Alma Quies, teneo te! et te, germana Quietis,Simplicitas! vos ergo diu per templa, per urbesQuaesivi, regum perque alta palatia, frustra:Sed vos hortorum per opaca silentia, longeCelarunt plantae virides, et concolor umbra.
Alma Quies, teneo te! et te, germana Quietis,Simplicitas! vos ergo diu per templa, per urbesQuaesivi, regum perque alta palatia, frustra:Sed vos hortorum per opaca silentia, longeCelarunt plantae virides, et concolor umbra.
115143 St. 3tutties: nosegays. St. 4silly: simple.
L'AllégroandIl Penseroso. It is a striking proof of Milton's astonishing power, that these, the earliest great Lyrics of the Landscape in our language, should still remain supreme in their style for range, variety, and melodious beauty. The Bright and the Thoughtful aspects of Nature and of Life are their subjects: but each is preceded by a mythological introduction in a mixed Classical and Italian manner.—With that ofL'Allégromay be compared a similar mythe in the first Section of the first Book of S. Marmion's gracefulCupid and Psyche, 1637.
116144The mountain-nymph; compare Wordsworth's Sonnet, No. 254. L. 38 is inappositionto the preceding, by a syntactical license not uncommon with Milton.
118— l. 14Cynosure; the Pole Star.Corydon,Thyrsis, &c.: Shepherd names from the old Idylls.Rebeck(l. 28) an elementary form of violin.
119— l. 24Jonson's learned sock: His comedies are deeply coloured by classical study. L. 28Lydian airs: used here to express a light and festive style of ancient music. The 'Lydian Mode,' one of the seven original Greek Scales, is nearly identical with our 'Major.'
120145 l. 3bestead: avail. L. 10starr'd Ethiop queen: Cassiopeia, the legendary Queen of Ethiopia, and thence translated amongst the constellations.
121—Cynthia: the Moon: Milton seems here to have transferred to her chariot the dragons anciently assigned to Demeter and to Medea.
122—Hermes, called Trismegistus, a mystical writer of the Neo-Platonist school. L. 27Thebes, &c.: subjects of Athenian Tragedy.Buskin'd(l. 30) tragic, in opposition to sock above. L. 32Musaeus: a poet in Mythology. L. 37him that left half-told: Chaucer in his incomplete 'Squire's Tale.'
123—great bards: Ariosto, Tasso, and Spenser, are here presumably intended. L. 9frounced: curled.The Attic Boy(l. 10) Cephalus.
124146 Emigrants supposed to be driven towards America by the government of Charles I.
125— l. 9, 10.But apples, &c. A fine example of Marvell's imaginative hyperbole.
— 147 l. 6concent: harmony.
128149 A lyric of a strange, fanciful, yet solemn beauty:—Cowley's style intensified by the mysticism of Henry More.—St. 2monument: the World.
129151 Entitled 'A Song in Honour of St. Cecilia's Day: 1697.'
It is more difficult to characterize the English Poetry of the Eighteenth century than that of any other. For it was an age not only of spontaneous transition, but of bold experiment: it includes not only such absolute contrasts as distinguish the 'Rape of the Lock' from the 'Parish Register,' but such vast contemporaneous differences as lie between Pope and Collins, Burns and Cowper. Yet we may clearly trace three leading moods or tendencies:—the aspects of courtly or educated life represented by Pope and carried to exhaustion by his followers; the poetry of Nature and of Man, viewed through a cultivated, and at the same time an impassioned frame of mind by Collins and Gray:—lastly, the study of vivid and simple narrative, including natural description, begun by Gay and Thomson, pursued by Burns and others in the north, and established in England by Goldsmith, Percy, Crabbe, and Cowper. Great varieties in style accompanied these diversities in aim: poets could not always distinguish the manner suitable for subjects so far apart: and the union of conventional and of common language, exhibited most conspicuously by Burns, has given a tone to the poetry of that century which is better explained by reference to its historical origin than by naming it artificial. There is, again, a nobleness of thought, a courageous aim at high and, in a strict sense manly, excellence in many of the writers:—nor can that period be justly termed tame and wanting in originality, which produced poems such as Pope's Satires, Gray's Odes and Elegy, the ballads of Gay and Carey, the songs of Burns and Cowper. In truth Poetry at this, as at all times, was a more or less unconscious mirror of the genius of the age: and the many complex causes which made the Eighteenth century the turning-time in modern European civilization are also more or less reflected in its verse. An intelligent reader will find the influence of Newton as markedly in the poems of Pope, as of Elizabeth in the plays of Shakespeare. On this great subject, however, these indications must here be sufficient.
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134153 We have no poet more marked by rapture, by the ecstasy which Plato held the note of genuine inspiration, than Collins. Yet but twice or thrice do his lyrics reach that simplicity, thatsinceram sermonis Attici gratiamto which this ode testifies his enthusiastic devotion. His style, as his friend Dr. Johnson truly remarks, was obscure; his diction often harsh and unskilfully laboured; he struggles nobly against the narrow, artificial manner of his age, but his too scanty years did not allow him to reach perfect mastery.St. 3Hybla: near Syracuse.Her whose ... woe: the nightingale, 'for which Sophocles seems to have entertained a peculiar fondness'; Collins here refers to the famous chorus in theOedipus at Colonus. St. 4Cephisus: the stream encircling Athens on the north and west, passing Colonus. St. 6stay'd to sing: stayed her song when Imperial tyranny was established at Rome. St. 7 refers to the Italian amourist poetry of the Renaissance: In Collins' day, Dante was almost unknown in England. St. 8meeting soul: which moves sympathetically towards Simplicity as she comes to inspire the poet. St. 9Of these: Taste and Genius.
The Bard.In 1757, when this splendid ode was completed, so very little had been printed, whether in Wales or in England, in regard to Welsh poetry, that it is hard to discover whence Gray drew his Cymric allusions. The fabled massacre of the Bards (shown to be wholly groundless in Stephens'Literature of the Kymry) appears first in the family history of Sir John Wynn of Gwydir (cir. 1600), not published till 1773; but the story seems to have passed in MS. to Carte's History, whence it may have been taken by Gray. The references tohigh-born Hoelandsoft Llewellyn; toCadwalloandUrien; may, similarly, have been derived from the 'Specimens' of early Welsh poetry, by the Rev. E. Evans:—as, although not published till 1764, the MS., we learn from a letter to Dr. Wharton, was in Gray's hands by July 1760, and may have reached him by 1757. It is, however, doubtful whether Gray (of whose acquaintance with Welsh we have no evidence) must not have been also aided by some Welsh scholar. He is one of the poets least likely to scatter epithets at random: 'soft' or gentle is the epithet emphatically and specially given to Llewelyn in contemporary Welsh poetry, and is hence here used with particular propriety. Yet, without such assistance as we have suggested, Gray could hardly have selected the epithet, although applied to the King (p. 141-3) among a crowd of others, in Llygad Gwr's Ode, printed by Evans.—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.
140159 l. 13Glo'ster: Gilbert de Clare, son-in-law to Edward.Mortimer, one of the Lords Marchers of Wales.
141159High-born Hoel, soft Llewellyn(l. 15); theDissertatio de Bardisof Evans names the first as son to the King Owain Gwynedd: Llewelyn, last King of North Wales, was murdered 1282. L. 16Cadwallo: Cadwallon (died 631) and Urien Rheged (early kings of Gwynedd and Cumbria respectively) are mentioned by Evans (p. 78) as bards none of whose poetry is extant. L. 20Modred: Evans supplies nodatafor this name, which Gray (it has been supposed) uses for Merlin (Myrddin Wyllt), held prophet as well as poet.—The Italicized lines mark where the Bard's song is joined by that of his predecessors departed. L. 22Arvon: the shores of Carnarvonshire opposite Anglesey. Whether intentionally or through ignorance of the real dates, Gray here seems to represent theBardas speaking of these poets, all of earlier days, Llewelyn excepted, as his own contemporaries at the close of the thirteenth century.
Gray, whose penetrating and powerful genius rendered him in many ways an initiator in advance of his age, is probably the first of our poets who made some acquaintance with the rich and admirable poetry in which Wales from the Sixth Century has been fertile,—before and since his time so barbarously neglected, not in England only. Hence it has been thought worth while here to enter into a little detail upon his Cymric allusions.
142— l. 5She-wolf: Isabel of France, adulterous Queen of Edward II.—L. 35Towers of Julius: the Tower of London, built in part, according to tradition, by Julius Caesar.
143— l. 2bristled boar: the badge of Richard III. L. 7Half of thy heart: Queen Eleanor died soon after the conquest of Wales. L. 18Arthur: Henry VII named his eldest son thus, in deference to native feeling and story.
144161 The Highlanders called the battle of Culloden, Drumossie.
145162lilting, singing blithely:loaning, broad lane:bughts, pens:scorning, rallying:dowie, dreary:daffin'andgabbin', joking and chatting:leglin, milkpail:shearing, reaping:bandsters, sheaf-binders:lyart, grizzled:runkled, wrinkled:fleeching, coaxing:gloaming, twilight:bogle, ghost:dool, sorrow.
147164 The Editor has found no authoritative text of this poem, to his mind 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 (163) exhibits a knowledge rather of the old legend than of the old verses,—Hecht, promised; the obsoletehight:mavis, thrush:ilka, every:lav'rock, lark:haughs, valley-meadows:twined, parted from:marrow, mate:syne, then.
148165 The Royal George, of 108 guns, whilst undergoing a partial careening at Spithead, was overset about 10 A.M. Aug. 29, 1782. The total loss was believed to be nearly 1000 souls.—This little poem might be called one of our trial-pieces, in regard to taste. The reader who feels the vigour of description and the force of pathos underlying Cowper's bare and truly Greek simplicity of phrase, may assure himselfse valde profecissein poetry.
151167 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.
155172 Perhaps no writer who has given such strong proofs of the poetic nature has left less satisfactory poetry than Thomson. Yet this song, with 'Rule Britannia' and a few others, must make us regret that he did not more seriously apply himself to lyrical writing.
156174 With what insight and tenderness, yet in how few words, has this painter-poet here himself toldLove's Secret!
157177 l. 1Aeolian lyre: the Greeks ascribed the origin of their Lyrical Poetry to the Colonies of Aeolis in Asia Minor.
158—Thracia's hills(l. 9) supposed a favourite resort of Mars.Feather'd king(l. 13) the Eagle of Jupiter, admirably described by Pindar in a passage here imitated by Gray.Idalia(l. 19) in Cyprus, whereCytherea(Venus) was especially worshipped.
159— l. 6Hyperion: the Sun. St. 6-8 allude to the Poets of the Islands and Mainland of Greece, to those of Rome and of England.
160— l. 27Theban Eagle: Pindar.
163178 l. 5chaste-eyed Queen: Diana.
164179 From that wild rhapsody of mingled grandeur, tenderness, and obscurity, that 'medley between inspiration and possession,' which poor Smart is believed to have written whilst in confinement for madness.
165181the dreadful light: of life and experience.
166182Attic warbler: the nightingale.
168184sleekit, sleek:bickering brattle, flittering flight:laith, loth:pattle, ploughstaff:whyles, at times:a daimenicker, a corn-ear now and then:thrave, shock:lave, rest:foggage, after-grass:snell, biting:but hald, without dwelling-place:thole, bear:cranreuch, hoar-frost:thy lane, alone:a-gley, off the right line, awry.
175188stoure, dust-storm;braw, smart.
176189scaith, hurt:tent, guard:steer, molest.
177191drumlie, muddy:birk, birch.
178192greet, cry:daurna, dare not.—There can hardly exist a poem more truly tragic in the highest sense than this: nor, perhaps, Sappho excepted, has any Poetess equalled it.
180193fou, 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:crouseandcanty, blithe and gay.
181194 Burns justly named this 'one of the most beautiful songs in the Scots or any other language.' One stanza, interpolated by Beattie, is here omitted:—it contains two good lines, but is out of harmony with the original poem.Bigonet, little cap: probably altered frombéguinette:thraw, twist:caller, fresh.
182195 Burns himself, despite two attempts, failed to improve this little absolute masterpiece of music, tenderness, and simplicity: this 'Romance of a life' in eight lines.—Eerie: strictly, scared: uneasy.
183196airts, quarters:row, roll:shaw, small wood in a hollow, spinney:knowes, knolls. The last two stanzas are not by Burns.
184197jo, sweetheart:brent, smooth:pow, head.
— 198leal, faithful. St. 3fain, happy.
185199 Henry VI founded Eton.
188200 Written in 1773, towards the beginning of Cowper's second attack of melancholy madness—a time when he altogether gave up prayer, saying, 'For him to implore mercy would only anger God the more.' Yet had he given it up when sane, it would have been 'maior insania.'
191203 The Editor would venture to class in the very first rank this Sonnet, which, with 204, 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.
193205 Cowper's last original poem, founded upon a story told in Anson's 'Voyages.' It was written March 1799; he died in next year's April.
195206 Very little except his name appears recoverable withregard to the author of this truly noble poem, which appeared in the 'Scripscrapologia, or Collins' Doggerel Dish of All Sorts,' with three or four other pieces of merit, Birmingham, 1804.—Everlasting; used with side-allusion to a cloth so named, at the time when Collins wrote.
It proves sufficiently the lavish wealth of our own age in Poetry, that the pieces which, without conscious departure from the standard of Excellence, render this Book by far the longest, were with very few exceptions composed during the first thirty years of the Nineteenth century. Exhaustive reasons can hardly be given for the strangely sudden appearance of individual genius: that, however, which assigns the splendid national achievements of our recent poetry to an impulse from the France of the first Republic and Empire is inadequate. The first French Revolution was rather one result,—the most conspicuous, indeed, yet itself in great measure essentially retrogressive,—of that wider and more potent spirit which through enquiry and attempt, through strength and weakness, sweeps mankind round the circles (not, as some too confidently argue, of Advance, but) of gradual Transformation: and it is to this that we must trace the literature of Modern Europe. But, without attempting discussion on the motive causes of Scott, Wordsworth, Shelley, and others, we may observe that these Poets carried to further perfection the later tendencies of the Century preceding, in simplicity of narrative, reverence for human Passion and Character in every sphere, and love of Nature for herself:—that, whilst maintaining on the whole the advances in art made since the Restoration, they renewed the half-forgotten melody and depth of tone which marked the best Elizabethan writers:—that, lastly, to what was thus inherited they added a richness in language and a variety in metre, a force and fire in narrative, a tenderness and bloom in feeling, an insight into the finer passages of the Soul and the inner meanings of the landscape, a larger sense of Humanity,—hitherto scarcely attained, and perhaps unattainable even by predecessors of not inferior individual genius. In a word, the Nation which, after the Greeks in their glory, may fairly claim that during six centuries it has proved itself the most richly gifted of all nations for Poetry, expressed in these men the highest strength and prodigality of its nature. They interpreted the age to itself—hence the many phases of thought and style they present:—to sympathize with each, fervently and impartially, without fear and without fancifulness, is no doubtful step in the higher education of the soul. For purity in taste is absolutely proportionate to strength—and when once the mind has raised itself to grasp and to delight in excellence, those who love most will be found to love most wisely.
But the gallery which this Book offers to the reader will aid him more than any preface. It is a royal Palace of Poetry which he is invited to enter:
Adparet domus intus, et atria longa patescunt—
Adparet domus intus, et atria longa patescunt—
though it is, indeed, to the sympathetic eye only that its treasures will be visible.
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197208 This beautiful lyric, printed in 1783, seems to anticipate in its imaginative music that return to our great early age of song, which in Blake's own lifetime was to prove,—how gloriously! that the English Muses had resumed their 'ancient melody':—Keats, Shelley, Byron,—he overlived them all.
199210stout Cortez: History would here suggestBalbóa: (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.
202212 The most tender and true of Byron's smaller poems.
203213 This poem exemplifies the peculiar skill with which Scott employs proper names:—a rarely misleading sign of true poetical genius.
213226 Simple asLucy Grayseems, a mere narrative of what 'has been, and may be again,' yet every touch in the child's picture is marked by the deepest and purest ideal character. Hence, pathetic as the situation is, this is not strictly a pathetic poem, such as Wordsworth gives us in 221, Lamb in 264, and Scott in hisMaid of Neidpath,—'almost more pathetic,' as Tennyson once remarked, 'than a man has the right to be.' And Lyte's lovely stanzas (224) suggest, perhaps, the same remark.
222235 In this and in other instances the addition (or the change) of a Title has been risked, in hope that the aim of the piece following may be grasped more clearly and immediately.
228242 This beautiful Sonnet was the last word of a youth, in whom, if the fulfilment may ever safely be prophesied from the promise, England lost one of the most rarely gifted in the long roll of her poets. Shakespeare and Milton, 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.'
230245 It is impossible not to regret that Moore has written so little in this sweet and genuinely national style.
231246 A masterly example of Byron's command of strongthought and close reasoning in verse:—as the next is equally characteristic of Shelley's wayward intensity.
240253 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.
241254 Switzerland was usurped by the French under Napoleon in 1800: Venice in 1797 (255).
243259 This battle was fought Dec. 2, 1800, between the Austrians under Archduke John and the French under Moreau, in a forest near Munich.Hohen LindenmeansHigh Limetrees.
247262 After the capture of Madrid by Napoleon, Sir J. Moore retreated before Soult and Ney to Corunna, and was killed whilst covering the embarkation of his troops.
257272 The Mermaid was the club-house of Shakespeare, Ben Jonson, and other choice spirits of that age.
258273Maisie: 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 presentment of the situation. A narrow criticism has often named this, which maybe called the Homeric manner, superficial, from its apparent simple facility; but first-rate excellence in it 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.
263277 Wolfe resembled Keats, not only in his early death by consumption and the fluent freshness of his poetical style, but in beauty of character:—brave, tender, energetic, unselfish, modest. Is it fanciful to find some reflex of these qualities in theBurialandMary? Out of the abundance of theheart...
264278correi: covert on a hillside.Cumber: trouble.
265250 This book has not a few poems of greater power and more perfect execution thanAgnesand the extract which we have ventured to make from the deep-hearted author'sSad Thoughts(No. 224). But none are more emphatically marked by the note of exquisiteness.
266281 st. 3inch: island.
270283 FromPoetry for Children(1809), by Charles and MaryLamb. This tender and original little piece seems clearly to reveal the work of that noble-minded and afflicted sister, who was at once the happiness, the misery, and the life-long blessing of her equally noble-minded brother.
278289 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.
289300interlunar swoon: interval of the moon's invisibility.
294304Calpe: Gibraltar.Lofoden: the Maelstrom whirlpool off the N.W. coast of Norway.
295305 This lovely poem refers here and there to a ballad by Hamilton on the subject better treated in 163 and 164.
307315Arcturi: seemingly used fornorthern stars.And wild roses, &c.Our language has perhaps no line modulated with more subtle sweetness.
308316 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.
312318Ceres' daughter: Proserpine.God of Torment: Pluto.
320321 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.
321— l. 23 Amphitrite was daughter to Ocean.
325322 l. 21Maenad: 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?
326— l. 5 Plants under water sympathize with the seasons of the land, and hence with the winds which affect them.
327323 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 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.'
328—the Kind: the human race.
331327the Royal Saint: Henry VI.
331328 st. 4thisfolk:itshas 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.
105134 These stanzas are by Richard Verstegan (—c. 1635), a poet and antiquarian, published in his rare Odes (1601), under the titleOur Blessed Ladies Lullaby, and reprinted by Mr. Orby Shipley in his beautifulCarmina Mariana(1893). The four stanzas here given form the opening of a hymn of twenty-four.
WITH DATES OF BIRTH AND DEATH
Alexander, William (1580-1640)29
Barbauld, Anna Laetitia (1743-1825)207Barnefield, Richard (16th Century)45Beaumont, Francis (1586-1616)90Blake, William (1757-1827)174,180,181,208Burns, Robert (1759-1796)161,168,176,184,188,189,190,191,193,196,197Byron, George Gordon Noel (1788-1824)212,214,216,234,246,253,266,275
Campbell, Thomas (1777-1844)225,231,241,250,251,259,295,304,310,314,332Campion, Thomas (c. 1567-1620)25,26,50,52,55,59,76,79,101,143Carew, Thomas (1589-1639)112Carey, Henry (—— -1743)167Cibber, Colley (1671-1757)155Coleridge, Hartley (1796-1849)218Coleridge, Samuel Taylor (1772-1834)211,316,329Collins, John (18th Century)206Collins, William (1720-1756)153,160,178,186Cowley, Abraham (1618-1667)130,137Cowper, William (1731-1800)165,170,183,200,202,203,204,205Crashaw, Richard (1615?-1652)103Cunningham, Allan (1784-1842)249
Daniel, Samuel (1562-1619)46Dekker, Thomas (—— -1638?)75Devereux, Robert (1567-1601)83Donne, John (1573-1631)12Drayton, Michael (1563-1631)49Drummond, William (1585-1649)4,61,63,77,80,81,84Dryden, John (1631-1700)86,151
Elliott, Jane (18th Century)162
Fletcher, John (1576-1625)132
Gay, John (1685-1732)166Goldsmith, Oliver (1728-1774)175Graham, Robert (1735-1797)169Gray, Thomas (1716-1771)152,156,159,177,182,187,199,201Greene, Robert (1561?-1592)60
Habington, William (1605-1645)148Herbert, George (1593-1632)97Herrick, Robert (1591-1674?)108,113,118,119,120,124,139,140Heywood, Thomas (—— -1649?)73Hood, Thomas (1798-1845)268,274,279
Jonson, Ben (1574-1637)96,102,116
Keats, John (1795-1821)209,210,235,237,242,243,272,290,292,303,318,328,333
Lamb, Charles (1775-1835)264,276,282Lamb, Mary (1764-1847)283Lindsay, Anne (1750-1825)192Lodge, Thomas (1556-1625)19,71Logan, John (1748-1788)163Lovelace, Richard (1618-1658)109,127,128Lylye, John (1554-1600)72Lyte, Henry Francis (1793-1847)224,280
Marlowe, Christopher (1562-1593)7Marvell, Andrew (1620-1678)88,105,141,142,146Mickle, William Julius (1734-1788)194Milton, John (1608-1674)85,87,89,93,94,99,100,111,144,145,147Moore, Thomas (1780-1852)229,245,261,265,269
Nairn, Carolina (1766-1845)198Nash, Thomas (1567-1601?)1Norris, John (1657-1711)149
Philips, Ambrose (1671-1749)157Pope, Alexander (1688-1744)154Prior, Matthew (1662-1721)173
Quarles, Francis (1592-1644)123
Rogers, Samuel (1762-1855)171,185
Scott, Walter (1771-1832)213,227,230,236,238,240,248,273,278,281,285,311Sedley, Charles (1639-1701)106,126Shakespeare, William (1564-1616)2,3,5,6,9,10,11,14,15,16,17,18,23,24,27,31,35,37,38,39,41,42,43,48,51,56,62,64,65,67,68,69,78,82Shelley, Percy Bysshe (1792-1822)215,219,228,232,239,247,270,287,293,300,307,308,312,315,321,322,324,334,335,339Shirley, James (1596-1666)91,92Sidney, Philip (1554-1586)13,32,40,47,58Smart, Christopher (1722-1770)179Southey, Robert (1774-1843)260,271Spenser, Edmund (1553-1598-9)74Suckling, John (1608-9-1641)129Sylvester, Joshua (1563-1618)34
Thomson, James (1700-1748)158,172
Vaughan, Henry (1621-1695)98,138,150
Waller, Edmund (1605-1687)115,122Webster, John (—— -1638?)66Wilmot, John (1647-1680)107Wither, George (1588-1667)131Wolfe, Charles (1791-1823)262,277Wordsworth, William (1770-1850)217,220,221,222,223,226,233,244,252,254,255,256,257,258,263,267,284,286,288,289,291,294,296,297,298,299,301,302,305,306,309,313,317,319,320,323,325,326,327,330,331,336,337,338Wotton, Henry (1568-1639)95,110Wyat, Thomas (1503-1542)28,44