No More Learning

_Waly waly_: an exclamation of sorrow, the root and the pronunciation of
which are preserved in the word _caterwaul_. _Brae_: hillside; _burn_:
brook; _busk_: adorn. _Saint Anton's Well_: at the foot of Arthur's Seat
by Edinburgh. _Cramasie_: crimson.


Poem 107.

_burd_: maiden.


Poem 108.

_corbies_: crows; _fail_: turf; _hause_: neck; _theek_: thatch.

If not in their origin, in their present form this and the two preceding
poems appear due to the Seventeenth Century, and have therefore been
placed in Book II.


Poem 111.

The remark quoted in the note to No. 47 applies equally to these truly
wonderful verses, which, like "Lycidas," may be regarded as a test of
any reader's insight into the most poetical aspects of Poetry. The
general differences between them are vast: but in imaginative intensity
Marvell and Shelley are closely related. This poem is printed as a
translation in Marvell's works: but the original Latin is obviously his
own. The most striking verses in it, here quoted as the book is rare,
answer more or less to stanzas 2 and 6:

Alma Quies, teneo te! et te, germana Quietis, Simplicitas! vos ergo diu
per templa, per urbes Quaesivi, regum perque alta palatia, frustra: Sed
vos hortorum per opaca silentia, longe Celarunt plantae virides, et
concolor umbra.


Poems 112&113.

_L'Allegro_ and _Il Penseroso_. It is a striking proof of Milton's
astonishing power, that these, the earliest pure Descriptive Lyrics in
our language, should still remain the best in a style which so many
great poets have since attempted. The Bright and the Thoughtful aspects
of Nature are their subjects: but each is preceded by a mythological
introduction in a mixed Classical and Italian manner. The meaning of the
first is that Gaiety is the child of Nature; of the second, that
Pensiveness is the daughter of Sorrow and Genius.

112: Perverse ingenuity has conjectured that for _Cerberus_ we should
read _Erebus_, who in the Mythology is brother at once and husband of
Night. But the issue of this union is not Sadness, but Day and
Aether:--completing the circle of primary creation, as the parents are
both children of Chaos, the first-begotten of all things. (Hesiod. )

_the mountain nymph_: compare Wordsworth's Sonnet, No. 210.

_The clouds in thousand liveries dight_: is in _apposition_ to the
preceding, by a grammatical license not uncommon with Milton.

_tells his tale_: counts his flock; _Cynosure_: the Pole Star; _Corydon,
Thyrsis_, etc. : Shepherd names from the old Idylls; _Jonson's learned
sock_: the gaiety of our age would find little pleasure in his elaborate
comedies; _Lydian airs_: a light and festive style of ancient music.

113: _bestead_: avail.

_starr'd Ethiop queen_: Cassiopeia, the legendary Queen of Ethiopia, and
thence translated amongst the constellations.

_Cynthia_: the Moon: her chariot is drawn by dragons in ancient
representations.

_Hermes_: called Trismegistus, a mystical writer of the Neo-Platonist
school; _Thebes_, etc. : subjects of Athenian Tragedy; _Buskin'd_:
tragic; _Musaeus_: a poet in Mythology.

_him that left half told_: Chaucer, in his incomplete "Squire's Tale. "

_great bards_: Ariosto, Tasso, and Spenser, are here intended.

_frounced_: curled; _The Attic Boy_: Cephalus.


Poem 114.

Emigrants supposed to be driven towards America by the government of
Charles I.

_But apples_, etc. : A fine example of Marvell's imaginative hyperbole.


Poem 115.

_concent_: harmony.


Poem 123.

_The Bard_. : This Ode is founded on a fable that Edward I. , after
conquering Wales, put the native Poets to death. After lamenting his
comrades (st. 2, 3) the Bard prophesies the fate of Edward II. and the
conquests of Edward III. (4); his death and that of the Black Prince
(5): of Richard II, with the wars of York and Lancaster, the murder of
Henry VI. (the _meek usurper_), and of Edward V. and his brother (6). He
turns to the glory and prosperity following the accession of the Tudors
(7), through Elizabeth's reign (8): and concludes with a vision of the
poetry of Shakespeare and Milton.

_Glo'ster_: Gilbert de Clare, son-in-law to Edward; _Mortimer_: one of
the Lords Marchers of Wales.

_Arvon_: the shores of Carnarvonshire opposite Anglesey.

_She-wolf_: Isabel of France, adulterous Queen of Edward II. ; _Towers of
Julius_: the Tower of London, built in part, according to tradition, by
Julius Caesar.

_bristled boar_: the badge of Richard III.

_Half of thy heart_: Queen Eleanor died soon after the conquest of
Wales.

_Arthur_: Henry VII. named his eldest son thus, in deference to British
feeling and legend.


Poem 125.

The Highlanders called the battle of Culloden, Drumossie.


Poem 126.

_lilting_: singing blithely; _loaning_: broad lane; _bughts_: pens;
_scorning_: rallying; _dowie_: dreary; _daffin'_ and _gabbin'_: joking
and chatting; _leglin_: milkpail; _shearing_: reaping; _bandsters_:
sheaf-binders; _lyart_: grizzled; _runkled_: wrinkled; _fleeching_:
coaxing; _gloaming_: twilight; _bogle_: ghost; _dool_: sorrow.


Poem 128.

The Editor has found no authoritative text of this poem, in his judgment
superior to any other of its class in melody and pathos. Part is
probably not later than the seventeenth century: in other stanzas a more
modern hand, much resembling Scott's, is traceable. Logan's poem (127)
exhibits a knowledge rather of the old legend than of the old verses.

_Hecht_: promised, the obsolete _hight_; _mavis_: thrush; _ilka_: every;
_lav'rock_: lark; _haughs_: valley-meadows; _twined_: parted from;
_marrow_: mate; _syne_ then.


Poem 129.

The _Royal George_, of 108 guns, whilst undergoing a partial careening
in Portsmouth Harbour, was overset about 10 A. M. Aug. 29, 1782. The
total loss was believed to be near 1000 souls.


Poem 131.

A little masterpiece in a very difficult style: Catullus himself could
hardly have bettered it. In grace, tenderness, simplicity, and humour it
is worthy of the Ancients; and even more so, from the completeness and
unity of the picture presented.


Poem 136.

Perhaps no writer who has given such strong proofs of the poetic nature
has left less satisfactory poetry than Thomson. Yet he touched little
which he did not beautify: and this song, with "Rule Britannia" and a
few others, must make us regret that he did not more seriously apply
himself to lyrical writing.


Poem 140.

_Aeolian lyre_: the Greeks ascribed the origin of their Lyrical Poetry
to the colonies of Aeolis in Asia Minor.

_Thracia's hills_ supposed a favourite resort of Mars.

_Feather'd king_ the Eagle of Jupiter, admirably described by Pindar in
a passage here imitated by Gray.

_Idalia_: in Cyprus, where _Cytherea_ (Venus) was especially worshipped.

_Hyperion_: the Sun. St. 6-8 allude to the Poets of the Islands and
Mainland of Greece, to those of Rome and of England.

_Theban Eagle_: Pindar.


Poem 141.

_chaste-eyed Queen_: Diana.


Poem 142.

_Attic warbler_: the nightingale.


Poem 144.

_sleekit_: sleek; _bickering brattle_: flittering flight; _laith_: loth;
_pattle_: ploughstaff; _whyles_: at times; _a daimen icker_: a corn-ear
now and then; _thrave_: shock; _lave_: rest; _foggage_: aftergrass;
_snell_: biting; _but hald_: without dwelling-place; _thole_: bear;
_cranreuch_: hoarfrost; _thy lane_: alone; _a-gley_: off the right
line, awry.


Poem 147.

Perhaps the noblest stanzas in our language.


Poem 148.

_stoure_: dust-storm; _braw_: smart.


Poem 149.

_scaith_: hurt; _tent_: guard; _steer_: molest.


Poem 151.

_drumlie_: muddy; _birk_: birch.


Poem 152.

_greet_: cry; _daurna_: dare not. --There can hardly exist a poem more
truly tragic in the highest sense than this: nor, except Sappho, has any
Poetess known to the Editor equalled it in excellence.


Poem 153.

_fou_: merry with drink; _coost_: carried; _unco skeigh_: very proud;
_gart_: forced; _abeigh_: aside; _Ailsa craig_: a rock in the Firth of
Clyde; _grat his een bleert_: cried till his eyes were bleared;
_lowpin_: leaping; _linn_: waterfall; _sair_: sore; _smoor'd_:
smothered; _crouse and canty_: blythe and gay.


Poem 154.

Burns justly named this "one of the most beautiful songs in the Scots or
any other language. " One verse, interpolated by Beattie, is here
omitted:--it contains two good lines, but is quite out of harmony with
the original poem.

_Bigonet_: little cap, probably altered from _beguinette_; _thraw_:
twist; _caller_: fresh.


Poem 155.

_airts_: quarters; _row_: roll; _shaw_: small wood in a hollow, spinney;
_knowes_: knolls.


Poem 156.

_jo_: sweetheart; _brent_: smooth; _pow_: head.


Poem 157.

_leal_: faithful; _fain_: happy.


Poem 158.

Henry VI. founded Eton.


Poem 161.

The Editor knows no Sonnet more remarkable than this, which, with 162,
records Cowper's gratitude to the Lady whose affectionate care for many
years gave what sweetness he could enjoy to a life radically wretched.
Petrarch's sonnets have a more ethereal grace and a more perfect finish;
Shakespeare's more passion; Milton's stand supreme in stateliness,
Wordsworth's in depth and delicacy. But Cowper's unites with an
exquisiteness in the turn of thought which the ancients would have
called Irony, an intensity of pathetic tenderness peculiar to his loving
and ingenuous nature. There is much mannerism, much that is unimportant
or of now exhausted interest in his poems: but where he is great, it is
with that elementary greatness which rests on the most universal human
feelings. Cowper is our highest master in simple pathos.


Poem 163.

_fancied green_: cherished garden.


Poem 164.

Nothing except his surname appears recoverable with regard to the author
of this truly noble poem: It should be noted as exhibiting a rare
excellence,--the climax of simple sublimity.

It is a lesson of high instructiveness to examine the essential
qualities which give first-rate poetical rank to lyrics such as
"To-morrow" or "Sally in our Alley," when compared with poems written
(if the phrase may be allowed) in keys so different as the subtle
sweetness of Shelley, the grandeur of Gray and Milton, or the delightful
Pastoralism of the Elizabethan verse. Intelligent readers will gain
hence a clear understanding of the vast imaginative, range of
Poetry;--through what wide oscillations the mind and the taste of a
nation may pass;--how many are the roads which Truth and Nature open to
Excellence.


Poem 166.

_stout Cortez_: History requires here Balboa: (A. T. ) It may be noticed,
that to find in Chapman's Homer the "pure serene" of the original, the
reader must bring with him the imagination of the youthful poet;--he
must be "a Greek himself," as Shelley finely said of Keats.


Poem 169.

The most tender and true of Byron's smaller poems.


Poem 170.

This poem, with 236, exemplifies the peculiar skill with which Scott
employs proper names: nor is there a surer sign of high poetical genius.


Poem 191.

The Editor in this and in other instances has risked the addition (or
the change) of a Title, that the aim of the verses following may be
grasped more clearly and immediately.


Poem 198.

_Nature's Eremite_: refers to the fable of the Wandering Jew. --This
beautiful sonnet was the last word of a poet deserving the title
"marvellous boy" in a much higher sense than Chatterton. If the
fulfilment may ever safely be prophesied from the promise, England
appears to have lost in Keats one whose gifts in Poetry have rarely been
surpassed. Shakespeare, Milton, and Wordsworth, had their lives been
closed at twenty-five, would (so far as we know) have left poems of less
excellence and hope than the youth who, from the petty school and the
London surgery, passed at once to a place with them of "high collateral
glory. "


Poem 201.

It is impossible not to regret that Moore has written so little in this
sweet and genuinely national style.


Poem 202.

A masterly example of Byron's command of strong thought and close
reasoning in verse:--as the next is equally characteristic of Shelley's
wayward intensity, and 204 of the dramatic power, the vital
identification of the poet with other times and characters, in which
Scott is second only to Shakespeare.


Poem 209.

Bonnivard, a Genevese, was imprisoned by the Duke of Savoy in Chillon on
the lake of Geneva for his courageous defence of his country against the
tyranny with which Piedmont threatened it during the first half of the
seventeenth century. This noble Sonnet is worthy to stand near Milton's
on the Vaudois massacre.


Poem 210.

Switzerland was usurped by the French under Napoleon in 1800: Venice in
1797 (211).


Poem 215.

This battle was fought Dec. 2, 1800, between the Austrians under
Archduke John and the French under Moreau, in a forest near Munich.
_Hohen Linden_ means _High Limetrees_.


Poem 218.

After the capture of Madrid by Napoleon, Sir J. Moore retreated before
Soult and Ney to Corunna, and was killed whilst covering the embarcation
of his troops. His tomb, built by Ney, bears this inscription--"John
Moore, leader of the English armies, slain in battle, 1809. "


Poem 229.

The Mermaid was the club-house of Shakespeare, Ben Jonson, and other
choice spirits of that age.


Poem 230.

_Maisie_: Mary. Scott has given us nothing more complete and lovely than
this little song, which unites simplicity and dramatic power to a
wild-wood music of the rarest quality. No moral is drawn, far less any
conscious analysis of feeling attempted:--the pathetic meaning is left
to be suggested by the mere presentiment of the situation. Inexperienced
critics have often named this, which may be called the Homeric manner,
superficial, from its apparent simple facility: but first-rate
excellence in it (as shown here, in 196, 156, and 129) is in truth one
of the least common triumphs of Poetry. --This style should be compared
with what is not less perfect in its way, the searching out of inner
feeling, the expression of hidden meanings, the revelation of the heart
of Nature and of the Soul within the Soul,--the analytical method, in
short,--most completely represented by Wordsworth and by Shelley.


Poem 234.

_correi_: covert on a hillside; _Cumber_: trouble.


Poem 235.

Two intermediate stanzas have been here omitted. They are very
ingenious, but, of all poetical qualities, ingenuity is least in
accordance with pathos.


Poem 243.

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


Poem 252.

_interlunar swoon_: interval of the Moon's invisibility.


Poem 256.

_Calpe_: Gibraltar; _Lofoden_: the Maelstrom whirlpool off the N. -W.
coast of Norway.


Poem 257.

This lovely poem refers here and there to a ballad by Hamilton on the
subject better treated in 127 and 128.


Poem 268.

_Arcturi_: seemingly used for _northern stars_.

_And wild roses_, etc. Our language has no line modulated with more
subtle sweetness. A good poet _might_ have written _And roses
wild_:--yet this slight change would disenchant the verse of its peculiar
beauty.


Poem 270.

_Ceres' daughter_: Proserpine; _God of Torment_: Pluto.


Poem 271.
This impassioned address expresses Shelley's most rapt imaginations, and
is the direct modern representative of the feeling which led the Greeks
to the worship of Nature.


Poem 274.

The leading idea of this beautiful description of a day's landscape in
Italy is expressed with an obscurity not unfrequent with its author. It
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.

_Amphitrite_ was daughter to Ocean.

_Sun-girt City_: It is difficult not to believe that the correct reading
is _Seagirt_. Many of Shelley's poems appear to have been printed in
England during his residence abroad: others were printed from his
manuscripts after his death. Hence probably the text of no English Poet
after 1660 contains so many errors. See the Note on No. 9.


Poem 275.

_Maenad_: a frenzied Nymph, attendant on Dionysus in the Greek
mythology.

_The sea-blooms_, etc. : Plants under water sympathise with the seasons
of the laud, and hence with the winds which affect them.


Poem 276.

Written soon after the death, by shipwreck, of Wordsworth's brother
John. This Poem should be 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 Idea 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. "


Poem 278.

Proteus represented the everlasting changes united with ever-recurrent
sameness, of the Sea.


Poem 279.

_the Royal Saint_: Henry VI.




INDEX OF WRITERS.


WITH DATES OF BIRTH AND DEATH.


ALEXANDER, William (1580-1640) 22

BACON, Francis (1561-1626) 57
BARBAULD, Anna Laetitia (1743-1825) 165
BARNEFIELD, Richard (16th Century) 34
BEAUMONT, Francis (1586-1616) 67
BURNS, Robert (1759-1796) 125, 132, 139, 144, 148, 149, 150, 151, 153,
155, 156
BYRON, George Gordon Noel (1788-1824) 169, 171, 173 190, 202; 209, 222,
232

CAMPBELL, Thomas (1777-1844) 181, 183, 187, 197, 206, 207, 215, 256,
262, 267, 283
CAREW, Thomas (1589-1639) 87
CAREY, Henry (-- -1743) 131
CIBBER, Colley (1671-1757) 119
COLERIDGE, Hartley (1796-1849) 175
COLERIDGE, Samuel Taylor (1772-1834) 168, 280
COLLINS, William (1720-1756) 124, 141, 146
COLLINS, --- (18th Century) 164
CONSTABLE, Henry (156-? -1604? ) 15
COWLEY, Abraham (1618-1667) 102
COWPER, William (1731-1800) 129, 134, 143, 160, 161, 162
CRASHAW, Richard (1615? -1652) 79
CUNNINGHAM, Allan (1784-1842) 205

DANIEL, Samuel (1562-1619) 35
DEKKER, Thomas (-- -1638? ) 54
DRAYTON, Michael (1563-1631) 37
DRUMMOND, William (1585-1649) 2, 38, 43, 55, 58, 59, 61
DRYDEN, John (1631-1700) 63, 116

ELLIOTT, Jane (18th Century) 126

FLETCHER, John (1576-1625) 104

GAY, John (1688-1732) 130
GOLDSMITH, Oliver (1728-1774) 138
GRAHAM, --- (1735-1797) 133
GRAY, Thomas (1716-1771) 117, 120, 123, 140, 142, 147, 158, 159

HERBERT, George (1593-1632) 74
HERRICK, Robert (1591-1674? ) 82, 88, 92, 93, 96, 109, 110
HEYWOOD, Thomas (-- -1649? ) 52
HOOD, Thomas (1798-1845) 224, 231, 235

JONSON, Ben (1574-1637) 73, 78, 90

KEATS, John (1795-1821) 166, 167, 191, 193, 198, 229, 244, 255, 270, 284

LAMB, Charles (1775-1835) 220, 233, 237
LINDSAY, Anne (1750-1825) 152
LODGE, Thomas (1556-1625) 16
LOGAN, John (1748-1788) 127
LOVELACE, Richard (1618-1658) 83, 99, 100
LYLYE, John (1554-1600) 51

MARLOWE, Christopher (1562-1593) 5
MARVELL, Andrew (1620-1678) 65, 111, 114
MICKLE, William Julius (1734-1788) 154
MILTON, John (1608-1674) 62, 64, 66, 70, 71, 76, 77, 85, 112, 113, 115
MOORE, Thomas (1780-1852) 185, 201, 217, 221, 225

NAIRN, Carolina (1766-1845) 157
NASH, Thomas (1567-1601? ) 1

PHILIPS, Ambrose (1671-1749) 121
POPE, Alexander (1688-1744) 118
PRIOR, Matthew (1664-1721) 137

ROGERS, Samuel (1762-1855) 135, 145

SCOTT, Walter (1771-1832) 105, 170, 182, 186, 192, 194, 196, 204, 230,
234, 236, 239, 263
SEDLEY, Charles (1639-1701) 81, 98
SEWELL, George (-- -1726) 163
SHAKESPEARE, William (1564-1616) 3, 4, 6, 7, 8, 10, 11, 12, 13, 14, 18,
19, 20, 23, 24, 27, 28, 29, 30, 31, 32, 36, 39, 42, 44, 45, 46, 48, 49
50, 56, 60
SHELLEY, Percy Bysshe (1792-1822) 172, 176, 184, 188, 195, 203, 226,
227, 241, 246, 252, 259, 260, 264, 265, 268, 271, 274, 275, 277, 285,
288
SHIRLEY, James (1596-1666) 68, 69
SIDNEY, Philip (1554-1586) 24
SOUTHEY, Robert (1774-1843) 216, 228
SPENSER, Edmund (1553-1598/9) 53
SUCKLING, John (1608/9-1641) 101
SYLVESTER, Joshua (1563-1618) 25
THOMSON, James (1700-1748) 122, 136

VAUGHAN, Henry (1621-1695) 75
VERE, Edward (1534-1604) 41

WALLER, Edmund (1605-1687) 89, 95
WEBSTER, John (-- -1638? ) 47
WITHER, George (1588-1667) 103
WOLFE, Charles (1791-1823) 218
WORDSWORTH, William (1770-1850) 174, 177, 178, 179, 180, 189, 200, 208,
210, 211, 212, 213, 214, 219, 223, 238, 240, 242, 243, 245, 247, 248,
249, 250, 251, 253, 254, 257, 258, 261, 266, 269, 272, 273, 276, 278,
279, 281, 282, 286, 287
WOTTON, Henry (1568-1639) 72, 84
WYAT, Thomas (1503-1542) 21, 33

UNKNOWN: 9, 17, 40, 80, 86, 91, 94, 97, 106, 107, 108, 128





INDEX OF FIRST LINES.

Absence, hear thou my protestation
A Chieftain to the Highlands bound
A flock of sheep that leisurely pass by
Ah, Chloris! could I now but sit
Ah! County Guy, the hour is nigh
All in the Downs the fleet was moor'd
All thoughts, all passions, all delights
And are ye sure the news is true?
And is this Yarrow? --This the Stream
And thou art dead, as young and fair
And wilt thou leave me thus?
Ariel to Miranda:--Take
Art thou pale for weariness
Art thou poor, yet hast thou golden slumbers?
As it fell upon a day
As I was walking all alane
A slumber did my spirit seal
As slow our ship her foamy track
A sweet disorder in the dress
At the corner of Wood Street, when daylight appears
At the mid hour of night, when stars are weeping, I fly
Avenge, O Lord! Thy slaughter'd Saints, whose bones
Awake, Aeolian lyre, awake
Awake, awake, my Lyre!
A weary lot is thine, fair maid
A wet sheet and a flowing sea
A widow bird sate mourning for her Love


Bards of Passion and of Mirth
Beauty sat bathing by a spring
Behold her, single in the field
Being your slave, what should I do but tend
Beneath these fruit-tree boughs that shed
Best and brightest, come away
Bid me to live, and I will live
Blest pair of Sirens, pledges of Heaven's joy
Blow, blow, thou winter wind
Bright Star! would I were steadfast as thou art


Call for the robin-redbreast and the wren
Calm was the day, and through the trembling air
Captain, or Colonel, or Knight in Arms
Care-charmer Sleep, son of the sable Night
Come away, come away, death
Come live with me and be my Love
Crabbed Age and Youth
Cupid and my Campaspe play'd
Cyriack, whose grandsire, on the royal bench


Daughter of Jove, relentless power
Daughter to that good earl, once President
Degenerate Douglas! O the unworthy lord!
Diaphenia like the daffadowndilly
Doth then the world go thus, doth all thus move?
Down in yon garden sweet and gay
Drink to me only with thine eyes
Duncan Gray cam here to woo


Earl March look'd on his dying child
Earth has not anything to show more fair
Eternal Spirit of the chainless Mind!
Ethereal Minstrel! Pilgrim of the sky!
Ever let the Fancy roam


Fair Daffodils, we weep to see
Fair pledges of a fruitful tree
Farewell! thou art too dear for my possessing
Fear no more the heat o' the sun
For ever, Fortune, wilt thou prove
Forget not yet the tried intent
Four Seasons fill the measure of the year
From Harmony, from heavenly Harmony
From Stirling Castle we had seen
Full fathom five thy father lies


Gather ye rose-buds while ye may
Gem of the crimson-colour'd Even
Go fetch to me a pint o' wine
Go, lovely Rose!


Hail to thee, blithe Spirit!
Happy the man, whose wish and care
Happy those early days, when I
He is gone on the mountain
He that loves a rosy cheek
Hence, all you vain delights
Hence, loathed Melancholy
Hence, vain deluding Joys
How delicious is the winning
How happy is he born and taught
How like a winter hath my absence been
How sleep the Brave, who sink to rest
How sweet the answer Echo makes
How vainly men themselves amaze


I am monarch of all I survey
I arise from dreams of thee
I dream'd that as I wander'd by the way
If aught of oaten stop or pastoral song
If doughty deeds my lady please
I fear thy kisses, gentle maiden
If Thou survive my well-contented day
If to be absent were to be
If women could be fair, and yet not fond
I have had playmates, I have had companions
I heard a thousand blended notes
I met a traveller from an antique land
I'm wearing awa', Jean
In a drear-nighted December
In the downhill of life, when I find I'm declining
In the sweet shire of Cardigan
I remember, I remember
I saw where in the shroud did lurk
It is a beauteous evening, calm and free
It is not Beauty I demand
It is not growing like a tree
I travell'd among unknown men
It was a lover and his lass
It was a summer evening
I've heard them lilting at our ewe-milking
I wander'd lonely as a cloud
I was thy neighbour once, thou rugged Pile!
I wish I were where Helen lies


John Anderson, my jo, John


Lawrence, of virtuous father virtuous son
Let me not to the marriage of true minds
Life! I know not what thou art
Life of Life! thy lips enkindle
Like as the waves make towards the pebbled shore
Like to the clear in highest sphere
Love not me for comely grace
Lo! where the rosy-bosom'd Hours


Many a green isle needs must be
Mary! I want a lyre with other strings
Milton! thou shouldst be living at this hour
Mine be a cot beside the hill
Mortality, behold and fear
Most sweet it is with unuplifted eyes
Much have I travell'd in the realms of gold
Music, when soft voices die
My days among the Dead are past
My heart aches, and a drowsy numbness pains
My heart leaps up when I behold
My Love in her attire doth show her wit
My lute, be as thou wert when thou didst grow
My thoughts hold mortal strife
My true-love hath my heart, and I have his


No longer mourn for me when I am dead
Not a drum was heard, not a funeral note
Not, Celia, that I juster am
Now the golden Morn aloft
Now the last day of many days


O blithe new-comer! I have heard
O Brignall banks are wild and fair
Of all the girls that are so smart
Of a' the airts the wind can blaw
Of Nelson and the North
O Friend! I know not which way I must look
Of this fair volume which we World do name
Oft in the stilly night
O if thou knew'st how thou thyself dost harm
Oh, lovers' eyes are sharp to see
Oh, snatch'd away in beauty's bloom!
O listen, listen, ladies gay!
O Mary, at thy window be
O me! what eyes hath love put in my head
O mistress mine, where are you roaming?
O my Luve's like a red, red rose
On a day, alack the day!
On a Poet's lips I slept
Once did She hold the gorgeous East in fee
One more Unfortunate
One word is too often profaned
O never say that I was false of heart
On Linden, when the sun was low
O saw ye bonnie Lesley
O say what is that thing call'd Light
O talk not to me of a name great in story
Our bugles sang truce, for the night-cloud had lower'd
Over the mountains
O waly waly up the bank
O what can ail thee, knight-at-arms
O Wild West Wind, thou breath of Autumn's being
O World! O Life! O Time!


Pack, clouds, away, and welcome day
Phoebus, arise!
Pibroch of Donuil Dhu
Poor Soul, the centre of my sinful earth
Proud Maisie is in the wood


Queen and Huntress, chaste and fair


Rarely, rarely, comest thou
Ruin seize thee, ruthless King!


Season of mists and mellow fruitfulness
Shall I compare thee to a summer's day?
Shall I, wasting in despair
She dwelt among the untrodden ways
She is not fair to outward view
She walks in beauty, like the night
She was a phantom of delight
Since brass, nor stone, nor earth, nor boundless sea
Since there's no help, come let us kiss and part
Sleep on, and dream of Heaven awhile
Souls of Poets dead and gone
Spring, the sweet Spring, is the year's pleasant king
Star that bringest home the bee
Stern Daughter of the voice of God!
Surprised by joy--impatient as the wind
Sweet, be not proud of those two eyes
Sweet Highland Girl, a very shower
Sweet stream, that winds through yonder glade
Swiftly walk over the western wave


Take, O take those lips away
Tax not the royal Saint with vain expense
Tell me not, Sweet, I am unkind
Tell me where is Fancy bred
That time of year thou may'st in me behold
That which her slender waist confined
The curfew tolls the knell of parting day
The forward youth that would appear
The fountains mingle with the river
The glories of our blood and state
The last and greatest Herald of Heaven's King
The lovely lass o' Inverness
The merchant, to secure his treasure
The more we live, more brief appear
The poplars are fell'd! farewell to the shade
The sun is warm, the sky is clear
The sun upon the lake is low
The twentieth year is well-nigh past
The World is too much with us; late and soon
The World's a bubble, and the Life of Man
There be none of Beauty's daughters
There is a flower, the lesser Celandine
There is a garden in her face
There's not a joy the world can give like that it takes away
There was a time when meadow, grove, and stream
They that have power to hurt, and will do none
This is the month, and this the happy morn
This life, which seems so fair
Three years she grew in sun and shower
Thy braes were bonnie, Yarrow stream
Thy hue, dear pledge, is pure and bright
Timely blossom, Infant fair
Tired with all these, for restful death I cry
Toll for the brave
To me, fair Friend, you never can be old
'Twas at the royal feast for Persia won
'Twas on a lofty vase's side
Two Voices are there, one is of the Sea


Under the greenwood tree


Verse, a breeze 'mid blossoms straying
Victorious men of earth, no more


Waken, lords and ladies gay
Wee, sleekit, cow'rin', tim'rous beastie
Were I as base as is the lowly plain
We talk'd with open heart, and tongue
We walk'd along, while bright and red
We watch'd her breathing thro' the night
Whenas in silks my Julia goes
When Britain first at Heaven's command
When first the fiery-mantled Sun
When God at first made Man
When he who adores thee has left but the name
When icicles hang by the wall
When I consider how my light is spent
When I have borne in memory what has tamed
When I have fears that I may cease to be
When I have seen by Time's fell hand defaced
When in disgrace with fortune and men's eyes
When in the chronicle of wasted time
When lovely woman stoops to folly
When Love with unconfined wings
When maidens such as Hester die
When Music, heavenly maid, was young
When Ruth was left half desolate
When the lamp is shatter'd
When the sheep are in the fauld, and the kye at hame
When to the sessions of sweet silent thought
When we two parted
Where art thou, my beloved Son
Where shall the lover rest
Where the remote Bermudas ride
While that the sun with his beams hot
Whoe'er she be
Why art thou silent? Is thy love a plant
Why, Damon, with the forward day
Why so pale and wan, fond lover?
Why weep ye by the tide, ladie?
With little here to do or see


Ye banks and braes and streams around
Ye banks and braes o' bonnie Doon
Ye distant spires, ye antique towers
Ye Mariners of England
Yes, there is holy pleasure in thine eye!
Yet once more, O ye laurels, and once more
You meaner beauties of the night





Corrections to Collins edition:

Poem 143--"W. COUPER" to "W. COWPER"
Poem 274--"like a green see" to "like a green sea"
Poem 280--"woful Ere" to "woeful Ere"
Palgrave's Notes--Poem 62: "mythe" to "myth"
Palgrave's Notes--Poem 85: "Parliamant" to "Parliament"
Palgrave's Notes--Poem 140: "Acolian lyre" to "Aeolian lyre"
Palgrave's Notes--Poem 140: "were Cytheria" to "where Cytheria"
Palgrave's Notes--Poem 275: "Geeek" to "Greek"





End of the Project Gutenberg EBook of The Golden Treasury, by Various

*** END OF THIS PROJECT GUTENBERG EBOOK THE GOLDEN TREASURY ***

***** This file should be named 19221-8. txt or 19221-8. zip *****
This and all associated files of various formats will be found in:
http://www. gutenberg. org/1/9/2/2/19221/

Produced by James Tenison

Updated editions will replace the previous one--the old editions
will be renamed.

Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you! ) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.



*** START: FULL LICENSE ***

THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg. org/license).


Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works

1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.

1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.

1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.

1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.

1. E. Unless you have removed all references to Project Gutenberg:

1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:

This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org

1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.

1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.

1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.

1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.

1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.

1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.

1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that

- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "

- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.

- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.

- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.

1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.

1.