[According to the British Library catalogue, this the only edition that was published.]


[Half-title:] Select Poets of Great Britain

[The page facing title page has pictures of poets arranged in the following order:]


[signed:] J. Shury Sculp.

Select Poets of Great Britain. To Which are Prefixed, Critical Notices of Each Author. By William Hazlitt, Esq. Author of "Lectures on the English Poets," "Characters of Shakespeare's Plays," "Lectures on Dramatic Literature," &c.

London: Printed by Thomas Davison, Whitefriars, for Thomas Tegg, 73, Cheapside; R. Griffen and Co. Glasgow; also R. Milliken, Dublin; and M. Baudry, Paris. 1825.

[Here appears the same PREFACE as the 1824 Preface, except that it does not contain the material in bold.]


CHAUCER is in the first class of poetry (the natural) and one of the first. He describes the common but individual objects of nature and the strongest and most universal, because spontaneous workings of the heart. In invention he has not much to boast, for the materials are chiefly borrowed (except in some of his commic tales); but the masterly execution in his own. He is remarkable for the degree and variety of the qualities he possesses--excelling equally in the comic and serious. He has little fancy, but he has great wit, great humour, strong manly sense, great power of description, perfect knowledge of character, occasional sublimity, as in parts of the Knight's Tale, and the deepest pathos, as in the story of Griselda, Custance, the Flower and the Leaf, &c. In humour and spirit, the Wife of Bath is unequalled.

SPENSER excels in the two qualities in which Chaucer is most deficient--invention and fancy. The invention shown in his allegorical personages is endless, as the fancy shown in his description of them is gorgeous and delightful. He is the poet of romance. He describes things as in a splendid and voluptuous dream. He has displayed not comic talent, except in his Shepherd's Calendar. He has little attempt at character, an occasional visionary sublimity, and a pensive tenderness approaching to the finest pathos. Nearly all that is excellent in the Faery Queen is contained in the three first Books. His style is sometimes ambiguous and affected; but his versification is to the last degree flowing and harmonious.

Sir PHILIP SIDNEY is an affected writer, but with great power of thought and description. His poetry, of which he did not write much, has the faults of his prose without its recommendations. [ix / x]

DRAYTON has chiefly tried his strength in description and learned narrative. The plan of the Poly-Olbion (a local or geographical account of Great Britain) is orignal, but not very happy. The descriptions of places are often striking and curious, but become tedious by uniformity. There is some fancy in the poem, but little general interest. His Heroic Epistles have considerable tenderness and dignity; and, in the structure of the verse, have served as a model to succeeding writers.

DANIEL is chiefly remarkable for simplicity of style, and natural tenderness. In some of his occaional pieces (as the Epistle to the Countess of Cumberland) there is a vast philosophic gravity and stateliness of sentiment.

Sir JOHN SUCKLING is one of the most piquant and attractive of the Minor poets. He has fancy, wit, humour, descriptive talent, the highest elegance, perfect ease, a familiar style and a pleasing versification. He has combined all of these in his Ballad on a Wedding, which is a masterpiece of sportive gaiety and good humour. His genius was confined entirely to the light and agreeable.

GEORGE WITHER is a poet of comparatively little power; though he has left one or two exquisitely affecting passages, having a personal reference to his own misfortunes.

WALLER belonged to the same class as Suckling--the sportive, the sparkling, the polished, with fancy, wit, elegance of style, and easiness of versification at his command. Poetry was the plaything of his idle hours--the mistress, to whom he addressed his verses, was his real Muse. His lines on the Death of Oliver Cromwell are however serious, and even sublime.

MILTON was one of the four great English poets, who must certainly take precedence over all others, I mean himself, Spenser, Chaucer, and Shakespear. His subject is not common or natural indeed, but it is of preternatural grandeur and unavoidable interest. He is altogether a serious poet; and in this differs from Chaucer and Shakespear, and resembles Spenser. He has sublimity in the highest degree: beauty in an equal degree; pathos in a degree next to the highest; perfect character in the conception of Satan, of Adam and Eve; fancy, learning, vividness of description, stateliness, decorum. He seems on a par with his subject in Paradise Lost; to raise it, and to be raised with it. His style is elaborate and powerful, and [x / xi] his versification, with occasional harshness and affectation, superior in harmony and variety to all other blank verse. It has the effect of a piece of fine music. His smaller pieces, Lycidas, L'Allegro, Il Penseroso, the Sonnets, &c. display proportionable excellence, from their beauty, sweetness, and elegance.

COWLEY is a writer of great sense, ingenuity, and learning; but as a poet, his fancy is quaint, far-fetched, and mechanical, and he has no other distinguishing quality whatever. To these objections his Anacreontics are a delightful exception. They are the perfection of that sort of gay, unpremeditated, lyrical effusion. They breath, the very spirit of love and wine. Most of his other pieces should be read for instruction, not for pleasure.

MARVELL is a writer almost forgotten: but undeservedly so. His poetical reputation seems to have sunk with his political party. His satires were coarse, quaint, and virulent; but his other productions are full of a lively, tender, and elegant fancy. His verses leave an echo on the ear, and find one in the heart. See those entitled Bermudas, To his Coy Mistress, On the Death of a Fawn, &c.

BUTLER (the author of Hudibras) has undoubtedly more wit than any other writer in the language. He has little besides to recommend him, if we except strong character, and no great humour in his singular poem. The invention of the fable seems borrowed from Don Quixote. He has however prodious merit in his style, and in the fabrication of his rhymes.

Sir JOHN DENHAM'S fame rests chiefly on his Cooper's Hill. This poem is a mixture of the descriptive and didactic, and has given birth to many poems on the same plan since. His forte is strong, sound sense, and easy, unaffected, manly verse.

DRYDEN stands nearly at the head of the second class of English poets, viz. the artificial, or those who describe the mixed modes of artifical life, and convey general precepts and abstract ideas. He had invention in the plan of his Satires, very little fancy, not much wit, no humour, immense strength of character, elegance, masterly ease, indignant contempt approaching to to the sublime, not a particle of tenderness, but eloquent declamation, the perfection of uncorrupted English style, and of sounding, vehement, varied versification. The Alexander's Feast, his Fables and Satires, are his standard and lasting works. [xi / xii]

ROCHESTER, as a wit, is first-rate: but his fancy is keen and caustic, not light and pleasing, like Suckling or Waller. His verses cut and sparkle like diamonds.

ROSCOMMON excelled chiefly as a translator; but his translation of Horace's Art of Poetry is so unique a specimen of fidelity and felicity, that it has been adopted into this collection.

POMFRET left one popular poem behind him, The Choice; the attraction which may be supposed to lie rather in the subject than in the peculiar merit of the execution.

Lord DORSET, for the playful ease and elegance of his verses, is not surpassed by any of the poets of that class.

J. PHILIPS'S Slendid Shilling makes the fame of this poet--it is a lucky though happily executed.

HALIFAX (of whom two short poems are here retained) was the least of the minor poets--one of "the mob of gentlemen who wrote with ease."

The praise of PARNELL'S poetry is, that it was moral, amiable, with a tendency towards the pensive; and it was his fortune to be the friend of poets.

PRIOR is not a very moral poet, but the most arch, piquant, and equivocal of those that have been admitted into this collection. He is a graceful narrator, a polished wit, full of the delicacies of style amidst gross allusions.

POPE is at the head of the second class of poets, viz. the describers of artifical life and manners. His works are a delightful, never-failing fund of good sense and refined taste. He had high invention and fancy of the comic kind, as in the Rape of the Lock; wit, as in the Dunciad and Satires; no humour; some beautiful descriptions as in the Windsor Forest; some exquisite delineations of character (those of Addison and Villiers are master-pieces); he is a model of elegance everywhere, but more particularly in his eulogies and friendly epistles; his ease is the effect of labour; he has no pretensions to sublimity, but sometimes displays an indignant moral feeling akin to it; his pathos is playful and tender, as in his Epistles to Arbuthnot and Jervas, or rises into power by the help or rhetoric, as in the Eloisa, and Elegy on the Death of an Un- [xii / xiii] fortunate Lady; his style is polished and almost faultless in its kind; his versification tires by uniform smoothness and harmony. He has been called "the most sensible of poets:" but the proofs of his sense are to be looked for in his single observations and hints, as in the Essay on Criticism and Moral Epistles, and not in the larger didactic reasonings of the Essay on Man, which is full of verbiage and bombast.

If good sense has been made the characteristic of Pope, good-nature might be made (with at least equal truth) the characteristic of GAY. He was a satirist without gall. He had a delightful placid vein of invention, fancy, wit, humour, description, ease and elegance, a happy style, and a versification which seemed to cost him nothing. His Beggar's Opera indeed has stings in it, but it appears to have left the writer's mind without any.

The Grave of BLAIR is a serious and somewhat gloomy poem, but pregnant with striking reflections and fine fancy.

SWIFT'S poetry is not at all equal to his prose. He was actuated by the spleen in both. He has however sense, wit, humour, ease, and even elegance when he pleases in his poetical effusions. But he trifled with the Muse. He has written more agreeable nonsense than any man. His Verses on his own Death are affecting and beautiful.

AMBROSE PHILIPS'S Pastorals were ridiculed by Pope, and their merit is of an humble kind. They may be said rather to mimic nature than to imitate it. They talk about rural objects, but do not paint them. His verses descriptive of a Northern Winter are better.

THOMSON is the best and most original of our descriptive poets. He had nature; but, through indolence or affectation, too often embellished it with gaudy ornaments of art. Where he gave way to his genuine impulses, he was excellent. He had invention in the choice of his subject (the Seasons), some fancy, wit and humour of a most voluptuous kind; in the Castle of Indolence, great descriptive power. His elegance is tawdriness; his ease slovenliness; he sometimes rises into sublimity, as in his account of the Torrid and Frozen Zones; he has occasional pathos too, as in his Traveller Lost in the Snow; his style is barbarous, and his ear heavy and bad.

COLLINS, of all our Minor poets, that is, those who have attempted only short pieces, is probably the one who has shown the most of the highest qualities of poetry, [xiv / xv] and who excites the most intense interest in the bosom of the reader. He soars into the regions of imagination, and occupies the highest peaks of Parnassus. His fancy is glowing, vivid, but at the same time hasty and obscure. Gray's sublimity was borrowed and mechanical, compared to Collins's, who has the true inspiration, the vivida vis of the poet. He heats and melts objects in the fervour of his genius, as in a furnace. See his Odes to Fear, On the Poetical Character, and To Evening. The Ode on the Passions is the most popular, but the most artificial of his principal ones. His qualities were fancy, sublimity of conception, and no mean degree of pathos, as in the Eclogues, and the Dirge in Cymbeline.

DYER'S Grongar Hill is a beautiful moral and descriptive effusion, with much elegance, and perfect ease of style and versification.

SHENSTONE was a writer inclined to feebleness and affectation: but when he could divest hismelf or sickly pretensions, he produces occasional excellence of high degree. His Sshool-mistress is the perfection of naive description, and of that mixture of pathos and humour, than which nothing is more delightful or rare.

MALLET was a poet of small merit--but every one has read his Edwin and Emma, and no one ever forgot it.

AKENSIDE is a poet of considerable power, but of little taste or feeling. He has some merit in the invention of the subject (the Pleasures of Imagination) his poem being the first of a series of similar ones on the faculties of the mind, as the Pleasures of Memory, of Hope, &c.

YOUNG is a poet who has been much over-rated from the popularity of subject, and the glitter and lofty pretensions of his style. I wished to have made more extracts from the Night-Thoughts, but was constantly repelled by the tinsel expression, the false ornaments, and laboured conceits. Of all writers who have gained a great name, he is the most meretricious and objectionable. His is false wit, false fancy, false sublimity, and mock-tenderness. At least, it appears so to me.

GRAY was an author of great pretensions, but of great merit. He has an air of sublimity, if not the reality. He aims at the highest things; and if he fails, it is only by a hair's-breadth. His pathos is injured, like his sublimity, by too great an [xiv / xv] ambition after the ornaments and machinery of poetry. His craving after foreign help perhaps shows the want of the internal impulse. His Elegy in a Country Churchyard, which is the most simple, is the best of his productions.

CHURCHILL is a fine rough satirist. He had sense, wit, eloquence, and honest.

GOLDSMITH, both in verse and prose, was one of the most delightful writers in the language. His verse flows like a limpid stream. His ease is quite unconscious. Every thing in him is spontaneous, unstudied, unaffected, yet elegant, harmonious, graceful, nearly faultless. Without the point or refinement of Pope, he has more natural tenderness, a greater suavity of manner, a more genial spirit. Goldsmith never rises into sublimity, and seldom sinks into insipidity, or stumbles upon coarseness. His Traveller contains masterly national sketches. The Deserted Village is sometimes spun out into a mawkish sentimentality; but the characters of the Village Schoomaster, and the Village Clergyman, redeem a hundred faults. His Retaliation is a poem of exquisite spirit, humour, and freedom of style.

ARMSTRONG'S Art of Preserving Health displays a fine natural vein of sense and poetry on a most unpromising subject.

CHATTERTON'S Remains show great premature power, but are chiefly interesting from his fate. He discovered great boldness of spirit and versatility of talent; yet probably, if he had lived, would not have increased his reputation for genius.

THOMAS WARTON was a man of taste and genius. His Sonnets I cannot help preferring to any in the language.

COWPER is the last of the English poets in the first division of this collection, but though last, not least. He is, after Thomson, the best of our descriptive poets--more minute and graphical, but with less warmth of feeling and natural enthusiasm than the author of The Seasons. He has also fine manly sense, a pensive and interesting turn of thought, tenderness occasionally running into the most touching pathos, and a patriotic or religious zeal mounting almost into sublimity. He had great simplicity with terseness of style: his versification is neither strikingly faulty nor excellent. His occasional copies of verses have great elegance; and his John Gilpin is one of the most humorous pieces of in the language. [xv / xvi]

BURNS concludes the series of the Illustrious Dead; and one might be tempted to write an elegy rather than a criticism on him. In naiveté, in spirit, in characteristic humour, in vivid descriptio of natural objects and of the natural feelings of the heart, he has left behind him no superior.

Some additions have been made in the Miscellaneous part of the volume, from the Lyrical effusions of the elder Dramatists, whose beauty, it is presumed, can never decay, whose sweetness can never cloy! [xvi]

CONTENTS. [The contents is in two columns. Names of authors centered in caps over each column. (Please excuse the following oddity: the page numbers appear right next to the title--I couldn't space them using HTML.) The page numbers are off slightly because they apply to the 1824 edition; the pages in the 1825, published volume have smaller margins, allowing more print to a page.]

CHAUCER [in middle English]

Prologue to the Canterbury Tales 1

The Squieres [sic.] Tale (a Fragment) 7

The Prioresses Tale 12

The Floure and the Leafe 14

Part of the Knightes Tale 19

The Wif of Bathes Prologue 26

Similes from Chaucer 32


Una and the Redcross Knight 33

The Chariot of Pride drawn by the Passions ibid.

Una entertained by the Wood Gods 35

Description of Prince Arthur 27

Description of Belphebe ibid.

True Honour 38

Allegory of Wanton Mirth ibid.

The Cave of Mammon 39

The Bower of Bliss 41

The Faculties of the Mind 44

The Defeat of Marinell 45

The Birth of Belphebe 47

The Story of Florimell 48

The Mask of Cupid 50

The Squire and the Dove 52

Simile 53

Combat between Prince Arthur and the Soldan described ibid.

Sir Calidor 55

The Fable of the Oak and the Briar 57

Epithalamion 59


Sonnets 63


Rosamond to King Henry 64

Henry Howard, Earl of Surrey, to the Lady Geraldine 65

The Lady Geraldine to Henry Howard Earl of Surrey 67

Polyolbion--The XV. Song 69

The XXVIII. Song of the same 72

An Ode written in the Peak 77

The Ballad of Agincourt ibid.


To the Lady Margaret, Countess of Cumberland 79

Description of Stone-Henge 80

Love in Infancy ibid.

The Story of Isulia ibid.


A Session of the Poets 82

Song 83

Ballad on a Wedding ibid.

Song 84

To a Friend 85

The Careless Lover ibid.

A Song ibid.

Detraction Execrated ibid.


From the Fourth Eclogue of the Shepherd's Hunting 86


On my Lady D. Sydney's Picture 88

At Penshurst ibid.

Phoebus and Daphne ibid.

Of Love ibid.

Marriage of the Dwarfs 89

On a Brede of Divers Colours ibid.

On the Death of the Lord Protecor ibid.

To Amoret ibid.

To a Lady in Retirement 90


L'Allegro 91

Il Penseroso 92

Lycidas 93

From Paradise Lost, Book I. 95

------------------, Book II. 101

Address to Light 109

Satan's Journey to Earth ibid.

Satan's Address to the Sun 112

Satan's Address into Paradise ibid.

The Conversation of Adam and Eve 115

Eve's Dream 117 [xvii / xviii]

The Angel Raphael sent to warn Adam of his Danger 119

Raphael's Account of the Creation 120

Adam's Account of Himself 122

Reconciliation between Adam and Eve 123

Sentence pronounced on Adame and Eve 125

Adam and Eve driven out of Paradise 127

From Paradise Regained --The Power of Beauty 128

Description of Greece ibid.

Comus, (a Mask) 129<2>

On Shakespeare, 1630 137

Sonnets ibid. [includes: To the Nightingale, On his being arrived at the age of Twenty-three, To Mr. H. Lawes, on his Airs, To the Lord General Fairfax, To the Lord General Cromwell, To Sir Henry Vane the Younger, On the late Massacre in Piemont, On his Blindness, To Mr. Lawrence, To Cyriac Skinner, To the same, On his deceased Wife.]


The Praise of Poetry 140

The Complaint ibid.

The Country Mouse 141

To the Royal Society 142

Anacreontics 144


Bermudas 147

To his Coy Mistress ibid.

The Nymph complaining for the Death of her Fawn ibid.

The Drop of Dew 148

The Garden 149

The Gallery ibid.

Upon the Hill and Grove at Bilborow 150

An Horation Ode upon Cromwell's Return from Ireland ibid.


Character of Hudibras and Ralpho 152

The Battle between Bruin and his Foes 157

Hudibras's Heroes 159

The Adventure of the Riding 162

Description of Sidrophel and Whackum 163

Upon Critics who judge of modern Plays precisely by the Rules of the Ancients 165

Satire upon the Licentious Age of Charles II. 166

Satire upon the Abuse of Human Learning 168.


Cooper's Hill 170

The Progress of Learning 172


Absalom and Achitophel 175

Religio Laici (an Epistle) 183

The Hind and the Panther 186

Mac Flecknoe 206

Epistle to Mr. Congreve 208

Epistle to john Dryden, Esq. ibid.

Epistle to Sir Godfrey Kneller 210

To the Memory of Mr. Oldham 211

Alexander's Feast 212

The Secular Masque 213

The Cock and the Fox 214

Sigismonda and Guiscardo 220

Theodore and Honoria 226

Cymon and Iphigenia 229

Baucis and Philemon 234


Love and Life 236

Upon Drinking in a Bowl ibid.

A Song ibid.

A Letter from Artemisa in the Town to Chloe in the Country ibid.

A Satire Against Mankind 239

Upon Nothing 240

An Epilogue 241

An Epilogue ibid.


Horace's Art of Poetry 242


The Choice 246


Song written at Sea 248

Knotting ibid.

Songs 249


The Splendid Shilling 250


The Man of Honour 251

Verses written for the Toasting Glasses of the Kit-cat Club, 1703 252


The Book-worm 253

An Allegory on Man ibid.

The Hermit 254


An Epistle to Fleetwood Shepherd, Esq. 257

Another Epistle to the same ibid.

To the Hon. Charles Montague, Esq. 259

The Lady's Looking-glass ibid.

Love Disarmed 260

The Dove ibid.

The Garland 262

Hans Carvel ibid.

Paulo Purganti and his Wife 263

Her Right Name 265

Down Hall (a Ballad) ibid.


The Messiah 267

Windsor Forest 268

Ode on Solitude 271

Essay on Criticism ibid.

The Rape of the Lock 277

Elegy to the Memory of an Unfortunate Lady 283

Eloisa to Abelard 384

January and May; or, the Merchant's Tale 287

An Essay on Man 293

Moral Essays 303

Epistle to Mr. Addison 312

Epistle to Dr. Arbuthnot 313

Satires and Epistles of Horace Imitated 316 [including: Book II. Satire I. To Mr. Fortesque.; Book II. Satire II. To Mr. Bethel.; Book I. Epistle I. To Lord Bolingbroke.; Book I.Epistle VI. To Mr. Murray; Epistle I. To Augustus. Book II. Epistle II. {to cobham, it looks like: "Dear Col'nel, Cobham's and your country's friend!"}]

Epilogue to the Satires 327 [Dialogue I.; Dialogue II] [xviii / xix]

Epistle to Robert, Earl of Oxford and Earl Mortimer 330

Epistle to Mr. Jervas 331

Epistle to Miss Blount ibid.

Conclusion of the Dunciad. 332 [Selection begins: "More she had spoke, but yawn'd--All Nature nods: / What mortal can resist the yawn of gods? / Churches and chapels instantly it reach'd . . . ." That section of the Selection ends, and another begins: "O sing, and hush the nations with thy song! / * * * * / In vain, in vain, the all-composing hour / Resistless falls: the Muse obeys the power. . . ." Selection ends: "Thy hand , great Anarch! lets the curtain fall; / And universal Darkness buries All."]


Rural Sports 333

Trivia; or, the Art of Walking the Streets of London 336

Epistle to Mr. Pope 346

Sweet William's Farewell to Black-eyed Susan 348

Verses to be placed under the Picture of Sir Richard Blackmore ibid.

Fables ibid.


The Grave 354


Written in a Lady's Ivory Table Book 360

Mrs. Harris's Petition ibid.

To the Earl of Peterborow 361

Vanbrugh's House ibid.

Baucis and Philemon 363

A Description of the Morning 364

A Description of a City Shower ibid.

Horace, Book I. Epistle VII. 365

Horace, Book II. Satire VI. 366

A True and Faithful Inventory of the Goods belonging to Dr. Swift, Vicar of Laracor 367

Cadenus and Vanessa ibid.

An Elegy on the Death of Demar, the Usurer 374

The Country Life ibid.

Mary the Cook Maid's Letter to Dr. Sheridan 375

The Furniture of a Woman's Mind 376

On cutting down the Old Thorn at Market Hill ibid.

On the Death of Dr. Swift 377

A Character, Panegyric, and Description of the Legion Club 381


Extracts from the Seasons 384

The Castle of Indolence 394

Song 406

To the Rev. Mr. Murdoch ibid.

Ode ibid.

Ode on Æolus's Harp 407

Hymn on Solitude ibid.


Pastoral Poems 408

Epistle to the Earl of Dorset 415


Oriental Eclogues 416

Ode to Fear 418

Ode on the Poetical Character 419

Ode to Evening ibid.

The Passions 420

Dirge in Cymbeline 421

Ode on the Death of Mr. Thomson ibid.


Grongar Hill 422


A Pastoral Ballad 424

The School Mistress 426

Jemmy Dawson (a Ballad) 428


Edwin and Emma 430

William and Margaret 431


Pleasures of Imagination 432


On the Being of a God 448

Against Procrastination ibid.


Ode on a Distant Prospet of Eton College 449

Hymn to Adversity 450

Elegy written in a Country Church-yard ibid.

The Progress of Poesy 451

The Bard (a Pindaric Ode) 452


The Rosciad 454

The Prophecy of Famine 462


The Double Transformation (a Tale) 467

The Hermit (a Ballad) 468

The Traveller; or, a Prospect of Society 469

The Deserted Village 472

The Haunch of Venison 476

Retaliation 477


The Art of Preserving Health 479


Bristowe Tragedie; or, the Dethe of Sir Charles Bawdin 495

Mynstrelles Songe 498


Ode 500

Sonnets ibid.

The Progress of Discontent 502


Verses supposed to be written by Alexander Selkirk 503

On the Death of Mrs. Throckmorton's Bullfinch 504

The Rose ibid.

The Poet's New Year's Gift to Mrs. Throckmorton ibid.

Pairing-time Anticipated 505

The Dog and the Water Lily ibid.

The Poet, the Oyster, and Sensitive Plant 506

On a Goldfinch starved to death in his Cage ibid.

Translations from V. Bourne ibid.

The Diverting History of John Gilpin 508

On Rural Lights and Sounds 510 [xix / xx]

On the Town and Country 511

Vanity of Human Pursuits 515

The Winter Evening 516

Praise of the Country 519

The Winter Morning Walk 520

Praise of Liberty 522

Intellectual Liberty 523

The Winter Walk at Noon 523

Anticipation of the Millenium 526

Catharina 529

The Needless Alarm (a Tale) ibid.

On the Receipt of his Mother's Picture 530


The Twa Dogs 532

Te Cotter's Saturday Night 534

Lament for James, Earl of Glencairn 535

Highland Mary 536

To a Mouse ibid.

To a Mountain Daisy ibid.

Tam O'Shanter (a Tale) 537

A Vision 539

Bannock-Burn (Bruce's Address to his Army) ibid.

Mary Morison 540

Fragment ibid.

John Anderson my Jo ibid.

Bonie Lesley ibid.

Jessy 541

Lovely Jean ibid.

Green grow the Rashes ibid.

Caledonia ibid.

John Barleycorn ibid.

Song 542

MISCELLANEOUS PIECES ["---" means by the previous person]

Sonnets . . . Shakespeare 543 [including, by first line: When I do count the clock that tells the time; But wherefore do not you a mightier way; Let those who are in favour with their stars; Weary with toil, I haste me to my bed,; When in disgrace with fortune and men's eyes,; If thou survive my well-contented day; Full many a glorious morning have I seen; Thos pretty wrongs that liberty commits; O how much more doth beauty beauteous seem; Not marble, nor teh gilded monuments; When I have seen by Time's fell hand defac'd; Thus is his cheek the map of days out-worn; No longer mourn for me when I am dead; O. lest the world should task you to recite; That time of year thou may'st in me behold; Why is my verse so barren of new pride; So oft have I invok'd thee for my muse; Say that thou didst forsake me for some fault; Then hate me when thou wilt; if ever, now; So shall I live, supposing thou art true; How like a winter hath my absence been; From you have I been absent in the spring; My love is strengthen'd, though more weak in seeming; To me, fair friend, you never can be old; Let not my love be call'd idolatry; When in the chronicle of wasted time; Not mine own fears, nor the prophetic soul; What's in the brain that ink may character; O never say that I was false of heart; Alas, 'tis true, I have gone here and there; O, for my sake, do thou with Fortune chide; Let me not the marriage of true minds / Admit impediments; The expense of spirit in a waste of shame; Thine eyes I love, and they, as pitying me; O call not me to justify the wrong; Did not the heavenly rhetoric of thine eye; Fiar is my love, but not so fair as fickle, {run together with it; this is longer than sonnets usually are}; If music and sweet poetry aggree; Sweet rose, fair flower, untimely pluck'd, soon faded; {not a sonnet:} Crabbed age and youth; Beauty is but a vain and doubtful good; Good night, good rest. Ah! neither be my share; Lord, how mine eyes thre gazes to the east!; [the rest don't look ??like sonnets] On a day (alack the day!); As it fell upon a day; Let the bird of loudest lay; Threnos.

Songs from his Plays . . . --- 549 [including: From the Tempest: Come unto these yellow sands; Full fathom five thy father lies; Where the bee sucks, there lurk I; from Twelfth-Night: Come away, come away, death; from Antony and Cleopatry: Come thou monarch of the vine; From Love's Labour's Lost: Spring / When daisies pied, and violets blue, Winter / When icicles hang by the wall; From the Merchant of Venice, Tell me, where is fancy bred; From As you Like it: Under the greenwood tree; Blow, blow, thou winter wind; Why should this a desert be? From Cymbelline: Hark! hark! the lark at heaven's gate sings.

A Dirge . . . John Webster 551

From the Elder Brother . . . Beaumont and Fletcher ibid.

From the Maid's Tragedy . . . --- ibid.

From the Little French Lawyer . . . --- ibid.

From Valentinian . . . --- ibid.

From Rollow . . . --- 552

From the Captain . . . --- ibid.

From the Nice Valour; or the Passionate Madman . . . --- ibid.

From a Masque . . . --- ibid.

From the Faithful Shepherdess . . . Fletcher 553

From the Lover's Melancholy . . . Ford 554

From The Broken Heart . . . --- ibid.

From Alexander and Campaspe . . . Lyly ibid.

Song to Celia . . . Ben Jonson ibid.

From a Celebration of Charis . . . --- 555

Hymn to Diana, in Cynthia's Revels . . . --- bid.

Hue and Cry after Cupid, in the Masque on Lord Haddington's Marriage . . . Ben Jonson [name regiven bec. the start of a new column]

Sonnet . . . Drummond 556 [Including, by first line: Sleep, silence, child, sweet father of soft rest; Fair moon, who with thy cold and silver shine; Dear quirister, who from those shadows sends; Alexis, here she stay'd among these pines; My lute, be as thou wert when thou didst grow; Sweet bird, that sing'st away the early hours.

The Passionate Shepherd . . . Marlow 557

Song . . . Raleigh ibid [Shall I like an hermit dwell]

A Vision upon the Conceit of the Faery Queen --- ibid.

Death's Final Conquest . . . Shirley ibid.

Sonnet . . . Lovelace 558 [doesn't look like a sonnet: When Love, with unconfined wings]

Song to Lucasta, on going to the Wars --- ibid.

The Abstract of Melancholy . . . Burton ibid. [yes; the miscellany one.]

Lay . . . Browne 559 [In "Britannia's Pastorals." Book II. Song 2. Shall I tell you whom I love?]

The Syren's Song . . . --- ibid.

Disdain Returned . . . Carew 560

To Blossoms . . . Herrick ibid.

Sic Vita . . . King ibid.

The Angler's Wish . . . Walton ibid.

[In the text, but not in the table of contents, the following two poems appear in a section called BALLADS.]

The Braes [sic.] of Yarrow . . . Hamilton 561

Lady Ann Bothwell's Lament . . . Anonymous ibid.

[All of the poets that head the section in which their poems appear have dates of birth and death after their names.]

<2>[I think that this is the whole thing. The text itself is in two columns, like Perkins, so a lot can be fit into this many pages. First line given: "The First Scene Discovers a Wild Wood. The attendant Spirit descends or enters. Before the starry threshold of Jove's court / My mansion is, . . . ." Last line given: "Or if virtue feeble were, / Heav'n itself would stoop to her."]


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Laura Mandell, Dept. of English, Miami University, Oxford, OH 45056; Laura Mandell's Home Page.