357-361. THOMAS MOORE (1779-1850).

These five pieces are taken from the Irish Melodies as given in the Poetical Works of Thomas Moore. (London, 1840-41.)

362-363. EBENEZER ELLIOTT (1781-1849).

From The Poetical Works of Ebenezer Elliott edited by his son Edwin Elliott, Rector of St. John's, Antigua. (London, 1876.)

364-365. THOMAS LOVE PEACOCK (1785-1866). 364. The catch sung by Mr. Hilary and the Reverend Mr. Larynx in Nightmare Abbey: from Dr. Garnett's Edition. (London, 1891.) 365. From the third volume of Cole's Edition of Peacock's Works. (London, 1875.) The Table of Contents refers the song to 1806; in the text (p. 50) it is said to be 'written after 1806.'

366-367. ALLAN CUNNINGHAM (1785-1842).

From Poems and Songs by Allan Cunningham. With an Introduction, Glossary, and Notes by Peter Cunningham. (London, 1847.) Both were forged by 'honest Allan' (who never could refuse a chance of appearing to vie with Burns in the manipulation, or even the manufacture, of traditional material) for Cromek's Remains of Nithsdale and Galloway Song (1810).

a

368-380. BYRON (1788-1824).

My selection is printed from The Works of Lord Byron (1837), the First Complete Edition, undertaken by Murray, it would seem, at the urgent instancing of Sir Walter Scott, and 'respectfully inscribed' 'To the Right Honourable Sir Robert Peel, Bart., etc. etc. etc.,' as being 'Collective Edition of the Works of His "School and Form Fellow" at Harrow. 368. From the Third Harold (1817); addressed to Augusta Leigh. 369. No. 1 of the Hebrew Melodies (January, 1815). 370. Addressed to Lady Byron, and published, together with A Sketch from Private Life:-Born in a garret, in a kitchen bred :— in The Champion of Sunday, April 14, 1816, and in The Morning Chronicle two days after. In the former print-(which says, by the way, that though not sold, they have been distributed by his respectable publisher, Mr. Murray')—the verses are dated March 17, 1816; in the latter, March 30 of the same year. 371. Addressed to Augusta Leigh, under date of July 24, 1816. 372. Written in 1808. 373. Dated 1812, and published (1812) in the Second Edition of

Childe Harold, i. and ii., under this device:-'Heu, quanto minus est cum reliquis versari, quam tui meminisse.' 374. Dated 1815, and suggested, directly or indirectly, by the death of Byron's old schoolmate, the Duke of Dorset (killed by a fall from his horse), these 'Stanzas for Music,' which the writer describes as 'the truest, though the most melancholy, I ever wrote,' were sent to Moore for Power (publisher of the Irish Melodies), who brought them out with very beautiful music by Sir John Stevenson.' 375. Not dated, but apparently written in 1815. 376. 'This should have been written fifteen moons ago; the first stanza was.' Thus Byron to Moore under date of 10th July 1817, so that this brave, affectionate lyric(surely its Second Stanza embodies as good and sound a philosophy of life as protestant could desire?)-was meant as the writer's farewell ere he went into exile in the April of 1816. 377. Written at Venice, in 1817, when, although I did not dissipate much upon the whole, yet I found the sword wearing out the scabbard, though I have but just turned the corner of twenty-nine.' 378. Dated November 1821; 'composed... on the road from Florence to Pisa'; and addressed to Mme. Guiccioli. 379. From the Third Juan (1821). 380. Dated • Missolonghi, Jan. 22, 1824.

381-394. PERCY BYSSHE SHELLEY (1792-1822).

These examples of the art and genius of the master-lyrist of our race are reprinted from the Aldine Edition. 381-382. The Ode to the West Wind and The Cloud appear among the miscellaneous poems issued with Prometheus Unbound (1820). 383. The final chorus in Hellas (1822). 384. First given in the Posthumous Poems (1824). 385. First printed in 1822, in the Second Number of The Liberal, under the style and title of Song, Written for an Indian Air. 386-393. From the Posthumous Poems (as above). 394. The first title, when the poem appeared in The Athenæum of November 17, 1832, was:-An Ariette for Music. To a Lady Singing to her Accompaniment on the Guitar.

395-400. JOHN KEATS (1795-1821).

In the case of the selections from Keats, the Aldine text, edited by Lord Houghton, is adopted. 395. The Hymn to Pan is from the First Book of Endymion (1818). 396. From the Fourth Book of Endymion. At the close of the second section I have ventured to omit a stanza of the original, because it examples all Keats's defects, and embitters the perfect sweetness by which it is surrounded. For the pedant's sake I give it here:

'Within his car, aloft, young Bacchus stood,

Trifling his ivy-dart, in dancing mood,

With sidelong laughing;

And little rills of crimson wine imbrued

His plump white arms, and shoulders, enough white
For Venus' pearly bite;

And near him rode Silenus on his ass,
Pelted with flowers as he on did pass
Tipsily quaffing.'

401. THOMAS HOOD (1799-1845)

From the First Volume of The Poetical Works of Thomas Hood. (London, 1836.)

402-404. THOMAS LOVELL BEDDOES (1803-1849).

These pieces are reprinted from Pickering's edition of The Poems, Posthumous and Collected, of Thomas Lovell Beddoes. (London, 1851.) Two stanzas of Dream-Pedlary (402) are omitted from the text:

"If there are ghosts to raise,

What shall I cail,

Out of hell's murky maze,
Heaven's blue pall?

Raise my loved long-lost boy-
To lead me to his joy.

There are no ghosts to raise;
Out of death lead no ways;
Vain is the call.

Know'st thou not ghosts to sue?
No love thou hast.

Else lie as I will do,

And breathe thy last.

So out of Life's fresh crown

Fall like a rose-leaf down.

Thus are the ghosts to wooe;

Thus are all dreams made true;
Ever to last!'

The Dirge is from Death's Jest-Book; or, The Fool's Tragedy (Act ii. SC. 1). 404. From Torrismond (Act i. sc. 3).

405-408. EDGAR ALLAN POE (1809-1849).

From Mr. Andrew Lang's edition of The Poems of Edgar Allan Poe. (London, 1881.)

AUTHORS

ANONYMOUS, 19-26, 139-152, 168, 263-| Edwards, Richard (1523-1566), 18.

Donne, John (1573-1631), 16316536Lindsay, Lady Anne (1750-1825), 303.

401. THOMAS HOOD (1799-1845).

From the First Volume of The Poetical Works of Thomas Hood.
(London, 1856.)

402-404. THOMAS LOVELL BEDDOES (1803-1849).

These pieces are reprinted from Pickering's edition of The Poems,
Posthumous and Collected, of Thomas Lovell Beddoes. (London, 1851.)
Two stanzas of Dream-Pedlary (402) are omitted from the text :-

'If there are ghosts to raise,
What shall I call,
Out of hell's murky maze,
Heaven's blue pall?

Raise my loved long-lost boy-

To lead me to his joy.

There are no ghosts to raise ;
Out of death lead no ways;
Vain is the call.

Know'st thou not ghosts to sue?

No love thou hast.

Else lie as I will do,

And breathe thy last.

So out of Life's fresh crown

Fall like a rose-leaf down.

Thus are the ghosts to wooe;

Thus are all dreams made true;
Ever to last!'

The Dirge is from Death's Jest-Book; or, The Fool's Tragedy (Act ii.
sc. 1). 404. From Torrismond (Act i. sc. 3).

405-408. EDGAR ALLAN POE (1809-1849).

From Mr. Andrew Lang's edition of The Poems of Edgar Allan Poe.
(London, 1881.)