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misery, and the life-long blessing of her equally nobleminded brother.

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This poem has an exaltation and a glory, joined with an exquisiteness of expression, which place it in the highest rank among the many masterpieces of its illustrious Author.

interlunar swoon: interval of the moon's invisibility. ccciv Calpe: Gibraltar. Lofoden: the Maelstrom whirlpool off the N.W. coast of Norway.

CCCV This lovely poem refers here and there to a ballad by Hamilton on the subject better treated in 163 and 164.

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And Arcturi: seemingly used for northern stars. wild roses, &c. Our language has perhaps no line modulated with more subtle sweetness.

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Coleridge describes this poem as the fragment of a dream-vision, perhaps, an opium-dream?-which composed itself in his mind when fallen asleep after reading a few lines about 'the Khan Kubla' in Purchas' Pilgrimage.

cccxviii Ceres' daughter: Proserpine. God of Torment: Pluto.

cccxxi The leading idea of this beautiful description of a day's landscape in Italy appears to be-On the voyage of life are many moments of pleasure, given by the sight of Nature, who has power to heal even the worldliness and the uncharity of man.

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1. 23 Amphitrite was daughter to Ocean.

cccxxii 1. 21 Maenad: a frenzied Nymph, attendant on Dionysos in the Greek mythology. May we not call this the most vivid, sustained, and impassioned amongst all Shelley's magical personifications of Nature?

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1. 5 Plants under water sympathize with the seasons of the land, and hence with the winds which affect them.

cccxxiii Written soon after the death, by shipwreck, of Wordsworth's brother John. This poem may be profitably compared with Shelley's following it. Each is the most complete expression of the innermost spirit of his art given by these great Poets:-of that İdea which, as in the case of the true Painter, (to quote the words of Reynolds,) 'subsists only in the mind: The sight never beheld it, nor has the hand expressed it: it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting.'

the Kind: the human race.

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cccxxvii the Royal Saint: Henry VI.

cccxxviii st. 4 this folk: its has been here plausibly but, perhaps, unnecessarily, conjectured.-Every one knows the general story of the Italian Renaissance, of the Revival of Letters. From Petrarch's day to our own, that ancient world has renewed its youth: Poets and artists, students and thinkers, have yielded themselves wholly to its fascination, and deeply penetrated its spirit. Yet perhaps no one more truly has vivified, whilst idealizing, the picture of Greek country life in the fancied Golden Age, than Keats in these lovely (if somewhat unequally executed) stanzas: his quick imagination, by a kind of 'natural magic,' more than supplying the scholarship which his youth had no opportunity of gaining.

155 cxxxiv These stanzas are by Richard Verstegan (—c. 1635), a poet and antiquarian, published in his rare Odes (1601), under the title Our Blessed Ladies Lullaby, and reprinted by Mr. Orby Shipley in his beautiful Carmina Mariana (1893). The four stanzas here given form the opening of a hymn of twenty-four.

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All for Love

BYRON, George Gordon Noel (1788-1824).

There be none of Beauty's daughters
She walks in beauty, like the night
When we two parted

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BYRON, G. G. N. (continued).
Elegy on Thyrza

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On the Castle of Chillon

Youth and Age

Elegy

CAMPBELL, Thomas (1777–1844).

Lord Ullin's Daughter

To the Evening Star

Earl March look'd on his dying child

Ye Mariners of England

Battle of the Baltic

Hohenlinden

The Beech Tree's Petition

Ode to Winter

Song to the Evening Star

The Soldier's Dream

The River of Life

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