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misery, and the life-long blessing of her equally noble
minded brother. 328 cclxxxix 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 illus
trious Author. 339 ccc interlunar swoon: interval of the moon's invisibility. 344 cociv Calpe: Gibraltar. Lofoden: the Maelstrom whirl
pool off the N.W. coast of Norway. 345 сссу This lovely poem refers here and there to a ballad
by Hamilton on the subject better treated in 163 and
164. 357 CCCXV Arcturi: seemingly used for northern stars. And
wild roses, &c. Our language has perhaps no line mod
ulated with more subtle sweetness. 358 cccxvi Coleridge describes this poem as the fragment of
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 Pur
chas' Pilgrima 362 cccxviii Ceres' daughter: Proserpine. God of Torment:
Pluto. 370 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 worldli
ness and the uncharity of man. 371 1. 23 Amphitrite was daughter to Ocean. 375 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? 376 1. 5 Plants under water sympathize with the seasons
of the land, and hence with the winds which affect
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.' 378 the Kind: the human race.
PAGE NO. 381 cccxxvii the Royal Saint: Henry VI. 381 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.
BEAUMONT, Francis (1586-1616).
On the Tombs in Westminster Abbey
BLAKE, William (1757-1827).
BURNS, Robert (1759-1796).
Lament for Culloden
BYRON, George Gordon Noel (1788–1824).
All for Love
BYRON, G. G. N. (continued).
Elegy on Thyrza
Lord Ullin's Daughter
The River of Life
The True Beauty
Sally in our Alley
The Blind Boy
She is not fair to outward view
Youth and Age