Fairies, p. 18. Printed in 1830. The main thought of the poem recalls a passage in the

toned song" of the Sirens.

The Deserted House, p. 18. Printed in 1830, but omitted in the 1842 Poems; restored in the next edition. The poem is an allegory; "the deserted house" is the body after the spirit has fled.

The Dying Swan, p. 19.

Printed in 1830. Though not much is said of "the wild swan's death-hymn," the poem is remarkable for the realistic description of the desolate landscape.

A Dirge, p. 19.

Printed in 1830. A poem in Tenny son's peculiar manner, musical and felicitous.

Love and Death, p. 20.

Printed in 1830. A striking poem, giving beautiful expression to Tennyson's spiritual philosophy, suggestive of the triumphant close of In Memoriam.

The Ballad of Oriana, p. 20. Printed in 1839. The poem is an imitation of the ballads on the death of Helen of Kirkconnel.

Circumstance, p. 21.

Printed in 1830. A good example of Tennyson's wondrous faculty of condensing much into little.

The Merman, p. 22.

Printed in 1830. Parodied in Aytoun and Martin's Bon Gaultier Ballads, 1843.

The Mermaid, p. 22.

Printed in 1830. The poem recalls the voice of the ocean spirit in Byron's Manfred, I., i. Luce remarks of The Merman and The Mermaid: "They