Line 45. An easy father confessor in thee. The accent on confessor' is on the first syllable; as in ii. 1. 158 (p. 681) below. Compare Romeo and Juliet,' ii. 6. 21: Good even to my ghostly confessor,' etc.

Page 662. Line 201. Toulouse. The English editions have Toulouse' here, but 'Thoulouse' in other passages.

Page 664. Line 20. Her scutage. In feudal law, a tax on a knight's fee or scutum (literally, shield); also (as here) a commutation for personal service.

Page 666. Line 128. Out, bear! Here, as elsewhere, a play upon the name 'Fitzurse' (from the Latin ursus, bear).

Page 672. Line 217. Who ranged confusions. Brought order out of disorder; a meaning of range' not recognized by the dictionaries, so far as I am aware.

The

Page 676. Line 431. Deal gently with the young man Absalom. See 2 Samuel, xviii. 12. Page 677. Line 106. Swine, sheep, ox. beggar naturally uses the Saxon names for the meats instead of the Norman pork,' 'mutton,' and beef.' Compare the often-quoted dialogue of Gurth and Wamba in Ivanhoe.' So in line 133 Becket translates venison' into the Saxon buck' or 'deer' for the beggar, who does not understand the Norman name.

Page 680. Line 74. A dog's name. Alluding to the common English name, 'dog-rose' (Rosa canina).

Line 76. Thou rose of the world. A play upon Rosamund' as derived from the Latin rosa mundi. Compare v. 2. 140 (p. 702) below.

Page 682. Line 44. The golden Leopard. In the coat-of-arms.

Page 684. Line 194. To diagonalize. The word appears to be Tennyson's own coinage. The Oxford Dictionary gives no other example of it.

Page 685. Line 207. Non defensoribus istis. From Virgil, Æneid,' ii. 521.

Page 686. Line 21. Fond excess. Foolish excess; the usual meaning of 'fond' in Elizabethan English.

Page 690. Line 85. Like the Greek king, etc.
Compare A Dream of Fair Women,' 107:
I was cut off from hope in that sad place

Which men call'd Aulis in those iron years;
My father held his hand upon his face.

Line 88. The young crownling. The Oxford Dictionary gives this as the only example of crownling, which was probably coined by Tennyson. The same seems to be true of Goliasing' and 'Goliathizing' in 106 below.

The

Page 693. Line 56. Come along, then! one-volume English editions (down to 1897) have an interrogation-mark after then.'

Page 700. Line 43. These wells of Marah! See Exodus, xv. 23.

Uxor pauperis Ibyci.

Page 701. Line 116.
From Horace, Carmina,' iii. 15. 1.

Page 704. Line 270. When God makes up
his jewels. See Malachi, iii. 17.
THE FALCON.
Line 24. Darning, your lordship.

Page 708. Page 709.

Line 53. Not the head of a toad, and not a heart like the jewel in it. Compare As You Like It,' ii. 1. 12:

Sweet are the uses of adversity,

Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head. Page 731. THE PROMISE OF MAY.

The following is the analysis of Edgar's char acter by Mr. Lionel Tennyson, referred to on p. 731 above:

Edgar is not, as the critics will have it, a freethinker drawn into crime by his Communistic theories; Edgar is not a protest against the atheism of the age; Edgar is not even an honest Radical nor a sincere follower of Schopenhauer; he is nothing thorough and nothing sincere; but he is a criminal, and at the same time a gentleman. These are the two sides of his character. He has no conscience until he is brought face to face with the consequences of his crime, and in the awakening of that conscience the poet has manifested his fullest and sublimest strength. At our first introduction to Edgar we see him perplexed with the haunting of a pleasure that has sated him. "Let us eat and drink, for to-morrow we die " has been his motto; but we can detect that his appetite for all pleasure has begun to pall. He repeats wearily the formulæ of a philosophy which he has followed because it suits his mode of life. He plays with these formulæ, but they do not satisfy him. So long as he had on him the zest of libertinism he did not in all probability trouble himself with philosophy. But now he begins to hanker after his position as a gentleman as a member of society. He feels he has outlawed himself. He has no one but himself to look to. He must endeavor to justify himself to himself. His selfishness compels him to take a step of which he feels the wickedness and repugnancy. The companionship of the girl he has ruined no longer gives him pleasure; he hates her tears because they remind him of himself, his proper self. He abandons her with a pretence of satisfaction; but the philosophical formulæ he repeats no more satisfy him than they satisfy this poor girl whom he deserts. Her innocence has not, however, been wantonly sacrificed by the dramatist. She has sown the seed of repentance in her seducer, though the fruit is slow in ripening. Years after, he returns like the ghost of a murderer to the scene of his crime. He feels remorse. He is ashamed of it; he battles against it; he hurls the old formulæ at it; he acts the cynic more thoroughly than ever. But he is changed. He feels a desire to "make amends." "Yet that desire is still only a form of selfishness. He has abandoned the Utopian idiocy" of Communism. Perhaps, as he says with the self-mockery that makes the character so individual and

remarkable, because he has inherited estates. His position of gentleman is forced on his notice; he would qualify himself for it, selfishly and without doing excessive penance. To marry the surviving sister and rescue the old father from ruin would be a meritorious act. He sets himself to perform it. At first everything goes well for him; the old weapons of fascination that had worked the younger sister's ruin now conquer the heart of the elder. He is comfortable in his scheme of reparation, and lays that flattering unction to his soul." Suddenly, however, the girl whom he has betrayed and whom he thought dead returns; she hears him repeating to another the words of love she herself had caught from him and believed. Edgar,' she cries, and staggers forth from her concealment, as she forgives him with her last breath, and bids him make her sister happy. Then, and not till then, the true soul of the man rushes to his lips; he recognizes his wickedness, he knows the blankness of his life. That is his punishment. He feels then and will always feel aspirations after good which he can never or only imperfectly fulfil. The position of independence on which he prided himself is wrested from him; he is humiliated; the instrument of his selfish repentance turns on him, with a forgiveness that annihilates him; the bluff and honest farmer, whom he despises, triumphs over him, not with the brute force of an avenging hand, but with the preeminence of superior morality. Edgar quits the scene, never again, we can well believe, to renew his libertine existence, but to expiate with lifelong contrition the monstrous wickedness of the past. This is dramatic justice.'

Page 734. Line 240. What are we?' says the blind old man in Lear.' See Lear,' iv. 1. 38:

As flies to wanton boys, are we to the gods;
They kill us for their sport.

Page 737. Line 504. Like the Love-goddess, etc. Aphrodite (Venus) rising from the sea.

Page 738. Line 561. I had no mother. Compare Browning, Blot in the 'Scutcheon,' ii.: 'I had no mother, and I loved him so!'

Page 742. Line 265. Scizzars and Pumpy. Cæsar and Pompey.

Page 746. Line 540. An' maäted an' muddled ma. For 'maäted' (stupefied), compare Macbeth,' v. 1. 86: My mind she has mated, and amazed my sight.'

Page 747. Line 107. The Queen's Real Hard Tillery. The Royal Artillery.

Page 753. Line 633. Make, make! I cannot find the word-forgive it. In the 1st edition this is properly made one line, as it is in the one-volume editions; but in the ten-volume editions of 1893, 1894, etc., Make, make!' is a separate line.

Page 760. WRITTEN BY AN EXILE OF BAS

Page 766. SUBLIMITY.

8th stanza. On Niagara's flood of matchless might. For the penultimate accent of Niagara,' compare Goldsmith, The Traveller,' 412: And Niagara stuns with thundering sound.' This was the original pronunciation of the name. See Lippincott's Gazetteer.'

Page 768. THE GRAVE OF A SUICIDE.

1st stanza. Sighs thro' yon grove of aged oaks. The reprint (Macmillan's American edition) has "grave' for 'grove.'

3d stanza. For thou, wed to misery from the tomb. The verse halts, unless we accent misery on the second syllable, a pronunciation which some critics recognize in occasional instances in Elizabethan poetry. I rather suspect some misprint here. Last

Page 769. The Walk at Midnight. stanza. Rise! let us trace, etc. This reminds one of the closing stanza of 'The Miller's Daughter.'

Page 773. THE PASSIONS.

1st stanza. Beware, beware, e'er thou wakest! This is the reading of the reprint, but the 'ere' in the 1st line shows that 'e'er' is a slip either of the pen or of the type.

A CONTRAST.

1st stanza. The 'riven' and 'giv'n' are in the reprint, which probably follows the original edition.

Page 778. TIMBUCTOO.

I retain the original spelling and pointing.

Page 780. And thou, with ravish'd sense. Some of the reprints have lavish'd sense '; and above multitude of multitudes' for 'multitudes of multitudes.'

Page 781. POEMS PUBLISHED IN THE EDITION OF 1830.

The spelling and pointing here are those of the original edition; except in certain compound words (like ' pale-cold,' 'hollow-hearted,' etc.), which do not there have the hyphen. Page 782. SONG.

1st stanza. The blosmy brere. The blossoming briar, or wild rose. Compare Shelley, Adonais,' viii.: And build their mossy homes in field and brere.'

Page 785. Sonnet.

And these shall wed with freemen,
And all their sons be free
To sing the songs of England
Beneath the greenwood tree.

Page 789. To CHRISTOPHER NORTH.
See the Biographical Sketch, p. xiv.

The history of each poem and each volume has been given already in the introductory and other notes. In the following chronological list American editions, except as connected with the English, are not included. The titles of books and pamphlets published separately are set in small capitals.

1827. POEMS BY TWO BROTHERS. London and Louth.

1829. TIMBUCTOO. Printed in 'Prolusiones Academica, Cambridge.

1830. POEMS, CHIEFLY LYRICAL. London. 1831. 'Anacreontics,' 'No More,' and 'A Fragment contributed to The Gem; a Literary Annual'; and a Sonnet (Check every outflash,' etc.) to The Englishman's Magazine' for August (reprinted in 'Friendship's Offering,' 1833).

1832. POEMS BY ALFRED TENNYSON. London (dated 1833).

A Sonnet (There are three things,' etc.) contributed to The Yorkshire Literary Annual'; and a Sonnet (Me my own Fate,' etc.) to Friendship's Offering.' 1833. THE LOVER'S TALE. London. Suppressed immediately after publication. 1837. O that 't were possible' (the_germ of 'Maud ') contributed to The Tribute'; The Keep

and Saint Agnes' Eve' to
sake.'

1842. PоBMS. 2 vols. London. A second, third, and fourth edition appeared in 1843-46; fifth, in one volume, 1848; sixth, 1850; seventh, 1851; and eighth (with additions), 1853.

1846. The New Timon and the Poets' contributed to Punch,' February 28; and Afterthought' to 'Punch,' March 7. 1847. THE PRINCESS. London. Second, third, and fourth editions, 1848-51; fifth, 1853.

1849. To, after Reading a Life and Letters,' in the Examiner,' March 24.

1850.

IN MEMORIAM. London. Second and third editions the same year; fourth edition, 1851. Lines (Here often, when a child,' etc.) contributed to the Manchester Literary Album.'

1851. What time I wasted youthful hours' and Come not when I am dead,' contrib

875

uted to The Keepsake.' Sonnet to Macready read at dinner to him, and printed in The Household Narrative of Current Events.'

1852. ODE ON THE DEATH OF THE DUKE OF WELLINGTON. London.

Britons, guard your own,' contributed to the Examiner,' January 31; and The Third of February' and Hands all Round' to the same, February 7.

1854. The Charge of the Light Brigade,' in the Examiner,' December 9. Reprinted in separate form. in August, 1855.

1855. MAUD, AND OTHER POEMS. London. A second enlarged edition, in 1856.

1857.

ENID AND NIMUE: OR THE TRUE AND THE FALSE (earliest form of two Idylls of the King'), London. Suppressed before publication.

Illustrated edition of the 'Poems.' Lon

1864. ENOCH ARDEN. AND OTHER POEMS. London. Epitaph on the Late Duchess of Kent' printed in the Court Journal,' March 19.

1865. A SELECTION FROM THE WORKS OF ALFRED TENNYSON (containing six new poems). London.

1867. THE WINDOW: OR THE LOVES OF THE WRENS. Privately printed at Canford Manor. Reprinted at London, 1870 (dated 1871).

THE VICTIM. Privately printed at same place.

1868. The Victim' reprinted in 'Good Words,' January. On a Spiteful_Letter' contributed to Once a Week,' January; 'Wages' to 'Macmillan's Magazine,' February; 1865-1866' to 'Good Words,' March; and Lucretius' to 'Macmillan's Magazine,' May.

1869. THE HOLY GRAIL, AND OTHER POEMS. London.

A WELCOME TO MARIE ALEXANDROVNA (first printed in the 'Times,' and afterwards separately).

Com

The Cabinet Edition' of the 'Poems,' containing important additions. pleted (12 vols.) in 1880.

1875. QUEEN MARY, London.

The Author's Edition' of the 'Poems,' London, 6 vols. (1875-77).

1876. HAROLD, London (dated 1877). 1877. A Prefatory Sonnet' contributed to the Nineteenth Century,' March; Montenegro' to number for May; Sonnet' To Victor Hugo,' to number for June; and Achilles over the Trench,' August.

to the

Epitaph on Sir John Franklin written for the memorial in Westminster Abbey. 1878. The Revenge' contributed Nineteenth Century,' March. 1879. THE LOVER'S TALE (completed), London.

The Defence of Lucknow,' with 'Dedicatory Poem to the Princess Alice,' contributed to the Nineteenth Century,' April. 1880. BALLADS, AND OTHER POEMS, London.

'Child Songs' contributed to 'Saint Nicholas,' February and March; De Profundis' to Nineteenth Century,' May; and 'Midnight, June 30, 1879,' to Collected Sonnets,' by Charles Tennyson Turner (London, 1880).

1881. Despair' contributed to the 'Nineteenth Century,' November.

1882. The Charge of the Heavy Brigade' contributed to 'Macmillan's Magazine,' March; and 'To Virgil' to the Nineteenth Century,' September.

1883. Frater Ave atque Vale,' contributed to the Nineteenth Century,' March.

The Epitaph on Caxton written for the memorial window in St. Margaret's, Westminster.

1884. THE CUP AND THE FALCON, London. BECKET, London.

Collected editions of the 'Poems' in one volume and in seven volumes (three volumes added in 1886).

Early Spring contributed to 'Youth's Companion; and Freedom' to the New York Independent' and Macmillan's Magazine,' December.

1885. TIRESIAS, AND OTHER POEMS, London. 'The Fleet' contributed to the Times,'

April 23; To H. R. H. Princess Beatrice' to the Times,' July 23; and Vastness' to Macmillan's Magazine,' November. 1886. LOCKSLEY HALL SIXTY YEARS AFTER, ETC. London.

Ode for the Opening of the Indian and Colonial Exhibition,' May 4.

1887. Carmen Seculare' (Jubilee Ode), con

tributed to Macmillan's Magazine, April. 1889. To EDWARD LEAR, AND OTHER POEMS, illustrated by Edward Lear, London. One hundred numbered copies only, signed by Tennyson.

DEMETER, AND OTHER POEMS. Lon

don.

A new one-volume edition of the 'Poems,' published before the 'Demeter' volume. The Throstle' contributed to the New Review,' October.

1890. New one-volume editions of the Poems' without the Dramas, and with the Dramas (reprinted in 1891) including the 'Demeter' poems.

1891. To Sleep' contributed to the 'New Review,' March.

1892.

Verses on The Death of the Duke of Clarence and Avondale' printed in the Nineteenth Century,' February.

THE FORESTERS, London and New York.

SILENT VOICES, published privately in London on the day of the Poet's funeral (October 12).

THE DEATH OF ENONE, AKBAR'S DREAM, and OTHER POEMS. London and New York.

A miniature 16-volume edition, bound in 8 volumes (one thousand copies on India paper, printed at the Oxford University Press) was published in September. It did not include The Foresters' nor the Death of Enone' volume. It is not mentioned in any of the Bibliographies.

1893. POEMS BY TWO BROTHERS, London; a reprint of the edition of 1827, with four additional poems from MS. and Timbuctoo.' Edited, with preface, by Hallam Lord Tennyson. London and New York.

New 10-volume edition of the Poems, including the Foresters' and the poems in The Death of Enone' volume; also a new one-volume edition similarly complete. London and New York.

BECKET, as arranged for the stage by Henry Irving, and presented at the Lyceum Theatre, February 6, 1893. London and New York.

1897. ALFRED LORD TENNYSON: A Memoir, by his Son. 2 vols. London and New York. Contains seventy or more unpublished poems and fragments, mostly of early date.

A city clerk, but gently born and bred, 252.
Act first, this Earth, a stage so gloom'd with
woe, 555.

Again at Christmas did we weave, 180.
A garden here May breath and bloom of

spring, 622.

A happy lover who has come, 165.
Ah God! the petty fools of rhyme, 272.
Ah! yes, the lip may faintly smile, 772.
Airy, fairy Lilian, 7.

All along the valley, stream that flashest white,
264.

All thoughts, all creeds, all dreams are true,
787.

Almighty Love! whose nameless power, 776.
Along yon vapour-mantled sky, 760.
Altho' I be the basest of mankind, 79.
And all is well, tho' faith and form, 195.
And ask ye why these sad tears stream? 765.
And was the day of my delight, 169.

And Willy, my eldest-born, is gone, you say,
little Anne? 258.

Angels have talked with him and showed him
thrones, 783.

A plague upon the people fell, 272.

Are you sleeping? have you forgotten? do not
sleep, my sister dear, 501.

A rose,
but one, none other rose had I, 419.
Arouse thee, O Greece! and remember the day,
776.

Ask me no more: the wind may draw the sea,
155.

A spirit haunts the year's last hours, 13.
As sometimes in a dead man's face, 180.
As the hosts of the locusts in numbers, in
might, 763.

As thro' the land at eve we went, 122.
A still small voice spake unto me, 30.

A storm was coming, but the winds were still,
366.

As when with downcast eyes we
brood, 24.

muse and

At Flores in the Azores Sir Richard Grenville
lay, 459.

At Francis Allen's on the Christmas-eve, 63.
Athelstan King, 485.

A thousand summers ere the time of Christ,
497.

At times our Britain cannot rest, 526.

Ay, ay, O, ay-the winds that bend the brier!
433.

Babble in bower, 687.

Banner of England, not for a season, O banner
of Britain, hast thou, 470.

'Beat, little heart - I give you this and this,'
552.

Beat upon mine, little heart! beat, beat! 553.
Beautiful city, the centre and crater of Euro-
pean confusion, 555.

Below the thunders of the upper deep, 6.
Be near me when my light is low, 175.
Be thou a-gawin' to the long barn? 732.
Beware, beware, ere thou takest, 773.

Blow trumpet, for the world is white with
May, 310.

Blow ye the trumpet, gather from afar, 789.
Bow, daughter of Babylon, bow thee to the
dust! 775.

Break, break, break, 115,

Brooks, for they call'd you so that knew you
best, 484.

Bury the Great Duke, 223.

By night we linger'd on the lawn, 186.

Calm is the morn without a sound, 166.
Caress'd or chidden by the slender hand, 25.
Chains, my good lord! in your raised brows I
read, 476.

Check every outflash, every ruder sally, 790.
Clear-headed friend, whose joyful scorn, 9.
Clearly the blue river chimes in flowing, 4.
Come down, O maid, from yonder mountain
height, 158.

Come not, when I am dead, 110.

Come, when no graver cares employ, 222.
Comrades, leave me here a little, while as yet
't is early morn, 90.

Contemplate all this work of Time, 193.
Could I have said while he was here, 181.
Could I outwear my present state of woe, 784.
Could we forget the widow'd hour, 172.