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87. JOHN MASEFIELD. From end of 'The everlasting Mercy'.

1912.

88. WORDSWORTH. The octett of a sonnet.

89. SHELLEY. 'Prometheus', i. 738.

90. DIXON.

From The Spirit of the Sphere. Hist. Odes.

91. SHAKESPEARE. Sonnet XVIII.

92. SHAKESPEARE. Sonnet LV. Line 13. That when. (Beech-

ing.)

93. SHELLEY. From Ode to Liberty. St. iv, &c. In last lines see
how Shelley has taken Wordsworth's suggestion in No. 95.
94. WORDSWorth. 'Ecclesiastical Sonnets', iii. 45. Inside of
King's College chapel, Cambridge.

95. WORDSWORTH. From Elegiac Stanzas suggested by a pic-
ture of Peele Castle, &c. 1805. [See Nos. 93 and 106.]

96. KEATS. From Ode on a Grecian urn.

97. KEATS. On first looking into Chapman's Homer.

98. LUCIAN. From 'Herodotus sive Aetion', tr. by Ferrand
Spence, 1694.

99. HENRI-FRÉDÉRIC AMIEL. 'Fragments d'un Journal Intime'.
1884. Vol. i, p. 86.

100. KEATS. Letters. Nov. 22, 1817.

IOI. Unknown. True Thomas. My text mainly follows Sir
Walter Scott. Minstrelsy of the Scottish border.' 1802.
Vol. ii, p. 244. Any slight differences are due to collation
with other original sources.

102. SHAKESPEARE. Song. 'The Tempest', i. 2.

103. W. B. YEATS.

[See No. 26.]

The man who dreamed of Fairyland.

104. SHAKESPEARE. Song. 'The Tempest', v. I.

105. SHELLEY. Witch of Atlas.

of the aeroplane in war.

St. Iv. Strangely descriptive

106. SHELLEY. Same. St. lix. Shelley again works up the 'trem-
bling image' of No. 95.

107. SPENSER. From the Prothalamion. A spousail verse, &c.
The spelling is a little mitigated from R. Morris's text in
Globe edition.

108. SHAKEspeare. 'Merch. of Venice', v. I.

109. S. T. COLERIDGE. From his ' Piccolomini', ii. 4. The latter
part of this passage is a poetic expansion of Schiller's ori-

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ginal lines, I have put the comma after forest in line 16.

110. G. DARLEY. From 'Nepenthe'. I. 95. Privately printed
1835. An allegorical poem containing fine poetry. It
has been reprinted three times in this century.

III. W. B. YEATS. The sad Shepherd. [See No. 26.] Two
misprints corrected.

112. Unknown. The wife of Usher's well. [See 101.] This is
at vol. ii, p. III, of the 'Minstrelsy'.

113. Unknown. Helen of Kirconnell.

p. 72.

114. S. T. Coleridge.

115. A. RIMBAUD.

nations'.

Same as last. Vol. i,

The Lover's resolution, 11. 113 seq.

La Rivière de Cassis. From Les Illumi-

116. SHELLEY. From The Woodman and the Nightingale.
Last section of the poem: from the Oxford edition.

117. Same as No. 18. The morning Moon.

118. LAMB. 'Elia'. 1823, p. 205. The fantastic forms are his
remembrances of the old Benchers of the Temple. re-
ducing restoring, bringing back.

119. MILTON.

-

From Arcades.

120. S. T. COLERIDGE. Kubla Khan.

121. EMILY BRONTE. This poem is No. 135 in 'Brontë poems'.
Smith Elder. 1915. I quote 1st and 4th stanzas of
five.

122. SHELLEY. The Question.

123. W. B. YEATS. From The Winds among the Reeds'.
Elkin Mathews.

1899.

124. SHELLEY. From 'Prometheus', i. 191.

125. Same as 18. L'Après-midi d'un Faune. Romantic imagi-
nation is more far-reaching than natural beauty, but
spiritual imagination is limitless.

126. G. DARLEY. 'Nepenthe'. I. 147. Punctuation not copied.
See No. IIO. The Phoenix personifies the Earth-life of
sun-joys, i. e. the joys of sense. She is sprung of the Sun
and is killed by the Sun. It is of the essence of sun-joys
to be, in their sphere, as eternal as their cause; and their
personification is without ambition to transcend them.
The Phoenix is melancholy as well as glad: the sun-joys
would not be melancholy if they did not perish in the
using but they are ever created anew. Their inherent
melancholy would awaken ambition in the spirit of man.

In the last stanza mountainless means 'void of ambition',
and unechoing means 'awakening no spiritual echoes'.
This is some of Darley's meaning as I understand him.
127. KEATS. From Sleep and Poetry. 1817. Keats tells how
the luxury of Poetry, in which he was indulging, was
broken by a vision, that revealed to him the true meaning
of Poetry. He foresees that it must lead him to a life of
action. He narrates the vision with this intention.
Feb. 18, 1819.

128. KEATS.

From the letters.

129. AMIEL. Vol. i, p. 108. [See 99.]

130. MILTON.

131. DARLEY.

P. L. iii. 26.

From Nepenthe'. I. 411.

132. PLATO. 'Phaedrus', 249.*

*

133. WORDSWORTH. From the Ode on Intimations of Immor-
tality from Recollections of early Childhood. The end
is quoted No. 202.

134. EMILY BRONTE. This poem is thus given in 'The Complete
Poems of Emily Brontë', Hodder and Stoughton, 1910,
p. 92, where it is printed with wrong punctuation and
without a division between the two parts. In the 'Brontë
Poems' [see 121] the second part is judged not to belong
to the first. I failed in my enquiries for external evi-
dence: but am unwilling to discard so beautiful a sequel :
for, as I had read it, the second half poetically supplies
the stimulus needed to arouse the child's divination: and
shows the reaction on herself, when its full meaning
dawns on her consciousness.

135. WORDSWORTH. 1802. Palgrave prints is on for broods

o'er.

136. CH. FONTAINE. 1515-1585. From 'Les Poëtes Français.
Paris. 1861. Vol. i, p. 631.

137. WORDSWORTH. From Lines composed a few miles above
Tintern Abbey, &c. 1798.

138. THOREAU. From 'Walden, or Life in the Woods'.

139. SHAKESPEARE. From Sonnet XXI.

1854.

140. VLADIMIR SOLOVEV, d. 1900 (?). Given me by Mr. Nevill

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143. LANIER. Acknowledgment. II. From 'Poems of Sidney
Lanier'. New York. Scribner. 1889, p. 77.

144. MILTON. P. L. iv. 641. Eve is talking to Adam.

145. DIXON. The Spirit wooed. 'Lyrical Poems.' Daniel.
1887.

146. SHAKESPEARE. Sonnet XCVIII.

147. AMIEL, i. 193.

148. SHELLEY.

From The Invitation.

149. SHAKESPEARE. Sonnet XCVII.

150. R. L. NETTLESHIP. From 'Richard Lewis Nettleship, Lec-
tures and Memories '. Macmillan. 1897. This is from
a letter. Vol. i. p. 72.

151. SHAKESPEARE. Sonnet XXIX.

152. From Capt. Tobias Hume's first part of Airs 1605'.
[O.B.V. No. 68.] This is the second of two stanzas
first republished in our time by Mr. A. H. Bullen.

153. SHELLEY. From Epipsychidion, 1. 596.

154. YEATS. Aedh tells of the Rose in his heart. [As 123.] The
long lines are here divided for convenience in the printing.

155. SHAKESPEARE. Sonnet XXX.

156. SHELLEY.

157. R. W. DIXON. Humanity. From 'Historical Odes', &c.
158. LASCELLES ABERCROMBIE. From 'An Escape' in 'Inter-
ludes and Poems'. Lane. 1908.

159. BLAKE. Auguries of Innocence, from ' Ideas of Good and Evil'.
160. PTOLEMY, the Astronomer. End of second century A. D.*
161. BACON. 'Advancement of Learning', I. viii. 1. Modernized

spelling.

162. A. MARVELL. From To his coy Mistress. No. 357 in the
O.B.V.

163. PASCAL. 'Pensées'.

164. R. L. STEVENSON. From 'Pulvis et umbra'.

165. PLOTINUS. Enn. iii. 8, § 3. This passage is translated by
Nettleship in a letter [see 150]. I made some use of his
version.*

166. DIXON. Quoted in Memoir publ. with selection of poems by
Smith Elder. 1909.

167. AMIEL, ii, p. 86.

168. AMIEL, ii, p. 78.

169. R. L. STEVENSON. Pulvis et umbra'.

170. Ecclesiastes, ch. iii. The last phrase is Wyclif's.

171. BLAKE. From Proverbs, in 'Ideas of Good and Evil'.

172. PASCAL. Lettre à M. Perier. Oct. 17, 1651. Faugère.
Vol. i, p. 18.

173. MARCUS AURELIUS, iv. 15. [See 29.]*

174. AMIEL, ii. 108 and 221.

175. KABIR, iii. 48. [See 17.]

176. SHELLEY. Epipsychidion, 1. 508.

177. KEATS. Sonnet 1817. The first line is Milton's.

178. RIMBAUD. Patience. D'un été. From 'Les Illuminations'.

179. BLAKE. 'Songs of Innocence'.

180. TH. DEKKER. 1575-1641. O.B.E.V.

181. MARCUS AURELIUS, vii. 34.

182. KABIR, i. 58. [See 17.]

183. BLAKE. The Schoolboy, 'Songs of Experience'.

184. MILTON. L'Allegro, 1. 41.

185. MEREDITH. From Melampus.

186. DE BAÏF. 'Les Passetems de Jan Antoine de Baïf'. Paris
edit. 1573, where text has facent in 1. 31.

187. R. B. Walking home. Quantitive elegiacs on a Chinese
theme. From Poems, p. 446.

188. TH. NASHE. 1567-1601.

189. SHAKESPEARE. Song from 'Cymbeline'.

190. CHARLES D'ORLEANS.

136.]

From Sainte-Beuve's Book. [See

191. SHAKESPEARE. Song in As you like it'. Thomas Morley
set this song admirably in his First book of Ayres' 1600,
and his version has slight variants in the words: reading
In spring time and hay ding a ding a ding: also fools
for folk.

192. YEATS. The ragged Wood. From the Tauchnitz coll. of
British Authors', p. 150: with my punctuation substituted
for printer's.

193. CHARLES D'ORLEANS. This from same book as 136.
194. This is Blake's lines To Morning in 'Poetical Sketches' done
into quantitive Alcaics for the chorus in 'Demeter' by R. B.
The opening lines of the Prologue to 'The

195. CHAUCER.

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