64 files changed, 19706 insertions, 0 deletions

diff --git a/old/30357-8.txt b/old/30357-8.txt
new file mode 100644
index 0000000..92b07ec
--- /dev/null
+++ b/old/30357-8.txt
@@ -0,0 +1,6208 @@
+The Project Gutenberg EBook of Select Poems of Thomas Gray, by Thomas Gray
+
+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
+
+
+Title: Select Poems of Thomas Gray
+
+Author: Thomas Gray
+
+Contributor: Robert Carruthers
+
+Editor: William J. Rolfe
+
+Release Date: October 29, 2009 [EBook #30357]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+
+
+
+Produced by Ron Swanson
+
+
+
+
+
+SELECT POEMS OF THOMAS GRAY.
+
+
+EDITED, WITH NOTES,
+BY
+WILLIAM J. ROLFE, A.M.,
+FORMERLY HEAD MASTER OF THE HIGH SCHOOL, CAMBRIDGE, MASS.
+
+
+_WITH ENGRAVINGS_.
+
+
+
+
+_NEW YORK_:
+HARPER & BROTHERS, PUBLISHERS,
+FRANKLIN SQUARE.
+1883.
+
+
+
+
+Entered according to Act of Congress, in the year 1876, by
+HARPER & BROTHERS,
+In the Office of the Librarian of Congress, at Washington.
+
+
+
+
+PREFACE.
+
+
+Many editions of Gray have been published in the last fifty years,
+some of them very elegant, and some showing considerable editorial
+labor, but not one, so far as I am aware, critically exact either in
+text or in notes. No editor since Mathias (A.D. 1814) has given the
+2d line of the _Elegy_ as Gray wrote and printed it; while Mathias's
+mispunctuation of the 123d line has been copied by his successors,
+almost without exception. Other variations from the early editions
+are mentioned in the notes.
+
+It is a curious fact that the most accurate edition of Gray's
+collected poems is the _editio princeps_ of 1768, printed under his
+own supervision. The first edition of the two Pindaric odes, _The
+Progress of Poesy_ and _The Bard_ (Strawberry-Hill, 1757), was
+printed with equal care, and the proofs were probably read by the
+poet. The text of the present edition has been collated, line by
+line, with that of these early editions, and in no instance have I
+adopted a later reading. All the MS. variations, and the various
+readings I have noted in the modern editions, are given in the notes.
+
+Pickering's edition of 1835, edited by Mitford, has been followed
+blindly in nearly all the more recent editions, and its many errors
+(see pp. 84 and 105, foot-notes) have been faithfully reproduced.
+Even its blunders in the "indenting" of the lines in the
+corresponding stanzas of the two Pindaric odes, which any careful
+proof-reader ought to have corrected, have been copied again and
+again--as in the Boston (1853) reprint of Pickering, the pretty
+little edition of Bickers & Son (London, n. d.), the fac-simile of
+the latter printed at our University Press, Cambridge (1866), etc.
+
+Of former editions of Gray, the only one very fully annotated is
+Mitford's (Pickering, 1835), already mentioned. I have drawn freely
+from that, correcting many errors, and also from Wakefield's and
+Mason's editions, and from Hales's notes (_Longer English Poems_,
+London, 1872) on the _Elegy_ and the Pindaric odes. To all this
+material many original notes and illustrations have been added.
+
+The facts concerning the first publication of the _Elegy_ are not
+given correctly by any of the editors, and even the "experts" of
+_Notes and Queries_ have not been able to disentangle the snarl of
+conflicting evidence. I am not sure that I have settled the question
+myself (see p. 74 and foot-note), but I have at least shown that Gray
+is a more credible witness in the case than any of his critics. Their
+testimony is obviously inconsistent and inconclusive; he may have
+confounded the names of two magazines, but that remains to be
+proved.[1]
+
+[Footnote 1: Since writing the above to-day, I have found by the
+merest chance in my own library another bit of evidence in the case,
+which fully confirms my surmise that the _Elegy_ was printed in _The
+Magazine of Magazines_ before it appeared in the _Grand Magazine of
+Magazines_. _Chambers's Book of Days_ (vol. ii. p. 146), in an
+article on "Gray and his Elegy," says:
+
+"It first saw the light in _The Magazine of Magazines_, February,
+1751. Some imaginary literary wag is made to rise in a convivial
+assembly, and thus announce it: 'Gentlemen, give me leave to soothe
+my own melancholy, and amuse you in a most noble manner, with a full
+copy of verses by the very ingenious Mr. Gray, of Peterhouse,
+Cambridge. They are stanzas written in a country churchyard.' Then
+follow the verses. A few days afterwards, Dodsley's edition
+appeared," etc.
+
+The same authority gives the four stanzas omitted after the 18th (see
+p. 79) as they appear in the _North American Review_, except that the
+first line of the third is "Hark how the sacred calm that _reigns_
+around," a reading which I have found nowhere else. The stanza "There
+scattered oft," etc. (p. 81), is given as in the review. The reading
+on p. 82 must be a later one.]
+
+I have retained most of the "parallel passages" from the poets given
+by the editors, and have added others, without regard to the critics
+who have sneered at this kind of annotations. Whether Gray borrowed
+from the others, or the others from him, matters little; very likely,
+in most instances, neither party was consciously the borrower. Gray,
+in his own notes, has acknowledged certain debts to other poets, and
+probably these were all that he was aware of. Some of these he
+contracted unwittingly (see what he says of one of them in a letter
+to Walpole, quoted in the note on the _Ode on the Spring_, 31), and
+the same may have been true of some apparently similar cases pointed
+out by modern editors. To me, however, the chief interest of these
+coincidences and resemblances of thought or expression is as studies
+in the "comparative anatomy" of poetry. The teacher will find them
+useful as pegs to hang questions upon, or texts for oral instruction.
+The pupil, or the young reader, who finds out who all these poets
+were, when they lived, what they wrote, etc., will have learned no
+small amount of English literary history. If he studies the
+quotations merely as illustrations of style and expression, or as
+examples of the poetic diction of various periods, he will have
+learned some lessons in the history and the use of his mother-tongue.
+
+The wood-cuts on pp. 9, 25, 26, 27, 28, 30, 34, 36, 39, 40, 41, 42,
+45, 50, and 61 are from Birket Foster's designs; those on pp. 29, 31,
+33, 35, 37, and 38 are from the graceful drawings of "E. V. B." (the
+Hon. Mrs. Boyle); the rest are from various sources.
+
+  _Cambridge_, Feb. 29, 1876.
+
+
+
+
+CONTENTS.
+
+                                                     PAGE
+THE LIFE OF THOMAS GRAY, BY ROBERT CARRUTHERS . . . .   9
+
+STOKE-POGIS, BY WILLIAM HOWITT  . . . . . . . . . . .  16
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD . . . . . . . .  23
+
+MISCELLANEOUS POEMS . . . . . . . . . . . . . . . . .  43
+
+  ON THE SPRING . . . . . . . . . . . . . . . . . . .  45
+
+  ON THE DEATH OF A FAVOURITE CAT . . . . . . . . . .  48
+
+  ON A DISTANT PROSPECT OF ETON COLLEGE . . . . . . .  50
+
+  THE PROGRESS OF POESY . . . . . . . . . . . . . . .  55
+
+  THE BARD  . . . . . . . . . . . . . . . . . . . . .  61
+
+  HYMN TO ADVERSITY . . . . . . . . . . . . . . . . .  68
+
+NOTES . . . . . . . . . . . . . . . . . . . . . . . .  71
+
+  APPENDIX TO NOTES . . . . . . . . . . . . . . . . . 138
+
+INDEX . . . . . . . . . . . . . . . . . . . . . . . . 145
+
+
+
+
+[Illustration: STOKE-POGIS CHURCH.]
+
+
+THE LIFE OF THOMAS GRAY.
+
+BY ROBERT CARRUTHERS.
+
+
+Thomas Gray, the author of the celebrated _Elegy written in a Country
+Churchyard_, was born in Cornhill, London, December 26, 1716. His
+father, Philip Gray, an exchange broker and scrivener, was a wealthy
+and nominally respectable citizen, but he treated his family with
+brutal severity and neglect, and the poet was altogether indebted for
+the advantages of a learned education to the affectionate care and
+industry of his mother, whose maiden name was Antrobus, and who, in
+conjunction with a maiden sister, kept a millinery shop. A brother of
+Mrs. Gray was assistant to the Master of Eton, and was also a fellow
+of Pembroke College, Cambridge. Under his protection the poet was
+educated at Eton, and from thence went to Peterhouse, attending
+college from 1734 to September, 1738. At Eton he had as
+contemporaries Richard West, son of the Lord Chancellor of Ireland,
+and Horace Walpole, son of the triumphant Whig minister, Sir Robert
+Walpole. West died early in his 26th year, but his genius and virtues
+and his sorrows will forever live in the correspondence of his
+friend. In the spring of 1739, Gray was invited by Horace Walpole to
+accompany him as travelling companion in a tour through France and
+Italy. They made the usual route, and Gray wrote remarks on all he
+saw in Florence, Rome, Naples, etc. His observations on arts and
+antiquities, and his sketches of foreign manners, evince his
+admirable taste, learning, and discrimination. Since Milton, no such
+accomplished English traveller had visited those classic shores. In
+their journey through Dauphiny, Gray's attention was strongly
+arrested by the wild and picturesque site of the Grande Chartreuse,
+surrounded by its dense forest of beech and fir, its enormous
+precipices, cliffs, and cascades. He visited it a second time on his
+return, and in the album of the mountain convent he wrote his famous
+Alcaic Ode. At Reggio the travellers quarrelled and parted. Walpole
+took the whole blame on himself. He was fond of pleasure and
+amusements, "intoxicated by vanity, indulgence, and the insolence of
+his situation as a prime minister's son"--his own confession--while
+Gray was studious, of a serious disposition, and independent spirit.
+The immediate cause of the rupture is said to have been Walpole's
+clandestinely opening, reading, and resealing a letter addressed to
+Gray, in which he expected to find a confirmation of his suspicions
+that Gray had been writing unfavourably of him to some friends in
+England. A partial reconciliation was effected about three years
+afterwards by the intervention of a lady, and Walpole redeemed his
+youthful error by a life-long sincere admiration and respect for his
+friend. From Reggio Gray proceeded to Venice, and thence travelled
+homewards, attended by a _laquais de voyage_. He arrived in England
+in September, 1741, having been absent about two years and a half.
+His father died in November, and it was found that the poet's fortune
+would not enable him to prosecute the study of the law. He therefore
+retired to Cambridge, and fixed his residence at the university.
+There he continued for the remainder of his life, with the exception
+of about two years spent in London, when the treasures of the British
+Museum were thrown open. At Cambridge he had the range of noble
+libraries. His happiness consisted in study, and he perused with
+critical attention the Greek and Roman poets, philosophers,
+historians, and orators. Plato and the Anthologia he read and
+annotated with great care, as if for publication. He compiled tables
+of Greek chronology, added notes to Linnæus and other naturalists,
+wrote geographical disquisitions on Strabo; and, besides being
+familiar with French and Italian literature, was a zealous
+archæological student, and profoundly versed in architecture, botany,
+painting, and music. In all departments of human learning, except
+mathematics, he was a master. But it follows that one so studious, so
+critical, and so fastidious, could not be a voluminous writer. A few
+poems include all the original compositions of Gray--the
+quintessence, as it were, of thirty years of ceaseless study and
+contemplation, irradiated by bright and fitful gleams of inspiration.
+In 1742 Gray composed his _Ode to Spring_, his _Ode on a Distant
+Prospect of Eton College_, and his _Ode to Adversity_--productions
+which most readers of poetry can repeat from memory. He commenced a
+didactic poem, _On the Alliance of Education and Government_, but
+wrote only about a hundred lines. Every reader must regret that this
+philosophical poem is but a fragment. It is in the style and measure
+of Dryden, of whom Gray was an ardent admirer and close student. His
+_Elegy written in a Country Churchyard_ was completed and published
+in 1751. In the form of a sixpenny _brochure_ it circulated rapidly,
+four editions being exhausted the first year. This popularity
+surprised the poet. He said sarcastically that it was owing entirely
+to the subject, and that the public would have received it as well if
+it had been written in prose. The solemn and affecting nature of the
+poem, applicable to all ranks and classes, no doubt aided its sale;
+it required high poetic sensibility and a cultivated taste to
+appreciate the rapid transitions, the figurative language, and
+lyrical magnificence of the odes; but the elegy went home to all
+hearts; while its musical harmony, originality, and pathetic train of
+sentiment and feeling render it one of the most perfect of English
+poems. No vicissitudes of taste or fashion have affected its
+popularity. When the original manuscript of the poem was lately
+(1854) offered for sale, it brought the almost incredible sum of 131
+pounds. The two great odes of Gray, _The Progress of Poetry_ and _The
+Bard_, were published in 1757, and were but coldly received. His
+name, however, stood high, and on the death of Cibber, the same year,
+he was offered the laureateship, which he wisely declined. He was
+ambitious, however, of obtaining the more congenial and dignified
+appointment of Professor of Modern History in the University of
+Cambridge, which fell vacant in 1762, and, by the advice of his
+friends, he made application to Lord Bute, but was unsuccessful. Lord
+Bute had designed it for the tutor of his son-in-law, Sir James
+Lowther. No one had heard of the tutor, but the Bute influence was
+all-prevailing. In 1765 Gray took a journey into Scotland,
+penetrating as far north as Dunkeld and the Pass of Killiecrankie;
+and his account of his tour, in letters to his friends, is replete
+with interest and with touches of his peculiar humour and graphic
+description. One other poem proceeded from his pen. In 1768 the
+Professorship of Modern History was again vacant, and the Duke of
+Grafton bestowed it upon Gray. A sum of 400 pounds per annum was thus
+added to his income; but his health was precarious--he had lost it,
+he said, just when he began to be easy in his circumstances. The
+nomination of the Duke of Grafton to the office of Chancellor of the
+University enabled Gray to acknowledge the favour conferred on
+himself. He thought it better that gratitude should sing than
+expectation, and he honoured his grace's installation with an ode.
+Such occasional productions are seldom happy; but Gray preserved his
+poetic dignity and select beauty of expression. He made the founders
+of Cambridge, as Mr. Hallam has remarked, "pass before our eyes like
+shadows over a magic glass." When the ceremony of the installation
+was over, the poet-professor went on a tour to the lakes of
+Cumberland and Westmoreland, and few of the beauties of the
+lake-country, since so famous, escaped his observation. This was to
+be his last excursion. While at dinner one day in the college-hall he
+was seized with an attack of gout in his stomach, which resisted all
+the powers of medicine, and proved fatal in less than a week. He died
+on the 30th of July, 1771, and was buried, according to his own
+desire, beside the remains of his mother at Stoke-Pogis, near Slough,
+in Buckinghamshire, in a beautiful sequestered village churchyard
+that is supposed to have furnished the scene of his elegy.[1] The
+literary habits and personal peculiarities of Gray are familiar to us
+from the numerous representations and allusions of his friends. It is
+easy to fancy the recluse-poet sitting in his college-chambers in the
+old quadrangle of Pembroke Hall. His windows are ornamented with
+mignonette and choice flowers in China vases, but outside may be
+discerned some iron-work intended to be serviceable as a fire-escape,
+for he has a horror of fire. His furniture is neat and select; his
+books, rather for use than show, are disposed around him. He has a
+harpsichord in the room. In the corner of one of the apartments is a
+trunk containing his deceased mother's dresses, carefully folded up
+and preserved. His fastidiousness, bordering upon effeminacy, is
+visible in his gait and manner--in his handsome features and small,
+well-dressed person, especially when he walks abroad and sinks the
+author and hard student in "the gentleman who sometimes writes for
+his amusement." He writes always with a crow-quill, speaks slowly and
+sententiously, and shuns the crew of dissonant college revellers, who
+call him "a prig," and seek to annoy him. Long mornings of study, and
+nights feverish from ill-health, are spent in those chambers; he is
+often listless and in low spirits; yet his natural temper is not
+desponding, and he delights in employment. He has always something to
+learn or to communicate--some sally of humour or quiet stroke of
+satire for his friends and correspondents--some note on natural
+history to enter in his journal--some passage of Plato to unfold and
+illustrate--some golden thought of classic inspiration to inlay on
+his page--some bold image to tone down--some verse to retouch and
+harmonize. His life is on the whole innocent and happy, and a feeling
+of thankfulness to the Great Giver is breathed over all.
+
+[Footnote 1: A claim has been put up for the churchyard of
+Granchester, about two miles from Cambridge, the great bell of St.
+Mary's serving for the "curfew." But Stoke-Pogis is more likely to
+have been the spot, if any individual locality were indicated. The
+poet often visited the village, his aunt and mother residing there,
+and his aunt was interred in the churchyard of the place. Gray's
+epitaph on his mother is characterized not only by the tenderness
+with which he always regarded her memory, but by his style and cast
+of thought. It runs thus: "Beside her friend and sister here sleep
+the remains of Dorothy Gray, widow, the careful, tender mother of
+many children, one of whom alone had the misfortune to survive her.
+She died March 11, 1753, aged 72." She had lived to read the _Elegy_,
+which was perhaps an ample recompense for her maternal cares and
+affection. Mrs. Gray's will commences in a similar touching strain:
+"In the name of God, amen. This is the last will and desire of
+Dorothy Gray to her son Thomas Gray." [Cunningham's edit. of
+_Johnson's Lives_.] They were all in all to each other. The father's
+cruelty and neglect, their straitened circumstances, the sacrifices
+made by the mother to maintain her son at the university, her pride
+in the talents and conduct of that son, and the increasing gratitude
+and affection of the latter, nursed in his scholastic and cloistered
+solitude--these form an affecting but noble record in the history of
+genius.
+
+[One would infer from the above that Mrs. Gray was _not_ "interred in
+the churchyard of the place," though the epitaph given immediately
+after shows that she _was_. Gray in his will directed that he should
+be laid beside her there. The passage in the will reads thus: "First,
+I do desire that my body may be deposited in the vault, made by my
+dear mother in the churchyard of Stoke-Pogeis, near Slough in
+Buckinghamshire, by her remains, in a coffin of seasoned oak, neither
+lined nor covered, and (unless it be inconvenient) I could wish that
+one of my executors may see me laid in the grave, and distribute
+among such honest and industrious poor persons in said parish as he
+thinks fit, the sum of ten pounds in charity."--_Ed_.]]
+
+Various editions of the collected works of Gray have been published.
+The first, including memoirs of his life and his correspondence,
+edited by his friend, the Rev. W. Mason, appeared in 1775. It has
+been often reprinted, and forms the groundwork of the editions by
+Mathias (1814) and Mitford (1816). Mr. Mitford, in 1843, published
+Gray's correspondence with the Rev. Norton Nicholls; and in 1854
+another collection of Gray's letters was published, edited also by
+Mr. Mitford. Every scrap of the poet's MSS. is eagerly sought after,
+and every year seems to add to his popularity as a poet and
+letter-writer.
+
+     *     *     *     *     *     *
+
+In 1778 a monument to Gray was erected in Westminster Abbey by Mason,
+with the following inscription:
+
+  No more the Grecian muse unrivall'd reigns,
+    To Britain let the nations homage pay;
+  She felt a Homer's fire in Milton's strains,
+    A Pindar's rapture in the lyre of Gray.
+
+The cenotaph afterwards erected in Stoke Park by Mr. Penn is
+described below.
+
+
+
+
+[Illustration: WEST-END HOUSE.]
+
+
+STOKE-POGIS.
+
+FROM HOWITT'S "HOMES AND HAUNTS OF THE BRITISH POETS."[1]
+
+[Footnote 1: Harper's edition, vol. i. p. 314 foll.]
+
+
+It is at Stoke-Pogis that we seek the most attractive vestiges of
+Gray. Here he used to spend his vacations, not only when a youth at
+Eton, but during the whole of his future life, while his mother and
+his aunts lived. Here it was that his _Ode on a Distant Prospect of
+Eton College_, his celebrated _Elegy written in a Country
+Churchyard_, and his _Long Story_ were not only written, but were
+mingled with the circumstances and all the tenderest feelings of his
+own life.
+
+His mother and aunts lived at an old-fashioned house in a very
+retired spot at Stoke, called West-End. This house stood in a hollow,
+much screened by trees. A small stream ran through the garden, and it
+is said that Gray used to employ himself when here much in this
+garden, and that many of the trees still remaining are of his
+planting. On one side of the house extended an upland field, which
+was planted round so as to give a charming retired walk; and at the
+summit of the field was raised an artificial mound, and upon it was
+built a sort of arcade or summer-house, which gave full prospect of
+Windsor and Eton. Here Gray used to delight to sit; here he was
+accustomed to read and write much; and it is just the place to
+inspire the _Ode on Eton College_, which lay in the midst of its fine
+landscape, beautifully in view. The old house inhabited by Gray and
+his mother has just been pulled down, and replaced by an Elizabethan
+mansion by the present proprietor, Mr. Penn, of Stoke Park, just
+by.[2] The garden, of course, has shared in the change, and now
+stands gay with its fountain and its modern greenhouse, and,
+excepting for some fine trees, no longer reminds you of Gray. The
+woodland walk still remains round the adjoining field, and the
+summer-house on its summit, though now much cracked by time, and only
+held together by iron cramps. The trees are now so lofty that they
+completely obstruct the view, and shut out both Eton and Windsor.
+
+[Footnote 2: This was written (or published, at least) in 1846; but
+Mitford, in the Life of Gray prefixed to the "Eton edition" of his
+Poems, published in 1847, says: "The house, which is now called
+_West-End_, lies in a secluded part of the parish, on the road to
+Fulmer. It has lately been much enlarged and adorned by its present
+proprietor [Mr. Penn], but the room called 'Gray's' (distinguished by
+a small balcony) is still preserved; and a shady walk round an
+adjoining meadow, with a summer-house on the rising land, are still
+remembered as favourite places frequented by the poet."--_Ed_.]
+
+     *     *     *     *     *     *
+
+Stoke Park is about a couple of miles from Slough. The country is
+flat, but its monotony is broken up by the noble character and
+disposition of its woods. Near the house is a fine expanse of water,
+across which the eye falls on fine views, particularly to the south,
+of Windsor Castle, Cooper's Hill, and the Forest Woods. About three
+hundred yards from the north front of the house stands a column,
+sixty-eight feet high, bearing on the top a colossal statue of Sir
+Edward Coke, by Rosa. The woods of the park shut out the view of
+West-End House, Gray's occasional residence, but the space is open
+from the mansion across the park, so as to take in the view both of
+the church and of a monument erected by the late Mr. Penn to Gray.
+Alighting from the carriage at a lodge, we enter the park just at the
+monument. This is composed of fine freestone, and consists of a large
+sarcophagus, supported on a square pedestal, with inscriptions on
+each side. Three of them are selected from the _Ode on Eton College_
+and the _Elegy_. They are:
+
+  Hard by yon wood, now smiling as in scorn,
+    Muttering his wayward fancies he would rove;
+  Now drooping, woeful-wan, like one forlorn,
+    Or craz'd with care, or cross'd in hopeless love.
+
+  One morn I miss'd him on the custom'd hill,
+    Along the heath, and near his fav'rite tree;
+  Another came; nor yet beside the rill,
+    Nor up the lawn, nor at the wood was he.
+
+The second is from the _Ode_:
+
+  Ye distant spires! ye antique towers!
+    That crown the watery glade,
+  Where grateful Science still adores
+    Her Henry's holy shade;
+  And ye, that from the stately brow
+  Of Windsor's heights th' expanse below
+    Of grove, of lawn, of mead survey,
+  Whose turf, whose shade, whose flowers among
+  Wanders the hoary Thames along
+    His silver-winding way.
+
+  Ah, happy hills! ah, pleasing shade!
+    Ah, fields belov'd in vain!
+  Where once my careless childhood stray'd,
+    A stranger yet to pain!
+  I feel the gales that from ye blow,
+  A momentary bliss bestow.
+
+The third is again from the _Elegy_:
+
+  Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,
+    The rude forefathers of the hamlet sleep.
+
+  The breezy call of incense-breathing morn,
+    The swallow twittering from the straw-built shed,
+  The cock's shrill clarion or the echoing horn,
+    No more shall rouse them from their lowly bed.
+
+The fourth bears this inscription:
+
+            This Monument, in honour of
+                    THOMAS GRAY,
+               Was erected A.D. 1799,
+                 Among the scenery
+  Celebrated by that great Lyric and Elegiac Poet.
+                  He died in 1771,
+   And lies unnoted in the adjoining Church-yard,
+      Under the Tomb-stone on which he piously
+      And pathetically recorded the interment
+          Of his Aunt and lamented Mother.
+
+This monument is in a neatly kept garden-like enclosure, with a
+winding walk approaching from the shade of the neighbouring trees. To
+the right, across the park, at some little distance, backed by fine
+trees, stands the rural little church and churchyard where Gray wrote
+his _Elegy_, and where he lies. As you walk on to this, the mansion
+closes the distant view between the woods with fine effect. The
+church has often been engraved, and is therefore tolerably familiar
+to the general reader. It consists of two barn-like structures, with
+tall roofs, set side by side, and the tower and finely tapered spire
+rising above them at the northwest corner. The church is thickly hung
+with ivy, where
+
+   "The moping owl may to the moon complain
+  Of such as, wandering near her secret bower,
+    Molest her ancient, solitary reign."
+
+The structure is as simple and old-fashioned, both without and
+within, as any village church can well be. No village, however, is to
+be seen. Stoke consists chiefly of scattered houses, and this is now
+in the midst of the park. In the churchyard,
+
+ "Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,
+    The rude forefathers of the hamlet sleep."
+
+All this is quite literal; and the tomb of the poet himself, near the
+southeast window, completes the impression of the scene. It is a
+plain brick altar tomb, covered with a blue slate slab, and, besides
+his own ashes, contains those of his mother and aunt. On the slab are
+inscribed the following lines by Gray himself: "In the vault beneath
+are deposited, in hope of a joyful resurrection, the remains of _Mary
+Antrobus_. She died unmarried, Nov. 5, 1749, aged sixty-six. In the
+same pious confidence, beside her friend and sister, here sleep the
+remains of _Dorothy Gray_, widow; the careful, tender mother of many
+children, ONE of whom alone had the misfortune to survive her. She
+died, March 11, 1753, aged LXXII."
+
+No testimony of the interment of Gray in the same tomb was inscribed
+anywhere till Mr. Penn, in 1799, erected the monument already
+mentioned, and placed a small slab in the wall, under the window,
+opposite to the tomb itself, recording the fact of Gray's burial
+there. The whole scene is well worthy of a summer day's stroll,
+especially for such as, pent in the metropolis, know how to enjoy the
+quiet freshness of the country and the associations of poetry and the
+past.
+
+[Illustration: GRAY'S MONUMENT, STOKE PARK.]
+
+
+
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD.
+
+
+
+
+[Illustration]
+
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD.
+
+
+  The curfew tolls the knell of parting day,
+    The lowing herd wind slowly o'er the lea,
+  The plowman homeward plods his weary way,
+    And leaves the world to darkness and to me.
+
+  Now fades the glimmering landscape on the sight,         5
+    And all the air a solemn stillness holds,
+  Save where the beetle wheels his droning flight,
+    And drowsy tinklings lull the distant folds:
+
+[Illustration]
+
+  Save that, from yonder ivy-mantled tower,
+    The moping owl does to the moon complain              10
+  Of such as, wandering near her secret bower,
+    Molest her ancient solitary reign.
+
+[Illustration]
+
+  Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,                   15
+    The rude forefathers of the hamlet sleep.
+
+[Illustration]
+
+  The breezy call of incense-breathing morn,
+    The swallow twittering from the straw-built shed,
+  The cock's shrill clarion, or the echoing horn,
+    No more shall rouse them from their lowly bed.        20
+
+[Illustration]
+
+  For them no more the blazing hearth shall burn,
+    Or busy housewife ply her evening care;
+  No children run to lisp their sire's return,
+    Or climb his knees the envied kiss to share.
+
+[Illustration]
+
+  Oft did the harvest to their sickle yield,              25
+    Their furrow oft the stubborn glebe has broke;
+  How jocund did they drive their team afield!
+    How bow'd the woods beneath their sturdy stroke!
+
+[Illustration]
+
+  Let not Ambition mock their useful toil,
+    Their homely joys, and destiny obscure;               30
+  Nor Grandeur hear with a disdainful smile
+    The short and simple annals of the poor.
+
+  The boast of heraldry, the pomp of power,
+    And all that beauty, all that wealth e'er gave,
+  Awaits alike th' inevitable hour.                       35
+    The paths of glory lead but to the grave.
+
+  Nor you, ye proud, impute to these the fault,
+    If Memory o'er their tomb no trophies raise;
+  Where, through the long-drawn aisle and fretted vault,
+    The pealing anthem swells the note of praise.         40
+
+  Can storied urn or animated bust
+    Back to its mansion call the fleeting breath?
+  Can Honour's voice provoke the silent dust?
+    Or Flattery soothe the dull cold ear of Death?
+
+  Perhaps in this neglected spot is laid                  45
+    Some heart once pregnant with celestial fire;
+  Hands, that the rod of empire might have sway'd,
+    Or wak'd to ecstasy the living lyre:
+
+  But Knowledge to their eyes her ample page,
+    Rich with the spoils of time, did ne'er unroll;       50
+  Chill Penury repress'd their noble rage,
+    And froze the genial current of the soul.
+
+[Illustration]
+
+  Full many a gem of purest ray serene
+    The dark unfathom'd caves of ocean bear;
+  Full many a flower is born to blush unseen,             55
+    And waste its sweetness on the desert air.
+
+  Some village Hampden, that with dauntless breast
+    The little tyrant of his fields withstood,
+  Some mute inglorious Milton here may rest,
+    Some Cromwell, guiltless of his country's blood.      60
+
+[Illustration]
+
+  Th' applause of listening senates to command,
+    The threats of pain and ruin to despise,
+  To scatter plenty o'er a smiling land,
+    And read their history in a nation's eyes,
+
+  Their lot forbade: nor circumscrib'd alone              65
+    Their growing virtues, but their crimes confin'd;
+  Forbade to wade through slaughter to a throne,
+    And shut the gates of mercy on mankind,
+
+  The struggling pangs of conscious truth to hide,
+    To quench the blushes of ingenuous shame,             70
+  Or heap the shrine of Luxury and Pride
+    With incense kindled at the Muse's flame.
+
+[Illustration]
+
+  Far from the madding crowd's ignoble strife,
+    Their sober wishes never learn'd to stray;
+  Along the cool sequester'd vale of life                 75
+    They kept the noiseless tenor of their way.
+
+  Yet even these bones from insult to protect,
+    Some frail memorial still erected nigh,
+  With uncouth rhymes and shapeless sculpture deck'd,
+    Implores the passing tribute of a sigh.               80
+
+[Illustration]
+
+  Their name, their years, spelt by th' unletter'd Muse,
+    The place of fame and elegy supply;
+  And many a holy text around she strews,
+    That teach the rustic moralist to die.
+
+[Illustration]
+
+  For who, to dumb forgetfulness a prey,                  85
+    This pleasing anxious being e'er resign'd,
+  Left the warm precincts of the cheerful day,
+    Nor cast one longing lingering look behind?
+
+  On some fond breast the parting soul relies,
+    Some pious drops the closing eye requires;            90
+  Even from the tomb the voice of Nature cries,
+    Even in our ashes live their wonted fires.
+
+[Illustration]
+
+  For thee, who, mindful of th' unhonour'd dead,
+    Dost in these lines their artless tale relate,
+  If chance, by lonely contemplation led,                 95
+    Some kindred spirit shall inquire thy fate,
+
+[Illustration]
+
+  Haply some hoary-headed swain may say,
+    "Oft have we seen him at the peep of dawn
+  Brushing with hasty steps the dews away,
+    To meet the sun upon the upland lawn.                100
+
+[Illustration]
+
+  "There at the foot of yonder nodding beech,
+    That wreathes its old fantastic roots so high,
+  His listless length at noontide would he stretch,
+    And pore upon the brook that babbles by.
+
+  "Hard by yon wood, now smiling as in scorn,            105
+    Muttering his wayward fancies he would rove;
+  Now drooping, woeful-wan, like one forlorn,
+    Or craz'd with care, or cross'd in hopeless love.
+
+  "One morn I miss'd him on the custom'd hill,
+    Along the heath, and near his favourite tree;        110
+  Another came; nor yet beside the rill,
+    Nor up the lawn, nor at the wood was he;
+
+  "The next, with dirges due in sad array,
+    Slow through the church-way path we saw him borne.
+  Approach and read (for thou canst read) the lay        115
+    Grav'd on the stone beneath yon aged thorn."
+
+[Illustration]
+
+                    THE EPITAPH.
+
+  Here rests his head upon the lap of Earth
+    A youth, to Fortune and to Fame unknown;
+  Fair Science frown'd not on his humble birth,
+    And Melancholy mark'd him for her own.               120
+
+  Large was his bounty, and his soul sincere,
+    Heaven did a recompense as largely send;
+  He gave to Misery all he had, a tear;
+    He gain'd from Heaven ('twas all he wish'd) a friend.
+
+  No farther seek his merits to disclose,                125
+    Or draw his frailties from their dread abode,
+  (There they alike in trembling hope repose)
+    The bosom of his Father and his God.
+
+[Illustration]
+
+
+
+
+MISCELLANEOUS POEMS.
+
+
+
+
+[Illustration]
+
+
+ON THE SPRING.
+
+
+  Lo! where the rosy-bosom'd Hours,
+    Fair Venus' train, appear,
+  Disclose the long-expecting flowers,
+    And wake the purple year!
+  The Attic warbler pours her throat,           5
+  Responsive to the cuckoo's note,
+    The untaught harmony of spring;
+  While, whispering pleasure as they fly,
+  Cool Zephyrs thro' the clear blue sky
+    Their gather'd fragrance fling.            10
+
+  Where'er the oak's thick branches stretch
+    A broader browner shade,
+  Where'er the rude and moss-grown beech
+    O'ercanopies the glade,
+  Beside some water's rushy brink              15
+  With me the Muse shall sit, and think
+    (At ease reclin'd in rustic state)
+  How vain the ardour of the crowd,
+  How low, how little are the proud,
+    How indigent the great!                    20
+
+  Still is the toiling hand of Care;
+    The panting herds repose:
+  Yet hark, how thro' the peopled air
+    The busy murmur glows!
+  The insect youth are on the wing,            25
+  Eager to taste the honied spring,
+    And float amid the liquid noon:
+  Some lightly o'er the current skim,
+  Some show their gayly-gilded trim
+    Quick-glancing to the sun.                 30
+
+  To Contemplation's sober eye
+    Such is the race of Man;
+  And they that creep, and they that fly,
+    Shall end where they began.
+  Alike the busy and the gay                   35
+  But flutter thro' life's little day,
+    In Fortune's varying colours drest:
+  Brush'd by the hand of rough Mischance,
+  Or chill'd by age, their airy dance
+    They leave, in dust to rest.               40
+
+  Methinks I hear in accents low
+    The sportive kind reply:
+  Poor moralist! and what art thou?
+    A solitary fly!
+  Thy joys no glittering female meets,         45
+  No hive hast thou of hoarded sweets,
+    No painted plumage to display:
+  On hasty wings thy youth is flown;
+  Thy sun is set, thy spring is gone--
+    We frolic while 'tis May.                  50
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+
+ON THE DEATH OF A FAVOURITE CAT,
+_Drowned in a Tub of Gold Fishes_.
+
+
+  'Twas on a lofty vase's side,
+  Where China's gayest art had dyed
+    The azure flowers that blow;
+  Demurest of the tabby kind,
+  The pensive Selima, reclin'd,                 5
+    Gaz'd on the lake below.
+
+  Her conscious tail her joy declar'd:
+  The fair round face, the snowy beard,
+    The velvet of her paws,
+  Her coat, that with the tortoise vies,       10
+  Her ears of jet, and emerald eyes,
+    She saw; and purr'd applause.
+
+  Still had she gaz'd; but midst the tide
+  Two angel forms were seen to glide,
+    The Genii of the stream:                   15
+  Their scaly armour's Tyrian hue
+  Through richest purple to the view
+    Betray'd a golden gleam.
+
+  The hapless nymph with wonder saw:
+  A whisker first, and then a claw,            20
+    With many an ardent wish,
+  She stretch'd in vain to reach the prize.
+  What female heart can gold despise?
+    What Cat's averse to fish?
+
+  Presumptuous maid! with looks intent         25
+  Again she stretch'd, again she bent,
+    Nor knew the gulf between.
+  (Malignant Fate sat by, and smil'd.)
+  The slippery verge her feet beguil'd,
+    She tumbled headlong in.                   30
+
+  Eight times emerging from the flood,
+  She mew'd to every watery God,
+    Some speedy aid to send.
+  No Dolphin came, no Nereid stirr'd:
+  Nor cruel Tom, nor Susan heard.              35
+    A favourite has no friend!
+
+  From hence, ye beauties, undeceiv'd,
+  Know, one false step is ne'er retriev'd,
+    And be with caution bold.
+  Not all that tempts your wandering eyes      40
+  And heedless hearts is lawful prize,
+    Nor all that glisters gold.
+
+
+
+
+[Illustration]
+
+
+ON A DISTANT PROSPECT OF ETON COLLEGE.
+[Greek: Anthrôpos, hikanê prophasis eis to dustuchein.]--MENANDER.
+
+
+  Ye distant spires, ye antique towers,
+    That crown the watery glade,
+  Where grateful Science still adores
+    Her Henry's holy shade;
+  And ye, that from the stately brow                5
+  Of Windsor's heights th' expanse below
+    Of grove, of lawn, of mead survey,
+  Whose turf, whose shade, whose flowers among
+  Wanders the hoary Thames along
+    His silver-winding way:                        10
+
+  Ah, happy hills! ah, pleasing shade!
+    Ah, fields belov'd in vain!
+  Where once my careless childhood stray'd,
+    A stranger yet to pain!
+  I feel the gales that from ye blow               15
+  A momentary bliss bestow,
+    As, waving fresh their gladsome wing,
+  My weary soul they seem to soothe,
+  And, redolent of joy and youth,
+    To breathe a second spring.                    20
+
+  Say, Father Thames, for thou hast seen
+    Full many a sprightly race
+  Disporting on thy margent green
+    The paths of pleasure trace;
+  Who foremost now delight to cleave               25
+  With pliant arm thy glassy wave?
+    The captive linnet which enthrall?
+  What idle progeny succeed
+  To chase the rolling circle's speed,
+    Or urge the flying ball?                       30
+
+  While some, on earnest business bent,
+    Their murmuring labours ply
+  'Gainst graver hours that bring constraint
+    To sweeten liberty,
+  Some bold adventurers disdain                    35
+  The limits of their little reign,
+    And unknown regions dare descry:
+  Still as they run they look behind,
+  They hear a voice in every wind,
+    And snatch a fearful joy.                      40
+
+  Gay hope is theirs by fancy fed,
+    Less pleasing when possest;
+  The tear forgot as soon as shed,
+    The sunshine of the breast:
+  Theirs buxom health of rosy hue,                 45
+  Wild wit, invention ever new,
+    And lively cheer of vigour born;
+  The thoughtless day, the easy night,
+  The spirits pure, the slumbers light,
+    That fly th' approach of morn.                 50
+
+  Alas! regardless of their doom,
+    The little victims play;
+  No sense have they of ills to come,
+    No care beyond to-day:
+  Yet see how all around 'em wait                  55
+  The ministers of human fate,
+    And black Misfortune's baleful train!
+  Ah, show them where in ambush stand
+  To seize their prey the murtherous band!
+    Ah, tell them, they are men!                   60
+
+  These shall the fury Passions tear,
+    The vultures of the mind,
+  Disdainful Anger, pallid Fear,
+    And Shame that skulks behind;
+  Or pining Love shall waste their youth,          65
+  Or Jealousy with rankling tooth,
+    That inly gnaws the secret heart;
+  And Envy wan, and faded Care,
+  Grim-visag'd comfortless Despair,
+    And Sorrow's piercing dart.                    70
+
+  Ambition this shall tempt to rise,
+    Then whirl the wretch from high,
+  To bitter Scorn a sacrifice,
+    And grinning Infamy.
+  The stings of Falsehood those shall try,         75
+  And hard Unkindness' alter'd eye,
+    That mocks the tear it forc'd to flow;
+  And keen Remorse with blood defil'd,
+  And moody Madness laughing wild
+    Amid severest woe.                             80
+
+  Lo! in the vale of years beneath
+    A grisly troop are seen,
+  The painful family of Death,
+    More hideous than their queen:
+  This racks the joints, this fires the veins,     85
+  That every labouring sinew strains,
+    Those in the deeper vitals rage:
+  Lo! Poverty, to fill the band,
+  That numbs the soul with icy hand,
+    And slow-consuming Age.                        90
+
+  To each his sufferings: all are men,
+    Condemn'd alike to groan;
+  The tender for another's pain,
+    Th' unfeeling for his own.
+  Yet, ah! why should they know their fate,        95
+  Since sorrow never comes too late,
+    And happiness too swiftly flies?
+  Thought would destroy their paradise.
+  No more;--where ignorance is bliss,
+    'Tis folly to be wise.                        100
+
+[Illustration: SEAL OF ETON COLLEGE.]
+
+
+
+
+[Illustration: APOLLO CITHAROEDUS. FROM THE VATICAN.]
+
+
+THE PROGRESS OF POESY.
+_A Pindaric Ode_.
+  [Greek:  Phônanta sunetoisin: es
+           De to pan hermêneôn
+           Chatizei.]--PINDAR, _Ol_. II.
+
+
+I. 1.
+
+    Awake, Æolian lyre, awake,
+  And give to rapture all thy trembling strings.
+  From Helicon's harmonious springs
+    A thousand rills their mazy progress take:
+  The laughing flowers that round them blow,                  5
+  Drink life and fragrance as they flow.
+  Now the rich stream of music winds along,
+  Deep, majestic, smooth, and strong,
+  Thro' verdant vales, and Ceres' golden reign:
+  Now rolling down the steep amain,                          10
+  Headlong, impetuous, see it pour;
+  The rocks and nodding groves rebellow to the roar.
+
+
+I. 2.
+
+    Oh! Sovereign of the willing soul,
+  Parent of sweet and solemn-breathing airs,
+  Enchanting shell! the sullen Cares                         15
+    And frantic Passions hear thy soft control.
+  On Thracia's hills the Lord of War
+  Has curb'd the fury of his car,
+  And dropt his thirsty lance at thy command.
+  Perching on the sceptred hand                              20
+  Of Jove, thy magic lulls the feather'd king
+  With ruffled plumes and flagging wing:
+  Quench'd in dark clouds of slumber lie
+  The terror of his beak, and lightnings of his eye.
+
+
+I. 3.
+
+  Thee the voice, the dance, obey,                           25
+  Temper'd to thy warbled lay.
+  O'er Idalia's velvet-green
+  The rosy-crowned Loves are seen
+  On Cytherea's day
+  With antic Sports, and blue-eyed Pleasures,                30
+  Frisking light in frolic measures;
+  Now pursuing, now retreating,
+    Now in circling troops they meet:
+  To brisk notes in cadence beating,
+    Glance their many-twinkling feet.                        35
+  Slow melting strains their Queen's approach declare:
+    Where'er she turns the Graces homage pay.
+  With arms sublime, that float upon the air,
+    In gliding state she wins her easy way:
+  O'er her warm cheek, and rising bosom, move                40
+  The bloom of young Desire and purple light of Love.
+
+[Illustration: DELPHI AND MOUNT PARNASSUS.]
+
+
+II. 1.
+
+    Man's feeble race what ills await!
+  Labour, and Penury, the racks of Pain,
+  Disease, and Sorrow's weeping train,
+    And Death, sad refuge from the storms of Fate!           45
+  The fond complaint, my song, disprove,
+  And justify the laws of Jove.
+  Say, has he given in vain the heavenly Muse?
+  Night and all her sickly dews,
+  Her spectres wan, and birds of boding cry,                 50
+  He gives to range the dreary sky;
+  Till down the eastern cliffs afar
+  Hyperion's march they spy, and glittering shafts of war.
+
+
+II. 2.
+
+    In climes beyond the solar road,
+  Where shaggy forms o'er ice-built mountains roam,          55
+  The Muse has broke the twilight gloom
+    To cheer the shivering native's dull abode.
+  And oft, beneath the odorous shade
+  Of Chili's boundless forests laid,
+  She deigns to hear the savage youth repeat,                60
+  In loose numbers wildly sweet,
+  Their feather-cinctur'd chiefs, and dusky loves.
+  Her track, where'er the Goddess roves,
+  Glory pursue, and generous Shame,
+  Th' unconquerable Mind, and Freedom's holy flame.          65
+
+
+II. 3.
+
+  Woods, that wave o'er Delphi's steep,
+  Isles, that crown th' Ægean deep,
+  Fields, that cool Ilissus laves,
+  Or where Mæander's amber waves
+  In lingering labyrinths creep,                             70
+  How do your tuneful echoes languish,
+  Mute, but to the voice of anguish!
+  Where each old poetic mountain
+    Inspiration breath'd around;
+  Every shade and hallow'd fountain                          75
+    Murmur'd deep a solemn sound:
+  Till the sad Nine, in Greece's evil hour,
+    Left their Parnassus for the Latian plains.
+  Alike they scorn the pomp of tyrant Power,
+    And coward Vice, that revels in her chains.              80
+  When Latium had her lofty spirit lost,
+  They sought, O Albion! next thy sea-encircled coast.
+
+[Illustration: THE AVON AND STRATFORD CHURCH.]
+
+
+III. 1.
+
+    Far from the sun and summer gale,
+  In thy green lap was Nature's darling laid,
+  What time, where lucid Avon stray'd,                       85
+    To him the mighty mother did unveil
+  Her awful face: the dauntless child
+  Stretch'd forth his little arms and smil'd.
+  "This pencil take (she said), whose colours clear
+  Richly paint the vernal year:                              90
+  Thine too these golden keys, immortal Boy!
+  This can unlock the gates of joy;
+  Of horror that, and thrilling fears,
+  Or ope the sacred source of sympathetic tears."
+
+
+III. 2.
+
+    Nor second He, that rode sublime                         95
+  Upon the seraph wings of Ecstasy,
+  The secrets of th' abyss to spy.
+    He pass'd the flaming bounds of place and time:
+  The living throne, the sapphire blaze,
+  Where angels tremble while they gaze,                     100
+  He saw; but, blasted with excess of light,
+  Clos'd his eyes in endless night.
+  Behold, where Dryden's less presumptuous car,
+  Wide o'er the fields of glory bear
+  Two coursers of ethereal race,                            105
+  With necks in thunder cloth'd, and long-resounding pace.
+
+
+III. 3.
+
+  Hark, his hands the lyre explore!
+  Bright-eyed Fancy hovering o'er
+  Scatters from her pictur'd urn
+  Thoughts that breathe, and words that burn.               110
+  But ah! 'tis heard no more----
+  Oh! lyre divine, what daring spirit
+  Wakes thee now? Tho' he inherit
+  Nor the pride, nor ample pinion,
+    That the Theban eagle bear,                             115
+  Sailing with supreme dominion
+    Thro' the azure deep of air,
+  Yet oft before his infant eyes would run
+    Such forms as glitter in the Muse's ray
+  With orient hues, unborrow'd of the sun:                  120
+    Yet shall he mount, and keep his distant way
+  Beyond the limits of a vulgar fate,
+  Beneath the Good how far--but far above the Great.
+
+
+
+
+[Illustration]
+
+
+THE BARD.
+_A Pindaric Ode_.
+
+
+I. 1.
+
+  "Ruin seize thee, ruthless King!
+    Confusion on thy banners wait;
+  Tho' fann'd by Conquest's crimson wing,
+    They mock the air with idle state.
+  Helm, nor hauberk's twisted mail,                             5
+  Nor e'en thy virtues, Tyrant, shall avail
+  To save thy secret soul from nightly fears,
+  From Cambria's curse, from Cambria's tears!"
+    Such were the sounds that o'er the crested pride
+  Of the first Edward scatter'd wild dismay,                   10
+    As down the steep of Snowdon's shaggy side
+  He wound with toilsome march his long array.
+  Stout Gloster stood aghast in speechless trance:
+  "To arms!" cried Mortimer, and couch'd his quivering lance.
+
+
+I. 2.
+
+    On a rock whose haughty brow                               15
+  Frowns o'er old Conway's foaming flood,
+    Rob'd in the sable garb of woe,
+  With haggard eyes the poet stood
+  (Loose his beard, and hoary hair
+  Stream'd, like a meteor, to the troubled air),               20
+  And with a master's hand, and prophet's fire,
+  Struck the deep sorrows of his lyre.
+  "Hark, how each giant oak, and desert cave,
+    Sighs to the torrent's awful voice beneath!
+  O'er thee, O King! their hundred arms they wave,             25
+    Revenge on thee in hoarser murmurs breathe;
+  Vocal no more, since Cambria's fatal day,
+  To high-born Hoel's harp, or soft Llewellyn's lay.
+
+
+I. 3.
+
+    "Cold is Cadwallo's tongue,
+    That hush'd the stormy main;                               30
+  Brave Urien sleeps upon his craggy bed;
+    Mountains, ye mourn in vain
+    Modred, whose magic song
+  Made huge Plinlimmon bow his cloud-topt head.
+    On dreary Arvon's shore they lie,                          35
+  Smear'd with gore, and ghastly pale:
+  Far, far aloof th' affrighted ravens sail;
+    The famish'd eagle screams, and passes by.
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,              40
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries--
+  No more I weep. They do not sleep.
+    On yonder cliffs, a grisly band,
+  I see them sit, they linger yet,                             45
+    Avengers of their native land:
+  With me in dreadful harmony they join,
+  And weave with bloody hands the tissue of thy line.
+
+
+II. 1.
+
+  "Weave the warp, and weave the woof,
+    The winding-sheet of Edward's race.                        50
+  Give ample room, and verge enough
+    The characters of hell to trace.
+  Mark the year, and mark the night,
+  When Severn shall reëcho with affright
+  The shrieks of death thro' Berkeley's roofs that ring,       55
+  Shrieks of an agonizing king!
+    She-wolf of France, with unrelenting fangs,
+  That tear'st the bowels of thy mangled mate,
+    From thee be born, who o'er thy country hangs
+  The scourge of heaven. What terrors round him wait!          60
+  Amazement in his van, with Flight combin'd,
+  And Sorrow's faded form, and Solitude behind.
+
+
+II. 2.
+
+    "Mighty victor, mighty lord!
+  Low on his funeral couch he lies!
+    No pitying heart, no eye, afford                           65
+  A tear to grace his obsequies.
+  Is the sable warrior fled?
+  Thy son is gone. He rests among the dead.
+  The swarm that in thy noontide beam were born?
+  Gone to salute the rising morn.                              70
+  Fair laughs the morn, and soft the zephyr blows,
+    While proudly riding o'er the azure realm
+  In gallant trim the gilded vessel goes;
+    Youth on the prow, and Pleasure at the helm;
+  Regardless of the sweeping whirlwind's sway,                 75
+  That, hush'd in grim repose, expects his evening prey.
+
+
+II. 3.
+
+    "Fill high the sparkling bowl,
+    The rich repast prepare;
+  Reft of a crown, he yet may share the feast:
+    Close by the regal chair                                   80
+    Fell Thirst and Famine scowl
+  A baleful smile upon their baffled guest.
+    Heard ye the din of battle bray,
+  Lance to lance, and horse to horse?
+  Long years of havoc urge their destined course,              85
+    And thro' the kindred squadrons mow their way.
+  Ye towers of Julius, London's lasting shame,
+    With many a foul and midnight murther fed,
+  Revere his consort's faith, his father's fame,
+    And spare the meek usurper's holy head.                    90
+  Above, below, the rose of snow,
+    Twin'd with her blushing foe, we spread:
+  The bristled boar in infant gore
+    Wallows beneath the thorny shade.
+  Now, brothers, bending o'er the accursed loom,               95
+  Stamp we our vengeance deep, and ratify his doom.
+
+[Illustration: THE BLOODY TOWER.]
+
+
+III. 1.
+
+  "Edward, lo! to sudden fate
+    (Weave we the woof. The thread is spun.)
+  Half of thy heart we consecrate.
+    (The web is wove. The work is done.)                      100
+  Stay, oh stay! nor thus forlorn
+  Leave me unbless'd, unpitied, here to mourn:
+  In yon bright track, that fires the western skies,
+  They melt, they vanish from my eyes.
+    But oh! what solemn scenes on Snowdon's height            105
+  Descending slow their glittering skirts unroll?
+    Visions of glory, spare my aching sight!
+  Ye unborn ages, crowd not on my soul!
+  No more our long-lost Arthur we bewail.
+  All hail, ye genuine kings, Britannia's issue, hail!        110
+
+
+III. 2.
+
+    "Girt with many a baron bold
+  Sublime their starry fronts they rear;
+    And gorgeous dames, and statesmen old
+  In bearded majesty, appear.
+  In the midst a form divine!                                 115
+  Her eye proclaims her of the Briton line;
+  Her lion-port, her awe-commanding face,
+  Attemper'd sweet to virgin-grace.
+  What strings symphonious tremble in the air,
+    What strains of vocal transport round her play!           120
+  Hear from the grave, great Taliessin, hear;
+    They breathe a soul to animate thy clay.
+  Bright Rapture calls, and soaring as she sings,
+  Waves in the eye of heaven her many-colour'd wings.
+
+
+III. 3.
+
+    "The verse adorn again                                    125
+    Fierce War, and faithful Love,
+  And Truth severe, by fairy Fiction drest.
+    In buskin'd measures move
+    Pale Grief, and pleasing Pain,
+  With Horror, tyrant of the throbbing breast.                130
+    A voice, as of the cherub-choir,
+  Gales from blooming Eden bear;
+  And distant warblings lessen on my ear,
+    That lost in long futurity expire.
+  Fond impious man, think'st thou yon sanguine cloud,         135
+    Rais'd by thy breath, has quench'd the orb of day?
+  To-morrow he repairs the golden flood,
+    And warms the nations with redoubled ray.
+  Enough for me; with joy I see
+    The different doom our fates assign.                      140
+  Be thine despair, and sceptred care;
+    To triumph, and to die, are mine."
+  He spoke, and headlong from the mountain's height
+  Deep in the roaring tide he plung'd to endless night.
+
+[Illustration: QUEEN ELIZABETH.]
+
+
+
+
+[Illustration]
+
+
+HYMN TO ADVERSITY.
+
+  [Greek:  Zêna----
+           Ton phronein brotous hodô-
+           santa, tôi pathei mathan
+           Thenta kuriôs echein.]
+                     ÆSCHYLUS, _Agam_.
+
+
+    Daughter of Jove, relentless power,
+      Thou tamer of the human breast,
+    Whose iron scourge and torturing hour
+      The bad affright, afflict the best!
+    Bound in thy adamantine chain,                        5
+    The proud are taught to taste of pain,
+    And purple tyrants vainly groan
+  With pangs unfelt before, unpitied and alone.
+
+    When first thy sire to send on earth
+      Virtue, his darling child, design'd,               10
+    To thee he gave the heavenly birth,
+      And bade to form her infant mind.
+    Stern rugged nurse! thy rigid lore
+    With patience many a year she bore:
+    What sorrow was, thou bad'st her know,               15
+  And from her own she learn'd to melt at others' woe.
+
+    Scar'd at thy frown terrific, fly
+      Self-pleasing Folly's idle brood,
+    Wild Laughter, Noise, and thoughtless Joy,
+      And leave us leisure to be good.                   20
+    Light they disperse, and with them go
+    The summer friend, the flattering foe;
+    By vain Prosperity receiv'd,
+  To her they vow their truth, and are again believ'd.
+
+    Wisdom in sable garb array'd,                        25
+      Immersed in rapturous thought profound,
+    And Melancholy, silent maid,
+      With leaden eye that loves the ground,
+    Still on thy solemn steps attend;
+    Warm Charity, the general friend,                    30
+    With Justice, to herself severe,
+  And Pity, dropping soft the sadly-pleasing tear.
+
+    Oh! gently on thy suppliant's head,
+      Dread goddess, lay thy chastening hand!
+    Not in thy Gorgon terrors clad,                      35
+      Not circled with the vengeful band
+    (As by the impious thou art seen),
+    With thundering voice and threatening mien,
+    With screaming Horror's funeral cry,
+  Despair, and fell Disease, and ghastly Poverty:        40
+
+    Thy form benign, O goddess, wear,
+      Thy milder influence impart;
+    Thy philosophic train be there
+      To soften, not to wound, my heart.
+    The generous spark extinct revive,                   45
+    Teach me to love and to forgive,
+    Exact my own defects to scan,
+  What others are to feel, and know myself a Man.
+
+
+
+
+[Illustration: BERKELEY CASTLE.
+
+  "Mark the year, and mark the night,
+  When Severn shall reëcho with affright
+  The shrieks of death thro' Berkeley's roofs that ring,
+  Shrieks of an agonizing king!"
+                        _The Bard_, 53.]
+
+
+
+
+NOTES.
+
+
+
+
+LIST OF ABBREVIATIONS.
+
+
+A. S., Anglo-Saxon.
+
+Arc., Milton's _Arcades_.
+
+C. T., Chaucer's _Canterbury Tales_.
+
+Cf. (_confer_), compare.
+
+D. V., Goldsmith's _Deserted Village_.
+
+Ep., Epistle, Epode.
+
+Foll., following.
+
+F. Q., Spenser's _Faërie Queene_.
+
+H., Haven's _Rhetoric_ (Harper's edition).
+
+Hales, _Longer English Poems_, edited by Rev. J. W. Hales (London,
+1872).
+
+Il Pens., Milton's _Il Penseroso_.
+
+L'All., Milton's _L'Allegro_.
+
+Ol., Pindar's _Olympian Odes_.
+
+P. L., Milton's _Paradise Lost_.
+
+P. R., Milton's _Paradise Regained_.
+
+S. A., Milton's _Samson Agonistes_.
+
+Shakes. Gr., Abbott's _Shakespearian Grammar_ (the references are to
+_sections_, not pages).
+
+Shep. Kal., Spenser's _Shepherd's Kalendar_.
+
+st., stanza.
+
+Wb., Webster's Dictionary (last revised quarto edition).
+
+Worc., Worcester's Dictionary (quarto edition).
+
+
+Other abbreviations (names of books in the Bible, plays of
+Shakespeare, works of Ovid, Virgil, and Horace, etc.) need no
+explanation.
+
+
+
+
+NOTES.
+
+[Illustration]
+
+
+ELEGY IN A COUNTRY CHURCHYARD.
+
+
+This poem was begun in the year 1742, but was not finished until
+1750, when Gray sent it to Walpole with a letter (dated June 12,
+1750) in which he says: "I have been here at Stoke a few days (where
+I shall continue good part of the summer), and having put an end to a
+thing, whose beginning you have seen long ago, I immediately send it
+you. You will, I hope, look upon it in the light of a thing with an
+end to it: a merit that most of my writings have wanted, and are like
+to want." It was shown in manuscript to some of the author's friends,
+and was published in 1751 only because it was about to be printed
+surreptitiously.
+
+February 11, 1751, Gray wrote to Walpole that the proprietors of "the
+Magazine of Magazines" were about to publish his _Elegy_, and added,
+"I have but one bad way left to escape the honour they would inflict
+upon me; and therefore am obliged to desire you would make Dodsley
+print it immediately (which may be done in less than a week's time)
+from your copy, but without my name, in what form is most convenient
+for him, but on his best paper and character; he must correct the
+press himself,[1] and print it without any interval between the
+stanzas, because the sense is in some places continued beyond them;
+and the title must be--'Elegy, written in a Country Churchyard.' If
+he would add a line or two to say it came into his hands by accident,
+I should like it better." Walpole did as requested, and wrote an
+advertisement to the effect that accident alone brought the poem
+before the public, although an apology was unnecessary to any but the
+author. On which Gray wrote, "I thank you for your advertisement,
+which saves my honour."
+
+[Footnote 1: Dodsley's proof-reading must have been somewhat
+careless, for there are many errors of the press in this _editio
+princeps_. Gray writes to Walpole, under date of "Ash-Wednesday,
+Cambridge, 1751," as follows: "Nurse Dodsley has given it a pinch or
+two in the cradle, that (I doubt) it will bear the marks of as long
+as it lives. But no matter: we have ourselves suffered under her
+hands before now; and besides, it will only look the more careless
+and by _accident_ as it were." Again, March 3, 1751, he writes: "I do
+not expect any more editions; as I have appeared in more magazines
+than one. The chief errata were _sacred_ for _secret_; _hidden_ for
+_kindred_ (in spite of dukes and classics); and '_frowning_ as in
+scorn' for _smiling_. I humbly propose, for the benefit of Mr.
+Dodsley and his matrons, that take _awake_ [in line 92, which at
+first read "awake and faithful to her wonted fires"] for a verb, that
+they should read _asleep_, and all will be right." Other errors were,
+"Their _harrow_ oft the stubborn glebe," "And read their _destiny_ in
+a nation's eyes," "With uncouth rhymes and shapeless _culture_
+decked," "Slow through the churchway _pass_," and many of minor
+importance.]
+
+A writer in _Notes and Queries_, June 12, 1875, states that the poem
+first appeared in the _London Magazine_, March, 1751, p. 134, and
+that "the Magazine of Magazines" is "a gentle term of scorn used by
+Gray to indicate" that periodical, and not the name of any actual
+magazine. But in the next number of _Notes and Queries_ (June 19,
+1875) Mr. F. Locker informs us that he has in his possession a
+title-page of the _Grand Magazine of Magazines_, and the page of the
+number for April, 1751, which contains the _Elegy_. The magazine is
+said to be "collected and digested by Roger Woodville, Esq.," and
+"published by Cooper at the Globe, in Pater Noster Row."
+
+Gray says nothing in his letters of the appearance of the _Elegy_ in
+the _London Magazine_. The full title of that periodical was "The
+London Magazine: or Gentleman's Monthly Intelligencer." The editor's
+name was not given; the publisher was "R. Baldwin, jun. at the Rose
+in Pater-Noster Row." The volume for 1751 was the 20th, and the
+Preface (written at the close of the year) begins thus: "As the two
+most formidable Enemies we have ever had, are now extinct, we have
+great Reason to conclude, that it is only the Merit, and real
+Usefulness of our COLLECTION, that hath supported its Sale and
+Reputation for Twenty Years." A foot-note informs us that the
+"Enemies" are the "_Magazine of Magazines_ and _Grand Magazine of
+Magazines_;" from which it would appear that there were two
+periodicals of similar name published in London in 1751.[2]
+
+[Footnote 2: May not the _Elegy_ have been printed in both of these?
+We do not know how otherwise to reconcile the conflicting statements
+concerning the "Magazine of Magazines," as Gray calls it. In the
+first place, Gray appears (from other portions of his letter to
+Walpole) to be familiar with this magazine, and would not be likely
+to confound it with another of similar name. Then, as we have seen,
+he writes _early in March_ to Walpole that the poem has been printed
+"in more magazines than one." This cannot refer to the _Grand
+Magazine of Magazines_, if, as Mr. Locker states, it was the _April_
+number of that periodical in which the poem appeared. Nor can it
+refer to the _London Magazine_, as it is clear from internal evidence
+that the March number, containing the _Elegy_, was not issued until
+early in April. It contains a summary of current news down to Sunday,
+March 31, and the price of stocks in the London market for March 30.
+The _February_ number, in its "monthly catalogue" of new books,
+records the publication of the _Elegy_ by Dodsley thus: "An Elegy
+wrote in a Church-yard, pr. 6d. Dodsley."
+
+If, then, the _Elegy_ did not appear in either the _London Magazine_
+or the _Grand Magazine of Magazines_ until more than a month (in the
+case of the latter, perhaps two months) after Dodsley had issued it,
+in what magazine was it that it _did_ appear just before he issued
+it? The _N. A. Review_ says that "it was a close race between the
+Magazine and Dodsley; but the former, having a little the start, came
+out a few days ahead." If so, it must have been the _March_ number;
+or the _February_ one, if it was published, like the _London_, at the
+end of the month. Gray calls it "the Magazine of Magazines," and we
+shall take his word for it until we have reason for doubting it. What
+else was included in his "more magazines than one" we cannot even
+guess.
+
+We have not been able to find the _Magazine of Magazines_ or the
+_Grand Magazine of Magazines_ in the libraries, and know nothing
+about either "of our own knowledge." The _London Magazine_ is in the
+Harvard College Library, and the statements concerning that we can
+personally vouch for.]
+
+The author's name is not given with the _Elegy_ as printed in the
+_London Magazine_. The poem is sandwiched between an "Epilogue to
+_Alfred, a Masque_" and some coarse rhymes entitled "Strip-Me-Naked,
+or Royal Gin for ever." There is not even a printer's "rule" or
+"dash" to separate the title of the latter from the last line of the
+_Elegy_. The poem is more correctly printed than in Dodsley's
+authorized edition; though, queerly enough, it has "winds" in the
+second line and the parenthesis "(all he had)" in the Epitaph. Of
+Dodsley's misprints noted above it has only "Their _harrow_ oft" and
+"shapeless _culture_." These four errors, indeed, are the only ones
+worth noting, except "Or _wake_ to extasy the living lyre."
+
+The "Magazine of Magazines" (as the writer in the _North American
+Review_ tells us) printed the _Elegy_ with the author's name. The
+authorized though anonymous edition was thus briefly noticed by _The
+Monthly Review_, the critical Rhadamanthus of the day: "_An Elegy in
+a Country Churchyard_. 4to. Dodsley's. Seven pages.--The excellence
+of this little piece amply compensates for its want of quantity."
+
+"Soon after its publication," says Mason, "I remember, sitting with
+Mr. Gray in his College apartment, he expressed to me his surprise at
+the rapidity of its sale. I replied:
+
+  'Sunt lacrymae rerum, et mentem mortalia tangunt.'
+
+He paused awhile, and taking his pen, wrote the line on a printed
+copy of it lying on his table. 'This,' said he, 'shall be its future
+motto.' 'Pity,' cried I, 'that Dr. Young's Night Thoughts have
+preoccupied it.' 'So,' replied he, 'indeed it is.'" Gray himself
+tells the story of its success on the margin of the manuscript copy
+of the _Elegy_ preserved at Cambridge among his papers, and
+reproduced in _fac-simile_ in Mathias's elegant edition of the poet.
+The following is a careful transcript of the memorandum:
+
+  "publish'd in
+   Feb:^{ry}, 1751.
+   by Dodsley: &
+   went thro' four
+   Editions; in two
+   months; and af-
+   terwards a fifth
+   6^{th} 7^{th} & 8^{th} 9^{th} & 10^{th}
+   & 11^{th}
+   printed also in 1753
+   with M^r Bentley's
+   Designs, of w^{ch}
+   there is a 2^d Edition
+   & again by Dodsley
+   in his Miscellany,
+   Vol: 4^{th} & in a
+   Scotch Collection
+   call'd _the Union_.
+   translated into
+   Latin by Chr: Anstey
+   Esq, & the Rev^d M^r
+   Roberts, & publish'd
+   in 1762; & again
+   in the same year
+   by Rob: Lloyd, M: A:"
+
+"One peculiar and remarkable tribute to the merit of the _Elegy_,"
+says Professor Henry Reed, "is to be noticed in the great number of
+translations which have been made of it into various languages, both
+of ancient and modern Europe. It is the same kind of tribute which
+has been rendered to _Robinson Crusoe_ and to _The Pilgrim's
+Progress_, and is proof of the same universality of interest,
+transcending the limits of language and of race. To no poem in the
+English language has the same kind of homage been paid so abundantly.
+Of what other poem is there a polyglot edition? Italy and England
+have competed with their polyglot editions of the _Elegy_: Torri's,
+bearing the title, 'Elegia di Tomaso Gray sopra un Cimitero di
+Campagna, tradotta dall' Inglese in più lingue: Verona, 1817;
+Livorno, 1843;' and Van Voorst's London edition." Professor Reed adds
+a list of the translations (which, however, is incomplete), including
+one in Hebrew, seven in Greek, twelve in Latin, thirteen in Italian,
+fifteen in French, six in German, and one in Portuguese.
+
+"Had Gray written nothing but his _Elegy_," remarks Byron, "high as
+he stands, I am not sure that he would not stand higher; it is the
+cornerstone of his glory."
+
+The tribute paid the poem by General Wolfe is familiar to all, but we
+cannot refrain from quoting Lord Mahon's beautiful account of it in
+his _History of England_. On the night of September 13th, 1759, the
+night before the battle on the Plains of Abraham, Wolfe was
+descending the St. Lawrence with a part of his troops. The historian
+says: "Swiftly, but silently, did the boats fall down with the tide,
+unobserved by the enemy's sentinels at their posts along the shore.
+Of the soldiers on board, how eagerly must every heart have throbbed
+at the coming conflict! how intently must every eye have contemplated
+the dark outline, as it lay pencilled upon the midnight sky, and as
+every moment it grew closer and clearer, of the hostile heights! Not
+a word was spoken--not a sound heard beyond the rippling of the
+stream. Wolfe alone--thus tradition has told us--repeated in a low
+tone to the other officers in his boat those beautiful stanzas with
+which a country churchyard inspired the muse of Gray. One noble line,
+
+  'The paths of glory lead but to the grave,'
+
+must have seemed at such a moment fraught with mournful meaning. At
+the close of the recitation Wolfe added, 'Now, gentlemen, I would
+rather be the author of that poem than take Quebec.'"
+
+Hales, in his Introduction to the poem, remarks: "The _Elegy_ is
+perhaps the most widely known poem in our language. The reason of
+this extensive popularity is perhaps to be sought in the fact that it
+expresses in an exquisite manner feelings and thoughts that are
+universal. In the current of ideas in the _Elegy_ there is perhaps
+nothing that is rare, or exceptional, or out of the common way. The
+musings are of the most rational and obvious character possible; it
+is difficult to conceive of any one musing under similar
+circumstances who should not muse so; but they are not the less deep
+and moving on this account. The mystery of life does not become
+clearer, or less solemn and awful, for any amount of contemplation.
+Such inevitable, such everlasting questions as rise on the mind when
+one lingers in the precincts of Death can never lose their freshness,
+never cease to fascinate and to move. It is with such questions, that
+would have been commonplace long ages since if they could ever be so,
+that the _Elegy_ deals. It deals with them in no lofty philosophical
+manner, but in a simple, humble, unpretentious way, always with the
+truest and the broadest humanity. The poet's thoughts turn to the
+poor; he forgets the fine tombs inside the church, and thinks only of
+the 'mouldering heaps' in the churchyard. Hence the problem that
+especially suggests itself is the potential greatness, when they
+lived, of the 'rude forefathers' that now lie at his feet. He does
+not, and cannot solve it, though he finds considerations to mitigate
+the sadness it must inspire; but he expresses it in all its awfulness
+in the most effective language and with the deepest feeling; and his
+expression of it has become a living part of our language."
+
+The writer in the _North American Review_ (vol. 96) from whom we have
+elsewhere quoted says of the _Elegy_: "It is upon this that Gray's
+fame as a poet must chiefly rest. By this he will be known forever
+alike to the lettered and the unlettered. Many, in future ages, who
+may never have heard of his classic Odes, his various learning, or
+his sparkling letters, will revere him only as the author of the
+_Elegy_. For this he will be enshrined through all time in the hearts
+of the myriads who shall speak our English tongue. For this his name
+will be held in glad remembrance in the far-off summer isles of the
+Pacific, and amidst the waste of polar snows. If he had written
+nothing else, his place as a leading poet in our language would still
+be assured. Many have asserted, with Johnson, that he was a mere
+mechanical poet--one who brought from without, but never found
+within; that the gift of inspiration was not native to him; that his
+imagination was borrowed finery, his fancy tinsel, and his invention
+the world's well-worn jewels; that whatever in his verse was poetic
+was not new, and what was new was not poetic; that he was only an
+unworldly dyspeptic, living amid many books, and laboriously delving
+for a lifetime between musty covers, picking out now and then
+another's gems and bits of ore, and fashioning them into
+ill-compacted mosaics, which he wrongly called his own. To all this
+the _Elegy_ is a sufficient answer. It is not old--it is not bookish;
+it is new and human. Books could not make its maker: he was born of
+the divine breath alone. Consider all the commentators, the
+scholiasts, the interpreters, the annotators, and other like
+book-worms, from Aristarchus down to Döderlein; and may it not be
+said that, among them all, 'Nec viget quidquam simile aut secundum?'
+
+"Gray wrote but little, yet he wrote that little well. He might have
+done far more for us; the same is true of most men, even of the
+greatest. The possibilities of a life are always in advance of its
+performance. But we cannot say that his life was a wasted one. Even
+this little _Elegy_ alone should go for much. For, suppose that he
+had never written this, but instead had done much else in other ways,
+according to his powers: that he had written many learned treatises;
+that he had, with keen criticism, expounded and reconstructed Greek
+classics; that he had, perchance, sat upon the woolsack, and laid
+rich offerings at the feet of blind Justice;--taking the years
+together, would it have been, on the whole, better for him or for us?
+Would he have added so much to the sum of human happiness? He might
+thus have made himself a power for a time, to be dethroned by some
+new usurper in the realm of knowledge; now he is a power and a joy
+forever to countless thousands."
+
+
+Two manuscripts of the _Elegy_, in Gray's handwriting, still exist.
+Both were bequeathed by the poet, together with his library, letters,
+and many miscellaneous papers, to his friends the Rev. William Mason
+and the Rev. James Browne, as joint literary executors. Mason
+bequeathed the entire trust to Mr. Stonhewer. The latter, in making
+his will, divided the legacy into two parts. The larger share went to
+the Master and Fellows of Pembroke Hall. Among the papers, which are
+still in the possession of the College, was found a copy of the
+_Elegy_. An excellent fac-simile of this manuscript appears in
+Mathias's edition of Gray, published in 1814. In referring to it
+hereafter we shall designate it as the "Pembroke" MS.
+
+The remaining portion of Gray's literary bequest, including the other
+manuscript of the _Elegy_, was left by Mr. Stonhewer to his friend,
+Mr. Bright. In 1845 Mr. Bright's sons sold the collection at auction.
+The MS. of the _Elegy_ was bought by Mr. Granville John Penn, of
+Stoke Park, for _one hundred pounds_--the highest sum that had ever
+been known to be paid for a single sheet of paper. In 1854 this
+manuscript came again into the market, and was knocked down to Mr.
+Robert Charles Wrightson, of Birmingham, for 131 pounds. On the 29th
+of May, 1875, it was once more offered for sale in London, and was
+purchased by Sir William Fraser for 230 pounds, or about $1150. A
+photographic reproduction of it was published in London in 1862. For
+convenience we shall refer to it as the "Wrightson" MS.
+
+There can be little doubt that the Wrightson MS. is the original one,
+and that the Pembroke MS. is a fair copy made from it by the poet.
+The former contains a greater number of alterations, and varies more
+from the printed text. It bears internal evidence of being the rough
+draft, while the other represents a later stage of the poem. We will
+give the variations of both from the present version.[3]
+
+[Footnote 3: For the readings of the Wrightson MS. we have had to
+depend on Mason, Mitford, and other editors of the poem, and on the
+article in the _North American Review_, already referred to. The
+readings of the Pembroke MS. are taken from the engraved fac-simile
+in Mathias's edition.
+
+The two stanzas of which a fac-simile is given on page 73 are from
+the Pembroke MS., but the wood-cut hardly does justice to the
+feminine delicacy of the poet's handwriting.]
+
+The Wrightson MS. has in the first stanza, "The lowing herd _wind_
+slowly," etc. See our note on this line, below.
+
+In the 2d stanza, it reads, "And _now_ the air," etc.
+
+The 5th stanza is as follows:
+
+  "For ever sleep: the breezy call of morn,
+     Or swallow twitt'ring from the straw-built shed,
+   Or Chanticleer so shrill, or echoing horn,
+     No more shall rouse them from their lowly bed."
+
+In 8th stanza, "Their _rustic_ joys," etc.
+
+In 10th stanza, the first two lines read,
+
+  "Forgive, ye proud, th' involuntary fault,
+     If memory to these no trophies raise."
+
+In 12th stanza, "Hands that the _reins_ of empire," etc.
+
+In 13th stanza, "Chill Penury _depress'd_," etc.
+
+The 15th stanza reads thus:
+
+  "Some village Cato, who, with dauntless breast,
+     The little tyrant of his fields withstood;
+   Some mute inglorious Tully here may rest,
+     Some Cæsar guiltless of his country's blood."[4]
+
+[Footnote 4: The _Saturday Review_ for June 19, 1875, has a long
+article on the change made by Gray in this stanza, entitled, "A
+Lesson from Gray's Elegy," from which we cull the following
+paragraphs:
+
+"Gray, having first of all put down the names of three Romans as
+illustrations of his meaning, afterwards deliberately struck them out
+and put the names of three Englishmen instead. This is a sign of a
+change in the taste of the age, a change with which Gray himself had
+a good deal to do. The deliberate wiping out of the names of Cato,
+Tully, and Cæsar, to put in the names of Hampden, Milton, and
+Cromwell, seems to us so obviously a change for the better that there
+seems to be no room for any doubt about it. It is by no means certain
+that Gray's own contemporaries would have thought the matter equally
+clear. We suspect that to many people in his day it must have seemed
+a daring novelty to draw illustrations from English history,
+especially from parts of English history which, it must be
+remembered, were then a great deal more recent than they are now. To
+be sure, in choosing English illustrations, a poet of Gray's time was
+in rather a hard strait. If he chose illustrations from the century
+or two before his own time, he could only choose names which had
+hardly got free from the strife of recent politics. If, in a poem of
+the nature of the Elegy, he had drawn illustrations from earlier
+times of English history, he would have found but few people in his
+day likely to understand him....
+
+"The change which Gray made in this well-known stanza is not only an
+improvement in a particular poem, it is a sign of a general
+improvement in taste. He wrote first according to the vicious taste
+of an earlier time, and he then changed it according to his own
+better taste. And of that better taste he was undoubtedly a prophet
+to others. Gray's poetry must have done a great deal to open men's
+eyes to the fact that they were Englishmen, and that on them, as
+Englishmen, English things had a higher claim than Roman, and that to
+them English examples ought to be more speaking than Roman ones. But
+there is another side of the case not to be forgotten. Those who
+would have regretted the change from Cato, Tully, and Cæsar to
+Hampden, Milton, and Cromwell, those who perhaps really did think
+that the bringing in of Hampden, Milton, and Cromwell was a
+degradation of what they would have called the Muse, were certainly
+not those who had the truest knowledge of Cato, Tully, and Cæsar. The
+'classic' taste from which Gray helped to deliver us was a taste
+which hardly deserves to be called a taste. Pardonable perhaps in the
+first heat of the Renaissance, when 'classic' studies and objects had
+the charm of novelty, it had become by his day a mere silly
+fashion."]
+
+In 18th stanza, "Or _crown_ the shrine," etc.
+
+After this stanza, the MS. has the following four stanzas, now
+omitted:
+
+  "The thoughtless world to Majesty may bow,
+     Exalt the brave, and idolize success;
+   But more to innocence their safety owe
+     Than Pow'r, or Genius, e'er conspir'd to bless.
+
+  "And thou who, mindful of the unhonour'd Dead,
+     Dost in these notes their artless tale relate,
+   By night and lonely contemplation led
+     To wander in the gloomy walks of fate:
+
+  "Hark! how the sacred Calm, that breathes around,
+     Bids every fierce tumultuous passion cease;
+   In still small accents whisp'ring from the ground
+     A grateful earnest of eternal peace.
+
+  "No more, with reason and thyself at strife,
+     Give anxious cares and endless wishes room;
+   But through the cool sequester'd vale of life
+     Pursue the silent tenor of thy doom."[5]
+
+[Footnote 5: We follow Mason (ed. 1778) in the text of these stanzas.
+The _North American Review_ has "Power _and_ Genius" in the first,
+and "_linger_ in the _lonely_ walks" in the second.]
+
+The second of these stanzas has been remodelled and used as the 24th
+of the present version. Mason thought that there was a pathetic
+melancholy in all four which claimed preservation. The third he
+considered equal to any in the whole _Elegy_. The poem was originally
+intended to end here, the introduction of "the hoary-headed swain"
+being a happy after-thought.
+
+In the 19th stanza, the MS. has "never _learn'd_ to stray."
+
+In the 21st stanza, "fame and _epitaph_," etc.
+
+In the 23d stanza, the last line reads,
+
+  "And buried ashes glow with social fires."
+
+"Social" subsequently became "wonted," and other changes were made
+(see p. 74, foot-note) before the line took its present form.
+
+The 24th stanza reads,
+
+  "If chance that e'er some pensive Spirit more,
+     By sympathetic musings here delay'd,
+   With vain, though kind inquiry shall explore
+     Thy once-lov'd haunt, this long-deserted shade."[6]
+
+[Footnote 6: Mitford (Eton ed.) gives "sympathizing" in the second
+line, and for the last,
+
+  "Thy ever loved haunt--this long deserted shade."
+
+The latter is obviously wrong (Gray was incapable of such metre), and
+the former is probably wrong also.]
+
+The last line of the 25th stanza reads,
+
+  "On the high brow of yonder hanging lawn."
+
+Then comes the following stanza, afterwards omitted:
+
+  "Him have we seen the greenwood side along,
+     While o'er the heath we hied, our labour done,
+   Oft as the woodlark pip'd her farewell song,
+     With wistful eyes pursue the setting sun."[7]
+
+Mason remarked: "I rather wonder that he rejected this stanza, as it
+not only has the same sort of Doric delicacy which charms us
+peculiarly in this part of the poem, but also completes the account
+of his whole day; whereas, this evening scene being omitted, we have
+only his morning walk, and his noontide repose."
+
+[Footnote 7: Here also we follow Mason; the _North American Review_
+reads "our _labours_ done."]
+
+The first line of the 27th stanza reads,
+
+  "With gestures quaint, now smiling as in scorn."
+
+After the 29th stanza, and before the Epitaph, the MS. contains the
+following omitted stanza:
+
+  "There scatter'd oft, the earliest of the year,
+     By hands unseen are frequent violets found;
+   The robin loves to build and warble there,
+     And little footsteps lightly print the ground."
+
+This--with two or three verbal changes only[8]--was inserted in all
+the editions up to 1753, when it was dropped. The omission was not
+made from any objection to the stanza in itself, but simply because
+it was too long a parenthesis in this place; on the principle which
+he states in a letter to Dr. Beattie: "As to description, I have
+always thought that it made the most graceful ornament of poetry, but
+never ought to make the subject." The part was sacrificed for the
+good of the whole. Mason very justly remarked that "the lines,
+however, are in themselves exquisitely fine, and demand
+preservation."
+
+[Footnote 8: See next page. The writer in the _North American Review_
+is our only authority for the stanza as given above. He appears to
+have had the photographic reproduction of the Wrightson MS., but we
+cannot vouch for the accuracy of his transcripts from it.]
+
+The first line of the 31st stanza has "and his _heart_ sincere."
+
+The 32d and last stanza is as follows:
+
+  "No farther seek his merits to disclose,
+     Nor seek to draw them from their dread abode--
+   (His frailties there in trembling hope repose);
+     The bosom of his Father and his God."[9]
+
+[Footnote 9: The above are all the variations from the present text
+in the Wrightson MS. which are noted by the authorities on whom we
+have depended; but we suspect that the following readings, mentioned
+by Mitford as in the MS., belong to _that_ MS., as they are _not_
+found in the other: in the 7th stanza, "sickles" for "sickle;" in
+18th, "shrines" for "shrine." Two others (in stanzas 9th and 27th)
+are referred to in our account of the Pembroke MS. below.]
+
+The Pembroke MS. has the following variations from the present
+version:
+
+In the 1st stanza, "wind" for "winds."
+
+2d stanza, "_Or_ drowsy," etc.
+
+5th stanza, "_and_ the ecchoing horn."
+
+6th stanza, "_Nor_ climb his knees."
+
+9th stanza, "_Awaits_ alike." Probably this is also the reading of
+the Wrightson MS. Mitford gives it as noted by Mason, and it is
+retained by Gray in the ed. of 1768.
+
+The 10th stanza begins,
+
+  "_Forgive_, ye Proud, _th' involuntary_ fault
+      If Memory _to these_," etc.,
+
+the present readings ("Nor you," "impute to these," and "Mem'ry o'er
+their tomb") being inserted in the margin.
+
+The 12th stanza has "_reins_ of empire," with "rod" in the margin.
+
+In the 15th stanza, the word "lands" has been crossed out, and
+"fields" written above it.
+
+The 17th has "_Or_ shut the gates," etc.
+
+In the 21st we have "fame and _epitaph_ supply."
+
+The 23d has "_And_ in our ashes _glow_," the readings "Ev'n" and
+"live" being inserted in the margin.
+
+The 27th stanza has "_would he_ rove." We suspect that this is also
+the reading of the Wrightson MS., as Mitford says it is noted by
+Mason.
+
+In the 28th stanza, the first line reads "_from_ the custom'd hill."
+
+In the 29th a word which we cannot make out has been erased, and
+"aged" substituted.
+
+Before the Epitaph, two asterisks refer to the bottom of the page,
+where the following stanza is given, with the marginal note, "Omitted
+in 1753:"
+
+  "There scatter'd oft, the earliest of the Year,
+     By Hands unseen, are Show'rs of Violets found;
+   The Red-breast loves to build, and warble there,
+     And little Footsteps lightly print the Ground."
+
+The last two lines of the 31st stanza (see note below) are pointed as
+follows:
+
+  "He gave to Mis'ry all he had, a Tear,
+     He gain'd from Heav'n ('twas all he wish'd) a Friend."
+
+Some of the peculiarities of spelling in this MS. are the following:
+"Curfeu;" "Plowman;" "Tinkleings;" "mopeing;" "ecchoing;" "Huswife;"
+"Ile" (aisle); "wast" (waste); "village-Hambden;" "Rhimes;"
+"spell't;" "chearful;" "born" (borne); etc.
+
+Mitford, in his Life of Gray prefixed to the "Eton" edition of his
+Poems (edited by Rev. John Moultrie, 1847), says: "I possess many
+curious variations from the printed text, taken from a copy of it in
+his own handwriting." He adds specimens of these variations, a few of
+which differ from both the Wrightson and Pembroke MSS. We give these
+in our notes below. See on 12, 24, and 93.
+
+
+Several localities have contended for the honor of being the scene of
+the _Elegy_, but the general sentiment has always, and justly, been
+in favor of Stoke-Pogis. It was there that Gray began the poem in
+1742; and there, as we have seen, he finished it in 1750. In that
+churchyard his mother was buried, and there, at his request, his own
+remains were afterwards laid beside her. The scene is, moreover, in
+all respects in perfect keeping with the spirit of the poem.
+
+According to the common Cambridge tradition, Granchester, a parish
+about two miles southwest of the University, to which Gray was in the
+habit of taking his "constitutional" daily, is the locality of the
+poem; and the great bell of St. Mary's is the "curfew" of the first
+stanza. Another tradition makes a similar claim for Madingley, some
+three miles and a half northwest of Cambridge. Both places have
+churchyards such as the _Elegy_ describes; and this is about all that
+can be said in favor of their pretensions. There is also a parish
+called Burnham Beeches, in Buckinghamshire, which one writer at least
+has suggested as the scene of the poem, but for no better reason than
+that Gray once wrote a description of the place to Walpole, and
+casually mentioned the existence of certain "beeches," at the foot of
+which he would "squat," and "there grow to the trunk a whole
+morning." Gray's uncle had a seat in the neighborhood, and the poet
+often visited here, but the spot was not hallowed to him by the fond
+and tender associations that gathered about Stoke.
+
+
+1. _The curfew_. Hales remarks: "It is a great mistake to suppose
+that the ringing of the curfew was, at its institution, a mark of
+Norman oppression. If such a custom was unknown before the Conquest,
+it only shows that the old English police was less well-regulated
+than that of many parts of the Continent, and how much the superior
+civilization of the Norman-French was needed. Fires were the curse of
+the timber-built towns of the Middle Ages: 'Solae pestes Londoniae
+sunt stultorum immodica potatio et _frequens incendium_'
+(Fitzstephen). The enforced extinction of domestic lights at an
+appointed signal was designed to be a safeguard against them."
+
+Warton wanted to have this line read
+
+  "The curfew tolls!--the knell of parting day."
+
+It is sufficient to say that Gray, as the manuscript shows, did not
+want it to read so, and that we much prefer his way to Warton's.
+
+Mitford says that _toll_ is "not the appropriate verb," as the curfew
+was rung, not tolled. We presume that depended, to some extent, on
+the fancy of the ringer. Milton (_Il Pens._ 76) speaks of the curfew
+as
+
+  "Swinging slow with sullen roar."
+
+Gray himself quotes here Dante, _Purgat._ 8:
+
+                   --"squilla di lontano
+  Che paia 'l giorno pianger, che si muore;"
+
+and we cannot refrain from adding, for the benefit of those
+unfamiliar with Italian, Longfellow's exquisite translation:
+
+              --"from far away a bell
+  That seemeth to deplore the dying day."
+
+Mitford quotes (incorrectly, as often) Dryden, _Prol. to Troilus and
+Cressida_, 22:
+
+  "That tolls the knell for their departed sense."
+
+On _parting_=departing, cf. Shakes. _Cor._ v. 6: "When I parted
+hence;" Goldsmith, _D. V._ 171: "Beside the bed where parting life
+was laid," etc.
+
+2. _The lowing herd wind_, etc. _Wind_, and not _winds_, is the
+reading of the MS. (see fac-simile of this stanza on p. 73) and of
+_all_ the early editions--that of 1768, Mason's, Wakefield's,
+Mathias's, etc.--but we find no note of the fact in Mitford's or any
+other of the more recent editions, which have substituted _winds_.
+Whether the change was made as an amendment or accidentally, we do
+not know;[10] but the original reading seems to us by far the better
+one. The poet does not refer to the herd as an aggregate, but to the
+animals that compose it. He sees, not _it_, but "_them_ on their
+winding way." The ordinary reading mars both the meaning and the
+melody of the line.
+
+[Footnote 10: Very likely the latter, as we have seen that _winds_
+appears in the unauthorized version of the _London Magazine_ (March,
+1751), where it may be a misprint, like the others noted above.
+
+We may remark here that the edition of 1768--the _editio princeps_ of
+the _collected_ Poems--was issued under Gray's own supervision, and
+is printed with remarkable accuracy. We have detected only one
+indubitable error of the type in the entire volume. Certain
+peculiarities of spelling were probably intentional, as we find the
+like in the fac-similes of the poet's manuscripts. The many
+quotations from Greek, Latin, and Italian are correctly given
+(according to the received texts of the time), and the references to
+authorities, so far as we have verified them, are equally exact. The
+book throughout bears the marks of Gray's scholarly and critical
+habits, and we may be sure that the poems appear in precisely the
+form which he meant they should retain. In doubtful cases, therefore,
+we have generally followed this edition. Mason's (the _second_
+edition: York, 1778) is also carefully edited and printed, and its
+readings seldom vary from Gray's. All of Mitford's that we have
+examined swarm with errors, especially in the notes. Pickering's
+(1835), edited by Mitford, is perhaps the worst of all. The Boston
+ed. (Little, Brown, & Co., 1853) is a pretty careful reproduction of
+Pickering's, with all its inaccuracies.]
+
+3. The critic of the _N. A. Review_ points out that this line "is
+quite peculiar in its possible transformations. We have made," he
+adds, "twenty different versions preserving the rhythm, the general
+sentiment and the rhyming word. Any one of these variations might be,
+not inappropriately, substituted for the original reading."
+
+Luke quotes Spenser, _F. Q._ vi. 7, 39: "And now she was uppon the
+weary way."
+
+6. _Air_ is of course the object, not the subject of the verb.
+
+7. _Save where the beetle_, etc. Cf. Collins, _Ode to Evening_:
+
+  "Now air is hush'd, save where the weak-eyed bat
+   With short shrill shriek flits by on leathern wing,
+       Or where the beetle winds
+       His small but sullen horn,
+   As oft he rises 'midst the twilight path,
+   Against the pilgrim borne in heedless hum."
+
+and _Macbeth_, iii. 2:
+
+                           "Ere the bat hath flown
+   His cloister'd flight; ere to black Hecate's summons
+   The shard-borne beetle, with his drowsy hums,
+   Hath rung night's yawning peal," etc.
+
+10. _The moping owl_. Mitford quotes Ovid, _Met._ v. 550: "Ignavus
+bubo, dirum mortalibus omen;" Thomson, _Winter_, 114:
+
+  "Assiduous in his bower the wailing owl
+   Plies his sad song;"
+
+and Mallet, _Excursion_:
+
+                     "the wailing owl
+   Screams solitary to the mournful moon."
+
+12. _Her ancient solitary reign_. Cf. Virgil, _Geo._ iii. 476:
+"desertaque regna pastorum." A MS. variation of this line mentioned
+by Mitford is, "Molest and pry into her ancient reign."
+
+13. "As he stands in the churchyard, he thinks only of the poorer
+people, because the better-to-do lay interred inside the church.
+Tennyson (_In Mem._ x.) speaks of resting
+
+               'beneath the clover sod
+     That takes the sunshine and the rains,
+     Or where the kneeling hamlet drains
+   The chalice of the grapes of God.'
+
+In Gray's time, and long before, and some time after it, the former
+resting-place was for the poor, the latter for the rich. It was so in
+the first instance, for two reasons: (i.) the interior of the church
+was regarded as of great sanctity, and all who could sought a place
+in it, the most dearly coveted spot being near the high altar; (ii.)
+when elaborate tombs were the fashion, they were built inside the
+church for the sake of security, 'gay tombs' being liable to be
+'robb'd' (see the funeral dirge in Webster's _White Devil_). As these
+two considerations gradually ceased to have power, and other
+considerations of an opposite tendency began to prevail, the inside
+of the church became comparatively deserted, except when ancestral
+reasons gave no choice" (Hales).
+
+17. Cf. Milton, _Arcades_, 56: "the odorous breath of morn;" _P. L._
+ix. 192:
+
+  "Now when as sacred light began to dawn
+   In Eden on the humid flowers that breath'd
+   Their morning incense," etc.
+
+18. Hesiod ([Greek: Erg.] 568) calls the swallow [Greek: orthogoê
+chelidôn.] Cf. Virgil, _Æn._ viii. 455:
+
+  "Evandrum ex humili tecto lux suscitat alma,
+   Et matutini volucrum sub culmine cantus."
+
+19. _The cock's shrill clarion_. Cf. Philips, _Cyder_, i. 753:
+
+  "When chanticleer with clarion shrill recalls
+   The tardy day;"
+
+Milton, _P. L._ vii. 443:
+
+  "The crested cock, whose clarion sounds
+   The silent hours;"
+
+_Hamlet_, i. 1:
+
+  "The cock that is the trumpet to the morn;"
+
+Quarles, _Argalus and Parthenia_:
+
+  "I slept not till the early bugle-horn
+   Of chaunticlere had summon'd in the morn;"
+
+and Thomas Kyd, _England's Parnassus_:
+
+  "The cheerful cock, the sad night's trumpeter,
+     Wayting upon the rising of the sunne;
+   The wandering swallow with her broken song," etc.
+
+20. _Their lowly bed_. Wakefield remarks: "Some readers, keeping in
+mind the 'narrow cell' above, have mistaken the 'lowly bed' in this
+verse for the grave--a most puerile and ridiculous blunder;" and
+Mitford says: "Here the epithet 'lowly,' as applied to 'bed,'
+occasions some ambiguity as to whether the poet meant the bed on
+which they sleep, or the grave in which they are laid, which in
+poetry is called a 'lowly bed.' Of course the former is designed; but
+Mr. Lloyd, in his Latin translation, mistook it for the latter."
+
+21. Cf. Lucretius, iii. 894:
+
+  "Jam jam non domus accipiet te laeta, neque uxor
+   Optima nee dulces occurrent oscula nati
+   Praeripere et tacita pectus dulcedine tangent;"
+
+and Horace, _Epod._ ii. 39:
+
+  "Quod si pudica mulier in partem juvet
+   Domum atque dulces liberos
+   *     *     *     *     *     *     *
+   Sacrum vetustis exstruat lignis focum
+   Lassi sub adventum viri," etc.
+
+Mitford quotes Thomson, _Winter_, 311:
+
+  "In vain for him the officious wife prepares
+   The fire fair-blazing, and the vestment warm;
+   In vain his little children, peeping out
+   Into the mingling storm, demand their sire
+   With tears of artless innocence."
+
+Wakefield cites _The Idler_, 103: "There are few things, not purely
+evil, of which we can say without some emotion of uneasiness, _this
+is the last_."
+
+22. _Ply her evening care_. Mitford says, "To _ply a care_ is an
+expression that is not proper to our language, and was probably
+formed for the rhyme _share_." Hales remarks: "This is probably the
+kind of phrase which led Wordsworth to pronounce the language of the
+_Elegy_ unintelligible. Compare his own
+
+  'And she I cherished _turned her wheel_
+   Beside an English fire.'"
+
+23. _No children run_, etc. Hales quotes Burns, _Cotter's Saturday
+Night_, 21:
+
+  "Th' expectant wee-things, toddlin, stacher through
+   To meet their Dad, wi' flichterin noise an' glee."
+
+24. Among Mitford's MS. variations we find "coming kiss." Wakefield
+compares Virgil, _Geo._ ii. 523:
+
+  "Interea dulces pendent circum oscula nati;"
+
+and Mitford adds from Dryden,
+
+  "Whose little arms about thy legs are cast,
+   And climbing for a kiss prevent their mother's haste."
+
+Cf. Thomson, _Liberty_, iii. 171:
+
+  "His little children climbing for a kiss."
+
+26. _The stubborn glebe_. Cf. Gay, _Fables_, ii. 15:
+
+  "'Tis mine to tame the stubborn glebe."
+
+_Broke_=broken, as often in poetry, especially in the Elizabethan
+writers. See Abbott, _Shakes. Gr._ 343.
+
+27. _Drive their team afield_. Cf. _Lycidas_, 27: "We drove afield;"
+and Dryden,_ Virgil's Ecl._ ii. 38: "With me to drive afield."
+
+28. _Their sturdy stroke_. Cf. Spenser, _Shep. Kal._ Feb.:
+
+  "But to the roote bent his sturdy stroake,
+   And made many wounds in the wast [wasted] Oake;"
+
+and Dryden, _Geo._ iii. 639:
+
+  "Labour him with many a sturdy stroke."
+
+30. As Mitford remarks, _obscure_ and _poor_ make "a very imperfect
+rhyme;" and the same might be said of _toil_ and _smile_.
+
+33. Mitford suggests that Gray had in mind these verses from his
+friend West's _Monody on Queen Caroline_:
+
+  "Ah, me! what boots us all our boasted power,
+     Our golden treasure, and our purple state;
+   They cannot ward the inevitable hour,
+     Nor stay the fearful violence of fate."
+
+Hurd compares Cowley:
+
+  "Beauty, and strength, and wit, and wealth, and power,
+   Have their short flourishing hour;
+   And love to see themselves, and smile,
+   And joy in their pre-eminence a while:
+       Even so in the same land
+   Poor weeds, rich corn, gay flowers together stand;
+   Alas! Death mows down all with an impartial hand."
+
+35. _Awaits_. The reading of the ed. of 1768, as of the Pembroke (and
+probably the other) MS. _Hour_ is the subject, not the object, of the
+verb.
+
+36. Hayley, in the Life of Crashaw, _Biographia Britannica_, says
+that this line is "literally translated from the Latin prose of
+Bartholinus in his Danish Antiquities."
+
+39. _Fretted_. The _fret_ is, strictly, an ornament used in classical
+architecture, formed by small fillets intersecting each other at
+right angles. Parker (_Glossary of Architecture_) derives the word
+from the Latin _fretum_, a strait; and Hales from _ferrum_, iron,
+through the Italian _ferrata_, an iron grating. It is more likely
+(see Stratmann and Wb.) from the A. S. _frætu_, an ornament.
+
+Cf. _Hamlet_, ii. 2:
+
+  "This majestical roof fretted with golden fire;"
+
+and _Cymbeline_, ii. 4:
+
+  "The roof o' the chamber
+   With golden cherubins is fretted."
+
+40. _The pealing anthem_. Cf. _Il Penseroso_, 161:
+
+  "There let the pealing organ blow
+   To the full-voiced quire below,
+   In service high, and anthem clear," etc.
+
+41. _Storied urn_. Cf. _Il Pens._ 159: "storied windows richly
+dight." On _animated bust_, cf. Pope, _Temple of Fame_, 73: "Heroes
+in animated marble frown;" and Virgil, _Æn._ vi. 847: "spirantia
+aera."
+
+43. _Provoke_. Mitford considers this use of the word "unusually
+bold, to say the least." It is simply the etymological meaning, _to
+call forth_ (Latin, _provocare_). See Wb. Cf. Pope, _Ode_:
+
+  "But when our country's cause provokes to arms."
+
+44. _Dull cold ear_. Cf. Shakes. _Hen. VIII._ iii. 2: "And sleep in
+dull, cold marble."
+
+46. _Pregnant with celestial fire_. This phrase has been copied by
+Cowper in his _Boadicea_, which is said (see notes of "Globe" ed.) to
+have been written after reading Hume's History, in 1780:
+
+  "Such the bard's prophetic words,
+     Pregnant with celestial fire,
+   Bending as he swept the chords
+     Of his sweet but awful lyre."
+
+47. Mitford quotes Ovid, _Ep._ v. 86:
+
+  "Sunt mihi quas possint sceptra decere manus."
+
+48. _Living lyre_. Cf. Cowley:
+
+  "Begin the song, and strike the living lyre;"
+
+and Pope, _Windsor Forest_, 281:
+
+  "Who now shall charm the shades where Cowley strung
+   His living harp, and lofty Denham sung?"
+
+50. Cf. Browne, _Religio Medici_: "Rich with the spoils of nature."
+
+51. "_Rage_ is often used in the post-Elizabethan writers of the 17th
+century, and in the 18th century writers, for inspiration,
+enthusiasm" (Hales). Cf. Cowley:
+
+  "Who brought green poesy to her perfect age,
+   And made that art which was a rage?"
+
+and Tickell, _Prol._:
+
+  "How hard the task! How rare the godlike rage!"
+
+Cf. also the use of the Latin _rabies_ for the "divine afflatus," as
+in _Æneid_, vi. 49.
+
+53. _Full many a gem_, etc. Cf. Bishop Hall, _Contemplations_: "There
+is many a rich stone laid up in the bowells of the earth, many a fair
+pearle in the bosome of the sea, that never was seene, nor never
+shall bee."
+
+_Purest ray serene_. As Hales remarks, this is a favourite
+arrangement of epithets with Milton. Cf. _Hymn on Nativity_:
+"flower-inwoven tresses torn;" _Comus_: "beckoning shadows dire;"
+"every alley green," etc.; _L'Allegro_: "native wood-notes wild;"
+_Lycidas_: "sad occasion dear;" "blest kingdoms meek," etc.
+
+55. _Full many a flower_, etc. Cf. Pope, _Rape of the Lock_, iv. 158:
+
+  "Like roses that in deserts bloom and die."
+
+Mitford cites Chamberlayne, _Pharonida_, ii. 4:
+
+  "Like beauteous flowers which vainly waste their scent
+   Of odours in unhaunted deserts;"
+
+and Young, _Univ. Pass._ sat. v.:
+
+  "In distant wilds, by human eyes unseen,
+   She rears her flowers, and spreads her velvet green;
+   Pure gurgling rills the lonely desert trace,
+   And waste their music on the savage race;"
+
+and Philip, _Thule_:
+
+  "Like woodland flowers, which paint the desert glades,
+   And waste their sweets in unfrequented shades."
+
+Hales quotes Waller's
+
+                 "Go, lovely rose,
+     Tell her that's young
+   And shuns to have her graces spied,
+     That hadst thou sprung
+   In deserts where no men abide
+   Thou must have uncommended died."
+
+On _desert air_, cf. _Macbeth_, iv. 3: "That would be howl'd out in
+the desert air."
+
+57. It was in 1636 that John Hampden, of Buckinghamshire (a cousin of
+Oliver Cromwell), refused to pay the ship-money tax which Charles I.
+was levying without the authority of Parliament.
+
+58. _Little tyrant_. Cf. Thomson, _Winter_:
+
+  "With open freedom little tyrants raged."
+
+The artists who have illustrated this passage (see, for instance,
+_Favourite English Poems_, p. 305, and _Harper's Monthly_, vol. vii.
+p. 3) appear to understand "little" as equivalent to _juvenile_. If
+that had been the meaning, the poet would have used some other phrase
+than "of his fields," or "his lands," as he first wrote it.
+
+59. _Some mute inglorious Milton_. Cf. Phillips, preface to _Theatrum
+Poetarum_: "Even the very names of some who having perhaps been
+comparable to Homer for heroic poesy, or to Euripides for tragedy,
+yet nevertheless sleep inglorious in the crowd of the forgotten
+vulgar."
+
+60. _Some Cromwell_, etc. Hales remarks: "The prejudice against
+Cromwell was extremely strong throughout the 18th century, even
+amongst the more liberal-minded. That cloud of 'detractions rude,' of
+which Milton speaks in his noble sonnet to our 'chief of men' as in
+his own day enveloping the great republican leader, still lay thick
+and heavy over him. His wise statesmanship, his unceasing
+earnestness, his high-minded purpose, were not yet seen."
+
+After this stanza Thomas Edwards, the author of the _Canons of
+Criticism_, would add the following, to supply what he deemed a
+defect in the poem:
+
+  "Some lovely fair, whose unaffected charms
+     Shone with attraction to herself alone;
+   Whose beauty might have bless'd a monarch's arms,
+     Whose virtue cast a lustre on a throne.
+
+  "That humble beauty warm'd an honest heart,
+     And cheer'd the labours of a faithful spouse;
+   That virtue form'd for every decent part
+     The healthful offspring that adorn'd their house."
+
+Edwards was an able critic, but it is evident that he was no poet.
+
+63. Mitford quotes Tickell:
+
+  "To scatter blessings o'er the British land;"
+
+and Mrs. Behn:
+
+  "Is scattering plenty over all the land."
+
+66. _Their growing virtues_. That is, the growth of their virtues.
+
+67. _To wade through slaughter_, etc. Cf. Pope, _Temp. of Fame_, 347:
+
+  "And swam to empire through the purple flood."
+
+68. Cf. Shakes. _Hen. V._ iii. 3:
+
+  "The gates of mercy shall be all shut up."
+
+70. _To quench the blushes_, etc. Cf. Shakes. _W. T._ iv. 3:
+
+  "Come, quench your blushes, and present yourself."
+
+73. _Far from the madding crowd's_, etc. Rogers quotes Drummond:
+
+  "Far from the madding worldling's hoarse discords."
+
+Mitford points out "the ambiguity of this couplet, which indeed gives
+a sense exactly contrary to that intended; to avoid which one must
+break the grammatical construction." The poet's meaning is, however,
+clear enough.
+
+75. Wakefield quotes Pope, _Epitaph on Fenton_:
+
+  "Foe to loud praise, and friend to learned ease,
+   Content with science in the vale of peace."
+
+77. _These bones_. "The bones of these. So _is_ is often used in
+Latin, especially by Livy, as in v. 22: '_Ea_ sola pecunia,' the
+money derived from that sale, etc." (Hales).
+
+84. _That teach_. Mitford censures _teach_ as ungrammatical; but it
+may be justified as a "construction according to sense."
+
+85. Hales remarks: "At the first glance it might seem that _to dumb
+Forgetfulness a prey_ was in apposition to _who_, and the meaning
+was, 'Who that now lies forgotten,' etc.; in which case the second
+line of the stanza must be closely connected with the fourth; for the
+question of the passage is not 'Who ever died?' but 'Who ever died
+without wishing to be remembered?' But in this way of interpreting
+this difficult stanza (i.) there is comparatively little force in the
+appositional phrase, and (ii.) there is a certain awkwardness in
+deferring so long the clause (virtually adverbal though apparently
+coördinate) in which, as has just been noticed, the point of the
+question really lies. Perhaps therefore it is better to take the
+phrase _to dumb Forgetfulness a prey_ as in fact the completion of
+the predicate _resign'd_, and interpret thus: Who ever resigned this
+life of his with all its pleasures and all its pains to be utterly
+ignored and forgotten?=who ever, when resigning it, reconciled
+himself to its being forgotten? In this case the second half of the
+stanza echoes the thought of the first half."
+
+We give the note in full, and leave the reader to take his choice of
+the two interpretations. For ourself, we incline to the first rather
+than the second. We prefer to take _to dumb Forgetfulness a prey_ as
+appositional and proleptic, and not as the grammatical complement of
+_resigned_: Who, yielding himself up a prey to dumb Forgetfulness,
+ever resigned this life without casting a longing, lingering look
+behind?
+
+90. _Pious_ is used in the sense of the Latin _pius_. Ovid has "piae
+lacrimae." Mitford quotes Pope, _Elegy on an Unfortunate Lady_, 49:
+
+  "No friend's complaint, no kind domestic tear
+   Pleas'd thy pale ghost, or grac'd thy mournful bier;
+   By foreign hands thy dying eyes were clos'd."
+
+"In this stanza," says Hales, "he answers in an exquisite manner the
+two questions, or rather the one question twice repeated, of the
+preceding stanza.... What he would say is that every one while a
+spark of life yet remains in him yearns for some kindly loving
+remembrance; nay, even after the spark is quenched, even when all is
+dust and ashes, that yearning must still be felt."
+
+91, 92. Mitford paraphrases the couplet thus: "The voice of Nature
+still cries from the tomb in the language of the epitaph inscribed
+upon it, which still endeavours to connect us with the living; the
+fires of former affection are still alive beneath our ashes."
+
+Cf. Chaucer, _C. T._ 3880:
+
+  "Yet in our ashen cold is fire yreken."
+
+Gray himself quotes Petrarch, _Sonnet_ 169:
+
+  "Ch'i veggio nel pensier, dolce mio fuoco,
+   Fredda una lingua e due begli occhi chiusi,
+   Rimaner doppo noi pien di faville,"
+
+translated by Nott as follows:
+
+  "These, my sweet fair, so warns prophetic thought,
+   Clos'd thy bright eye, and mute thy poet's tongue,
+   E'en after death shall still with sparks be fraught,"
+
+the "these" meaning his love and his songs concerning it. Gray
+translated this sonnet into Latin elegiacs, the last line being
+rendered,
+
+  "Ardebitque urna multa favilla mea."
+
+93. On a MS. variation of this stanza given by Mitford, see p. 80,
+footnote.
+
+95. _Chance_ is virtually an adverb here = perchance.
+
+98. _The peep of dawn_. Mitford quotes _Comus_, 138:
+
+  "Ere the blabbing eastern scout,
+   The nice morn, on the Indian steep
+   From her cabin'd loop-hole peep."
+
+99. Cf. Milton, _P. L._ v. 428:
+
+         "though from off the boughs each morn
+   We brush mellifluous dews;"
+
+and _Arcades_, 50:
+
+  "And from the boughs brush off the evil dew."
+
+Wakefield quotes Thomson, _Spring_, 103:
+
+  "Oft let me wander o'er the dewy fields,
+   Where freshness breathes, and dash the trembling drops
+   From the bent brush, as through the verdant maze
+   Of sweetbrier hedges I pursue my walk."
+
+100. _Upland lawn_. Cf. Milton, _Lycidas_, 25:
+
+          "Ere the high lawns appear'd
+   Under the opening eyelids of the morn."
+
+In _L'Allegro_, 92, we have "upland hamlets," where Hales thinks
+"upland=country, as opposed to town." He adds, "Gray in his _Elegy_
+seems to use the word loosely for 'on the higher ground;' perhaps he
+took it from Milton, without quite understanding in what sense Milton
+uses it." We doubt whether Hales understands Milton here. It is true
+that _upland_ used to mean country, as _uplanders_ meant countrymen,
+and _uplandish_ countrified (see Nares and Wb.), but the other
+meaning is older than Milton (see Halliwell's _Dict. of Archaic
+Words_), and Johnson, Keightley, and others are probably right in
+considering "upland hamlets" an instance of it. Masson, in his recent
+edition of Milton (1875), explains the "upland hamlets" as "little
+villages among the slopes, away from the river-meadows and the
+hay-making."
+
+101. As Mitford remarks, _beech_ and _stretch_ form an imperfect
+rhyme.
+
+102. Luke quotes Spenser, _Ruines of Rome_, st. 28:
+
+  "Shewing her wreathed rootes and naked armes."
+
+103. _His listless length_. Hales compares _King Lear_, i. 4: "If you
+will measure your lubber's length again, tarry." Cf. also _Brittain's
+Ida_ (formerly ascribed to Spenser, but rejected by the best
+editors), iii. 2:
+
+  "Her goodly length stretcht on a lilly-bed."
+
+104. Cf. Thomson, _Spring_, 644: "divided by a babbling brook;" and
+Horace, _Od._ iii. 13, 15:
+
+          "unde loquaces
+   Lymphae desiliunt tuae."
+
+Wakefield quotes _As You Like It_, ii. 1:
+
+                    "As he lay along
+   Under an oak whose antique root peeps out
+   Upon the brook that brawls along this road."
+
+105. _Smiling as in scorn_. Cf. Shakes. _Pass. Pilgrim_, 14:
+
+  "Yet at my parting sweetly did she smile,
+   In scorn or friendship, nill I construe whether."
+
+and Skelton, _Prol. to B. of C._:
+
+         "Smylynge half in scorne
+   At our foly."
+
+107. _Woeful-wan_. Mitford says: "_Woeful-wan_ is not a legitimate
+compound, and must be divided into two separate words, for such they
+are, when released from the _handcuffs_ of the hyphen." The hyphen is
+not in the edition of 1768, and we should omit it if it were not
+found in the Pembroke MS.
+
+Wakefield quotes Spenser, _Shep. Kal._ Jan.:
+
+  "For pale and wanne he was (alas the while!)
+   May seeme he lovd, or els some care he tooke."
+
+108. "_Hopeless_ is here used in a proleptic or anticipatory way"
+(Hales).
+
+109. _Custom'd_ is Gray's word, not _'custom'd_, as usually printed.
+See either Wb. or Worc. s. v. Cf. Milton, _Ep. Damonis_: "Simul
+assueta seditque sub ulmo."
+
+114. _Churchway path_. Cf. Shakes. _M. N. D._ v. 2:
+
+  "Now it is the time of night,
+     That the graves all gaping wide,
+   Every one lets forth his sprite
+     In the churchway paths to glide."
+
+115. _For thou canst read_. The "hoary-headed swain" of course could
+_not_ read.
+
+116. _Grav'd_. The old form of the participle is _graven_, but
+_graved_ is also in good use. The old preterite _grove_ is obsolete.
+
+117. _The lap of earth_. Cf. Spenser, _F. Q._ v. 7, 9:
+
+  "For other beds the Priests there used none,
+   But on their mother Earths deare lap did lie;"
+
+and Milton, _P. L._ x. 777:
+
+         "How glad would lay me down,
+   As in my mother's lap!"
+
+Lucretius (i. 291) has "gremium matris terrai." Mitford adds the
+pathetic sentence of Pliny, _Hist. Nat._ ii. 63: "Nam terra novissime
+complexa gremio jam a reliqua natura abnegatos, tum maxime, ut mater,
+operit."
+
+123. _He gave to misery all he had, a tear_. This is the pointing of
+the line in the MSS. and in all the early editions except that of
+Mathias, who seems to be responsible for the change (adopted by the
+recent editors, almost without exception) to,
+
+  "He gave to Misery (all he had) a tear."
+
+This alters the meaning, mars the rhythm, and spoils the sentiment.
+If one does not see the difference at once, it would be useless to
+try to make him see it. Mitford, who ought to have known better, not
+only thrusts in the parenthesis, but quotes this from Pope's Homer as
+an illustration of it:
+
+  "His fame ('tis all the dead can have) shall live."
+
+126. Mitford says that _Or_ in this line should be _Nor_. Yes, if
+"draw" is an imperative, like "seek;" no, if it is an infinitive, in
+the same construction as "to disclose." That the latter was the
+construction the poet had in mind is evident from the form of the
+stanza in the Wrightson MS., where "seek" is repeated:
+
+  "No farther seek his merits to disclose,
+     Nor seek to draw them from their dread abode."
+
+127. _In trembling hope_. Gray quotes Petrarch, _Sonnet_ 104:
+"paventosa speme." Cf. Lucan, _Pharsalia_, vii. 297: "Spe trepido;"
+Mallet, _Funeral Hymn_, 473:
+
+  "With trembling tenderness of hope and fear;"
+
+and Beaumont, _Psyche_, xv. 314:
+
+  "Divided here twixt trembling hope and fear."
+
+Hooker (_Eccl. Pol._ i.) defines hope as "a trembling expectation of
+things far removed."
+
+
+
+
+[Illustration]
+
+
+ODE ON THE SPRING.
+
+
+The original manuscript title of this ode was "Noontide." It was
+first printed in Dodsley's _Collection_, vol. ii. p. 271, under the
+title of "Ode."
+
+1. _The rosy-bosom'd Hours_. Cf. Milton, _Comus_, 984: "The Graces
+and the rosy-bosom'd Hours;" and Thomson, _Spring_, 1007:
+
+          "The rosy-bosom'd Spring
+   To weeping Fancy pines."
+
+The _Horæ_, or hours, according to the Homeric idea, were the
+goddesses of the seasons, the course of which was symbolically
+represented by "the dance of the Hours." They were often described,
+in connection with the Graces, Hebe, and Aphrodite, as accompanying
+with their dancing the songs of the Muses and the lyre of Apollo.
+Long after the time of Homer they continued to be regarded as the
+givers of the seasons, especially spring and autumn, or "Nature in
+her bloom and her maturity." At first there were only two Horæ,
+Thallo (or Spring) and Karpo (or Autumn); but later the number was
+three, like that of the Graces. In art they are represented as
+blooming maidens, bearing the products of the seasons.
+
+2. _Fair Venus' train_. The Hours adorned Aphrodite (Venus) as she
+rose from the sea, and are often associated with her by Homer,
+Hesiod, and other classical writers. Wakefield remarks: "Venus is
+here employed, in conformity to the mythology of the Greeks, as the
+source of creation and beauty."
+
+3. _Long-expecting_. Waiting long for the spring. Sometimes
+incorrectly printed "long-expected." Cf. Dryden, _Astræa Redux_, 132:
+"To flowers that in its womb expecting lie."
+
+4. _The purple year_. Cf. the _Pervigilium Veneris_, 13: "Ipsa gemmis
+purpurantem pingit annum floribus;" Pope, _Pastorals_, i. 28: "And
+lavish Nature paints the purple year;" and Mallet, _Zephyr_: "Gales
+that wake the purple year."
+
+5. _The Attic warbler_. The nightingale, called "the Attic bird,"
+either because it was so common in Attica, or from the old legend
+that Philomela (or, as some say, Procne), the daughter of a king of
+Attica, was changed into a nightingale. Cf. Milton's description of
+Athens (_P. R._ iv. 245):
+
+                         "where the Attic bird
+   Trills her thick-warbled notes the summer long."
+
+Cf. Ovid, _Hal._ 110: "Attica avis verna sub tempestate queratus;"
+and Propertius, ii. 16, 6: "Attica volucris."
+
+_Pours her throat_ is a metonymy. H. p. 85. Cf. Pope, _Essay on Man_,
+iii. 33: "Is it for thee the linnet pours her throat?"
+
+6, 7. Cf. Thomson, _Spring_, 577:
+
+  "From the first note the hollow cuckoo sings,
+   The symphony of spring."
+
+9, 10. Cf. Milton, _Comus_, 989:
+
+  "And west winds with musky wing
+   About the cedarn alleys fling
+   Nard and cassia's balmy smells."
+
+12. Cf. Milton, _P. L._ iv. 245: "Where the unpierc'd shade Imbrown'd
+the noontide bowers;" Pope, _Eloisa_, 170: "And breathes a browner
+horror on the woods;" Thomson, _Castle of Indolence_, i. 38: "Or
+Autumn's varied shades imbrown the walls."
+
+According to Ruskin (_Modern Painters_, vol. iii. p. 241, Amer. ed.)
+there is no brown in nature. After remarking that Dante "does not
+acknowledge the existence of the colour of _brown_ at all," he goes
+on to say: "But one day, just when I was puzzling myself about this,
+I happened to be sitting by one of our best living modern colourists,
+watching him at his work, when he said, suddenly and by mere
+accident, after we had been talking about other things, 'Do you know
+I have found that there is no _brown_ in nature? What we call brown
+is always a variety either of orange or purple. It never can be
+represented by umber, unless altered by contrast.' It is curious how
+far the significance of this remark extends, how exquisitely it
+illustrates and confirms the mediæval sense of hue," etc.
+
+14. _O'ercanopies the glade_. Gray himself quotes Shakes. _M. N. D._
+ii. 1: "A bank o'ercanopied with luscious woodbine."[1] Cf. Fletcher,
+_Purple Island_, i. 5, 30: "The beech shall yield a cool, safe
+canopy;" and Milton, _Comus_, 543: "a bank, With ivy canopied."
+
+[Footnote 1: The reading of the folio of 1623 is:
+
+  "I know a banke where the wilde time blowes,
+   Where Oxslips and the nodding Violet growes,
+   Quite ouer-cannoped with luscious woodbine."
+
+Dyce and some other modern editors read,
+
+  "Quite overcanopied with lush woodbine."]
+
+15. _Rushy brink_. Cf. _Comus_, 890: "By the rushy-fringed bank."
+
+19, 20. These lines, as first printed, read:
+
+  "How low, how indigent the proud!
+     How little are the great!"
+
+22. _The panting herds_. Cf. Pope, _Past._ ii. 87: "To closer shades
+the panting flocks remove."
+
+23. _The peopled air_. Cf. Walton, _C. A._: "Now the wing'd people of
+the sky shall sing;" Beaumont, _Psyche_: "Every tree empeopled was
+with birds of softest throats."
+
+24. _The busy murmur_. Cf. Milton, _P. R._ iv. 248: "bees'
+industrious murmur."
+
+25. _The insect youth_. Perhaps suggested by a line in Green's
+_Hermitage_, quoted in a letter of Gray to Walpole: "From
+maggot-youth through change of state," etc. See on 31 below.
+
+26. _The honied spring_. Cf. Milton, _Il Pens._ 142: "the bee with
+honied thigh;" and _Lyc._ 140: "the honied showers."
+
+"There has of late arisen," says Johnson in his Life of Gray, "a
+practice of giving to adjectives derived from substantives the
+termination of participles, such as the _cultured plain_, the
+_daisied bank_; but I am sorry to see in the lines of a scholar like
+Gray the _honied_ spring." But, as we have seen, _honied_ is found in
+Milton; and Shakespeare also uses it in _Hen. V._ i. 1: "honey'd
+sentences." _Mellitus_ is used by Cicero, Horace, and Catullus. The
+editor of an English dictionary, as Lord Grenville has remarked,
+ought to know "that the ready conversion of our substances into
+verbs, participles, and participial adjectives is of the very essence
+of our tongue, derived from its Saxon origin, and a main source of
+its energy and richness."
+
+27. _The liquid noon_. Gray quotes Virgil, _Geo._ iv. 59: "Nare per
+aestatem liquidam."
+
+30. _Quick-glancing to the sun_. Gray quotes Milton, _P. L._ vii.
+405:
+
+                 "Sporting with quick glance,
+   Show to the sun their waved coats dropt with gold."
+
+31. Gray here quotes Green, _Grotto_: "While insects from the
+threshold preach." In a letter to Walpole, he says: "I send you a bit
+of a thing for two reasons: first, because it is of one of your
+favourites, Mr. M. Green; and next, because I would do justice. The
+thought on which my second Ode turns [this Ode, afterwards placed
+first by Gray] is manifestly stole from hence; not that I knew it at
+the time, but having seen this many years before, to be sure it
+imprinted itself on my memory, and, forgetting the Author, I took it
+for my own." Then comes the quotation from Green's _Grotto_. The
+passage referring to the insects is as follows:
+
+  "To the mind's ear, and inward sight,
+   There silence speaks, and shade gives light:
+   While insects from the threshold preach,
+   And minds dispos'd to musing teach;
+   Proud of strong limbs and painted hues,
+   They perish by the slightest bruise;
+   Or maladies begun within
+   Destroy more slow life's frail machine:
+   From maggot-youth, thro' change of state,
+   They feel like us the turns of fate:
+   Some born to creep have liv'd to fly,
+   And chang'd earth's cells for dwellings high:
+   And some that did their six wings keep,
+   Before they died, been forc'd to creep.
+   They politics, like ours, profess;
+   The greater prey upon the less.
+   Some strain on foot huge loads to bring,
+   Some toil incessant on the wing:
+   Nor from their vigorous schemes desist
+   Till death; and then they are never mist.
+   Some frolick, toil, marry, increase,
+   Are sick and well, have war and peace;
+   And broke with age in half a day,
+   Yield to successors, and away."
+
+47. _Painted plumage_. Cf. Pope, _Windsor Forest_, 118: "His painted
+wings; and Milton, _P. L._ vii. 433:
+
+  "From branch to branch the smaller birds with song
+   Solaced the woods, and spread their painted wings."
+
+See also Virgil, _Geo._ iii. 243, and _Æn._ iv. 525: "pictaeque
+volucres;" and Phædrus, _Fab._ iii. 18: "pictisque plumis."
+
+[Illustration]
+
+
+
+
+ODE ON THE DEATH OF A FAVOURITE CAT.
+
+
+This ode first appeared in Dodsley's _Collection_, vol. ii. p. 274,
+with some variations noticed below. Walpole, after the death of Gray,
+placed the china vase on a pedestal at Strawberry Hill, with a few
+lines of the ode for an inscription.
+
+In a letter to Walpole, dated March 1, 1747, Gray refers to the
+subject of the ode in the following jocose strain: "As one ought to
+be particularly careful to avoid blunders in a compliment of
+condolence, it would be a sensible satisfaction to me (before I
+testify my sorrow, and the sincere part I take in your misfortune) to
+know for certain who it is I lament. I knew Zara and Selima (Selima,
+was it? or Fatima?), or rather I knew them both together; for I
+cannot justly say which was which. Then as to your handsome Cat, the
+name you distinguish her by, I am no less at a loss, as well knowing
+one's handsome cat is always the cat one likes best; or if one be
+alive and the other dead, it is usually the latter that is the
+handsomest. Besides, if the point were never so clear, I hope you do
+not think me so ill-bred or so imprudent as to forfeit all my
+interest in the survivor; oh no! I would rather seem to mistake, and
+imagine to be sure it must be the tabby one that had met with this
+sad accident. Till this affair is a little better determined, you
+will excuse me if I do not begin to cry,
+
+   Tempus inane peto, requiem spatiumque doloris.
+
+"... Heigh ho! I feel (as you to be sure have done long since) that I
+have very little to say, at least in prose. Somebody will be the
+better for it; I do not mean you, but your Cat, feuë Mademoiselle
+Selime, whom I am about to immortalize for one week or fortnight, as
+follows: [the Ode follows, which we need not reprint here].
+
+"There's a poem for you, it is rather too long for an Epitaph."
+
+
+2. Cf. Lady M. W. Montagu, _Town Eclogues_:
+
+  "Where the tall jar erects its stately pride,
+   With antic shapes in China's azure dyed."
+
+3. _The azure flowers that blow_. Johnson and Wakefield find fault
+with this as redundant, but it is no more so than poetic usage
+allows. In the _Progress of Poesy_, i. 1, we have again: "The
+laughing flowers that round them blow." Cf. _Comus_, 992:
+
+  "Iris there with humid bow
+   Waters the odorous banks that blow
+   Flowers of more mingled hue
+   Than her purfled scarf can shew."
+
+4. _Tabby_. For the derivation of this word from the French _tabis_,
+a kind of silk, see Wb. In the first ed. the 5th line preceded the
+4th.
+
+6. _The lake_. In the mock-heroic vein that runs through the whole
+poem.
+
+11. _Jet_. This word comes, through the French, from Gagai, a town in
+Lycia, where the mineral was first obtained.
+
+14. _Two angel forms_. In the first ed. "two beauteous forms," which
+Mitford prefers to the present reading, "as the images of _angel_ and
+_genii_ interfere with each other, and bring different associations
+to the mind."
+
+16. _Tyrian hue_. Explained by the "purple" in next line; an allusion
+to the famous Tyrian dye of the ancients. Cf. Pope, _Windsor Forest_,
+142: "with fins of Tyrian dye."
+
+17. Cf. Virgil, _Geo._ iv. 274:
+
+  "_Aureus_ ipse; sed in foliis, quae plurima circum
+   Funduntur, violae _sublucet purpura_ nigrae."
+
+See also Pope, _Windsor Forest_, 332: "His shining horns diffus'd a
+golden glow;" _Temple of Fame_, 253: "And lucid amber casts a golden
+gleam."
+
+24. In the 1st ed. "What cat's a foe to fish?" and in the next line,
+"with eyes intent."
+
+31. _Eight times_. Alluding to the proverbial "nine lives" of the
+cat.
+
+34. _No dolphin came_. An allusion to the story of Arion, who when
+thrown overboard by the sailors for the sake of his wealth was borne
+safely to land by a dolphin.
+
+_No Nereid stirr'd_. Cf. Milton, _Lycidas_, 50:
+
+  "Where were ye, Nymphs, when the remorseless deep
+   Closed o'er the head of your lov'd Lycidas?"
+
+35, 36. The reading of 1st ed. is,
+
+  "Nor cruel Tom nor Harry heard.
+     What favourite has a friend?"
+
+40. The 1st ed. has "Not all that strikes," etc.
+
+42. _Nor all that glisters gold_. A favourite proverb with the old
+English poets. Cf. Chaucer, _C. T._ 16430:
+
+  "But all thing which that shineth as the gold
+   Ne is no gold, as I have herd it told;"
+
+Spenser, _F. Q._ ii. 8, 14:
+
+  "Yet gold all is not, that doth golden seeme;"
+
+Shakes. _M. of V._ ii. 7:
+
+  "All that glisters is not gold;
+   Often have you heard that told;"
+
+Dryden, _Hind and Panther_:
+
+  "All, as they say, that glitters is not gold."
+
+Other examples might be given. _Glisten_ is not found in Shakes. or
+Milton, but both use _glister_ several times. See _W. T._ iii. 2;
+_Rich. II._ iii. 3; _T. A._ ii. 1, etc.; _Lycidas_, 79; _Comus_, 219;
+_P. L._ iii. 550; iv. 645, 653, etc.
+
+
+
+
+[Illustration: ETON COLLEGE.]
+
+
+ODE ON A DISTANT PROSPECT OF ETON COLLEGE.
+
+
+This, as Mason informs us, was the first English[1] production of
+Gray's that appeared in print. It was published, in folio, in 1747;
+and appeared again in Dodsley's _Collection_, vol. ii. p. 267,
+without the name of the author.
+
+[Footnote 1: A Latin poem by him, a "Hymeneal" on the Prince of
+Wales's Marriage, had appeared in the _Cambridge Collection_ in
+1736.]
+
+Hazlitt (_Lectures on English Poets_) says of this Ode: "It is more
+mechanical and commonplace [than the _Elegy_]; but it touches on
+certain strings about the heart, that vibrate in unison with it to
+our latest breath. No one ever passes by Windsor's 'stately heights,'
+or sees the distant spires of Eton College below, without thinking of
+Gray. He deserves that we should think of him; for he thought of
+others, and turned a trembling, ever-watchful ear to 'the still sad
+music of humanity.'"
+
+The writer in the _North American Review_ (vol. xcvi.), after
+referring to the publication of this Ode, which, "according to the
+custom of the time, was judiciously swathed in folio," adds:
+
+"About this time Gray's portrait was painted, at Walpole's request;
+and on the paper which he is represented as holding, Walpole wrote
+the title of the Ode, with a line from Lucan:
+
+  'Nec licuit populis parvum te, Nile, videre.'
+
+The poem met with very little attention until it was republished in
+1751, with a few other of his Odes. Gray, in speaking of it to
+Walpole, in connection with the Ode to Spring, merely says that to
+him 'the latter seems not worse than the former.' But the former has
+always been the greater favourite--perhaps more from the matter than
+the manner. It is the expression of the memories, the thoughts, and
+the feelings which arise unbidden in the mind of the man as he looks
+once more on the scenes of his boyhood. He feels a new youth in the
+presence of those old joys. But the old friends are not there.
+Generations have come and gone, and an unknown race now frolic in
+boyish glee. His sad, prophetic eye cannot help looking into the
+future, and comparing these careless joys with the inevitable ills of
+life. Already he sees the fury passions in wait for their little
+victims. They seem present to him, like very demons. Our language
+contains no finer, more graphic personifications than these almost
+tangible shapes. Spenser is more circumstantial, Collins more
+vehement, but neither is more real. Though but outlines in miniature,
+they are as distinct as Dutch art. Every epithet is a lifelike
+picture; not a word could be changed without destroying the tone of
+the whole. At last the musing poet asks himself, _Cui bono?_ Why thus
+borrow trouble from the future? Why summon so soon the coming
+locusts, to poison before their time the glad waters of youth?
+
+  'Yet ah! why should they know their fate,
+   Since sorrow never comes too late.
+       And happiness too quickly flies?
+   Thought would destroy their paradise.
+   No more;--where ignorance is bliss,
+       'Tis folly to be wise.'
+
+So feeling and the want of feeling come together for once in the
+moral. The gay Roman satirist--the apostle of indifferentism--reaches
+the same goal, though he has travelled a different road. To
+Thaliarchus he says:
+
+  'Quid sit futurum cras, fuge quaerere: et
+   Quem Fors dierum cumque dabit, lucro
+       Appone.'
+
+The same easy-going philosophy of life forms the key-note of the Ode
+to Leuconoë:
+
+  'Carpe diem, quam minimum credula postero;'
+
+of that to Quinctius Hirpinus:
+
+               'Quid aeternis minorem
+   Consiliis animum fatigas?'
+
+of that to Pompeius Grosphus:
+
+  'Laetus in praesens animus, quod ultra est,
+   Oderit curare.'
+
+And so with many others. 'Take no thought of the morrow.'"
+
+Wakefield translates the Greek motto, "Man is an abundant subject of
+calamity."
+
+
+2. _That crown the watery glade_. Cf. Pope, _Windsor Forest_, 128:
+"And lonely woodcocks haunt the watery glade."
+
+4. _Her Henry's holy shade_. Henry the Sixth, founder of the college.
+Cf. _The Bard_, ii. 3: "the meek usurper's holy head;" Shakes. _Rich.
+III._ v. 1: "Holy King Henry;" _Id._ iv. 4: "When holy Harry died."
+The king, though never canonized, was regarded as a saint.
+
+5. _And ye_. Ye "towers;" that is, of Windsor Castle. Cf. Thomson,
+_Summer_, 1412:
+
+                       "And now to where
+   Majestic Windsor lifts his princely brow."
+
+8. _Whose turf, whose shade, whose flowers among_. "That is, the
+_turf_ of whose _lawn_, the _shade_ of whose _groves_, the _flowers_
+of whose mead" (Wakefield). Cf. _Hamlet_, iii. 1: "The courtier's,
+soldier's, scholar's eye, tongue, sword."
+
+In Anglo-Saxon and Early English prepositions were often placed after
+their objects. In the Elizabethan period the transposition of the
+weaker prepositions was not allowed, except in the compounds
+_whereto_, _herewith_, etc. (cf. the Latin _quocum_, _secum_), but
+the longer forms were still, though rarely, transposed (see _Shakes.
+Gr._ 203); and in more recent writers this latter license is
+extremely rare. Even the use of the preposition after the relative,
+which was very common in Shakespeare's day, is now avoided, except in
+colloquial style.
+
+9. _The hoary Thames_. The river-god is pictured in the old classic
+fashion. Cf. Milton, _Lycidas_, 103: "Next Camus, reverend sire, went
+footing slow." See also quotation from Dryden in note on 21 below.
+
+[Illustration: THE RIVER-GOD TIBER.]
+
+10. _His silver-winding way_. Cf. Thomson, _Summer_, 1425: "The
+matchless vale of Thames, Fair-winding up," etc.
+
+12. _Ah, fields belov'd in vain!_ Mitford remarks that this
+expression has been considered obscure, and adds the following
+explanation: "The poem is written in the character of one who
+contemplates this life as a scene of misfortune and sorrow, from
+whose fatal power the brief sunshine of youth is supposed to be
+exempt. The fields are _beloved_ as the scene of youthful pleasures,
+and as affording the promise of happiness to come; but this promise
+never was fulfilled. Fate, which dooms man to misery, soon
+overclouded these opening prospects of delight. That is in vain
+beloved which does not realize the expectations it held out. No fruit
+but that of disappointment has followed the blossoms of a thoughtless
+hope."
+
+13. _Where once my careless childhood stray'd_. Wakefield cites
+Thomson, _Winter_, 6:
+
+                  "with frequent foot
+   Pleas'd have I, in my cheerful morn of life,
+   When nurs'd by careless Solitude I liv'd,
+   And sung of Nature with unceasing joy,
+   Pleas'd have I wander'd," etc.
+
+15. _That from ye blow_. In Early English _ye_ is nominative, _you_
+accusative (objective). This distinction, though observed in our
+version of the Bible, was disregarded by Elizabethan writers (Shakes.
+_Gr._ 236), as it has occasionally been by the poets even to our own
+day. Cf. Shakes. _Hen. VIII._ iii. 1: "The more shame for ye; holy
+men I thought ye;" Milton, _Comus_, 216: "I see ye visibly," etc.
+Dryden, in a couplet quoted by Guest, uses both forms in the same
+line:
+
+  "What gain you by forbidding it to tease ye?
+   It now can neither trouble _you_ nor please ye."
+
+19. Gray quotes Dryden, _Fable on Pythag. Syst._: "And bees their
+honey redolent of spring."
+
+21. _Say, father Thames_, etc. This invocation is taken from Green's
+_Grotto_:
+
+  "Say, father Thames, whose gentle pace
+   Gives leave to view, what beauties grace
+   Your flowery banks, if you have seen."
+
+Cf. Dryden, _Annus Mirabilis_, st. 232: "Old father Thames raised up
+his reverend head."
+
+Dr. Johnson, in his hypercritical comments on this Ode, says: "His
+supplication to Father Thames, to tell him who drives the hoop or
+tosses the ball, is useless and puerile. Father Thames has no better
+means of knowing than himself." To which Mitford replies by asking,
+"Are we by this rule to judge the following passage in the twentieth
+chapter of _Rasselas_? 'As they were sitting together, the princess
+cast her eyes on the river that flowed before her: "Answer," said
+she, "great Father of Waters, thou that rollest thy floods through
+eighty nations, to the invocation of the daughter of thy native king.
+Tell me, if thou waterest, through all thy course, a single
+habitation from which thou dost not hear the murmurs of complaint."'"
+
+23. _Margent green_. Cf. _Comus_, 232: "By slow Mæander's margent
+green."
+
+24. Cf. Pope, _Essay on Man_, iii. 233: "To Virtue, in the paths of
+Pleasure, trod."
+
+26. _Thy glassy wave_. Cf. _Comus_, 861: "Under the glassy, cool,
+translucent wave."
+
+27. _The captive linnet_. The adjective is redundant and "proleptic,"
+as the bird must be "enthralled" before it can be called "captive."
+
+28. In the MS. this line reads, "To chase the hoop's illusive speed,"
+which seems to us better than the revised form in the text.
+
+30. Cf. Pope, _Dunciad_, iv. 592: "The senator at cricket urge the
+ball."
+
+37. Cf. Cowley, _Ode to Hobbes_, iv. 7: "Till unknown regions it
+descries."
+
+40. _A fearful joy_. Wakefield quotes _Matt._ xxviii. 8 and _Psalms_
+ii. 11. Cf. Virgil, _Æn._ i. 513:
+
+  "Obstupuit simul ipse simul perculsus Achates
+   Laetitiaque metuque."
+
+See also _Lear_, v. 3: "'Twixt two extremes of passion, joy and
+grief."
+
+44. Cf. Pope, _Eloisa_, 209: "Eternal sunshine of the spotless mind;"
+and _Essay on Man_, iv. 168: "The soul's calm sunshine, and the
+heartfelt joy."
+
+45. _Buxom_. Used here in its modern sense. It originally meant
+pliant, flexible, yielding (from A. S. _búgan_, to bow); then, gay,
+frolicsome, lively; and at last it became associated with the
+"cheerful comeliness" of vigorous health. Chaucer has "buxom to ther
+lawe," and Spenser (_State of Ireland_), "more tractable and buxome
+to his government." Cf. also _F. Q._ i. 11, 37: "the buxome aire;" an
+expression which Milton uses twice (_P. L._ ii. 842, v. 270). In
+_L'Allegro_, 24: "So buxom, blithe, and debonaire;" the only other
+instance in which he uses the word, it means sprightly or "free" (as
+in "Come thou goddess, fair and free," a few lines before). Cf.
+Shakes. _Pericles_, i. prologue:
+
+  "So buxom, blithe, and full of face,
+   As heaven had lent her all his grace."
+
+The word occurs nowhere else in Shakes. except _Hen. V._ iii. 6: "Of
+buxom valour;" that is, lively valour.
+
+Dr. Johnson appears to have had in mind the original meaning of
+_buxom_ in his comment on this passage: "His epithet _buxom health_
+is not elegant; he seems not to understand the word."
+
+47. _Lively cheer_. Cf. Spenser, _Shep. Kal._ Apr.: "In either cheeke
+depeincten lively chere;" Milton, _Ps._ lxxxiv. 27: "With joy and
+gladsome cheer."
+
+49. Wakefield quotes Milton, _P. L._ v. 3:
+
+  "When Adam wak'd, so custom'd; for his sleep
+   Was airy light, from pure digestion bred,
+   And temperate vapours bland."
+
+51. _Regardless of their doom_. Collins, in the _first manuscript_ of
+his _Ode on the Death of Col. Ross_, has
+
+  "E'en now, regardful of his doom,
+   Applauding Honour haunts his tomb."[2]
+
+[Footnote 2: Mitford gives the first line as "E'en now, _regardless_
+of his doom;" and just below, on verse 61, he makes the line from
+Pope read, "The fury Passions from that _flood_ began." We have
+verified his quotations as far as possible, and have corrected scores
+of errors in them. Quite likely there are some errors in those we
+have not been able to verify.]
+
+55. _Yet see_, etc. Mitford cites Broome, _Ode on Melancholy_:
+
+  "While round stern ministers of fate,
+   Pain and Disease and Sorrow, wait;"
+
+and Otway, _Alcibiades_, v. 2: "Then enter, ye grim ministers of
+fate." See also _Progress of Poesy_, ii. 1: "Man's feeble race," etc.
+
+59. _Murtherous_. The obsolete spelling of _murderous_, still used in
+Gray's time.
+
+61. _The fury Passions_. The passions, fierce and cruel as the
+mythical Furies. Cf. Pope, _Essay on Man_, iii. 167: "The fury
+Passions from that blood began."
+
+66. Mitford quotes Spenser, _F. Q._:
+
+  "But gnawing Jealousy out of their sight,
+   Sitting alone, his bitter lips did bite."
+
+68. Wakefield quotes Milton, _Sonnet to Mr. Lawes_: "With praise
+enough for Envy to look wan."
+
+69. _Grim-visag'd, comfortless Despair_. Cf. Shakes. _Rich. III_. i.
+1: "Grim-visag'd War;" and _C. of E._ v. 1: "grim and comfortless
+Despair."
+
+76. _Unkindness' altered eye_. "An ungraceful elision" of the
+possessive inflection, as Mason calls it. Cf. Dryden, _Hind and
+Panther_, iii.: "Affected Kindness with an alter'd face."
+
+79. Gray quotes Dryden, _Pal. and Arc._: "Madness laughing in his
+ireful mood." Cf. Shakes. _Hen. VI._ iv. 2: "But rather moody mad;"
+and iii. 1: "Moody discontented fury."
+
+81. _The vale of years_. Cf. _Othello_, iii. 3: "Declin'd Into the
+vale of years."
+
+82. _Grisly_. Not to be confounded with _grizzly_. See Wb.
+
+83. _The painful family of death_. Cf. Pope, _Essay on Man_, ii. 118:
+"Hate, Fear, and Grief, the family of Pain;" and Dryden, _State of
+Innocence_, v. 1: "With all the numerous family of Death." On the
+whole passage cf. Milton, _P. L._ xi. 477-493. See also Virgil, _Æn._
+vi. 275.
+
+86. _That every labouring sinew strains_. An example of the
+"correspondence of sound with sense." As Pope says (_Essay on
+Criticism_, 371),
+
+  "The line too labours, and the words move slow."
+
+90. _Slow-consuming Age_. Cf. Shenstone, _Love and Honour_: "His
+slow-consuming fires."
+
+95. As Wakefield remarks, we meet with the same thought in _Comus_,
+359:
+
+  "Peace, brother, be not over-exquisite
+   To cast the fashion of uncertain evils;
+   For grant they be so, while they rest unknown
+   What need a man forestall his date of grief,
+   And run to meet what he would most avoid?"
+
+97. _Happiness too swiftly flies_. Perhaps a reminiscence of Virgil,
+_Geo._ iii. 66:
+
+  "Optima quaeque dies miseris mortalibus aevi
+   Prima fugit."
+
+98. _Thought would destroy their paradise_. Wakefield quotes
+Sophocles, _Ajax_, 554: [Greek: En tôi phronein gar mêden hêdistos
+bios] ("Absence of thought is prime felicity").
+
+99. Cf. Prior, _Ep. to Montague_, st. 9:
+
+  "From ignorance our comfort flows,
+   The only wretched are the wise."
+
+and Davenant, _Just Italian_: "Since knowledge is but sorrow's spy,
+it is not safe to know."
+
+[Illustration: WINDSOR CASTLE, FROM THE END OF THE LONG WALK.]
+
+
+
+
+[Illustration: HOMER ENTHRONED.]
+
+
+THE PROGRESS OF POESY.
+
+
+This Ode, as we learn from one of Gray's letters to Walpole, was
+finished, with the exception of a few lines, in 1755. It was not
+published until 1757, when it appeared with _The Bard_ in a quarto
+volume, which was the first issue of Walpole's press at Strawberry
+Hill. In one of his letters Walpole writes: "I send you two copies of
+a very honourable opening of my press--two amazing odes of Mr. Gray.
+They are Greek, they are Pindaric, they are sublime, consequently I
+fear a little obscure; the second particularly, by the confinement of
+the measure and the nature of prophetic vision, is mysterious. I
+could not persuade him to add more notes." In another letter Walpole
+says: "I found Gray in town last week; he had brought his two odes to
+be printed. I snatched them out of Dodsley's hands, and they are to
+be the first-fruits of my press." The title-page of the volume is as
+follows:
+
+  ODES
+  BY
+  MR. GRAY.
+  [Greek:  PHÔNANTA SUNETOISI]--PINDAR, Olymp, II.
+  PRINTED AT STRAWBERRY-HILL,
+  for R. and J. DODSLEY in Pall-Mall.
+  MDCCLVII.
+
+Both Odes were coldly received at first. "Even my friends," writes
+Gray, in a letter to Hurd, Aug. 25, 1757, "tell me they do not
+_succeed_, and write me moving topics of consolation on that head. In
+short, I have heard of nobody but an Actor [Garrick] and a Doctor of
+Divinity [Warburton] that profess their esteem for them. Oh yes, a
+Lady of quality (a friend of Mason's) who is a great reader. She knew
+there was a compliment to Dryden, but never suspected there was
+anything said about Shakespeare or Milton, till it was explained to
+her, and wishes that there had been titles prefixed to tell what they
+were about."[1] In a letter to Dr. Wharton, dated Aug. 17, 1757, he
+says: "I hear we are not at all popular. The great objection is
+obscurity, nobody knows what we would be at. One man (a Peer) I have
+been told of, that thinks the last stanza of the 2d Ode relates to
+Charles the First and Oliver Cromwell; in short, the [Greek: Sunetoi]
+appear to be still fewer than even I expected." A writer in the
+_Critical Review_ thought that "Æolian lyre" meant the Æolian harp.
+Coleman the elder and Robert Lloyd wrote parodies entitled Odes to
+Obscurity and Oblivion. Gray finally had to add explanatory notes,
+though he intimates that his readers ought not to have needed
+them.[2]
+
+[Footnote 1: Forster remarks that Gray might have added to the
+admirers of the Odes "the poor monthly critic of _The
+Dunciad_"--Oliver Goldsmith, then beginning his London career as a
+bookseller's hack. In a review of the Odes in the _London Monthly
+Review_ for Sept., 1757, after citing certain passages of _The Bard_,
+he says that they "will give as much pleasure to those who relish
+this species of composition as anything that has hitherto appeared in
+our language, the odes of Dryden himself not excepted."]
+
+[Footnote 2: In a foot-note he says: "When the author first published
+this and the following Ode, he was advised, even by his friends, to
+subjoin some few explanatory notes; but had too much respect for the
+understanding of his readers to take that liberty."
+
+In a letter to Beattie, dated Feb. 1, 1768, referring to the new
+edition of his poems, he says: "As to the notes, I do it out of
+spite, because the public did not understand the two Odes (which I
+have called Pindaric), though the first was not very dark, and the
+second alluded to a few common facts to be found in any sixpenny
+history of England, by way of question and answer, for the use of
+children." And in a letter to Walpole, Feb. 25, 1768, he says he has
+added "certain little Notes, partly from justice (to acknowledge the
+debt where I had borrowed anything), partly from ill temper, just to
+tell the gentle reader that Edward I. was not Oliver Cromwell, nor
+Queen Elizabeth the Witch of Endor."
+
+Mr. Fox, afterwards Lord Holland, said that "if the Bard recited his
+Ode only _once_ to Edward, he was sure he could not understand it."
+When this was told to Gray, he said, "If he had recited it twenty
+times, Edward would not have been a bit wiser; but that was no reason
+why Mr. Fox should not."]
+
+"The metre of these Odes is constructed on Greek models. It is not
+uniform but symmetrical. The nine stanzas of each ode form three
+groups. A slight examination will show that the 1st, 4th, and 7th
+stanzas are exactly inter-correspondent; so the 2d, 5th, and 8th; and
+so the remaining three. The technical Greek names for these three
+parts were [Greek: strophê] (strophe), [Greek: antistrophê]
+(antistrophe), and [Greek: epôdos] (epodos)--the Turn, the
+Counter-turn, and the After-song--names derived from the theatre; the
+Turn denoting the movement of the Chorus from one side of the [Greek:
+orchêstra] (orchestra), or Dance-stage, to the other, the
+Counter-turn the reverse movement, the After-song something sung
+after two such movements. Odes thus constructed were called by the
+Greeks Epodic. Congreve is said to have been the first who so
+constructed English odes. This system cannot be said to have
+prospered with us. Perhaps no English ear would instinctively
+recognize that correspondence between distant parts which is the
+secret of it. Certainly very many readers of _The Progress of Poesy_
+are wholly unconscious of any such harmony" (Hales).
+
+[Illustration: ALCÆUS AND SAPPHO. FROM A PAINTING ON A VASE.]
+
+1. _Awake, Æolian lyre_. The blunder of the Critical Reviewers who
+supposed the "harp of Æolus" to be meant led Gray to insert this
+note: "Pindar styles his own poetry with its musical accompaniments,
+[Greek: Aiolis molpê, Aiolides chordai, Aiolidôn pnoai aulôn], Æolian
+song, Æolian strings, the breath of the Æolian flute."
+
+Cf. Cowley, _Ode of David_: "Awake, awake, my lyre!" Gray himself
+quotes _Ps._ lvii. 8. The first reading of the line in the MS. was,
+"Awake, my lyre: my glory, wake." Gray also adds the following note:
+"The subject and simile, as usual with Pindar, are united. The
+various sources of poetry, which gives life and lustre to all it
+touches, are here described; its quiet majestic progress enriching
+every subject (otherwise dry and barren) with a pomp of diction and
+luxuriant harmony of numbers; and its more rapid and irresistible
+course, when swollen and hurried away by the conflict of tumultuous
+passions."
+
+2. _And give to rapture_. The first reading of the MS. was "give to
+transport."
+
+3. _Helicon's harmonious springs_. In the mountain range of Helicon,
+in Boeotia, there were two fountains sacred to the Muses, Aganippe
+and Hippocrene, of which the former was the more famous.
+
+7. Cf. Pope, _Hor. Epist._ ii. 2, 171:
+
+  "Pour the full tide of eloquence along,
+   Serenely pure, and yet divinely strong;"
+
+and _Ode on St. Cecilia's Day_, 11:
+
+  "The deep, majestic, solemn organs blow;"
+
+also Thomson, _Liberty_, ii. 257:
+
+  "In thy full language speaking mighty things,
+   Like a clear torrent close, or else diffus'd
+   A broad majestic stream, and rolling on
+   Through all the winding harmony of sound."
+
+9. Cf. Shenstone, _Inscr._: "Verdant vales and fountains bright;"
+also Virgil, _Geo._ i. 96: "Flava Ceres;" and Homer, _Il._ v. 499:
+[Greek: xanthê Dêmêtêr].
+
+10. _Rolling_. Spelled "rowling" in the 1st and other early editions.
+
+_Amain_. Cf. _Lycidas_, 111: "The golden opes, the iron shuts amain;"
+_P. L._ ii. 165: "when we fled amain," etc. Also Shakes. _Temp._ iv.
+1: "Her peacocks fly amain," etc. The word means literally _with
+main_ (which we still use in "might and main"), that is, with force
+or strength. Cf. Horace, _Od._ iv. 2, 8: "Immensusque ruit profundo
+Pindarus ore."
+
+11. The first MS. reading was, "With torrent rapture see it pour."
+
+12. Cf. Dryden, _Virgil's Geo._ i.: "And rocks the bellowing voice of
+boiling seas resound;" Pope, _Iliad_: "Rocks rebellow to the roar."
+
+13. "Power of harmony to calm the turbulent sallies of the soul. The
+thoughts are borrowed from the first Pythian of Pindar" (Gray).
+
+14. _Solemn-breathing airs_. Cf. _Comus_, 555: "a soft and
+solemn-breathing sound."
+
+15. _Enchanting shell_. That is, lyre; alluding to the myth of the
+origin of the instrument, which Mercury was said to have made from
+the shell of a tortoise. Cf. Collins, _Passions_, 3: "The Passions
+oft, to hear her shell," etc.
+
+17. _On Thracia's hills_. Thrace was one of the chief seats of the
+worship of Mars. Cf. Ovid, _Ars Am._ ii. 588: "Mars Thracen occupat."
+See also Virgil, _Æn._ iii. 35, etc.
+
+19. _His thirsty lance_. Cf. Spenser, _F. Q._ i. 5, 15: "his thristy
+[thirsty] blade."
+
+20. Gray says, "This is a weak imitation of some beautiful lines in
+the same ode;" that is, in "the first Pythian of Pindar," referred to
+in the note on 13. The passage is an address to the lyre, and is
+translated by Wakefield thus:
+
+  "On Jove's imperial rod the king of birds
+   Drops down his flagging wings; thy thrilling sounds
+   Soothe his fierce beak, and pour a sable cloud
+   Of slumber on his eyelids: up he lifts
+   His flexile back, shot by thy piercing darts.
+   Mars smooths his rugged brow, and nerveless drops
+   His lance, relenting at the choral song."
+
+21. _The feather'd king_. Cf. Shakes. _Phoenix and Turtle_:
+
+  "Every fowl of tyrant wing,
+   Save the eagle, feather'd king."
+
+23. _Dark clouds_. The first reading of MS. was "black clouds."
+
+24. _The terror_. This is the reading of the first ed. and also of
+that of 1768. Most of the modern eds. have "terrors."
+
+25. "Power of harmony to produce all the graces of motion in the
+body" (Gray).
+
+26. _Temper'd_. Modulated, "set." Cf. _Lycidas_, 33: "Tempered to the
+oaten flute;" Fletcher, _Purple Island_: "Tempering their sweetest
+notes unto thy lay," etc.
+
+27. _O'er Idalia's velvet-green_. _Idalia_ appears to be used for
+_Idalium_, which was a town in Cyprus, and a favourite seat of Venus,
+who was sometimes called _Idalia_. Pope likewise uses _Idalia_ for
+the place, in his _First Pastoral_, 65: "Celestial Venus haunts
+Idalia's groves."
+
+Dr. Johnson finds fault with _velvet-green_, apparently supposing it
+to be a compound of Gray's own making. But Young had used it in his
+_Love of Fame_: "She rears her flowers, and spreads her
+velvet-green." It is also among the expressions of Pope which are
+ridiculed in the _Alexandriad_.
+
+29. _Cytherea_ was a name of Venus, derived from _Cythera_, an island
+in the Ægean Sea, one of the favourite residences of Aphrodite, or
+Venus. Cf. Virgil, _Æn._ i. 680: "super alta Cythera Aut super
+Idalium, sacrata sede," etc.
+
+30. _With antic Sports_. This is the reading of the 1st ed. and also
+of the ed. of 1768. Some eds. have "sport."
+
+_Antic_ is the same word as _antique_. The association between what
+is old or old-fashioned and what is odd, fantastic, or grotesque is
+obvious enough. Cf. Milton, _Il Pens._ 158: "With antick pillars
+massy-proof." In _S. A._ 1325 he uses the word as a noun: "Jugglers
+and dancers, anticks, mummers, mimicks." Shakes. makes it a verb in
+_A. and C._ ii. 7: "the wild disguise hath almost Antick'd us all."
+
+31. Cf. Thomson, _Spring_, 835: "In friskful glee Their frolics
+play."
+
+32, 33. Cf. Virgil, _Æn._ v. 580 foll.
+
+35. Gray quotes Homer, _Od._ ix. 265: [Greek: marmarugas thêeito
+podôn thaumaze de thumôi]. Cf. Catullus's "fulgentem plantam." See
+also Thomson, _Spring_, 158: "the many-twinkling leaves Of aspin
+tall."
+
+36. _Slow-melting strains_, etc. Cf. a poem by Barton Booth,
+published in 1733:
+
+  "Now to a slow and melting air she moves,
+   So like in air, in shape, in mien,
+   She passes for the Paphian queen;
+   The Graces all around her play,
+   The wondering gazers die away;
+   Whether her easy body bend,
+   Or her fair bosom heave with sighs;
+   Whether her graceful arms extend,
+   Or gently fall, or slowly rise;
+   Or returning or advancing,
+   Swimming round, or sidelong glancing,
+   Strange force of motion that subdues the soul."
+
+37. Cf. Dryden, _Flower and Leaf_, 191: "For wheresoe'er she turn'd
+her face, they bow'd."
+
+39. Cf. Virgil, _Æn._ i. 405: "Incessu patuit dea." The gods were
+represented as gliding or sailing along without moving their feet.
+
+41. _Purple light of love_. Cf. Virgil, _Æn._ i. 590: "lumenque
+juventae Purpureum." Gray quotes Phrynichus, _apud_ Athenæum:
+
+  [Greek: lampei d' epi porphureêisi
+          pareiêisi phôs erôtos.]
+
+See also Dryden, _Brit. Red._ 133: "and her own purple light."
+
+42. "To compensate the real and imaginary ills of life, the Muse was
+given to mankind by the same Providence that sends the day by its
+cheerful presence to dispel the gloom and terrors of the night"
+(Gray).
+
+43 foll. See on _Eton Coll._ 83. Cf. Horace, _Od._ i. 3, 29-33.
+
+46. _Fond complaint_. Foolish complaint. Cf. Shakes. _M. of V._ iii.
+3:
+
+                  "I do wonder,
+   Thou naughty gaoler, that thou art so fond
+   To come abroad with him at his request;"
+
+Milton, _S. A._ 812: "fond and reasonless," etc. This appears to be
+the original meaning of the word. In Wiclif's Bible. 1 _Cor._ i. 27,
+we have "the thingis that ben _fonnyd_ of the world." In _Twelfth
+Night_, ii. 2, the word is used as a verb=dote:
+
+  "And I, poor monster, fond as much on him,
+   As she, mistaken, seems to dote on me."
+
+49. Hurd quotes Cowley:
+
+  "Night and her ugly subjects thou dost fright,
+   And Sleep, the lazy owl of night;
+   Asham'd and fearful to appear,
+   They screen their horrid shapes with the black hemisphere."
+
+Wakefield cites Milton, _Hymn on Nativity_, 233 foll.: "The flocking
+shadows pale," etc. See also _P. R._ iv. 419-431.
+
+50. _Birds of boding cry_. Cf. Green's _Grotto_: "news the boding
+night-birds tell."
+
+52. Gray refers to Cowley, _Brutus_:
+
+  "One would have thought 't had heard the morning crow,
+   Or seen her well-appointed star.
+   Come marching up the eastern hill afar."
+
+The following variations on 52 and 53 are found in the MS.:
+
+   Till fierce Hyperion from afar
+   Pours on their scatter'd rear, |
+   Hurls at   "   flying     "    | his glittering shafts of war.
+     "   o'er "   scatter'd  "    |
+     "    "   "   shadowy    "    |
+   Till   "   "      "       "   from far
+   Hyperion hurls around his, etc.
+
+The accent of _Hyperion_ is properly on the penult, which is long in
+quantity, but the English poets, with rare exceptions, have thrown it
+back upon the antepenult. It is thus in the six instances in which
+Shakes. uses the word: e.g. _Hamlet_, iii. 4: "Hyperion's curls; the
+front of Jove himself." The word does not occur in Milton. It is
+correctly accented by Drummond (of Hawthornden), _Wand. Muses_:
+
+  "That Hyperion far beyond his bed
+   Doth see our lions ramp, our roses spread;"
+
+by West, _Pindar's Ol._ viii. 22:
+
+  "Then Hyperion's son, pure fount of day,
+   Did to his children the strange tale reveal;"
+
+also by Akenside, and by the author of the old play _Fuimus Troes_
+(A.D. 1633):
+
+       "Blow, gentle Africus,
+   Play on our poops when Hyperion's son
+   Shall couch in west."
+
+Hyperion was a Titan, the father of Helios (the Sun), Selene (the
+Moon), and Eos (the Dawn). He was represented with the attributes of
+beauty and splendor afterwards ascribed to Apollo. His "glittering
+shafts" are of course the sunbeams, the "lucida tela diei" of
+Lucretius. Cf. a very beautiful description of the dawn in Lowell's
+_Above and Below_:
+
+  "'Tis from these heights alone your eyes
+     The advancing spears of day can see,
+   Which o'er the eastern hill-tops rise,
+     To break your long captivity."
+
+We may quote also his _Vision of Sir Launfal_:
+
+  "It seemed the dark castle had gathered all
+   Those shafts the fierce sun had shot over its wall
+     In his siege of three hundred summers long," etc.
+
+54. Gray's note here is as follows: "Extensive influence of poetic
+genius over the remotest and most uncivilized nations; its connection
+with liberty and the virtues that naturally attend on it. [See the
+Erse, Norwegian, and Welsh fragments; the Lapland and American
+songs.]" He also quotes Virgil, _Æn._ vi. 796: "Extra anni solisque
+vias," and Petrarch, _Canz._ 2: "Tutta lontana dal camin del sole."
+Cf. also Dryden, _Thren. August._ 353: "Out of the solar walk and
+Heaven's highway;" _Ann. Mirab._ st. 160: "Beyond the year, and out
+of Heaven's highway;" _Brit. Red._: "Beyond the sunny walks and
+circling year;" also Pope, _Essay on Man_, i. 102: "Far as the solar
+walk and milky way."
+
+56. _Twilight gloom_. Wakefield quotes Milton, _Hymn on Nativ._ 188:
+"The nymphs in twilight shade of tangled thickets mourn."
+
+57. Wakefield says, "It almost chills one to read this verse." The
+MS. variations are "buried native's" and "chill abode."
+
+60. _Repeat_ [_their chiefs_, etc.]. Sing of them again and again.
+
+61. _In loose numbers_, etc. Cf. Milton, _L'All._ 133:
+
+  "Or sweetest Shakespeare, Fancy's child,
+   Warble his native wood-notes wild;"
+
+and Horace, _Od._ iv. 2, 11:
+
+            "numerisque fertur
+   Lege solutis."
+
+62. _Their feather-cinctur'd chiefs_. Cf. _P. L._ ix. 1115:
+
+                    "Such of late
+   Columbus found the American, so girt
+   With feather'd cincture."
+
+64. _Glory pursue_. Wakefield remarks that this use of a plural verb
+after the first of a series of subjects is in Pindar's manner. Warton
+compares Homer, _Il._ v. 774:
+
+  [Greek: hêchi rhoas Simoeis sumballeton êde Skamandros.]
+
+Dugald Stewart (_Philos. of Human Mind_) says: "I cannot help
+remarking the effect of the solemn and uniform flow of verse in this
+exquisite stanza, in retarding the pronunciation of the reader, so as
+to arrest his attention to every successive picture, till it has time
+to produce its proper impression."
+
+65. _Freedom's holy flame_. Cf. Akenside, _Pleas. of Imag._ i. 468:
+"Love's holy flame."
+
+[Illustration: THE VALE OF TEMPE.]
+
+66. "Progress of Poetry from Greece to Italy, and from Italy to
+England. Chaucer was not unacquainted with the writings of Dante or
+of Petrarch. The Earl of Surrey and Sir Thomas Wyatt had travelled in
+Italy, and formed their taste there; Spenser imitated the Italian
+writers; Milton improved on them: but this school expired soon after
+the Restoration, and a new one arose on the French model, which has
+subsisted ever since" (Gray).
+
+_Delphi's steep_. Cf. Milton, _Hymn on Nativ._ 178: "the steep of
+Delphos;" _P. L._ i. 517: "the Delphian cliff." Both Shakes. and
+Milton prefer the mediæval form _Delphos_ to the more usual _Delphi_.
+Delphi was at the foot of the southern uplands of Parnassus which end
+"in a precipitous cliff, 2000 feet high, rising to a double peak
+named the Phædriades, from their glittering appearance as they faced
+the rays of the sun" (Smith's _Anc. Geog._).
+
+67. _Isles_, etc. Cf. Byron:
+
+  "The isles of Greece, the isles of Greece!
+     Where burning Sappho loved and sung," etc.
+
+68. _Ilissus_. This river, rising on the northern slope of Hymettus,
+flows through the east side of Athens.
+
+69. _Mæander's amber waves_. Cf. Milton, _P. L._ iii. 359: "Rolls
+o'er Elysian flowers her amber stream;" _P. R._ iii. 288: "There Susa
+by Choaspes, amber stream." See also Virgil, _Geo._ iii. 520: "Purior
+electro campum petit amnis." Callimachus (_Cer._ 29) has [Greek:
+alektrinon hudôr].
+
+70. Ovid, _Met._ viii. 162, describes the Mæander thus:
+
+  "Non secus ac liquidis Phrygiis Maeandros in arvis
+   Ludit, et ambiguo lapsu refluitque fluitque."
+
+Cf. also Virgil's description of the Mincius (_Geo._ iii. 15):
+
+           --"tardis ingens ubi flexibus errat
+   Mincius."
+
+"The first great metropolis of Hellenic intellectual life was Miletus
+on the Mæander. Thales, Anaximander, Anaximines, Cadmus, Hecatæus,
+etc., were all Milesians" (Hales).
+
+71 foll. Cf. Milton, _Hymn on Nativ._ 181:
+
+        "The lonely mountains o'er,
+         And the resounding shore,
+   A voice of weeping heard and loud lament;
+         From haunted spring and dale,
+         Edged with poplar pale,
+   The parting Genius is with sighing sent:" etc.
+
+75. _Hallowed fountain_. Cf. Virgil, _Ecl._ i. 53: "fontes sacros."
+
+76. The MS. has "Murmur'd a celestial sound."
+
+80. _Vice that revels in her chains_. In his _Ode for Music_, 6, Gray
+has "Servitude that hugs her chain."
+
+81. Hales quotes Collins, _Ode to Simplicity_:
+
+        "While Rome could none esteem
+         But Virtue's patriot theme,
+   You lov'd her hills, and led her laureate band;
+         But staid to sing alone
+         To one distinguish'd throne,
+   And turn'd thy face, and fled her alter'd land."
+
+84. _Nature's darling_. "Shakespeare" (Gray). Cf. Cleveland, _Poems_:
+
+  "Here lies within this stony shade
+   Nature's darling; whom she made
+   Her fairest model, her brief story,
+   In him heaping all her glory."
+
+On _green lap_, cf. Milton, _Song on May Morning_:
+
+  "The flowery May, who from her green lap throws
+   The yellow cowslip and the pale primrose."
+
+85. _Lucid Avon_. Cf. Seneca, _Thyest._ 129: "gelido flumine lucidus
+Alpheos."
+
+86. _The mighty mother_. That is, Nature. Pope, in the _Dunciad_, i.
+1, uses the same expression in a satirical way:
+
+  "The Mighty Mother, and her Son, who brings
+   The Smithfield Muses to the ear of kings,
+   I sing."
+
+See also Dryden, _Georgics_, i. 466:
+
+  "On the green turf thy careless limbs display,
+   And celebrate the mighty mother's day."
+
+87. _The dauntless child_. Cf. Horace, _Od._ iii. 4, 20: "non sine
+dis animosus infans." Wakefield quotes Virgil, _Ecl._ iv. 60:
+"Incipe, parve puer, risu cognoscere matrem." Mitford points out that
+the identical expression occurs in Sandys's translation of Ovid,
+_Met._ iv. 515:
+
+                                   "the child
+   Stretch'd forth its little arms, and on him smil'd."
+
+See also Catullus, _In Nupt. Jun. et Manl._ 216:
+
+  "Torquatus volo parvulus
+   Matris e gremio suae
+   Porrigens teneras manus,
+   Dulce rideat."
+
+91. _These golden keys_. Cf. Young, _Resig._:
+
+  "Nature, which favours to the few
+     All art beyond imparts,
+   To him presented at his birth
+     The key of human hearts."
+
+Wakefield cites _Comus_, 12:
+
+  "Yet some there be, that with due steps aspire
+   To lay their hands upon that golden key
+   That opes the palace of eternity."
+
+See also _Lycidas_, 110:
+
+  "Two massy keys he bore of metals twain;
+   The golden opes, the iron shuts amain."
+
+93. _Of horror_. A MS. variation is "Of terror."
+
+94. _Or ope the sacred source_. In a letter to Dr. Wharton, Sept. 7,
+1757, Gray mentions, among other criticisms upon this ode, that "Dr.
+Akenside criticises opening a _source_ with a _key_." But, as Mitford
+remarks, Akenside himself in his _Ode on Lyric Poetry_ has, "While I
+so late _unlock_ thy purer _springs_," and in his _Pleasures of
+Imagination_, "I _unlock_ the _springs_ of ancient wisdom."
+
+95. _Nor second he_, etc. "Milton" (Gray).
+
+96, 97. Cf. Milton, _P. L._ vii. 12:
+
+                    "Up led by thee,
+   Into the heaven of heavens I have presumed,
+   An earthly guest, and drawn empyreal air."
+
+98. _The flaming bounds_, etc. Gray quotes Lucretius, i. 74:
+"Flammantia moenia mundi." Cf. also Horace, _Epist._ i. 14, 9: "amat
+spatiis obstantia rumpere claustra."
+
+99. Gray quotes _Ezekiel_ i. 20, 26, 28. See also Milton, _At a
+Solemn Music_, 7: "Aye sung before the sapphire-colour'd throne;" _Il
+Pens._ 53: "the fiery-wheeled throne;" _P. L._ vi. 758:
+
+  "Whereon a sapphire throne, inlaid with pure
+   Amber, and colours of the showery arch;"
+
+and _id._ vi. 771:
+
+  "He on the wings of cherub rode sublime,
+   On the crystalline sky, in sapphire throned."
+
+101. _Blasted with excess of light_. Cf. _P. L._ iii. 380: "Dark with
+excessive bright thy skirts appear."
+
+102. Cf. Virgil, _Æn._ x. 746: "in aeternam clauduntur lumina
+noctem," which Dryden translates, "And closed her lids at last in
+endless night." Gray quotes Homer, _Od._ viii. 64:
+
+   [Greek: Ophthalmôn men amerses, didou d' hêdeian aoidên.]
+
+103. Gray, according to Mason, "admired Dryden almost beyond
+bounds."[3]
+
+[Footnote 3: In a journey through Scotland in 1765, Gray became
+acquainted with Beattie, to whom he commended the study of Dryden,
+adding that "if there was any excellence in his own numbers, he had
+learned it wholly from the great poet."]
+
+105. "Meant to express the stately march and sounding energy of
+Dryden's rhymes" (Gray). Cf. Pope, _Imit. of Hor. Ep._ ii. 1, 267:
+
+  "Waller was smooth: but Dryden taught to join
+   The varying verse, the full-resounding line,
+   The long majestic march, and energy divine."
+
+106. Gray quotes _Job_ xxxix. 19: "Hast thou clothed his neck with
+thunder?"
+
+108. _Bright-eyed_. The MS. has "full-plumed."
+
+110. Gray quotes Cowley, _Prophet_: "Words that weep, and tears that
+speak."
+
+Dugald Stewart remarks upon this line: "I have sometimes thought that
+Gray had in view the two different effects of words already
+described; the effect of some in awakening the powers of conception
+and imagination; and that of others in exciting associated emotions."
+
+111. "We have had in our language no other odes of the sublime kind
+than that of Dryden on St. Cecilia's Day; for Cowley (who had his
+merit) yet wanted judgment, style, and harmony, for such a task. That
+of Pope is not worthy of so great a man. Mr. Mason, indeed, of late
+days, has touched the true chords, and with a masterly hand, in some
+of his choruses; above all in the last of _Caractacus_:
+
+  'Hark! heard ye not yon footstep dread!' etc." (Gray).
+
+113. _Wakes thee now_. Cf. _Elegy_, 48: "Or wak'd to ecstasy the
+living lyre."
+
+115. "[Greek: Dios pros ornicha theion]. _Olymp._ ii. 159. Pindar
+compares himself to that bird, and his enemies to ravens that croak
+and clamour in vain below, while it pursues its flight, regardless of
+their noise" (Gray).
+
+Cf. Spenser, _F. Q._ v. 4, 42:
+
+  "Like to an Eagle, in his kingly pride
+   Soring through his wide Empire of the aire,
+   To weather his brode sailes."
+
+Cowley, in his translation of Horace, _Od._ iv. 2, calls Pindar "the
+Theban swan" ("Dircaeum cycnum"):
+
+  "Lo! how the obsequious wind and swelling air
+   The Theban Swan does upward bear."
+
+117. _Azure deep of air_. Cf. Euripides, _Med._ 1294: [Greek: es
+aitheros bathos]; and Lucretius, ii. 151: "Aëris in magnum fertur
+mare." Cowley has "Row through the trackless ocean of air;" and
+Shakes. (_T. of A._ iv. 2), "this sea of air."
+
+118, 119. The MS. reads:
+
+  "Yet when they first were open'd on the day
+   Before his visionary eyes would run."
+
+D. Stewart (_Philos. of Human Mind_) remarks that "Gray, in
+describing the infantine reveries of poetical genius, has fixed with
+exquisite judgment on that class of our conceptions which are derived
+from _visible_ objects."
+
+120. _With orient hues_. Cf. Milton, _P. L._ i. 546: "with orient
+colours waving."
+
+122. The MS. has "Yet never can he fear a vulgar fate."
+
+123. Cf. K. Philips: "Still shew'd how much the good outshone the
+great."
+
+
+We append, as a curiosity of criticism, Dr. Johnson's comments on
+this ode, from his _Lives of the Poets_. The Life of Gray has been
+called "the worst in the series," and perhaps this is the worst part
+of it:[4]
+
+"My process has now brought me to the _wonderful_ 'Wonder of
+Wonders,' the two Sister Odes, by which, though either vulgar
+ignorance or common-sense at first universally rejected them, many
+have been since persuaded to think themselves delighted. I am one of
+those that are willing to be pleased, and therefore would gladly find
+the meaning of the first stanza of 'The Progress of Poetry.'
+
+"Gray seems in his rapture to confound the images of spreading sound
+and running water. A 'stream of music' may be allowed; but where does
+'music,' however 'smooth and strong,' after having visited the
+'verdant vales, roll down the steep amain,' so as that 'rocks and
+nodding groves rebellow to the roar?' If this be said of music, it is
+nonsense; if it be said of water, it is nothing to the purpose.
+
+"The second stanza, exhibiting Mars's car and Jove's eagle, is
+unworthy of further notice. Criticism disdains to chase a schoolboy
+to his commonplaces.
+
+"To the third it may likewise be objected that it is drawn from
+mythology, though such as may be more easily assimilated to real
+life. Idalia's 'velvet-green' has something of cant. An epithet or
+metaphor drawn from Nature ennobles Art; an epithet or metaphor drawn
+from Art degrades Nature. Gray is too fond of words arbitrarily
+compounded. 'Many-twinkling' was formerly censured as not analogical;
+we may say 'many-spotted,' but scarcely 'many-spotting.' This stanza,
+however, has something pleasing.
+
+"Of the second ternary of stanzas, the first endeavours to tell
+something, and would have told it, had it not been crossed by
+Hyperion; the second describes well enough the universal prevalence
+of poetry; but I am afraid that the conclusion will not arise from
+the premises. The caverns of the North and the plains of Chili are
+not the residences of 'Glory and generous Shame.' But that Poetry and
+Virtue go always together is an opinion so pleasing that I can
+forgive him who resolves to think it true.
+
+"The third stanza sounds big with 'Delphi,' and 'Ægean,' and
+'Ilissus,' and 'Mæander,' and with 'hallowed fountains,' and 'solemn
+sound;' but in all Gray's odes there is a kind of cumbrous splendour
+which we wish away. His position is at last false: in the time of
+Dante and Petrarch, from whom we derive our first school of poetry,
+Italy was overrun by 'tyrant power' and 'coward vice;' nor was our
+state much better when we first borrowed the Italian arts.
+
+"Of the third ternary, the first gives a mythological birth of
+Shakespeare. What is said of that mighty genius is true; but it is
+not said happily: the real effects of this poetical power are put out
+of sight by the pomp of machinery. Where truth is sufficient to fill
+the mind, fiction is worse than useless; the counterfeit debases the
+genuine.
+
+"His account of Milton's blindness, if we suppose it caused by study
+in the formation of his poem, a supposition surely allowable, is
+poetically true and happily imagined. But the _car_ of Dryden, with
+his _two coursers_, has nothing in it peculiar; it is a car in which
+any other rider may be placed."
+
+[Footnote 4: Sir James Mackintosh well says of Johnson's criticisms:
+"Wherever understanding alone is sufficient for poetical criticism,
+the decisions of Johnson are generally right. But the beauties of
+poetry must be _felt_ before their causes are investigated. There is
+a poetical sensibility, which in the progress of the mind becomes as
+distinct a power as a musical ear or a picturesque eye. Without a
+considerable degree of this sensibility, it is as vain for a man of
+the greatest understanding to speak of the higher beauties of poetry
+as it is for a blind man to speak of colours. To adopt the warmest
+sentiments of poetry, to realize its boldest imagery, to yield to
+every impulse of enthusiasm, to submit to the illusions of fancy, to
+retire with the poet into his ideal worlds, were dispositions wholly
+foreign from the worldly sagacity and stern shrewdness of Johnson. As
+in his judgment of life and character, so in his criticism on poetry,
+he was a sort of Free-thinker. He suspected the refined of
+affectation, he rejected the enthusiastic as absurd, and he took it
+for granted that the mysterious was unintelligible. He came into the
+world when the school of Dryden and Pope gave the law to English
+poetry. In that school he had himself learned to be a lofty and
+vigorous declaimer in harmonious verse; beyond that school his
+unforced admiration perhaps scarcely soared; and his highest effort
+of criticism was accordingly the noble panegyric on Dryden."
+
+W. H. Prescott, the historian, also remarks that Johnson, as a
+critic, "was certainly deficient in sensibility to the more delicate,
+the minor beauties of poetic sentiment. He analyzes verse in the
+cold-blooded spirit of a chemist, until all the aroma which
+constituted its principal charm escapes in the decomposition. By this
+kind of process, some of the finest fancies of the Muse, the lofty
+dithyrambics of Gray, the ethereal effusions of Collins, and of
+Milton too, are rendered sufficiently vapid."]
+
+[Illustration: PINDAR.]
+
+
+
+
+[Illustration: EDWARD I.]
+
+
+THE BARD.
+
+
+"This ode is founded on a tradition current in Wales that Edward the
+First, when he completed the conquest of that country, ordered all
+the bards that fell into his hands to be put to death" (Gray).
+
+The original argument of the ode, as Gray had set it down in his
+commonplace-book, was as follows: "The army of Edward I., as they
+march through a deep valley, and approach Mount Snowdon, are suddenly
+stopped by the appearance of a venerable figure seated on the summit
+of an inaccessible rock, who, with a voice more than human,
+reproaches the king with all the desolation and misery which he had
+brought on his country; foretells the misfortunes of the Norman race,
+and with prophetic spirit declares that all his cruelty shall never
+extinguish the noble ardour of poetic genius in this island; and that
+men shall never be wanting to celebrate true virtue and valour in
+immortal strains, to expose vice and infamous pleasure, and boldly
+censure tyranny and oppression. His song ended, he precipitates
+himself from the mountain, and is swallowed up by the river that
+rolls at its feet."
+
+Mitford, in his "Essay on the Poetry of Gray," says of this Ode: "The
+tendency of _The Bard_ is to show the retributive justice that
+follows an act of tyranny and wickedness; to denounce on Edward, in
+his person and his progeny, the effect of the crime he had committed
+in the massacre of the bards; to convince him that neither his power
+nor situation could save him from the natural and necessary
+consequences of his guilt; that not even the virtues which he
+possessed could atone for the vices with which they were accompanied:
+
+  'Helm nor hauberk's twisted mail,
+   Nor e'en thy _virtues_, tyrant, shall avail.'
+
+This is the real tendency of the poem; and well worthy it was of
+being adorned and heightened by such a profusion of splendid images
+and beautiful machinery. We must also observe how much this moral
+feeling increases as we approach the close; how the poem rises in
+dignity; and by what a fine gradation the solemnity of the subject
+ascends. The Bard commenced his song with feelings of sorrow for his
+departed brethren and his desolate country. This despondence,
+however, has given way to emotions of a nobler and more exalted
+nature. What can be more magnificent than the vision which opens
+before him to display the triumph of justice and the final glory of
+his cause? And it may be added, what can be more forcible or emphatic
+than the language in which it is conveyed?
+
+  'But oh! what solemn scenes on Snowdon's height,
+     Descending slow their glittering skirts unroll?
+   Visions of glory, spare my aching sight!
+     _Ye unborn ages, crowd not on my soul!_'
+
+The fine apostrophe to the shade of Taliessin completes the picture
+of exultation:
+
+  'Hear from the grave, great Taliessin, hear;
+     They breathe a soul to animate thy clay.'
+
+The triumph of justice, therefore, is now complete. The vanquished
+has risen superior to his conqueror, and the reader closes the poem
+with feelings of content and satisfaction. He has seen the Bard
+uplifted both by a divine energy and by the natural superiority of
+virtue; and the conqueror has shrunk into a creature of hatred and
+abhorrence:
+
+  'Be thine despair, and sceptred care;
+     To triumph, and to die, are mine.'"
+
+With regard to the _obscurity_ of the poem, the same writer remarks
+that "it is such only as of necessity arises from the plan and
+conduct of a prophecy." "In the prophetic poem," he adds, "one point
+of history alone is told, and the rest is to be acquired previously
+by the reader; as in the contemplation of an historical picture,
+which commands only one moment of time, our memory must supply us
+with the necessary links of knowledge; and that point of time
+selected by the painter must be illustrated by the spectator's
+knowledge of the past or future, of the cause or the consequences."
+
+He refers, for corroboration of this opinion, to Dr. Campbell, who in
+his "Philosophy of Rhetoric," says: "I know no style to which
+darkness of a certain sort is more suited than to the prophetical:
+many reasons might be assigned which render it improper that prophecy
+should be perfectly understood before it be accomplished. Besides, we
+are certain that a prediction may be very dark before the
+accomplishment, and yet so plain afterwards as scarcely to admit a
+doubt in regard to the events suggested. It does not belong to
+critics to give laws to prophets, nor does it fall within the
+confines of any human art to lay down rules for a species of
+composition so far above art. Thus far, however, we may warrantably
+observe, that when the prophetic style is imitated in poetry, the
+piece ought, as much as possible, to possess the character above
+mentioned. This character, in my opinion, is possessed in a very
+eminent degree by Mr. Gray's ode called _The Bard_. It is all
+darkness to one who knows nothing of the English history posterior to
+the reign of Edward the First, and all light to one who is acquainted
+with that history. But this is a kind of writing whose peculiarities
+can scarcely be considered as exceptions from ordinary rules."
+
+Farther on in the same essay, Mitford remarks: "The skill of Gray is,
+I think, eminently shown in the superior distinctness with which he
+has marked those parts of his prophecies which are speedily to be
+accomplished; and in the gradations by which, as he descends, he has
+insensibly melted the more remote into the deeper and deeper
+shadowings of general language. The first prophecy is the fate of
+Edward the Second. In that the Bard has pointed out the very night in
+which he is to be destroyed; has named the river that flowed around
+his prison, and the castle that was the scene of his sufferings:
+
+  'Mark the _year_, and mark the _night_,
+   When _Severn_ shall re-echo with affright
+   The shrieks of death thro' Berkeley's roofs that ring,
+   Shrieks of an agonizing king.'
+
+How different is the imagery when Richard the Second is described;
+and how indistinctly is the luxurious monarch marked out in the form
+of the morning, and his country in the figure of the vessel!
+
+  'The swarm that in thy noontide beam were born?
+   Gone to salute the rising morn.
+   Fair laughs the morn,' etc.
+
+The last prophecy is that of the civil wars, and of the death of the
+two young princes. No place, no name is now noted: and all is seen
+through the dimness of figurative expression:
+
+  'Above, below, the rose of snow,
+     Twin'd with her blushing foe, we spread:
+   The bristled boar in infant gore
+     Wallows beneath the thorny shade.'"
+
+Hales remarks: "It is perhaps scarcely now necessary to say that the
+tradition on which _The Bard_ is founded is wholly groundless. Edward
+I. never did massacre Welsh bards. Their name is legion in the
+beginning of the 14th century. Miss Williams, the latest historian of
+Wales, does not even mention the old story."[1]
+
+[Footnote 1: The _Saturday Review_, for June 19, 1875, in the article
+from which we have elsewhere quoted (p. 79, foot-note), refers to
+this point as follows:
+
+"Gray was one of the first writers to show that earlier parts of
+English history were not only worth attending to, but were capable of
+poetic treatment. We can almost forgive him for dressing up in his
+splendid verse a foul and baseless calumny against Edward the First,
+when we remember that to most of Gray's contemporaries Edward the
+First must have seemed a person almost mythical, a benighted Popish
+savage, of whom there was very little to know, and that little hardly
+worth knowing. Our feeling towards Gray in this matter is much the
+same as our feeling towards Mitford in the matter of Greek history.
+We are angry with Mitford for misrepresenting Demosthenes and a crowd
+of other Athenian worthies, but we do not forget that he was the
+first to deal with Demosthenes and his fellows, neither as mere names
+nor as demi-gods, but as real living men like ourselves. It was a
+pity to misrepresent Demosthenes, but even the misrepresentation was
+something; it showed that Demosthenes could be made the subject of
+human feeling one way or another. It is unpleasant to hear the King
+whose praise it was that
+
+  'Velox est ad veniam, ad vindictam tardus,'
+
+spoken of as 'ruthless,' and the rest of it. But Gray at least felt
+that Edward was a real man, while to most of his contemporaries he
+could have been little more than 'the figure of an old Gothic king,'
+such as Sir Roger de Coverley looked when he sat in Edward's own
+chair."]
+
+
+1. A good example of alliteration.
+
+2. Cf. Shakes. _K. John_, iv. 2: "and vast confusion waits."
+
+4. Gray quotes _K. John_, v. 1: "Mocking the air with colours idly
+spread."
+
+5. "The hauberk was a texture of steel ringlets, or rings interwoven,
+forming a coat of mail that sat close to the body, and adapted itself
+to every motion" (Gray).
+
+Cf. Robert of Gloucester: "With helm and hauberk;" and Dryden, _Pal.
+and Arc._ iii. 603: "Hauberks and helms are hewed with many a wound."
+
+7. _Nightly_. Nocturnal, as often in poetry. Cf. _Il Pens._ 84, etc.
+
+9. _The crested pride_. Gray quotes Dryden, _Indian Queen_: "The
+crested adder's pride."
+
+11. "Snowdon was a name given by the Saxons to that mountainous tract
+which the Welsh themselves call _Craigian-eryri_: it included all the
+highlands of Caernarvonshire and Merionethshire, as far east as the
+river Conway. R. Hygden, speaking of the castle of Conway, built by
+King Edward the First, says: 'Ad ortum amnis Conway ad clivum montis
+Erery;' and Matthew of Westminster (ad ann. 1283), 'Apud Aberconway
+ad pedes montis Snowdoniae fecit erigi castrum forte'" (Gray).
+
+It was in the spring of 1283 that English troops at last forced their
+way among the defiles of Snowdon. Llewellyn had preserved those
+passes and heights intact until his death in the preceding December.
+The surrender of Dolbadern in the April following that dispiriting
+event opened a way for the invader; and William de Beauchamp, Earl of
+Warwick, at once advanced by it (Hales).
+
+The epithet _shaggy_ is highly appropriate, as Leland (_Itin._) says
+that great woods clothed the mountain in his time. Cf. Dyer, _Ruins
+of Rome_:
+
+                   "as Britannia's oaks
+   On Merlin's mount, or Snowdon's rugged sides,
+   Stand in the clouds."
+
+See also _Lycidas_, 54: "Nor on the shaggy top of Mona high;" and _P.
+L._ vi. 645: "the shaggy tops."
+
+13. _Stout Gloster_. "Gilbert de Clare, surnamed the Red, Earl of
+Gloucester and Hereford, son-in-law to King Edward" (Gray). He had,
+in 1282, conducted the war in South Wales; and after overthrowing the
+enemy near Llandeilo Fawr, had reinforced the king in the northwest.
+
+14. _Mortimer_. "Edmond de Mortimer, Lord of Wigmore" (Gray). It was
+by one of his knights, named Adam de Francton, that Llewellyn, not at
+first known to be he, was slain near Pont Orewyn (Hales).
+
+On _quivering lance_, cf. Virgil, _Æn._ xii. 94: "hastam quassatque
+trementem."
+
+15. _On a rock whose haughty brow_. Cf. Daniel, _Civil Wars_: "A huge
+aspiring rock, whose surly brow."
+
+The _rock_ is probably meant for Penmaen-mawr, the northern
+termination of the Snowdon range. It is a mass of rock, 1545 feet
+high, a few miles from the mouth of the Conway, the valley of which
+it overlooks. Towards the sea it presents a rugged and almost
+perpendicular front. On its summit is Braich-y-Dinas, an ancient
+fortified post, regarded as the strongest hold of the Britons in the
+district of Snowdon. Here the reduced bands of the Welsh army were
+stationed during the negotiation between their prince Llewellyn and
+Edward I. Within the inner enclosure is a never-failing well of pure
+water. The rock is now pierced with a tunnel 1890 feet long for the
+Chester and Holyhead railway.
+
+17. _Rob'd in the sable garb of woe_. It would appear that Wharton
+had criticised this line, for in a letter to him, dated Aug. 21,
+1757, Gray writes: "You may alter that '_Robed in_ the sable,' etc.,
+almost in your own words, thus,
+
+  'With fury pale, and pale with woe,
+     Secure of Fate, the Poet stood,' etc.
+
+Though _haggard_, which conveys to you the idea of a _witch_, is
+indeed only a metaphor taken from an unreclaimed hawk, which is
+called a _haggard_, and looks wild and _farouche_, and jealous of its
+liberty." Gray seems to have afterwards returned to his first (and we
+think better) reading.
+
+19. "The image was taken from a well-known picture of Raphael,
+representing the Supreme Being in the vision of Ezekiel. There are
+two of these paintings (both believed originals), one at Florence,
+the other in the Duke of Orleans's collection at Paris" (Gray).
+
+20. _Like a meteor_. Gray quotes _P. L._ i. 537: "Shone like a meteor
+streaming to the wind."
+
+21, 22. Wakefield remarks: "This is poetical language in perfection;
+and breathes the sublime spirit of Hebrew poetry, which delights in
+this grand rhetorical substitution."
+
+23. _Desert caves_. Cf. _Lycidas_, 39: "The woods and desert caves."
+
+26. _Hoarser murmurs_. That is, perhaps, with continually increasing
+hoarseness, hoarser and hoarser; or it may mean with unwonted
+hoarseness, like the comparative sometimes in Latin (Hales).
+
+28. Hoel is called _high-born_, being the son of Owen Gwynedd, prince
+of North Wales, by Finnog, an Irish damsel. He was one of his
+father's generals in his wars against the English, Flemings, and
+Normans, in South Wales; and was a famous bard, as his poems that are
+extant testify.
+
+_Soft Llewellyn's lay_. "The lay celebrating the mild Llewellyn,"
+says Hales, though he afterwards remarks that, "looking at the
+context, it would be better to take _Llewellyn_ here for a bard."
+Many bards celebrated the warlike prowess and princely qualities of
+Llewellyn. A poem by Einion the son of Guigan calls him "a
+tender-hearted prince;" and another, by Llywarch Brydydd y Moch,
+says: "Llewellyn, though in battle he killed with fury, though he
+burned like an outrageous fire, yet was a mild prince when the
+mead-horns were distributed." In an ode by Llygard Gwr he is also
+called "Llewellyn the mild."
+
+29. Cadwallo and Urien were bards of whose songs nothing has been
+preserved. Taliessin (see 121 below) dedicated many poems to the
+latter, and wrote an elegy on his death: he was slain by treachery in
+the year 560.
+
+30. _That hush'd the stormy main_. Cf. Shakes. _M. N. D._ ii. 2:
+
+  "Uttering such dulcet and harmonious breath,
+   That the rude sea grew civil at her song."
+
+33. _Modred_. This name is not found in the lists of the old bards.
+It may have been borrowed from the Arthurian legends; or, as Mitford
+suggests, it may refer to "the famous Myrddin ab Morvyn, called
+Merlyn the Wild, a disciple of Taliessin, the form of the name being
+changed for the sake of euphony."
+
+34. _Plinlimmon_. One of the loftiest of the Welsh mountains, being
+2463 feet in height. It is really a group of mountains, three of
+which tower high above the others, and on each of these is a
+_carnedd_, or pile of stones. The highest of the three is further
+divided into two peaks, and on these, as well as on another prominent
+part of the same height, are other piles of stones. These five piles,
+according to the common tradition, mark the graves of slain warriors,
+and serve as memorials of their exploits; but some believe that they
+were intended as landmarks or military signals, and that from them
+the mountain was called _Pump-lumon_ or _Pum-lumon_, "the five
+beacons"--a name somehow corrupted into _Plinlimmon_. Five rivers
+take their rise in the recesses of Plinlimmon--the Wye, the Severn,
+the Rheidol, the Llyfnant, and the Clywedog.
+
+35. _Arvon's shore_. "The shores of Caernarvonshire, opposite the
+isle of Anglesey" (Gray). _Caernarvon_, or _Caer yn Arvon_, means the
+camp in Arvon.
+
+38. "Camden and others observe that eagles used annually to build
+their aerie among the rocks of Snowdon, which from thence (as some
+think) were named by the Welsh _Craigian-eryri_, or the crags of the
+eagles. At this day (I am told) the highest point of Snowdon is
+called _the Eagle's Nest_. That bird is certainly no stranger to this
+island, as the Scots, and the people of Cumberland, Westmoreland,
+etc., can testify; it even has built its nest in the peak of
+Derbyshire [see Willoughby's Ornithology, published by Ray]" (Gray).
+
+40. _Dear as the light_. Cf. Virgil, _Æn._ iv. 31: "O luce magis
+dilecta sorori."
+
+41. _Dear as the ruddy drops_. Gray quotes Shakes. _J. C._ ii. 1:
+
+  "As dear to me as are the ruddy drops
+   That visit my sad heart."
+
+Cf. also Otway, _Venice Preserved_:
+
+  "Dear as the vital warmth that feeds my life,
+   Dear as these eyes that weep in fondness o'er thee."
+
+42. Wakefield quotes Pope: "And greatly falling with a fallen state;"
+and Dryden: "And couldst not fall but with thy country's fate."
+
+44. _Grisly_. See on _Eton Coll._ 82. Cf. _Lycidas_, 52:
+
+                        "the steep
+   Where your old bards, the famous Druids, lie."
+
+48. "See the Norwegian ode that follows" (Gray). This ode (_The Fatal
+Sisters_, translated from the Norse) describes the _Valkyriur_, "the
+choosers of the slain," or warlike Fates of the Gothic mythology, as
+weaving the destinies of those who were doomed to perish in battle.
+It begins thus:
+
+  "Now the storm begins to lower
+     (Haste, the loom of hell prepare),
+   Iron sleet of arrowy shower
+     Hurtles in the darken'd air.
+
+  "Glittering lances are the loom,
+     Where the dusky warp we strain,
+   Weaving many a soldier's doom,
+     Orkney's woe, and Randver's bane.
+
+   *     *     *     *     *     *
+
+  "Shafts for shuttles, dipt in gore,
+     Shoot the trembling cords along;
+   Swords, that once a monarch bore,
+     Keep the tissue close and strong.
+
+   *     *     *     *     *     *
+
+  "(Weave the crimson web of war)
+     Let us go, and let us fly,
+   Where our friends the conflict share,
+     Where they triumph, where they die."
+
+51. Cf. Dryden, _Sebastian_, i. 1:
+
+  "I have a soul that, like an ample shield,
+   Can take in all, and verge enough for more."
+
+55. "Edward the Second, cruelly butchered in Berkeley Castle" (Gray).
+The 1st ed. and that of 1768 have "roofs;" the modern eds. "roof."
+
+Berkeley Castle is on the southeast side of the town of Berkeley, on
+a height commanding a fine view of the Severn and the surrounding
+country, and is in a state of perfect preservation. It is said to
+have been founded by Roger de Berkeley soon after the Norman
+Conquest. About the year 1150 it was granted by Henry II. to Robert
+Fitzhardinge, Governor of Bristol, who strengthened and enlarged it.
+On the right of the great staircase leading to the keep, and
+approached by a gallery, is the room in which it is supposed that
+Edward II. was murdered, Sept. 21, 1327. The king, during his
+captivity here, composed a dolorous poem, of which the following is
+an extract:
+
+  "Moste blessed Jesu,
+   Roote of all vertue,
+   Graunte I may the sue,
+   In all humylyte,
+   Sen thou for our good,
+   Lyste to shede thy blood,
+   An stretche the upon the rood,
+   For our iniquyte.
+   I the beseche,
+   Most holsome leche,
+   That thou wylt seche
+   For me such grace,
+   That when my body vyle
+   My soule shall exyle
+   Thou brynge in short wyle
+   It in reste and peace."
+
+Walpole, who visited the place in 1774, says: "The room shown for the
+murder of Edward II., and the shrieks of an agonizing king, I verily
+believe to be genuine. It is a dismal chamber, almost at the top of
+the house, quite detached, and to be approached only by a kind of
+foot-bridge, and from that descends a large flight of steps, that
+terminates on strong gates; exactly a situation for a _corps de
+garde_."
+
+56. Cf. Hume's description: "The screams with which the agonizing
+king filled the castle."
+
+57. _She-wolf of France_. "Isabel of France, Edward the Second's
+adulterous queen" (Gray). Cf. Shakes. 3 _Hen. VI._ i. 4: "She-wolf of
+France, but worse than wolves of France;" and read the context.
+
+60. "Triumphs of Edward the Third in France" (Gray).
+
+61. Cf. Cowley: "Ruin behind him stalks, and empty desolation;" and
+Oldham, _Ode to Homer_:
+
+  "Where'er he does his dreadful standard bear,
+   Horror stalks in the van, and slaughter in the rear."
+
+63. For _victor_ the MS. has "conqueror;" also in next line "the" for
+_his_; and in 65, "what ... what" for _no_ ... _no_.
+
+64. "Death of that king, abandoned by his children, and even robbed
+in his last moments by his courtiers and his mistress" (Gray).
+
+67. "Edward the Black Prince, dead some time before his father"
+(Gray).
+
+69. The MS. has "hover'd in thy noontide ray," and in the next line
+"the rising day."
+
+In _Agrippina_, a fragment of a tragedy, published among the
+posthumous poems of Gray, we have the same figure:
+
+                      "around thee call
+   The gilded swarm that wantons in the sunshine
+   Of thy full favour."
+
+71. "Magnificence of Richard the Second's reign. See Froissard and
+other contemporary writers" (Gray).
+
+For this line and the remainder of the stanza, the MS. has the
+following:
+
+  "Mirrors of Saxon truth and loyalty,
+   Your helpless, old, expiring master view!
+   They hear not: scarce religion does supply
+   Her mutter'd requiems, and her holy dew.
+   Yet thou, proud boy, from Pomfret's walls shalt send
+   A sigh, and envy oft thy happy grandsire's end."
+
+On the passage as it stands, cf. Shakes. _M. of V._ ii. 6:
+
+  "How like a younger, or a prodigal,
+   The scarfed bark puts from her native bay," etc.
+
+Also Spenser, _Visions of World's Vanitie_, ix:
+
+  "Looking far foorth into the Ocean wide,
+   A goodly ship with banners bravely dight,
+   And flag in her top-gallant, I espide
+   Through the maine sea making her merry flight.
+   Faire blew the winde into her bosome right;
+   And th' heavens looked lovely all the while
+   That she did seeme to daunce, as in delight,
+   And at her owne felicitie did smile," etc.;
+
+and again, _Visions of Petrarch_, ii.:
+
+  "After, at sea a tall ship did appeare,
+   Made all of heben and white yvorie;
+   The sailes of golde, of silke the tackle were:
+   Milde was the winde, calme seem'd the sea to bee,
+   The skie eachwhere did show full bright and faire:
+   With rich treasures this gay ship fraighted was:
+   But sudden storme did so turmoyle the aire,
+   And tumbled up the sea, that she (alas)
+   Strake on a rock, that under water lay,
+   And perished past all recoverie."
+
+See also Milton, _S. A._ 710 foll.
+
+72. _The azure realm_. Cf. Virgil, _Ciris_, 483: "Caeruleo pollens
+conjunx Neptunia regno."
+
+73. Note the alliteration. Cf. Dryden, _Annus Mirab._ st. 151:
+
+  "The goodly London, in her gallant trim,
+     The phoenix-daughter of the vanish'd old,
+   Like a rich bride does to the ocean swim,
+     And on her shadow rides in floating gold."
+
+75. _Sweeping whirlwind's sway_. Cf. the posthumous fragment by Gray
+on _Education and Government_, 48: "And where the deluge burst with
+sweepy sway." The expression is from Dryden, who uses it repeatedly;
+as in _Geo._ i. 483: "And rolling onwards with a sweepy sway;" _Ov.
+Met._: "Rushing onwards with a sweepy sway;" _Æn._ vii.: "The
+branches bend beneath their sweepy sway," etc.
+
+76. _That hush'd in grim repose_, etc. Cf. Dryden, _Sigismonda and
+Guiscardo_, 242:
+
+  "So, like a lion that unheeded lay,
+   Dissembling sleep, and watchful to betray,
+   With inward rage he meditates his prey;"
+
+and _Absalom and Achitophel_, 447:
+
+  "And like a lion, slumbering in the way,
+   Or sleep dissembling, while he waits his prey."
+
+77. "Richard the Second (as we are told by Archbishop Scroop and the
+confederate Lords in their manifesto, by Thomas of Walsingham, and
+all the older writers) was starved to death. The story of his
+assassination by Sir Piers of Exon is of much later date" (Gray).
+
+79. _Reft of a crown_. Wakefield quotes Mallet's ballad of _William
+and Margaret_:
+
+  "Such is the robe that kings must wear
+     When death has reft their crown."
+
+82. _A baleful smile_. The MS. has "A smile of horror on." Cf.
+Milton, _P. L._ ii. 846: "Grinn'd horrible a ghastly smile."
+
+[Illustration: THE TRAITOR'S GATE OF THE TOWER.]
+
+83. "Ruinous wars of York and Lancaster" (Gray). Cf. _P. L._ vi. 209:
+"Arms on armour clashing brayed."
+
+84. Cf. Shakes. 1 _Hen. IV._ iv. 1: "Harry to Harry shall, hot horse
+to horse;" and Massinger, _Maid of Honour_: "Man to man, and horse to
+horse."
+
+87. "Henry the Sixth, George Duke of Clarence, Edward the Fifth,
+Richard Duke of York, etc., believed to be murdered secretly in the
+Tower of London. The oldest part of that structure is vulgarly
+attributed to Julius Cæsar" (Gray). The MS. has "Grim towers."
+
+88. _Murther_. See on _murthorous_, p. 105.
+
+89. _His consort_. "Margaret of Anjou, a woman of heroic spirit, who
+struggled hard to save her husband and her crown" (Gray).
+
+_His father_. "Henry the Fifth" (Gray).
+
+[Illustration: HENRY V.]
+
+90. _The meek usurper_. "Henry the Sixth, very near being canonized.
+The line of Lancaster had no right of inheritance to the crown"
+(Gray). See on _Eton Coll._ 4. The MS. has "hallow'd head."
+
+91. _The rose of snow_, etc. "The white and red roses, devices of
+York and Lancaster" (Gray).
+
+Cf. Shakes. 1 _Hen. VI._ ii. 4:
+
+                      "No, Plantagenet,
+   'Tis not for shame, but anger, that thy cheeks
+   Blush for pure shame, to counterfeit our roses."
+
+93. _The bristled boar_. "The silver boar was the badge of Richard
+the Third; whence he was usually known in his own time by the name of
+_the Boar_" (Gray). Scott (notes to _Lay of Last Minstrel_) says:
+"The crest or bearing of a warrior was often used as a _nom de
+guerre_. Thus Richard III. acquired his well-known epithet, 'the Boar
+of York.'" Cf. Shakes. _Rich. III._ iv. 5: "this most bloody boar;"
+v. 2: "The wretched, bloody, and usurping boar," etc.
+
+98. See on 48 above.
+
+99. _Half of thy heart_. "Eleanor of Castile died a few years after
+the conquest of Wales. The heroic proof she gave of her affection for
+her lord is well known.[2] The monuments of his regret and sorrow for
+the loss of her[3] are still to be seen at Northampton, Geddington,
+Waltham, and other places" (Gray). Cf. Horace, _Od._ i. 3, 8: "animae
+dimidium meae."
+
+[Footnote 2: See Tennyson, _Dream of Fair Women_:
+
+  "Or her who knew that Love can vanquish Death,
+     Who kneeling, with one arm about her king,
+   Drew forth the poison with her balmy breath,
+     Sweet as new buds in spring."]
+
+[Footnote 3: Gray refers to the "Eleanor crosses," erected at the
+places where the funeral procession halted each night on the journey
+from Hardby, in Nottinghamshire (near Lincoln), where the queen died,
+to Westminster. Of the thirteen (or, as some say, fifteen) crosses
+only three now remain--at Northampton, Geddington, and Waltham. The
+one at Charing Cross in London has been replaced by a fac-simile of
+the original. These monuments were all exquisite works of Gothic art,
+fitting memorials of _la chère Reine_, "the beloved of all England,"
+as Walsingham calls her.]
+
+101. _Nor thus forlorn_. In MS. "nor here forlorn;" in next line,
+"Leave your despairing Caradoc to mourn;" in 103, "yon black clouds;"
+in 104, "They sink, they vanish;" in 105, "But oh! what scenes of
+heaven on Snowdon's height;" in 106, "their golden skirts."
+
+107. Cf. Dryden, _State of Innocence_, iv. 1: "Their glory shoots
+upon my aching sight."
+
+109. "It was the common belief of the Welsh nation that King Arthur
+was still alive in Fairyland, and would return again to reign over
+Britain" (Gray).
+
+In the MS. this line and the next read thus:
+
+  "From Cambria's thousand hills a thousand strains
+   Triumphant tell aloud, another Arthur reigns."
+
+110. "Both Merlin and Taliessin had prophesied that the Welsh should
+regain their sovereignty over this island; which seemed to be
+accomplished in the house of Tudor" (Gray).
+
+111. _Many a baron bold_. Cf. _L'Allegro_, 119: "throngs of knights
+and barons bold."
+
+The reading in the MS. is,
+
+  "Youthful knights, and barons bold,
+   With dazzling helm, and horrent spear."
+
+112. _Their starry fronts_. Cf. Milton, _Ode on the Passion_, 18:
+"His starry front;" Statius, _Theb._ 613: "Heu! ubi siderei vultus."
+
+115. _A form divine_. Elizabeth. Wakefield quotes Spenser's eulogy of
+the queen, _Shep. Kal._ Apr.:
+
+  "Tell me, have ye seene her angelick face,
+       Like Phoebe fayre?
+   Her heavenly haveour, her princely grace,
+       Can you well compare?
+   The Redde rose medled with the White yfere,
+   In either cheeke depeincten lively chere;
+       Her modest eye,
+       Her Majestie,
+   Where have you seene the like but there?"
+
+117. "Speed, relating an audience given by Queen Elizabeth to Paul
+Dzialinski, ambassador of Poland, says: 'And thus she, lion-like
+rising, daunted the malapert orator no less with her stately port and
+majestical deporture, than with the tartnesse of her princelie
+checkes'" (Gray). The MS. reads "A lion-port, an awe-commanding
+face."
+
+121. "Taliessin, chief of the bards, flourished in the sixth century.
+His works are still preserved, and his memory held in high veneration
+among his countrymen" (Gray).
+
+As Hales remarks, there is no authority for connecting him with
+Arthur, as Tennyson does in his _Holy Grail_.
+
+123. Cf. Congreve, _Ode to Lord Godolphin_: "And soars with rapture
+while she sings."
+
+124. _The eye of heaven_. Wakefield quotes Spenser, _F. Q._ 1. 3. 4,
+
+                   "Her angel's face
+   As the great eye of heaven shined bright."
+
+Cf. Shakes. _Rich. II._ iii. 2: "the searching eye of heaven."
+
+_Many-colour'd wings_. Cf. Shakes. _Temp._ iv. 1: "Hail,
+many-colour'd messenger;" and Milton, _P. L._ iii. 642:
+
+                           "Wings he wore
+   Of many a colour'd plume sprinkled with gold."
+
+126. Gray quotes Spenser, _F. Q._ Proeme, 9:
+
+  "Fierce warres and faithful loves shall moralize my song."
+
+128. "Shakespeare" (Gray). Cf. _Il Penseroso_, 102: "the buskin'd
+stage;" that is, the tragic stage.
+
+129. _Pleasing pain_. Cf. Spenser, _F. Q._ vi. 9, 10: "sweet pleasing
+payne;" and Dryden, _Virg. Ecl._ iii. 171: "Pleasing pains of love."
+
+131. "Milton" (Gray).
+
+133. "The succession of poets after Milton's time" (Gray).
+
+135. _Fond_. Foolish. See on _Prog. of Poesy_, 46.
+
+On the couplet, cf. Dekker, _If this be not a good play_, etc.:
+
+                 "Thinkest thou, base lord,
+   Because the glorious Sun behind black clouds
+   Has awhile hid his beams, he's darken'd forever,
+   Eclips'd never more to shine?"
+
+137. Cf. _Lycidas_, 169: "And yet anon repairs his drooping head;"
+and Fletcher, _Purple Island_, vi. 64: "So soon repairs her light,
+trebling her new-born raies."
+
+141. Mitford remarks that there is a passage (which he misquotes, as
+usual) in the _Thebaid_ of Statius (iii. 81) similar to this,
+describing a bard who had survived his companions:
+
+                     "Sed jam nudaverat ensem
+   Magnanimus vates, et nunc trucis ora tyranni,
+   Nunc ferrum adspectans: 'Nunquam tibi sanguinis hujus
+   Jus erit, aut magno feries imperdita Tydeo
+   Pectora; _vado equidem exsultans_ et _ereptaque fata_
+   Insequor, et comites feror expectatus ad umbras;
+   _Te_ Superis, fratrique.' Et jam media orsa loquentis
+   Abstulerat plenum capulo latus."
+
+Cf. also a passage in Pindar (_Olymp._ i. 184), which Gray seems to
+have had in mind:
+
+   [Greek: Eiê se te touton
+           Hupsou chronon patein, eme
+           Te tossade nikaphorois
+           Homilein, k. t. l.
+
+143. Cf. Virgil, _Ecl._ viii. 59:
+
+  "Praeceps aërii specula de montis in undas
+   Deferar; extremum hoc munus morientis habeto."
+
+
+As we have given Johnson's criticism on _The Progress of Poesy_, we
+append his comments on this "Sister Ode:"
+
+"'The Bard' appears, at the first view, to be, as Algarotti and
+others have remarked, an imitation of the prophecy of Nereus.
+Algarotti thinks it superior to its original; and, if preference
+depends only on the imagery and animation of the two poems, his
+judgment is right. There is in 'The Bard' more force, more thought,
+and more variety. But to copy is less than to invent, and the copy
+has been unhappily produced at a wrong time. The fiction of Horace
+was to the Romans credible; but its revival disgusts us with apparent
+and unconquerable falsehood. _Incredulus odi_.
+
+"To select a singular event, and swell it to a giant's bulk by
+fabulous appendages of spectres and predictions, has little
+difficulty; for he that forsakes the probable may always find the
+marvellous. And it has little use; we are affected only as we
+believe; we are improved only as we find something to be imitated or
+declined. I do not see that 'The Bard' promotes any truth, moral or
+political.
+
+"His stanzas are too long, especially his epodes; the ode is finished
+before the ear has learned its measures, and consequently before it
+can receive pleasure from their consonance and recurrence.
+
+"Of the first stanza the abrupt beginning has been celebrated; but
+technical beauties can give praise only to the inventor. It is in the
+power of any man to rush abruptly upon his subject, that has read the
+ballad of 'Johnny Armstrong,'
+
+  'Is there ever a man in all Scotland--'
+
+"The initial resemblances, or alliterations, 'ruin, ruthless, helm or
+hauberk,' are below the grandeur of a poem that endeavours at
+sublimity.
+
+"In the second stanza the Bard is well described; but in the third we
+have the puerilities of obsolete mythology. When we are told that
+'Cadwallo hush'd the stormy main,' and that 'Modred made huge
+Plinlimmon bow his cloud-topt head,' attention recoils from the
+repetition of a tale that, even when it was first heard, was heard
+with scorn.
+
+"The _weaving_ of the _winding-sheet_ he borrowed, as he owns, from
+the Northern Bards; but their texture, however, was very properly the
+work of female powers, as the act of spinning the thread of life is
+another mythology. Theft is always dangerous; Gray has made weavers
+of slaughtered bards by a fiction outrageous and incongruous. They
+are then called upon to 'Weave the warp, and weave the woof,' perhaps
+with no great propriety; for it is by crossing the _woof_ with the
+_warp_ that men weave the _web_ or piece; and the first line was
+dearly bought by the admission of its wretched correspondent, 'Give
+ample room and verge enough.' He has, however, no other line as bad.
+
+"The third stanza of the second ternary is commended, I think, beyond
+its merit. The personification is indistinct. _Thirst_ and _Hunger_
+are not alike; and their features, to make the imagery perfect,
+should have been discriminated. We are told, in the same stanza, how
+'towers are fed.' But I will no longer look for particular faults;
+yet let it be observed that the ode might have been concluded with an
+action of better example; but suicide is always to be had, without
+expense of thought."
+
+[Illustration: "Ye towers of Julius, London's lasting shame!"]
+
+
+
+
+[Illustration: HEAD OF OLYMPIAN JOVE.]
+
+
+HYMN TO ADVERSITY.
+
+
+This poem first appeared in Dodsley's _Collection_, vol. iv.,
+together with the "Elegy in a Country Churchyard." In Mason's and
+Wakefield's editions it is called an "Ode," but the title given by
+the author is as above.
+
+The motto from Æschylus is not in Dodsley, but appears in the first
+edition of the poems (1768) in the form given in the text. The best
+modern editions of Æschylus have the reading, [Greek: ton (some, tôi)
+pathei mathos]. Keck translates the passage into German thus:
+
+  "Ihn der uns zur Sinnigkeit
+     leitet, ihn der fest den Satz
+   Stellet, 'Lehre durch das Leid.'"
+
+Plumptre puts it into English as follows:
+
+  "Yea, Zeus, who leadeth men in wisdom's way,
+       And fixeth fast the law
+       Wisdom by pain to gain."
+
+Cf. Mrs. Browning's _Vision of Poets_:
+
+  "Knowledge by suffering entereth,
+   And life is perfected by death."
+
+
+1. Mitford remarks: "[Greek: Atê], who may be called the goddess of
+Adversity, is said by Homer to be the daughter of Jupiter (_Il._
+[Greek: t.] 91: [Greek: presba Dios thugatêr Atê, hê pantas aatai).
+Perhaps, however, Gray only alluded to the passage of Æschylus which
+he quoted, and which describes Affliction as sent by Jupiter for the
+benefit of man." The latter is the more probable explanation.
+
+2. Mitford quotes Pope, _Dunciad_, i. 163: "Then he: 'Great tamer of
+all human art.'"
+
+3. _Torturing hour_. Cf. Milton, _P. L._ ii. 90:
+
+  "The vassals of his anger, when the scourge
+   Inexorable, and the torturing hour,
+   Calls us to penance."
+
+5. _Adamantine chains_. Wakefield quotes Æschylus, _Prom. Vinct._
+vi.: [Greek: Adamantinôn desmôn en arrêktois pedais]. Cf. Milton, _P.
+L._ i. 48: "In adamantine chains and penal fire;" and Pope,
+_Messiah_, 47: "In adamantine chains shall Death be bound."
+
+7. _Purple tyrants_. Cf. Pope, _Two Choruses to Tragedy of Brutus_:
+"Till some new tyrant lifts his purple hand." Wakefield cites Horace,
+_Od._ i. 35, 12: "Purpurei metuunt tyranni."
+
+8. _With pangs unfelt before_. Cf. Milton, _P. L._ ii. 703: "Strange
+horror seize thee, and pangs unfelt before."
+
+9-12. Cf. Bacon, _Essays_, v. (ed. 1625): "Certainly, Vertue is like
+pretious Odours, most fragrant when they are incensed [that is,
+burned], or crushed:[1] For _Prosperity_ doth best discover Vice;[2]
+But _Adversity_ doth best discover Vertue."
+
+[Footnote 1: So in his _Apophthegms_, 253, Bacon says: "Mr. Bettenham
+said: that virtuous men were like some herbs and spices, that give
+not their sweet smell till they be broken or crushed."]
+
+[Footnote 2: Cf. Shakespeare, _Julius Cæsar_, ii. 1: "It is the
+bright day that brings forth the adder."]
+
+Cf. also Thomson:
+
+  "If Misfortune comes, she brings along
+   The bravest virtues. And so many great
+   Illustrious spirits have convers'd with woe,
+   Have in her school been taught, as are enough
+   To consecrate distress, and make ambition
+   E'en wish the frown beyond the smile of fortune."
+
+16. Cf. Virgil, _Æn._ i. 630: "Non ignara mali, miseris succurrere
+disco."
+
+18. _Folly's idle brood_. Cf. the opening lines of _Il Penseroso_:
+
+  "Hence, vain deluding Joys,
+     The brood of Folly, without father bred!"
+
+20. Mitford quotes Oldham, _Ode_: "And know I have not yet the
+leisure to be good."
+
+22. _The summer friend_. Cf. Geo. Herbert, _Temple_: "like summer
+friends, flies of estates and sunshine;" Quarles, _Sion's Elegies_,
+xix.: "Ah, summer friendship with the summer ends;" Massinger, _Maid
+of Honour_: "O summer friendship." See also Shakespeare, _T. of A._
+iii. 6:
+
+"_2d Lord_. The swallow follows not summer more willing than we your
+lordship.
+
+"_Timon_ [_aside_]. Nor more willingly leaves winter; such
+summer-birds are men;"
+
+and _T. and C._ iii. 3:
+
+                  "For men, like butterflies,
+   Shew not their mealy wings but to the summer."
+
+Mitford suggests that Gray had in mind Horace, _Od._ i. 35, 25:
+
+  "At vulgus infidum et meretrix retro
+   Perjura cedit; diffugiunt cadis
+     Cum faece siccatis amici
+       Ferre jugum pariter dolosi."
+
+25. _In sable garb_. Cf. Milton, _Il Pens._ 16: "O'erlaid with black,
+staid Wisdom's hue."
+
+28. _With leaden eye_. Evidently suggested by Milton's description of
+Melancholy, _Il Pens._ 43:
+
+  "Thy rapt soul sitting in thine eyes;
+   There, held in holy passion still,
+   Forget thyself to marble, till
+   With a sad leaden downward cast
+   Thou fix them on the earth as fast."
+
+Mitford cites Sidney, _Astrophel and Stella_, song 7: "So leaden
+eyes;" Dryden, _Cymon and Iphigenia_, 57: "And stupid eyes that ever
+lov'd the ground;" Shakespeare, _Pericles_, i. 2: "The sad companion,
+dull-eyed Melancholy;" and _L. L. L._ iv. 3: "In leaden
+contemplation." Cf. also _The Bard_, 69, 70.
+
+31. _To herself severe_. Cf. Carew:
+
+  "To servants kind, to friendship dear,
+   To nothing but herself severe;"
+
+and Dryden: "Forgiving others, to himself severe;" and Waller: "The
+Muses' friend, unto himself severe." Mitford quotes several other
+similar passages.
+
+32. _The sadly pleasing tear_. Rogers cites Dryden's "sadly pleasing
+thought" (Virgil's _Æn._ x.); and Mitford compares Thomson's
+"lenient, not unpleasing tear."
+
+35. _Gorgon terrors_. Cf. Milton, _P. L._ ii. 611: "Medusa with
+Gorgonian terror."
+
+36-40. Cf. _Ode on Eton College_, 55-70 and 81-90.
+
+45-48. Cf. Shakespeare, _As You Like It_, ii. 1:
+
+              "these are counsellors
+   That feelingly persuade me what I am.
+   Sweet are the uses of adversity,
+   Which, like the toad, ugly and venomous,
+   Wears yet a precious jewel in his head;"
+
+and Mallet:
+
+  "Who hath not known ill-fortune, never knew
+   Himself, or his own virtue."
+
+Guizot, in his _Cromwell_, says: "The effect of supreme and
+irrevocable misfortune is to elevate those souls which it does not
+deprive of all virtue;" and Sir Philip Sidney remarks: "A noble
+heart, like the sun, showeth its greatest countenance in its lowest
+estate."
+
+
+
+
+[Illustration: "Now rolling down the steep amain,
+                Headlong, impetuous, see it pour;
+                The rocks and nodding groves rebellow to the roar."
+                                        _The Progress of Poesy_, 10.]
+
+
+
+
+APPENDIX TO NOTES.
+
+
+Just as this book is going to press we have received _The Quarterly
+Review_ (London) for January, 1876, which contains an interesting
+paper on "Wordsworth and Gray." After quoting Wordsworth's remark
+that "Gray was at the head of those poets who, by their reasonings,
+have attempted to widen the space of separation between prose and
+metrical composition, and was, more than any other man, curiously
+elaborate in the construction of his own poetic diction," the
+reviewer remarks:
+
+"The indictment, then, brought by Wordsworth against Gray is twofold.
+Gray, it seems, had in the first place a false conception of the
+nature of poetry; and, secondly, a false standard of poetical
+diction. To begin with the first count, Gray, we are told, sought to
+widen the space of separation betwixt prose and metrical composition.
+What this charge amounts to we shall see hereafter. Meantime, did
+Wordsworth think that between prose and poetry there was any line of
+demarcation at all? In the Preface [to the "Lyrical Ballads"] from
+which we have quoted we read:
+
+"'There neither is nor can be any essential difference between the
+language of prose and metrical composition. We are fond of tracing
+the resemblance between Poetry and Painting, and accordingly we call
+them sisters; but where shall we find bonds of connection
+sufficiently strong to typify the connection betwixt prose and
+metrical composition?'
+
+"Now this question admits of a very definite answer. Take the Iliad
+of Homer and a proposition of Euclid. Is it conceivable that the
+latter could have been expressed at all in metre, or the former
+expressed half so well in prose? If not, what is the reason? Is it
+not plain that the poem contains a predominant element of imagination
+and feeling which is absolutely excluded from the proposition? And in
+the same way it may be shown that whenever a man expresses himself
+properly in metre, the subject-matter of his composition belongs to
+imagination or feeling; whenever he writes in prose his subject
+belongs to or (if the prose be fiction) intimately resembles matter
+of fact. We may decide then with certainty that the sphere of poetry
+lies in Imagination, and that the larger the amount of _just_ liberty
+the Imagination enjoys, the better will be the poetry it produces.
+But then a further question arises, and this is the key of the whole
+position, How far does this liberty extend? Is Imagination absolute,
+supreme, and uncontrolled in its own sphere, or is it under the
+guidance and government of reason? That its dominion is not universal
+is obvious, but of its influence we are all conscious, and there is
+no exaggeration in the eloquent words of Pascal:
+
+"'This mighty power, the perpetual antagonist of reason, which
+delights to show its ascendency by bringing her under its control and
+dominion, has created a second nature in man. It has its joys and its
+sorrows; its health, its sickness; its wealth, its poverty; it
+compels reason, in spite of herself, to believe, to doubt, to deny;
+it suspends the exercise of the senses, and imparts to them again an
+artificial acuteness; it has its follies and its wisdom; and the most
+perverse thing of all is that it fills its votaries with a
+complacency more full and complete even than that which reason can
+supply.'
+
+"If such be the force of Imagination in active life, how absolute
+must be its dominion in poetry! And absolute it is, if we are to
+believe Wordsworth, who defines poetry to be 'the spontaneous
+overflow of powerful emotion.' This definition coincides well with
+modern notions on the nature of the art. But how different is the
+view if we turn from theory to practice! It would surely be a serious
+mistake to describe the noblest poems, like the 'Æneid' or 'Paradise
+Lost,' as the product of mere spontaneous emotion. And even in lyric
+verse, to which it may be said Wordsworth is specially alluding, we
+find the greatest poets, like Pindar and Simonides, composing their
+odes for set occasions like the public games, in honour of persons
+with whom they were but little acquainted, and (most significant fact
+of all) in the expectation of receiving liberal rewards. We need not
+say that such considerations detract nothing from the genius of these
+great poets; but they prove very conclusively that poetry is not what
+Wordsworth's definition asserts, and what in these days it is too
+often assumed to be, the mere gush of unconscious inspiration. The
+definition of Wordsworth may perhaps suit short lyrics, such as he
+was himself in the habit of composing, but it would be fatal to the
+claims of poetry to rank among the higher arts, for it would exclude
+that quality which, in poetry as in all art, is truly sovereign,
+Invention. The poet, no less than the mechanical inventor, excels by
+the exercise of reason, by his knowledge of the required effect, his
+power of adapting means to ends, and his skill in availing himself of
+circumstances. Consider for a moment the external difficulties which
+restrict the poet's liberty, and require the most vigorous efforts of
+reason to subdue them. To begin with, in order to secure the happy
+result promised by Horace,
+
+              'Cui lecta potenter erit res
+   Nec facundia deseret hunc nec lucidus ordo,'
+
+he has to take the exact measure of his own powers. How many a poet
+has failed for want of judgment by trespassing on a subject and style
+for which his genius is unfitted! Again, he is confronted by the most
+obvious difficulties of language and metre, which limit his freedom
+to a degree unknown to the prose-writer. And beyond this, if he
+wishes to be read--and a poem without readers is no more than a
+musical instrument without a musician--he has to consider the
+character of his audience. He must have all the instinct of an
+orator, all the intuitive knowledge of the world, as well as all the
+practical resource, which are required to gain command over the
+hearts of men, and to subdue, by the charms of eloquence, their
+passions, their prejudices, and their judgment. To achieve such
+results something more is required than 'the spontaneous overflow of
+powerful feeling.'
+
+"How far Wordsworth's own poetry illustrates his principles we shall
+consider presently; meantime his definition helps us to understand
+what he meant by Gray's fault of widening the space of separation
+betwixt prose and metrical composition. Neither in respect of the
+quantity nor the quality of his verse could Gray's manner of
+composition be described as spontaneous. Compared with Wordsworth's
+numerous volumes of poetry, the slender volume that contains the
+poetry of Gray looks meagre indeed; yet almost every poem in this
+small collection is a considered work of art. To begin with 'The
+Bard.' Few readers, we suppose, would rise from this ode without a
+sense of its poetical 'effect.' The details may be thought to require
+too much attention; the allusions, from the nature of the subject,
+are, no doubt, difficult; but a feeling of loftiness, of harmony, of
+proportion, remains in the mind at the close of the poem, which is
+not likely to pass away. How, then, was this effect produced? First
+of all we see that Gray had selected a good subject; his raw
+materials, so to speak, were poetical. The imagination, unembarrassed
+by common associations, breathes freely in its own region, and is
+instinctively elevated as it moves among the great events of the
+past, dwelling on the misfortunes of monarchs, the rise of dynasties,
+and the splendours of literature. But, in the second place, when he
+has chosen his subject, it is the part of the poet to impress the
+great ideas derived from it on the feelings and the memory by the
+distinctness of the form under which he presents it; and here
+poetical invention first begins to work. By the imaginative fiction
+of 'The Bard,' Gray is enabled to cast the whole course of English
+history into the form of a prophecy, and to excite the patriotic
+feelings of the reader, as Virgil roused the pride of his own
+countrymen by Anchises' forecast of the grandeur of Rome. Finally,
+when the main design of the poem is thus conceived, observe with what
+art all the different parts are made to emphasize the beauty of the
+general conception; with what dramatic propriety the calamities of
+the conquering Plantagenet are prophesied by his vanquished foe;
+while on the other hand, the literary glories of the Tudor Elizabeth
+awaken the triumph of the patriot and the poet; how martial and
+spirited is the opening of the poem! how lofty and enthusiastic its
+close! Perhaps there is no English lyric which, animated by equal
+fervour, displays so much architectural genius as 'The Bard.'
+
+"Take, again, the 'Ode on the Prospect of Eton College.' A subject
+better adapted far the indulgence of personal feeling, or for those
+sentimental confidences between the reader and the poet, in which the
+modern muse so much delights, could not be imagined. But what do we
+find? The theme is treated in the most general manner. Though
+emphasizing the irony of his reflection by the beautiful touch of
+memory in the second stanza, the poet speaks throughout as a moralist
+or spectator; from first to last he seems to lose all thought of
+himself in contemplating the tragedies he foresees for others; the
+subject is in fact handled with the most skilful rhetoric, and every
+stanza is made to strengthen and elaborate the leading thought. In
+the 'Progress of Poesy,' though the general constructive effect is
+perhaps inferior to 'The Bard,' we see the same evidence of careful
+preconsideration, while the course of the poem is particularly
+distinguished by the beauty of the transitions. Of the form of the
+'Elegy' it is superfluous to speak; a poem so dignified and yet so
+tender, appeals immediately, and will continue to appeal, to the
+heart of every Englishman, so long as the care of public liberty and
+love of the soil maintain their hold in this country. In this poem,
+as indeed in all that Gray ever wrote, we find it his first principle
+_to prefer his subject to himself_; he never forgot that while he was
+a man he was also an artist, and he knew that the function of art was
+not merely to indulge nature, but to dignify and refine it.
+
+"Yet, in spite of his love of form, there is nothing frigid or
+statuesque in the genius of Gray. A vein of deep melancholy,
+evidently constitutional, runs through his poetry, and, considering
+how little he produced, the number of personal allusions in his
+verses is undoubtedly large. But he is entirely free from that
+egotism which we have had frequent occasion to blame as the
+prevailing vice of modern poetry. For whereas the modern poet thrusts
+his private feelings into prominence, and finds a luxury in the
+confession of his sorrows, Gray's references to himself are
+introduced on public grounds, or, in other words, with a view to
+poetical effect. He, like our own bards, is 'condemned to groan,' but
+for different reasons--
+
+  'The tender for _another's_ pain,
+     The unfeeling for his own.'
+
+"We have already remarked on the public character of the 'Ode on Eton
+College;' but the second stanza of this poem is a pure expression of
+individual feeling:
+
+  'Ah, happy hills! ah, pleasing shade!
+     Ah, fields belov'd in vain!
+   Where once my careless childhood play'd,
+     A stranger yet to pain!
+   I feel the gales that from ye blow
+   A momentary bliss bestow,
+     As waving fresh their gladsome wing,
+   My weary soul they seem to soothe,
+   And, redolent of joy and youth,
+     To breathe a second spring.'
+
+Every one will perceive the art which enforces the truth of the
+general reflections that follow by the personal experience of the
+speaker. Again, the 'Progress of Poesy' closes with a personal
+allusion which, as it is a climax, might, if ill-managed, have
+appeared arrogant, but which is, in fact, a masterpiece of oratory.
+After confessing his own inferiority to Pindar, the poet proceeds:
+
+  'Yet oft before his infant eyes would run
+     Such forms as glitter in the Muse's ray,
+   With orient hues, unborrow'd of the sun;
+     Yet shall he mount, and keep his distant way,
+   Beyond the limits of a vulgar fate,
+   Beneath the Good how far--but far above the Great!'
+
+There is something very noble in the elevated manner in which the
+self-complacent triumph of genius, expressed by so many poets from
+Ennius downwards, is at once justified and chastened by the
+reflection in these lines. We see in them that the poet alludes to
+himself in the third person, and he repeats this style in the
+'Elegy,' where, after the fourth line, the first personal pronoun is
+never again used. How just and beautiful is the turn where, after
+contemplating the general lot of the lowly society he is celebrating,
+he proceeds to identify his own fate with theirs:
+
+  'For _thee_, who, mindful of th' unhonour'd dead,
+     Dost in these lines their artless tale relate,
+   If, chance, by lonely contemplation led,
+     Some kindred spirit shall inquire thy fate,
+
+  'Haply some hoary-headed swain may say,' etc.
+
+"The two great characteristics of Gray's poetry that we have
+noticed--his self-suppression and his sense of form and dignity--are
+best described by the word 'classical.' What we particularly admire
+in the great authors of Greece and Rome is their public spirit. Their
+writings are full of patriotism, good-breeding, and common-sense, and
+have that happy mixture of art and nature which is only acquired by
+men who have learned from liberty how to discipline individual
+instincts by social refinement. Their style is masculine, clear, and
+moderate; they seem, as it were, never to lose the sense of being
+before an audience, and, like orators who know that they are always
+exposed to the judgment of their intellectual equals, they aim at
+putting intelligible thoughts into the most natural and forcible
+words. Precisely the same qualities are observable in all the best
+English writers of the eighteenth century. Addison, Pope, and
+Goldsmith are perhaps the most shining examples, but the rest are
+'classical' in the sense which we have just indicated; and we can
+hardly be wrong in ascribing this common rhetorical instinct to the
+intimate connection between the men of thought and the men of action,
+which existed both in the free states of antiquity, and in England
+under the rule of the aristocracy. With the advance of the eighteenth
+century the instinct in English literature seems to grow weaker; the
+style of our authors becomes more formal and constrained, and
+symptoms of that dislike of society encouraged by the philosophy of
+Rousseau more frequently betray themselves. As the poetry of Cowper
+shows less social instinct than that of Gray, so Gray himself is
+inferior in this respect to Pope and Goldsmith. But his style has the
+same lofty public spirit that distinguishes his favourite models, and
+no worthier form could be imagined to express the ardour excited in
+the heart of a patriotic poet by the rising fortunes of his native
+country. We feel that it is in every way fitting that the author of
+the 'Elegy' should have been the favourite of Wolfe and the
+countryman of Chatham."
+
+
+
+
+[Illustration: CLIO, THE MUSE OF HISTORY.]
+
+
+
+
+INDEX OF WORDS EXPLAINED.
+
+
+Æolian, 109.
+
+afield, 86.
+
+amain, 110.
+
+antic, 111.
+
+Arvon, 125.
+
+Attic warbler, 95.
+
+
+Berkeley, 126.
+
+boar (of Richard III.), 130.
+
+broke (=broken), 86.
+
+buskined, 132.
+
+buxom, 104.
+
+
+Cadwallo, 125.
+
+Caernarvon, 125.
+
+captive (proleptic), 104.
+
+chance (adverb), 91.
+
+cheer, 104.
+
+churchway, 92.
+
+curfew, 83.
+
+customed, 92.
+
+Cytherea, 111.
+
+
+Delphi, 114.
+
+
+fond (=foolish), 111, 132.
+
+fretted, 87.
+
+
+glister, 99.
+
+Gloster, 124.
+
+Gorgon, 137.
+
+graved, 93.
+
+grisly, 105, 126.
+
+grove (=graved), 93.
+
+
+haggard, 124.
+
+hauberk, 123.
+
+Helicon, 109.
+
+Hoel, 124.
+
+honied, 96.
+
+Horæ, 94.
+
+Hyperion, 112.
+
+
+Idalia, 110.
+
+Ilissus, 114.
+
+
+jet, 99.
+
+
+leaden (eye), 136.
+
+lion-port, 132.
+
+little (=petty), 89.
+
+Llewellyn, 124.
+
+long-expecting, 95.
+
+
+Mæander, 114.
+
+margent, 104.
+
+Modred, 125.
+
+Mortimer, 124.
+
+murther, 129.
+
+murtherous, 105.
+
+
+nightly (=nocturnal), 123.
+
+
+parting (=departing), 83.
+
+pious (=_pius_), 90.
+
+Plinlimmon, 125.
+
+provoke (=_provocare_), 87.
+
+purple, 95, 111, 135.
+
+
+rage, 88.
+
+repair, 132.
+
+repeat, 113.
+
+rose (of snow), 130.
+
+rushy, 96.
+
+
+shaggy, 123.
+
+shell (=lyre), 110.
+
+slow-consuming, 105.
+
+Snowdon, 123.
+
+solemn-breathing, 110.
+
+summer friend, 136.
+
+
+tabby, 99.
+
+Taliessin, 132.
+
+tempered, 110.
+
+Thracia, 110.
+
+Tyrian, 99.
+
+
+upland, 91.
+
+Urien, 125.
+
+
+velvet-green, 110.
+
+
+woeful-wan, 92.
+
+
+ye (accusative), 103.
+
+
+
+
+
+
+
+End of Project Gutenberg's Select Poems of Thomas Gray, by Thomas Gray
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+***** This file should be named 30357-8.txt or 30357-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/0/3/5/30357/
+
+Produced by Ron Swanson
+
+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.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/30357-8.zip b/old/30357-8.zip
new file mode 100644
index 0000000..dbdef6c
--- /dev/null
+++ b/old/30357-8.zip
diff --git a/old/30357-h.zip b/old/30357-h.zip
new file mode 100644
index 0000000..2ceeae0
--- /dev/null
+++ b/old/30357-h.zip
diff --git a/old/30357-h/30357-h.htm b/old/30357-h/30357-h.htm
new file mode 100644
index 0000000..9be934b
--- /dev/null
+++ b/old/30357-h/30357-h.htm
@@ -0,0 +1,7290 @@
+
+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+
+<html>
+<head>
+	<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1">
+	<title>The Project Gutenberg e-Book of Select Poems of Thomas Gray, by William J. Rolfe</title>
+	<style type="text/css">
+		<!--
+		body {margin:10%; text-align:justify}
+		h1   {text-align:center}
+		h2   {text-align:center}
+		h3   {text-align:center}
+		h4   {text-align:center}		-->
+		</style>
+</head>
+
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of Select Poems of Thomas Gray, by Thomas Gray
+
+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
+
+
+Title: Select Poems of Thomas Gray
+
+Author: Thomas Gray
+
+Contributor: Robert Carruthers
+
+Editor: William J. Rolfe
+
+Release Date: October 29, 2009 [EBook #30357]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+
+
+
+Produced by Ron Swanson
+
+
+
+
+
+</pre>
+
+<h2>SELECT POEMS</h2>
+<center>OF</center>
+<h1>THOMAS GRAY.</h1>
+<br>
+<br>
+<br>
+<br>
+<center>E<small>DITED, WITH</small> N<small>OTES,</small><br><br>
+<small>BY</small></center>
+<h3>WILLIAM J. ROLFE, A.M.,</h3>
+<center><small><small>FORMERLY HEAD MASTER OF THE HIGH SCHOOL, CAMBRIDGE, MASS.</small></small></center>
+<br>
+<br>
+<br>
+<br>
+<center><small><i>WITH ENGRAVINGS</i></small>.</center>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="title page">
+	<tr>
+		<td width="145">
+			<img src="images/01.jpg" alt="Logo">
+		</td>
+	</tr>
+</table>
+<br>
+<br>
+<center><i>NEW YORK:</i><br>
+<small>HARPER &amp; BROTHERS, PUBLISHERS,<br>
+<small>FRANKLIN SQUARE.</small></small><br>
+1883.</center>
+<br>
+<br>
+<br>
+<br>
+<center><small>Entered according to Act of Congress, in the year 1876, by</small><br>
+HARPER &amp; BROTHERS,<br>
+<small>In the Office of the Librarian of Congress, at Washington.</small></center>
+<br>
+<br>
+<br>
+<br>
+<h3>PREFACE.</h3>
+<hr align="center" width="50">
+<br>
+<p>Many editions of Gray have been published in the last fifty years,
+some of them very elegant, and some showing considerable editorial
+labor, but not one, so far as I am aware, critically exact either in
+text or in notes. No editor since Mathias (<small>A.D.</small> 1814) has given the
+2d line of the <i>Elegy</i> as Gray wrote and printed it; while Mathias's
+mispunctuation of the 123d line has been copied by his successors,
+almost without exception. Other variations from the early editions
+are mentioned in the notes.</p>
+
+<p>It is a curious fact that the most accurate edition of Gray's
+collected poems is the <i>editio princeps</i> of 1768, printed under his
+own supervision. The first edition of the two Pindaric odes, <i>The
+Progress of Poesy</i> and <i>The Bard</i> (Strawberry-Hill, 1757), was
+printed with equal care, and the proofs were probably read by the
+poet. The text of the present edition has been collated, line by
+line, with that of these early editions, and in no instance have I
+adopted a later reading. All the MS. variations, and the various
+readings I have noted in the modern editions, are given in the notes.</p>
+
+<p>Pickering's edition of 1835, edited by Mitford, has been followed
+blindly in nearly all the more recent editions, and its many errors
+(see foot-note <a href="#elegyfootnote10">below</a> and <a href="#etonfootnote2">also</a>) have been faithfully reproduced.
+Even its blunders in the "indenting" of the lines in the
+corresponding stanzas of the two Pindaric odes, which any careful
+proof-reader ought to have corrected, have been copied again and
+again&mdash;as in the Boston (1853) reprint of Pickering, the pretty
+little edition of Bickers &amp; Son (London, n. d.), the fac-simile of
+the latter printed at our University Press, Cambridge (1866), etc.</p>
+
+<p>Of former editions of Gray, the only one very fully annotated is
+Mitford's (Pickering, 1835), already mentioned. I have drawn freely
+from that, correcting many errors, and also from Wakefield's and
+Mason's editions, and from Hales's notes (<i>Longer English Poems</i>,
+London, 1872) on the <i>Elegy</i> and the Pindaric odes. To all this
+material many original notes and illustrations have been added.</p>
+
+<p>The facts concerning the first publication of the <i>Elegy</i> are not
+given correctly by any of the editors, and even the "experts" of
+<i>Notes and Queries</i> have not been able to disentangle the snarl of
+conflicting evidence. I am not sure that I have settled the question
+myself (see <a href="#elegynotes1">below</a> and foot-note), but I have at least shown that Gray
+is a more credible witness in the case than any of his critics. Their
+testimony is obviously inconsistent and inconclusive; he may have
+confounded the names of two magazines, but that remains to be
+proved.<small><small><sup>1</sup></small></small></p>
+
+<blockquote><small><small><sup>1</sup></small> Since writing the above to-day, I have found by the
+merest chance in my own library another bit of evidence in the case,
+which fully confirms my surmise that the <i>Elegy</i> was printed in <i>The
+Magazine of Magazines</i> before it appeared in the <i>Grand Magazine of
+Magazines</i>. <i>Chambers's Book of Days</i> (vol. ii. p. 146), in an
+article on "Gray and his Elegy," says:</small></blockquote>
+
+<blockquote><small>"It first saw the light in <i>The Magazine of Magazines</i>, February,
+1751. Some imaginary literary wag is made to rise in a convivial
+assembly, and thus announce it: 'Gentlemen, give me leave to soothe
+my own melancholy, and amuse you in a most noble manner, with a full
+copy of verses by the very ingenious Mr. Gray, of Peterhouse,
+Cambridge. They are stanzas written in a country churchyard.' Then
+follow the verses. A few days afterwards, Dodsley's edition
+appeared," etc.</small></blockquote>
+
+<blockquote><small>The same authority gives the four stanzas omitted after the 18th (see
+<a href="#elegynotes2">below</a>) as they appear in the <i>North American Review</i>, except that the
+first line of the third is "Hark how the sacred calm that <i>reigns</i>
+around," a reading which I have found nowhere else. The stanza "There
+scattered oft," etc. (see <a href="#elegynotes3">below</a>), is given as in the review. The reading
+further <a href="#elegynotes4">below</a> must be a later one.</small></blockquote>
+
+<p>I have retained most of the "parallel passages" from the poets given
+by the editors, and have added others, without regard to the critics
+who have sneered at this kind of annotations. Whether Gray borrowed
+from the others, or the others from him, matters little; very likely,
+in most instances, neither party was consciously the borrower. Gray,
+in his own notes, has acknowledged certain debts to other poets, and
+probably these were all that he was aware of. Some of these he
+contracted unwittingly (see what he says of one of them in a letter
+to Walpole, quoted in the note on the <i>Ode on the Spring</i>, <a href="#springl31">31</a>), and
+the same may have been true of some apparently similar cases pointed
+out by modern editors. To me, however, the chief interest of these
+coincidences and resemblances of thought or expression is as studies
+in the "comparative anatomy" of poetry. The teacher will find them
+useful as pegs to hang questions upon, or texts for oral instruction.
+The pupil, or the young reader, who finds out who all these poets
+were, when they lived, what they wrote, etc., will have learned no
+small amount of English literary history. If he studies the
+quotations merely as illustrations of style and expression, or as
+examples of the poetic diction of various periods, he will have
+learned some lessons in the history and the use of his mother-tongue.</p>
+
+<p>The wood-cuts, illustrations <a href="#ill1">1</a>, <a href="#ill4">4</a>, <a href="#ill5">5</a>,
+<a href="#ill6">6</a>, <a href="#ill7">7</a>, <a href="#ill9">9</a>, <a href="#ill12">12</a>,
+<a href="#ill14">14</a>, <a href="#ill17">17</a>, <a href="#ill18">18</a>, <a href="#ill19">19</a>, <a href="#ill20">20</a>,
+<a href="#ill21">21</a>, <a href="#ill24">24</a>, and <a href="#ill29">29</a> are from Birket Foster's
+designs; illustrations <a href="#ill8">8</a>, <a href="#ill10">10</a>,
+<a href="#ill11">11</a>, <a href="#ill13">13</a>, <a href="#ill15">15</a>, and <a href="#ill16">16</a> are from the graceful drawings of "E. V. B." (the
+Hon. Mrs. Boyle); the rest are from various sources.</p>
+
+<p>&nbsp;&nbsp;&nbsp;&nbsp;<i>Cambridge</i>, Feb. 29, 1876.</p>
+<br>
+<br>
+<br>
+<br>
+<h3>CONTENTS.</h3>
+<hr align="center" width="50">
+<br>
+<p><a href="#chap1">THE LIFE OF THOMAS GRAY</a>, <small>BY</small> R<small>OBERT</small> C<small>ARRUTHERS</small></p>
+
+<p><a href="#chap2">STOKE-POGIS</a>, <small>BY</small> W<small>ILLIAM</small> H<small>OWITT</small></p>
+
+<p><a href="#chap3">ELEGY WRITTEN IN A COUNTRY CHURCHYARD</a></p>
+
+<p><a href="#chap4">MISCELLANEOUS POEMS</a></p>
+
+<blockquote><a href="#chap5">O<small>N THE</small> S<small>PRING</small></a></blockquote>
+
+<blockquote><a href="#chap6">O<small>N THE</small> D<small>EATH OF A</small> F<small>AVOURITE</small> C<small>AT</small></a></blockquote>
+
+<blockquote><a href="#chap7">O<small>N A</small> D<small>ISTANT</small> P<small>ROSPECT OF</small> E<small>TON</small> C<small>OLLEGE</small></a></blockquote>
+
+<blockquote><a href="#chap8">T<small>HE</small> P<small>ROGRESS OF</small> P<small>OESY</small></a></blockquote>
+
+<blockquote><a href="#chap9">T<small>HE</small> B<small>ARD</small></a></blockquote>
+
+<blockquote><a href="#chap10">H<small>YMN TO</small> A<small>DVERSITY</small></a></blockquote>
+
+<p><a href="#notes">NOTES</a></p>
+
+<blockquote><a href="#appendix">A<small>PPENDIX TO</small> N<small>OTES</small></a></blockquote>
+
+<p><a href="#index">INDEX</a></p>
+<br>
+<br>
+<br><a name="ill1"></a>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 1">
+	<tr>
+		<td width="396">
+			<img src="images/02.jpg" alt="STOKE-POGIS CHURCH">
+		</td>
+	</tr>
+	<tr>
+		<td width="396" align="center">
+			<small>STOKE-POGIS CHURCH.</small>
+		</td>
+	</tr>
+</table>
+<br><a name="chap1"></a>
+<br>
+<br>
+
+<h3>THE LIFE OF THOMAS GRAY.</h3>
+
+<center>B<small>Y</small> R<small>OBERT</small> C<small>ARRUTHERS</small>.</center><br>
+<hr align="center" width="100">
+<br>
+<p>Thomas Gray, the author of the celebrated <i>Elegy written in a Country
+Churchyard</i>, was born in Cornhill, London, December 26, 1716. His
+father, Philip Gray, an exchange broker and scrivener, was a wealthy
+and nominally respectable citizen, but he treated his family with
+brutal severity and neglect, and the poet was altogether indebted for
+the advantages of a learned education to the affectionate care and
+industry of his mother, whose maiden name was Antrobus, and who, in
+conjunction with a maiden sister, kept a millinery shop. A brother of
+Mrs. Gray was assistant to the Master of Eton, and was also a fellow
+of Pembroke College, Cambridge. Under his protection the poet was
+educated at Eton, and from thence went to Peterhouse, attending
+college from 1734 to September, 1738. At Eton he had as
+contemporaries Richard West, son of the Lord Chancellor of Ireland,
+and Horace Walpole, son of the triumphant Whig minister, Sir Robert
+Walpole. West died early in his 26th year, but his genius and virtues
+and his sorrows will forever live in the correspondence of his
+friend. In the spring of 1739, Gray was invited by Horace Walpole to
+accompany him as travelling companion in a tour through France and
+Italy. They made the usual route, and Gray wrote remarks on all he
+saw in Florence, Rome, Naples, etc. His observations on arts and
+antiquities, and his sketches of foreign manners, evince his
+admirable taste, learning, and discrimination. Since Milton, no such
+accomplished English traveller had visited those classic shores. In
+their journey through Dauphiny, Gray's attention was strongly
+arrested by the wild and picturesque site of the Grande Chartreuse,
+surrounded by its dense forest of beech and fir, its enormous
+precipices, cliffs, and cascades. He visited it a second time on his
+return, and in the album of the mountain convent he wrote his famous
+Alcaic Ode. At Reggio the travellers quarrelled and parted. Walpole
+took the whole blame on himself. He was fond of pleasure and
+amusements, "intoxicated by vanity, indulgence, and the insolence of
+his situation as a prime minister's son"&mdash;his own confession&mdash;while
+Gray was studious, of a serious disposition, and independent spirit.
+The immediate cause of the rupture is said to have been Walpole's
+clandestinely opening, reading, and resealing a letter addressed to
+Gray, in which he expected to find a confirmation of his suspicions
+that Gray had been writing unfavourably of him to some friends in
+England. A partial reconciliation was effected about three years
+afterwards by the intervention of a lady, and Walpole redeemed his
+youthful error by a life-long sincere admiration and respect for his
+friend. From Reggio Gray proceeded to Venice, and thence travelled
+homewards, attended by a <i>laquais de voyage</i>. He arrived in England
+in September, 1741, having been absent about two years and a half.
+His father died in November, and it was found that the poet's fortune
+would not enable him to prosecute the study of the law. He therefore
+retired to Cambridge, and fixed his residence at the university.
+There he continued for the remainder of his life, with the exception
+of about two years spent in London, when the treasures of the British
+Museum were thrown open. At Cambridge he had the range of noble
+libraries. His happiness consisted in study, and he perused with
+critical attention the Greek and Roman poets, philosophers,
+historians, and orators. Plato and the Anthologia he read and
+annotated with great care, as if for publication. He compiled tables
+of Greek chronology, added notes to Linnæus and other naturalists,
+wrote geographical disquisitions on Strabo; and, besides being
+familiar with French and Italian literature, was a zealous
+archæological student, and profoundly versed in architecture, botany,
+painting, and music. In all departments of human learning, except
+mathematics, he was a master. But it follows that one so studious, so
+critical, and so fastidious, could not be a voluminous writer. A few
+poems include all the original compositions of Gray&mdash;the
+quintessence, as it were, of thirty years of ceaseless study and
+contemplation, irradiated by bright and fitful gleams of inspiration.
+In 1742 Gray composed his <i>Ode to Spring</i>, his <i>Ode on a Distant
+Prospect of Eton College</i>, and his <i>Ode to Adversity</i>&mdash;productions
+which most readers of poetry can repeat from memory. He commenced a
+didactic poem, <i>On the Alliance of Education and Government</i>, but
+wrote only about a hundred lines. Every reader must regret that this
+philosophical poem is but a fragment. It is in the style and measure
+of Dryden, of whom Gray was an ardent admirer and close student. His
+<i>Elegy written in a Country Churchyard</i> was completed and published
+in 1751. In the form of a sixpenny <i>brochure</i> it circulated rapidly,
+four editions being exhausted the first year. This popularity
+surprised the poet. He said sarcastically that it was owing entirely
+to the subject, and that the public would have received it as well if
+it had been written in prose. The solemn and affecting nature of the
+poem, applicable to all ranks and classes, no doubt aided its sale;
+it required high poetic sensibility and a cultivated taste to
+appreciate the rapid transitions, the figurative language, and
+lyrical magnificence of the odes; but the elegy went home to all
+hearts; while its musical harmony, originality, and pathetic train of
+sentiment and feeling render it one of the most perfect of English
+poems. No vicissitudes of taste or fashion have affected its
+popularity. When the original manuscript of the poem was lately
+(1854) offered for sale, it brought the almost incredible sum of &pound;131.
+The two great odes of Gray, <i>The Progress of Poetry</i> and <i>The
+Bard</i>, were published in 1757, and were but coldly received. His
+name, however, stood high, and on the death of Cibber, the same year,
+he was offered the laureateship, which he wisely declined. He was
+ambitious, however, of obtaining the more congenial and dignified
+appointment of Professor of Modern History in the University of
+Cambridge, which fell vacant in 1762, and, by the advice of his
+friends, he made application to Lord Bute, but was unsuccessful. Lord
+Bute had designed it for the tutor of his son-in-law, Sir James
+Lowther. No one had heard of the tutor, but the Bute influence was
+all-prevailing. In 1765 Gray took a journey into Scotland,
+penetrating as far north as Dunkeld and the Pass of Killiecrankie;
+and his account of his tour, in letters to his friends, is replete
+with interest and with touches of his peculiar humour and graphic
+description. One other poem proceeded from his pen. In 1768 the
+Professorship of Modern History was again vacant, and the Duke of
+Grafton bestowed it upon Gray. A sum of &pound;400 per annum was thus
+added to his income; but his health was precarious&mdash;he had lost it,
+he said, just when he began to be easy in his circumstances. The
+nomination of the Duke of Grafton to the office of Chancellor of the
+University enabled Gray to acknowledge the favour conferred on
+himself. He thought it better that gratitude should sing than
+expectation, and he honoured his grace's installation with an ode.
+Such occasional productions are seldom happy; but Gray preserved his
+poetic dignity and select beauty of expression. He made the founders
+of Cambridge, as Mr. Hallam has remarked, "pass before our eyes like
+shadows over a magic glass." When the ceremony of the installation
+was over, the poet-professor went on a tour to the lakes of
+Cumberland and Westmoreland, and few of the beauties of the
+lake-country, since so famous, escaped his observation. This was to
+be his last excursion. While at dinner one day in the college-hall he
+was seized with an attack of gout in his stomach, which resisted all
+the powers of medicine, and proved fatal in less than a week. He died
+on the 30th of July, 1771, and was buried, according to his own
+desire, beside the remains of his mother at Stoke-Pogis, near Slough,
+in Buckinghamshire, in a beautiful sequestered village churchyard
+that is supposed to have furnished the scene of his elegy.<small><small><sup>1</sup></small></small> The
+literary habits and personal peculiarities of Gray are familiar to us
+from the numerous representations and allusions of his friends. It is
+easy to fancy the recluse-poet sitting in his college-chambers in the
+old quadrangle of Pembroke Hall. His windows are ornamented with
+mignonette and choice flowers in China vases, but outside may be
+discerned some iron-work intended to be serviceable as a fire-escape,
+for he has a horror of fire. His furniture is neat and select; his
+books, rather for use than show, are disposed around him. He has a
+harpsichord in the room. In the corner of one of the apartments is a
+trunk containing his deceased mother's dresses, carefully folded up
+and preserved. His fastidiousness, bordering upon effeminacy, is
+visible in his gait and manner&mdash;in his handsome features and small,
+well-dressed person, especially when he walks abroad and sinks the
+author and hard student in "the gentleman who sometimes writes for
+his amusement." He writes always with a crow-quill, speaks slowly and
+sententiously, and shuns the crew of dissonant college revellers, who
+call him "a prig," and seek to annoy him. Long mornings of study, and
+nights feverish from ill-health, are spent in those chambers; he is
+often listless and in low spirits; yet his natural temper is not
+desponding, and he delights in employment. He has always something to
+learn or to communicate&mdash;some sally of humour or quiet stroke of
+satire for his friends and correspondents&mdash;some note on natural
+history to enter in his journal&mdash;some passage of Plato to unfold and
+illustrate&mdash;some golden thought of classic inspiration to inlay on
+his page&mdash;some bold image to tone down&mdash;some verse to retouch and
+harmonize. His life is on the whole innocent and happy, and a feeling
+of thankfulness to the Great Giver is breathed over all.</p>
+
+<blockquote><small><small><sup>1</sup></small> A claim has been put up for the churchyard of
+Granchester, about two miles from Cambridge, the great bell of St.
+Mary's serving for the "curfew." But Stoke-Pogis is more likely to
+have been the spot, if any individual locality were indicated. The
+poet often visited the village, his aunt and mother residing there,
+and his aunt was interred in the churchyard of the place. Gray's
+epitaph on his mother is characterized not only by the tenderness
+with which he always regarded her memory, but by his style and cast
+of thought. It runs thus: "Beside her friend and sister here sleep
+the remains of Dorothy Gray, widow, the careful, tender mother of
+many children, one of whom alone had the misfortune to survive her.
+She died March 11, 1753, aged 72." She had lived to read the <i>Elegy</i>,
+which was perhaps an ample recompense for her maternal cares and
+affection. Mrs. Gray's will commences in a similar touching strain:
+"In the name of God, amen. This is the last will and desire of
+Dorothy Gray to her son Thomas Gray." [Cunningham's edit. of
+<i>Johnson's Lives</i>.] They were all in all to each other. The father's
+cruelty and neglect, their straitened circumstances, the sacrifices
+made by the mother to maintain her son at the university, her pride
+in the talents and conduct of that son, and the increasing gratitude
+and affection of the latter, nursed in his scholastic and cloistered
+solitude&mdash;these form an affecting but noble record in the history of
+genius.</small></blockquote>
+
+<blockquote><small>[One would infer from the above that Mrs. Gray was <i>not</i> "interred in
+the churchyard of the place," though the epitaph given immediately
+after shows that she <i>was</i>. Gray in his will directed that he should
+be laid beside her there. The passage in the will reads thus: "First,
+I do desire that my body may be deposited in the vault, made by my
+dear mother in the churchyard of Stoke-Pogeis, near Slough in
+Buckinghamshire, by her remains, in a coffin of seasoned oak, neither
+lined nor covered, and (unless it be inconvenient) I could wish that
+one of my executors may see me laid in the grave, and distribute
+among such honest and industrious poor persons in said parish as he
+thinks fit, the sum of ten pounds in charity."&mdash;<i>Ed</i>.]</small></blockquote>
+
+<p>Various editions of the collected works of Gray have been published.
+The first, including memoirs of his life and his correspondence,
+edited by his friend, the Rev. W. Mason, appeared in 1775. It has
+been often reprinted, and forms the groundwork of the editions by
+Mathias (1814) and Mitford (1816). Mr. Mitford, in 1843, published
+Gray's correspondence with the Rev. Norton Nicholls; and in 1854
+another collection of Gray's letters was published, edited also by
+Mr. Mitford. Every scrap of the poet's MSS. is eagerly sought after,
+and every year seems to add to his popularity as a poet and
+letter-writer.</p>
+<hr align="center" width="100">
+
+
+<p>In 1778 a monument to Gray was erected in Westminster Abbey by Mason,
+with the following inscription:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem1">
+	<tr><td><small>No more the Grecian muse unrivall'd reigns,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To Britain let the nations homage pay;<br>
+		She felt a Homer's fire in Milton's strains,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A Pindar's rapture in the lyre of Gray.</small></td></tr>
+</table>
+
+<p>The cenotaph afterwards erected in Stoke Park by Mr. Penn is
+described <a href="#cenotaph">below</a>.</p>
+<br>
+<br>
+<br><a name="ill2"></a>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 2">
+	<tr>
+		<td width="374">
+			<img src="images/03.jpg" alt="WEST-END HOUSE">
+		</td>
+	</tr>
+	<tr>
+		<td width="374" align="center">
+			<small>WEST-END HOUSE.</small>
+		</td>
+	</tr>
+</table>
+<br><a name="chap2"></a>
+<br>
+<br>
+<h3>STOKE-POGIS.</h3>
+<hr align="center" width="100">
+<br>
+
+<center><small>FROM HOWITT'S "HOMES AND HAUNTS OF THE BRITISH POETS."<small><sup>1</sup></small></small></center>
+
+<blockquote><small><small><sup>1</sup></small> Harper's edition, vol. i. p. 314 foll.</small></blockquote>
+<br>
+
+<p>It is at Stoke-Pogis that we seek the most attractive vestiges of
+Gray. Here he used to spend his vacations, not only when a youth at
+Eton, but during the whole of his future life, while his mother and
+his aunts lived. Here it was that his <i>Ode on a Distant Prospect of
+Eton College</i>, his celebrated <i>Elegy written in a Country
+Churchyard</i>, and his <i>Long Story</i> were not only written, but were
+mingled with the circumstances and all the tenderest feelings of his
+own life.</p>
+
+<p>His mother and aunts lived at an old-fashioned house in a very
+retired spot at Stoke, called West-End. This house stood in a hollow,
+much screened by trees. A small stream ran through the garden, and it
+is said that Gray used to employ himself when here much in this
+garden, and that many of the trees still remaining are of his
+planting. On one side of the house extended an upland field, which
+was planted round so as to give a charming retired walk; and at the
+summit of the field was raised an artificial mound, and upon it was
+built a sort of arcade or summer-house, which gave full prospect of
+Windsor and Eton. Here Gray used to delight to sit; here he was
+accustomed to read and write much; and it is just the place to
+inspire the <i>Ode on Eton College</i>, which lay in the midst of its fine
+landscape, beautifully in view. The old house inhabited by Gray and
+his mother has just been pulled down, and replaced by an Elizabethan
+mansion by the present proprietor, Mr. Penn, of Stoke Park, just
+by.<small><small><sup>2</sup></small></small> The garden, of course, has shared in the change, and now
+stands gay with its fountain and its modern greenhouse, and,
+excepting for some fine trees, no longer reminds you of Gray. The
+woodland walk still remains round the adjoining field, and the
+summer-house on its summit, though now much cracked by time, and only
+held together by iron cramps. The trees are now so lofty that they
+completely obstruct the view, and shut out both Eton and Windsor.</p>
+
+<blockquote><small><small><sup>2</sup></small> This was written (or published, at least) in 1846; but
+Mitford, in the Life of Gray prefixed to the "Eton edition" of his
+Poems, published in 1847, says: "The house, which is now called
+<i>West-End</i>, lies in a secluded part of the parish, on the road to
+Fulmer. It has lately been much enlarged and adorned by its present
+proprietor [Mr. Penn], but the room called 'Gray's' (distinguished by
+a small balcony) is still preserved; and a shady walk round an
+adjoining meadow, with a summer-house on the rising land, are still
+remembered as favourite places frequented by the poet."&mdash;<i>Ed</i>.</small></blockquote>
+
+<center>*
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*</center>
+<a name="cenotaph"></a>
+<p>Stoke Park is about a couple of miles from Slough. The country is
+flat, but its monotony is broken up by the noble character and
+disposition of its woods. Near the house is a fine expanse of water,
+across which the eye falls on fine views, particularly to the south,
+of Windsor Castle, Cooper's Hill, and the Forest Woods. About three
+hundred yards from the north front of the house stands a column,
+sixty-eight feet high, bearing on the top a colossal statue of Sir
+Edward Coke, by Rosa. The woods of the park shut out the view of
+West-End House, Gray's occasional residence, but the space is open
+from the mansion across the park, so as to take in the view both of
+the church and of a monument erected by the late Mr. Penn to Gray.
+Alighting from the carriage at a lodge, we enter the park just at the
+monument. This is composed of fine freestone, and consists of a large
+sarcophagus, supported on a square pedestal, with inscriptions on
+each side. Three of them are selected from the <i>Ode on Eton College</i>
+and the <i>Elegy</i>. They are:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem2">
+	<tr><td><small>Hard by yon wood, now smiling as in scorn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Muttering his wayward fancies he would rove;<br>
+		Now drooping, woeful-wan, like one forlorn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or craz'd with care, or cross'd in hopeless love.<br>
+		<br>
+		One morn I miss'd him on the custom'd hill,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Along the heath, and near his fav'rite tree;<br>
+		Another came; nor yet beside the rill,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor up the lawn, nor at the wood was he.</small></td></tr>
+</table>
+
+<p>The second is from the <i>Ode:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem3">
+	<tr><td><small>Ye distant spires! ye antique towers!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That crown the watery glade,<br>
+		Where grateful Science still adores<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Her Henry's holy shade;<br>
+		And ye, that from the stately brow<br>
+		Of Windsor's heights th' expanse below<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Of grove, of lawn, of mead survey,<br>
+		Whose turf, whose shade, whose flowers among<br>
+		Wanders the hoary Thames along<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;His silver-winding way.<br>
+		<br>
+		Ah, happy hills! ah, pleasing shade!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Ah, fields belov'd in vain!<br>
+		Where once my careless childhood stray'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A stranger yet to pain!<br>
+		I feel the gales that from ye blow,<br>
+		A momentary bliss bestow.</small></td></tr>
+</table>
+
+<p>The third is again from the <i>Elegy:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem4">
+	<tr><td><small>Beneath those rugged elms, that yew-tree's shade,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Where heaves the turf in many a mouldering heap,<br>
+		Each in his narrow cell forever laid,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The rude forefathers of the hamlet sleep.<br>
+		<br>
+		The breezy call of incense-breathing morn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The swallow twittering from the straw-built shed,<br>
+		The cock's shrill clarion or the echoing horn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;No more shall rouse them from their lowly bed.</small></td></tr>
+</table>
+
+<p>The fourth bears this inscription:</p>
+
+<center><small>This Monument, in honour of<br>
+T<small>HOMAS</small> G<small>RAY</small>,<br>
+Was erected A.D. 1799,<br>
+Among the scenery<br>
+Celebrated by that great Lyric and Elegiac Poet.<br>
+He died in 1771,<br>
+And lies unnoted in the adjoining Church-yard,<br>
+Under the Tomb-stone on which he piously<br>
+And pathetically recorded the interment<br>
+Of his Aunt and lamented Mother.</small></center>
+
+<p>This monument is in a neatly kept garden-like enclosure, with a
+winding walk approaching from the shade of the neighbouring trees. To
+the right, across the park, at some little distance, backed by fine
+trees, stands the rural little church and churchyard where Gray wrote
+his <i>Elegy</i>, and where he lies. As you walk on to this, the mansion
+closes the distant view between the woods with fine effect. The
+church has often been engraved, and is therefore tolerably familiar
+to the general reader. It consists of two barn-like structures, with
+tall roofs, set side by side, and the tower and finely tapered spire
+rising above them at the northwest corner. The church is thickly hung
+with ivy, where</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem5">
+	<tr><td><small>&nbsp;&nbsp;"The moping owl may to the moon complain<br>
+		Of such as, wandering near her secret bower,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Molest her ancient, solitary reign."</small></td></tr>
+</table>
+
+<p>The structure is as simple and old-fashioned, both without and
+within, as any village church can well be. No village, however, is to
+be seen. Stoke consists chiefly of scattered houses, and this is now
+in the midst of the park. In the churchyard,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem6">
+	<tr><td><small>"Beneath those rugged elms, that yew-tree's shade,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Where heaves the turf in many a mouldering heap,<br>
+		&nbsp;&nbsp;Each in his narrow cell forever laid,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The rude forefathers of the hamlet sleep."</small></td></tr>
+</table>
+
+<p>All this is quite literal; and the tomb of the poet himself, near the
+southeast window, completes the impression of the scene. It is a
+plain brick altar tomb, covered with a blue slate slab, and, besides
+his own ashes, contains those of his mother and aunt. On the slab are
+inscribed the following lines by Gray himself: "In the vault beneath
+are deposited, in hope of a joyful resurrection, the remains of <i>Mary
+Antrobus</i>. She died unmarried, Nov. 5, 1749, aged sixty-six. In the
+same pious confidence, beside her friend and sister, here sleep the
+remains of <i>Dorothy Gray</i>, widow; the careful, tender mother of many
+children, <small>ONE</small> of whom alone had the misfortune to survive her. She
+died, March 11, 1753, aged LXXII."</p>
+
+<p>No testimony of the interment of Gray in the same tomb was inscribed
+anywhere till Mr. Penn, in 1799, erected the monument already
+mentioned, and placed a small slab in the wall, under the window,
+opposite to the tomb itself, recording the fact of Gray's burial
+there. The whole scene is well worthy of a summer day's stroll,
+especially for such as, pent in the metropolis, know how to enjoy the
+quiet freshness of the country and the associations of poetry and the
+past.</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 3">
+	<tr>
+		<td width="466">
+			<img src="images/04.jpg" alt="GRAY'S MONUMENT, STOKE PARK">
+		</td>
+	</tr>
+	<tr>
+		<td width="466" align="center">
+			<small>GRAY'S MONUMENT, STOKE PARK.</small>
+		</td>
+	</tr>
+</table><br>
+<br><a name="chap3"></a>
+<br>
+<br>
+<br>
+<h2>ELEGY WRITTEN IN A COUNTRY CHURCHYARD.</h2>
+<br>
+<br><a name="ill4"></a>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 4">
+	<tr>
+		<td width="361">
+			<img src="images/05.jpg" alt="The lowing herd wind slowly">
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<h3>ELEGY WRITTEN IN A COUNTRY CHURCHYARD.</h3>
+<hr align="center" width="100">
+<br><a name="elegy1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem7">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td>The curfew tolls the knell of parting day,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The lowing herd wind slowly o'er the lea,<br>
+		The plowman homeward plods his weary way,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And leaves the world to darkness and to me.<br>
+		<a name="elegy2"></a><br>
+		Now fades the glimmering landscape on the sight,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And all the air a solemn stillness holds,<br>
+		Save where the beetle wheels his droning flight,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And drowsy tinklings lull the distant folds:<a name="ill5"></a></td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>5</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 5">
+		<tr><td width="556">
+			<img src="images/06.jpg" alt="Now fades the glimmering landscape">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy3"></a>Save that, from yonder ivy-mantled tower,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The moping owl does to the moon complain<br>
+		Of such as, wandering near her secret bower,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Molest her ancient solitary reign.<a name="ill6"></a></td>
+		<td align="right" valign="top"><br><small><small>10</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 6">
+		<tr><td>
+			<img src="images/07.jpg" alt="Beneath those rugged elms">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy4"></a>Beneath those rugged elms, that yew-tree's shade,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Where heaves the turf in many a mouldering heap,<br>
+		Each in his narrow cell forever laid,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The rude forefathers of the hamlet sleep.<a name="ill7"></a></td>
+		<td align="right" valign="top"><br><br><small><small>15</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 7">
+		<tr><td>
+			<img src="images/08.jpg" alt="The cock's shrill clarion">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy5"></a>The breezy call of incense-breathing morn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The swallow twittering from the straw-built shed,<br>
+		The cock's shrill clarion, or the echoing horn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;No more shall rouse them from their lowly bed.<a name="ill8"></a></td>
+		<td align="right" valign="top"><br><br><br><small><small>20</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 8">
+		<tr><td>
+			<img src="images/09.jpg" alt="Or climb his knees">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy6"></a>For them no more the blazing hearth shall burn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or busy housewife ply her evening care;<br>
+		No children run to lisp their sire's return,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or climb his knees the envied kiss to share.<a name="ill9"></a></td>
+		<td>&nbsp;</td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 9">
+		<tr><td>
+			<img src="images/10.jpg" alt="Beneath their sturdy stroke">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy7"></a>Oft did the harvest to their sickle yield,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their furrow oft the stubborn glebe has broke;<br>
+		How jocund did they drive their team afield!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;How bow'd the woods beneath their sturdy stroke!<a name="ill10"></a></td>
+		<td align="right" valign="top"><small><small>25</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 10">
+		<tr><td>
+			<img src="images/11.jpg" alt="The harvest">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy8"></a>Let not Ambition mock their useful toil,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their homely joys, and destiny obscure;<br>
+		Nor Grandeur hear with a disdainful smile<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The short and simple annals of the poor.<br>
+		<a name="elegy9"></a><br>
+		The boast of heraldry, the pomp of power,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And all that beauty, all that wealth e'er gave,<br>
+		Awaits alike th' inevitable hour.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The paths of glory lead but to the grave.<br>
+		<a name="elegy10"></a><br>
+		Nor you, ye proud, impute to these the fault,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;If Memory o'er their tomb no trophies raise;<br>
+		Where, through the long-drawn aisle and fretted vault,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The pealing anthem swells the note of praise.<br>
+		<a name="elegy11"></a><br>
+		Can storied urn or animated bust<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Back to its mansion call the fleeting breath?<br>
+		Can Honour's voice provoke the silent dust?<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or Flattery soothe the dull cold ear of Death?<br>
+		<a name="elegy12"></a><br>
+		Perhaps in this neglected spot is laid<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some heart once pregnant with celestial fire;<br>
+		Hands, that the rod of empire might have sway'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or wak'd to ecstasy the living lyre:<br>
+		<a name="elegy13"></a><br>
+		But Knowledge to their eyes her ample page,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Rich with the spoils of time, did ne'er unroll;<br>
+		Chill Penury repress'd their noble rage,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And froze the genial current of the soul.<a name="ill11"></a></td>
+		<td align="right" valign="top"><br><small><small>30</small></small>
+		<br><br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><br><small><small>40</small></small>
+		<br><br><br><br><br><br><br><small><small>45</small></small>
+		<br><br><br><br><br><br><small><small>50</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 11">
+		<tr><td>
+			<img src="images/12.jpg" alt="Shepherd scene">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy14"></a>Full many a gem of purest ray serene<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The dark unfathom'd caves of ocean bear;<br>
+		Full many a flower is born to blush unseen,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And waste its sweetness on the desert air.<br>
+		<a name="elegy15"></a><br>
+		Some village Hampden, that with dauntless breast<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The little tyrant of his fields withstood,<br>
+		Some mute inglorious Milton here may rest,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some Cromwell, guiltless of his country's blood.<a name="ill12"></a></td>
+		<td align="right" valign="top"><br><br><small><small>55</small></small>
+		<br><br><br><br><br><br><small><small>60</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 12">
+		<tr><td>
+			<img src="images/13.jpg" alt="Churchyard gate">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy16"></a>Th' applause of listening senates to command,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The threats of pain and ruin to despise,<br>
+		To scatter plenty o'er a smiling land,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And read their history in a nation's eyes,<br>
+		<a name="elegy17"></a><br>
+		Their lot forbade: nor circumscrib'd alone<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their growing virtues, but their crimes confin'd;<br>
+		Forbade to wade through slaughter to a throne,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And shut the gates of mercy on mankind,<br>
+		<a name="elegy18"></a><br>
+		The struggling pangs of conscious truth to hide,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To quench the blushes of ingenuous shame,<br>
+		Or heap the shrine of Luxury and Pride<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With incense kindled at the Muse's flame.<a name="ill13"></a></td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>65</small></small>
+		<br><br><br><br><br><br><small><small>70</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 13">
+		<tr><td>
+			<img src="images/14.jpg" alt="Angels">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy19"></a>Far from the madding crowd's ignoble strife,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their sober wishes never learn'd to stray;<br>
+		Along the cool sequester'd vale of life<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;They kept the noiseless tenor of their way.<br>
+		<a name="elegy20"></a><br>
+		Yet even these bones from insult to protect,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some frail memorial still erected nigh,<br>
+		With uncouth rhymes and shapeless sculpture deck'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Implores the passing tribute of a sigh.<a name="ill14"></a></td>
+		<td align="right" valign="top"><br><br><small><small>75</small></small>
+		<br><br><br><br><br><br><small><small>80</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 14">
+		<tr><td>
+			<img src="images/15.jpg" alt="The passing tribute of a sigh">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy21"></a>Their name, their years, spelt by th' unletter'd Muse,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The place of fame and elegy supply;<br>
+		And many a holy text around she strews,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That teach the rustic moralist to die.<a name="ill15"></a></td>
+		<td>&nbsp;</td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 15">
+		<tr><td>
+			<img src="images/16.jpg" alt="Gathering of angels">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy22"></a>For who, to dumb forgetfulness a prey,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;This pleasing anxious being e'er resign'd,<br>
+		Left the warm precincts of the cheerful day,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor cast one longing lingering look behind?<br>
+		<a name="elegy23"></a><br>
+		On some fond breast the parting soul relies,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some pious drops the closing eye requires;<br>
+		Even from the tomb the voice of Nature cries,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Even in our ashes live their wonted fires.<a name="ill16"></a></td>
+		<td align="right" valign="top"><small><small>85</small></small>
+		<br><br><br><br><br><br><small><small>90</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 16">
+		<tr><td>
+			<img src="images/17.jpg" alt="On some fond breast the parting soul relies">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy24"></a>For thee, who, mindful of th' unhonour'd dead,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Dost in these lines their artless tale relate,<br>
+		If chance, by lonely contemplation led,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some kindred spirit shall inquire thy fate,<a name="ill17"></a></td>
+		<td align="right" valign="top"><br><br><small><small>95</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 17">
+		<tr><td>
+			<img src="images/18.jpg" alt="To meet the sun upon the upland lawn">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy25"></a>Haply some hoary-headed swain may say,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"Oft have we seen him at the peep of dawn<br>
+		Brushing with hasty steps the dews away,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To meet the sun upon the upland lawn.<a name="ill18"></a></td>
+		<td align="right" valign="top"><br><br><br><small><small>100</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 18">
+		<tr><td>
+			<img src="images/19.jpg" alt="His listless length at noontide would he stretch">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy26"></a>"There at the foot of yonder nodding beech,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That wreathes its old fantastic roots so high,<br>
+		His listless length at noontide would he stretch,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And pore upon the brook that babbles by.<br>
+		<a name="elegy27"></a><br>
+		"Hard by yon wood, now smiling as in scorn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Muttering his wayward fancies he would rove;<br>
+		Now drooping, woeful-wan, like one forlorn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or craz'd with care, or cross'd in hopeless love.<br>
+		<a name="elegy28"></a><br>
+		"One morn I miss'd him on the custom'd hill,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Along the heath, and near his favourite tree;<br>
+		Another came; nor yet beside the rill,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor up the lawn, nor at the wood was he;<br>
+		<a name="elegy29"></a><br>
+		"The next, with dirges due in sad array,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Slow through the church-way path we saw him borne.<br>
+		Approach and read (for thou canst read) the lay<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Grav'd on the stone beneath yon aged thorn."<a name="ill19"></a></td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>105</small></small>
+		<br><br><br><br><br><br><small><small>110</small></small>
+		<br><br><br><br><br><br><small><small>115</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 19">
+		<tr><td>
+			<img src="images/20.jpg" alt="Slow through the church-way path we saw him borne">
+		</td></tr></table>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="elegy30"></a><center>THE EPITAPH.</center><br>Here rests his head upon the lap of Earth<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A youth, to Fortune and to Fame unknown;<br>
+		Fair Science frown'd not on his humble birth,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And Melancholy mark'd him for her own.<br>
+		<a name="elegy31"></a><br>
+		Large was his bounty, and his soul sincere,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Heaven did a recompense as largely send;<br>
+		He gave to Misery all he had, a tear;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;He gain'd from Heaven ('twas all he wish'd) a friend.<br>
+		<a name="elegy32"></a><br>
+		No farther seek his merits to disclose,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or draw his frailties from their dread abode,<br>
+		(There they alike in trembling hope repose)<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The bosom of his Father and his God.<a name="ill20"></a></td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>120</small></small>
+		<br><br><br><br><br><br><br><small><small>125</small></small></td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="8" summary="Illustration 20">
+		<tr><td>
+			<img src="images/21.jpg" alt="Here rests his head">
+		</td></tr></table>
+		</td>
+	</tr>
+</table><br>
+<br><a name="chap4"></a>
+<br>
+<br>
+<br>
+<h2>MISCELLANEOUS POEMS.</h2>
+<br>
+<br><a name="ill21"></a>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 21">
+	<tr>
+		<td width="372">
+			<img src="images/22.jpg" alt="O'ercanopies the glade">
+		</td>
+	</tr>
+</table><br>
+<a name="chap5"></a><br>
+<br>
+<h3>ON THE SPRING.</h3>
+<br><a name="spring1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem8">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td>Lo! where the rosy-bosom'd Hours,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Fair Venus' train, appear,<br>
+		Disclose the long-expecting flowers,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And wake the purple year!<br>
+		The Attic warbler pours her throat,<br>
+		Responsive to the cuckoo's note,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The untaught harmony of spring;<br>
+		While, whispering pleasure as they fly,<br>
+		Cool Zephyrs thro' the clear blue sky<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their gather'd fragrance fling.<br>
+		<a name="spring2"></a><br>
+		Where'er the oak's thick branches stretch<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A broader browner shade,<br>
+		Where'er the rude and moss-grown beech<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;O'ercanopies the glade,<br>
+		Beside some water's rushy brink<br>
+		With me the Muse shall sit, and think<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;(At ease reclin'd in rustic state)<br>
+		How vain the ardour of the crowd,<br>
+		How low, how little are the proud,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;How indigent the great!<br>
+		<a name="spring3"></a><br>
+		Still is the toiling hand of Care;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The panting herds repose:<br>
+		Yet hark, how thro' the peopled air<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The busy murmur glows!<br>
+		The insect youth are on the wing,<br>
+		Eager to taste the honied spring,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And float amid the liquid noon:<br>
+		Some lightly o'er the current skim,<br>
+		Some show their gayly-gilded trim<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Quick-glancing to the sun.<br>
+		<a name="spring4"></a><br>
+		To Contemplation's sober eye<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Such is the race of Man;<br>
+		And they that creep, and they that fly,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Shall end where they began.<br>
+		Alike the busy and the gay<br>
+		But flutter thro' life's little day,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;In Fortune's varying colours drest:<br>
+		Brush'd by the hand of rough Mischance,<br>
+		Or chill'd by age, their airy dance<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;They leave, in dust to rest.<br>
+		<a name="spring5"></a><br>
+		Methinks I hear in accents low<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The sportive kind reply:<br>
+		Poor moralist! and what art thou?<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A solitary fly!<br>
+		Thy joys no glittering female meets,<br>
+		No hive hast thou of hoarded sweets,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;No painted plumage to display:<br>
+		On hasty wings thy youth is flown;<br>
+		Thy sun is set, thy spring is gone&mdash;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;We frolic while 'tis May.</td>
+		<td align="right" valign="top"><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><small><small>40</small></small>
+		<br><br><br><br><br><br><small><small>45</small></small>
+		<br><br><br><br><br>&nbsp;&nbsp;&nbsp;&nbsp;<small><small>50</small></small>
+		</td>
+	</tr>
+</table>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 22">
+	<tr>
+		<td width="403">
+			<img src="images/23.jpg" alt="Hive of bees">
+		</td>
+	</tr>
+</table>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 23">
+	<tr>
+		<td width="329">
+			<img src="images/24.jpg" alt="Chinese vase">
+		</td>
+	</tr>
+</table><br>
+<a name="chap6"></a><br>
+<br>
+<h4>ON THE</h4>
+<h3>DEATH OF A FAVOURITE CAT,</h3>
+<center><small><i>Drowned in a Tub of Gold Fishes</i>.</small></center>
+<br><a name="cat1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem9">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td>'Twas on a lofty vase's side,<br>
+		Where China's gayest art had dyed<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The azure flowers that blow;<br>
+		Demurest of the tabby kind,<br>
+		The pensive Selima, reclin'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Gaz'd on the lake below.<br>
+		<a name="cat2"></a><br>
+		Her conscious tail her joy declar'd:<br>
+		The fair round face, the snowy beard,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The velvet of her paws,<br>
+		Her coat, that with the tortoise vies,<br>
+		Her ears of jet, and emerald eyes,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;She saw; and purr'd applause.<br>
+		<a name="cat3"></a><br>
+		Still had she gaz'd; but midst the tide<br>
+		Two angel forms were seen to glide,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The Genii of the stream:<br>
+		Their scaly armour's Tyrian hue<br>
+		Through richest purple to the view<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Betray'd a golden gleam.<br>
+		<a name="cat4"></a><br>
+		The hapless nymph with wonder saw:<br>
+		A whisker first, and then a claw,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With many an ardent wish,<br>
+		She stretch'd in vain to reach the prize.<br>
+		What female heart can gold despise?<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;What Cat's averse to fish?<br>
+		<a name="cat5"></a><br>
+		Presumptuous maid! with looks intent<br>
+		Again she stretch'd, again she bent,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor knew the gulf between.<br>
+		(Malignant Fate sat by, and smil'd.)<br>
+		The slippery verge her feet beguil'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;She tumbled headlong in.<br>
+		<a name="cat6"></a><br>
+		Eight times emerging from the flood,<br>
+		She mew'd to every watery God,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Some speedy aid to send.<br>
+		No Dolphin came, no Nereid stirr'd:<br>
+		Nor cruel Tom, nor Susan heard.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A favourite has no friend!<br>
+		<a name="cat7"></a><br>
+		From hence, ye beauties, undeceiv'd,<br>
+		Know, one false step is ne'er retriev'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And be with caution bold.<br>
+		Not all that tempts your wandering eyes<br>
+		And heedless hearts is lawful prize,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor all that glisters gold.</td>
+		<td align="right" valign="top"><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><br>&nbsp;&nbsp;&nbsp;&nbsp;<small><small>40</small></small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br><a name="ill24"></a>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 24">
+	<tr>
+		<td width="368">
+			<img src="images/25.jpg" alt="Distant spires">
+		</td>
+	</tr>
+</table><br>
+<a name="chap7"></a><br>
+<br>
+<h3>ON A DISTANT PROSPECT OF ETON COLLEGE.</h3>
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 1">
+	<tr>
+		<td width="489">
+			<img src="images/101.jpg" alt="Anthrôpos, hikanê prophasis eis to dustuchein.&mdash;MENANDER.">
+		</td>
+	</tr>
+</table><br><a name="eton1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem10">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td>Ye distant spires, ye antique towers,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That crown the watery glade,<br>
+		Where grateful Science still adores<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Her Henry's holy shade;<br>
+		And ye, that from the stately brow<br>
+		Of Windsor's heights th' expanse below<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Of grove, of lawn, of mead survey,<br>
+		Whose turf, whose shade, whose flowers among<br>
+		Wanders the hoary Thames along<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;His silver-winding way:<br>
+		<a name="eton2"></a><br>
+		Ah, happy hills! ah, pleasing shade!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Ah, fields belov'd in vain!<br>
+		Where once my careless childhood stray'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A stranger yet to pain!<br>
+		I feel the gales that from ye blow<br>
+		A momentary bliss bestow,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;As, waving fresh their gladsome wing,<br>
+		My weary soul they seem to soothe,<br>
+		And, redolent of joy and youth,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To breathe a second spring.<br>
+		<a name="eton3"></a><br>
+		Say, Father Thames, for thou hast seen<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Full many a sprightly race<br>
+		Disporting on thy margent green<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The paths of pleasure trace;<br>
+		Who foremost now delight to cleave<br>
+		With pliant arm thy glassy wave?<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The captive linnet which enthrall?<br>
+		What idle progeny succeed<br>
+		To chase the rolling circle's speed,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or urge the flying ball?<br>
+		<a name="eton4"></a><br>
+		While some, on earnest business bent,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Their murmuring labours ply<br>
+		'Gainst graver hours that bring constraint<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To sweeten liberty,<br>
+		Some bold adventurers disdain<br>
+		The limits of their little reign,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And unknown regions dare descry:<br>
+		Still as they run they look behind,<br>
+		They hear a voice in every wind,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And snatch a fearful joy.<br>
+		<a name="eton5"></a><br>
+		Gay hope is theirs by fancy fed,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Less pleasing when possest;<br>
+		The tear forgot as soon as shed,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The sunshine of the breast:<br>
+		Theirs buxom health of rosy hue,<br>
+		Wild wit, invention ever new,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And lively cheer of vigour born;<br>
+		The thoughtless day, the easy night,<br>
+		The spirits pure, the slumbers light,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That fly th' approach of morn.<br>
+		<a name="eton6"></a><br>
+		Alas! regardless of their doom,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The little victims play;<br>
+		No sense have they of ills to come,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;No care beyond to-day:<br>
+		Yet see how all around 'em wait<br>
+		The ministers of human fate,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And black Misfortune's baleful train!<br>
+		Ah, show them where in ambush stand<br>
+		To seize their prey the murtherous band!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Ah, tell them, they are men!<br>
+		<a name="eton7"></a><br>
+		These shall the fury Passions tear,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The vultures of the mind,<br>
+		Disdainful Anger, pallid Fear,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And Shame that skulks behind;<br>
+		Or pining Love shall waste their youth,<br>
+		Or Jealousy with rankling tooth,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That inly gnaws the secret heart;<br>
+		And Envy wan, and faded Care,<br>
+		Grim-visag'd comfortless Despair,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And Sorrow's piercing dart.<br>
+		<a name="eton8"></a><br>
+		Ambition this shall tempt to rise,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Then whirl the wretch from high,<br>
+		To bitter Scorn a sacrifice,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And grinning Infamy.<br>
+		The stings of Falsehood those shall try,<br>
+		And hard Unkindness' alter'd eye,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That mocks the tear it forc'd to flow;<br>
+		And keen Remorse with blood defil'd,<br>
+		And moody Madness laughing wild<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Amid severest woe.<br>
+		<a name="eton9"></a><br>
+		Lo! in the vale of years beneath<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A grisly troop are seen,<br>
+		The painful family of Death,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;More hideous than their queen:<br>
+		This racks the joints, this fires the veins,<br>
+		That every labouring sinew strains,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Those in the deeper vitals rage:<br>
+		Lo! Poverty, to fill the band,<br>
+		That numbs the soul with icy hand,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And slow-consuming Age.<br>
+		<a name="eton10"></a><br>
+		To each his sufferings: all are men,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Condemn'd alike to groan;<br>
+		The tender for another's pain,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Th' unfeeling for his own.<br>
+		Yet, ah! why should they know their fate,<br>
+		Since sorrow never comes too late,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And happiness too swiftly flies?<br>
+		Thought would destroy their paradise.<br>
+		No more;&mdash;where ignorance is bliss,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;'Tis folly to be wise.</td>
+		<td align="right" valign="top"><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><small><small>40</small></small>
+		<br><br><br><br><br><br><small><small>45</small></small>
+		<br><br><br><br><br><small><small>50</small></small>
+		<br><br><br><br><br><br><small><small>55</small></small>
+		<br><br><br><br><br><small><small>60</small></small>
+		<br><br><br><br><br><br><small><small>65</small></small>
+		<br><br><br><br><br><small><small>70</small></small>
+		<br><br><br><br><br><br><small><small>75</small></small>
+		<br><br><br><br><br><small><small>80</small></small>
+		<br><br><br><br><br><br><small><small>85</small></small>
+		<br><br><br><br><br><small><small>90</small></small>
+		<br><br><br><br><br><br><small><small>95</small></small>
+		<br><br><br><br><br>&nbsp;&nbsp;&nbsp;&nbsp;<small><small>100</small></small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 25">
+	<tr>
+		<td width="380">
+			<img src="images/26.jpg" alt="SEAL OF ETON COLLEGE">
+		</td>
+	</tr>
+	<tr>
+		<td width="380" align="center">
+			<small>SEAL OF ETON COLLEGE.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 26">
+	<tr>
+		<td width="187">
+			<img src="images/27.jpg" alt="APOLLO CITHAROEDUS">
+		</td>
+	</tr>
+	<tr>
+		<td width="187" align="center">
+			<small>APOLLO CITHAROEDUS.<br>FROM THE VATICAN.</small>
+		</td>
+	</tr>
+</table><br>
+<a name="chap8"></a><br>
+<br>
+<h3>THE PROGRESS OF POESY.</h3>
+<center><small><i>A Pindaric Ode</i>.</small></center>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 2">
+	<tr>
+		<td width="218">
+			<img src="images/102.jpg" alt="Phônanta sunetoisin: es De to pan hermêneôn Chatizei.&mdash;PINDAR">
+		</td>
+	</tr>
+</table><br><a name="poesy1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem11">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td><center>I. 1.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Awake, Æolian lyre, awake,<br>
+		And give to rapture all thy trembling strings.<br>
+		From Helicon's harmonious springs<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A thousand rills their mazy progress take:<br>
+		The laughing flowers that round them blow,<br>
+		Drink life and fragrance as they flow.<br>
+		Now the rich stream of music winds along,<br>
+		Deep, majestic, smooth, and strong,<br>
+		Thro' verdant vales, and Ceres' golden reign:<br>
+		Now rolling down the steep amain,<br>
+		Headlong, impetuous, see it pour;<br>
+		The rocks and nodding groves rebellow to the roar.<br>
+		<a name="poesy2"></a><br><br>
+		<center>I. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Oh! Sovereign of the willing soul,<br>
+		Parent of sweet and solemn-breathing airs,<br>
+		Enchanting shell! the sullen Cares<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And frantic Passions hear thy soft control.<br>
+		On Thracia's hills the Lord of War<br>
+		Has curb'd the fury of his car,<br>
+		And dropt his thirsty lance at thy command.<br>
+		Perching on the sceptred hand<br>
+		Of Jove, thy magic lulls the feather'd king<br>
+		With ruffled plumes and flagging wing:<br>
+		Quench'd in dark clouds of slumber lie<br>
+		The terror of his beak, and lightnings of his eye.<br>
+		<a name="poesy3"></a><br><br>
+		<center>I. 3.</center><br>
+		Thee the voice, the dance, obey,<br>
+		Temper'd to thy warbled lay.<br>
+		O'er Idalia's velvet-green<br>
+		The rosy-crowned Loves are seen<br>
+		On Cytherea's day<br>
+		With antic Sports, and blue-eyed Pleasures,<br>
+		Frisking light in frolic measures;<br>
+		Now pursuing, now retreating,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Now in circling troops they meet:<br>
+		To brisk notes in cadence beating,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Glance their many-twinkling feet.<br>
+		Slow melting strains their Queen's approach declare:<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Where'er she turns the Graces homage pay.<br>
+		With arms sublime, that float upon the air,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;In gliding state she wins her easy way:<br>
+		O'er her warm cheek, and rising bosom, move<br>
+		The bloom of young Desire and purple light of Love.
+		</td>
+		<td align="right" valign="top"><br><br><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><small><small>40</small></small>
+		</td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 27">
+		<tr><td width="416">
+			<img src="images/28.jpg" alt="DELPHI AND MOUNT PARNASSUS">
+		</td></tr>
+		<tr><td width="416" align="center">
+			<small>DELPHI AND MOUNT PARNASSUS.</small>
+		</td></tr></table>
+	</td></tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="poesy4"></a><center>II. 1.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Man's feeble race what ills await!<br>
+		Labour, and Penury, the racks of Pain,<br>
+		Disease, and Sorrow's weeping train,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And Death, sad refuge from the storms of Fate!<br>
+		The fond complaint, my song, disprove,<br>
+		And justify the laws of Jove.<br>
+		Say, has he given in vain the heavenly Muse?<br>
+		Night and all her sickly dews,<br>
+		Her spectres wan, and birds of boding cry,<br>
+		He gives to range the dreary sky;<br>
+		Till down the eastern cliffs afar<br>
+		Hyperion's march they spy, and glittering shafts of war.<br>
+		<a name="poesy5"></a><br><br>
+		<center>II. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;In climes beyond the solar road,<br>
+		Where shaggy forms o'er ice-built mountains roam,<br>
+		The Muse has broke the twilight gloom<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To cheer the shivering native's dull abode.<br>
+		And oft, beneath the odorous shade<br>
+		Of Chili's boundless forests laid,<br>
+		She deigns to hear the savage youth repeat,<br>
+		In loose numbers wildly sweet,<br>
+		Their feather-cinctur'd chiefs, and dusky loves.<br>
+		Her track, where'er the Goddess roves,<br>
+		Glory pursue, and generous Shame,<br>
+		Th' unconquerable Mind, and Freedom's holy flame.<br>
+		<a name="poesy6"></a><br><br>
+		<center>II. 3.</center><br>
+		Woods, that wave o'er Delphi's steep,<br>
+		Isles, that crown th' Ægean deep,<br>
+		Fields, that cool Ilissus laves,<br>
+		Or where Mæander's amber waves<br>
+		In lingering labyrinths creep,<br>
+		How do your tuneful echoes languish,<br>
+		Mute, but to the voice of anguish!<br>
+		Where each old poetic mountain<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Inspiration breath'd around;<br>
+		Every shade and hallow'd fountain<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Murmur'd deep a solemn sound:<br>
+		Till the sad Nine, in Greece's evil hour,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Left their Parnassus for the Latian plains.<br>
+		Alike they scorn the pomp of tyrant Power,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And coward Vice, that revels in her chains.<br>
+		When Latium had her lofty spirit lost,<br>
+		They sought, O Albion! next thy sea-encircled coast.
+		</td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>45</small></small>
+		<br><br><br><br><br><small><small>50</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>55</small></small>
+		<br><br><br><br><br><small><small>60</small></small>
+		<br><br><br><br><br><small><small>65</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>70</small></small>
+		<br><br><br><br><br><small><small>75</small></small>
+		<br><br><br><br><br><small><small>80</small></small>
+		</td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 28">
+		<tr><td width="404">
+			<img src="images/29.jpg" alt="THE AVON AND STRATFORD CHURCH">
+		</td></tr>
+		<tr><td width="404" align="center">
+			<small>THE AVON AND STRATFORD CHURCH.</small>
+		</td></tr></table>
+	</td></tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="poesy7"></a><center>III. 1.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Far from the sun and summer gale,<br>
+		In thy green lap was Nature's darling laid,<br>
+		What time, where lucid Avon stray'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To him the mighty mother did unveil<br>
+		Her awful face: the dauntless child<br>
+		Stretch'd forth his little arms and smil'd.<br>
+		"This pencil take (she said), whose colours clear<br>
+		Richly paint the vernal year:<br>
+		Thine too these golden keys, immortal Boy!<br>
+		This can unlock the gates of joy;<br>
+		Of horror that, and thrilling fears,<br>
+		Or ope the sacred source of sympathetic tears."<br>
+		<a name="poesy8"></a><br><br>
+		<center>III. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Nor second He, that rode sublime<br>
+		Upon the seraph wings of Ecstasy,<br>
+		The secrets of th' abyss to spy.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;He pass'd the flaming bounds of place and time:<br>
+		The living throne, the sapphire blaze,<br>
+		Where angels tremble while they gaze,<br>
+		He saw; but, blasted with excess of light,<br>
+		Clos'd his eyes in endless night.<br>
+		Behold, where Dryden's less presumptuous car,<br>
+		Wide o'er the fields of glory bear<br>
+		Two coursers of ethereal race,<br>
+		With necks in thunder cloth'd, and long-resounding pace.<br>
+		<a name="poesy9"></a><br><br>
+		<center>III. 3.</center><br>
+		Hark, his hands the lyre explore!<br>
+		Bright-eyed Fancy hovering o'er<br>
+		Scatters from her pictur'd urn<br>
+		Thoughts that breathe, and words that burn.<br>
+		But ah! 'tis heard no more&mdash;&mdash;<br>
+		Oh! lyre divine, what daring spirit<br>
+		Wakes thee now? Tho' he inherit<br>
+		Nor the pride, nor ample pinion,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That the Theban eagle bear,<br>
+		Sailing with supreme dominion<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Thro' the azure deep of air,<br>
+		Yet oft before his infant eyes would run<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Such forms as glitter in the Muse's ray<br>
+		With orient hues, unborrow'd of the sun:<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Yet shall he mount, and keep his distant way<br>
+		Beyond the limits of a vulgar fate,<br>
+		Beneath the Good how far&mdash;but far above the Great.
+		</td>
+		<td align="right" valign="top"><br><br><br><br><small><small>85</small></small>
+		<br><br><br><br><br><small><small>90</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>95</small></small>
+		<br><br><br><br><br><small><small>100</small></small>
+		<br><br><br><br><br><small><small>105</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>110</small></small>
+		<br><br><br><br><br><small><small>115</small></small>
+		<br><br><br><br><br><small><small>120</small></small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br><a name="ill29"></a>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 29">
+	<tr>
+		<td width="357">
+			<img src="images/30.jpg" alt="The bard">
+		</td>
+	</tr>
+</table><br>
+<a name="chap9"></a><br>
+<br>
+<h3>THE BARD.</h3>
+<center><small><i>A Pindaric Ode</i>.</small></center>
+<br><a name="bard1"></a>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem12">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td><center>I. 1.</center><br>
+		"Ruin seize thee, ruthless King!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Confusion on thy banners wait;<br>
+		Tho' fann'd by Conquest's crimson wing,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;They mock the air with idle state.<br>
+		Helm, nor hauberk's twisted mail,<br>
+		Nor e'en thy virtues, Tyrant, shall avail<br>
+		To save thy secret soul from nightly fears,<br>
+		From Cambria's curse, from Cambria's tears!"<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Such were the sounds that o'er the crested pride<br>
+		Of the first Edward scatter'd wild dismay,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;As down the steep of Snowdon's shaggy side<br>
+		He wound with toilsome march his long array.<br>
+		Stout Gloster stood aghast in speechless trance:<br>
+		"To arms!" cried Mortimer, and couch'd his quivering lance.<br>
+		<a name="bard2"></a><br><br>
+		<center>I. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;On a rock whose haughty brow<br>
+		Frowns o'er old Conway's foaming flood,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Rob'd in the sable garb of woe,<br>
+		With haggard eyes the poet stood<br>
+		(Loose his beard, and hoary hair<br>
+		Stream'd, like a meteor, to the troubled air),<br>
+		And with a master's hand, and prophet's fire,<br>
+		Struck the deep sorrows of his lyre.<br>
+		"Hark, how each giant oak, and desert cave,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Sighs to the torrent's awful voice beneath!<br>
+		O'er thee, O King! their hundred arms they wave,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Revenge on thee in hoarser murmurs breathe;<br>
+		Vocal no more, since Cambria's fatal day,<br>
+		To high-born Hoel's harp, or soft Llewellyn's lay.<br>
+		<a name="bard3"></a><br><br>
+		<center>I. 3.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"Cold is Cadwallo's tongue,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That hush'd the stormy main;<br>
+		Brave Urien sleeps upon his craggy bed;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Mountains, ye mourn in vain<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Modred, whose magic song<br>
+		Made huge Plinlimmon bow his cloud-topt head.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;On dreary Arvon's shore they lie,<br>
+		Smear'd with gore, and ghastly pale:<br>
+		Far, far aloof th' affrighted ravens sail;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The famish'd eagle screams, and passes by.<br>
+		Dear lost companions of my tuneful art,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Dear as the light that visits these sad eyes,<br>
+		Dear as the ruddy drops that warm my heart,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Ye died amidst your dying country's cries&mdash;<br>
+		No more I weep. They do not sleep.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;On yonder cliffs, a grisly band,<br>
+		I see them sit, they linger yet,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Avengers of their native land:<br>
+		With me in dreadful harmony they join,<br>
+		And weave with bloody hands the tissue of thy line.</td>
+		<td align="right" valign="top"><br><br><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><small><small>40</small></small>
+		<br><br><br><br><br><small><small>45</small></small>
+		</td>
+	</tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="bard4"></a><br><br><center>II. 1.</center><br>
+		"Weave the warp, and weave the woof,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The winding-sheet of Edward's race.<br>
+		Give ample room, and verge enough<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The characters of hell to trace.<br>
+		Mark the year, and mark the night,<br>
+		When Severn shall reëcho with affright<br>
+		The shrieks of death thro' Berkeley's roofs that ring,<br>
+		Shrieks of an agonizing king!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;She-wolf of France, with unrelenting fangs,<br>
+		That tear'st the bowels of thy mangled mate,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;From thee be born, who o'er thy country hangs<br>
+		The scourge of heaven. What terrors round him wait!<br>
+		Amazement in his van, with Flight combin'd,<br>
+		And Sorrow's faded form, and Solitude behind.<br>
+		<a name="bard5"></a><br><br>
+		<center>II. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"Mighty victor, mighty lord!<br>
+		Low on his funeral couch he lies!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;No pitying heart, no eye, afford<br>
+		A tear to grace his obsequies.<br>
+		Is the sable warrior fled?<br>
+		Thy son is gone. He rests among the dead.<br>
+		The swarm that in thy noontide beam were born?<br>
+		Gone to salute the rising morn.<br>
+		Fair laughs the morn, and soft the zephyr blows,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;While proudly riding o'er the azure realm<br>
+		In gallant trim the gilded vessel goes;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Youth on the prow, and Pleasure at the helm;<br>
+		Regardless of the sweeping whirlwind's sway,<br>
+		That, hush'd in grim repose, expects his evening prey.<br>
+		<a name="bard6"></a><br><br>
+		<center>II. 3.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"Fill high the sparkling bowl,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The rich repast prepare;<br>
+		Reft of a crown, he yet may share the feast:<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Close by the regal chair<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Fell Thirst and Famine scowl<br>
+		A baleful smile upon their baffled guest.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Heard ye the din of battle bray,<br>
+		Lance to lance, and horse to horse?<br>
+		Long years of havoc urge their destined course,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And thro' the kindred squadrons mow their way.<br>
+		Ye towers of Julius, London's lasting shame,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With many a foul and midnight murther fed,<br>
+		Revere his consort's faith, his father's fame,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And spare the meek usurper's holy head.<br>
+		Above, below, the rose of snow,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Twin'd with her blushing foe, we spread:<br>
+		The bristled boar in infant gore<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Wallows beneath the thorny shade.<br>
+		Now, brothers, bending o'er the accursed loom,<br>
+		Stamp we our vengeance deep, and ratify his doom.</td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>50</small></small>
+		<br><br><br><br><br><small><small>55</small></small>
+		<br><br><br><br><br><small><small>60</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>65</small></small>
+		<br><br><br><br><br><small><small>70</small></small>
+		<br><br><br><br><br><small><small>75</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>80</small></small>
+		<br><br><br><br><br><small><small>85</small></small>
+		<br><br><br><br><br><small><small>90</small></small>
+		<br><br><br><br><br><small><small>95</small></small>
+		</td>
+	</tr>
+	<tr><td colspan="3">
+		<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 30">
+		<tr><td width="388">
+			<img src="images/31.jpg" alt="THE BLOODY TOWER">
+		</td></tr>
+		<tr><td width="388" align="center">
+			<small>THE BLOODY TOWER.</small>
+		</td></tr></table>
+	</td></tr>
+	<tr><td>&nbsp;</td>
+		<td><a name="bard7"></a><center>III. 1.</center><br>
+		"Edward, lo! to sudden fate<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;(Weave we the woof. The thread is spun.)<br>
+		Half of thy heart we consecrate.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;(The web is wove. The work is done.)<br>
+		Stay, oh stay! nor thus forlorn<br>
+		Leave me unbless'd, unpitied, here to mourn:<br>
+		In yon bright track, that fires the western skies,<br>
+		They melt, they vanish from my eyes.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;But oh! what solemn scenes on Snowdon's height<br>
+		Descending slow their glittering skirts unroll?<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Visions of glory, spare my aching sight!<br>
+		Ye unborn ages, crowd not on my soul!<br>
+		No more our long-lost Arthur we bewail.<br>
+		All hail, ye genuine kings, Britannia's issue, hail!<br>
+		<a name="bard8"></a><br><br>
+		<center>III. 2.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"Girt with many a baron bold<br>
+		Sublime their starry fronts they rear;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And gorgeous dames, and statesmen old<br>
+		In bearded majesty, appear.<br>
+		In the midst a form divine!<br>
+		Her eye proclaims her of the Briton line;<br>
+		Her lion-port, her awe-commanding face,<br>
+		Attemper'd sweet to virgin-grace.<br>
+		What strings symphonious tremble in the air,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;What strains of vocal transport round her play!<br>
+		Hear from the grave, great Taliessin, hear;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;They breathe a soul to animate thy clay.<br>
+		Bright Rapture calls, and soaring as she sings,<br>
+		Waves in the eye of heaven her many-colour'd wings.<br>
+		<a name="bard9"></a><br><br>
+		<center>III. 3.</center><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"The verse adorn again<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Fierce War, and faithful Love,<br>
+		And Truth severe, by fairy Fiction drest.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;In buskin'd measures move<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Pale Grief, and pleasing Pain,<br>
+		With Horror, tyrant of the throbbing breast.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;A voice, as of the cherub-choir,<br>
+		Gales from blooming Eden bear;<br>
+		And distant warblings lessen on my ear,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That lost in long futurity expire.<br>
+		Fond impious man, think'st thou yon sanguine cloud,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Rais'd by thy breath, has quench'd the orb of day?<br>
+		To-morrow he repairs the golden flood,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And warms the nations with redoubled ray.<br>
+		Enough for me; with joy I see<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The different doom our fates assign.<br>
+		Be thine despair, and sceptred care;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To triumph, and to die, are mine."<br>
+		He spoke, and headlong from the mountain's height<br>
+		Deep in the roaring tide he plung'd to endless night.</td>
+		<td align="right" valign="top"><br><br><br><br><br><small><small>100</small></small>
+		<br><br><br><br><br><small><small>105</small></small>
+		<br><br><br><br><br><small><small>110</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>115</small></small>
+		<br><br><br><br><br><small><small>120</small></small>
+		<br><br><br><br><br><br><br><br><br><small><small>125</small></small>
+		<br><br><br><br><br><small><small>130</small></small>
+		<br><br><br><br><br><small><small>135</small></small>
+		<br><br><br><br><br><small><small>140</small></small>
+		</td>
+	</tr>
+</table><br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 31">
+	<tr>
+		<td width="347">
+			<img src="images/32.jpg" alt="QUEEN ELIZABETH">
+		</td>
+	</tr>
+	<tr>
+		<td width="347" align="center">
+			<small>QUEEN ELIZABETH.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 32">
+	<tr>
+		<td width="383">
+			<img src="images/33.jpg" alt="Decoration">
+		</td>
+	</tr>
+</table><br>
+<a name="chap10"></a><br>
+<br>
+<h3>HYMN TO ADVERSITY.</h3>
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 3">
+	<tr>
+		<td width="251">
+			<img src="images/103.jpg" alt="Zêna&mdash;&mdash; Ton phronein brotous hodô- santa, tôi pathei mathan Thenta kuriôs echein. ÆSCHYLUS">
+		</td>
+	</tr>
+</table><br><a name="adversity1"></a>
+
+<table align="center" border="0" cellspacing="0" cellpadding="8" summary="poem13">
+	<tr><td>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</td>
+		<td>&nbsp;&nbsp;&nbsp;&nbsp;Daughter of Jove, relentless power,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thou tamer of the human breast,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Whose iron scourge and torturing hour<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The bad affright, afflict the best!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Bound in thy adamantine chain,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The proud are taught to taste of pain,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And purple tyrants vainly groan<br>
+		With pangs unfelt before, unpitied and alone.<br>
+		<a name="adversity2"></a><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;When first thy sire to send on earth<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Virtue, his darling child, design'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;To thee he gave the heavenly birth,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And bade to form her infant mind.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Stern rugged nurse! thy rigid lore<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With patience many a year she bore:<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;What sorrow was, thou bad'st her know,<br>
+		And from her own she learn'd to melt at others' woe.<br>
+		<a name="adversity3"></a><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Scar'd at thy frown terrific, fly<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Self-pleasing Folly's idle brood,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Wild Laughter, Noise, and thoughtless Joy,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And leave us leisure to be good.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Light they disperse, and with them go<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The summer friend, the flattering foe;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;By vain Prosperity receiv'd,<br>
+		To her they vow their truth, and are again believ'd.<br>
+		<a name="adversity4"></a><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Wisdom in sable garb array'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Immersed in rapturous thought profound,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;And Melancholy, silent maid,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;With leaden eye that loves the ground,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Still on thy solemn steps attend;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Warm Charity, the general friend,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With Justice, to herself severe,<br>
+		And Pity, dropping soft the sadly-pleasing tear.<br>
+		<a name="adversity5"></a><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Oh! gently on thy suppliant's head,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dread goddess, lay thy chastening hand!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Not in thy Gorgon terrors clad,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Not circled with the vengeful band<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;(As by the impious thou art seen),<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With thundering voice and threatening mien,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;With screaming Horror's funeral cry,<br>
+		Despair, and fell Disease, and ghastly Poverty:<br>
+		<a name="adversity6"></a><br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Thy form benign, O goddess, wear,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thy milder influence impart;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Thy philosophic train be there<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To soften, not to wound, my heart.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;The generous spark extinct revive,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Teach me to love and to forgive,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Exact my own defects to scan,<br>
+		What others are to feel, and know myself a Man.</td>
+		<td align="right" valign="top"><br><br><br><br><small><small>5</small></small>
+		<br><br><br><br><br><br><small><small>10</small></small>
+		<br><br><br><br><br><small><small>15</small></small>
+		<br><br><br><br><br><br><small><small>20</small></small>
+		<br><br><br><br><br><br><small><small>25</small></small>
+		<br><br><br><br><br><small><small>30</small></small>
+		<br><br><br><br><br><br><small><small>35</small></small>
+		<br><br><br><br><br><small><small>40</small></small>
+		<br><br><br><br><br><br><small><small>45</small></small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 33">
+	<tr>
+		<td width="470">
+			<img src="images/34.jpg" alt="BERKELEY CASTLE">
+		</td>
+	</tr>
+	<tr>
+		<td width="470" align="center">
+			<small>BERKELEY CASTLE.</small>
+		</td>
+	</tr>
+</table>
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem14">
+	<tr><td><small>"Mark the year, and mark the night,<br>
+		&nbsp;When Severn shall reëcho with affright<br>
+		&nbsp;The shrieks of death thro' Berkeley's roofs that ring,<br>
+		&nbsp;Shrieks of an agonizing king!"<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>The Bard</i>, 53.</small></td></tr>
+</table><br>
+<br><a name="notes"></a>
+<br>
+<br>
+<br>
+<h2>NOTES.</h2>
+<br>
+<br>
+<br>
+<br>
+<h4>LIST OF ABBREVIATIONS.</h4>
+<br>
+
+<p>A. S., Anglo-Saxon.</p>
+
+<p>Arc., Milton's <i>Arcades</i>.</p>
+
+<p>C. T., Chaucer's <i>Canterbury Tales</i>.</p>
+
+<p>Cf. (<i>confer</i>), compare.</p>
+
+<p>D. V., Goldsmith's <i>Deserted Village</i>.</p>
+
+<p>Ep., Epistle, Epode.</p>
+
+<p>Foll., following.</p>
+
+<p>F. Q., Spenser's <i>Faërie Queene</i>.</p>
+
+<p>H., Haven's <i>Rhetoric</i> (Harper's edition).</p>
+
+<p>Hales, <i>Longer English Poems</i>, edited by Rev. J. W. Hales (London,
+1872).</p>
+
+<p>Il Pens., Milton's <i>Il Penseroso</i>.</p>
+
+<p>L'All., Milton's <i>L'Allegro</i>.</p>
+
+<p>Ol., Pindar's <i>Olympian Odes</i>.</p>
+
+<p>P. L., Milton's <i>Paradise Lost</i>.</p>
+
+<p>P. R., Milton's <i>Paradise Regained</i>.</p>
+
+<p>S. A., Milton's <i>Samson Agonistes</i>.</p>
+
+<p>Shakes. Gr., Abbott's <i>Shakespearian Grammar</i> (the references are to
+<i>sections</i>, not pages).</p>
+
+<p>Shep. Kal., Spenser's <i>Shepherd's Kalendar</i>.</p>
+
+<p>st., stanza.</p>
+
+<p>Wb., Webster's Dictionary (last revised quarto edition).</p>
+
+<p>Worc., Worcester's Dictionary (quarto edition).</p>
+<br>
+
+<p>Other abbreviations (names of books in the Bible, plays of
+Shakespeare, works of Ovid, Virgil, and Horace, etc.) need no
+explanation.</p>
+<br>
+<br><a name="ill34"></a>
+<br>
+<br>
+<h3>NOTES.</h3>
+<hr align="center" width="50">
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 34">
+	<tr>
+		<td width="482">
+			<img src="images/35.jpg" alt="Original manuscript">
+		</td>
+	</tr>
+</table>
+<hr align="center" width="50">
+<br>
+<br>
+<h4>ELEGY IN A COUNTRY CHURCHYARD.</h4>
+<br>
+
+<p>This poem was begun in the year 1742, but was not finished until
+1750, when Gray sent it to Walpole with a letter (dated June 12,
+1750) in which he says: "I have been here at Stoke a few days (where
+I shall continue good part of the summer), and having put an end to a
+thing, whose beginning you have seen long ago, I immediately send it
+you. You will, I hope, look upon it in the light of a thing with an
+end to it: a merit that most of my writings have wanted, and are like
+to want." It was shown in manuscript to some of the author's friends,
+and was published in 1751 only because it was about to be printed
+surreptitiously.</p>
+
+<p>February 11, 1751, Gray wrote to Walpole that the proprietors of "the
+Magazine of Magazines" were about to publish his <i>Elegy</i>, and added,
+"I have but one bad way left to escape the honour they would inflict
+upon me; and therefore am obliged to desire you would make Dodsley
+print it immediately (which may be done in less than a week's time)
+from your copy, but without my name, in what form is most convenient
+for him, but on his best paper and character; he must correct the
+press himself,<small><small><sup>1</sup></small></small> and print it without any interval between the
+stanzas, because the sense is in some places continued beyond them;
+and the title must be&mdash;'Elegy, written in a Country Churchyard.' If
+he would add a line or two to say it came into his hands by accident,
+I should like it better." Walpole did as requested, and wrote an
+advertisement to the effect that accident alone brought the poem
+before the public, although an apology was unnecessary to any but the
+author. On which Gray wrote, "I thank you for your advertisement,
+which saves my honour."</p>
+<a name="elegyfootnote1"></a>
+<blockquote><small><small><sup>1</sup></small> Dodsley's proof-reading must have been somewhat
+careless, for there are many errors of the press in this <i>editio
+princeps</i>. Gray writes to Walpole, under date of "Ash-Wednesday,
+Cambridge, 1751," as follows: "Nurse Dodsley has given it a pinch or
+two in the cradle, that (I doubt) it will bear the marks of as long
+as it lives. But no matter: we have ourselves suffered under her
+hands before now; and besides, it will only look the more careless
+and by <i>accident</i> as it were." Again, March 3, 1751, he writes: "I do
+not expect any more editions; as I have appeared in more magazines
+than one. The chief errata were <i>sacred</i> for <i>secret;</i> <i>hidden</i> for
+<i>kindred</i> (in spite of dukes and classics); and '<i>frowning</i> as in
+scorn' for <i>smiling</i>. I humbly propose, for the benefit of Mr.
+Dodsley and his matrons, that take <i>awake</i> [in line 92, which at
+first read "awake and faithful to her wonted fires"] for a verb, that
+they should read <i>asleep</i>, and all will be right." Other errors were,
+"Their <i>harrow</i> oft the stubborn glebe," "And read their <i>destiny</i> in
+a nation's eyes," "With uncouth rhymes and shapeless <i>culture</i>
+decked," "Slow through the churchway <i>pass</i>," and many of minor
+importance.</small></blockquote>
+<a name="elegynotes1"></a>
+<p>A writer in <i>Notes and Queries</i>, June 12, 1875, states that the poem
+first appeared in the <i>London Magazine</i>, March, 1751, p. 134, and
+that "the Magazine of Magazines" is "a gentle term of scorn used by
+Gray to indicate" that periodical, and not the name of any actual
+magazine. But in the next number of <i>Notes and Queries</i> (June 19,
+1875) Mr. F. Locker informs us that he has in his possession a
+title-page of the <i>Grand Magazine of Magazines</i>, and the page of the
+number for April, 1751, which contains the <i>Elegy</i>. The magazine is
+said to be "collected and digested by Roger Woodville, Esq.," and
+"published by Cooper at the Globe, in Pater Noster Row."</p>
+
+<p>Gray says nothing in his letters of the appearance of the <i>Elegy</i> in
+the <i>London Magazine</i>. The full title of that periodical was "The
+London Magazine: or Gentleman's Monthly Intelligencer." The editor's
+name was not given; the publisher was "R. Baldwin, jun. at the Rose
+in Pater-Noster Row." The volume for 1751 was the 20th, and the
+Preface (written at the close of the year) begins thus: "As the two
+most formidable Enemies we have ever had, are now extinct, we have
+great Reason to conclude, that it is only the Merit, and real
+Usefulness of our C<small>OLLECTION</small>, that hath supported its Sale and
+Reputation for Twenty Years." A foot-note informs us that the
+"Enemies" are the "<i>Magazine of Magazines</i> and <i>Grand Magazine of
+Magazines;</i>" from which it would appear that there were two
+periodicals of similar name published in London in 1751.<small><small><sup>2</sup></small></small></p>
+
+<blockquote><small><small><sup>2</sup></small> May not the <i>Elegy</i> have been printed in both of these?
+We do not know how otherwise to reconcile the conflicting statements
+concerning the "Magazine of Magazines," as Gray calls it. In the
+first place, Gray appears (from other portions of his letter to
+Walpole) to be familiar with this magazine, and would not be likely
+to confound it with another of similar name. Then, as we have seen,
+he writes <i>early in March</i> to Walpole that the poem has been printed
+"in more magazines than one." This cannot refer to the <i>Grand
+Magazine of Magazines</i>, if, as Mr. Locker states, it was the <i>April</i>
+number of that periodical in which the poem appeared. Nor can it
+refer to the <i>London Magazine</i>, as it is clear from internal evidence
+that the March number, containing the <i>Elegy</i>, was not issued until
+early in April. It contains a summary of current news down to Sunday,
+March 31, and the price of stocks in the London market for March 30.
+The <i>February</i> number, in its "monthly catalogue" of new books,
+records the publication of the <i>Elegy</i> by Dodsley thus: "An Elegy
+wrote in a Church-yard, pr. 6d. Dodsley."</small></blockquote>
+
+<blockquote><small>If, then, the <i>Elegy</i> did not appear in either the <i>London Magazine</i>
+or the <i>Grand Magazine of Magazines</i> until more than a month (in the
+case of the latter, perhaps two months) after Dodsley had issued it,
+in what magazine was it that it <i>did</i> appear just before he issued
+it? The <i>N. A. Review</i> says that "it was a close race between the
+Magazine and Dodsley; but the former, having a little the start, came
+out a few days ahead." If so, it must have been the <i>March</i> number;
+or the <i>February</i> one, if it was published, like the <i>London</i>, at the
+end of the month. Gray calls it "the Magazine of Magazines," and we
+shall take his word for it until we have reason for doubting it. What
+else was included in his "more magazines than one" we cannot even
+guess.</small></blockquote>
+
+<blockquote><small>We have not been able to find the <i>Magazine of Magazines</i> or the
+<i>Grand Magazine of Magazines</i> in the libraries, and know nothing
+about either "of our own knowledge." The <i>London Magazine</i> is in the
+Harvard College Library, and the statements concerning that we can
+personally vouch for.</small></blockquote>
+
+<p>The author's name is not given with the <i>Elegy</i> as printed in the
+<i>London Magazine</i>. The poem is sandwiched between an "Epilogue to
+<i>Alfred, a Masque</i>" and some coarse rhymes entitled "Strip-Me-Naked,
+or Royal Gin for ever." There is not even a printer's "rule" or
+"dash" to separate the title of the latter from the last line of the
+<i>Elegy</i>. The poem is more correctly printed than in Dodsley's
+authorized edition; though, queerly enough, it has "winds" in the
+second line and the parenthesis "(all he had)" in the Epitaph. Of
+Dodsley's misprints noted above it has only "Their <i>harrow</i> oft" and
+"shapeless <i>culture</i>." These four errors, indeed, are the only ones
+worth noting, except "Or <i>wake</i> to extasy the living lyre."</p>
+
+<p>The "Magazine of Magazines" (as the writer in the <i>North American
+Review</i> tells us) printed the <i>Elegy</i> with the author's name. The
+authorized though anonymous edition was thus briefly noticed by <i>The
+Monthly Review</i>, the critical Rhadamanthus of the day: "<i>An Elegy in
+a Country Churchyard</i>. 4to. Dodsley's. Seven pages.&mdash;The excellence
+of this little piece amply compensates for its want of quantity."</p>
+
+<p>"Soon after its publication," says Mason, "I remember, sitting with
+Mr. Gray in his College apartment, he expressed to me his surprise at
+the rapidity of its sale. I replied:</p>
+
+<center><small>'Sunt lacrymae rerum, et mentem mortalia tangunt.'</small></center>
+
+<p>He paused awhile, and taking his pen, wrote the line on a printed
+copy of it lying on his table. 'This,' said he, 'shall be its future
+motto.' 'Pity,' cried I, 'that Dr. Young's Night Thoughts have
+preoccupied it.' 'So,' replied he, 'indeed it is.'" Gray himself
+tells the story of its success on the margin of the manuscript copy
+of the <i>Elegy</i> preserved at Cambridge among his papers, and
+reproduced in <i>fac-simile</i> in Mathias's elegant edition of the poet.
+The following is a careful transcript of the memorandum:</p>
+
+<blockquote>"publish'd in<br>
+   Feb:<small><sup>ry</sup></small>, 1751.<br>
+   by Dodsley: &amp;<br>
+   went thro' four<br>
+   Editions; in two<br>
+   months; and af-<br>
+   terwards a fifth<br>
+   6<small><sup>th</sup></small> 7<small><sup>th</sup></small> &amp; 8<small><sup>th</sup></small> 9<small><sup>th</sup></small> &amp; 10<small><sup>th</sup></small><br>
+   &amp; 11<small><sup>th</sup></small><br>
+   printed also in 1753<br>
+   with M<small><sup>r</sup></small> Bentley's<br>
+   Designs, of w<small><sup>ch</sup></small><br>
+   there is a 2<small><sup>d</sup></small> Edition<br>
+   &amp; again by Dodsley<br>
+   in his Miscellany,<br>
+   Vol: 4<small><sup>th</sup></small> &amp; in a<br>
+   Scotch Collection<br>
+   call'd <i>the Union</i>.<br>
+   translated into<br>
+   Latin by Chr: Anstey<br>
+   Esq, &amp; the Rev<small><sup>d</sup></small> M<small><sup>r</sup></small><br>
+   Roberts, &amp; publish'd<br>
+   in 1762; &amp; again<br>
+   in the same year<br>
+   by Rob: Lloyd, M: A:"</blockquote>
+
+<p>"One peculiar and remarkable tribute to the merit of the <i>Elegy</i>,"
+says Professor Henry Reed, "is to be noticed in the great number of
+translations which have been made of it into various languages, both
+of ancient and modern Europe. It is the same kind of tribute which
+has been rendered to <i>Robinson Crusoe</i> and to <i>The Pilgrim's
+Progress</i>, and is proof of the same universality of interest,
+transcending the limits of language and of race. To no poem in the
+English language has the same kind of homage been paid so abundantly.
+Of what other poem is there a polyglot edition? Italy and England
+have competed with their polyglot editions of the <i>Elegy:</i> Torri's,
+bearing the title, 'Elegia di Tomaso Gray sopra un Cimitero di
+Campagna, tradotta dall' Inglese in più lingue: Verona, 1817;
+Livorno, 1843;' and Van Voorst's London edition." Professor Reed adds
+a list of the translations (which, however, is incomplete), including
+one in Hebrew, seven in Greek, twelve in Latin, thirteen in Italian,
+fifteen in French, six in German, and one in Portuguese.</p>
+
+<p>"Had Gray written nothing but his <i>Elegy</i>," remarks Byron, "high as
+he stands, I am not sure that he would not stand higher; it is the
+cornerstone of his glory."</p>
+
+<p>The tribute paid the poem by General Wolfe is familiar to all, but we
+cannot refrain from quoting Lord Mahon's beautiful account of it in
+his <i>History of England</i>. On the night of September 13th, 1759, the
+night before the battle on the Plains of Abraham, Wolfe was
+descending the St. Lawrence with a part of his troops. The historian
+says: "Swiftly, but silently, did the boats fall down with the tide,
+unobserved by the enemy's sentinels at their posts along the shore.
+Of the soldiers on board, how eagerly must every heart have throbbed
+at the coming conflict! how intently must every eye have contemplated
+the dark outline, as it lay pencilled upon the midnight sky, and as
+every moment it grew closer and clearer, of the hostile heights! Not
+a word was spoken&mdash;not a sound heard beyond the rippling of the
+stream. Wolfe alone&mdash;thus tradition has told us&mdash;repeated in a low
+tone to the other officers in his boat those beautiful stanzas with
+which a country churchyard inspired the muse of Gray. One noble line,</p>
+
+<center><small>'The paths of glory lead but to the grave,'</small></center>
+
+<p>must have seemed at such a moment fraught with mournful meaning. At
+the close of the recitation Wolfe added, 'Now, gentlemen, I would
+rather be the author of that poem than take Quebec.'"</p>
+
+<p>Hales, in his Introduction to the poem, remarks: "The <i>Elegy</i> is
+perhaps the most widely known poem in our language. The reason of
+this extensive popularity is perhaps to be sought in the fact that it
+expresses in an exquisite manner feelings and thoughts that are
+universal. In the current of ideas in the <i>Elegy</i> there is perhaps
+nothing that is rare, or exceptional, or out of the common way. The
+musings are of the most rational and obvious character possible; it
+is difficult to conceive of any one musing under similar
+circumstances who should not muse so; but they are not the less deep
+and moving on this account. The mystery of life does not become
+clearer, or less solemn and awful, for any amount of contemplation.
+Such inevitable, such everlasting questions as rise on the mind when
+one lingers in the precincts of Death can never lose their freshness,
+never cease to fascinate and to move. It is with such questions, that
+would have been commonplace long ages since if they could ever be so,
+that the <i>Elegy</i> deals. It deals with them in no lofty philosophical
+manner, but in a simple, humble, unpretentious way, always with the
+truest and the broadest humanity. The poet's thoughts turn to the
+poor; he forgets the fine tombs inside the church, and thinks only of
+the 'mouldering heaps' in the churchyard. Hence the problem that
+especially suggests itself is the potential greatness, when they
+lived, of the 'rude forefathers' that now lie at his feet. He does
+not, and cannot solve it, though he finds considerations to mitigate
+the sadness it must inspire; but he expresses it in all its awfulness
+in the most effective language and with the deepest feeling; and his
+expression of it has become a living part of our language."</p>
+
+<p>The writer in the <i>North American Review</i> (vol. 96) from whom we have
+elsewhere quoted says of the <i>Elegy:</i> "It is upon this that Gray's
+fame as a poet must chiefly rest. By this he will be known forever
+alike to the lettered and the unlettered. Many, in future ages, who
+may never have heard of his classic Odes, his various learning, or
+his sparkling letters, will revere him only as the author of the
+<i>Elegy</i>. For this he will be enshrined through all time in the hearts
+of the myriads who shall speak our English tongue. For this his name
+will be held in glad remembrance in the far-off summer isles of the
+Pacific, and amidst the waste of polar snows. If he had written
+nothing else, his place as a leading poet in our language would still
+be assured. Many have asserted, with Johnson, that he was a mere
+mechanical poet&mdash;one who brought from without, but never found
+within; that the gift of inspiration was not native to him; that his
+imagination was borrowed finery, his fancy tinsel, and his invention
+the world's well-worn jewels; that whatever in his verse was poetic
+was not new, and what was new was not poetic; that he was only an
+unworldly dyspeptic, living amid many books, and laboriously delving
+for a lifetime between musty covers, picking out now and then
+another's gems and bits of ore, and fashioning them into
+ill-compacted mosaics, which he wrongly called his own. To all this
+the <i>Elegy</i> is a sufficient answer. It is not old&mdash;it is not bookish;
+it is new and human. Books could not make its maker: he was born of
+the divine breath alone. Consider all the commentators, the
+scholiasts, the interpreters, the annotators, and other like
+book-worms, from Aristarchus down to Döderlein; and may it not be
+said that, among them all, 'Nec viget quidquam simile aut secundum?'</p>
+
+<p>"Gray wrote but little, yet he wrote that little well. He might have
+done far more for us; the same is true of most men, even of the
+greatest. The possibilities of a life are always in advance of its
+performance. But we cannot say that his life was a wasted one. Even
+this little <i>Elegy</i> alone should go for much. For, suppose that he
+had never written this, but instead had done much else in other ways,
+according to his powers: that he had written many learned treatises;
+that he had, with keen criticism, expounded and reconstructed Greek
+classics; that he had, perchance, sat upon the woolsack, and laid
+rich offerings at the feet of blind Justice;&mdash;taking the years
+together, would it have been, on the whole, better for him or for us?
+Would he have added so much to the sum of human happiness? He might
+thus have made himself a power for a time, to be dethroned by some
+new usurper in the realm of knowledge; now he is a power and a joy
+forever to countless thousands."</p>
+<br>
+
+<p>Two manuscripts of the <i>Elegy</i>, in Gray's handwriting, still exist.
+Both were bequeathed by the poet, together with his library, letters,
+and many miscellaneous papers, to his friends the Rev. William Mason
+and the Rev. James Browne, as joint literary executors. Mason
+bequeathed the entire trust to Mr. Stonhewer. The latter, in making
+his will, divided the legacy into two parts. The larger share went to
+the Master and Fellows of Pembroke Hall. Among the papers, which are
+still in the possession of the College, was found a copy of the
+<i>Elegy</i>. An excellent fac-simile of this manuscript appears in
+Mathias's edition of Gray, published in 1814. In referring to it
+hereafter we shall designate it as the "Pembroke" MS.</p>
+
+<p>The remaining portion of Gray's literary bequest, including the other
+manuscript of the <i>Elegy</i>, was left by Mr. Stonhewer to his friend,
+Mr. Bright. In 1845 Mr. Bright's sons sold the collection at auction.
+The MS. of the <i>Elegy</i> was bought by Mr. Granville John Penn, of
+Stoke Park, for <i>one hundred pounds</i>&mdash;the highest sum that had ever
+been known to be paid for a single sheet of paper. In 1854 this
+manuscript came again into the market, and was knocked down to Mr.
+Robert Charles Wrightson, of Birmingham, for &pound;131. On the 29th
+of May, 1875, it was once more offered for sale in London, and was
+purchased by Sir William Fraser for &pound;230, or about $1150. A
+photographic reproduction of it was published in London in 1862. For
+convenience we shall refer to it as the "Wrightson" MS.</p>
+
+<p>There can be little doubt that the Wrightson MS. is the original one,
+and that the Pembroke MS. is a fair copy made from it by the poet.
+The former contains a greater number of alterations, and varies more
+from the printed text. It bears internal evidence of being the rough
+draft, while the other represents a later stage of the poem. We will
+give the variations of both from the present version.<small><small><sup>3</sup></small></small></p>
+
+<blockquote><small><small><sup>3</sup></small> For the readings of the Wrightson MS. we have had to
+depend on Mason, Mitford, and other editors of the poem, and on the
+article in the <i>North American Review</i>, already referred to. The
+readings of the Pembroke MS. are taken from the engraved fac-simile
+in Mathias's edition.</small></blockquote>
+
+<blockquote><small>The two stanzas of which a fac-simile is given <a href="#ill34">above</a> are from
+the Pembroke MS., but the wood-cut hardly does justice to the
+feminine delicacy of the poet's handwriting.</small></blockquote>
+
+<p>The Wrightson MS. has in the <a href="#elegy1">first stanza</a>, "The lowing herd <i>wind</i>
+slowly," etc. See our note on this line, <a href="#elegyl2">below</a>.</p>
+
+<p>In the <a href="#elegy2">2d stanza</a>, it reads, "And <i>now</i> the air," etc.</p>
+
+<p>The <a href="#elegy5">5th stanza</a> is as follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem15">
+	<tr><td><small>"For ever sleep: the breezy call of morn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Or swallow twitt'ring from the straw-built shed,<br>
+		&nbsp;Or Chanticleer so shrill, or echoing horn,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;No more shall rouse them from their lowly bed."</small></td></tr>
+</table>
+
+<p>In <a href="#elegy8">8th stanza</a>, "Their <i>rustic</i> joys," etc.</p>
+
+<p>In <a href="#elegy10">10th stanza</a>, the first two lines read,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem16">
+	<tr><td><small>"Forgive, ye proud, th' involuntary fault,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;If memory to these no trophies raise."</small></td></tr>
+</table>
+
+<p>In <a href="#elegy12">12th stanza</a>, "Hands that the <i>reins</i> of empire," etc.</p>
+
+<p>In <a href="#elegy13">13th stanza</a>, "Chill Penury <i>depress'd</i>," etc.</p>
+
+<p>The <a href="#elegy15">15th stanza</a> reads thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem17">
+	<tr><td><small>"Some village Cato, who, with dauntless breast,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The little tyrant of his fields withstood;<br>
+		&nbsp;Some mute inglorious Tully here may rest,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Some Cæsar guiltless of his country's blood."<small><sup>4</sup></small></small></td></tr>
+</table>
+<a name="elegyfootnote4"></a>
+<blockquote><small><small><sup>4</sup></small> The <i>Saturday Review</i> for June 19, 1875, has a long
+article on the change made by Gray in this stanza, entitled, "A
+Lesson from Gray's Elegy," from which we cull the following
+paragraphs:</small></blockquote>
+
+<blockquote><small>"Gray, having first of all put down the names of three Romans as
+illustrations of his meaning, afterwards deliberately struck them out
+and put the names of three Englishmen instead. This is a sign of a
+change in the taste of the age, a change with which Gray himself had
+a good deal to do. The deliberate wiping out of the names of Cato,
+Tully, and Cæsar, to put in the names of Hampden, Milton, and
+Cromwell, seems to us so obviously a change for the better that there
+seems to be no room for any doubt about it. It is by no means certain
+that Gray's own contemporaries would have thought the matter equally
+clear. We suspect that to many people in his day it must have seemed
+a daring novelty to draw illustrations from English history,
+especially from parts of English history which, it must be
+remembered, were then a great deal more recent than they are now. To
+be sure, in choosing English illustrations, a poet of Gray's time was
+in rather a hard strait. If he chose illustrations from the century
+or two before his own time, he could only choose names which had
+hardly got free from the strife of recent politics. If, in a poem of
+the nature of the Elegy, he had drawn illustrations from earlier
+times of English history, he would have found but few people in his
+day likely to understand him....</small></blockquote>
+
+<blockquote><small>"The change which Gray made in this well-known stanza is not only an
+improvement in a particular poem, it is a sign of a general
+improvement in taste. He wrote first according to the vicious taste
+of an earlier time, and he then changed it according to his own
+better taste. And of that better taste he was undoubtedly a prophet
+to others. Gray's poetry must have done a great deal to open men's
+eyes to the fact that they were Englishmen, and that on them, as
+Englishmen, English things had a higher claim than Roman, and that to
+them English examples ought to be more speaking than Roman ones. But
+there is another side of the case not to be forgotten. Those who
+would have regretted the change from Cato, Tully, and Cæsar to
+Hampden, Milton, and Cromwell, those who perhaps really did think
+that the bringing in of Hampden, Milton, and Cromwell was a
+degradation of what they would have called the Muse, were certainly
+not those who had the truest knowledge of Cato, Tully, and Cæsar. The
+'classic' taste from which Gray helped to deliver us was a taste
+which hardly deserves to be called a taste. Pardonable perhaps in the
+first heat of the Renaissance, when 'classic' studies and objects had
+the charm of novelty, it had become by his day a mere silly
+fashion."</small></blockquote>
+
+<p>In <a href="#elegy18">18th stanza</a>, "Or <i>crown</i> the shrine," etc.</p>
+<a name="elegynotes2"></a>
+<p>After this stanza, the MS. has the following four stanzas, now
+omitted:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem18">
+	<tr><td><small>"The thoughtless world to Majesty may bow,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Exalt the brave, and idolize success;<br>
+		&nbsp;But more to innocence their safety owe<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Than Pow'r, or Genius, e'er conspir'd to bless.<br>
+		<br>
+		"And thou who, mindful of the unhonour'd Dead,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dost in these notes their artless tale relate,<br>
+		&nbsp;By night and lonely contemplation led<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To wander in the gloomy walks of fate:<br>
+		<br>
+		"Hark! how the sacred Calm, that breathes around,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Bids every fierce tumultuous passion cease;<br>
+		&nbsp;In still small accents whisp'ring from the ground<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A grateful earnest of eternal peace.<br>
+		<br>
+		"No more, with reason and thyself at strife,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Give anxious cares and endless wishes room;<br>
+		&nbsp;But through the cool sequester'd vale of life<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pursue the silent tenor of thy doom."<small><sup>5</sup></small></small></td></tr>
+</table>
+
+<blockquote><small><small><sup>5</sup></small> We follow Mason (ed. 1778) in the text of these stanzas.
+The <i>North American Review</i> has "Power <i>and</i> Genius" in the first,
+and "<i>linger</i> in the <i>lonely</i> walks" in the second.</small></blockquote>
+
+<p>The second of these stanzas has been remodelled and used as the 24th
+of the present version. Mason thought that there was a pathetic
+melancholy in all four which claimed preservation. The third he
+considered equal to any in the whole <i>Elegy</i>. The poem was originally
+intended to end here, the introduction of "the hoary-headed swain"
+being a happy after-thought.</p>
+
+<p>In the <a href="#elegy19">19th stanza</a>, the MS. has "never <i>learn'd</i> to stray."</p>
+
+<p>In the <a href="#elegy21">21st stanza</a>, "fame and <i>epitaph</i>," etc.</p>
+
+<p>In the <a href="#elegy23">23d stanza</a>, the last line reads,</p>
+
+<center><small>"And buried ashes glow with social fires."</small></center>
+
+<p>"Social" subsequently became "wonted," and other changes were made
+(see <a href="#elegyfootnote1">above</a>, foot-note) before the line took its present form.</p>
+<a name="elegy24note"></a>
+<p>The <a href="#elegy24">24th stanza</a> reads,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem19">
+	<tr><td><small>"If chance that e'er some pensive Spirit more,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;By sympathetic musings here delay'd,<br>
+		&nbsp;With vain, though kind inquiry shall explore<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Thy once-lov'd haunt, this long-deserted shade."<small><sup>6</sup></small></small></td></tr>
+</table>
+
+<blockquote><small><small><sup>6</sup></small> Mitford (Eton ed.) gives "sympathizing" in the second
+line, and for the last,</small></blockquote>
+
+<center><small>"Thy ever loved haunt&mdash;this long deserted shade."</small></center>
+
+<blockquote><small>The latter is obviously wrong (Gray was incapable of such metre), and
+the former is probably wrong also.</small></blockquote>
+
+<p>The last line of the <a href="#elegy25">25th stanza</a> reads,</p>
+
+<center><small>"On the high brow of yonder hanging lawn."</small></center>
+
+<p>Then comes the following stanza, afterwards omitted:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem20">
+	<tr><td><small>"Him have we seen the greenwood side along,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;While o'er the heath we hied, our labour done,<br>
+		&nbsp;Oft as the woodlark pip'd her farewell song,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;With wistful eyes pursue the setting sun."<small><sup>7</sup></small></small></td></tr>
+</table>
+
+<p>Mason remarked: "I rather wonder that he rejected this stanza, as it
+not only has the same sort of Doric delicacy which charms us
+peculiarly in this part of the poem, but also completes the account
+of his whole day; whereas, this evening scene being omitted, we have
+only his morning walk, and his noontide repose."</p>
+
+<blockquote><small><small><sup>7</sup></small> Here also we follow Mason; the <i>North American Review</i>
+reads "our <i>labours</i> done."</small></blockquote>
+
+<p>The first line of the <a href="#elegy27">27th stanza</a> reads,</p>
+
+<center><small>"With gestures quaint, now smiling as in scorn."</small></center>
+<a name="elegynotes3"></a>
+<p>After the <a href="#elegy29">29th stanza</a>, and before the Epitaph, the MS. contains the
+following omitted stanza:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem21">
+	<tr><td><small>"There scatter'd oft, the earliest of the year,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;By hands unseen are frequent violets found;<br>
+		&nbsp;The robin loves to build and warble there,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And little footsteps lightly print the ground."</small></td></tr>
+</table>
+
+<p>This&mdash;with two or three verbal changes only<small><small><sup>8</sup></small></small>&mdash;was inserted in all
+the editions up to 1753, when it was dropped. The omission was not
+made from any objection to the stanza in itself, but simply because
+it was too long a parenthesis in this place; on the principle which
+he states in a letter to Dr. Beattie: "As to description, I have
+always thought that it made the most graceful ornament of poetry, but
+never ought to make the subject." The part was sacrificed for the
+good of the whole. Mason very justly remarked that "the lines,
+however, are in themselves exquisitely fine, and demand
+preservation."</p>
+
+<blockquote><small><small><sup>8</sup></small> See <a href="#elegynotes4">below</a>. The writer in the <i>North American Review</i>
+is our only authority for the stanza as given above. He appears to
+have had the photographic reproduction of the Wrightson MS., but we
+cannot vouch for the accuracy of his transcripts from it.</small></blockquote>
+
+<p>The first line of the <a href="#elegy31">31st stanza</a> has "and his <i>heart</i> sincere."</p>
+
+<p>The <a href="#elegy32">32d and last stanza</a> is as follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem22">
+	<tr><td><small>"No farther seek his merits to disclose,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Nor seek to draw them from their dread abode&mdash;<br>
+		&nbsp;(His frailties there in trembling hope repose);<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The bosom of his Father and his God."<small><sup>9</sup></small></small></td></tr>
+</table>
+
+<blockquote><small><small><sup>9</sup></small> The above are all the variations from the present text
+in the Wrightson MS. which are noted by the authorities on whom we
+have depended; but we suspect that the following readings, mentioned
+by Mitford as in the MS., belong to <i>that</i> MS., as they are <i>not</i>
+found in the other: in the <a href="#elegy7">7th stanza</a>, "sickles" for "sickle;" in
+<a href="#elegy18">18th</a>, "shrines" for "shrine." Two others (in stanzas 9th and 27th)
+are referred to in our account of the Pembroke MS. below.</small></blockquote>
+
+<p>The Pembroke MS. has the following variations from the present
+version:</p>
+
+<p>In the <a href="#elegy1">1st stanza</a>, "wind" for "winds."</p>
+
+<p><a href="#elegy2">2d stanza</a>, "<i>Or</i> drowsy," etc.</p>
+
+<p><a href="#elegy5">5th stanza</a>, "<i>and</i> the ecchoing horn."</p>
+
+<p><a href="#elegy6">6th stanza</a>, "<i>Nor</i> climb his knees."</p>
+
+<p><a href="#elegy9">9th stanza</a>, "<i>Awaits</i> alike." Probably this is also the reading of
+the Wrightson MS. Mitford gives it as noted by Mason, and it is
+retained by Gray in the ed. of 1768.</p>
+
+<p>The <a href="#elegy10">10th stanza</a> begins,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem23">
+	<tr><td><small>"<i>Forgive</i>, ye Proud, <i>th' involuntary</i> fault<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;If Memory <i>to these</i>," etc.,</small></td></tr>
+</table>
+
+<p>the present readings ("Nor you," "impute to these," and "Mem'ry o'er
+their tomb") being inserted in the margin.</p>
+
+<p>The <a href="#elegy12">12th stanza</a> has "<i>reins</i> of empire," with "rod" in the margin.</p>
+
+<p>In the <a href="#elegy15">15th stanza</a>, the word "lands" has been crossed out, and
+"fields" written above it.</p>
+
+<p>The <a href="#elegy17">17th</a> has "<i>Or</i> shut the gates," etc.</p>
+
+<p>In the <a href="#elegy21">21st</a> we have "fame and <i>epitaph</i> supply."</p>
+
+<p>The <a href="#elegy23">23d</a> has "<i>And</i> in our ashes <i>glow</i>," the readings "Ev'n" and
+"live" being inserted in the margin.</p>
+
+<p>The <a href="#elegy27">27th stanza</a> has "<i>would he</i> rove." We suspect that this is also
+the reading of the Wrightson MS., as Mitford says it is noted by
+Mason.</p>
+
+<p>In the <a href="#elegy28">28th stanza</a>, the first line reads "<i>from</i> the custom'd hill."</p>
+
+<p>In the <a href="#elegy29">29th</a> a word which we cannot make out has been erased, and
+"aged" substituted.</p>
+<a name="elegynotes4"></a>
+<p>Before the Epitaph, two asterisks refer to the bottom of the page,
+where the following stanza is given, with the marginal note, "Omitted
+in 1753:"</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem24">
+	<tr><td><small>"There scatter'd oft, the earliest of the Year,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;By Hands unseen, are Show'rs of Violets found;<br>
+		&nbsp;The Red-breast loves to build, and warble there,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And little Footsteps lightly print the Ground."</small></td></tr>
+</table>
+
+<p>The last two lines of the <a href="#elegy31">31st stanza</a> (see note <a href="#elegyl123">below</a>) are pointed as
+follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem25">
+	<tr><td><small>"He gave to Mis'ry all he had, a Tear,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;He gain'd from Heav'n ('twas all he wish'd) a Friend."</small></td></tr>
+</table>
+
+<p>Some of the peculiarities of spelling in this MS. are the following:
+"Curfeu;" "Plowman;" "Tinkleings;" "mopeing;" "ecchoing;" "Huswife;"
+"Ile" (aisle); "wast" (waste); "village-Hambden;" "Rhimes;"
+"spell't;" "chearful;" "born" (borne); etc.</p>
+
+<p>Mitford, in his Life of Gray prefixed to the "Eton" edition of his
+Poems (edited by Rev. John Moultrie, 1847), says: "I possess many
+curious variations from the printed text, taken from a copy of it in
+his own handwriting." He adds specimens of these variations, a few of
+which differ from both the Wrightson and Pembroke MSS. We give these
+in our notes below. See on <a href="#elegyl12">12</a>, <a href="#elegyl24">24</a>, and <a href="#elegyl93">93</a>.</p>
+<br>
+
+<p>Several localities have contended for the honor of being the scene of
+the <i>Elegy</i>, but the general sentiment has always, and justly, been
+in favor of Stoke-Pogis. It was there that Gray began the poem in
+1742; and there, as we have seen, he finished it in 1750. In that
+churchyard his mother was buried, and there, at his request, his own
+remains were afterwards laid beside her. The scene is, moreover, in
+all respects in perfect keeping with the spirit of the poem.</p>
+
+<p>According to the common Cambridge tradition, Granchester, a parish
+about two miles southwest of the University, to which Gray was in the
+habit of taking his "constitutional" daily, is the locality of the
+poem; and the great bell of St. Mary's is the "curfew" of the first
+stanza. Another tradition makes a similar claim for Madingley, some
+three miles and a half northwest of Cambridge. Both places have
+churchyards such as the <i>Elegy</i> describes; and this is about all that
+can be said in favor of their pretensions. There is also a parish
+called Burnham Beeches, in Buckinghamshire, which one writer at least
+has suggested as the scene of the poem, but for no better reason than
+that Gray once wrote a description of the place to Walpole, and
+casually mentioned the existence of certain "beeches," at the foot of
+which he would "squat," and "there grow to the trunk a whole
+morning." Gray's uncle had a seat in the neighborhood, and the poet
+often visited here, but the spot was not hallowed to him by the fond
+and tender associations that gathered about Stoke.</p>
+<br>
+<a name="elegyl1"></a>
+<p><a href="#elegy1">1.</a> <i>The curfew</i>. Hales remarks: "It is a great mistake to suppose
+that the ringing of the curfew was, at its institution, a mark of
+Norman oppression. If such a custom was unknown before the Conquest,
+it only shows that the old English police was less well-regulated
+than that of many parts of the Continent, and how much the superior
+civilization of the Norman-French was needed. Fires were the curse of
+the timber-built towns of the Middle Ages: 'Solae pestes Londoniae
+sunt stultorum immodica potatio et <i>frequens incendium</i>'
+(Fitzstephen). The enforced extinction of domestic lights at an
+appointed signal was designed to be a safeguard against them."</p>
+
+<p>Warton wanted to have this line read</p>
+
+<center><small>"The curfew tolls!&mdash;the knell of parting day."</small></center>
+
+<p>It is sufficient to say that Gray, as the manuscript shows, did not
+want it to read so, and that we much prefer his way to Warton's.</p>
+
+<p>Mitford says that <i>toll</i> is "not the appropriate verb," as the curfew
+was rung, not tolled. We presume that depended, to some extent, on
+the fancy of the ringer. Milton (<i>Il Pens.</i> 76) speaks of the curfew
+as</p>
+
+<center><small>"Swinging slow with sullen roar."</small></center>
+
+<p>Gray himself quotes here Dante, <i>Purgat.</i> 8:</p>
+
+<center><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;"squilla di lontano<br>
+Che paia 'l giorno pianger, che si muore;"</small></center>
+
+<p>and we cannot refrain from adding, for the benefit of those
+unfamiliar with Italian, Longfellow's exquisite translation:</p>
+
+<center><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;"from far away a bell<br>
+That seemeth to deplore the dying day."</small></center>
+
+<p>Mitford quotes (incorrectly, as often) Dryden, <i>Prol. to Troilus and
+Cressida</i>, 22:</p>
+
+<center><small>"That tolls the knell for their departed sense."</small></center>
+
+<p>On <i>parting</i>=departing, cf. Shakes. <i>Cor.</i> v. 6: "When I parted
+hence;" Goldsmith, <i>D. V.</i> 171: "Beside the bed where parting life
+was laid," etc.</p>
+<a name="elegyl2"></a>
+<p><a href="#elegy1">2.</a> <i>The lowing herd wind</i>, etc. <i>Wind</i>, and not <i>winds</i>, is the
+reading of the MS. (see fac-simile of this stanza <a href="#ill34">above</a>) and of
+<i>all</i> the early editions&mdash;that of 1768, Mason's, Wakefield's,
+Mathias's, etc.&mdash;but we find no note of the fact in Mitford's or any
+other of the more recent editions, which have substituted <i>winds</i>.
+Whether the change was made as an amendment or accidentally, we do
+not know;<small><small><sup>10</sup></small></small> but the original reading seems to us by far the better
+one. The poet does not refer to the herd as an aggregate, but to the
+animals that compose it. He sees, not <i>it</i>, but "<i>them</i> on their
+winding way." The ordinary reading mars both the meaning and the
+melody of the line.</p>
+<a name="elegyfootnote10"></a>
+<blockquote><small><small><sup>10</sup></small> Very likely the latter, as we have seen that <i>winds</i>
+appears in the unauthorized version of the <i>London Magazine</i> (March,
+1751), where it may be a misprint, like the others noted above.</small></blockquote>
+
+<blockquote><small>We may remark here that the edition of 1768&mdash;the <i>editio princeps</i> of
+the <i>collected</i> Poems&mdash;was issued under Gray's own supervision, and
+is printed with remarkable accuracy. We have detected only one
+indubitable error of the type in the entire volume. Certain
+peculiarities of spelling were probably intentional, as we find the
+like in the fac-similes of the poet's manuscripts. The many
+quotations from Greek, Latin, and Italian are correctly given
+(according to the received texts of the time), and the references to
+authorities, so far as we have verified them, are equally exact. The
+book throughout bears the marks of Gray's scholarly and critical
+habits, and we may be sure that the poems appear in precisely the
+form which he meant they should retain. In doubtful cases, therefore,
+we have generally followed this edition. Mason's (the <i>second</i>
+edition: York, 1778) is also carefully edited and printed, and its
+readings seldom vary from Gray's. All of Mitford's that we have
+examined swarm with errors, especially in the notes. Pickering's
+(1835), edited by Mitford, is perhaps the worst of all. The Boston
+ed. (Little, Brown, &amp; Co., 1853) is a pretty careful reproduction of
+Pickering's, with all its inaccuracies.</small></blockquote>
+
+<p><a href="#elegy1">3.</a> The critic of the <i>N. A. Review</i> points out that this line "is
+quite peculiar in its possible transformations. We have made," he
+adds, "twenty different versions preserving the rhythm, the general
+sentiment and the rhyming word. Any one of these variations might be,
+not inappropriately, substituted for the original reading."</p>
+
+<p>Luke quotes Spenser, <i>F. Q.</i> vi. 7, 39: "And now she was uppon the
+weary way."</p>
+
+<p><a href="#elegy2">6.</a> <i>Air</i> is of course the object, not the subject of the verb.</p>
+
+<p><a href="#elegy2">7.</a> <i>Save where the beetle</i>, etc. Cf. Collins, <i>Ode to Evening:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem26">
+	<tr><td><small>"Now air is hush'd, save where the weak-eyed bat<br>
+		&nbsp;With short shrill shriek flits by on leathern wing,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Or where the beetle winds<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;His small but sullen horn,<br>
+		&nbsp;As oft he rises 'midst the twilight path,<br>
+		&nbsp;Against the pilgrim borne in heedless hum."</small></td></tr>
+</table>
+
+<p>and <i>Macbeth</i>, iii. 2:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem27">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;"Ere the bat hath flown<br>
+		His cloister'd flight; ere to black Hecate's summons<br>
+		The shard-borne beetle, with his drowsy hums,<br>
+		Hath rung night's yawning peal," etc.</small></td></tr>
+</table>
+
+<p><a href="#elegy3">10.</a> <i>The moping owl</i>. Mitford quotes Ovid, <i>Met.</i> v. 550: "Ignavus
+bubo, dirum mortalibus omen;" Thomson, <i>Winter</i>, 114:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem28">
+	<tr><td><small>"Assiduous in his bower the wailing owl<br>
+		&nbsp;Plies his sad song;"</small></td></tr>
+</table>
+
+<p>and Mallet, <i>Excursion:</i></p>
+
+<center><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"the wailing owl<br>
+Screams solitary to the mournful moon."</small></center>
+<a name="elegyl12"></a>
+<p><a href="#elegy3">12.</a> <i>Her ancient solitary reign</i>. Cf. Virgil, <i>Geo.</i> iii. 476:
+"desertaque regna pastorum." A MS. variation of this line mentioned
+by Mitford is, "Molest and pry into her ancient reign."</p>
+
+<p><a href="#elegy4">13.</a> "As he stands in the churchyard, he thinks only of the poorer
+people, because the better-to-do lay interred inside the church.
+Tennyson (<i>In Mem.</i> x.) speaks of resting</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem29">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;'beneath the clover sod<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That takes the sunshine and the rains,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Or where the kneeling hamlet drains<br>
+		The chalice of the grapes of God.'</small></td></tr>
+</table>
+
+<p>In Gray's time, and long before, and some time after it, the former
+resting-place was for the poor, the latter for the rich. It was so in
+the first instance, for two reasons: (i.) the interior of the church
+was regarded as of great sanctity, and all who could sought a place
+in it, the most dearly coveted spot being near the high altar; (ii.)
+when elaborate tombs were the fashion, they were built inside the
+church for the sake of security, 'gay tombs' being liable to be
+'robb'd' (see the funeral dirge in Webster's <i>White Devil</i>). As these
+two considerations gradually ceased to have power, and other
+considerations of an opposite tendency began to prevail, the inside
+of the church became comparatively deserted, except when ancestral
+reasons gave no choice" (Hales).</p>
+
+<p><a href="#elegy5">17.</a> Cf. Milton, <i>Arcades</i>, 56: "the odorous breath of morn;" <i>P. L.</i>
+ix. 192:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem30">
+	<tr><td><small>"Now when as sacred light began to dawn<br>
+		&nbsp;In Eden on the humid flowers that breath'd<br>
+		&nbsp;Their morning incense," etc.</small></td></tr>
+</table>
+
+<p><a href="#elegy5">18.</a> Hesiod ([Greek: Erg.] 568) calls the swallow [Greek: orthogoê
+chelidôn.] Cf. Virgil, <i>Æn.</i> viii. 455:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem31">
+	<tr><td><small>"Evandrum ex humili tecto lux suscitat alma,<br>
+		&nbsp;Et matutini volucrum sub culmine cantus."</small></td></tr>
+</table>
+
+<p><a href="#elegy5">19.</a> <i>The cock's shrill clarion</i>. Cf. Philips, <i>Cyder</i>, i. 753:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem32">
+	<tr><td><small>"When chanticleer with clarion shrill recalls<br>
+		&nbsp;The tardy day;"</small></td></tr>
+</table>
+
+<p>Milton, <i>P. L.</i> vii. 443:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem33">
+	<tr><td><small>"The crested cock, whose clarion sounds<br>
+		&nbsp;The silent hours;"</small></td></tr>
+</table>
+
+<p><i>Hamlet</i>, i. 1:</p>
+
+<center><small>"The cock that is the trumpet to the morn;"</small></center>
+
+<p>Quarles, <i>Argalus and Parthenia:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem34">
+	<tr><td><small>"I slept not till the early bugle-horn<br>
+		&nbsp;Of chaunticlere had summon'd in the morn;"</small></td></tr>
+</table>
+
+<p>and Thomas Kyd, <i>England's Parnassus:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem35">
+	<tr><td><small>"The cheerful cock, the sad night's trumpeter,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Wayting upon the rising of the sunne;<br>
+		&nbsp;The wandering swallow with her broken song," etc.</small></td></tr>
+</table>
+
+<p><a href="#elegy5">20.</a> <i>Their lowly bed</i>. Wakefield remarks: "Some readers, keeping in
+mind the 'narrow cell' above, have mistaken the 'lowly bed' in this
+verse for the grave&mdash;a most puerile and ridiculous blunder;" and
+Mitford says: "Here the epithet 'lowly,' as applied to 'bed,'
+occasions some ambiguity as to whether the poet meant the bed on
+which they sleep, or the grave in which they are laid, which in
+poetry is called a 'lowly bed.' Of course the former is designed; but
+Mr. Lloyd, in his Latin translation, mistook it for the latter."</p>
+
+<p><a href="#elegy6">21.</a> Cf. Lucretius, iii. 894:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem36">
+	<tr><td><small>"Jam jam non domus accipiet te laeta, neque uxor<br>
+		&nbsp;Optima nee dulces occurrent oscula nati<br>
+		&nbsp;Praeripere et tacita pectus dulcedine tangent;"</small></td></tr>
+</table>
+
+<p>and Horace, <i>Epod.</i> ii. 39:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem37">
+	<tr><td><small>"Quod si pudica mulier in partem juvet<br>
+		&nbsp;Domum atque dulces liberos<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;*<br>
+		&nbsp;Sacrum vetustis exstruat lignis focum<br>
+		&nbsp;Lassi sub adventum viri," etc.</small></td></tr>
+</table>
+
+<p>Mitford quotes Thomson, <i>Winter</i>, 311:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem38">
+	<tr><td><small>"In vain for him the officious wife prepares<br>
+		&nbsp;The fire fair-blazing, and the vestment warm;<br>
+		&nbsp;In vain his little children, peeping out<br>
+		&nbsp;Into the mingling storm, demand their sire<br>
+		&nbsp;With tears of artless innocence."</small></td></tr>
+</table>
+
+<p>Wakefield cites <i>The Idler</i>, 103: "There are few things, not purely
+evil, of which we can say without some emotion of uneasiness, <i>this
+is the last</i>."</p>
+
+<p><a href="#elegy6">22.</a> <i>Ply her evening care</i>. Mitford says, "To <i>ply a care</i> is an
+expression that is not proper to our language, and was probably
+formed for the rhyme <i>share</i>." Hales remarks: "This is probably the
+kind of phrase which led Wordsworth to pronounce the language of the
+<i>Elegy</i> unintelligible. Compare his own</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem39">
+	<tr><td><small>'And she I cherished <i>turned her wheel</i><br>
+		&nbsp;Beside an English fire.'"</small></td></tr>
+</table>
+
+<p><a href="#elegy6">23.</a> <i>No children run</i>, etc. Hales quotes Burns, <i>Cotter's Saturday
+Night</i>, 21:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem40">
+	<tr><td><small>"Th' expectant wee-things, toddlin, stacher through<br>
+		&nbsp;To meet their Dad, wi' flichterin noise an' glee."</small></td></tr>
+</table>
+<a name="elegyl24"></a>
+<p><a href="#elegy6">24.</a> Among Mitford's MS. variations we find "coming kiss." Wakefield
+compares Virgil, <i>Geo.</i> ii. 523:</p>
+
+<center><small>"Interea dulces pendent circum oscula nati;"</small></center>
+
+<p>and Mitford adds from Dryden,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem41">
+	<tr><td><small>"Whose little arms about thy legs are cast,<br>
+		&nbsp;And climbing for a kiss prevent their mother's haste."</small></td></tr>
+</table>
+
+<p>Cf. Thomson, <i>Liberty</i>, iii. 171:</p>
+
+<center><small>"His little children climbing for a kiss."</small></center>
+<a name="elegyl26"></a>
+<p><a href="#elegy7">26.</a> <i>The stubborn glebe</i>. Cf. Gay, <i>Fables</i>, ii. 15:</p>
+
+<center><small>"'Tis mine to tame the stubborn glebe."</small></center>
+
+<p><i>Broke</i>=broken, as often in poetry, especially in the Elizabethan
+writers. See Abbott, <i>Shakes. Gr.</i> 343.</p>
+<a name="elegyl27"></a>
+<p><a href="#elegy7">27.</a> <i>Drive their team afield</i>. Cf. <i>Lycidas</i>, 27: "We drove afield;"
+and Dryden,<i> Virgil's Ecl.</i> ii. 38: "With me to drive afield."</p>
+
+<p><a href="#elegy7">28.</a> <i>Their sturdy stroke</i>. Cf. Spenser, <i>Shep. Kal.</i> Feb.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem42">
+	<tr><td><small>"But to the roote bent his sturdy stroake,<br>
+		&nbsp;And made many wounds in the wast [wasted] Oake;"</small></td></tr>
+</table>
+
+<p>and Dryden, <i>Geo.</i> iii. 639:</p>
+
+<center><small>"Labour him with many a sturdy stroke."</small></center>
+
+<p><a href="#elegy8">30.</a> As Mitford remarks, <i>obscure</i> and <i>poor</i> make "a very imperfect
+rhyme;" and the same might be said of <i>toil</i> and <i>smile</i>.</p>
+
+<p><a href="#elegy9">33.</a> Mitford suggests that Gray had in mind these verses from his
+friend West's <i>Monody on Queen Caroline:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem43">
+	<tr><td><small>"Ah, me! what boots us all our boasted power,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Our golden treasure, and our purple state;<br>
+		&nbsp;They cannot ward the inevitable hour,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Nor stay the fearful violence of fate."</small></td></tr>
+</table>
+
+<p>Hurd compares Cowley:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem44">
+	<tr><td><small>"Beauty, and strength, and wit, and wealth, and power,<br>
+		&nbsp;Have their short flourishing hour;<br>
+		&nbsp;And love to see themselves, and smile,<br>
+		&nbsp;And joy in their pre-eminence a while:<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Even so in the same land<br>
+		&nbsp;Poor weeds, rich corn, gay flowers together stand;<br>
+		&nbsp;Alas! Death mows down all with an impartial hand."</small></td></tr>
+</table>
+
+<p><a href="#elegy9">35.</a> <i>Awaits</i>. The reading of the ed. of 1768, as of the Pembroke (and
+probably the other) MS. <i>Hour</i> is the subject, not the object, of the
+verb.</p>
+
+<p><a href="#elegy9">36.</a> Hayley, in the Life of Crashaw, <i>Biographia Britannica</i>, says
+that this line is "literally translated from the Latin prose of
+Bartholinus in his Danish Antiquities."</p>
+<a name="elegyl39"></a>
+<p><a href="#elegy10">39.</a> <i>Fretted</i>. The <i>fret</i> is, strictly, an ornament used in classical
+architecture, formed by small fillets intersecting each other at
+right angles. Parker (<i>Glossary of Architecture</i>) derives the word
+from the Latin <i>fretum</i>, a strait; and Hales from <i>ferrum</i>, iron,
+through the Italian <i>ferrata</i>, an iron grating. It is more likely
+(see Stratmann and Wb.) from the A. S. <i>frætu</i>, an ornament.</p>
+
+<p>Cf. <i>Hamlet</i>, ii. 2:</p>
+
+<center><small>"This majestical roof fretted with golden fire;"</small></center>
+
+<p>and <i>Cymbeline</i>, ii. 4:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem45">
+	<tr><td><small>"The roof o' the chamber<br>
+		&nbsp;With golden cherubins is fretted."</small></td></tr>
+</table>
+
+<p><a href="#elegy10">40.</a> <i>The pealing anthem</i>. Cf. <i>Il Penseroso</i>, 161:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem46">
+	<tr><td><small>"There let the pealing organ blow<br>
+		&nbsp;To the full-voiced quire below,<br>
+		&nbsp;In service high, and anthem clear," etc.</small></td></tr>
+</table>
+
+<p><a href="#elegy11">41.</a> <i>Storied urn</i>. Cf. <i>Il Pens.</i> 159: "storied windows richly
+dight." On <i>animated bust</i>, cf. Pope, <i>Temple of Fame</i>, 73: "Heroes
+in animated marble frown;" and Virgil, <i>Æn.</i> vi. 847: "spirantia
+aera."</p>
+<a name="elegyl43"></a>
+<p><a href="#elegy11">43.</a> <i>Provoke</i>. Mitford considers this use of the word "unusually
+bold, to say the least." It is simply the etymological meaning, <i>to
+call forth</i> (Latin, <i>provocare</i>). See Wb. Cf. Pope, <i>Ode</i>:</p>
+
+<center><small>"But when our country's cause provokes to arms."</small></center>
+
+<p><a href="#elegy11">44.</a> <i>Dull cold ear</i>. Cf. Shakes. <i>Hen. VIII.</i> iii. 2: "And sleep in
+dull, cold marble."</p>
+
+<p><a href="#elegy12">46.</a> <i>Pregnant with celestial fire</i>. This phrase has been copied by
+Cowper in his <i>Boadicea</i>, which is said (see notes of "Globe" ed.) to
+have been written after reading Hume's History, in 1780:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem47">
+	<tr><td><small>"Such the bard's prophetic words,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Pregnant with celestial fire,<br>
+		&nbsp;Bending as he swept the chords<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Of his sweet but awful lyre."</small></td></tr>
+</table>
+
+<p><a href="#elegy12">47.</a> Mitford quotes Ovid, <i>Ep.</i> v. 86:</p>
+
+<center><small>"Sunt mihi quas possint sceptra decere manus."</small></center>
+
+<p><a href="#elegy12">48.</a> <i>Living lyre</i>. Cf. Cowley:</p>
+
+<center><small>"Begin the song, and strike the living lyre;"</small></center>
+
+<p>and Pope, <i>Windsor Forest</i>, 281:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem48">
+	<tr><td><small>"Who now shall charm the shades where Cowley strung<br>
+		&nbsp;His living harp, and lofty Denham sung?"</small></td></tr>
+</table>
+
+<p><a href="#elegy13">50.</a> Cf. Browne, <i>Religio Medici:</i> "Rich with the spoils of nature."</p>
+<a name="elegyl51"></a>
+<p><a href="#elegy13">51.</a> "<i>Rage</i> is often used in the post-Elizabethan writers of the 17th
+century, and in the 18th century writers, for inspiration,
+enthusiasm" (Hales). Cf. Cowley:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem49">
+	<tr><td><small>"Who brought green poesy to her perfect age,<br>
+		&nbsp;And made that art which was a rage?"</small></td></tr>
+</table>
+
+<p>and Tickell, <i>Prol.:</i></p>
+
+<center><small>"How hard the task! How rare the godlike rage!"</small></center>
+
+<p>Cf. also the use of the Latin <i>rabies</i> for the "divine afflatus," as
+in <i>Æneid</i>, vi. 49.</p>
+
+<p><a href="#elegy14">53.</a> <i>Full many a gem</i>, etc. Cf. Bishop Hall, <i>Contemplations:</i> "There
+is many a rich stone laid up in the bowells of the earth, many a fair
+pearle in the bosome of the sea, that never was seene, nor never
+shall bee."</p>
+
+<p><i>Purest ray serene</i>. As Hales remarks, this is a favourite
+arrangement of epithets with Milton. Cf. <i>Hymn on Nativity:</i>
+"flower-inwoven tresses torn;" <i>Comus:</i> "beckoning shadows dire;"
+"every alley green," etc.; <i>L'Allegro:</i> "native wood-notes wild;"
+<i>Lycidas:</i> "sad occasion dear;" "blest kingdoms meek," etc.</p>
+
+<p><a href="#elegy14">55.</a> <i>Full many a flower</i>, etc. Cf. Pope, <i>Rape of the Lock</i>, iv. 158:</p>
+
+<center><small>"Like roses that in deserts bloom and die."</small></center>
+
+<p>Mitford cites Chamberlayne, <i>Pharonida</i>, ii. 4:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem50">
+	<tr><td><small>"Like beauteous flowers which vainly waste their scent<br>
+		&nbsp;Of odours in unhaunted deserts;"</small></td></tr>
+</table>
+
+<p>and Young, <i>Univ. Pass.</i> sat. v.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem51">
+	<tr><td><small>"In distant wilds, by human eyes unseen,<br>
+		&nbsp;She rears her flowers, and spreads her velvet green;<br>
+		&nbsp;Pure gurgling rills the lonely desert trace,<br>
+		&nbsp;And waste their music on the savage race;"</small></td></tr>
+</table>
+
+<p>and Philip, <i>Thule:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem52">
+	<tr><td><small>"Like woodland flowers, which paint the desert glades,<br>
+		&nbsp;And waste their sweets in unfrequented shades."</small></td></tr>
+</table>
+
+<p>Hales quotes Waller's</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem53">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Go, lovely rose,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;Tell her that's young<br>
+		And shuns to have her graces spied,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;That hadst thou sprung<br>
+		In deserts where no men abide<br>
+		Thou must have uncommended died."</small></td></tr>
+</table>
+
+<p>On <i>desert air</i>, cf. <i>Macbeth</i>, iv. 3: "That would be howl'd out in
+the desert air."</p>
+
+<p><a href="#elegy15">57.</a> It was in 1636 that John Hampden, of Buckinghamshire (a cousin of
+Oliver Cromwell), refused to pay the ship-money tax which Charles I.
+was levying without the authority of Parliament.</p>
+<a name="elegyl58"></a>
+<p><a href="#elegy15">58.</a> <i>Little tyrant</i>. Cf. Thomson, <i>Winter:</i></p>
+
+<center><small>"With open freedom little tyrants raged."</small></center>
+
+<p>The artists who have illustrated this passage (see, for instance,
+<i>Favourite English Poems</i>, p. 305, and <i>Harper's Monthly</i>, vol. vii.
+p. 3) appear to understand "little" as equivalent to <i>juvenile</i>. If
+that had been the meaning, the poet would have used some other phrase
+than "of his fields," or "his lands," as he first wrote it.</p>
+
+<p><a href="#elegy15">59.</a> <i>Some mute inglorious Milton</i>. Cf. Phillips, preface to <i>Theatrum
+Poetarum:</i> "Even the very names of some who having perhaps been
+comparable to Homer for heroic poesy, or to Euripides for tragedy,
+yet nevertheless sleep inglorious in the crowd of the forgotten
+vulgar."</p>
+
+<p><a href="#elegy15">60.</a> <i>Some Cromwell</i>, etc. Hales remarks: "The prejudice against
+Cromwell was extremely strong throughout the 18th century, even
+amongst the more liberal-minded. That cloud of 'detractions rude,' of
+which Milton speaks in his noble sonnet to our 'chief of men' as in
+his own day enveloping the great republican leader, still lay thick
+and heavy over him. His wise statesmanship, his unceasing
+earnestness, his high-minded purpose, were not yet seen."</p>
+
+<p>After this stanza Thomas Edwards, the author of the <i>Canons of
+Criticism</i>, would add the following, to supply what he deemed a
+defect in the poem:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem54">
+	<tr><td><small>"Some lovely fair, whose unaffected charms<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Shone with attraction to herself alone;<br>
+		&nbsp;Whose beauty might have bless'd a monarch's arms,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Whose virtue cast a lustre on a throne.<br>
+		<br>
+		"That humble beauty warm'd an honest heart,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And cheer'd the labours of a faithful spouse;<br>
+		&nbsp;That virtue form'd for every decent part<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The healthful offspring that adorn'd their house."</small></td></tr>
+</table>
+
+<p>Edwards was an able critic, but it is evident that he was no poet.</p>
+
+<p><a href="#elegy16">63.</a> Mitford quotes Tickell:</p>
+
+<center><small>"To scatter blessings o'er the British land;"</small></center>
+
+<p>and Mrs. Behn:</p>
+
+<center><small>"Is scattering plenty over all the land."</small></center>
+
+<p><a href="#elegy17">66.</a> <i>Their growing virtues</i>. That is, the growth of their virtues.</p>
+
+<p><a href="#elegy17">67.</a> <i>To wade through slaughter</i>, etc. Cf. Pope, <i>Temp. of Fame</i>, 347:</p>
+
+<center><small>"And swam to empire through the purple flood."</small></center>
+
+<p><a href="#elegy17">68.</a> Cf. Shakes. <i>Hen. V.</i> iii. 3:</p>
+
+<center><small>"The gates of mercy shall be all shut up."</small></center>
+
+<p><a href="#elegy18">70.</a> <i>To quench the blushes</i>, etc. Cf. Shakes. <i>W. T.</i> iv. 3:</p>
+
+<center><small>"Come, quench your blushes, and present yourself."</small></center>
+
+<p><a href="#elegy19">73.</a> <i>Far from the madding crowd's</i>, etc. Rogers quotes Drummond:</p>
+
+<center><small>"Far from the madding worldling's hoarse discords."</small></center>
+
+<p>Mitford points out "the ambiguity of this couplet, which indeed gives
+a sense exactly contrary to that intended; to avoid which one must
+break the grammatical construction." The poet's meaning is, however,
+clear enough.</p>
+
+<p><a href="#elegy19">75.</a> Wakefield quotes Pope, <i>Epitaph on Fenton:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem55">
+	<tr><td><small>"Foe to loud praise, and friend to learned ease,<br>
+		&nbsp;Content with science in the vale of peace."</small></td></tr>
+</table>
+
+<p><a href="#elegy20">77.</a> <i>These bones</i>. "The bones of these. So <i>is</i> is often used in
+Latin, especially by Livy, as in v. 22: '<i>Ea</i> sola pecunia,' the
+money derived from that sale, etc." (Hales).</p>
+
+<p><a href="#elegy21">84.</a> <i>That teach</i>. Mitford censures <i>teach</i> as ungrammatical; but it
+may be justified as a "construction according to sense."</p>
+
+<p><a href="#elegy22">85.</a> Hales remarks: "At the first glance it might seem that <i>to dumb
+Forgetfulness a prey</i> was in apposition to <i>who</i>, and the meaning
+was, 'Who that now lies forgotten,' etc.; in which case the second
+line of the stanza must be closely connected with the fourth; for the
+question of the passage is not 'Who ever died?' but 'Who ever died
+without wishing to be remembered?' But in this way of interpreting
+this difficult stanza (i.) there is comparatively little force in the
+appositional phrase, and (ii.) there is a certain awkwardness in
+deferring so long the clause (virtually adverbal though apparently
+coördinate) in which, as has just been noticed, the point of the
+question really lies. Perhaps therefore it is better to take the
+phrase <i>to dumb Forgetfulness a prey</i> as in fact the completion of
+the predicate <i>resign'd</i>, and interpret thus: Who ever resigned this
+life of his with all its pleasures and all its pains to be utterly
+ignored and forgotten?=who ever, when resigning it, reconciled
+himself to its being forgotten? In this case the second half of the
+stanza echoes the thought of the first half."</p>
+
+<p>We give the note in full, and leave the reader to take his choice of
+the two interpretations. For ourself, we incline to the first rather
+than the second. We prefer to take <i>to dumb Forgetfulness a prey</i> as
+appositional and proleptic, and not as the grammatical complement of
+<i>resigned:</i> Who, yielding himself up a prey to dumb Forgetfulness,
+ever resigned this life without casting a longing, lingering look
+behind?</p>
+<a name="elegyl90"></a>
+<p><a href="#elegy23">90.</a> <i>Pious</i> is used in the sense of the Latin <i>pius</i>. Ovid has "piae
+lacrimae." Mitford quotes Pope, <i>Elegy on an Unfortunate Lady</i>, 49:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem56">
+	<tr><td><small>"No friend's complaint, no kind domestic tear<br>
+		&nbsp;Pleas'd thy pale ghost, or grac'd thy mournful bier;<br>
+		&nbsp;By foreign hands thy dying eyes were clos'd."</small></td></tr>
+</table>
+
+<p>"In this stanza," says Hales, "he answers in an exquisite manner the
+two questions, or rather the one question twice repeated, of the
+preceding stanza.... What he would say is that every one while a
+spark of life yet remains in him yearns for some kindly loving
+remembrance; nay, even after the spark is quenched, even when all is
+dust and ashes, that yearning must still be felt."</p>
+
+<p><a href="#elegy23">91, 92.</a> Mitford paraphrases the couplet thus: "The voice of Nature
+still cries from the tomb in the language of the epitaph inscribed
+upon it, which still endeavours to connect us with the living; the
+fires of former affection are still alive beneath our ashes."</p>
+
+<p>Cf. Chaucer, <i>C. T.</i> 3880:</p>
+
+<center><small>"Yet in our ashen cold is fire yreken."</small></center>
+
+<p>Gray himself quotes Petrarch, <i>Sonnet</i> 169:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem57">
+	<tr><td><small>"Ch'i veggio nel pensier, dolce mio fuoco,<br>
+		&nbsp;Fredda una lingua e due begli occhi chiusi,<br>
+		&nbsp;Rimaner doppo noi pien di faville,"</small></td></tr>
+</table>
+
+<p>translated by Nott as follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem58">
+	<tr><td><small>"These, my sweet fair, so warns prophetic thought,<br>
+		&nbsp;Clos'd thy bright eye, and mute thy poet's tongue,<br>
+		&nbsp;E'en after death shall still with sparks be fraught,"</small></td></tr>
+</table>
+
+<p>the "these" meaning his love and his songs concerning it. Gray
+translated this sonnet into Latin elegiacs, the last line being
+rendered,</p>
+
+<center><small>"Ardebitque urna multa favilla mea."</small></center>
+<a name="elegyl93"></a>
+<p><a href="#elegy24">93.</a> On a MS. variation of this stanza given by Mitford, see <a href="#elegy24note">above</a>,
+footnote.</p>
+<a name="elegyl95"></a>
+<p><a href="#elegy24">95.</a> <i>Chance</i> is virtually an adverb here = perchance.</p>
+
+<p><a href="#elegy25">98.</a> <i>The peep of dawn</i>. Mitford quotes <i>Comus</i>, 138:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem59">
+	<tr><td><small>"Ere the blabbing eastern scout,<br>
+		&nbsp;The nice morn, on the Indian steep<br>
+		&nbsp;From her cabin'd loop-hole peep."</small></td></tr>
+</table>
+
+<p><a href="#elegy25">99.</a> Cf. Milton, <i>P. L.</i> v. 428:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem60">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"though from off the boughs each morn<br>
+		We brush mellifluous dews;"</small></td></tr>
+</table>
+
+<p>and <i>Arcades</i>, 50:</p>
+
+<center><small>"And from the boughs brush off the evil dew."</small></center>
+
+<p>Wakefield quotes Thomson, <i>Spring</i>, 103:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem61">
+	<tr><td><small>"Oft let me wander o'er the dewy fields,<br>
+		&nbsp;Where freshness breathes, and dash the trembling drops<br>
+		&nbsp;From the bent brush, as through the verdant maze<br>
+		&nbsp;Of sweetbrier hedges I pursue my walk."</small></td></tr>
+</table>
+<a name="elegyl100"></a>
+<p><a href="#elegy25">100.</a> <i>Upland lawn</i>. Cf. Milton, <i>Lycidas</i>, 25:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem62">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"Ere the high lawns appear'd<br>
+		Under the opening eyelids of the morn."</small></td></tr>
+</table>
+
+<p>In <i>L'Allegro</i>, 92, we have "upland hamlets," where Hales thinks
+"upland=country, as opposed to town." He adds, "Gray in his <i>Elegy</i>
+seems to use the word loosely for 'on the higher ground;' perhaps he
+took it from Milton, without quite understanding in what sense Milton
+uses it." We doubt whether Hales understands Milton here. It is true
+that <i>upland</i> used to mean country, as <i>uplanders</i> meant countrymen,
+and <i>uplandish</i> countrified (see Nares and Wb.), but the other
+meaning is older than Milton (see Halliwell's <i>Dict. of Archaic
+Words</i>), and Johnson, Keightley, and others are probably right in
+considering "upland hamlets" an instance of it. Masson, in his recent
+edition of Milton (1875), explains the "upland hamlets" as "little
+villages among the slopes, away from the river-meadows and the
+hay-making."</p>
+
+<p><a href="#elegy26">101.</a> As Mitford remarks, <i>beech</i> and <i>stretch</i> form an imperfect
+rhyme.</p>
+
+<p><a href="#elegy26">102.</a> Luke quotes Spenser, <i>Ruines of Rome</i>, st. 28:</p>
+
+<center><small>"Shewing her wreathed rootes and naked armes."</small></center>
+
+<p><a href="#elegy26">103.</a> <i>His listless length</i>. Hales compares <i>King Lear</i>, i. 4: "If you
+will measure your lubber's length again, tarry." Cf. also <i>Brittain's
+Ida</i> (formerly ascribed to Spenser, but rejected by the best
+editors), iii. 2:</p>
+
+<center><small>"Her goodly length stretcht on a lilly-bed."</small></center>
+
+<p><a href="#elegy26">104.</a> Cf. Thomson, <i>Spring</i>, 644: "divided by a babbling brook;" and
+Horace, <i>Od.</i> iii. 13, 15:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem63">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"unde loquaces<br>
+		Lymphae desiliunt tuae."</small></td></tr>
+</table>
+
+<p>Wakefield quotes <i>As You Like It</i>, ii. 1:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem64">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"As he lay along<br>
+		Under an oak whose antique root peeps out<br>
+		Upon the brook that brawls along this road."</small></td></tr>
+</table>
+
+<p><a href="#elegy27">105.</a> <i>Smiling as in scorn</i>. Cf. Shakes. <i>Pass. Pilgrim</i>, 14:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem65">
+	<tr><td><small>"Yet at my parting sweetly did she smile,<br>
+		&nbsp;In scorn or friendship, nill I construe whether."</small></td></tr>
+</table>
+
+<p>and Skelton, <i>Prol. to B. of C.:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem66">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"Smylynge half in scorne<br>
+		At our foly."</small></td></tr>
+</table>
+<a name="elegyl107"></a>
+<p><a href="#elegy27">107.</a> <i>Woeful-wan</i>. Mitford says: "<i>Woeful-wan</i> is not a legitimate
+compound, and must be divided into two separate words, for such they
+are, when released from the <i>handcuffs</i> of the hyphen." The hyphen is
+not in the edition of 1768, and we should omit it if it were not
+found in the Pembroke MS.</p>
+
+<p>Wakefield quotes Spenser, <i>Shep. Kal.</i> Jan.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem67">
+	<tr><td><small>"For pale and wanne he was (alas the while!)<br>
+		&nbsp;May seeme he lovd, or els some care he tooke."</small></td></tr>
+</table>
+
+<p><a href="#elegy27">108.</a> "<i>Hopeless</i> is here used in a proleptic or anticipatory way"
+(Hales).</p>
+<a name="elegyl109"></a>
+<p><a href="#elegy28">109.</a> <i>Custom'd</i> is Gray's word, not <i>'custom'd</i>, as usually printed.
+See either Wb. or Worc. s. v. Cf. Milton, <i>Ep. Damonis:</i> "Simul
+assueta seditque sub ulmo."</p>
+<a name="elegyl114"></a>
+<p><a href="#elegy29">114.</a> <i>Churchway path</i>. Cf. Shakes. <i>M. N. D.</i> v. 2:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem68">
+	<tr><td><small>"Now it is the time of night,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;That the graves all gaping wide,<br>
+		&nbsp;Every one lets forth his sprite<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In the churchway paths to glide."</small></td></tr>
+</table>
+
+<p><a href="#elegy29">115.</a> <i>For thou canst read</i>. The "hoary-headed swain" of course could
+<i>not</i> read.</p>
+<a name="elegyl116"></a>
+<p><a href="#elegy29">116.</a> <i>Grav'd</i>. The old form of the participle is <i>graven</i>, but
+<i>graved</i> is also in good use. The old preterite <i>grove</i> is obsolete.</p>
+
+<p><a href="#elegy30">117.</a> <i>The lap of earth</i>. Cf. Spenser, <i>F. Q.</i> v. 7, 9:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem69">
+	<tr><td><small>"For other beds the Priests there used none,<br>
+		&nbsp;But on their mother Earths deare lap did lie;"</small></td></tr>
+</table>
+
+<p>and Milton, <i>P. L.</i> x. 777:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem70">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"How glad would lay me down,<br>
+		As in my mother's lap!"</small></td></tr>
+</table>
+
+<p>Lucretius (i. 291) has "gremium matris terrai." Mitford adds the
+pathetic sentence of Pliny, <i>Hist. Nat.</i> ii. 63: "Nam terra novissime
+complexa gremio jam a reliqua natura abnegatos, tum maxime, ut mater,
+operit."</p>
+<a name="elegyl123"></a>
+<p><a href="#elegy31">123.</a> <i>He gave to misery all he had, a tear</i>. This is the pointing of
+the line in the MSS. and in all the early editions except that of
+Mathias, who seems to be responsible for the change (adopted by the
+recent editors, almost without exception) to,</p>
+
+<center><small>"He gave to Misery (all he had) a tear."</small></center>
+
+<p>This alters the meaning, mars the rhythm, and spoils the sentiment.
+If one does not see the difference at once, it would be useless to
+try to make him see it. Mitford, who ought to have known better, not
+only thrusts in the parenthesis, but quotes this from Pope's Homer as
+an illustration of it:</p>
+
+<center><small>"His fame ('tis all the dead can have) shall live."</small></center>
+
+<p><a href="#elegy32">126.</a> Mitford says that <i>Or</i> in this line should be <i>Nor</i>. Yes, if
+"draw" is an imperative, like "seek;" no, if it is an infinitive, in
+the same construction as "to disclose." That the latter was the
+construction the poet had in mind is evident from the form of the
+stanza in the Wrightson MS., where "seek" is repeated:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem71">
+	<tr><td><small>"No farther seek his merits to disclose,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Nor seek to draw them from their dread abode."</small></td></tr>
+</table>
+
+<p><a href="#elegy32">127.</a> <i>In trembling hope</i>. Gray quotes Petrarch, <i>Sonnet</i> 104:
+"paventosa speme." Cf. Lucan, <i>Pharsalia</i>, vii. 297: "Spe trepido;"
+Mallet, <i>Funeral Hymn</i>, 473:</p>
+
+<center><small>"With trembling tenderness of hope and fear;"</small></center>
+
+<p>and Beaumont, <i>Psyche</i>, xv. 314:</p>
+
+<center><small>"Divided here twixt trembling hope and fear."</small></center>
+
+<p>Hooker (<i>Eccl. Pol.</i> i.) defines hope as "a trembling expectation of
+things far removed."</p>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 35">
+	<tr>
+		<td width="434">
+			<img src="images/36.jpg" alt="Spring scene">
+		</td>
+	</tr>
+</table>
+<br>
+<br>
+<h4>ODE ON THE SPRING.</h4>
+<br>
+
+<p>The original manuscript title of this ode was "Noontide." It was
+first printed in Dodsley's <i>Collection</i>, vol. ii. p. 271, under the
+title of "Ode."</p>
+<br>
+<a name="springl1"></a>
+<p><a href="#spring1">1.</a> <i>The rosy-bosom'd Hours</i>. Cf. Milton, <i>Comus</i>, 984: "The Graces
+and the rosy-bosom'd Hours;" and Thomson, <i>Spring</i>, 1007:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem72">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		"The rosy-bosom'd Spring<br>
+		To weeping Fancy pines."</small></td></tr>
+</table>
+
+<p>The <i>Horæ</i>, or hours, according to the Homeric idea, were the
+goddesses of the seasons, the course of which was symbolically
+represented by "the dance of the Hours." They were often described,
+in connection with the Graces, Hebe, and Aphrodite, as accompanying
+with their dancing the songs of the Muses and the lyre of Apollo.
+Long after the time of Homer they continued to be regarded as the
+givers of the seasons, especially spring and autumn, or "Nature in
+her bloom and her maturity." At first there were only two Horæ,
+Thallo (or Spring) and Karpo (or Autumn); but later the number was
+three, like that of the Graces. In art they are represented as
+blooming maidens, bearing the products of the seasons.</p>
+
+<p><a href="#spring1">2.</a> <i>Fair Venus' train</i>. The Hours adorned Aphrodite (Venus) as she
+rose from the sea, and are often associated with her by Homer,
+Hesiod, and other classical writers. Wakefield remarks: "Venus is
+here employed, in conformity to the mythology of the Greeks, as the
+source of creation and beauty."</p>
+<a name="springl3"></a>
+<p><a href="#spring1">3.</a> <i>Long-expecting</i>. Waiting long for the spring. Sometimes
+incorrectly printed "long-expected." Cf. Dryden, <i>Astræa Redux</i>, 132:
+"To flowers that in its womb expecting lie."</p>
+<a name="springl4"></a>
+<p><a href="#spring1">4.</a> <i>The purple year</i>. Cf. the <i>Pervigilium Veneris</i>, 13: "Ipsa gemmis
+purpurantem pingit annum floribus;" Pope, <i>Pastorals</i>, i. 28: "And
+lavish Nature paints the purple year;" and Mallet, <i>Zephyr:</i> "Gales
+that wake the purple year."</p>
+<a name="springl5"></a>
+<p><a href="#spring1">5.</a> <i>The Attic warbler</i>. The nightingale, called "the Attic bird,"
+either because it was so common in Attica, or from the old legend
+that Philomela (or, as some say, Procne), the daughter of a king of
+Attica, was changed into a nightingale. Cf. Milton's description of
+Athens (<i>P. R.</i> iv. 245):</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem73">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;"where the Attic bird<br>
+		Trills her thick-warbled notes the summer long."</small></td></tr>
+</table>
+
+<p>Cf. Ovid, <i>Hal.</i> 110: "Attica avis verna sub tempestate queratus;"
+and Propertius, ii. 16, 6: "Attica volucris."</p>
+
+<p><i>Pours her throat</i> is a metonymy. H. p. 85. Cf. Pope, <i>Essay on Man</i>,
+iii. 33: "Is it for thee the linnet pours her throat?"</p>
+
+<p><a href="#spring1">6, 7.</a> Cf. Thomson, <i>Spring</i>, 577:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem74">
+	<tr><td><small>"From the first note the hollow cuckoo sings,<br>
+		&nbsp;The symphony of spring."</small></td></tr>
+</table>
+
+<p><a href="#spring1">9, 10.</a> Cf. Milton, <i>Comus</i>, 989:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem75">
+	<tr><td><small>"And west winds with musky wing<br>
+		&nbsp;About the cedarn alleys fling<br>
+		&nbsp;Nard and cassia's balmy smells."</small></td></tr>
+</table>
+
+<p><a href="#spring2">12.</a> Cf. Milton, <i>P. L.</i> iv. 245: "Where the unpierc'd shade Imbrown'd
+the noontide bowers;" Pope, <i>Eloisa</i>, 170: "And breathes a browner
+horror on the woods;" Thomson, <i>Castle of Indolence</i>, i. 38: "Or
+Autumn's varied shades imbrown the walls."</p>
+
+<p>According to Ruskin (<i>Modern Painters</i>, vol. iii. p. 241, Amer. ed.)
+there is no brown in nature. After remarking that Dante "does not
+acknowledge the existence of the colour of <i>brown</i> at all," he goes
+on to say: "But one day, just when I was puzzling myself about this,
+I happened to be sitting by one of our best living modern colourists,
+watching him at his work, when he said, suddenly and by mere
+accident, after we had been talking about other things, 'Do you know
+I have found that there is no <i>brown</i> in nature? What we call brown
+is always a variety either of orange or purple. It never can be
+represented by umber, unless altered by contrast.' It is curious how
+far the significance of this remark extends, how exquisitely it
+illustrates and confirms the mediæval sense of hue," etc.</p>
+
+<p><a href="#spring2">14.</a> <i>O'ercanopies the glade</i>. Gray himself quotes Shakes. <i>M. N. D.</i>
+ii. 1: "A bank o'ercanopied with luscious woodbine."<small><small><sup>1</sup></small></small> Cf. Fletcher,
+<i>Purple Island</i>, i. 5, 30: "The beech shall yield a cool, safe
+canopy;" and Milton, <i>Comus</i>, 543: "a bank, With ivy canopied."</p>
+
+<blockquote><small><small><sup>1</sup></small> The reading of the folio of 1623 is:</small></blockquote>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem76">
+	<tr><td><small>"I know a banke where the wilde time blowes,<br>
+		&nbsp;Where Oxslips and the nodding Violet growes,<br>
+		&nbsp;Quite ouer-cannoped with luscious woodbine."</small></td></tr>
+</table>
+
+<blockquote><small>Dyce and some other modern editors read,</small></blockquote>
+
+<center><small>"Quite overcanopied with lush woodbine."</small></center>
+<a name="springl15"></a>
+<p><a href="#spring2">15.</a> <i>Rushy brink</i>. Cf. <i>Comus</i>, 890: "By the rushy-fringed bank."</p>
+
+<p><a href="#spring2">19, 20.</a> These lines, as first printed, read:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem77">
+	<tr><td><small>"How low, how indigent the proud!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;How little are the great!"</small></td></tr>
+</table>
+
+<p><a href="#spring3">22.</a> <i>The panting herds</i>. Cf. Pope, <i>Past.</i> ii. 87: "To closer shades
+the panting flocks remove."</p>
+
+<p><a href="#spring3">23.</a> <i>The peopled air</i>. Cf. Walton, <i>C. A.:</i> "Now the wing'd people of
+the sky shall sing;" Beaumont, <i>Psyche:</i> "Every tree empeopled was
+with birds of softest throats."</p>
+
+<p><a href="#spring3">24.</a> <i>The busy murmur</i>. Cf. Milton, <i>P. R.</i> iv. 248: "bees'
+industrious murmur."</p>
+
+<p><a href="#spring3">25.</a> <i>The insect youth</i>. Perhaps suggested by a line in Green's
+<i>Hermitage</i>, quoted in a letter of Gray to Walpole: "From
+maggot-youth through change of state," etc. See on 31 below.</p>
+<a name="springl26"></a>
+<p><a href="#spring3">26.</a> <i>The honied spring</i>. Cf. Milton, <i>Il Pens.</i> 142: "the bee with
+honied thigh;" and <i>Lyc.</i> 140: "the honied showers."</p>
+
+<p>"There has of late arisen," says Johnson in his Life of Gray, "a
+practice of giving to adjectives derived from substantives the
+termination of participles, such as the <i>cultured plain</i>, the
+<i>daisied bank;</i> but I am sorry to see in the lines of a scholar like
+Gray the <i>honied</i> spring." But, as we have seen, <i>honied</i> is found in
+Milton; and Shakespeare also uses it in <i>Hen. V.</i> i. 1: "honey'd
+sentences." <i>Mellitus</i> is used by Cicero, Horace, and Catullus. The
+editor of an English dictionary, as Lord Grenville has remarked,
+ought to know "that the ready conversion of our substances into
+verbs, participles, and participial adjectives is of the very essence
+of our tongue, derived from its Saxon origin, and a main source of
+its energy and richness."</p>
+
+<p><a href="#spring3">27.</a> <i>The liquid noon</i>. Gray quotes Virgil, <i>Geo.</i> iv. 59: "Nare per
+aestatem liquidam."</p>
+
+<p><a href="#spring3">30.</a> <i>Quick-glancing to the sun</i>. Gray quotes Milton, <i>P. L.</i> vii.
+405:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem78">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Sporting with quick glance,<br>
+		Show to the sun their waved coats dropt with gold."</small></td></tr>
+</table>
+<a name="springl31"></a>
+<p><a href="#spring4">31.</a> Gray here quotes Green, <i>Grotto:</i> "While insects from the
+threshold preach." In a letter to Walpole, he says: "I send you a bit
+of a thing for two reasons: first, because it is of one of your
+favourites, Mr. M. Green; and next, because I would do justice. The
+thought on which my second Ode turns [this Ode, afterwards placed
+first by Gray] is manifestly stole from hence; not that I knew it at
+the time, but having seen this many years before, to be sure it
+imprinted itself on my memory, and, forgetting the Author, I took it
+for my own." Then comes the quotation from Green's <i>Grotto</i>. The
+passage referring to the insects is as follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem79">
+	<tr><td><small>"To the mind's ear, and inward sight,<br>
+		&nbsp;There silence speaks, and shade gives light:<br>
+		&nbsp;While insects from the threshold preach,<br>
+		&nbsp;And minds dispos'd to musing teach;<br>
+		&nbsp;Proud of strong limbs and painted hues,<br>
+		&nbsp;They perish by the slightest bruise;<br>
+		&nbsp;Or maladies begun within<br>
+		&nbsp;Destroy more slow life's frail machine:<br>
+		&nbsp;From maggot-youth, thro' change of state,<br>
+		&nbsp;They feel like us the turns of fate:<br>
+		&nbsp;Some born to creep have liv'd to fly,<br>
+		&nbsp;And chang'd earth's cells for dwellings high:<br>
+		&nbsp;And some that did their six wings keep,<br>
+		&nbsp;Before they died, been forc'd to creep.<br>
+		&nbsp;They politics, like ours, profess;<br>
+		&nbsp;The greater prey upon the less.<br>
+		&nbsp;Some strain on foot huge loads to bring,<br>
+		&nbsp;Some toil incessant on the wing:<br>
+		&nbsp;Nor from their vigorous schemes desist<br>
+		&nbsp;Till death; and then they are never mist.<br>
+		&nbsp;Some frolick, toil, marry, increase,<br>
+		&nbsp;Are sick and well, have war and peace;<br>
+		&nbsp;And broke with age in half a day,<br>
+		&nbsp;Yield to successors, and away."</small></td></tr>
+</table>
+
+<p><a href="#spring5">47.</a> <i>Painted plumage</i>. Cf. Pope, <i>Windsor Forest</i>, 118: "His painted
+wings; and Milton, <i>P. L.</i> vii. 433:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem80">
+	<tr><td><small>"From branch to branch the smaller birds with song<br>
+		&nbsp;Solaced the woods, and spread their painted wings."</small></td></tr>
+</table>
+
+<p>See also Virgil, <i>Geo.</i> iii. 243, and <i>Æn.</i> iv. 525: "pictaeque
+volucres;" and Phædrus, <i>Fab.</i> iii. 18: "pictisque plumis."</p>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 36">
+	<tr>
+		<td width="289">
+			<img src="images/37.jpg" alt="Butterfly">
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+<h4>ODE ON THE DEATH OF A FAVOURITE CAT.</h4>
+<br>
+
+<p>This ode first appeared in Dodsley's <i>Collection</i>, vol. ii. p. 274,
+with some variations noticed below. Walpole, after the death of Gray,
+placed the china vase on a pedestal at Strawberry Hill, with a few
+lines of the ode for an inscription.</p>
+
+<p>In a letter to Walpole, dated March 1, 1747, Gray refers to the
+subject of the ode in the following jocose strain: "As one ought to
+be particularly careful to avoid blunders in a compliment of
+condolence, it would be a sensible satisfaction to me (before I
+testify my sorrow, and the sincere part I take in your misfortune) to
+know for certain who it is I lament. I knew Zara and Selima (Selima,
+was it? or Fatima?), or rather I knew them both together; for I
+cannot justly say which was which. Then as to your handsome Cat, the
+name you distinguish her by, I am no less at a loss, as well knowing
+one's handsome cat is always the cat one likes best; or if one be
+alive and the other dead, it is usually the latter that is the
+handsomest. Besides, if the point were never so clear, I hope you do
+not think me so ill-bred or so imprudent as to forfeit all my
+interest in the survivor; oh no! I would rather seem to mistake, and
+imagine to be sure it must be the tabby one that had met with this
+sad accident. Till this affair is a little better determined, you
+will excuse me if I do not begin to cry,</p>
+
+<center><small>Tempus inane peto, requiem spatiumque doloris.</small></center>
+
+<p>"... Heigh ho! I feel (as you to be sure have done long since) that I
+have very little to say, at least in prose. Somebody will be the
+better for it; I do not mean you, but your Cat, feuë Mademoiselle
+Selime, whom I am about to immortalize for one week or fortnight, as
+follows: [the Ode follows, which we need not reprint here].</p>
+
+<p>"There's a poem for you, it is rather too long for an Epitaph."</p>
+<br>
+<p><a href="#cat1">2.</a> Cf. Lady M. W. Montagu, <i>Town Eclogues:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem81">
+	<tr><td><small>"Where the tall jar erects its stately pride,<br>
+		&nbsp;With antic shapes in China's azure dyed."</small></td></tr>
+</table>
+
+<p><a href="#cat1">3.</a> <i>The azure flowers that blow</i>. Johnson and Wakefield find fault
+with this as redundant, but it is no more so than poetic usage
+allows. In the <i>Progress of Poesy</i>, i. 1, we have again: "The
+laughing flowers that round them blow." Cf. <i>Comus</i>, 992:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem82">
+	<tr><td><small>"Iris there with humid bow<br>
+		&nbsp;Waters the odorous banks that blow<br>
+		&nbsp;Flowers of more mingled hue<br>
+		&nbsp;Than her purfled scarf can shew."</small></td></tr>
+</table>
+<a name="catl4"></a>
+<p><a href="#cat1">4.</a> <i>Tabby</i>. For the derivation of this word from the French <i>tabis</i>,
+a kind of silk, see Wb. In the first ed. the 5th line preceded the
+4th.</p>
+
+<p><a href="#cat1">6.</a> <i>The lake</i>. In the mock-heroic vein that runs through the whole
+poem.</p>
+<a name="catl11"></a>
+<p><a href="#cat2">11.</a> <i>Jet</i>. This word comes, through the French, from Gagai, a town in
+Lycia, where the mineral was first obtained.</p>
+
+<p><a href="#cat3">14.</a> <i>Two angel forms</i>. In the first ed. "two beauteous forms," which
+Mitford prefers to the present reading, "as the images of <i>angel</i> and
+<i>genii</i> interfere with each other, and bring different associations
+to the mind."</p>
+<a name="catl16"></a>
+<p><a href="#cat3">16.</a> <i>Tyrian hue</i>. Explained by the "purple" in next line; an allusion
+to the famous Tyrian dye of the ancients. Cf. Pope, <i>Windsor Forest</i>,
+142: "with fins of Tyrian dye."</p>
+
+<p><a href="#cat3">17.</a> Cf. Virgil, <i>Geo.</i> iv. 274:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem83">
+	<tr><td><small>"<i>Aureus</i> ipse; sed in foliis, quae plurima circum<br>
+		&nbsp;Funduntur, violae <i>sublucet purpura</i> nigrae."</small></td></tr>
+</table>
+
+<p>See also Pope, <i>Windsor Forest</i>, 332: "His shining horns diffus'd a
+golden glow;" <i>Temple of Fame</i>, 253: "And lucid amber casts a golden
+gleam."</p>
+
+<p><a href="#cat4">24.</a> In the 1st ed. "What cat's a foe to fish?" and in the next line,
+"with eyes intent."</p>
+
+<p><a href="#cat6">31.</a> <i>Eight times</i>. Alluding to the proverbial "nine lives" of the
+cat.</p>
+
+<p><a href="#cat6">34.</a> <i>No dolphin came</i>. An allusion to the story of Arion, who when
+thrown overboard by the sailors for the sake of his wealth was borne
+safely to land by a dolphin.</p>
+
+<p><i>No Nereid stirr'd</i>. Cf. Milton, <i>Lycidas</i>, 50:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem84">
+	<tr><td><small>"Where were ye, Nymphs, when the remorseless deep<br>
+		&nbsp;Closed o'er the head of your lov'd Lycidas?"</small></td></tr>
+</table>
+
+<p><a href="#cat6">35, 36.</a> The reading of 1st ed. is,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem85">
+	<tr><td><small>"Nor cruel Tom nor Harry heard.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;What favourite has a friend?"</small></td></tr>
+</table>
+
+<p><a href="#cat7">40.</a> The 1st ed. has "Not all that strikes," etc.</p>
+<a name="catl42"></a>
+<p><a href="#cat7">42.</a> <i>Nor all that glisters gold</i>. A favourite proverb with the old
+English poets. Cf. Chaucer, <i>C. T.</i> 16430:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem86">
+	<tr><td><small>"But all thing which that shineth as the gold<br>
+		&nbsp;Ne is no gold, as I have herd it told;"</small></td></tr>
+</table>
+
+<p>Spenser, <i>F. Q.</i> ii. 8, 14:</p>
+
+<center><small>"Yet gold all is not, that doth golden seeme;"</small></center>
+
+<p>Shakes. <i>M. of V.</i> ii. 7:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem87">
+	<tr><td><small>"All that glisters is not gold;<br>
+		&nbsp;Often have you heard that told;"</small></td></tr>
+</table>
+
+<p>Dryden, <i>Hind and Panther:</i></p>
+
+<center><small>"All, as they say, that glitters is not gold."</small></center>
+
+<p>Other examples might be given. <i>Glisten</i> is not found in Shakes. or
+Milton, but both use <i>glister</i> several times. See <i>W. T.</i> iii. 2;
+<i>Rich. II.</i> iii. 3; <i>T. A.</i> ii. 1, etc.; <i>Lycidas</i>, 79; <i>Comus</i>, 219;
+<i>P. L.</i> iii. 550; iv. 645, 653, etc.</p>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 37">
+	<tr>
+		<td width="506">
+			<img src="images/38.jpg" alt="ETON COLLEGE">
+		</td>
+	</tr>
+	<tr>
+		<td width="506" align="center">
+			<small>ETON COLLEGE.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<h4>ODE ON A DISTANT PROSPECT OF ETON COLLEGE.</h4>
+<br>
+
+<p>This, as Mason informs us, was the first English<small><small><sup>1</sup></small></small> production of
+Gray's that appeared in print. It was published, in folio, in 1747;
+and appeared again in Dodsley's <i>Collection</i>, vol. ii. p. 267,
+without the name of the author.</p>
+
+<blockquote><small><small><sup>1</sup></small> A Latin poem by him, a "Hymeneal" on the Prince of
+Wales's Marriage, had appeared in the <i>Cambridge Collection</i> in
+1736.</small></blockquote>
+
+<p>Hazlitt (<i>Lectures on English Poets</i>) says of this Ode: "It is more
+mechanical and commonplace [than the <i>Elegy</i>]; but it touches on
+certain strings about the heart, that vibrate in unison with it to
+our latest breath. No one ever passes by Windsor's 'stately heights,'
+or sees the distant spires of Eton College below, without thinking of
+Gray. He deserves that we should think of him; for he thought of
+others, and turned a trembling, ever-watchful ear to 'the still sad
+music of humanity.'"</p>
+
+<p>The writer in the <i>North American Review</i> (vol. xcvi.), after
+referring to the publication of this Ode, which, "according to the
+custom of the time, was judiciously swathed in folio," adds:</p>
+
+<p>"About this time Gray's portrait was painted, at Walpole's request;
+and on the paper which he is represented as holding, Walpole wrote
+the title of the Ode, with a line from Lucan:</p>
+
+<center><small>'Nec licuit populis parvum te, Nile, videre.'</small></center>
+
+<p>The poem met with very little attention until it was republished in
+1751, with a few other of his Odes. Gray, in speaking of it to
+Walpole, in connection with the Ode to Spring, merely says that to
+him 'the latter seems not worse than the former.' But the former has
+always been the greater favourite&mdash;perhaps more from the matter than
+the manner. It is the expression of the memories, the thoughts, and
+the feelings which arise unbidden in the mind of the man as he looks
+once more on the scenes of his boyhood. He feels a new youth in the
+presence of those old joys. But the old friends are not there.
+Generations have come and gone, and an unknown race now frolic in
+boyish glee. His sad, prophetic eye cannot help looking into the
+future, and comparing these careless joys with the inevitable ills of
+life. Already he sees the fury passions in wait for their little
+victims. They seem present to him, like very demons. Our language
+contains no finer, more graphic personifications than these almost
+tangible shapes. Spenser is more circumstantial, Collins more
+vehement, but neither is more real. Though but outlines in miniature,
+they are as distinct as Dutch art. Every epithet is a lifelike
+picture; not a word could be changed without destroying the tone of
+the whole. At last the musing poet asks himself, <i>Cui bono?</i> Why thus
+borrow trouble from the future? Why summon so soon the coming
+locusts, to poison before their time the glad waters of youth?</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem88">
+	<tr><td><small>'Yet ah! why should they know their fate,<br>
+		&nbsp;Since sorrow never comes too late.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And happiness too quickly flies?<br>
+		&nbsp;Thought would destroy their paradise.<br>
+		&nbsp;No more;&mdash;where ignorance is bliss,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;'Tis folly to be wise.'</small></td></tr>
+</table>
+
+<p>So feeling and the want of feeling come together for once in the
+moral. The gay Roman satirist&mdash;the apostle of indifferentism&mdash;reaches
+the same goal, though he has travelled a different road. To
+Thaliarchus he says:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem89">
+	<tr><td><small>'Quid sit futurum cras, fuge quaerere: et<br>
+		&nbsp;Quem Fors dierum cumque dabit, lucro<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Appone.'</small></td></tr>
+</table>
+
+<p>The same easy-going philosophy of life forms the key-note of the Ode
+to Leuconoë:</p>
+
+<center><small>'Carpe diem, quam minimum credula postero;'</small></center>
+
+<p>of that to Quinctius Hirpinus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem90">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;'Quid aeternis minorem<br>
+		Consiliis animum fatigas?'</small></td></tr>
+</table>
+
+<p>of that to Pompeius Grosphus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem91">
+	<tr><td><small>'Laetus in praesens animus, quod ultra est,<br>
+		&nbsp;Oderit curare.'</small></td></tr>
+</table>
+
+<p>And so with many others. 'Take no thought of the morrow.'"</p>
+
+<p>Wakefield translates the Greek motto, "Man is an abundant subject of
+calamity."</p>
+<br>
+
+<p><a href="#eton1">2.</a> <i>That crown the watery glade</i>. Cf. Pope, <i>Windsor Forest</i>, 128:
+"And lonely woodcocks haunt the watery glade."</p>
+<a name="etonl4"></a>
+<p><a href="#eton1">4.</a> <i>Her Henry's holy shade</i>. Henry the Sixth, founder of the college.
+Cf. <i>The Bard</i>, ii. 3: "the meek usurper's holy head;" Shakes. <i>Rich.
+III.</i> v. 1: "Holy King Henry;" <i>Id.</i> iv. 4: "When holy Harry died."
+The king, though never canonized, was regarded as a saint.</p>
+
+<p><a href="#eton1">5.</a> <i>And ye</i>. Ye "towers;" that is, of Windsor Castle. Cf. Thomson,
+<i>Summer</i>, 1412:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem92">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"And now to where<br>
+		Majestic Windsor lifts his princely brow."</small></td></tr>
+</table>
+
+<p><a href="#eton1">8.</a> <i>Whose turf, whose shade, whose flowers among</i>. "That is, the
+<i>turf</i> of whose <i>lawn</i>, the <i>shade</i> of whose <i>groves</i>, the <i>flowers</i>
+of whose mead" (Wakefield). Cf. <i>Hamlet</i>, iii. 1: "The courtier's,
+soldier's, scholar's eye, tongue, sword."</p>
+
+<p>In Anglo-Saxon and Early English prepositions were often placed after
+their objects. In the Elizabethan period the transposition of the
+weaker prepositions was not allowed, except in the compounds
+<i>whereto</i>, <i>herewith</i>, etc. (cf. the Latin <i>quocum</i>, <i>secum</i>), but
+the longer forms were still, though rarely, transposed (see <i>Shakes.
+Gr.</i> 203); and in more recent writers this latter license is
+extremely rare. Even the use of the preposition after the relative,
+which was very common in Shakespeare's day, is now avoided, except in
+colloquial style.</p>
+
+<p><a href="#eton1">9.</a> <i>The hoary Thames</i>. The river-god is pictured in the old classic
+fashion. Cf. Milton, <i>Lycidas</i>, 103: "Next Camus, reverend sire, went
+footing slow." See also quotation from Dryden in note on 21 below.</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 38">
+	<tr>
+		<td width="420">
+			<img src="images/39.jpg" alt="THE RIVER-GOD TIBER">
+		</td>
+	</tr>
+	<tr>
+		<td width="420" align="center">
+			<small>THE RIVER-GOD TIBER.</small>
+		</td>
+	</tr>
+</table>
+
+<p><a href="#eton1">10.</a> <i>His silver-winding way</i>. Cf. Thomson, <i>Summer</i>, 1425: "The
+matchless vale of Thames, Fair-winding up," etc.</p>
+
+<p><a href="#eton2">12.</a> <i>Ah, fields belov'd in vain!</i> Mitford remarks that this
+expression has been considered obscure, and adds the following
+explanation: "The poem is written in the character of one who
+contemplates this life as a scene of misfortune and sorrow, from
+whose fatal power the brief sunshine of youth is supposed to be
+exempt. The fields are <i>beloved</i> as the scene of youthful pleasures,
+and as affording the promise of happiness to come; but this promise
+never was fulfilled. Fate, which dooms man to misery, soon
+overclouded these opening prospects of delight. That is in vain
+beloved which does not realize the expectations it held out. No fruit
+but that of disappointment has followed the blossoms of a thoughtless
+hope."</p>
+
+<p><a href="#eton2">13.</a> <i>Where once my careless childhood stray'd</i>. Wakefield cites
+Thomson, <i>Winter</i>, 6:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem93">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"with frequent foot<br>
+		Pleas'd have I, in my cheerful morn of life,<br>
+		When nurs'd by careless Solitude I liv'd,<br>
+		And sung of Nature with unceasing joy,<br>
+		Pleas'd have I wander'd," etc.</small></td></tr>
+</table>
+<a name="etonl15"></a>
+<p><a href="#eton2">15.</a> <i>That from ye blow</i>. In Early English <i>ye</i> is nominative, <i>you</i>
+accusative (objective). This distinction, though observed in our
+version of the Bible, was disregarded by Elizabethan writers
+(Shakes. <i>Gr.</i> 236), as it has occasionally been by the poets even to
+our own day. Cf. Shakes. <i>Hen. VIII.</i> iii. 1: "The more shame for ye;
+holy men I thought ye;" Milton, <i>Comus</i>, 216: "I see ye visibly,"
+etc. Dryden, in a couplet quoted by Guest, uses both forms in the
+same line:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem94">
+	<tr><td><small>"What gain you by forbidding it to tease ye?<br>
+		&nbsp;It now can neither trouble <i>you</i> nor please ye."</small></td></tr>
+</table>
+
+<p><a href="#eton2">19.</a> Gray quotes Dryden, <i>Fable on Pythag. Syst.:</i> "And bees their
+honey redolent of spring."</p>
+
+<p><a href="#eton3">21.</a> <i>Say, father Thames</i>, etc. This invocation is taken from Green's
+<i>Grotto</i>:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem95">
+	<tr><td><small>"Say, father Thames, whose gentle pace<br>
+		&nbsp;Gives leave to view, what beauties grace<br>
+		&nbsp;Your flowery banks, if you have seen."</small></td></tr>
+</table>
+
+<p>Cf. Dryden, <i>Annus Mirabilis</i>, st. 232: "Old father Thames raised up
+his reverend head."</p>
+
+<p>Dr. Johnson, in his hypercritical comments on this Ode, says: "His
+supplication to Father Thames, to tell him who drives the hoop or
+tosses the ball, is useless and puerile. Father Thames has no better
+means of knowing than himself." To which Mitford replies by asking,
+"Are we by this rule to judge the following passage in the twentieth
+chapter of <i>Rasselas?</i> 'As they were sitting together, the princess
+cast her eyes on the river that flowed before her: "Answer," said
+she, "great Father of Waters, thou that rollest thy floods through
+eighty nations, to the invocation of the daughter of thy native king.
+Tell me, if thou waterest, through all thy course, a single
+habitation from which thou dost not hear the murmurs of complaint."'"</p>
+<a name="etonl23"></a>
+<p><a href="#eton3">23.</a> <i>Margent green</i>. Cf. <i>Comus</i>, 232: "By slow Mæander's margent
+green."</p>
+
+<p><a href="#eton3">24.</a> Cf. Pope, <i>Essay on Man</i>, iii. 233: "To Virtue, in the paths of
+Pleasure, trod."</p>
+
+<p><a href="#eton3">26.</a> <i>Thy glassy wave</i>. Cf. <i>Comus</i>, 861: "Under the glassy, cool,
+translucent wave."</p>
+<a name="etonl27"></a>
+<p><a href="#eton3">27.</a> <i>The captive linnet</i>. The adjective is redundant and "proleptic,"
+as the bird must be "enthralled" before it can be called "captive."</p>
+
+<p><a href="#eton3">28.</a> In the MS. this line reads, "To chase the hoop's illusive speed,"
+which seems to us better than the revised form in the text.</p>
+
+<p><a href="#eton3">30.</a> Cf. Pope, <i>Dunciad</i>, iv. 592: "The senator at cricket urge the
+ball."</p>
+
+<p><a href="#eton4">37.</a> Cf. Cowley, <i>Ode to Hobbes</i>, iv. 7: "Till unknown regions it
+descries."</p>
+
+<p><a href="#eton4">40.</a> <i>A fearful joy</i>. Wakefield quotes <i>Matt.</i> xxviii. 8 and <i>Psalms</i>
+ii. 11. Cf. Virgil, <i>Æn.</i> i. 513:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem96">
+	<tr><td><small>"Obstupuit simul ipse simul perculsus Achates<br>
+		&nbsp;Laetitiaque metuque."</small></td></tr>
+</table>
+
+<p>See also <i>Lear</i>, v. 3: "'Twixt two extremes of passion, joy and
+grief."</p>
+
+<p><a href="#eton5">44.</a> Cf. Pope, <i>Eloisa</i>, 209: "Eternal sunshine of the spotless mind;"
+and <i>Essay on Man</i>, iv. 168: "The soul's calm sunshine, and the
+heartfelt joy."</p>
+<a name="etonl45"></a>
+<p><a href="#eton5">45.</a> <i>Buxom</i>. Used here in its modern sense. It originally meant
+pliant, flexible, yielding (from A. S. <i>búgan</i>, to bow); then, gay,
+frolicsome, lively; and at last it became associated with the
+"cheerful comeliness" of vigorous health. Chaucer has "buxom to ther
+lawe," and Spenser <i>(State of Ireland)</i>, "more tractable and buxome
+to his government." Cf. also <i>F. Q.</i> i. 11, 37: "the buxome aire;" an
+expression which Milton uses twice (<i>P. L.</i> ii. 842, v. 270). In
+<i>L'Allegro</i>, 24: "So buxom, blithe, and debonaire;" the only other
+instance in which he uses the word, it means sprightly or "free" (as
+in "Come thou goddess, fair and free," a few lines before). Cf.
+Shakes. <i>Pericles</i>, i. prologue:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem97">
+	<tr><td><small>"So buxom, blithe, and full of face,<br>
+		&nbsp;As heaven had lent her all his grace."</small></td></tr>
+</table>
+
+<p>The word occurs nowhere else in Shakes. except <i>Hen. V.</i> iii. 6: "Of
+buxom valour;" that is, lively valour.</p>
+
+<p>Dr. Johnson appears to have had in mind the original meaning of
+<i>buxom</i> in his comment on this passage: "His epithet <i>buxom health</i>
+is not elegant; he seems not to understand the word."</p>
+<a name="etonl47"></a>
+<p><a href="#eton5">47.</a> <i>Lively cheer</i>. Cf. Spenser, <i>Shep. Kal.</i> Apr.: "In either cheeke
+depeincten lively chere;" Milton, <i>Ps.</i> lxxxiv. 27: "With joy and
+gladsome cheer."</p>
+
+<p><a href="#eton5">49.</a> Wakefield quotes Milton, <i>P. L.</i> v. 3:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem98">
+	<tr><td><small>"When Adam wak'd, so custom'd; for his sleep<br>
+		&nbsp;Was airy light, from pure digestion bred,<br>
+		&nbsp;And temperate vapours bland."</small></td></tr>
+</table>
+
+<p><a href="#eton6">51.</a> <i>Regardless of their doom</i>. Collins, in the <i>first manuscript</i> of
+his <i>Ode on the Death of Col. Ross</i>, has</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem99">
+	<tr><td><small>"E'en now, regardful of his doom,<br>
+		&nbsp;Applauding Honour haunts his tomb."<small><sup>2</sup></small></small></td></tr>
+</table>
+<a name="etonfootnote2"></a>
+<blockquote><small><small><sup>2</sup></small> Mitford gives the first line as "E'en now, <i>regardless</i>
+of his doom;" and just below, on verse 61, he makes the line from
+Pope read, "The fury Passions from that <i>flood</i> began." We have
+verified his quotations as far as possible, and have corrected scores
+of errors in them. Quite likely there are some errors in those we
+have not been able to verify.</small></blockquote>
+
+<p><a href="#eton6">55.</a> <i>Yet see</i>, etc. Mitford cites Broome, <i>Ode on Melancholy:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem100">
+	<tr><td><small>"While round stern ministers of fate,<br>
+		&nbsp;Pain and Disease and Sorrow, wait;"</small></td></tr>
+</table>
+
+<p>and Otway, <i>Alcibiades</i>, v. 2: "Then enter, ye grim ministers of
+fate." See also <i>Progress of Poesy</i>, ii. 1: "Man's feeble race," etc.</p>
+<a name="etonl59"></a>
+<p><a href="#eton6">59.</a> <i>Murtherous</i>. The obsolete spelling of <i>murderous</i>, still used in
+Gray's time.</p>
+
+<p><a href="#eton7">61.</a> <i>The fury Passions</i>. The passions, fierce and cruel as the
+mythical Furies. Cf. Pope, <i>Essay on Man</i>, iii. 167: "The fury
+Passions from that blood began."</p>
+
+<p><a href="#eton7">66.</a> Mitford quotes Spenser, <i>F. Q.:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem101">
+	<tr><td><small>"But gnawing Jealousy out of their sight,<br>
+		&nbsp;Sitting alone, his bitter lips did bite."</small></td></tr>
+</table>
+
+<p><a href="#eton7">68.</a> Wakefield quotes Milton, <i>Sonnet to Mr. Lawes:</i> "With praise
+enough for Envy to look wan."</p>
+
+<p><a href="#eton7">69.</a> <i>Grim-visag'd, comfortless Despair</i>. Cf. Shakes. <i>Rich. III</i>. i.
+1: "Grim-visag'd War;" and <i>C. of E.</i> v. 1: "grim and comfortless
+Despair."</p>
+
+<p><a href="#eton8">76.</a> <i>Unkindness' altered eye</i>. "An ungraceful elision" of the
+possessive inflection, as Mason calls it. Cf. Dryden, <i>Hind and
+Panther</i>, iii.: "Affected Kindness with an alter'd face."</p>
+
+<p><a href="#eton8">79.</a> Gray quotes Dryden, <i>Pal. and Arc.:</i> "Madness laughing in his
+ireful mood." Cf. Shakes. <i>Hen. VI.</i> iv. 2: "But rather moody mad;"
+and iii. 1: "Moody discontented fury."</p>
+
+<p><a href="#eton9">81.</a> <i>The vale of years</i>. Cf. <i>Othello</i>, iii. 3: "Declin'd Into the
+vale of years."</p>
+<a name="etonl82"></a>
+<p><a href="#eton9">82.</a> <i>Grisly</i>. Not to be confounded with <i>grizzly</i>. See Wb.</p>
+
+<p><a href="#eton9">83.</a> <i>The painful family of death</i>. Cf. Pope, <i>Essay on Man</i>, ii. 118:
+"Hate, Fear, and Grief, the family of Pain;" and Dryden, <i>State of
+Innocence</i>, v. 1: "With all the numerous family of Death." On the
+whole passage cf. Milton, <i>P. L.</i> xi. 477-493. See also Virgil, <i>Æn.</i>
+vi. 275.</p>
+
+<p><a href="#eton9">86.</a> <i>That every labouring sinew strains</i>. An example of the
+"correspondence of sound with sense." As Pope says (<i>Essay on
+Criticism</i>, 371),</p>
+
+<center><small>"The line too labours, and the words move slow."</small></center>
+<a name="etonl90"></a>
+<p><a href="#eton9">90.</a> <i>Slow-consuming Age</i>. Cf. Shenstone, <i>Love and Honour:</i> "His
+slow-consuming fires."</p>
+
+<p><a href="#eton10">95.</a> As Wakefield remarks, we meet with the same thought in <i>Comus</i>,
+359:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem102">
+	<tr><td><small>"Peace, brother, be not over-exquisite<br>
+		&nbsp;To cast the fashion of uncertain evils;<br>
+		&nbsp;For grant they be so, while they rest unknown<br>
+		&nbsp;What need a man forestall his date of grief,<br>
+		&nbsp;And run to meet what he would most avoid?"</small></td></tr>
+</table>
+
+<p><a href="#eton10">97.</a> <i>Happiness too swiftly flies</i>. Perhaps a reminiscence of Virgil,
+<i>Geo.</i> iii. 66:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem103">
+	<tr><td><small>"Optima quaeque dies miseris mortalibus aevi<br>
+		&nbsp;Prima fugit."</small></td></tr>
+</table>
+
+<p><a href="#eton10">98.</a> <i>Thought would destroy their paradise</i>. Wakefield quotes
+Sophocles, <i>Ajax</i>, 554: [Greek: En tôi phronein gar mêden hêdistos
+bios] ("Absence of thought is prime felicity").</p>
+
+<p><a href="#eton10">99.</a> Cf. Prior, <i>Ep. to Montague</i>, st. 9:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem104">
+	<tr><td><small>"From ignorance our comfort flows,<br>
+		&nbsp;The only wretched are the wise."</small></td></tr>
+</table>
+
+<p>and Davenant, <i>Just Italian:</i> "Since knowledge is but sorrow's spy,
+it is not safe to know."</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 39">
+	<tr>
+		<td width="487">
+			<img src="images/40.jpg" alt="WINDSOR CASTLE">
+		</td>
+	</tr>
+	<tr>
+		<td width="487" align="center">
+			<small>WINDSOR CASTLE, FROM THE END OF THE LONG WALK.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 40">
+	<tr>
+		<td width="408">
+			<img src="images/41.jpg" alt="HOMER ENTHRONED">
+		</td>
+	</tr>
+	<tr>
+		<td width="408" align="center">
+			<small>HOMER ENTHRONED.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<h4>THE PROGRESS OF POESY.</h4>
+<br>
+
+<p>This Ode, as we learn from one of Gray's letters to Walpole, was
+finished, with the exception of a few lines, in 1755. It was not
+published until 1757, when it appeared with <i>The Bard</i> in a quarto
+volume, which was the first issue of Walpole's press at Strawberry
+Hill. In one of his letters Walpole writes: "I send you two copies of
+a very honourable opening of my press&mdash;two amazing odes of Mr. Gray.
+They are Greek, they are Pindaric, they are sublime, consequently I
+fear a little obscure; the second particularly, by the confinement of
+the measure and the nature of prophetic vision, is mysterious. I
+could not persuade him to add more notes." In another letter Walpole
+says: "I found Gray in town last week; he had brought his two odes to
+be printed. I snatched them out of Dodsley's hands, and they are to
+be the first-fruits of my press." The title-page of the volume is as
+follows:</p>
+
+<center>ODES<br>
+<small><small>BY</small></small><br>
+M<small>R</small>. GRAY.<br>
+[Greek:  PHÔNANTA SUNETOISI]&mdash;P<small>INDAR</small>, Olymp, II.<br>
+PRINTED <small>AT</small> STRAWBERRY-HILL,<br>
+for R. and J. D<small>ODSLEY</small> in Pall-Mall.<br>
+MDCCLVII.</center>
+
+<p>Both Odes were coldly received at first. "Even my friends," writes
+Gray, in a letter to Hurd, Aug. 25, 1757, "tell me they do not
+<i>succeed</i>, and write me moving topics of consolation on that head. In
+short, I have heard of nobody but an Actor [Garrick] and a Doctor of
+Divinity [Warburton] that profess their esteem for them. Oh yes, a
+Lady of quality (a friend of Mason's) who is a great reader. She knew
+there was a compliment to Dryden, but never suspected there was
+anything said about Shakespeare or Milton, till it was explained to
+her, and wishes that there had been titles prefixed to tell what they
+were about."<small><small><sup>1</sup></small></small> In a letter to Dr. Wharton, dated Aug. 17, 1757, he
+says: "I hear we are not at all popular. The great objection is
+obscurity, nobody knows what we would be at. One man (a Peer) I have
+been told of, that thinks the last stanza of the 2d Ode relates to
+Charles the First and Oliver Cromwell; in short, the [Greek: Sunetoi]
+appear to be still fewer than even I expected." A writer in the
+<i>Critical Review</i> thought that "Æolian lyre" meant the Æolian harp.
+Coleman the elder and Robert Lloyd wrote parodies entitled Odes to
+Obscurity and Oblivion. Gray finally had to add explanatory notes,
+though he intimates that his readers ought not to have needed
+them.<small><small><sup>2</sup></small></small></p>
+
+<blockquote><small><small><sup>1</sup></small> Forster remarks that Gray might have added to the
+admirers of the Odes "the poor monthly critic of <i>The
+Dunciad</i>"&mdash;Oliver Goldsmith, then beginning his London career as a
+bookseller's hack. In a review of the Odes in the <i>London Monthly
+Review</i> for Sept., 1757, after citing certain passages of <i>The Bard</i>,
+he says that they "will give as much pleasure to those who relish
+this species of composition as anything that has hitherto appeared in
+our language, the odes of Dryden himself not excepted."</small></blockquote>
+
+<blockquote><small><small><sup>2</sup></small> In a foot-note he says: "When the author first published
+this and the following Ode, he was advised, even by his friends, to
+subjoin some few explanatory notes; but had too much respect for the
+understanding of his readers to take that liberty."</small></blockquote>
+
+<blockquote><small>In a letter to Beattie, dated Feb. 1, 1768, referring to the new
+edition of his poems, he says: "As to the notes, I do it out of
+spite, because the public did not understand the two Odes (which I
+have called Pindaric), though the first was not very dark, and the
+second alluded to a few common facts to be found in any sixpenny
+history of England, by way of question and answer, for the use of
+children." And in a letter to Walpole, Feb. 25, 1768, he says he has
+added "certain little Notes, partly from justice (to acknowledge the
+debt where I had borrowed anything), partly from ill temper, just to
+tell the gentle reader that Edward I. was not Oliver Cromwell, nor
+Queen Elizabeth the Witch of Endor."</small></blockquote>
+
+<blockquote><small>Mr. Fox, afterwards Lord Holland, said that "if the Bard recited his
+Ode only <i>once</i> to Edward, he was sure he could not understand it."
+When this was told to Gray, he said, "If he had recited it twenty
+times, Edward would not have been a bit wiser; but that was no reason
+why Mr. Fox should not."</small></blockquote>
+
+<p>"The metre of these Odes is constructed on Greek models. It is not
+uniform but symmetrical. The nine stanzas of each ode form three
+groups. A slight examination will show that the 1st, 4th, and 7th
+stanzas are exactly inter-correspondent; so the 2d, 5th, and 8th; and
+so the remaining three. The technical Greek names for these three
+parts were [Greek: strophê] (strophe), [Greek: antistrophê]
+(antistrophe), and [Greek: epôdos] (epodos)&mdash;the Turn, the
+Counter-turn, and the After-song&mdash;names derived from the theatre; the
+Turn denoting the movement of the Chorus from one side of the [Greek:
+orchêstra] (orchestra), or Dance-stage, to the other, the
+Counter-turn the reverse movement, the After-song something sung
+after two such movements. Odes thus constructed were called by the
+Greeks Epodic. Congreve is said to have been the first who so
+constructed English odes. This system cannot be said to have
+prospered with us. Perhaps no English ear would instinctively
+recognize that correspondence between distant parts which is the
+secret of it. Certainly very many readers of <i>The Progress of Poesy</i>
+are wholly unconscious of any such harmony" (Hales).</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 41">
+	<tr>
+		<td width="413">
+			<img src="images/42.jpg" alt="ALCÆUS AND SAPPHO">
+		</td>
+	</tr>
+	<tr>
+		<td width="413" align="center">
+			<small>ALCÆUS AND SAPPHO. FROM A PAINTING ON A VASE.</small>
+		</td>
+	</tr>
+</table><br>
+<a name="poesyl1"></a>
+<p><a href="#poesy1">1.</a> <i>Awake, Æolian lyre</i>. The blunder of the Critical Reviewers who
+supposed the "harp of Æolus" to be meant led Gray to insert this
+note: "Pindar styles his own poetry with its musical accompaniments,
+[Greek: Aiolis molpê, Aiolides chordai, Aiolidôn pnoai aulôn], Æolian
+song, Æolian strings, the breath of the Æolian flute."</p>
+
+<p>Cf. Cowley, <i>Ode of David:</i> "Awake, awake, my lyre!" Gray himself
+quotes <i>Ps.</i> lvii. 8. The first reading of the line in the MS. was,
+"Awake, my lyre: my glory, wake." Gray also adds the following note:
+"The subject and simile, as usual with Pindar, are united. The
+various sources of poetry, which gives life and lustre to all it
+touches, are here described; its quiet majestic progress enriching
+every subject (otherwise dry and barren) with a pomp of diction and
+luxuriant harmony of numbers; and its more rapid and irresistible
+course, when swollen and hurried away by the conflict of tumultuous
+passions."</p>
+
+<p><a href="#poesy1">2.</a> <i>And give to rapture</i>. The first reading of the MS. was "give to
+transport."</p>
+<a name="poesyl3"></a>
+<p><a href="#poesy1">3.</a> <i>Helicon's harmonious springs</i>. In the mountain range of Helicon,
+in Boeotia, there were two fountains sacred to the Muses, Aganippe
+and Hippocrene, of which the former was the more famous.</p>
+
+<p><a href="#poesy1">7.</a> Cf. Pope, <i>Hor. Epist.</i> ii. 2, 171:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem105">
+	<tr><td><small>"Pour the full tide of eloquence along,<br>
+		&nbsp;Serenely pure, and yet divinely strong;"</small></td></tr>
+</table>
+
+<p>and <i>Ode on St. Cecilia's Day</i>, 11:</p>
+
+<center><small>"The deep, majestic, solemn organs blow;"</small></center>
+
+<p>also Thomson, <i>Liberty</i>, ii. 257:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem106">
+	<tr><td><small>"In thy full language speaking mighty things,<br>
+		&nbsp;Like a clear torrent close, or else diffus'd<br>
+		&nbsp;A broad majestic stream, and rolling on<br>
+		&nbsp;Through all the winding harmony of sound."</small></td></tr>
+</table>
+
+<p><a href="#poesy1">9.</a> Cf. Shenstone, <i>Inscr.:</i> "Verdant vales and fountains bright;"
+also Virgil, <i>Geo.</i> i. 96: "Flava Ceres;" and Homer, <i>Il.</i> v. 499:
+[Greek: xanthê Dêmêtêr].</p>
+<a name="poesyl10"></a>
+<p><a href="#poesy1">10.</a> <i>Rolling</i>. Spelled "rowling" in the 1st and other early editions.</p>
+
+<p><i>Amain</i>. Cf. <i>Lycidas</i>, 111: "The golden opes, the iron shuts amain;"
+<i>P. L.</i> ii. 165: "when we fled amain," etc. Also Shakes. <i>Temp.</i> iv.
+1: "Her peacocks fly amain," etc. The word means literally <i>with
+main</i> (which we still use in "might and main"), that is, with force
+or strength. Cf. Horace, <i>Od.</i> iv. 2, 8: "Immensusque ruit profundo
+Pindarus ore."</p>
+
+<p><a href="#poesy1">11.</a> The first MS. reading was, "With torrent rapture see it pour."</p>
+
+<p><a href="#poesy1">12.</a> Cf. Dryden, <i>Virgil's Geo.</i> i.: "And rocks the bellowing voice of
+boiling seas resound;" Pope, <i>Iliad:</i> "Rocks rebellow to the roar."</p>
+
+<p><a href="#poesy2">13.</a> "Power of harmony to calm the turbulent sallies of the soul. The
+thoughts are borrowed from the first Pythian of Pindar" (Gray).</p>
+<a name="poesyl14"></a>
+<p><a href="#poesy2">14.</a> <i>Solemn-breathing airs</i>. Cf. <i>Comus</i>, 555: "a soft and
+solemn-breathing sound."</p>
+<a name="poesyl15"></a>
+<p><a href="#poesy2">15.</a> <i>Enchanting shell</i>. That is, lyre; alluding to the myth of the
+origin of the instrument, which Mercury was said to have made from
+the shell of a tortoise. Cf. Collins, <i>Passions</i>, 3: "The Passions
+oft, to hear her shell," etc.</p>
+<a name="poesyl17"></a>
+<p><a href="#poesy2">17.</a> <i>On Thracia's hills</i>. Thrace was one of the chief seats of the
+worship of Mars. Cf. Ovid, <i>Ars Am.</i> ii. 588: "Mars Thracen occupat."
+See also Virgil, <i>Æn.</i> iii. 35, etc.</p>
+
+<p><a href="#poesy2">19.</a> <i>His thirsty lance</i>. Cf. Spenser, <i>F. Q.</i> i. 5, 15: "his thristy
+[thirsty] blade."</p>
+
+<p><a href="#poesy2">20.</a> Gray says, "This is a weak imitation of some beautiful lines in
+the same ode;" that is, in "the first Pythian of Pindar," referred to
+in the note on 13. The passage is an address to the lyre, and is
+translated by Wakefield thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem107">
+	<tr><td><small>"On Jove's imperial rod the king of birds<br>
+		&nbsp;Drops down his flagging wings; thy thrilling sounds<br>
+		&nbsp;Soothe his fierce beak, and pour a sable cloud<br>
+		&nbsp;Of slumber on his eyelids: up he lifts<br>
+		&nbsp;His flexile back, shot by thy piercing darts.<br>
+		&nbsp;Mars smooths his rugged brow, and nerveless drops<br>
+		&nbsp;His lance, relenting at the choral song."</small></td></tr>
+</table>
+
+<p><a href="#poesy2">21.</a> <i>The feather'd king</i>. Cf. Shakes. <i>Phoenix and Turtle:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem108">
+	<tr><td><small>"Every fowl of tyrant wing,<br>
+		&nbsp;Save the eagle, feather'd king."</small></td></tr>
+</table>
+
+<p><a href="#poesy2">23.</a> <i>Dark clouds</i>. The first reading of MS. was "black clouds."</p>
+
+<p><a href="#poesy2">24.</a> <i>The terror</i>. This is the reading of the first ed. and also of
+that of 1768. Most of the modern eds. have "terrors."</p>
+
+<p><a href="#poesy3">25.</a> "Power of harmony to produce all the graces of motion in the
+body" (Gray).</p>
+<a name="poesyl26"></a>
+<p><a href="#poesy3">26.</a> <i>Temper'd</i>. Modulated, "set." Cf. <i>Lycidas</i>, 33: "Tempered to the
+oaten flute;" Fletcher, <i>Purple Island:</i> "Tempering their sweetest
+notes unto thy lay," etc.</p>
+<a name="poesyl27"></a>
+<p><a href="#poesy3">27.</a> <i>O'er Idalia's velvet-green</i>. <i>Idalia</i> appears to be used for
+<i>Idalium</i>, which was a town in Cyprus, and a favourite seat of Venus,
+who was sometimes called <i>Idalia</i>. Pope likewise uses <i>Idalia</i> for
+the place, in his <i>First Pastoral</i>, 65: "Celestial Venus haunts
+Idalia's groves."</p>
+
+<p>Dr. Johnson finds fault with <i>velvet-green</i>, apparently supposing it
+to be a compound of Gray's own making. But Young had used it in his
+<i>Love of Fame:</i> "She rears her flowers, and spreads her
+velvet-green." It is also among the expressions of Pope which are
+ridiculed in the <i>Alexandriad</i>.</p>
+<a name="poesyl29"></a>
+<p><a href="#poesy3">29.</a> <i>Cytherea</i> was a name of Venus, derived from <i>Cythera</i>, an island
+in the Ægean Sea, one of the favourite residences of Aphrodite, or
+Venus. Cf. Virgil, <i>Æn.</i> i. 680: "super alta Cythera Aut super
+Idalium, sacrata sede," etc.</p>
+<a name="poesyl30"></a>
+<p><a href="#poesy3">30.</a> <i>With antic Sports</i>. This is the reading of the 1st ed. and also
+of the ed. of 1768. Some eds. have "sport."</p>
+
+<p><i>Antic</i> is the same word as <i>antique</i>. The association between what
+is old or old-fashioned and what is odd, fantastic, or grotesque is
+obvious enough. Cf. Milton, <i>Il Pens.</i> 158: "With antick pillars
+massy-proof." In <i>S. A.</i> 1325 he uses the word as a noun: "Jugglers
+and dancers, anticks, mummers, mimicks." Shakes. makes it a verb in
+<i>A. and C.</i> ii. 7: "the wild disguise hath almost Antick'd us all."</p>
+
+<p><a href="#poesy3">31.</a> Cf. Thomson, <i>Spring</i>, 835: "In friskful glee Their frolics
+play."</p>
+
+<p><a href="#poesy3">32, 33.</a> Cf. Virgil, <i>Æn.</i> v. 580 foll.</p>
+
+<p><a href="#poesy3">35.</a> Gray quotes Homer, <i>Od.</i> ix. 265: [Greek: marmarugas thêeito
+podôn thaumaze de thumôi]. Cf. Catullus's "fulgentem plantam." See
+also Thomson, <i>Spring</i>, 158: "the many-twinkling leaves Of aspin
+tall."</p>
+
+<p><a href="#poesy3">36.</a> <i>Slow-melting strains</i>, etc. Cf. a poem by Barton Booth,
+published in 1733:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem109">
+	<tr><td><small>"Now to a slow and melting air she moves,<br>
+		&nbsp;So like in air, in shape, in mien,<br>
+		&nbsp;She passes for the Paphian queen;<br>
+		&nbsp;The Graces all around her play,<br>
+		&nbsp;The wondering gazers die away;<br>
+		&nbsp;Whether her easy body bend,<br>
+		&nbsp;Or her fair bosom heave with sighs;<br>
+		&nbsp;Whether her graceful arms extend,<br>
+		&nbsp;Or gently fall, or slowly rise;<br>
+		&nbsp;Or returning or advancing,<br>
+		&nbsp;Swimming round, or sidelong glancing,<br>
+		&nbsp;Strange force of motion that subdues the soul."</small></td></tr>
+</table>
+
+<p><a href="#poesy3">37.</a> Cf. Dryden, <i>Flower and Leaf</i>, 191: "For wheresoe'er she turn'd
+her face, they bow'd."</p>
+
+<p><a href="#poesy3">39.</a> Cf. Virgil, <i>Æn.</i> i. 405: "Incessu patuit dea." The gods were
+represented as gliding or sailing along without moving their feet.</p>
+<a name="poesyl41"></a>
+<p><a href="#poesy3">41.</a> <i>Purple light of love</i>. Cf. Virgil, <i>Æn.</i> i. 590: "lumenque
+juventae Purpureum." Gray quotes Phrynichus, <i>apud</i> Athenæum:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 4">
+	<tr>
+		<td width="253">
+			<img src="images/104.jpg" alt="lampei d' epi porphyreêisi pareiêisi phôs erôtos.">
+		</td>
+	</tr>
+</table>
+
+<p>See also Dryden, <i>Brit. Red.</i> 133: "and her own purple light."</p>
+
+<p><a href="#poesy4">42.</a> "To compensate the real and imaginary ills of life, the Muse was
+given to mankind by the same Providence that sends the day by its
+cheerful presence to dispel the gloom and terrors of the night"
+(Gray).</p>
+
+<p><a href="#poesy4">43</a> foll. See on <i>Eton Coll.</i> 83. Cf. Horace, <i>Od.</i> i. 3, 29-33.</p>
+<a name="poesyl46"></a>
+<p><a href="#poesy4">46.</a> <i>Fond complaint</i>. Foolish complaint. Cf. Shakes. <i>M. of V.</i> iii.
+3:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem110">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"I do wonder,<br>
+		Thou naughty gaoler, that thou art so fond<br>
+		To come abroad with him at his request;"</small></td></tr>
+</table>
+
+<p>Milton, <i>S. A.</i> 812: "fond and reasonless," etc. This appears to be
+the original meaning of the word. In Wiclif's Bible. 1 <i>Cor.</i> i. 27,
+we have "the thingis that ben <i>fonnyd</i> of the world." In <i>Twelfth
+Night</i>, ii. 2, the word is used as a verb=dote:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem111">
+	<tr><td><small>"And I, poor monster, fond as much on him,<br>
+		&nbsp;As she, mistaken, seems to dote on me."</small></td></tr>
+</table>
+
+<p><a href="#poesy4">49.</a> Hurd quotes Cowley:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem112">
+	<tr><td><small>"Night and her ugly subjects thou dost fright,<br>
+		&nbsp;And Sleep, the lazy owl of night;<br>
+		&nbsp;Asham'd and fearful to appear,<br>
+		&nbsp;They screen their horrid shapes with the black hemisphere."</small></td></tr>
+</table>
+
+<p>Wakefield cites Milton, <i>Hymn on Nativity</i>, 233 foll.: "The flocking
+shadows pale," etc. See also <i>P. R.</i> iv. 419-431.</p>
+
+<p><a href="#poesy4">50.</a> <i>Birds of boding cry</i>. Cf. Green's <i>Grotto:</i> "news the boding
+night-birds tell."</p>
+<a name="poesyl52"></a>
+<p><a href="#poesy4">52.</a> Gray refers to Cowley, <i>Brutus:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem113">
+	<tr><td><small>"One would have thought 't had heard the morning crow,<br>
+		&nbsp;Or seen her well-appointed star.<br>
+		&nbsp;Come marching up the eastern hill afar."</small></td></tr>
+</table>
+
+<p>The following variations on 52 and 53 are found in the MS.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem114">
+	<tr><td><small>Till fierce Hyperion from afar<br>
+		Pours on their scatter'd rear, |<br>
+		Hurls at&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;flying&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;| his glittering shafts of war.<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;o'er&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;scatter'd&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;|<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;shadowy&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;|<br>
+		Till&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"&nbsp;&nbsp;&nbsp;&nbsp;from far<br>
+		Hyperion hurls around his, etc.</small></td></tr>
+</table>
+
+<p>The accent of <i>Hyperion</i> is properly on the penult, which is long in
+quantity, but the English poets, with rare exceptions, have thrown it
+back upon the antepenult. It is thus in the six instances in which
+Shakes. uses the word: e.g. <i>Hamlet</i>, iii. 4: "Hyperion's curls; the
+front of Jove himself." The word does not occur in Milton. It is
+correctly accented by Drummond (of Hawthornden), <i>Wand. Muses:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem115">
+	<tr><td><small>"That Hyperion far beyond his bed<br>
+		&nbsp;Doth see our lions ramp, our roses spread;"</small></td></tr>
+</table>
+
+<p>by West, <i>Pindar's Ol.</i> viii. 22:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem116">
+	<tr><td><small>"Then Hyperion's son, pure fount of day,<br>
+		&nbsp;Did to his children the strange tale reveal;"</small></td></tr>
+</table>
+
+<p>also by Akenside, and by the author of the old play <i>Fuimus Troes</i>
+(<small>A.D.</small> 1633):</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem117">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Blow, gentle Africus,<br>
+		Play on our poops when Hyperion's son<br>
+		Shall couch in west."</small></td></tr>
+</table>
+
+<p>Hyperion was a Titan, the father of Helios (the Sun), Selene (the
+Moon), and Eos (the Dawn). He was represented with the attributes of
+beauty and splendor afterwards ascribed to Apollo. His "glittering
+shafts" are of course the sunbeams, the "lucida tela diei" of
+Lucretius. Cf. a very beautiful description of the dawn in Lowell's
+<i>Above and Below:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem118">
+	<tr><td><small>"'Tis from these heights alone your eyes<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The advancing spears of day can see,<br>
+		&nbsp;Which o'er the eastern hill-tops rise,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To break your long captivity."</small></td></tr>
+</table>
+
+<p>We may quote also his <i>Vision of Sir Launfal:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem119">
+	<tr><td><small>"It seemed the dark castle had gathered all<br>
+		&nbsp;Those shafts the fierce sun had shot over its wall<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In his siege of three hundred summers long," etc.</small></td></tr>
+</table>
+
+<p><a href="#poesy5">54.</a> Gray's note here is as follows: "Extensive influence of poetic
+genius over the remotest and most uncivilized nations; its connection
+with liberty and the virtues that naturally attend on it. [See the
+Erse, Norwegian, and Welsh fragments; the Lapland and American
+songs.]" He also quotes Virgil, <i>Æn.</i> vi. 796: "Extra anni solisque
+vias," and Petrarch, <i>Canz.</i> 2: "Tutta lontana dal camin del sole."
+Cf. also Dryden, <i>Thren. August.</i> 353: "Out of the solar walk and
+Heaven's highway;" <i>Ann. Mirab.</i> st. 160: "Beyond the year, and out
+of Heaven's highway;" <i>Brit. Red.:</i> "Beyond the sunny walks and
+circling year;" also Pope, <i>Essay on Man</i>, i. 102: "Far as the solar
+walk and milky way."</p>
+
+<p><a href="#poesy5">56.</a> <i>Twilight gloom</i>. Wakefield quotes Milton, <i>Hymn on Nativ.</i> 188:
+"The nymphs in twilight shade of tangled thickets mourn."</p>
+
+<p><a href="#poesy5">57.</a> Wakefield says, "It almost chills one to read this verse." The
+MS. variations are "buried native's" and "chill abode."</p>
+<a name="poesyl60"></a>
+<p><a href="#poesy5">60.</a> <i>Repeat</i> [<i>their chiefs</i>, etc.]. Sing of them again and again.</p>
+
+<p><a href="#poesy5">61.</a> <i>In loose numbers</i>, etc. Cf. Milton, <i>L'All.</i> 133:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem120">
+	<tr><td><small>"Or sweetest Shakespeare, Fancy's child,<br>
+		&nbsp;Warble his native wood-notes wild;"</small></td></tr>
+</table>
+
+<p>and Horace, <i>Od.</i> iv. 2, 11:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem121">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"numerisque fertur<br>
+		Lege solutis."</small></td></tr>
+</table>
+
+<p><a href="#poesy5">62.</a> <i>Their feather-cinctur'd chiefs</i>. Cf. <i>P. L.</i> ix. 1115:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem122">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Such of late<br>
+		Columbus found the American, so girt<br>
+		With feather'd cincture."</small></td></tr>
+</table>
+
+<p><a href="#poesy5">64.</a> <i>Glory pursue</i>. Wakefield remarks that this use of a plural verb
+after the first of a series of subjects is in Pindar's manner. Warton
+compares Homer, <i>Il.</i> v. 774:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 5">
+	<tr>
+		<td width="450">
+			<img src="images/105.jpg" alt="hêchi rhoas Simoeis sumballeton êde Skamandros.">
+		</td>
+	</tr>
+</table>
+
+<p>Dugald Stewart <i>(Philos. of Human Mind)</i> says: "I cannot help
+remarking the effect of the solemn and uniform flow of verse in this
+exquisite stanza, in retarding the pronunciation of the reader, so as
+to arrest his attention to every successive picture, till it has time
+to produce its proper impression."</p>
+
+<p><a href="#poesy5">65.</a> <i>Freedom's holy flame</i>. Cf. Akenside, <i>Pleas. of Imag.</i> i. 468:
+"Love's holy flame."</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 42">
+	<tr>
+		<td width="402">
+			<img src="images/43.jpg" alt="THE VALE OF TEMPE">
+		</td>
+	</tr>
+	<tr>
+		<td width="402" align="center">
+			<small>THE VALE OF TEMPE.</small>
+		</td>
+	</tr>
+</table>
+<a name="poesyl66"></a>
+<p><a href="#poesy6">66.</a> "Progress of Poetry from Greece to Italy, and from Italy to
+England. Chaucer was not unacquainted with the writings of Dante or
+of Petrarch. The Earl of Surrey and Sir Thomas Wyatt had travelled in
+Italy, and formed their taste there; Spenser imitated the Italian
+writers; Milton improved on them: but this school expired soon after
+the Restoration, and a new one arose on the French model, which has
+subsisted ever since" (Gray).</p>
+
+<p><i>Delphi's steep</i>. Cf. Milton, <i>Hymn on Nativ.</i> 178: "the steep of
+Delphos;" <i>P. L.</i> i. 517: "the Delphian cliff." Both Shakes. and
+Milton prefer the mediæval form <i>Delphos</i> to the more usual <i>Delphi</i>.
+Delphi was at the foot of the southern uplands of Parnassus which end
+"in a precipitous cliff, 2000 feet high, rising to a double peak
+named the Phædriades, from their glittering appearance as they faced
+the rays of the sun" (Smith's <i>Anc. Geog.</i>).</p>
+
+<p><a href="#poesy6">67.</a> <i>Isles</i>, etc. Cf. Byron:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem123">
+	<tr><td><small>"The isles of Greece, the isles of Greece!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Where burning Sappho loved and sung," etc.</small></td></tr>
+</table>
+<a name="poesyl68"></a>
+<p><a href="#poesy6">68.</a> <i>Ilissus</i>. This river, rising on the northern slope of Hymettus,
+flows through the east side of Athens.</p>
+<a name="poesyl69"></a>
+<p><a href="#poesy6">69.</a> <i>Mæander's amber waves</i>. Cf. Milton, <i>P. L.</i> iii. 359: "Rolls
+o'er Elysian flowers her amber stream;" <i>P. R.</i> iii. 288: "There Susa
+by Choaspes, amber stream." See also Virgil, <i>Geo.</i> iii. 520: "Purior
+electro campum petit amnis." Callimachus (<i>Cer.</i> 29) has [Greek:
+alektrinon hudôr].</p>
+
+<p><a href="#poesy6">70.</a> Ovid, <i>Met.</i> viii. 162, describes the Mæander thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem124">
+	<tr><td><small>"Non secus ac liquidis Phrygiis Maeandros in arvis<br>
+		&nbsp;Ludit, et ambiguo lapsu refluitque fluitque."</small></td></tr>
+</table>
+
+<p>Cf. also Virgil's description of the Mincius (<i>Geo.</i> iii. 15):</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem125">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&mdash;"tardis ingens ubi flexibus errat<br>
+		Mincius."</small></td></tr>
+</table>
+
+<p>"The first great metropolis of Hellenic intellectual life was Miletus
+on the Mæander. Thales, Anaximander, Anaximines, Cadmus, Hecatæus,
+etc., were all Milesians" (Hales).</p>
+
+<p><a href="#poesy6">71</a> foll. Cf. Milton, <i>Hymn on Nativ.</i> 181:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem126">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"The lonely mountains o'er,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And the resounding shore,<br>
+		A voice of weeping heard and loud lament;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;From haunted spring and dale,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Edged with poplar pale,<br>
+		The parting Genius is with sighing sent:" etc.</small></td></tr>
+</table>
+
+<p><a href="#poesy6">75.</a> <i>Hallowed fountain</i>. Cf. Virgil, <i>Ecl.</i> i. 53: "fontes sacros."</p>
+
+<p><a href="#poesy6">76.</a> The MS. has "Murmur'd a celestial sound."</p>
+
+<p><a href="#poesy6">80.</a> <i>Vice that revels in her chains</i>. In his <i>Ode for Music</i>, 6, Gray
+has "Servitude that hugs her chain."</p>
+
+<p><a href="#poesy6">81.</a> Hales quotes Collins, <i>Ode to Simplicity:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem127">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"While Rome could none esteem<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;But Virtue's patriot theme,<br>
+		You lov'd her hills, and led her laureate band;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;But staid to sing alone<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To one distinguish'd throne,<br>
+		And turn'd thy face, and fled her alter'd land."</small></td></tr>
+</table>
+
+<p><a href="#poesy7">84.</a> <i>Nature's darling</i>. "Shakespeare" (Gray). Cf. Cleveland, <i>Poems:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem128">
+	<tr><td><small>"Here lies within this stony shade<br>
+		&nbsp;Nature's darling; whom she made<br>
+		&nbsp;Her fairest model, her brief story,<br>
+		&nbsp;In him heaping all her glory."</small></td></tr>
+</table>
+
+<p>On <i>green lap</i>, cf. Milton, <i>Song on May Morning:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem129">
+	<tr><td><small>"The flowery May, who from her green lap throws<br>
+		&nbsp;The yellow cowslip and the pale primrose."</small></td></tr>
+</table>
+
+<p><a href="#poesy7">85.</a> <i>Lucid Avon</i>. Cf. Seneca, <i>Thyest.</i> 129: "gelido flumine lucidus
+Alpheos."</p>
+
+<p><a href="#poesy7">86.</a> <i>The mighty mother</i>. That is, Nature. Pope, in the <i>Dunciad</i>, i.
+1, uses the same expression in a satirical way:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem130">
+	<tr><td><small>"The Mighty Mother, and her Son, who brings<br>
+		&nbsp;The Smithfield Muses to the ear of kings,<br>
+		&nbsp;I sing."</small></td></tr>
+</table>
+
+<p>See also Dryden, <i>Georgics</i>, i. 466:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem131">
+	<tr><td><small>"On the green turf thy careless limbs display,<br>
+		&nbsp;And celebrate the mighty mother's day."</small></td></tr>
+</table>
+
+<p><a href="#poesy7">87.</a> <i>The dauntless child</i>. Cf. Horace, <i>Od.</i> iii. 4, 20: "non sine
+dis animosus infans." Wakefield quotes Virgil, <i>Ecl.</i> iv. 60:
+"Incipe, parve puer, risu cognoscere matrem." Mitford points out that
+the identical expression occurs in Sandys's translation of Ovid,
+<i>Met.</i> iv. 515:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem132">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"the child<br>
+		Stretch'd forth its little arms, and on him smil'd."</small></td></tr>
+</table>
+
+<p>See also Catullus, <i>In Nupt. Jun. et Manl.</i> 216:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem133">
+	<tr><td><small>"Torquatus volo parvulus<br>
+		&nbsp;Matris e gremio suae<br>
+		&nbsp;Porrigens teneras manus,<br>
+		&nbsp;Dulce rideat."</small></td></tr>
+</table>
+
+<p><a href="#poesy7">91.</a> <i>These golden keys</i>. Cf. Young, <i>Resig.:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem134">
+	<tr><td><small>"Nature, which favours to the few<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;All art beyond imparts,<br>
+		&nbsp;To him presented at his birth<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The key of human hearts."</small></td></tr>
+</table>
+
+<p>Wakefield cites <i>Comus</i>, 12:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem135">
+	<tr><td><small>"Yet some there be, that with due steps aspire<br>
+		&nbsp;To lay their hands upon that golden key<br>
+		&nbsp;That opes the palace of eternity."</small></td></tr>
+</table>
+
+<p>See also <i>Lycidas</i>, 110:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem136">
+	<tr><td><small>"Two massy keys he bore of metals twain;<br>
+		&nbsp;The golden opes, the iron shuts amain."</small></td></tr>
+</table>
+
+<p><a href="#poesy7">93.</a> <i>Of horror</i>. A MS. variation is "Of terror."</p>
+
+<p><a href="#poesy7">94.</a> <i>Or ope the sacred source</i>. In a letter to Dr. Wharton, Sept. 7,
+1757, Gray mentions, among other criticisms upon this ode, that "Dr.
+Akenside criticises opening a <i>source</i> with a <i>key</i>." But, as Mitford
+remarks, Akenside himself in his <i>Ode on Lyric Poetry</i> has, "While I
+so late <i>unlock</i> thy purer <i>springs</i>," and in his <i>Pleasures of
+Imagination</i>, "I <i>unlock</i> the <i>springs</i> of ancient wisdom."</p>
+
+<p><a href="#poesy8">95.</a> <i>Nor second he</i>, etc. "Milton" (Gray).</p>
+
+<p><a href="#poesy8">96, 97.</a> Cf. Milton, <i>P. L.</i> vii. 12:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem137">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Up led by thee,<br>
+		Into the heaven of heavens I have presumed,<br>
+		An earthly guest, and drawn empyreal air."</small></td></tr>
+</table>
+
+<p><a href="#poesy8">98.</a> <i>The flaming bounds</i>, etc. Gray quotes Lucretius, i. 74:
+"Flammantia moenia mundi." Cf. also Horace, <i>Epist.</i> i. 14, 9: "amat
+spatiis obstantia rumpere claustra."</p>
+
+<p><a href="#poesy8">99.</a> Gray quotes <i>Ezekiel</i> i. 20, 26, 28. See also Milton, <i>At a
+Solemn Music</i>, 7: "Aye sung before the sapphire-colour'd throne;" <i>Il
+Pens.</i> 53: "the fiery-wheeled throne;" <i>P. L.</i> vi. 758:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem138">
+	<tr><td><small>"Whereon a sapphire throne, inlaid with pure<br>
+		&nbsp;Amber, and colours of the showery arch;"</small></td></tr>
+</table>
+
+<p>and <i>id.</i> vi. 771:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem139">
+	<tr><td><small>"He on the wings of cherub rode sublime,<br>
+		&nbsp;On the crystalline sky, in sapphire throned."</small></td></tr>
+</table>
+
+<p><a href="#poesy8">101.</a> <i>Blasted with excess of light</i>. Cf. <i>P. L.</i> iii. 380: "Dark with
+excessive bright thy skirts appear."</p>
+
+<p><a href="#poesy8">102.</a> Cf. Virgil, <i>Æn.</i> x. 746: "in aeternam clauduntur lumina
+noctem," which Dryden translates, "And closed her lids at last in
+endless night." Gray quotes Homer, <i>Od.</i> viii. 64:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 6">
+	<tr>
+		<td width="464">
+			<img src="images/106.jpg" alt="Ophthalmôn men amerses, didou d' hêdeian aoidên.">
+		</td>
+	</tr>
+</table>
+
+<p><a href="#poesy8">103.</a> Gray, according to Mason, "admired Dryden almost beyond
+bounds."<small><small><sup>3</sup></small></small></p>
+
+<blockquote><small><small><sup>3</sup></small> In a journey through Scotland in 1765, Gray became
+acquainted with Beattie, to whom he commended the study of Dryden,
+adding that "if there was any excellence in his own numbers, he had
+learned it wholly from the great poet."</small></blockquote>
+
+<p><a href="#poesy8">105.</a> "Meant to express the stately march and sounding energy of
+Dryden's rhymes" (Gray). Cf. Pope, <i>Imit. of Hor. Ep.</i> ii. 1, 267:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem140">
+	<tr><td><small>"Waller was smooth: but Dryden taught to join<br>
+		&nbsp;The varying verse, the full-resounding line,<br>
+		&nbsp;The long majestic march, and energy divine."</small></td></tr>
+</table>
+
+<p><a href="#poesy8">106.</a> Gray quotes <i>Job</i> xxxix. 19: "Hast thou clothed his neck with
+thunder?"</p>
+
+<p><a href="#poesy9">108.</a> <i>Bright-eyed</i>. The MS. has "full-plumed."</p>
+
+<p><a href="#poesy9">110.</a> Gray quotes Cowley, <i>Prophet:</i> "Words that weep, and tears that
+speak."</p>
+
+<p>Dugald Stewart remarks upon this line: "I have sometimes thought that
+Gray had in view the two different effects of words already
+described; the effect of some in awakening the powers of conception
+and imagination; and that of others in exciting associated emotions."</p>
+
+<p><a href="#poesy9">111.</a> "We have had in our language no other odes of the sublime kind
+than that of Dryden on St. Cecilia's Day; for Cowley (who had his
+merit) yet wanted judgment, style, and harmony, for such a task. That
+of Pope is not worthy of so great a man. Mr. Mason, indeed, of late
+days, has touched the true chords, and with a masterly hand, in some
+of his choruses; above all in the last of <i>Caractacus:</i></p>
+
+<center><small>'Hark! heard ye not yon footstep dread!' etc." (Gray).</small></center>
+
+<p><a href="#poesy9">113.</a> <i>Wakes thee now</i>. Cf. <i>Elegy</i>, 48: "Or wak'd to ecstasy the
+living lyre."</p>
+
+<p><a href="#poesy9">115.</a> "[Greek: Dios pros ornicha theion]. <i>Olymp.</i> ii. 159. Pindar
+compares himself to that bird, and his enemies to ravens that croak
+and clamour in vain below, while it pursues its flight, regardless of
+their noise" (Gray).</p>
+
+<p>Cf. Spenser, <i>F. Q.</i> v. 4, 42:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem141">
+	<tr><td><small>"Like to an Eagle, in his kingly pride<br>
+		&nbsp;Soring through his wide Empire of the aire,<br>
+		&nbsp;To weather his brode sailes."</small></td></tr>
+</table>
+
+<p>Cowley, in his translation of Horace, <i>Od.</i> iv. 2, calls Pindar "the
+Theban swan" ("Dircaeum cycnum"):</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem142">
+	<tr><td><small>"Lo! how the obsequious wind and swelling air<br>
+		&nbsp;The Theban Swan does upward bear."</small></td></tr>
+</table>
+
+<p><a href="#poesy9">117.</a> <i>Azure deep of air</i>. Cf. Euripides, <i>Med.</i> 1294: [Greek: es
+aitheros bathos]; and Lucretius, ii. 151: "Aëris in magnum fertur
+mare." Cowley has "Row through the trackless ocean of air;" and
+Shakes. (<i>T. of A.</i> iv. 2), "this sea of air."</p>
+
+<p><a href="#poesy9">118, 119.</a> The MS. reads:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem143">
+	<tr><td><small>"Yet when they first were open'd on the day<br>
+		&nbsp;Before his visionary eyes would run."</small></td></tr>
+</table>
+
+<p>D. Stewart <i>(Philos. of Human Mind)</i> remarks that "Gray, in
+describing the infantine reveries of poetical genius, has fixed with
+exquisite judgment on that class of our conceptions which are derived
+from <i>visible</i> objects."</p>
+
+<p><a href="#poesy9">120.</a> <i>With orient hues</i>. Cf. Milton, <i>P. L.</i> i. 546: "with orient
+colours waving."</p>
+
+<p><a href="#poesy9">122.</a> The MS. has "Yet never can he fear a vulgar fate."</p>
+
+<p><a href="#poesy9">123.</a> Cf. K. Philips: "Still shew'd how much the good outshone the
+great."</p>
+<br>
+
+<p>We append, as a curiosity of criticism, Dr. Johnson's comments on
+this ode, from his <i>Lives of the Poets</i>. The Life of Gray has been
+called "the worst in the series," and perhaps this is the worst part
+of it:<small><small><sup>4</sup></small></small></p>
+
+<p>"My process has now brought me to the <i>wonderful</i> 'Wonder of
+Wonders,' the two Sister Odes, by which, though either vulgar
+ignorance or common-sense at first universally rejected them, many
+have been since persuaded to think themselves delighted. I am one of
+those that are willing to be pleased, and therefore would gladly find
+the meaning of the <a href="#poesy1">first stanza</a> of 'The Progress of Poetry.'</p>
+
+<p>"Gray seems in his rapture to confound the images of spreading sound
+and running water. A 'stream of music' may be allowed; but where does
+'music,' however 'smooth and strong,' after having visited the
+'verdant vales, roll down the steep amain,' so as that 'rocks and
+nodding groves rebellow to the roar?' If this be said of music, it is
+nonsense; if it be said of water, it is nothing to the purpose.</p>
+
+<p>"The <a href="#poesy2">second stanza</a>, exhibiting Mars's car and Jove's eagle, is
+unworthy of further notice. Criticism disdains to chase a schoolboy
+to his commonplaces.</p>
+
+<p>"To the <a href="#poesy3">third</a> it may likewise be objected that it is drawn from
+mythology, though such as may be more easily assimilated to real
+life. Idalia's 'velvet-green' has something of cant. An epithet or
+metaphor drawn from Nature ennobles Art; an epithet or metaphor drawn
+from Art degrades Nature. Gray is too fond of words arbitrarily
+compounded. 'Many-twinkling' was formerly censured as not analogical;
+we may say 'many-spotted,' but scarcely 'many-spotting.' This stanza,
+however, has something pleasing.</p>
+
+<p>"Of the second ternary of stanzas, the <a href="#poesy4">first</a> endeavours to tell
+something, and would have told it, had it not been crossed by
+Hyperion; the <a href="#poesy5">second</a> describes well enough the universal prevalence
+of poetry; but I am afraid that the conclusion will not arise from
+the premises. The caverns of the North and the plains of Chili are
+not the residences of 'Glory and generous Shame.' But that Poetry and
+Virtue go always together is an opinion so pleasing that I can
+forgive him who resolves to think it true.</p>
+
+<p>"The <a href="#poesy6">third stanza</a> sounds big with 'Delphi,' and 'Ægean,' and
+'Ilissus,' and 'Mæander,' and with 'hallowed fountains,' and 'solemn
+sound;' but in all Gray's odes there is a kind of cumbrous splendour
+which we wish away. His position is at last false: in the time of
+Dante and Petrarch, from whom we derive our first school of poetry,
+Italy was overrun by 'tyrant power' and 'coward vice;' nor was our
+state much better when we first borrowed the Italian arts.</p>
+
+<p>"Of the third ternary, the <a href="#poesy7">first</a> gives a mythological birth of
+Shakespeare. What is said of that mighty genius is true; but it is
+not said happily: the real effects of this poetical power are put out
+of sight by the pomp of machinery. Where truth is sufficient to fill
+the mind, fiction is worse than useless; the counterfeit debases the
+genuine.</p>
+
+<p>"His account of Milton's blindness, if we suppose it caused by study
+in the formation of his poem, a supposition surely allowable, is
+poetically true and happily imagined. But the <i>car</i> of Dryden, with
+his <i>two coursers</i>, has nothing in it peculiar; it is a car in which
+any other rider may be placed."</p>
+
+<blockquote><small><small><sup>4</sup></small> Sir James Mackintosh well says of Johnson's criticisms:
+"Wherever understanding alone is sufficient for poetical criticism,
+the decisions of Johnson are generally right. But the beauties of
+poetry must be <i>felt</i> before their causes are investigated. There is
+a poetical sensibility, which in the progress of the mind becomes as
+distinct a power as a musical ear or a picturesque eye. Without a
+considerable degree of this sensibility, it is as vain for a man of
+the greatest understanding to speak of the higher beauties of poetry
+as it is for a blind man to speak of colours. To adopt the warmest
+sentiments of poetry, to realize its boldest imagery, to yield to
+every impulse of enthusiasm, to submit to the illusions of fancy, to
+retire with the poet into his ideal worlds, were dispositions wholly
+foreign from the worldly sagacity and stern shrewdness of Johnson. As
+in his judgment of life and character, so in his criticism on poetry,
+he was a sort of Free-thinker. He suspected the refined of
+affectation, he rejected the enthusiastic as absurd, and he took it
+for granted that the mysterious was unintelligible. He came into the
+world when the school of Dryden and Pope gave the law to English
+poetry. In that school he had himself learned to be a lofty and
+vigorous declaimer in harmonious verse; beyond that school his
+unforced admiration perhaps scarcely soared; and his highest effort
+of criticism was accordingly the noble panegyric on Dryden."</small></blockquote>
+
+<blockquote><small>W. H. Prescott, the historian, also remarks that Johnson, as a
+critic, "was certainly deficient in sensibility to the more delicate,
+the minor beauties of poetic sentiment. He analyzes verse in the
+cold-blooded spirit of a chemist, until all the aroma which
+constituted its principal charm escapes in the decomposition. By this
+kind of process, some of the finest fancies of the Muse, the lofty
+dithyrambics of Gray, the ethereal effusions of Collins, and of
+Milton too, are rendered sufficiently vapid."</small></blockquote>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 43">
+	<tr>
+		<td width="177">
+			<img src="images/44.jpg" alt="PINDAR">
+		</td>
+	</tr>
+	<tr>
+		<td width="177" align="center">
+			<small>PINDAR.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 44">
+	<tr>
+		<td width="418">
+			<img src="images/45.jpg" alt="EDWARD I">
+		</td>
+	</tr>
+	<tr>
+		<td width="418" align="center">
+			<small>EDWARD I.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<h4>THE BARD.</h4>
+<br>
+
+<p>"This ode is founded on a tradition current in Wales that Edward the
+First, when he completed the conquest of that country, ordered all
+the bards that fell into his hands to be put to death" (Gray).</p>
+
+<p>The original argument of the ode, as Gray had set it down in his
+commonplace-book, was as follows: "The army of Edward I., as they
+march through a deep valley, and approach Mount Snowdon, are suddenly
+stopped by the appearance of a venerable figure seated on the summit
+of an inaccessible rock, who, with a voice more than human,
+reproaches the king with all the desolation and misery which he had
+brought on his country; foretells the misfortunes of the Norman race,
+and with prophetic spirit declares that all his cruelty shall never
+extinguish the noble ardour of poetic genius in this island; and that
+men shall never be wanting to celebrate true virtue and valour in
+immortal strains, to expose vice and infamous pleasure, and boldly
+censure tyranny and oppression. His song ended, he precipitates
+himself from the mountain, and is swallowed up by the river that
+rolls at its feet."</p>
+
+<p>Mitford, in his "Essay on the Poetry of Gray," says of this Ode: "The
+tendency of <i>The Bard</i> is to show the retributive justice that
+follows an act of tyranny and wickedness; to denounce on Edward, in
+his person and his progeny, the effect of the crime he had committed
+in the massacre of the bards; to convince him that neither his power
+nor situation could save him from the natural and necessary
+consequences of his guilt; that not even the virtues which he
+possessed could atone for the vices with which they were accompanied:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem144">
+	<tr><td><small>'Helm nor hauberk's twisted mail,<br>
+		&nbsp;Nor e'en thy <i>virtues</i>, tyrant, shall avail.'</small></td></tr>
+</table>
+
+<p>This is the real tendency of the poem; and well worthy it was of
+being adorned and heightened by such a profusion of splendid images
+and beautiful machinery. We must also observe how much this moral
+feeling increases as we approach the close; how the poem rises in
+dignity; and by what a fine gradation the solemnity of the subject
+ascends. The Bard commenced his song with feelings of sorrow for his
+departed brethren and his desolate country. This despondence,
+however, has given way to emotions of a nobler and more exalted
+nature. What can be more magnificent than the vision which opens
+before him to display the triumph of justice and the final glory of
+his cause? And it may be added, what can be more forcible or emphatic
+than the language in which it is conveyed?</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem145">
+	<tr><td><small>'But oh! what solemn scenes on Snowdon's height,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Descending slow their glittering skirts unroll?<br>
+		&nbsp;Visions of glory, spare my aching sight!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Ye unborn ages, crowd not on my soul!</i>'</small></td></tr>
+</table>
+
+<p>The fine apostrophe to the shade of Taliessin completes the picture
+of exultation:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem146">
+	<tr><td><small>'Hear from the grave, great Taliessin, hear;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;They breathe a soul to animate thy clay.'</small></td></tr>
+</table>
+
+<p>The triumph of justice, therefore, is now complete. The vanquished
+has risen superior to his conqueror, and the reader closes the poem
+with feelings of content and satisfaction. He has seen the Bard
+uplifted both by a divine energy and by the natural superiority of
+virtue; and the conqueror has shrunk into a creature of hatred and
+abhorrence:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem147">
+	<tr><td><small>'Be thine despair, and sceptred care;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To triumph, and to die, are mine.'"</small></td></tr>
+</table>
+
+<p>With regard to the <i>obscurity</i> of the poem, the same writer remarks
+that "it is such only as of necessity arises from the plan and
+conduct of a prophecy." "In the prophetic poem," he adds, "one point
+of history alone is told, and the rest is to be acquired previously
+by the reader; as in the contemplation of an historical picture,
+which commands only one moment of time, our memory must supply us
+with the necessary links of knowledge; and that point of time
+selected by the painter must be illustrated by the spectator's
+knowledge of the past or future, of the cause or the consequences."</p>
+
+<p>He refers, for corroboration of this opinion, to Dr. Campbell, who in
+his "Philosophy of Rhetoric," says: "I know no style to which
+darkness of a certain sort is more suited than to the prophetical:
+many reasons might be assigned which render it improper that prophecy
+should be perfectly understood before it be accomplished. Besides, we
+are certain that a prediction may be very dark before the
+accomplishment, and yet so plain afterwards as scarcely to admit a
+doubt in regard to the events suggested. It does not belong to
+critics to give laws to prophets, nor does it fall within the
+confines of any human art to lay down rules for a species of
+composition so far above art. Thus far, however, we may warrantably
+observe, that when the prophetic style is imitated in poetry, the
+piece ought, as much as possible, to possess the character above
+mentioned. This character, in my opinion, is possessed in a very
+eminent degree by Mr. Gray's ode called <i>The Bard</i>. It is all
+darkness to one who knows nothing of the English history posterior to
+the reign of Edward the First, and all light to one who is acquainted
+with that history. But this is a kind of writing whose peculiarities
+can scarcely be considered as exceptions from ordinary rules."</p>
+
+<p>Farther on in the same essay, Mitford remarks: "The skill of Gray is,
+I think, eminently shown in the superior distinctness with which he
+has marked those parts of his prophecies which are speedily to be
+accomplished; and in the gradations by which, as he descends, he has
+insensibly melted the more remote into the deeper and deeper
+shadowings of general language. The first prophecy is the fate of
+Edward the Second. In that the Bard has pointed out the very night in
+which he is to be destroyed; has named the river that flowed around
+his prison, and the castle that was the scene of his sufferings:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem148">
+	<tr><td><small>'Be thine despair, and sceptred care;<br>
+		&nbsp;When <i>Severn</i> shall re-echo with affright<br>
+		&nbsp;The shrieks of death thro' Berkeley's roofs that ring,<br>
+		&nbsp;Shrieks of an agonizing king.'</small></td></tr>
+</table>
+
+<p>How different is the imagery when Richard the Second is described;
+and how indistinctly is the luxurious monarch marked out in the form
+of the morning, and his country in the figure of the vessel!</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem149">
+	<tr><td><small>'The swarm that in thy noontide beam were born?<br>
+		&nbsp;Gone to salute the rising morn.<br>
+		&nbsp;Fair laughs the morn,' etc.</small></td></tr>
+</table>
+
+<p>The last prophecy is that of the civil wars, and of the death of the
+two young princes. No place, no name is now noted: and all is seen
+through the dimness of figurative expression:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem150">
+	<tr><td><small>'Above, below, the rose of snow,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Twin'd with her blushing foe, we spread:<br>
+		&nbsp;The bristled boar in infant gore<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Wallows beneath the thorny shade.'"</small></td></tr>
+</table>
+
+<p>Hales remarks: "It is perhaps scarcely now necessary to say that the
+tradition on which <i>The Bard</i> is founded is wholly groundless. Edward
+I. never did massacre Welsh bards. Their name is legion in the
+beginning of the 14th century. Miss Williams, the latest historian of
+Wales, does not even mention the old story."<small><small><sup>1</sup></small></small></p>
+
+<blockquote><small><small><sup>1</sup></small> The <i>Saturday Review</i>, for June 19, 1875, in the article
+from which we have elsewhere quoted (see <a href="#elegyfootnote4">above</a>, foot-note), refers to
+this point as follows:<br>
+<br>
+"Gray was one of the first writers to show that earlier parts of
+English history were not only worth attending to, but were capable of
+poetic treatment. We can almost forgive him for dressing up in his
+splendid verse a foul and baseless calumny against Edward the First,
+when we remember that to most of Gray's contemporaries Edward the
+First must have seemed a person almost mythical, a benighted Popish
+savage, of whom there was very little to know, and that little hardly
+worth knowing. Our feeling towards Gray in this matter is much the
+same as our feeling towards Mitford in the matter of Greek history.
+We are angry with Mitford for misrepresenting Demosthenes and a crowd
+of other Athenian worthies, but we do not forget that he was the
+first to deal with Demosthenes and his fellows, neither as mere names
+nor as demi-gods, but as real living men like ourselves. It was a
+pity to misrepresent Demosthenes, but even the misrepresentation was
+something; it showed that Demosthenes could be made the subject of
+human feeling one way or another. It is unpleasant to hear the King
+whose praise it was that</small></blockquote>
+
+<center><small>'Velox est ad veniam, ad vindictam tardus,'</small></center>
+
+<blockquote><small>spoken of as 'ruthless,' and the rest of it. But Gray at least felt
+that Edward was a real man, while to most of his contemporaries he
+could have been little more than 'the figure of an old Gothic king,'
+such as Sir Roger de Coverley looked when he sat in Edward's own
+chair."</small></blockquote>
+<br>
+<p><a href="#bard1">1.</a> A good example of alliteration.</p>
+
+<p><a href="#bard1">2.</a> Cf. Shakes. <i>K. John</i>, iv. 2: "and vast confusion waits."</p>
+
+<p><a href="#bard1">4.</a> Gray quotes <i>K. John</i>, v. 1: "Mocking the air with colours idly
+spread."</p>
+<a name="bardl5"></a>
+<p><a href="#bard1">5.</a> "The hauberk was a texture of steel ringlets, or rings interwoven,
+forming a coat of mail that sat close to the body, and adapted itself
+to every motion" (Gray).</p>
+
+<p>Cf. Robert of Gloucester: "With helm and hauberk;" and Dryden, <i>Pal.
+and Arc.</i> iii. 603: "Hauberks and helms are hewed with many a wound."</p>
+<a name="bardl7"></a>
+<p><a href="#bard1">7.</a> <i>Nightly</i>. Nocturnal, as often in poetry. Cf. <i>Il Pens.</i> 84, etc.</p>
+
+<p><a href="#bard1">9.</a> <i>The crested pride</i>. Gray quotes Dryden, <i>Indian Queen:</i> "The
+crested adder's pride."</p>
+<a name="bardl11"></a>
+<p><a href="#bard1">11.</a> "Snowdon was a name given by the Saxons to that mountainous tract
+which the Welsh themselves call <i>Craigian-eryri:</i> it included all the
+highlands of Caernarvonshire and Merionethshire, as far east as the
+river Conway. R. Hygden, speaking of the castle of Conway, built by
+King Edward the First, says: 'Ad ortum amnis Conway ad clivum montis
+Erery;' and Matthew of Westminster (ad ann. 1283), 'Apud Aberconway
+ad pedes montis Snowdoniae fecit erigi castrum forte'" (Gray).</p>
+
+<p>It was in the spring of 1283 that English troops at last forced their
+way among the defiles of Snowdon. Llewellyn had preserved those
+passes and heights intact until his death in the preceding December.
+The surrender of Dolbadern in the April following that dispiriting
+event opened a way for the invader; and William de Beauchamp, Earl of
+Warwick, at once advanced by it (Hales).</p>
+
+<p>The epithet <i>shaggy</i> is highly appropriate, as Leland (<i>Itin.</i>) says
+that great woods clothed the mountain in his time. Cf. Dyer, <i>Ruins
+of Rome:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem151">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"as Britannia's oaks<br>
+		On Merlin's mount, or Snowdon's rugged sides,<br>
+		Stand in the clouds."</small></td></tr>
+</table>
+
+<p>See also <i>Lycidas</i>, 54: "Nor on the shaggy top of Mona high;" and <i>P.
+L.</i> vi. 645: "the shaggy tops."</p>
+<a name="bardl13"></a>
+<p><a href="#bard1">13.</a> <i>Stout Gloster</i>. "Gilbert de Clare, surnamed the Red, Earl of
+Gloucester and Hereford, son-in-law to King Edward" (Gray). He had,
+in 1282, conducted the war in South Wales; and after overthrowing the
+enemy near Llandeilo Fawr, had reinforced the king in the northwest.</p>
+<a name="bardl14"></a>
+<p><a href="#bard1">14.</a> <i>Mortimer</i>. "Edmond de Mortimer, Lord of Wigmore" (Gray). It was
+by one of his knights, named Adam de Francton, that Llewellyn, not at
+first known to be he, was slain near Pont Orewyn (Hales).</p>
+
+<p>On <i>quivering lance</i>, cf. Virgil, <i>Æn.</i> xii. 94: "hastam quassatque
+trementem."</p>
+
+<p><a href="#bard2">15.</a> <i>On a rock whose haughty brow</i>. Cf. Daniel, <i>Civil Wars:</i> "A huge
+aspiring rock, whose surly brow."</p>
+
+<p>The <i>rock</i> is probably meant for Penmaen-mawr, the northern
+termination of the Snowdon range. It is a mass of rock, 1545 feet
+high, a few miles from the mouth of the Conway, the valley of which
+it overlooks. Towards the sea it presents a rugged and almost
+perpendicular front. On its summit is Braich-y-Dinas, an ancient
+fortified post, regarded as the strongest hold of the Britons in the
+district of Snowdon. Here the reduced bands of the Welsh army were
+stationed during the negotiation between their prince Llewellyn and
+Edward I. Within the inner enclosure is a never-failing well of pure
+water. The rock is now pierced with a tunnel 1890 feet long for the
+Chester and Holyhead railway.</p>
+<a name="bardl17"></a>
+<p><a href="#bard2">17.</a> <i>Rob'd in the sable garb of woe</i>. It would appear that Wharton
+had criticised this line, for in a letter to him, dated Aug. 21,
+1757, Gray writes: "You may alter that '<i>Robed in</i> the sable,' etc.,
+almost in your own words, thus,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem152">
+	<tr><td><small>'With fury pale, and pale with woe,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Secure of Fate, the Poet stood,' etc.</small></td></tr>
+</table>
+
+<p>Though <i>haggard</i>, which conveys to you the idea of a <i>witch</i>, is
+indeed only a metaphor taken from an unreclaimed hawk, which is
+called a <i>haggard</i>, and looks wild and <i>farouche</i>, and jealous of its
+liberty." Gray seems to have afterwards returned to his first (and we
+think better) reading.</p>
+
+<p><a href="#bard2">19.</a> "The image was taken from a well-known picture of Raphael,
+representing the Supreme Being in the vision of Ezekiel. There are
+two of these paintings (both believed originals), one at Florence,
+the other in the Duke of Orleans's collection at Paris" (Gray).</p>
+
+<p><a href="#bard2">20.</a> <i>Like a meteor</i>. Gray quotes <i>P. L.</i> i. 537: "Shone like a meteor
+streaming to the wind."</p>
+
+<p><a href="#bard2">21, 22.</a> Wakefield remarks: "This is poetical language in perfection;
+and breathes the sublime spirit of Hebrew poetry, which delights in
+this grand rhetorical substitution."</p>
+
+<p><a href="#bard2">23.</a> <i>Desert caves</i>. Cf. <i>Lycidas</i>, 39: "The woods and desert caves."</p>
+
+<p><a href="#bard2">26.</a> <i>Hoarser murmurs</i>. That is, perhaps, with continually increasing
+hoarseness, hoarser and hoarser; or it may mean with unwonted
+hoarseness, like the comparative sometimes in Latin (Hales).</p>
+<a name="bardl28"></a>
+<p><a href="#bard2">28.</a> Hoel is called <i>high-born</i>, being the son of Owen Gwynedd, prince
+of North Wales, by Finnog, an Irish damsel. He was one of his
+father's generals in his wars against the English, Flemings, and
+Normans, in South Wales; and was a famous bard, as his poems that are
+extant testify.</p>
+
+<p><i>Soft Llewellyn's lay</i>. "The lay celebrating the mild Llewellyn,"
+says Hales, though he afterwards remarks that, "looking at the
+context, it would be better to take <i>Llewellyn</i> here for a bard."
+Many bards celebrated the warlike prowess and princely qualities of
+Llewellyn. A poem by Einion the son of Guigan calls him "a
+tender-hearted prince;" and another, by Llywarch Brydydd y Moch,
+says: "Llewellyn, though in battle he killed with fury, though he
+burned like an outrageous fire, yet was a mild prince when the
+mead-horns were distributed." In an ode by Llygard Gwr he is also
+called "Llewellyn the mild."</p>
+<a name="bardl29"></a>
+<p><a href="#bard3">29.</a> Cadwallo and Urien were bards of whose songs nothing has been
+preserved. Taliessin (see <a href="#bardl121">121</a> below) dedicated many poems to the
+latter, and wrote an elegy on his death: he was slain by treachery in
+the year 560.</p>
+
+<p><a href="#bard3">30.</a> <i>That hush'd the stormy main</i>. Cf. Shakes. <i>M. N. D.</i> ii. 2:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem153">
+	<tr><td><small>"Uttering such dulcet and harmonious breath,<br>
+		&nbsp;That the rude sea grew civil at her song."</small></td></tr>
+</table>
+<a name="bardl33"></a>
+<p><a href="#bard3">33.</a> <i>Modred</i>. This name is not found in the lists of the old bards.
+It may have been borrowed from the Arthurian legends; or, as Mitford
+suggests, it may refer to "the famous Myrddin ab Morvyn, called
+Merlyn the Wild, a disciple of Taliessin, the form of the name being
+changed for the sake of euphony."</p>
+<a name="bardl34"></a>
+<p><a href="#bard3">34.</a> <i>Plinlimmon</i>. One of the loftiest of the Welsh mountains, being
+2463 feet in height. It is really a group of mountains, three of
+which tower high above the others, and on each of these is a
+<i>carnedd</i>, or pile of stones. The highest of the three is further
+divided into two peaks, and on these, as well as on another prominent
+part of the same height, are other piles of stones. These five piles,
+according to the common tradition, mark the graves of slain warriors,
+and serve as memorials of their exploits; but some believe that they
+were intended as landmarks or military signals, and that from them
+the mountain was called <i>Pump-lumon</i> or <i>Pum-lumon</i>, "the five
+beacons"&mdash;a name somehow corrupted into <i>Plinlimmon</i>. Five rivers
+take their rise in the recesses of Plinlimmon&mdash;the Wye, the Severn,
+the Rheidol, the Llyfnant, and the Clywedog.</p>
+<a name="bardl35"></a>
+<p><a href="#bard3">35.</a> <i>Arvon's shore</i>. "The shores of Caernarvonshire, opposite the
+isle of Anglesey" (Gray). <i>Caernarvon</i>, or <i>Caer yn Arvon</i>, means the
+camp in Arvon.</p>
+
+<p><a href="#bard3">38.</a> "Camden and others observe that eagles used annually to build
+their aerie among the rocks of Snowdon, which from thence (as some
+think) were named by the Welsh <i>Craigian-eryri</i>, or the crags of the
+eagles. At this day (I am told) the highest point of Snowdon is
+called <i>the Eagle's Nest</i>. That bird is certainly no stranger to this
+island, as the Scots, and the people of Cumberland, Westmoreland,
+etc., can testify; it even has built its nest in the peak of
+Derbyshire [see Willoughby's Ornithology, published by Ray]" (Gray).</p>
+
+<p><a href="#bard3">40.</a> <i>Dear as the light</i>. Cf. Virgil, <i>Æn.</i> iv. 31: "O luce magis
+dilecta sorori."</p>
+
+<p><a href="#bard3">41.</a> <i>Dear as the ruddy drops</i>. Gray quotes Shakes. <i>J. C.</i> ii. 1:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem154">
+	<tr><td><small>"As dear to me as are the ruddy drops<br>
+		&nbsp;That visit my sad heart."</small></td></tr>
+</table>
+
+<p>Cf. also Otway, <i>Venice Preserved:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem155">
+	<tr><td><small>"Dear as the vital warmth that feeds my life,<br>
+		&nbsp;Dear as these eyes that weep in fondness o'er thee."</small></td></tr>
+</table>
+
+<p><a href="#bard3">42.</a> Wakefield quotes Pope: "And greatly falling with a fallen state;"
+and Dryden: "And couldst not fall but with thy country's fate."</p>
+<a name="bardl44"></a>
+<p><a href="#bard3">44.</a> <i>Grisly</i>. See on <i>Eton Coll.</i> <a href="#etonl82">82.</a> Cf. <i>Lycidas</i>, 52:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem156">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"the steep<br>
+		Where your old bards, the famous Druids, lie."</small></td></tr>
+</table>
+<a name="bardl48"></a>
+<p><a href="#bard3">48.</a> "See the Norwegian ode that follows" (Gray). This ode (<i>The Fatal
+Sisters</i>, translated from the Norse) describes the <i>Valkyriur</i>, "the
+choosers of the slain," or warlike Fates of the Gothic mythology, as
+weaving the destinies of those who were doomed to perish in battle.
+It begins thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem157">
+	<tr><td><small>"Now the storm begins to lower<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(Haste, the loom of hell prepare),<br>
+		&nbsp;Iron sleet of arrowy shower<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Hurtles in the darken'd air.<br>
+		<br>
+		"Glittering lances are the loom,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Where the dusky warp we strain,<br>
+		Weaving many a soldier's doom,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Orkney's woe, and Randver's bane.<br><br>
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><br>
+		"Shafts for shuttles, dipt in gore,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Shoot the trembling cords along;<br>
+		Swords, that once a monarch bore,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Keep the tissue close and strong.<br><br>
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		*&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<br><br>
+		"(Weave the crimson web of war)<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Let us go, and let us fly,<br>
+		Where our friends the conflict share,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Where they triumph, where they die."</small></td></tr>
+</table>
+
+<p><a href="#bard4">51.</a> Cf. Dryden, <i>Sebastian</i>, i. 1:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem158">
+	<tr><td><small>"I have a soul that, like an ample shield,<br>
+		&nbsp;Can take in all, and verge enough for more."</small></td></tr>
+</table>
+<a name="bardl55"></a>
+<p><a href="#bard4">55.</a> "Edward the Second, cruelly butchered in Berkeley Castle" (Gray).
+The 1st ed. and that of 1768 have "roofs;" the modern eds. "roof."</p>
+
+<p>Berkeley Castle is on the southeast side of the town of Berkeley, on
+a height commanding a fine view of the Severn and the surrounding
+country, and is in a state of perfect preservation. It is said to
+have been founded by Roger de Berkeley soon after the Norman
+Conquest. About the year 1150 it was granted by Henry II. to Robert
+Fitzhardinge, Governor of Bristol, who strengthened and enlarged it.
+On the right of the great staircase leading to the keep, and
+approached by a gallery, is the room in which it is supposed that
+Edward II. was murdered, Sept. 21, 1327. The king, during his
+captivity here, composed a dolorous poem, of which the following is
+an extract:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem159">
+	<tr><td><small>"Moste blessed Jesu,<br>
+		&nbsp;Roote of all vertue,<br>
+		&nbsp;Graunte I may the sue,<br>
+		&nbsp;In all humylyte,<br>
+		&nbsp;Sen thou for our good,<br>
+		&nbsp;Lyste to shede thy blood,<br>
+		&nbsp;An stretche the upon the rood,<br>
+		&nbsp;For our iniquyte.<br>
+		&nbsp;I the beseche,<br>
+		&nbsp;Most holsome leche,<br>
+		&nbsp;That thou wylt seche<br>
+		&nbsp;For me such grace,<br>
+		&nbsp;That when my body vyle<br>
+		&nbsp;My soule shall exyle<br>
+		&nbsp;Thou brynge in short wyle<br>
+		&nbsp;It in reste and peace."</small></td></tr>
+</table>
+
+<p>Walpole, who visited the place in 1774, says: "The room shown for the
+murder of Edward II., and the shrieks of an agonizing king, I verily
+believe to be genuine. It is a dismal chamber, almost at the top of
+the house, quite detached, and to be approached only by a kind of
+foot-bridge, and from that descends a large flight of steps, that
+terminates on strong gates; exactly a situation for a <i>corps de
+garde</i>."</p>
+
+<p><a href="#bard4">56.</a> Cf. Hume's description: "The screams with which the agonizing
+king filled the castle."</p>
+
+<p><a href="#bard4">57.</a> <i>She-wolf of France</i>. "Isabel of France, Edward the Second's
+adulterous queen" (Gray). Cf. Shakes. 3 <i>Hen. VI.</i> i. 4: "She-wolf of
+France, but worse than wolves of France;" and read the context.</p>
+
+<p><a href="#bard4">60.</a> "Triumphs of Edward the Third in France" (Gray).</p>
+
+<p><a href="#bard4">61.</a> Cf. Cowley: "Ruin behind him stalks, and empty desolation;" and
+Oldham, <i>Ode to Homer:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem160">
+	<tr><td><small>"Where'er he does his dreadful standard bear,<br>
+		&nbsp;Horror stalks in the van, and slaughter in the rear."</small></td></tr>
+</table>
+
+<p><a href="#bard5">63.</a> For <i>victor</i> the MS. has "conqueror;" also in next line "the" for
+<i>his;</i> and in 65, "what ... what" for <i>no</i> ... <i>no</i>.</p>
+
+<p><a href="#bard5">64.</a> "Death of that king, abandoned by his children, and even robbed
+in his last moments by his courtiers and his mistress" (Gray).</p>
+
+<p><a href="#bard5">67.</a> "Edward the Black Prince, dead some time before his father"
+(Gray).</p>
+
+<p><a href="#bard5">69.</a> The MS. has "hover'd in thy noontide ray," and in the next line
+"the rising day."</p>
+
+<p>In <i>Agrippina</i>, a fragment of a tragedy, published among the
+posthumous poems of Gray, we have the same figure:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem161">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"around thee call<br>
+		The gilded swarm that wantons in the sunshine<br>
+		Of thy full favour."</small></td></tr>
+</table>
+
+<p><a href="#bard5">71.</a> "Magnificence of Richard the Second's reign. See Froissard and
+other contemporary writers" (Gray).</p>
+
+<p>For this line and the remainder of the stanza, the MS. has the
+following:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem162">
+	<tr><td><small>"Mirrors of Saxon truth and loyalty,<br>
+		&nbsp;Your helpless, old, expiring master view!<br>
+		&nbsp;They hear not: scarce religion does supply<br>
+		&nbsp;Her mutter'd requiems, and her holy dew.<br>
+		&nbsp;Yet thou, proud boy, from Pomfret's walls shalt send<br>
+		&nbsp;A sigh, and envy oft thy happy grandsire's end."</small></td></tr>
+</table>
+
+<p>On the passage as it stands, cf. Shakes. <i>M. of V.</i> ii. 6:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem163">
+	<tr><td><small>"How like a younger, or a prodigal,<br>
+		&nbsp;The scarfed bark puts from her native bay," etc.</small></td></tr>
+</table>
+
+<p>Also Spenser, <i>Visions of World's Vanitie</i>, ix:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem164">
+	<tr><td><small>"Looking far foorth into the Ocean wide,<br>
+		&nbsp;A goodly ship with banners bravely dight,<br>
+		&nbsp;And flag in her top-gallant, I espide<br>
+		&nbsp;Through the maine sea making her merry flight.<br>
+		&nbsp;Faire blew the winde into her bosome right;<br>
+		&nbsp;And th' heavens looked lovely all the while<br>
+		&nbsp;That she did seeme to daunce, as in delight,<br>
+		&nbsp;And at her owne felicitie did smile," etc.;</small></td></tr>
+</table>
+
+<p>and again, <i>Visions of Petrarch</i>, ii.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem165">
+	<tr><td><small>"After, at sea a tall ship did appeare,<br>
+		&nbsp;Made all of heben and white yvorie;<br>
+		&nbsp;The sailes of golde, of silke the tackle were:<br>
+		&nbsp;Milde was the winde, calme seem'd the sea to bee,<br>
+		&nbsp;The skie eachwhere did show full bright and faire:<br>
+		&nbsp;With rich treasures this gay ship fraighted was:<br>
+		&nbsp;But sudden storme did so turmoyle the aire,<br>
+		&nbsp;And tumbled up the sea, that she (alas)<br>
+		&nbsp;Strake on a rock, that under water lay,<br>
+		&nbsp;And perished past all recoverie."</small></td></tr>
+</table>
+
+<p>See also Milton, <i>S. A.</i> 710 foll.</p>
+
+<p><a href="#bard5">72.</a> <i>The azure realm</i>. Cf. Virgil, <i>Ciris</i>, 483: "Caeruleo pollens
+conjunx Neptunia regno."</p>
+
+<p><a href="#bard5">73.</a> Note the alliteration. Cf. Dryden, <i>Annus Mirab.</i> st. 151:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem166">
+	<tr><td><small>"The goodly London, in her gallant trim,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The phoenix-daughter of the vanish'd old,<br>
+		&nbsp;Like a rich bride does to the ocean swim,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And on her shadow rides in floating gold."</small></td></tr>
+</table>
+
+<p><a href="#bard5">75.</a> <i>Sweeping whirlwind's sway</i>. Cf. the posthumous fragment by Gray
+on <i>Education and Government</i>, 48: "And where the deluge burst with
+sweepy sway." The expression is from Dryden, who uses it repeatedly;
+as in <i>Geo.</i> i. 483: "And rolling onwards with a sweepy sway;" <i>Ov.
+Met.:</i> "Rushing onwards with a sweepy sway;" <i>Æn.</i> vii.: "The
+branches bend beneath their sweepy sway," etc.</p>
+
+<p><a href="#bard5">76.</a> <i>That hush'd in grim repose</i>, etc. Cf. Dryden, <i>Sigismonda and
+Guiscardo</i>, 242:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem167">
+	<tr><td><small>"So, like a lion that unheeded lay,<br>
+		&nbsp;Dissembling sleep, and watchful to betray,<br>
+		&nbsp;With inward rage he meditates his prey;"</small></td></tr>
+</table>
+
+<p>and <i>Absalom and Achitophel</i>, 447:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem168">
+	<tr><td><small>"And like a lion, slumbering in the way,<br>
+		&nbsp;Or sleep dissembling, while he waits his prey."</small></td></tr>
+</table>
+
+<p><a href="#bard6">77.</a> "Richard the Second (as we are told by Archbishop Scroop and the
+confederate Lords in their manifesto, by Thomas of Walsingham, and
+all the older writers) was starved to death. The story of his
+assassination by Sir Piers of Exon is of much later date" (Gray).</p>
+
+<p><a href="#bard6">79.</a> <i>Reft of a crown</i>. Wakefield quotes Mallet's ballad of <i>William
+and Margaret:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem169">
+	<tr><td><small>"Such is the robe that kings must wear<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;When death has reft their crown."</small></td></tr>
+</table>
+
+<p><a href="#bard6">82.</a> <i>A baleful smile</i>. The MS. has "A smile of horror on." Cf.
+Milton, <i>P. L.</i> ii. 846: "Grinn'd horrible a ghastly smile."</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 45">
+	<tr>
+		<td width="359">
+			<img src="images/46.jpg" alt="THE TRAITOR'S GATE OF THE TOWER">
+		</td>
+	</tr>
+	<tr>
+		<td width="359" align="center">
+			<small>THE TRAITOR'S GATE OF THE TOWER.</small>
+		</td>
+	</tr>
+</table>
+
+<p><a href="#bard6">83.</a> "Ruinous wars of York and Lancaster" (Gray). Cf. <i>P. L.</i> vi. 209:
+"Arms on armour clashing brayed."</p>
+
+<p><a href="#bard6">84.</a> Cf. Shakes. 1 <i>Hen. IV.</i> iv. 1: "Harry to Harry shall, hot horse
+to horse;" and Massinger, <i>Maid of Honour:</i> "Man to man, and horse to
+horse."</p>
+
+<p><a href="#bard6">87.</a> "Henry the Sixth, George Duke of Clarence, Edward the Fifth,
+Richard Duke of York, etc., believed to be murdered secretly in the
+Tower of London. The oldest part of that structure is vulgarly
+attributed to Julius Cæsar" (Gray). The MS. has "Grim towers."</p>
+<a name="bardl88"></a>
+<p><a href="#bard6">88.</a> <i>Murther</i>. See on <a href="#etonl59"><i>murthorous</i></a>.</p>
+
+<p><a href="#bard6">89.</a> <i>His consort</i>. "Margaret of Anjou, a woman of heroic spirit, who
+struggled hard to save her husband and her crown" (Gray).</p>
+
+<p><i>His father</i>. "Henry the Fifth" (Gray).</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 46">
+	<tr>
+		<td width="387">
+			<img src="images/47.jpg" alt="HENRY V">
+		</td>
+	</tr>
+	<tr>
+		<td width="387" align="center">
+			<small>HENRY V.</small>
+		</td>
+	</tr>
+</table>
+
+<p><a href="#bard6">90.</a> <i>The meek usurper</i>. "Henry the Sixth, very near being canonized.
+The line of Lancaster had no right of inheritance to the crown"
+(Gray). See on <i>Eton Coll.</i> <a href="#etonl4">4</a>. The MS. has "hallow'd head."</p>
+<a name="bardl91"></a>
+<p><a href="#bard6">91.</a> <i>The rose of snow</i>, etc. "The white and red roses, devices of
+York and Lancaster" (Gray).</p>
+
+<p>Cf. Shakes. 1 <i>Hen. VI.</i> ii. 4:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem170">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;"No, Plantagenet,<br>
+		'Tis not for shame, but anger, that thy cheeks<br>
+		Blush for pure shame, to counterfeit our roses."</small></td></tr>
+</table>
+<a name="bardl93"></a>
+<p><a href="#bard6">93.</a> <i>The bristled boar</i>. "The silver boar was the badge of Richard
+the Third; whence he was usually known in his own time by the name of
+<i>the Boar</i>" (Gray). Scott (notes to <i>Lay of Last Minstrel</i>) says:
+"The crest or bearing of a warrior was often used as a <i>nom de
+guerre</i>. Thus Richard III. acquired his well-known epithet, 'the Boar
+of York.'" Cf. Shakes. <i>Rich. III.</i> iv. 5: "this most bloody boar;"
+v. 2: "The wretched, bloody, and usurping boar," etc.</p>
+
+<p><a href="#bard7">98.</a> See on <a href="#bardl48">48</a> above.</p>
+
+<p><a href="#bard7">99.</a> <i>Half of thy heart</i>. "Eleanor of Castile died a few years after
+the conquest of Wales. The heroic proof she gave of her affection for
+her lord is well known.<small><small><sup>2</sup></small></small> The monuments of his regret and sorrow for
+the loss of her<small><small><sup>3</sup></small></small> are still to be seen at Northampton, Geddington,
+Waltham, and other places" (Gray). Cf. Horace, <i>Od.</i> i. 3, 8: "animae
+dimidium meae."</p>
+
+<blockquote><small><small><sup>2</sup></small> See Tennyson, <i>Dream of Fair Women:</i></small></blockquote>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem171">
+	<tr><td><small>"Or her who knew that Love can vanquish Death,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Who kneeling, with one arm about her king,<br>
+		&nbsp;Drew forth the poison with her balmy breath,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Sweet as new buds in spring."</small></td></tr>
+</table>
+
+<blockquote><small><small><sup>3</sup></small> Gray refers to the "Eleanor crosses," erected at the
+places where the funeral procession halted each night on the journey
+from Hardby, in Nottinghamshire (near Lincoln), where the queen died,
+to Westminster. Of the thirteen (or, as some say, fifteen) crosses
+only three now remain&mdash;at Northampton, Geddington, and Waltham. The
+one at Charing Cross in London has been replaced by a fac-simile of
+the original. These monuments were all exquisite works of Gothic art,
+fitting memorials of <i>la chère Reine</i>, "the beloved of all England,"
+as Walsingham calls her.</small></blockquote>
+
+<p><a href="#bard7">101.</a> <i>Nor thus forlorn</i>. In MS. "nor here forlorn;" in next line,
+"Leave your despairing Caradoc to mourn;" in 103, "yon black clouds;"
+in 104, "They sink, they vanish;" in 105, "But oh! what scenes of
+heaven on Snowdon's height;" in 106, "their golden skirts."</p>
+
+<p><a href="#bard7">107.</a> Cf. Dryden, <i>State of Innocence</i>, iv. 1: "Their glory shoots
+upon my aching sight."</p>
+
+<p><a href="#bard7">109.</a> "It was the common belief of the Welsh nation that King Arthur
+was still alive in Fairyland, and would return again to reign over
+Britain" (Gray).</p>
+
+<p>In the MS. this line and the next read thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem172">
+	<tr><td><small>"From Cambria's thousand hills a thousand strains<br>
+		&nbsp;Triumphant tell aloud, another Arthur reigns."</small></td></tr>
+</table>
+
+<p><a href="#bard7">110.</a> "Both Merlin and Taliessin had prophesied that the Welsh should
+regain their sovereignty over this island; which seemed to be
+accomplished in the house of Tudor" (Gray).</p>
+
+<p><a href="#bard8">111.</a> <i>Many a baron bold</i>. Cf. <i>L'Allegro</i>, 119: "throngs of knights
+and barons bold."</p>
+
+<p>The reading in the MS. is,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem173">
+	<tr><td><small>"Youthful knights, and barons bold,<br>
+		&nbsp;With dazzling helm, and horrent spear."</small></td></tr>
+</table>
+
+<p><a href="#bard8">112.</a> <i>Their starry fronts</i>. Cf. Milton, <i>Ode on the Passion</i>, 18:
+"His starry front;" Statius, <i>Theb.</i> 613: "Heu! ubi siderei vultus."</p>
+
+<p><a href="#bard8">115.</a> <i>A form divine</i>. Elizabeth. Wakefield quotes Spenser's eulogy of
+the queen, <i>Shep. Kal.</i> Apr.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem174">
+	<tr><td><small>"Tell me, have ye seene her angelick face,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Like Phoebe fayre?<br>
+		&nbsp;Her heavenly haveour, her princely grace,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Can you well compare?<br>
+		&nbsp;The Redde rose medled with the White yfere,<br>
+		&nbsp;In either cheeke depeincten lively chere;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Her modest eye,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Her Majestie,<br>
+		&nbsp;Where have you seene the like but there?"</small></td></tr>
+</table>
+<a name="bardl117"></a>
+<p><a href="#bard8">117.</a> "Speed, relating an audience given by Queen Elizabeth to Paul
+Dzialinski, ambassador of Poland, says: 'And thus she, lion-like
+rising, daunted the malapert orator no less with her stately port and
+majestical deporture, than with the tartnesse of her princelie
+checkes'" (Gray). The MS. reads "A lion-port, an awe-commanding
+face."</p>
+<a name="bardl121"></a>
+<p><a href="#bard8">121.</a> "Taliessin, chief of the bards, flourished in the sixth century.
+His works are still preserved, and his memory held in high veneration
+among his countrymen" (Gray).</p>
+
+<p>As Hales remarks, there is no authority for connecting him with
+Arthur, as Tennyson does in his <i>Holy Grail</i>.</p>
+
+<p><a href="#bard8">123.</a> Cf. Congreve, <i>Ode to Lord Godolphin:</i> "And soars with rapture
+while she sings."</p>
+
+<p><a href="#bard8">124.</a> <i>The eye of heaven</i>. Wakefield quotes Spenser, <i>F. Q.</i> 1. 3. 4,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem175">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Her angel's face<br>
+		As the great eye of heaven shined bright."</small></td></tr>
+</table>
+
+<p>Cf. Shakes. <i>Rich. II.</i> iii. 2: "the searching eye of heaven."</p>
+
+<p><i>Many-colour'd wings</i>. Cf. Shakes. <i>Temp.</i> iv. 1: "Hail,
+many-colour'd messenger;" and Milton, <i>P. L.</i> iii. 642:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem176">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Wings he wore<br>
+		Of many a colour'd plume sprinkled with gold."</small></td></tr>
+</table>
+
+<p><a href="#bard9">126.</a> Gray quotes Spenser, <i>F. Q.</i> Proeme, 9:</p>
+
+<center><small>"Fierce warres and faithful loves shall moralize my song."</small></center>
+<a name="bardl128"></a>
+<p><a href="#bard9">128.</a> "Shakespeare" (Gray). Cf. <i>Il Penseroso</i>, 102: "the buskin'd
+stage;" that is, the tragic stage.</p>
+
+<p><a href="#bard9">129.</a> <i>Pleasing pain</i>. Cf. Spenser, <i>F. Q.</i> vi. 9, 10: "sweet pleasing
+payne;" and Dryden, <i>Virg. Ecl.</i> iii. 171: "Pleasing pains of love."</p>
+
+<p><a href="#bard9">131.</a> "Milton" (Gray).</p>
+
+<p><a href="#bard9">133.</a> "The succession of poets after Milton's time" (Gray).</p>
+<a name="bardl135"></a>
+<p><a href="#bard9">135.</a> <i>Fond</i>. Foolish. See on <i>Prog. of Poesy</i>, <a href="#poesyl46">46.</a></p>
+
+<p>On the couplet, cf. Dekker, <i>If this be not a good play</i>, etc.:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem177">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Thinkest thou, base lord,<br>
+		Because the glorious Sun behind black clouds<br>
+		Has awhile hid his beams, he's darken'd forever,<br>
+		Eclips'd never more to shine?"</small></td></tr>
+</table>
+<a name="bardl137"></a>
+<p><a href="#bard9">137.</a> Cf. <i>Lycidas</i>, 169: "And yet anon repairs his drooping head;"
+and Fletcher, <i>Purple Island</i>, vi. 64: "So soon repairs her light,
+trebling her new-born raies."</p>
+
+<p><a href="#bard9">141.</a> Mitford remarks that there is a passage (which he misquotes, as
+usual) in the <i>Thebaid</i> of Statius (iii. 81) similar to this,
+describing a bard who had survived his companions:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem178">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"Sed jam nudaverat ensem<br>
+		Magnanimus vates, et nunc trucis ora tyranni,<br>
+		Nunc ferrum adspectans: 'Nunquam tibi sanguinis hujus<br>
+		Jus erit, aut magno feries imperdita Tydeo<br>
+		Pectora; <i>vado equidem exsultans</i> et <i>ereptaque fata</i><br>
+		Insequor, et comites feror expectatus ad umbras;<br>
+		<i>Te</i> Superis, fratrique.' Et jam media orsa loquentis<br>
+		Abstulerat plenum capulo latus."</small></td></tr>
+</table>
+
+<p>Cf. also a passage in Pindar (<i>Olymp.</i> i. 184), which Gray seems to
+have had in mind:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="Greek 7">
+	<tr>
+		<td width="256">
+			<img src="images/107.jpg" alt="Eiê se te touton Hupsou chronon patein, eme Te tossade nikaphorois Homilein, k. t. l.">
+		</td>
+	</tr>
+</table>
+
+<p><a href="#bard9">143.</a> Cf. Virgil, <i>Ecl.</i> viii. 59:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem179">
+	<tr><td><small>"Praeceps aërii specula de montis in undas<br>
+		&nbsp;Deferar; extremum hoc munus morientis habeto."</small></td></tr>
+</table><br>
+<br>
+
+<p>As we have given Johnson's criticism on <i>The Progress of Poesy</i>, we
+append his comments on this "Sister Ode:"</p>
+
+<p>"'The Bard' appears, at the first view, to be, as Algarotti and
+others have remarked, an imitation of the prophecy of Nereus.
+Algarotti thinks it superior to its original; and, if preference
+depends only on the imagery and animation of the two poems, his
+judgment is right. There is in 'The Bard' more force, more thought,
+and more variety. But to copy is less than to invent, and the copy
+has been unhappily produced at a wrong time. The fiction of Horace
+was to the Romans credible; but its revival disgusts us with apparent
+and unconquerable falsehood. <i>Incredulus odi</i>.</p>
+
+<p>"To select a singular event, and swell it to a giant's bulk by
+fabulous appendages of spectres and predictions, has little
+difficulty; for he that forsakes the probable may always find the
+marvellous. And it has little use; we are affected only as we
+believe; we are improved only as we find something to be imitated or
+declined. I do not see that 'The Bard' promotes any truth, moral or
+political.</p>
+
+<p>"His stanzas are too long, especially his epodes; the ode is finished
+before the ear has learned its measures, and consequently before it
+can receive pleasure from their consonance and recurrence.</p>
+
+<p>"Of the <a href="#bard1">first stanza</a> the abrupt beginning has been celebrated; but
+technical beauties can give praise only to the inventor. It is in the
+power of any man to rush abruptly upon his subject, that has read the
+ballad of 'Johnny Armstrong,'</p>
+
+<center><small>'Is there ever a man in all Scotland&mdash;'</small></center>
+
+<p>"The initial resemblances, or alliterations, 'ruin, ruthless, helm or
+hauberk,' are below the grandeur of a poem that endeavours at
+sublimity.</p>
+
+<p>"In the <a href="#bard2">second stanza</a> the Bard is well described; but in the <a href="#bard3">third</a> we
+have the puerilities of obsolete mythology. When we are told that
+'Cadwallo hush'd the stormy main,' and that 'Modred made huge
+Plinlimmon bow his cloud-topt head,' attention recoils from the
+repetition of a tale that, even when it was first heard, was heard
+with scorn.</p>
+
+<p>"The <a href="#bard4"><i>weaving</i></a> of the <i>winding-sheet</i> he borrowed, as he owns, from
+the Northern Bards; but their texture, however, was very properly the
+work of female powers, as the act of spinning the thread of life is
+another mythology. Theft is always dangerous; Gray has made weavers
+of slaughtered bards by a fiction outrageous and incongruous. They
+are then called upon to 'Weave the warp, and weave the woof,' perhaps
+with no great propriety; for it is by crossing the <i>woof</i> with the
+<i>warp</i> that men weave the <i>web</i> or piece; and the first line was
+dearly bought by the admission of its wretched correspondent, 'Give
+ample room and verge enough.' He has, however, no other line as bad.</p>
+
+<p>"The <a href="#bard6">third stanza</a> of the second ternary is commended, I think, beyond
+its merit. The personification is indistinct. <i>Thirst</i> and <i>Hunger</i>
+are not alike; and their features, to make the imagery perfect,
+should have been discriminated. We are told, in the same stanza, how
+'towers are fed.' But I will no longer look for particular faults;
+yet let it be observed that the ode might have been concluded with an
+action of better example; but suicide is always to be had, without
+expense of thought."</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 47">
+	<tr>
+		<td width="408">
+			<img src="images/48.jpg" alt="Ye towers of Julius, London's lasting shame!">
+		</td>
+	</tr>
+	<tr>
+		<td width="408" align="center">
+			<small>"Ye towers of Julius, London's lasting shame!"</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<br>
+<br>
+
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 48">
+	<tr>
+		<td width="242">
+			<img src="images/49.jpg" alt="HEAD OF OLYMPIAN JOVE">
+		</td>
+	</tr>
+	<tr>
+		<td width="242" align="center">
+			<small>HEAD OF OLYMPIAN JOVE.</small>
+		</td>
+	</tr>
+</table><br>
+<br>
+<br>
+<h4>HYMN TO ADVERSITY.</h4>
+<br>
+
+<p>This poem first appeared in Dodsley's <i>Collection</i>, vol. iv.,
+together with the "Elegy in a Country Churchyard." In Mason's and
+Wakefield's editions it is called an "Ode," but the title given by
+the author is as above.</p>
+
+<p>The motto from Æschylus is not in Dodsley, but appears in the first
+edition of the poems (1768) in the form given in the text. The best
+modern editions of Æschylus have the reading, [Greek: ton (some, tôi)
+pathei mathos]. Keck translates the passage into German thus:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem180">
+	<tr><td><small>"Ihn der uns zur Sinnigkeit<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;leitet, ihn der fest den Satz<br>
+		&nbsp;Stellet, 'Lehre durch das Leid.'"</small></td></tr>
+</table>
+
+<p>Plumptre puts it into English as follows:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem181">
+	<tr><td><small>"Yea, Zeus, who leadeth men in wisdom's way,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;And fixeth fast the law<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Wisdom by pain to gain."</small></td></tr>
+</table>
+
+<p>Cf. Mrs. Browning's <i>Vision of Poets:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem182">
+	<tr><td><small>"Knowledge by suffering entereth,<br>
+		&nbsp;And life is perfected by death."</small></td></tr>
+</table><br>
+<br>
+<p><a href="#adversity1">1.</a> Mitford remarks: "[Greek: Atê], who may be called the goddess of
+Adversity, is said by Homer to be the daughter of Jupiter (<i>Il.</i> [Greek: t.]
+91: [Greek: presba Dios thugatêr Atê, hê pantas aatai). Perhaps,
+however, Gray only alluded to the passage of Æschylus which he
+quoted, and which describes Affliction as sent by Jupiter for the
+benefit of man." The latter is the more probable explanation.</p>
+
+<p><a href="#adversity1">2.</a> Mitford quotes Pope, <i>Dunciad</i>, i. 163: "Then he: 'Great tamer of
+all human art.'"</p>
+
+<p><a href="#adversity1">3.</a> <i>Torturing hour</i>. Cf. Milton, <i>P. L.</i> ii. 90:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem183">
+	<tr><td><small>"The vassals of his anger, when the scourge<br>
+		&nbsp;Inexorable, and the torturing hour,<br>
+		&nbsp;Calls us to penance."</small></td></tr>
+</table>
+
+<p><a href="#adversity1">5.</a> <i>Adamantine chains</i>. Wakefield quotes Æschylus, <i>Prom. Vinct.</i>
+vi.: [Greek: Adamantinôn desmôn en arrêktois pedais]. Cf. Milton, <i>P.
+L.</i> i. 48: "In adamantine chains and penal fire;" and Pope,
+<i>Messiah</i>, 47: "In adamantine chains shall Death be bound."</p>
+<a name="adversityl7"></a>
+<p><a href="#adversity1">7.</a> <i>Purple tyrants</i>. Cf. Pope, <i>Two Choruses to Tragedy of Brutus:</i>
+"Till some new tyrant lifts his purple hand." Wakefield cites Horace,
+<i>Od.</i> i. 35, 12: "Purpurei metuunt tyranni."</p>
+
+<p><a href="#adversity1">8.</a> <i>With pangs unfelt before</i>. Cf. Milton, <i>P. L.</i> ii. 703: "Strange
+horror seize thee, and pangs unfelt before."</p>
+
+<p><a href="#adversity2">9-12.</a> Cf. Bacon, <i>Essays</i>, v. (ed. 1625): "Certainly, Vertue is like
+pretious Odours, most fragrant when they are incensed [that is,
+burned], or crushed:<small><small><sup>1</sup></small></small> For
+<i>Prosperity</i> doth best discover Vice;<small><small><sup>2</sup></small></small>
+But <i>Adversity</i> doth best discover Vertue."</p>
+
+<blockquote><small><small><sup>1</sup></small> So in his <i>Apophthegms</i>, 253, Bacon says: "Mr. Bettenham
+said: that virtuous men were like some herbs and spices, that give
+not their sweet smell till they be broken or crushed."</small></blockquote>
+
+<blockquote><small><small><sup>2</sup></small> Cf. Shakespeare, <i>Julius Cæsar</i>, ii. 1: "It is the
+bright day that brings forth the adder."</small></blockquote>
+
+<p>Cf. also Thomson:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem184">
+	<tr><td><small>"If Misfortune comes, she brings along<br>
+		&nbsp;The bravest virtues. And so many great<br>
+		&nbsp;Illustrious spirits have convers'd with woe,<br>
+		&nbsp;Have in her school been taught, as are enough<br>
+		&nbsp;To consecrate distress, and make ambition<br>
+		&nbsp;E'en wish the frown beyond the smile of fortune."</small></td></tr>
+</table>
+
+<p><a href="#adversity2">16.</a> Cf. Virgil, <i>Æn.</i> i. 630: "Non ignara mali, miseris succurrere
+disco."</p>
+
+<p><a href="#adversity3">18.</a> <i>Folly's idle brood</i>. Cf. the opening lines of <i>Il Penseroso:</i></p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem185">
+	<tr><td><small>"Hence, vain deluding Joys,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The brood of Folly, without father bred!"</small></td></tr>
+</table>
+
+<p><a href="#adversity3">20.</a> Mitford quotes Oldham, <i>Ode:</i> "And know I have not yet the
+leisure to be good."</p>
+<a name="adversityl22"></a>
+<p><a href="#adversity3">22.</a> <i>The summer friend</i>. Cf. Geo. Herbert, <i>Temple:</i> "like summer
+friends, flies of estates and sunshine;" Quarles, <i>Sion's Elegies</i>,
+xix.: "Ah, summer friendship with the summer ends;" Massinger, <i>Maid
+of Honour:</i> "O summer friendship." See also Shakespeare, <i>T. of A.</i>
+iii. 6:</p>
+
+<blockquote>"<i>2d Lord</i>. The swallow follows not summer more willing than we your
+lordship.</blockquote>
+
+<blockquote>"<i>Timon</i> [<i>aside</i>]. Nor more willingly leaves winter; such
+summer-birds are men;"</blockquote>
+
+<p>and <i>T. and C.</i> iii. 3:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem186">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"For men, like butterflies,<br>
+		Shew not their mealy wings but to the summer."</small></td></tr>
+</table>
+
+<p>Mitford suggests that Gray had in mind Horace, <i>Od.</i> i. 35, 25:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem187">
+	<tr><td><small>"At vulgus infidum et meretrix retro<br>
+		&nbsp;Perjura cedit; diffugiunt cadis<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Cum faece siccatis amici<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ferre jugum pariter dolosi."</small></td></tr>
+</table>
+
+<p><a href="#adversity4">25.</a> <i>In sable garb</i>. Cf. Milton, <i>Il Pens.</i> 16: "O'erlaid with black,
+staid Wisdom's hue."</p>
+<a name="adversityl28"></a>
+<p><a href="#adversity4">28.</a> <i>With leaden eye</i>. Evidently suggested by Milton's description of
+Melancholy, <i>Il Pens.</i> 43:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem188">
+	<tr><td><small>"Thy rapt soul sitting in thine eyes;<br>
+		&nbsp;There, held in holy passion still,<br>
+		&nbsp;Forget thyself to marble, till<br>
+		&nbsp;With a sad leaden downward cast<br>
+		&nbsp;Thou fix them on the earth as fast."</small></td></tr>
+</table>
+
+<p>Mitford cites Sidney, <i>Astrophel and Stella</i>, song 7: "So leaden
+eyes;" Dryden, <i>Cymon and Iphigenia</i>, 57: "And stupid eyes that ever
+lov'd the ground;" Shakespeare, <i>Pericles</i>, i. 2: "The sad companion,
+dull-eyed Melancholy;" and <i>L. L. L.</i> iv. 3: "In leaden
+contemplation." Cf. also <i>The Bard</i>, 69, 70.</p>
+
+<p><a href="#adversity4">31.</a> <i>To herself severe</i>. Cf. Carew:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem189">
+	<tr><td><small>"To servants kind, to friendship dear,<br>
+		&nbsp;To nothing but herself severe;"</small></td></tr>
+</table>
+
+<p>and Dryden: "Forgiving others, to himself severe;" and Waller: "The
+Muses' friend, unto himself severe." Mitford quotes several other
+similar passages.</p>
+
+<p><a href="#adversity4">32.</a> <i>The sadly pleasing tear</i>. Rogers cites Dryden's "sadly pleasing
+thought" (Virgil's <i>Æn.</i> x.); and Mitford compares Thomson's
+"lenient, not unpleasing tear."</p>
+<a name="adversityl35"></a>
+<p><a href="#adversity5">35.</a> <i>Gorgon terrors</i>. Cf. Milton, <i>P. L.</i> ii. 611: "Medusa with
+Gorgonian terror."</p>
+
+<p><a href="#adversity5">36-40.</a> Cf. <i>Ode on Eton College</i>, <a href="#eton6">55-70</a> and <a href="#eton9">81-90</a>.</p>
+
+<p><a href="#adversity6">45-48.</a> Cf. Shakespeare, <i>As You Like It</i>, ii. 1:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem190">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;"these are counsellors<br>
+		That feelingly persuade me what I am.<br>
+		Sweet are the uses of adversity,<br>
+		Which, like the toad, ugly and venomous,<br>
+		Wears yet a precious jewel in his head;"</small></td></tr>
+</table>
+
+<p>and Mallet:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem191">
+	<tr><td><small>"Who hath not known ill-fortune, never knew<br>
+		&nbsp;Himself, or his own virtue."</small></td></tr>
+</table>
+
+<p>Guizot, in his <i>Cromwell</i>, says: "The effect of supreme and
+irrevocable misfortune is to elevate those souls which it does not
+deprive of all virtue;" and Sir Philip Sidney remarks: "A noble
+heart, like the sun, showeth its greatest countenance in its lowest
+estate."</p>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 49">
+	<tr>
+		<td width="381">
+			<img src="images/50.jpg" alt="Headlong, impetuous, see it pour">
+		</td>
+	</tr>
+	<tr>
+		<td width="381" align="left">
+			<small>&nbsp;&nbsp;&nbsp;&nbsp;"Now rolling down the steep amain,<br>
+			&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Headlong, impetuous, see it pour;<br>
+			&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The rocks and nodding groves rebellow to the roar."</small>
+		</td>
+	</tr>
+	<tr>
+		<td width="381" align="right">
+			<small><i>The Progress of Poesy</i>, <a href="#poesy1">10</a>.&nbsp;&nbsp;&nbsp;&nbsp;</small>
+		</td>
+	</tr>
+</table><br>
+<br><a name="appendix"></a>
+<br>
+<br>
+<br>
+<h3>APPENDIX TO NOTES.</h3>
+<hr align="center" width="100">
+<br>
+
+<p>Just as this book is going to press we have received <i>The Quarterly
+Review</i> (London) for January, 1876, which contains an interesting
+paper on "Wordsworth and Gray." After quoting Wordsworth's remark
+that "Gray was at the head of those poets who, by their reasonings,
+have attempted to widen the space of separation between prose and
+metrical composition, and was, more than any other man, curiously
+elaborate in the construction of his own poetic diction," the
+reviewer remarks:</p>
+
+<p>"The indictment, then, brought by Wordsworth against Gray is twofold.
+Gray, it seems, had in the first place a false conception of the
+nature of poetry; and, secondly, a false standard of poetical
+diction. To begin with the first count, Gray, we are told, sought to
+widen the space of separation betwixt prose and metrical composition.
+What this charge amounts to we shall see hereafter. Meantime, did
+Wordsworth think that between prose and poetry there was any line of
+demarcation at all? In the Preface [to the "Lyrical Ballads"] from
+which we have quoted we read:</p>
+
+<p>"'There neither is nor can be any essential difference between the
+language of prose and metrical composition. We are fond of tracing
+the resemblance between Poetry and Painting, and accordingly we call
+them sisters; but where shall we find bonds of connection
+sufficiently strong to typify the connection betwixt prose and
+metrical composition?'</p>
+
+<p>"Now this question admits of a very definite answer. Take the Iliad
+of Homer and a proposition of Euclid. Is it conceivable that the
+latter could have been expressed at all in metre, or the former
+expressed half so well in prose? If not, what is the reason? Is it
+not plain that the poem contains a predominant element of imagination
+and feeling which is absolutely excluded from the proposition? And in
+the same way it may be shown that whenever a man expresses himself
+properly in metre, the subject-matter of his composition belongs to
+imagination or feeling; whenever he writes in prose his subject
+belongs to or (if the prose be fiction) intimately resembles matter
+of fact. We may decide then with certainty that the sphere of poetry
+lies in Imagination, and that the larger the amount of <i>just</i> liberty
+the Imagination enjoys, the better will be the poetry it produces.
+But then a further question arises, and this is the key of the whole
+position, How far does this liberty extend? Is Imagination absolute,
+supreme, and uncontrolled in its own sphere, or is it under the
+guidance and government of reason? That its dominion is not universal
+is obvious, but of its influence we are all conscious, and there is
+no exaggeration in the eloquent words of Pascal:</p>
+
+<p>"'This mighty power, the perpetual antagonist of reason, which
+delights to show its ascendency by bringing her under its control and
+dominion, has created a second nature in man. It has its joys and its
+sorrows; its health, its sickness; its wealth, its poverty; it
+compels reason, in spite of herself, to believe, to doubt, to deny;
+it suspends the exercise of the senses, and imparts to them again an
+artificial acuteness; it has its follies and its wisdom; and the most
+perverse thing of all is that it fills its votaries with a
+complacency more full and complete even than that which reason can
+supply.'</p>
+
+<p>"If such be the force of Imagination in active life, how absolute
+must be its dominion in poetry! And absolute it is, if we are to
+believe Wordsworth, who defines poetry to be 'the spontaneous
+overflow of powerful emotion.' This definition coincides well with
+modern notions on the nature of the art. But how different is the
+view if we turn from theory to practice! It would surely be a serious
+mistake to describe the noblest poems, like the 'Æneid' or 'Paradise
+Lost,' as the product of mere spontaneous emotion. And even in lyric
+verse, to which it may be said Wordsworth is specially alluding, we
+find the greatest poets, like Pindar and Simonides, composing their
+odes for set occasions like the public games, in honour of persons
+with whom they were but little acquainted, and (most significant fact
+of all) in the expectation of receiving liberal rewards. We need not
+say that such considerations detract nothing from the genius of these
+great poets; but they prove very conclusively that poetry is not what
+Wordsworth's definition asserts, and what in these days it is too
+often assumed to be, the mere gush of unconscious inspiration. The
+definition of Wordsworth may perhaps suit short lyrics, such as he
+was himself in the habit of composing, but it would be fatal to the
+claims of poetry to rank among the higher arts, for it would exclude
+that quality which, in poetry as in all art, is truly sovereign,
+Invention. The poet, no less than the mechanical inventor, excels by
+the exercise of reason, by his knowledge of the required effect, his
+power of adapting means to ends, and his skill in availing himself of
+circumstances. Consider for a moment the external difficulties which
+restrict the poet's liberty, and require the most vigorous efforts of
+reason to subdue them. To begin with, in order to secure the happy
+result promised by Horace,</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem192">
+	<tr><td><small>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;'Cui lecta potenter erit res<br>
+		Nec facundia deseret hunc nec lucidus ordo,'</small></td></tr>
+</table>
+
+<p>he has to take the exact measure of his own powers. How many a poet
+has failed for want of judgment by trespassing on a subject and style
+for which his genius is unfitted! Again, he is confronted by the most
+obvious difficulties of language and metre, which limit his freedom
+to a degree unknown to the prose-writer. And beyond this, if he
+wishes to be read&mdash;and a poem without readers is no more than a
+musical instrument without a musician&mdash;he has to consider the
+character of his audience. He must have all the instinct of an
+orator, all the intuitive knowledge of the world, as well as all the
+practical resource, which are required to gain command over the
+hearts of men, and to subdue, by the charms of eloquence, their
+passions, their prejudices, and their judgment. To achieve such
+results something more is required than 'the spontaneous overflow of
+powerful feeling.'</p>
+
+<p>"How far Wordsworth's own poetry illustrates his principles we shall
+consider presently; meantime his definition helps us to understand
+what he meant by Gray's fault of widening the space of separation
+betwixt prose and metrical composition. Neither in respect of the
+quantity nor the quality of his verse could Gray's manner of
+composition be described as spontaneous. Compared with Wordsworth's
+numerous volumes of poetry, the slender volume that contains the
+poetry of Gray looks meagre indeed; yet almost every poem in this
+small collection is a considered work of art. To begin with 'The
+Bard.' Few readers, we suppose, would rise from this ode without a
+sense of its poetical 'effect.' The details may be thought to require
+too much attention; the allusions, from the nature of the subject,
+are, no doubt, difficult; but a feeling of loftiness, of harmony, of
+proportion, remains in the mind at the close of the poem, which is
+not likely to pass away. How, then, was this effect produced? First
+of all we see that Gray had selected a good subject; his raw
+materials, so to speak, were poetical. The imagination, unembarrassed
+by common associations, breathes freely in its own region, and is
+instinctively elevated as it moves among the great events of the
+past, dwelling on the misfortunes of monarchs, the rise of dynasties,
+and the splendours of literature. But, in the second place, when he
+has chosen his subject, it is the part of the poet to impress the
+great ideas derived from it on the feelings and the memory by the
+distinctness of the form under which he presents it; and here
+poetical invention first begins to work. By the imaginative fiction
+of 'The Bard,' Gray is enabled to cast the whole course of English
+history into the form of a prophecy, and to excite the patriotic
+feelings of the reader, as Virgil roused the pride of his own
+countrymen by Anchises' forecast of the grandeur of Rome. Finally,
+when the main design of the poem is thus conceived, observe with what
+art all the different parts are made to emphasize the beauty of the
+general conception; with what dramatic propriety the calamities of
+the conquering Plantagenet are prophesied by his vanquished foe;
+while on the other hand, the literary glories of the Tudor Elizabeth
+awaken the triumph of the patriot and the poet; how martial and
+spirited is the opening of the poem! how lofty and enthusiastic its
+close! Perhaps there is no English lyric which, animated by equal
+fervour, displays so much architectural genius as 'The Bard.'</p>
+
+<p>"Take, again, the 'Ode on the Prospect of Eton College.' A subject
+better adapted far the indulgence of personal feeling, or for those
+sentimental confidences between the reader and the poet, in which the
+modern muse so much delights, could not be imagined. But what do we
+find? The theme is treated in the most general manner. Though
+emphasizing the irony of his reflection by the beautiful touch of
+memory in the second stanza, the poet speaks throughout as a moralist
+or spectator; from first to last he seems to lose all thought of
+himself in contemplating the tragedies he foresees for others; the
+subject is in fact handled with the most skilful rhetoric, and every
+stanza is made to strengthen and elaborate the leading thought. In
+the 'Progress of Poesy,' though the general constructive effect is
+perhaps inferior to 'The Bard,' we see the same evidence of careful
+preconsideration, while the course of the poem is particularly
+distinguished by the beauty of the transitions. Of the form of the
+'Elegy' it is superfluous to speak; a poem so dignified and yet so
+tender, appeals immediately, and will continue to appeal, to the
+heart of every Englishman, so long as the care of public liberty and
+love of the soil maintain their hold in this country. In this poem,
+as indeed in all that Gray ever wrote, we find it his first principle
+<i>to prefer his subject to himself;</i> he never forgot that while he was
+a man he was also an artist, and he knew that the function of art was
+not merely to indulge nature, but to dignify and refine it.</p>
+
+<p>"Yet, in spite of his love of form, there is nothing frigid or
+statuesque in the genius of Gray. A vein of deep melancholy,
+evidently constitutional, runs through his poetry, and, considering
+how little he produced, the number of personal allusions in his
+verses is undoubtedly large. But he is entirely free from that
+egotism which we have had frequent occasion to blame as the
+prevailing vice of modern poetry. For whereas the modern poet thrusts
+his private feelings into prominence, and finds a luxury in the
+confession of his sorrows, Gray's references to himself are
+introduced on public grounds, or, in other words, with a view to
+poetical effect. He, like our own bards, is 'condemned to groan,' but
+for different reasons&mdash;</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem193">
+	<tr><td><small>'The tender for <i>another's</i> pain,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The unfeeling for his own.'</small></td></tr>
+</table>
+
+<p>"We have already remarked on the public character of the 'Ode on Eton
+College;' but the second stanza of this poem is a pure expression of
+individual feeling:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem194">
+	<tr><td><small>'Ah, happy hills! ah, pleasing shade!<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ah, fields belov'd in vain!<br>
+		&nbsp;Where once my careless childhood play'd,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A stranger yet to pain!<br>
+		&nbsp;I feel the gales that from ye blow<br>
+		&nbsp;A momentary bliss bestow,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;As waving fresh their gladsome wing,<br>
+		&nbsp;My weary soul they seem to soothe,<br>
+		&nbsp;And, redolent of joy and youth,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;To breathe a second spring.'</small></td></tr>
+</table>
+
+<p>Every one will perceive the art which enforces the truth of the
+general reflections that follow by the personal experience of the
+speaker. Again, the 'Progress of Poesy' closes with a personal
+allusion which, as it is a climax, might, if ill-managed, have
+appeared arrogant, but which is, in fact, a masterpiece of oratory.
+After confessing his own inferiority to Pindar, the poet proceeds:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem195">
+	<tr><td><small>'Yet oft before his infant eyes would run<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Such forms as glitter in the Muse's ray,<br>
+		&nbsp;With orient hues, unborrow'd of the sun;<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Yet shall he mount, and keep his distant way,<br>
+		&nbsp;Beyond the limits of a vulgar fate,<br>
+		&nbsp;Beneath the Good how far&mdash;but far above the Great!'</small></td></tr>
+</table>
+
+<p>There is something very noble in the elevated manner in which the
+self-complacent triumph of genius, expressed by so many poets from
+Ennius downwards, is at once justified and chastened by the
+reflection in these lines. We see in them that the poet alludes to
+himself in the third person, and he repeats this style in the
+'Elegy,' where, after the fourth line, the first personal pronoun is
+never again used. How just and beautiful is the turn where, after
+contemplating the general lot of the lowly society he is celebrating,
+he proceeds to identify his own fate with theirs:</p>
+
+<table align="center" border="0" cellspacing="0" cellpadding="0" summary="poem196">
+	<tr><td><small>'For <i>thee</i>, who, mindful of th' unhonour'd dead,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Dost in these lines their artless tale relate,<br>
+		&nbsp;If, chance, by lonely contemplation led,<br>
+		&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Some kindred spirit shall inquire thy fate,<br>
+		<br>
+		'Haply some hoary-headed swain may say,' etc.</small></td></tr>
+</table>
+
+<p>"The two great characteristics of Gray's poetry that we have
+noticed&mdash;his self-suppression and his sense of form and dignity&mdash;are
+best described by the word 'classical.' What we particularly admire
+in the great authors of Greece and Rome is their public spirit. Their
+writings are full of patriotism, good-breeding, and common-sense, and
+have that happy mixture of art and nature which is only acquired by
+men who have learned from liberty how to discipline individual
+instincts by social refinement. Their style is masculine, clear, and
+moderate; they seem, as it were, never to lose the sense of being
+before an audience, and, like orators who know that they are always
+exposed to the judgment of their intellectual equals, they aim at
+putting intelligible thoughts into the most natural and forcible
+words. Precisely the same qualities are observable in all the best
+English writers of the eighteenth century. Addison, Pope, and
+Goldsmith are perhaps the most shining examples, but the rest are
+'classical' in the sense which we have just indicated; and we can
+hardly be wrong in ascribing this common rhetorical instinct to the
+intimate connection between the men of thought and the men of action,
+which existed both in the free states of antiquity, and in England
+under the rule of the aristocracy. With the advance of the eighteenth
+century the instinct in English literature seems to grow weaker; the
+style of our authors becomes more formal and constrained, and
+symptoms of that dislike of society encouraged by the philosophy of
+Rousseau more frequently betray themselves. As the poetry of Cowper
+shows less social instinct than that of Gray, so Gray himself is
+inferior in this respect to Pope and Goldsmith. But his style has the
+same lofty public spirit that distinguishes his favourite models, and
+no worthier form could be imagined to express the ardour excited in
+the heart of a patriotic poet by the rising fortunes of his native
+country. We feel that it is in every way fitting that the author of
+the 'Elegy' should have been the favourite of Wolfe and the
+countryman of Chatham."</p>
+<br>
+<br>
+<br>
+<br>
+<table align="center" border="0" cellspacing="0" cellpadding="6" summary="Illustration 50">
+	<tr>
+		<td width="245">
+			<img src="images/51.jpg" alt="CLIO, THE MUSE OF HISTORY">
+		</td>
+	</tr>
+	<tr>
+		<td width="245" align="right">
+			<small>CLIO, THE MUSE OF HISTORY.</small>
+		</td>
+	</tr>
+</table><br>
+<br><a name="index"></a>
+<br>
+<br>
+<br>
+<h2>INDEX OF WORDS EXPLAINED.</h2>
+<hr align="center" width="200">
+<br>
+
+<a href="#poesyl1">Æolian</a><br>
+<br>
+<a href="#elegyl27">afield</a><br>
+<br>
+<a href="#poesyl10">amain</a><br>
+<br>
+<a href="#poesyl30">antic</a><br>
+<br>
+<a href="#bardl35">Arvon</a><br>
+<br>
+<a href="#springl5">Attic warbler</a><br>
+<br>
+<br>
+<a href="#bardl55">Berkeley</a><br>
+<br>
+<a href="#bardl93">boar</a> (of Richard III.)<br>
+<br>
+<a href="#elegyl26">broke</a> (=broken)<br>
+<br>
+<a href="#bardl128">buskined</a><br>
+<br>
+<a href="#etonl45">buxom</a><br>
+<br>
+<br>
+<a href="#bardl29">Cadwallo</a><br>
+<br>
+<a href="#bardl35">Caernarvon</a><br>
+<br>
+<a href="#etonl27">captive</a> (proleptic)<br>
+<br>
+<a href="#elegyl95">chance</a> (adverb)<br>
+<br>
+<a href="#etonl47">cheer</a><br>
+<br>
+<a href="#elegyl114">churchway</a><br>
+<br>
+<a href="#elegyl1">curfew</a><br>
+<br>
+<a href="#elegyl109">customed</a><br>
+<br>
+<a href="#poesyl29">Cytherea</a><br>
+<br>
+<br>
+<a href="#poesyl66">Delphi</a><br>
+<br>
+<br>
+<a href="#poesyl46">fond</a> (=foolish), <a href="#bardl135">see also</a><br>
+<br>
+<a href="#elegyl39">fretted</a><br>
+<br>
+<br>
+<a href="#catl42">glister</a><br>
+<br>
+<a href="#bardl13">Gloster</a><br>
+<br>
+<a href="#adversityl35">Gorgon</a><br>
+<br>
+<a href="#elegyl116">graved</a><br>
+<br>
+<a href="#etonl82">grisly</a>, <a href="#bardl44">see also</a><br>
+<br>
+<a href="#elegyl116">grove</a> (=graved)<br>
+<br>
+<br>
+<a href="#bardl17">haggard</a><br>
+<br>
+<a href="#bardl5">hauberk</a><br>
+<br>
+<a href="#poesyl3">Helicon</a><br>
+<br>
+<a href="#bardl28">Hoel</a><br>
+<br>
+<a href="#springl26">honied</a><br>
+<br>
+<a href="#springl1">Horæ</a><br>
+<br>
+<a href="#poesyl52">Hyperion</a><br>
+<br>
+<br>
+<a href="#poesyl27">Idalia</a><br>
+<br>
+<a href="#poesyl68">Ilissus</a><br>
+<br>
+<br>
+<a href="#catl11">jet</a><br>
+<br>
+<br>
+<a href="#adversityl28">leaden</a> (eye)<br>
+<br>
+<a href="#bardl117">lion-port</a><br>
+<br>
+<a href="#elegyl58">little</a> (=petty)<br>
+<br>
+<a href="#bardl28">Llewellyn</a><br>
+<br>
+<a href="#springl3">long-expecting</a><br>
+<br>
+<br>
+<a href="#poesyl69">Mæander</a><br>
+<br>
+<a href="#etonl23">margent</a><br>
+<br>
+<a href="#bardl33">Modred</a><br>
+<br>
+<a href="#bardl14">Mortimer</a><br>
+<br>
+<a href="#bardl88">murther</a><br>
+<br>
+<a href="#etonl59">murtherous</a><br>
+<br>
+<br>
+<a href="#bardl7">nightly</a> (=nocturnal)<br>
+<br>
+<br>
+<a href="#elegyl1">parting</a> (=departing)<br>
+<br>
+<a href="#elegyl90">pious</a> (=<i>pius</i>)<br>
+<br>
+<a href="#bardl34">Plinlimmon</a><br>
+<br>
+<a href="#elegyl43">provoke</a> (=<i>provocare</i>)<br>
+<br>
+<a href="#springl4">purple</a>, <a href="#poesyl41">see also</a>, <a href="#adversityl7">see also</a><br>
+<br>
+<br>
+<a href="#elegyl51">rage</a><br>
+<br>
+<a href="#bardl137">repair</a><br>
+<br>
+<a href="#poesyl60">repeat</a><br>
+<br>
+<a href="#bardl91">rose</a> (of snow)<br>
+<br>
+<a href="#springl15">rushy</a><br>
+<br>
+<br>
+<a href="#bardl11">shaggy</a><br>
+<br>
+<a href="#poesyl15">shell</a> (=lyre)<br>
+<br>
+<a href="#etonl90">slow-consuming</a><br>
+<br>
+<a href="#bardl11">Snowdon</a><br>
+<br>
+<a href="#poesyl14">solemn-breathing</a><br>
+<br>
+<a href="#adversityl22">summer friend</a><br>
+<br>
+<br>
+<a href="#catl4">tabby</a><br>
+<br>
+<a href="#bardl121">Taliessin</a><br>
+<br>
+<a href="#poesyl26">tempered</a><br>
+<br>
+<a href="#poesyl17">Thracia</a><br>
+<br>
+<a href="#catl16">Tyrian</a><br>
+<br>
+<br>
+<a href="#elegyl100">upland</a><br>
+<br>
+<a href="#bardl29">Urien</a><br>
+<br>
+<br>
+<a href="#poesyl27">velvet-green</a><br>
+<br>
+<br>
+<a href="#elegyl107">woeful-wan</a><br>
+<br>
+<br>
+<a href="#etonl15">ye</a> (accusative)<br>
+<br>
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Select Poems of Thomas Gray, by Thomas Gray
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+***** This file should be named 30357-h.htm or 30357-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/0/3/5/30357/
+
+Produced by Ron Swanson
+
+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.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/old/30357-h/images/01.jpg b/old/30357-h/images/01.jpg
new file mode 100644
index 0000000..2a9a906
--- /dev/null
+++ b/old/30357-h/images/01.jpg
diff --git a/old/30357-h/images/02.jpg b/old/30357-h/images/02.jpg
new file mode 100644
index 0000000..9be62a0
--- /dev/null
+++ b/old/30357-h/images/02.jpg
diff --git a/old/30357-h/images/03.jpg b/old/30357-h/images/03.jpg
new file mode 100644
index 0000000..4f0608e
--- /dev/null
+++ b/old/30357-h/images/03.jpg
diff --git a/old/30357-h/images/04.jpg b/old/30357-h/images/04.jpg
new file mode 100644
index 0000000..3a3f212
--- /dev/null
+++ b/old/30357-h/images/04.jpg
diff --git a/old/30357-h/images/05.jpg b/old/30357-h/images/05.jpg
new file mode 100644
index 0000000..2266846
--- /dev/null
+++ b/old/30357-h/images/05.jpg
diff --git a/old/30357-h/images/06.jpg b/old/30357-h/images/06.jpg
new file mode 100644
index 0000000..6a433b5
--- /dev/null
+++ b/old/30357-h/images/06.jpg
diff --git a/old/30357-h/images/07.jpg b/old/30357-h/images/07.jpg
new file mode 100644
index 0000000..31aa05f
--- /dev/null
+++ b/old/30357-h/images/07.jpg
diff --git a/old/30357-h/images/08.jpg b/old/30357-h/images/08.jpg
new file mode 100644
index 0000000..ab74c40
--- /dev/null
+++ b/old/30357-h/images/08.jpg
diff --git a/old/30357-h/images/09.jpg b/old/30357-h/images/09.jpg
new file mode 100644
index 0000000..580713e
--- /dev/null
+++ b/old/30357-h/images/09.jpg
diff --git a/old/30357-h/images/10.jpg b/old/30357-h/images/10.jpg
new file mode 100644
index 0000000..b4e626a
--- /dev/null
+++ b/old/30357-h/images/10.jpg
diff --git a/old/30357-h/images/101.jpg b/old/30357-h/images/101.jpg
new file mode 100644
index 0000000..8b71759
--- /dev/null
+++ b/old/30357-h/images/101.jpg
diff --git a/old/30357-h/images/102.jpg b/old/30357-h/images/102.jpg
new file mode 100644
index 0000000..9b0f169
--- /dev/null
+++ b/old/30357-h/images/102.jpg
diff --git a/old/30357-h/images/103.jpg b/old/30357-h/images/103.jpg
new file mode 100644
index 0000000..3e6ffee
--- /dev/null
+++ b/old/30357-h/images/103.jpg
diff --git a/old/30357-h/images/104.jpg b/old/30357-h/images/104.jpg
new file mode 100644
index 0000000..c8a5d6a
--- /dev/null
+++ b/old/30357-h/images/104.jpg
diff --git a/old/30357-h/images/105.jpg b/old/30357-h/images/105.jpg
new file mode 100644
index 0000000..af59109
--- /dev/null
+++ b/old/30357-h/images/105.jpg
diff --git a/old/30357-h/images/106.jpg b/old/30357-h/images/106.jpg
new file mode 100644
index 0000000..6572663
--- /dev/null
+++ b/old/30357-h/images/106.jpg
diff --git a/old/30357-h/images/107.jpg b/old/30357-h/images/107.jpg
new file mode 100644
index 0000000..2e0420c
--- /dev/null
+++ b/old/30357-h/images/107.jpg
diff --git a/old/30357-h/images/11.jpg b/old/30357-h/images/11.jpg
new file mode 100644
index 0000000..e8234c5
--- /dev/null
+++ b/old/30357-h/images/11.jpg
diff --git a/old/30357-h/images/12.jpg b/old/30357-h/images/12.jpg
new file mode 100644
index 0000000..57787a4
--- /dev/null
+++ b/old/30357-h/images/12.jpg
diff --git a/old/30357-h/images/13.jpg b/old/30357-h/images/13.jpg
new file mode 100644
index 0000000..2649a3f
--- /dev/null
+++ b/old/30357-h/images/13.jpg
diff --git a/old/30357-h/images/14.jpg b/old/30357-h/images/14.jpg
new file mode 100644
index 0000000..44e1558
--- /dev/null
+++ b/old/30357-h/images/14.jpg
diff --git a/old/30357-h/images/15.jpg b/old/30357-h/images/15.jpg
new file mode 100644
index 0000000..b077eda
--- /dev/null
+++ b/old/30357-h/images/15.jpg
diff --git a/old/30357-h/images/16.jpg b/old/30357-h/images/16.jpg
new file mode 100644
index 0000000..77cb1d6
--- /dev/null
+++ b/old/30357-h/images/16.jpg
diff --git a/old/30357-h/images/17.jpg b/old/30357-h/images/17.jpg
new file mode 100644
index 0000000..89b3d71
--- /dev/null
+++ b/old/30357-h/images/17.jpg
diff --git a/old/30357-h/images/18.jpg b/old/30357-h/images/18.jpg
new file mode 100644
index 0000000..0a13a4f
--- /dev/null
+++ b/old/30357-h/images/18.jpg
diff --git a/old/30357-h/images/19.jpg b/old/30357-h/images/19.jpg
new file mode 100644
index 0000000..3023b4c
--- /dev/null
+++ b/old/30357-h/images/19.jpg
diff --git a/old/30357-h/images/20.jpg b/old/30357-h/images/20.jpg
new file mode 100644
index 0000000..f020d9b
--- /dev/null
+++ b/old/30357-h/images/20.jpg
diff --git a/old/30357-h/images/21.jpg b/old/30357-h/images/21.jpg
new file mode 100644
index 0000000..2206cb6
--- /dev/null
+++ b/old/30357-h/images/21.jpg
diff --git a/old/30357-h/images/22.jpg b/old/30357-h/images/22.jpg
new file mode 100644
index 0000000..74201c4
--- /dev/null
+++ b/old/30357-h/images/22.jpg
diff --git a/old/30357-h/images/23.jpg b/old/30357-h/images/23.jpg
new file mode 100644
index 0000000..a3dc4a1
--- /dev/null
+++ b/old/30357-h/images/23.jpg
diff --git a/old/30357-h/images/24.jpg b/old/30357-h/images/24.jpg
new file mode 100644
index 0000000..ab46bf5
--- /dev/null
+++ b/old/30357-h/images/24.jpg
diff --git a/old/30357-h/images/25.jpg b/old/30357-h/images/25.jpg
new file mode 100644
index 0000000..bc41cd2
--- /dev/null
+++ b/old/30357-h/images/25.jpg
diff --git a/old/30357-h/images/26.jpg b/old/30357-h/images/26.jpg
new file mode 100644
index 0000000..6c13677
--- /dev/null
+++ b/old/30357-h/images/26.jpg
diff --git a/old/30357-h/images/27.jpg b/old/30357-h/images/27.jpg
new file mode 100644
index 0000000..c83f08f
--- /dev/null
+++ b/old/30357-h/images/27.jpg
diff --git a/old/30357-h/images/28.jpg b/old/30357-h/images/28.jpg
new file mode 100644
index 0000000..a26e740
--- /dev/null
+++ b/old/30357-h/images/28.jpg
diff --git a/old/30357-h/images/29.jpg b/old/30357-h/images/29.jpg
new file mode 100644
index 0000000..e7ee18a
--- /dev/null
+++ b/old/30357-h/images/29.jpg
diff --git a/old/30357-h/images/30.jpg b/old/30357-h/images/30.jpg
new file mode 100644
index 0000000..61b1175
--- /dev/null
+++ b/old/30357-h/images/30.jpg
diff --git a/old/30357-h/images/31.jpg b/old/30357-h/images/31.jpg
new file mode 100644
index 0000000..977419a
--- /dev/null
+++ b/old/30357-h/images/31.jpg
diff --git a/old/30357-h/images/32.jpg b/old/30357-h/images/32.jpg
new file mode 100644
index 0000000..a0f1ed3
--- /dev/null
+++ b/old/30357-h/images/32.jpg
diff --git a/old/30357-h/images/33.jpg b/old/30357-h/images/33.jpg
new file mode 100644
index 0000000..ddef4c7
--- /dev/null
+++ b/old/30357-h/images/33.jpg
diff --git a/old/30357-h/images/34.jpg b/old/30357-h/images/34.jpg
new file mode 100644
index 0000000..4efacc5
--- /dev/null
+++ b/old/30357-h/images/34.jpg
diff --git a/old/30357-h/images/35.jpg b/old/30357-h/images/35.jpg
new file mode 100644
index 0000000..cf783fb
--- /dev/null
+++ b/old/30357-h/images/35.jpg
diff --git a/old/30357-h/images/36.jpg b/old/30357-h/images/36.jpg
new file mode 100644
index 0000000..cbb5fd7
--- /dev/null
+++ b/old/30357-h/images/36.jpg
diff --git a/old/30357-h/images/37.jpg b/old/30357-h/images/37.jpg
new file mode 100644
index 0000000..1deff7c
--- /dev/null
+++ b/old/30357-h/images/37.jpg
diff --git a/old/30357-h/images/38.jpg b/old/30357-h/images/38.jpg
new file mode 100644
index 0000000..1aa2dc4
--- /dev/null
+++ b/old/30357-h/images/38.jpg
diff --git a/old/30357-h/images/39.jpg b/old/30357-h/images/39.jpg
new file mode 100644
index 0000000..0d2e3b9
--- /dev/null
+++ b/old/30357-h/images/39.jpg
diff --git a/old/30357-h/images/40.jpg b/old/30357-h/images/40.jpg
new file mode 100644
index 0000000..7b11a31
--- /dev/null
+++ b/old/30357-h/images/40.jpg
diff --git a/old/30357-h/images/41.jpg b/old/30357-h/images/41.jpg
new file mode 100644
index 0000000..05dcfc2
--- /dev/null
+++ b/old/30357-h/images/41.jpg
diff --git a/old/30357-h/images/42.jpg b/old/30357-h/images/42.jpg
new file mode 100644
index 0000000..f561b9f
--- /dev/null
+++ b/old/30357-h/images/42.jpg
diff --git a/old/30357-h/images/43.jpg b/old/30357-h/images/43.jpg
new file mode 100644
index 0000000..94ba391
--- /dev/null
+++ b/old/30357-h/images/43.jpg
diff --git a/old/30357-h/images/44.jpg b/old/30357-h/images/44.jpg
new file mode 100644
index 0000000..cdb4f51
--- /dev/null
+++ b/old/30357-h/images/44.jpg
diff --git a/old/30357-h/images/45.jpg b/old/30357-h/images/45.jpg
new file mode 100644
index 0000000..169fe2d
--- /dev/null
+++ b/old/30357-h/images/45.jpg
diff --git a/old/30357-h/images/46.jpg b/old/30357-h/images/46.jpg
new file mode 100644
index 0000000..6fccd6e
--- /dev/null
+++ b/old/30357-h/images/46.jpg
diff --git a/old/30357-h/images/47.jpg b/old/30357-h/images/47.jpg
new file mode 100644
index 0000000..62ed978
--- /dev/null
+++ b/old/30357-h/images/47.jpg
diff --git a/old/30357-h/images/48.jpg b/old/30357-h/images/48.jpg
new file mode 100644
index 0000000..32a8cff
--- /dev/null
+++ b/old/30357-h/images/48.jpg
diff --git a/old/30357-h/images/49.jpg b/old/30357-h/images/49.jpg
new file mode 100644
index 0000000..ac3c6ef
--- /dev/null
+++ b/old/30357-h/images/49.jpg
diff --git a/old/30357-h/images/50.jpg b/old/30357-h/images/50.jpg
new file mode 100644
index 0000000..4819a5d
--- /dev/null
+++ b/old/30357-h/images/50.jpg
diff --git a/old/30357-h/images/51.jpg b/old/30357-h/images/51.jpg
new file mode 100644
index 0000000..503bffe
--- /dev/null
+++ b/old/30357-h/images/51.jpg
diff --git a/old/30357.txt b/old/30357.txt
new file mode 100644
index 0000000..addb4ac
--- /dev/null
+++ b/old/30357.txt
@@ -0,0 +1,6208 @@
+The Project Gutenberg EBook of Select Poems of Thomas Gray, by Thomas Gray
+
+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
+
+
+Title: Select Poems of Thomas Gray
+
+Author: Thomas Gray
+
+Contributor: Robert Carruthers
+
+Editor: William J. Rolfe
+
+Release Date: October 29, 2009 [EBook #30357]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+
+
+
+Produced by Ron Swanson
+
+
+
+
+
+SELECT POEMS OF THOMAS GRAY.
+
+
+EDITED, WITH NOTES,
+BY
+WILLIAM J. ROLFE, A.M.,
+FORMERLY HEAD MASTER OF THE HIGH SCHOOL, CAMBRIDGE, MASS.
+
+
+_WITH ENGRAVINGS_.
+
+
+
+
+_NEW YORK_:
+HARPER & BROTHERS, PUBLISHERS,
+FRANKLIN SQUARE.
+1883.
+
+
+
+
+Entered according to Act of Congress, in the year 1876, by
+HARPER & BROTHERS,
+In the Office of the Librarian of Congress, at Washington.
+
+
+
+
+PREFACE.
+
+
+Many editions of Gray have been published in the last fifty years,
+some of them very elegant, and some showing considerable editorial
+labor, but not one, so far as I am aware, critically exact either in
+text or in notes. No editor since Mathias (A.D. 1814) has given the
+2d line of the _Elegy_ as Gray wrote and printed it; while Mathias's
+mispunctuation of the 123d line has been copied by his successors,
+almost without exception. Other variations from the early editions
+are mentioned in the notes.
+
+It is a curious fact that the most accurate edition of Gray's
+collected poems is the _editio princeps_ of 1768, printed under his
+own supervision. The first edition of the two Pindaric odes, _The
+Progress of Poesy_ and _The Bard_ (Strawberry-Hill, 1757), was
+printed with equal care, and the proofs were probably read by the
+poet. The text of the present edition has been collated, line by
+line, with that of these early editions, and in no instance have I
+adopted a later reading. All the MS. variations, and the various
+readings I have noted in the modern editions, are given in the notes.
+
+Pickering's edition of 1835, edited by Mitford, has been followed
+blindly in nearly all the more recent editions, and its many errors
+(see pp. 84 and 105, foot-notes) have been faithfully reproduced.
+Even its blunders in the "indenting" of the lines in the
+corresponding stanzas of the two Pindaric odes, which any careful
+proof-reader ought to have corrected, have been copied again and
+again--as in the Boston (1853) reprint of Pickering, the pretty
+little edition of Bickers & Son (London, n. d.), the fac-simile of
+the latter printed at our University Press, Cambridge (1866), etc.
+
+Of former editions of Gray, the only one very fully annotated is
+Mitford's (Pickering, 1835), already mentioned. I have drawn freely
+from that, correcting many errors, and also from Wakefield's and
+Mason's editions, and from Hales's notes (_Longer English Poems_,
+London, 1872) on the _Elegy_ and the Pindaric odes. To all this
+material many original notes and illustrations have been added.
+
+The facts concerning the first publication of the _Elegy_ are not
+given correctly by any of the editors, and even the "experts" of
+_Notes and Queries_ have not been able to disentangle the snarl of
+conflicting evidence. I am not sure that I have settled the question
+myself (see p. 74 and foot-note), but I have at least shown that Gray
+is a more credible witness in the case than any of his critics. Their
+testimony is obviously inconsistent and inconclusive; he may have
+confounded the names of two magazines, but that remains to be
+proved.[1]
+
+[Footnote 1: Since writing the above to-day, I have found by the
+merest chance in my own library another bit of evidence in the case,
+which fully confirms my surmise that the _Elegy_ was printed in _The
+Magazine of Magazines_ before it appeared in the _Grand Magazine of
+Magazines_. _Chambers's Book of Days_ (vol. ii. p. 146), in an
+article on "Gray and his Elegy," says:
+
+"It first saw the light in _The Magazine of Magazines_, February,
+1751. Some imaginary literary wag is made to rise in a convivial
+assembly, and thus announce it: 'Gentlemen, give me leave to soothe
+my own melancholy, and amuse you in a most noble manner, with a full
+copy of verses by the very ingenious Mr. Gray, of Peterhouse,
+Cambridge. They are stanzas written in a country churchyard.' Then
+follow the verses. A few days afterwards, Dodsley's edition
+appeared," etc.
+
+The same authority gives the four stanzas omitted after the 18th (see
+p. 79) as they appear in the _North American Review_, except that the
+first line of the third is "Hark how the sacred calm that _reigns_
+around," a reading which I have found nowhere else. The stanza "There
+scattered oft," etc. (p. 81), is given as in the review. The reading
+on p. 82 must be a later one.]
+
+I have retained most of the "parallel passages" from the poets given
+by the editors, and have added others, without regard to the critics
+who have sneered at this kind of annotations. Whether Gray borrowed
+from the others, or the others from him, matters little; very likely,
+in most instances, neither party was consciously the borrower. Gray,
+in his own notes, has acknowledged certain debts to other poets, and
+probably these were all that he was aware of. Some of these he
+contracted unwittingly (see what he says of one of them in a letter
+to Walpole, quoted in the note on the _Ode on the Spring_, 31), and
+the same may have been true of some apparently similar cases pointed
+out by modern editors. To me, however, the chief interest of these
+coincidences and resemblances of thought or expression is as studies
+in the "comparative anatomy" of poetry. The teacher will find them
+useful as pegs to hang questions upon, or texts for oral instruction.
+The pupil, or the young reader, who finds out who all these poets
+were, when they lived, what they wrote, etc., will have learned no
+small amount of English literary history. If he studies the
+quotations merely as illustrations of style and expression, or as
+examples of the poetic diction of various periods, he will have
+learned some lessons in the history and the use of his mother-tongue.
+
+The wood-cuts on pp. 9, 25, 26, 27, 28, 30, 34, 36, 39, 40, 41, 42,
+45, 50, and 61 are from Birket Foster's designs; those on pp. 29, 31,
+33, 35, 37, and 38 are from the graceful drawings of "E. V. B." (the
+Hon. Mrs. Boyle); the rest are from various sources.
+
+  _Cambridge_, Feb. 29, 1876.
+
+
+
+
+CONTENTS.
+
+                                                     PAGE
+THE LIFE OF THOMAS GRAY, BY ROBERT CARRUTHERS . . . .   9
+
+STOKE-POGIS, BY WILLIAM HOWITT  . . . . . . . . . . .  16
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD . . . . . . . .  23
+
+MISCELLANEOUS POEMS . . . . . . . . . . . . . . . . .  43
+
+  ON THE SPRING . . . . . . . . . . . . . . . . . . .  45
+
+  ON THE DEATH OF A FAVOURITE CAT . . . . . . . . . .  48
+
+  ON A DISTANT PROSPECT OF ETON COLLEGE . . . . . . .  50
+
+  THE PROGRESS OF POESY . . . . . . . . . . . . . . .  55
+
+  THE BARD  . . . . . . . . . . . . . . . . . . . . .  61
+
+  HYMN TO ADVERSITY . . . . . . . . . . . . . . . . .  68
+
+NOTES . . . . . . . . . . . . . . . . . . . . . . . .  71
+
+  APPENDIX TO NOTES . . . . . . . . . . . . . . . . . 138
+
+INDEX . . . . . . . . . . . . . . . . . . . . . . . . 145
+
+
+
+
+[Illustration: STOKE-POGIS CHURCH.]
+
+
+THE LIFE OF THOMAS GRAY.
+
+BY ROBERT CARRUTHERS.
+
+
+Thomas Gray, the author of the celebrated _Elegy written in a Country
+Churchyard_, was born in Cornhill, London, December 26, 1716. His
+father, Philip Gray, an exchange broker and scrivener, was a wealthy
+and nominally respectable citizen, but he treated his family with
+brutal severity and neglect, and the poet was altogether indebted for
+the advantages of a learned education to the affectionate care and
+industry of his mother, whose maiden name was Antrobus, and who, in
+conjunction with a maiden sister, kept a millinery shop. A brother of
+Mrs. Gray was assistant to the Master of Eton, and was also a fellow
+of Pembroke College, Cambridge. Under his protection the poet was
+educated at Eton, and from thence went to Peterhouse, attending
+college from 1734 to September, 1738. At Eton he had as
+contemporaries Richard West, son of the Lord Chancellor of Ireland,
+and Horace Walpole, son of the triumphant Whig minister, Sir Robert
+Walpole. West died early in his 26th year, but his genius and virtues
+and his sorrows will forever live in the correspondence of his
+friend. In the spring of 1739, Gray was invited by Horace Walpole to
+accompany him as travelling companion in a tour through France and
+Italy. They made the usual route, and Gray wrote remarks on all he
+saw in Florence, Rome, Naples, etc. His observations on arts and
+antiquities, and his sketches of foreign manners, evince his
+admirable taste, learning, and discrimination. Since Milton, no such
+accomplished English traveller had visited those classic shores. In
+their journey through Dauphiny, Gray's attention was strongly
+arrested by the wild and picturesque site of the Grande Chartreuse,
+surrounded by its dense forest of beech and fir, its enormous
+precipices, cliffs, and cascades. He visited it a second time on his
+return, and in the album of the mountain convent he wrote his famous
+Alcaic Ode. At Reggio the travellers quarrelled and parted. Walpole
+took the whole blame on himself. He was fond of pleasure and
+amusements, "intoxicated by vanity, indulgence, and the insolence of
+his situation as a prime minister's son"--his own confession--while
+Gray was studious, of a serious disposition, and independent spirit.
+The immediate cause of the rupture is said to have been Walpole's
+clandestinely opening, reading, and resealing a letter addressed to
+Gray, in which he expected to find a confirmation of his suspicions
+that Gray had been writing unfavourably of him to some friends in
+England. A partial reconciliation was effected about three years
+afterwards by the intervention of a lady, and Walpole redeemed his
+youthful error by a life-long sincere admiration and respect for his
+friend. From Reggio Gray proceeded to Venice, and thence travelled
+homewards, attended by a _laquais de voyage_. He arrived in England
+in September, 1741, having been absent about two years and a half.
+His father died in November, and it was found that the poet's fortune
+would not enable him to prosecute the study of the law. He therefore
+retired to Cambridge, and fixed his residence at the university.
+There he continued for the remainder of his life, with the exception
+of about two years spent in London, when the treasures of the British
+Museum were thrown open. At Cambridge he had the range of noble
+libraries. His happiness consisted in study, and he perused with
+critical attention the Greek and Roman poets, philosophers,
+historians, and orators. Plato and the Anthologia he read and
+annotated with great care, as if for publication. He compiled tables
+of Greek chronology, added notes to Linnaeus and other naturalists,
+wrote geographical disquisitions on Strabo; and, besides being
+familiar with French and Italian literature, was a zealous
+archaeological student, and profoundly versed in architecture,
+botany, painting, and music. In all departments of human learning,
+except mathematics, he was a master. But it follows that one so
+studious, so critical, and so fastidious, could not be a voluminous
+writer. A few poems include all the original compositions of Gray-
+-the quintessence, as it were, of thirty years of ceaseless study and
+contemplation, irradiated by bright and fitful gleams of inspiration.
+In 1742 Gray composed his _Ode to Spring_, his _Ode on a Distant
+Prospect of Eton College_, and his _Ode to Adversity_--productions
+which most readers of poetry can repeat from memory. He commenced a
+didactic poem, _On the Alliance of Education and Government_, but
+wrote only about a hundred lines. Every reader must regret that this
+philosophical poem is but a fragment. It is in the style and measure
+of Dryden, of whom Gray was an ardent admirer and close student. His
+_Elegy written in a Country Churchyard_ was completed and published
+in 1751. In the form of a sixpenny _brochure_ it circulated rapidly,
+four editions being exhausted the first year. This popularity
+surprised the poet. He said sarcastically that it was owing entirely
+to the subject, and that the public would have received it as well if
+it had been written in prose. The solemn and affecting nature of the
+poem, applicable to all ranks and classes, no doubt aided its sale;
+it required high poetic sensibility and a cultivated taste to
+appreciate the rapid transitions, the figurative language, and
+lyrical magnificence of the odes; but the elegy went home to all
+hearts; while its musical harmony, originality, and pathetic train of
+sentiment and feeling render it one of the most perfect of English
+poems. No vicissitudes of taste or fashion have affected its
+popularity. When the original manuscript of the poem was lately
+(1854) offered for sale, it brought the almost incredible sum of 131
+pounds. The two great odes of Gray, _The Progress of Poetry_ and _The
+Bard_, were published in 1757, and were but coldly received. His
+name, however, stood high, and on the death of Cibber, the same year,
+he was offered the laureateship, which he wisely declined. He was
+ambitious, however, of obtaining the more congenial and dignified
+appointment of Professor of Modern History in the University of
+Cambridge, which fell vacant in 1762, and, by the advice of his
+friends, he made application to Lord Bute, but was unsuccessful. Lord
+Bute had designed it for the tutor of his son-in-law, Sir James
+Lowther. No one had heard of the tutor, but the Bute influence was
+all-prevailing. In 1765 Gray took a journey into Scotland,
+penetrating as far north as Dunkeld and the Pass of Killiecrankie;
+and his account of his tour, in letters to his friends, is replete
+with interest and with touches of his peculiar humour and graphic
+description. One other poem proceeded from his pen. In 1768 the
+Professorship of Modern History was again vacant, and the Duke of
+Grafton bestowed it upon Gray. A sum of 400 pounds per annum was thus
+added to his income; but his health was precarious--he had lost it,
+he said, just when he began to be easy in his circumstances. The
+nomination of the Duke of Grafton to the office of Chancellor of the
+University enabled Gray to acknowledge the favour conferred on
+himself. He thought it better that gratitude should sing than
+expectation, and he honoured his grace's installation with an ode.
+Such occasional productions are seldom happy; but Gray preserved his
+poetic dignity and select beauty of expression. He made the founders
+of Cambridge, as Mr. Hallam has remarked, "pass before our eyes like
+shadows over a magic glass." When the ceremony of the installation
+was over, the poet-professor went on a tour to the lakes of
+Cumberland and Westmoreland, and few of the beauties of the
+lake-country, since so famous, escaped his observation. This was to
+be his last excursion. While at dinner one day in the college-hall he
+was seized with an attack of gout in his stomach, which resisted all
+the powers of medicine, and proved fatal in less than a week. He died
+on the 30th of July, 1771, and was buried, according to his own
+desire, beside the remains of his mother at Stoke-Pogis, near Slough,
+in Buckinghamshire, in a beautiful sequestered village churchyard
+that is supposed to have furnished the scene of his elegy.[1] The
+literary habits and personal peculiarities of Gray are familiar to us
+from the numerous representations and allusions of his friends. It is
+easy to fancy the recluse-poet sitting in his college-chambers in the
+old quadrangle of Pembroke Hall. His windows are ornamented with
+mignonette and choice flowers in China vases, but outside may be
+discerned some iron-work intended to be serviceable as a fire-escape,
+for he has a horror of fire. His furniture is neat and select; his
+books, rather for use than show, are disposed around him. He has a
+harpsichord in the room. In the corner of one of the apartments is a
+trunk containing his deceased mother's dresses, carefully folded up
+and preserved. His fastidiousness, bordering upon effeminacy, is
+visible in his gait and manner--in his handsome features and small,
+well-dressed person, especially when he walks abroad and sinks the
+author and hard student in "the gentleman who sometimes writes for
+his amusement." He writes always with a crow-quill, speaks slowly and
+sententiously, and shuns the crew of dissonant college revellers, who
+call him "a prig," and seek to annoy him. Long mornings of study, and
+nights feverish from ill-health, are spent in those chambers; he is
+often listless and in low spirits; yet his natural temper is not
+desponding, and he delights in employment. He has always something to
+learn or to communicate--some sally of humour or quiet stroke of
+satire for his friends and correspondents--some note on natural
+history to enter in his journal--some passage of Plato to unfold and
+illustrate--some golden thought of classic inspiration to inlay on
+his page--some bold image to tone down--some verse to retouch and
+harmonize. His life is on the whole innocent and happy, and a feeling
+of thankfulness to the Great Giver is breathed over all.
+
+[Footnote 1: A claim has been put up for the churchyard of
+Granchester, about two miles from Cambridge, the great bell of St.
+Mary's serving for the "curfew." But Stoke-Pogis is more likely to
+have been the spot, if any individual locality were indicated. The
+poet often visited the village, his aunt and mother residing there,
+and his aunt was interred in the churchyard of the place. Gray's
+epitaph on his mother is characterized not only by the tenderness
+with which he always regarded her memory, but by his style and cast
+of thought. It runs thus: "Beside her friend and sister here sleep
+the remains of Dorothy Gray, widow, the careful, tender mother of
+many children, one of whom alone had the misfortune to survive her.
+She died March 11, 1753, aged 72." She had lived to read the _Elegy_,
+which was perhaps an ample recompense for her maternal cares and
+affection. Mrs. Gray's will commences in a similar touching strain:
+"In the name of God, amen. This is the last will and desire of
+Dorothy Gray to her son Thomas Gray." [Cunningham's edit. of
+_Johnson's Lives_.] They were all in all to each other. The father's
+cruelty and neglect, their straitened circumstances, the sacrifices
+made by the mother to maintain her son at the university, her pride
+in the talents and conduct of that son, and the increasing gratitude
+and affection of the latter, nursed in his scholastic and cloistered
+solitude--these form an affecting but noble record in the history of
+genius.
+
+[One would infer from the above that Mrs. Gray was _not_ "interred in
+the churchyard of the place," though the epitaph given immediately
+after shows that she _was_. Gray in his will directed that he should
+be laid beside her there. The passage in the will reads thus: "First,
+I do desire that my body may be deposited in the vault, made by my
+dear mother in the churchyard of Stoke-Pogeis, near Slough in
+Buckinghamshire, by her remains, in a coffin of seasoned oak, neither
+lined nor covered, and (unless it be inconvenient) I could wish that
+one of my executors may see me laid in the grave, and distribute
+among such honest and industrious poor persons in said parish as he
+thinks fit, the sum of ten pounds in charity."--_Ed_.]]
+
+Various editions of the collected works of Gray have been published.
+The first, including memoirs of his life and his correspondence,
+edited by his friend, the Rev. W. Mason, appeared in 1775. It has
+been often reprinted, and forms the groundwork of the editions by
+Mathias (1814) and Mitford (1816). Mr. Mitford, in 1843, published
+Gray's correspondence with the Rev. Norton Nicholls; and in 1854
+another collection of Gray's letters was published, edited also by
+Mr. Mitford. Every scrap of the poet's MSS. is eagerly sought after,
+and every year seems to add to his popularity as a poet and
+letter-writer.
+
+     *     *     *     *     *     *
+
+In 1778 a monument to Gray was erected in Westminster Abbey by Mason,
+with the following inscription:
+
+  No more the Grecian muse unrivall'd reigns,
+    To Britain let the nations homage pay;
+  She felt a Homer's fire in Milton's strains,
+    A Pindar's rapture in the lyre of Gray.
+
+The cenotaph afterwards erected in Stoke Park by Mr. Penn is
+described below.
+
+
+
+
+[Illustration: WEST-END HOUSE.]
+
+
+STOKE-POGIS.
+
+FROM HOWITT'S "HOMES AND HAUNTS OF THE BRITISH POETS."[1]
+
+[Footnote 1: Harper's edition, vol. i. p. 314 foll.]
+
+
+It is at Stoke-Pogis that we seek the most attractive vestiges of
+Gray. Here he used to spend his vacations, not only when a youth at
+Eton, but during the whole of his future life, while his mother and
+his aunts lived. Here it was that his _Ode on a Distant Prospect of
+Eton College_, his celebrated _Elegy written in a Country
+Churchyard_, and his _Long Story_ were not only written, but were
+mingled with the circumstances and all the tenderest feelings of his
+own life.
+
+His mother and aunts lived at an old-fashioned house in a very
+retired spot at Stoke, called West-End. This house stood in a hollow,
+much screened by trees. A small stream ran through the garden, and it
+is said that Gray used to employ himself when here much in this
+garden, and that many of the trees still remaining are of his
+planting. On one side of the house extended an upland field, which
+was planted round so as to give a charming retired walk; and at the
+summit of the field was raised an artificial mound, and upon it was
+built a sort of arcade or summer-house, which gave full prospect of
+Windsor and Eton. Here Gray used to delight to sit; here he was
+accustomed to read and write much; and it is just the place to
+inspire the _Ode on Eton College_, which lay in the midst of its fine
+landscape, beautifully in view. The old house inhabited by Gray and
+his mother has just been pulled down, and replaced by an Elizabethan
+mansion by the present proprietor, Mr. Penn, of Stoke Park, just
+by.[2] The garden, of course, has shared in the change, and now
+stands gay with its fountain and its modern greenhouse, and,
+excepting for some fine trees, no longer reminds you of Gray. The
+woodland walk still remains round the adjoining field, and the
+summer-house on its summit, though now much cracked by time, and only
+held together by iron cramps. The trees are now so lofty that they
+completely obstruct the view, and shut out both Eton and Windsor.
+
+[Footnote 2: This was written (or published, at least) in 1846; but
+Mitford, in the Life of Gray prefixed to the "Eton edition" of his
+Poems, published in 1847, says: "The house, which is now called
+_West-End_, lies in a secluded part of the parish, on the road to
+Fulmer. It has lately been much enlarged and adorned by its present
+proprietor [Mr. Penn], but the room called 'Gray's' (distinguished by
+a small balcony) is still preserved; and a shady walk round an
+adjoining meadow, with a summer-house on the rising land, are still
+remembered as favourite places frequented by the poet."--_Ed_.]
+
+     *     *     *     *     *     *
+
+Stoke Park is about a couple of miles from Slough. The country is
+flat, but its monotony is broken up by the noble character and
+disposition of its woods. Near the house is a fine expanse of water,
+across which the eye falls on fine views, particularly to the south,
+of Windsor Castle, Cooper's Hill, and the Forest Woods. About three
+hundred yards from the north front of the house stands a column,
+sixty-eight feet high, bearing on the top a colossal statue of Sir
+Edward Coke, by Rosa. The woods of the park shut out the view of
+West-End House, Gray's occasional residence, but the space is open
+from the mansion across the park, so as to take in the view both of
+the church and of a monument erected by the late Mr. Penn to Gray.
+Alighting from the carriage at a lodge, we enter the park just at the
+monument. This is composed of fine freestone, and consists of a large
+sarcophagus, supported on a square pedestal, with inscriptions on
+each side. Three of them are selected from the _Ode on Eton College_
+and the _Elegy_. They are:
+
+  Hard by yon wood, now smiling as in scorn,
+    Muttering his wayward fancies he would rove;
+  Now drooping, woeful-wan, like one forlorn,
+    Or craz'd with care, or cross'd in hopeless love.
+
+  One morn I miss'd him on the custom'd hill,
+    Along the heath, and near his fav'rite tree;
+  Another came; nor yet beside the rill,
+    Nor up the lawn, nor at the wood was he.
+
+The second is from the _Ode_:
+
+  Ye distant spires! ye antique towers!
+    That crown the watery glade,
+  Where grateful Science still adores
+    Her Henry's holy shade;
+  And ye, that from the stately brow
+  Of Windsor's heights th' expanse below
+    Of grove, of lawn, of mead survey,
+  Whose turf, whose shade, whose flowers among
+  Wanders the hoary Thames along
+    His silver-winding way.
+
+  Ah, happy hills! ah, pleasing shade!
+    Ah, fields belov'd in vain!
+  Where once my careless childhood stray'd,
+    A stranger yet to pain!
+  I feel the gales that from ye blow,
+  A momentary bliss bestow.
+
+The third is again from the _Elegy_:
+
+  Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,
+    The rude forefathers of the hamlet sleep.
+
+  The breezy call of incense-breathing morn,
+    The swallow twittering from the straw-built shed,
+  The cock's shrill clarion or the echoing horn,
+    No more shall rouse them from their lowly bed.
+
+The fourth bears this inscription:
+
+            This Monument, in honour of
+                    THOMAS GRAY,
+               Was erected A.D. 1799,
+                 Among the scenery
+  Celebrated by that great Lyric and Elegiac Poet.
+                  He died in 1771,
+   And lies unnoted in the adjoining Church-yard,
+      Under the Tomb-stone on which he piously
+      And pathetically recorded the interment
+          Of his Aunt and lamented Mother.
+
+This monument is in a neatly kept garden-like enclosure, with a
+winding walk approaching from the shade of the neighbouring trees. To
+the right, across the park, at some little distance, backed by fine
+trees, stands the rural little church and churchyard where Gray wrote
+his _Elegy_, and where he lies. As you walk on to this, the mansion
+closes the distant view between the woods with fine effect. The
+church has often been engraved, and is therefore tolerably familiar
+to the general reader. It consists of two barn-like structures, with
+tall roofs, set side by side, and the tower and finely tapered spire
+rising above them at the northwest corner. The church is thickly hung
+with ivy, where
+
+   "The moping owl may to the moon complain
+  Of such as, wandering near her secret bower,
+    Molest her ancient, solitary reign."
+
+The structure is as simple and old-fashioned, both without and
+within, as any village church can well be. No village, however, is to
+be seen. Stoke consists chiefly of scattered houses, and this is now
+in the midst of the park. In the churchyard,
+
+ "Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,
+    The rude forefathers of the hamlet sleep."
+
+All this is quite literal; and the tomb of the poet himself, near the
+southeast window, completes the impression of the scene. It is a
+plain brick altar tomb, covered with a blue slate slab, and, besides
+his own ashes, contains those of his mother and aunt. On the slab are
+inscribed the following lines by Gray himself: "In the vault beneath
+are deposited, in hope of a joyful resurrection, the remains of _Mary
+Antrobus_. She died unmarried, Nov. 5, 1749, aged sixty-six. In the
+same pious confidence, beside her friend and sister, here sleep the
+remains of _Dorothy Gray_, widow; the careful, tender mother of many
+children, ONE of whom alone had the misfortune to survive her. She
+died, March 11, 1753, aged LXXII."
+
+No testimony of the interment of Gray in the same tomb was inscribed
+anywhere till Mr. Penn, in 1799, erected the monument already
+mentioned, and placed a small slab in the wall, under the window,
+opposite to the tomb itself, recording the fact of Gray's burial
+there. The whole scene is well worthy of a summer day's stroll,
+especially for such as, pent in the metropolis, know how to enjoy the
+quiet freshness of the country and the associations of poetry and the
+past.
+
+[Illustration: GRAY'S MONUMENT, STOKE PARK.]
+
+
+
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD.
+
+
+
+
+[Illustration]
+
+
+ELEGY WRITTEN IN A COUNTRY CHURCHYARD.
+
+
+  The curfew tolls the knell of parting day,
+    The lowing herd wind slowly o'er the lea,
+  The plowman homeward plods his weary way,
+    And leaves the world to darkness and to me.
+
+  Now fades the glimmering landscape on the sight,         5
+    And all the air a solemn stillness holds,
+  Save where the beetle wheels his droning flight,
+    And drowsy tinklings lull the distant folds:
+
+[Illustration]
+
+  Save that, from yonder ivy-mantled tower,
+    The moping owl does to the moon complain              10
+  Of such as, wandering near her secret bower,
+    Molest her ancient solitary reign.
+
+[Illustration]
+
+  Beneath those rugged elms, that yew-tree's shade,
+    Where heaves the turf in many a mouldering heap,
+  Each in his narrow cell forever laid,                   15
+    The rude forefathers of the hamlet sleep.
+
+[Illustration]
+
+  The breezy call of incense-breathing morn,
+    The swallow twittering from the straw-built shed,
+  The cock's shrill clarion, or the echoing horn,
+    No more shall rouse them from their lowly bed.        20
+
+[Illustration]
+
+  For them no more the blazing hearth shall burn,
+    Or busy housewife ply her evening care;
+  No children run to lisp their sire's return,
+    Or climb his knees the envied kiss to share.
+
+[Illustration]
+
+  Oft did the harvest to their sickle yield,              25
+    Their furrow oft the stubborn glebe has broke;
+  How jocund did they drive their team afield!
+    How bow'd the woods beneath their sturdy stroke!
+
+[Illustration]
+
+  Let not Ambition mock their useful toil,
+    Their homely joys, and destiny obscure;               30
+  Nor Grandeur hear with a disdainful smile
+    The short and simple annals of the poor.
+
+  The boast of heraldry, the pomp of power,
+    And all that beauty, all that wealth e'er gave,
+  Awaits alike th' inevitable hour.                       35
+    The paths of glory lead but to the grave.
+
+  Nor you, ye proud, impute to these the fault,
+    If Memory o'er their tomb no trophies raise;
+  Where, through the long-drawn aisle and fretted vault,
+    The pealing anthem swells the note of praise.         40
+
+  Can storied urn or animated bust
+    Back to its mansion call the fleeting breath?
+  Can Honour's voice provoke the silent dust?
+    Or Flattery soothe the dull cold ear of Death?
+
+  Perhaps in this neglected spot is laid                  45
+    Some heart once pregnant with celestial fire;
+  Hands, that the rod of empire might have sway'd,
+    Or wak'd to ecstasy the living lyre:
+
+  But Knowledge to their eyes her ample page,
+    Rich with the spoils of time, did ne'er unroll;       50
+  Chill Penury repress'd their noble rage,
+    And froze the genial current of the soul.
+
+[Illustration]
+
+  Full many a gem of purest ray serene
+    The dark unfathom'd caves of ocean bear;
+  Full many a flower is born to blush unseen,             55
+    And waste its sweetness on the desert air.
+
+  Some village Hampden, that with dauntless breast
+    The little tyrant of his fields withstood,
+  Some mute inglorious Milton here may rest,
+    Some Cromwell, guiltless of his country's blood.      60
+
+[Illustration]
+
+  Th' applause of listening senates to command,
+    The threats of pain and ruin to despise,
+  To scatter plenty o'er a smiling land,
+    And read their history in a nation's eyes,
+
+  Their lot forbade: nor circumscrib'd alone              65
+    Their growing virtues, but their crimes confin'd;
+  Forbade to wade through slaughter to a throne,
+    And shut the gates of mercy on mankind,
+
+  The struggling pangs of conscious truth to hide,
+    To quench the blushes of ingenuous shame,             70
+  Or heap the shrine of Luxury and Pride
+    With incense kindled at the Muse's flame.
+
+[Illustration]
+
+  Far from the madding crowd's ignoble strife,
+    Their sober wishes never learn'd to stray;
+  Along the cool sequester'd vale of life                 75
+    They kept the noiseless tenor of their way.
+
+  Yet even these bones from insult to protect,
+    Some frail memorial still erected nigh,
+  With uncouth rhymes and shapeless sculpture deck'd,
+    Implores the passing tribute of a sigh.               80
+
+[Illustration]
+
+  Their name, their years, spelt by th' unletter'd Muse,
+    The place of fame and elegy supply;
+  And many a holy text around she strews,
+    That teach the rustic moralist to die.
+
+[Illustration]
+
+  For who, to dumb forgetfulness a prey,                  85
+    This pleasing anxious being e'er resign'd,
+  Left the warm precincts of the cheerful day,
+    Nor cast one longing lingering look behind?
+
+  On some fond breast the parting soul relies,
+    Some pious drops the closing eye requires;            90
+  Even from the tomb the voice of Nature cries,
+    Even in our ashes live their wonted fires.
+
+[Illustration]
+
+  For thee, who, mindful of th' unhonour'd dead,
+    Dost in these lines their artless tale relate,
+  If chance, by lonely contemplation led,                 95
+    Some kindred spirit shall inquire thy fate,
+
+[Illustration]
+
+  Haply some hoary-headed swain may say,
+    "Oft have we seen him at the peep of dawn
+  Brushing with hasty steps the dews away,
+    To meet the sun upon the upland lawn.                100
+
+[Illustration]
+
+  "There at the foot of yonder nodding beech,
+    That wreathes its old fantastic roots so high,
+  His listless length at noontide would he stretch,
+    And pore upon the brook that babbles by.
+
+  "Hard by yon wood, now smiling as in scorn,            105
+    Muttering his wayward fancies he would rove;
+  Now drooping, woeful-wan, like one forlorn,
+    Or craz'd with care, or cross'd in hopeless love.
+
+  "One morn I miss'd him on the custom'd hill,
+    Along the heath, and near his favourite tree;        110
+  Another came; nor yet beside the rill,
+    Nor up the lawn, nor at the wood was he;
+
+  "The next, with dirges due in sad array,
+    Slow through the church-way path we saw him borne.
+  Approach and read (for thou canst read) the lay        115
+    Grav'd on the stone beneath yon aged thorn."
+
+[Illustration]
+
+                    THE EPITAPH.
+
+  Here rests his head upon the lap of Earth
+    A youth, to Fortune and to Fame unknown;
+  Fair Science frown'd not on his humble birth,
+    And Melancholy mark'd him for her own.               120
+
+  Large was his bounty, and his soul sincere,
+    Heaven did a recompense as largely send;
+  He gave to Misery all he had, a tear;
+    He gain'd from Heaven ('twas all he wish'd) a friend.
+
+  No farther seek his merits to disclose,                125
+    Or draw his frailties from their dread abode,
+  (There they alike in trembling hope repose)
+    The bosom of his Father and his God.
+
+[Illustration]
+
+
+
+
+MISCELLANEOUS POEMS.
+
+
+
+
+[Illustration]
+
+
+ON THE SPRING.
+
+
+  Lo! where the rosy-bosom'd Hours,
+    Fair Venus' train, appear,
+  Disclose the long-expecting flowers,
+    And wake the purple year!
+  The Attic warbler pours her throat,           5
+  Responsive to the cuckoo's note,
+    The untaught harmony of spring;
+  While, whispering pleasure as they fly,
+  Cool Zephyrs thro' the clear blue sky
+    Their gather'd fragrance fling.            10
+
+  Where'er the oak's thick branches stretch
+    A broader browner shade,
+  Where'er the rude and moss-grown beech
+    O'ercanopies the glade,
+  Beside some water's rushy brink              15
+  With me the Muse shall sit, and think
+    (At ease reclin'd in rustic state)
+  How vain the ardour of the crowd,
+  How low, how little are the proud,
+    How indigent the great!                    20
+
+  Still is the toiling hand of Care;
+    The panting herds repose:
+  Yet hark, how thro' the peopled air
+    The busy murmur glows!
+  The insect youth are on the wing,            25
+  Eager to taste the honied spring,
+    And float amid the liquid noon:
+  Some lightly o'er the current skim,
+  Some show their gayly-gilded trim
+    Quick-glancing to the sun.                 30
+
+  To Contemplation's sober eye
+    Such is the race of Man;
+  And they that creep, and they that fly,
+    Shall end where they began.
+  Alike the busy and the gay                   35
+  But flutter thro' life's little day,
+    In Fortune's varying colours drest:
+  Brush'd by the hand of rough Mischance,
+  Or chill'd by age, their airy dance
+    They leave, in dust to rest.               40
+
+  Methinks I hear in accents low
+    The sportive kind reply:
+  Poor moralist! and what art thou?
+    A solitary fly!
+  Thy joys no glittering female meets,         45
+  No hive hast thou of hoarded sweets,
+    No painted plumage to display:
+  On hasty wings thy youth is flown;
+  Thy sun is set, thy spring is gone--
+    We frolic while 'tis May.                  50
+
+[Illustration]
+
+
+
+
+[Illustration]
+
+
+ON THE DEATH OF A FAVOURITE CAT,
+_Drowned in a Tub of Gold Fishes_.
+
+
+  'Twas on a lofty vase's side,
+  Where China's gayest art had dyed
+    The azure flowers that blow;
+  Demurest of the tabby kind,
+  The pensive Selima, reclin'd,                 5
+    Gaz'd on the lake below.
+
+  Her conscious tail her joy declar'd:
+  The fair round face, the snowy beard,
+    The velvet of her paws,
+  Her coat, that with the tortoise vies,       10
+  Her ears of jet, and emerald eyes,
+    She saw; and purr'd applause.
+
+  Still had she gaz'd; but midst the tide
+  Two angel forms were seen to glide,
+    The Genii of the stream:                   15
+  Their scaly armour's Tyrian hue
+  Through richest purple to the view
+    Betray'd a golden gleam.
+
+  The hapless nymph with wonder saw:
+  A whisker first, and then a claw,            20
+    With many an ardent wish,
+  She stretch'd in vain to reach the prize.
+  What female heart can gold despise?
+    What Cat's averse to fish?
+
+  Presumptuous maid! with looks intent         25
+  Again she stretch'd, again she bent,
+    Nor knew the gulf between.
+  (Malignant Fate sat by, and smil'd.)
+  The slippery verge her feet beguil'd,
+    She tumbled headlong in.                   30
+
+  Eight times emerging from the flood,
+  She mew'd to every watery God,
+    Some speedy aid to send.
+  No Dolphin came, no Nereid stirr'd:
+  Nor cruel Tom, nor Susan heard.              35
+    A favourite has no friend!
+
+  From hence, ye beauties, undeceiv'd,
+  Know, one false step is ne'er retriev'd,
+    And be with caution bold.
+  Not all that tempts your wandering eyes      40
+  And heedless hearts is lawful prize,
+    Nor all that glisters gold.
+
+
+
+
+[Illustration]
+
+
+ON A DISTANT PROSPECT OF ETON COLLEGE.
+[Greek: Anthropos, hikane prophasis eis to dustuchein.]--MENANDER.
+
+
+  Ye distant spires, ye antique towers,
+    That crown the watery glade,
+  Where grateful Science still adores
+    Her Henry's holy shade;
+  And ye, that from the stately brow                5
+  Of Windsor's heights th' expanse below
+    Of grove, of lawn, of mead survey,
+  Whose turf, whose shade, whose flowers among
+  Wanders the hoary Thames along
+    His silver-winding way:                        10
+
+  Ah, happy hills! ah, pleasing shade!
+    Ah, fields belov'd in vain!
+  Where once my careless childhood stray'd,
+    A stranger yet to pain!
+  I feel the gales that from ye blow               15
+  A momentary bliss bestow,
+    As, waving fresh their gladsome wing,
+  My weary soul they seem to soothe,
+  And, redolent of joy and youth,
+    To breathe a second spring.                    20
+
+  Say, Father Thames, for thou hast seen
+    Full many a sprightly race
+  Disporting on thy margent green
+    The paths of pleasure trace;
+  Who foremost now delight to cleave               25
+  With pliant arm thy glassy wave?
+    The captive linnet which enthrall?
+  What idle progeny succeed
+  To chase the rolling circle's speed,
+    Or urge the flying ball?                       30
+
+  While some, on earnest business bent,
+    Their murmuring labours ply
+  'Gainst graver hours that bring constraint
+    To sweeten liberty,
+  Some bold adventurers disdain                    35
+  The limits of their little reign,
+    And unknown regions dare descry:
+  Still as they run they look behind,
+  They hear a voice in every wind,
+    And snatch a fearful joy.                      40
+
+  Gay hope is theirs by fancy fed,
+    Less pleasing when possest;
+  The tear forgot as soon as shed,
+    The sunshine of the breast:
+  Theirs buxom health of rosy hue,                 45
+  Wild wit, invention ever new,
+    And lively cheer of vigour born;
+  The thoughtless day, the easy night,
+  The spirits pure, the slumbers light,
+    That fly th' approach of morn.                 50
+
+  Alas! regardless of their doom,
+    The little victims play;
+  No sense have they of ills to come,
+    No care beyond to-day:
+  Yet see how all around 'em wait                  55
+  The ministers of human fate,
+    And black Misfortune's baleful train!
+  Ah, show them where in ambush stand
+  To seize their prey the murtherous band!
+    Ah, tell them, they are men!                   60
+
+  These shall the fury Passions tear,
+    The vultures of the mind,
+  Disdainful Anger, pallid Fear,
+    And Shame that skulks behind;
+  Or pining Love shall waste their youth,          65
+  Or Jealousy with rankling tooth,
+    That inly gnaws the secret heart;
+  And Envy wan, and faded Care,
+  Grim-visag'd comfortless Despair,
+    And Sorrow's piercing dart.                    70
+
+  Ambition this shall tempt to rise,
+    Then whirl the wretch from high,
+  To bitter Scorn a sacrifice,
+    And grinning Infamy.
+  The stings of Falsehood those shall try,         75
+  And hard Unkindness' alter'd eye,
+    That mocks the tear it forc'd to flow;
+  And keen Remorse with blood defil'd,
+  And moody Madness laughing wild
+    Amid severest woe.                             80
+
+  Lo! in the vale of years beneath
+    A grisly troop are seen,
+  The painful family of Death,
+    More hideous than their queen:
+  This racks the joints, this fires the veins,     85
+  That every labouring sinew strains,
+    Those in the deeper vitals rage:
+  Lo! Poverty, to fill the band,
+  That numbs the soul with icy hand,
+    And slow-consuming Age.                        90
+
+  To each his sufferings: all are men,
+    Condemn'd alike to groan;
+  The tender for another's pain,
+    Th' unfeeling for his own.
+  Yet, ah! why should they know their fate,        95
+  Since sorrow never comes too late,
+    And happiness too swiftly flies?
+  Thought would destroy their paradise.
+  No more;--where ignorance is bliss,
+    'Tis folly to be wise.                        100
+
+[Illustration: SEAL OF ETON COLLEGE.]
+
+
+
+
+[Illustration: APOLLO CITHAROEDUS. FROM THE VATICAN.]
+
+
+THE PROGRESS OF POESY.
+_A Pindaric Ode_.
+  [Greek:  Phonanta sunetoisin: es
+           De to pan hermeneon
+           Chatizei.]--PINDAR, _Ol_. II.
+
+
+I. 1.
+
+    Awake, Aeolian lyre, awake,
+  And give to rapture all thy trembling strings.
+  From Helicon's harmonious springs
+    A thousand rills their mazy progress take:
+  The laughing flowers that round them blow,                  5
+  Drink life and fragrance as they flow.
+  Now the rich stream of music winds along,
+  Deep, majestic, smooth, and strong,
+  Thro' verdant vales, and Ceres' golden reign:
+  Now rolling down the steep amain,                          10
+  Headlong, impetuous, see it pour;
+  The rocks and nodding groves rebellow to the roar.
+
+
+I. 2.
+
+    Oh! Sovereign of the willing soul,
+  Parent of sweet and solemn-breathing airs,
+  Enchanting shell! the sullen Cares                         15
+    And frantic Passions hear thy soft control.
+  On Thracia's hills the Lord of War
+  Has curb'd the fury of his car,
+  And dropt his thirsty lance at thy command.
+  Perching on the sceptred hand                              20
+  Of Jove, thy magic lulls the feather'd king
+  With ruffled plumes and flagging wing:
+  Quench'd in dark clouds of slumber lie
+  The terror of his beak, and lightnings of his eye.
+
+
+I. 3.
+
+  Thee the voice, the dance, obey,                           25
+  Temper'd to thy warbled lay.
+  O'er Idalia's velvet-green
+  The rosy-crowned Loves are seen
+  On Cytherea's day
+  With antic Sports, and blue-eyed Pleasures,                30
+  Frisking light in frolic measures;
+  Now pursuing, now retreating,
+    Now in circling troops they meet:
+  To brisk notes in cadence beating,
+    Glance their many-twinkling feet.                        35
+  Slow melting strains their Queen's approach declare:
+    Where'er she turns the Graces homage pay.
+  With arms sublime, that float upon the air,
+    In gliding state she wins her easy way:
+  O'er her warm cheek, and rising bosom, move                40
+  The bloom of young Desire and purple light of Love.
+
+[Illustration: DELPHI AND MOUNT PARNASSUS.]
+
+
+II. 1.
+
+    Man's feeble race what ills await!
+  Labour, and Penury, the racks of Pain,
+  Disease, and Sorrow's weeping train,
+    And Death, sad refuge from the storms of Fate!           45
+  The fond complaint, my song, disprove,
+  And justify the laws of Jove.
+  Say, has he given in vain the heavenly Muse?
+  Night and all her sickly dews,
+  Her spectres wan, and birds of boding cry,                 50
+  He gives to range the dreary sky;
+  Till down the eastern cliffs afar
+  Hyperion's march they spy, and glittering shafts of war.
+
+
+II. 2.
+
+    In climes beyond the solar road,
+  Where shaggy forms o'er ice-built mountains roam,          55
+  The Muse has broke the twilight gloom
+    To cheer the shivering native's dull abode.
+  And oft, beneath the odorous shade
+  Of Chili's boundless forests laid,
+  She deigns to hear the savage youth repeat,                60
+  In loose numbers wildly sweet,
+  Their feather-cinctur'd chiefs, and dusky loves.
+  Her track, where'er the Goddess roves,
+  Glory pursue, and generous Shame,
+  Th' unconquerable Mind, and Freedom's holy flame.          65
+
+
+II. 3.
+
+  Woods, that wave o'er Delphi's steep,
+  Isles, that crown th' Aegean deep,
+  Fields, that cool Ilissus laves,
+  Or where Maeander's amber waves
+  In lingering labyrinths creep,                             70
+  How do your tuneful echoes languish,
+  Mute, but to the voice of anguish!
+  Where each old poetic mountain
+    Inspiration breath'd around;
+  Every shade and hallow'd fountain                          75
+    Murmur'd deep a solemn sound:
+  Till the sad Nine, in Greece's evil hour,
+    Left their Parnassus for the Latian plains.
+  Alike they scorn the pomp of tyrant Power,
+    And coward Vice, that revels in her chains.              80
+  When Latium had her lofty spirit lost,
+  They sought, O Albion! next thy sea-encircled coast.
+
+[Illustration: THE AVON AND STRATFORD CHURCH.]
+
+
+III. 1.
+
+    Far from the sun and summer gale,
+  In thy green lap was Nature's darling laid,
+  What time, where lucid Avon stray'd,                       85
+    To him the mighty mother did unveil
+  Her awful face: the dauntless child
+  Stretch'd forth his little arms and smil'd.
+  "This pencil take (she said), whose colours clear
+  Richly paint the vernal year:                              90
+  Thine too these golden keys, immortal Boy!
+  This can unlock the gates of joy;
+  Of horror that, and thrilling fears,
+  Or ope the sacred source of sympathetic tears."
+
+
+III. 2.
+
+    Nor second He, that rode sublime                         95
+  Upon the seraph wings of Ecstasy,
+  The secrets of th' abyss to spy.
+    He pass'd the flaming bounds of place and time:
+  The living throne, the sapphire blaze,
+  Where angels tremble while they gaze,                     100
+  He saw; but, blasted with excess of light,
+  Clos'd his eyes in endless night.
+  Behold, where Dryden's less presumptuous car,
+  Wide o'er the fields of glory bear
+  Two coursers of ethereal race,                            105
+  With necks in thunder cloth'd, and long-resounding pace.
+
+
+III. 3.
+
+  Hark, his hands the lyre explore!
+  Bright-eyed Fancy hovering o'er
+  Scatters from her pictur'd urn
+  Thoughts that breathe, and words that burn.               110
+  But ah! 'tis heard no more----
+  Oh! lyre divine, what daring spirit
+  Wakes thee now? Tho' he inherit
+  Nor the pride, nor ample pinion,
+    That the Theban eagle bear,                             115
+  Sailing with supreme dominion
+    Thro' the azure deep of air,
+  Yet oft before his infant eyes would run
+    Such forms as glitter in the Muse's ray
+  With orient hues, unborrow'd of the sun:                  120
+    Yet shall he mount, and keep his distant way
+  Beyond the limits of a vulgar fate,
+  Beneath the Good how far--but far above the Great.
+
+
+
+
+[Illustration]
+
+
+THE BARD.
+_A Pindaric Ode_.
+
+
+I. 1.
+
+  "Ruin seize thee, ruthless King!
+    Confusion on thy banners wait;
+  Tho' fann'd by Conquest's crimson wing,
+    They mock the air with idle state.
+  Helm, nor hauberk's twisted mail,                             5
+  Nor e'en thy virtues, Tyrant, shall avail
+  To save thy secret soul from nightly fears,
+  From Cambria's curse, from Cambria's tears!"
+    Such were the sounds that o'er the crested pride
+  Of the first Edward scatter'd wild dismay,                   10
+    As down the steep of Snowdon's shaggy side
+  He wound with toilsome march his long array.
+  Stout Gloster stood aghast in speechless trance:
+  "To arms!" cried Mortimer, and couch'd his quivering lance.
+
+
+I. 2.
+
+    On a rock whose haughty brow                               15
+  Frowns o'er old Conway's foaming flood,
+    Rob'd in the sable garb of woe,
+  With haggard eyes the poet stood
+  (Loose his beard, and hoary hair
+  Stream'd, like a meteor, to the troubled air),               20
+  And with a master's hand, and prophet's fire,
+  Struck the deep sorrows of his lyre.
+  "Hark, how each giant oak, and desert cave,
+    Sighs to the torrent's awful voice beneath!
+  O'er thee, O King! their hundred arms they wave,             25
+    Revenge on thee in hoarser murmurs breathe;
+  Vocal no more, since Cambria's fatal day,
+  To high-born Hoel's harp, or soft Llewellyn's lay.
+
+
+I. 3.
+
+    "Cold is Cadwallo's tongue,
+    That hush'd the stormy main;                               30
+  Brave Urien sleeps upon his craggy bed;
+    Mountains, ye mourn in vain
+    Modred, whose magic song
+  Made huge Plinlimmon bow his cloud-topt head.
+    On dreary Arvon's shore they lie,                          35
+  Smear'd with gore, and ghastly pale:
+  Far, far aloof th' affrighted ravens sail;
+    The famish'd eagle screams, and passes by.
+  Dear lost companions of my tuneful art,
+    Dear as the light that visits these sad eyes,              40
+  Dear as the ruddy drops that warm my heart,
+    Ye died amidst your dying country's cries--
+  No more I weep. They do not sleep.
+    On yonder cliffs, a grisly band,
+  I see them sit, they linger yet,                             45
+    Avengers of their native land:
+  With me in dreadful harmony they join,
+  And weave with bloody hands the tissue of thy line.
+
+
+II. 1.
+
+  "Weave the warp, and weave the woof,
+    The winding-sheet of Edward's race.                        50
+  Give ample room, and verge enough
+    The characters of hell to trace.
+  Mark the year, and mark the night,
+  When Severn shall reecho with affright
+  The shrieks of death thro' Berkeley's roofs that ring,       55
+  Shrieks of an agonizing king!
+    She-wolf of France, with unrelenting fangs,
+  That tear'st the bowels of thy mangled mate,
+    From thee be born, who o'er thy country hangs
+  The scourge of heaven. What terrors round him wait!          60
+  Amazement in his van, with Flight combin'd,
+  And Sorrow's faded form, and Solitude behind.
+
+
+II. 2.
+
+    "Mighty victor, mighty lord!
+  Low on his funeral couch he lies!
+    No pitying heart, no eye, afford                           65
+  A tear to grace his obsequies.
+  Is the sable warrior fled?
+  Thy son is gone. He rests among the dead.
+  The swarm that in thy noontide beam were born?
+  Gone to salute the rising morn.                              70
+  Fair laughs the morn, and soft the zephyr blows,
+    While proudly riding o'er the azure realm
+  In gallant trim the gilded vessel goes;
+    Youth on the prow, and Pleasure at the helm;
+  Regardless of the sweeping whirlwind's sway,                 75
+  That, hush'd in grim repose, expects his evening prey.
+
+
+II. 3.
+
+    "Fill high the sparkling bowl,
+    The rich repast prepare;
+  Reft of a crown, he yet may share the feast:
+    Close by the regal chair                                   80
+    Fell Thirst and Famine scowl
+  A baleful smile upon their baffled guest.
+    Heard ye the din of battle bray,
+  Lance to lance, and horse to horse?
+  Long years of havoc urge their destined course,              85
+    And thro' the kindred squadrons mow their way.
+  Ye towers of Julius, London's lasting shame,
+    With many a foul and midnight murther fed,
+  Revere his consort's faith, his father's fame,
+    And spare the meek usurper's holy head.                    90
+  Above, below, the rose of snow,
+    Twin'd with her blushing foe, we spread:
+  The bristled boar in infant gore
+    Wallows beneath the thorny shade.
+  Now, brothers, bending o'er the accursed loom,               95
+  Stamp we our vengeance deep, and ratify his doom.
+
+[Illustration: THE BLOODY TOWER.]
+
+
+III. 1.
+
+  "Edward, lo! to sudden fate
+    (Weave we the woof. The thread is spun.)
+  Half of thy heart we consecrate.
+    (The web is wove. The work is done.)                      100
+  Stay, oh stay! nor thus forlorn
+  Leave me unbless'd, unpitied, here to mourn:
+  In yon bright track, that fires the western skies,
+  They melt, they vanish from my eyes.
+    But oh! what solemn scenes on Snowdon's height            105
+  Descending slow their glittering skirts unroll?
+    Visions of glory, spare my aching sight!
+  Ye unborn ages, crowd not on my soul!
+  No more our long-lost Arthur we bewail.
+  All hail, ye genuine kings, Britannia's issue, hail!        110
+
+
+III. 2.
+
+    "Girt with many a baron bold
+  Sublime their starry fronts they rear;
+    And gorgeous dames, and statesmen old
+  In bearded majesty, appear.
+  In the midst a form divine!                                 115
+  Her eye proclaims her of the Briton line;
+  Her lion-port, her awe-commanding face,
+  Attemper'd sweet to virgin-grace.
+  What strings symphonious tremble in the air,
+    What strains of vocal transport round her play!           120
+  Hear from the grave, great Taliessin, hear;
+    They breathe a soul to animate thy clay.
+  Bright Rapture calls, and soaring as she sings,
+  Waves in the eye of heaven her many-colour'd wings.
+
+
+III. 3.
+
+    "The verse adorn again                                    125
+    Fierce War, and faithful Love,
+  And Truth severe, by fairy Fiction drest.
+    In buskin'd measures move
+    Pale Grief, and pleasing Pain,
+  With Horror, tyrant of the throbbing breast.                130
+    A voice, as of the cherub-choir,
+  Gales from blooming Eden bear;
+  And distant warblings lessen on my ear,
+    That lost in long futurity expire.
+  Fond impious man, think'st thou yon sanguine cloud,         135
+    Rais'd by thy breath, has quench'd the orb of day?
+  To-morrow he repairs the golden flood,
+    And warms the nations with redoubled ray.
+  Enough for me; with joy I see
+    The different doom our fates assign.                      140
+  Be thine despair, and sceptred care;
+    To triumph, and to die, are mine."
+  He spoke, and headlong from the mountain's height
+  Deep in the roaring tide he plung'd to endless night.
+
+[Illustration: QUEEN ELIZABETH.]
+
+
+
+
+[Illustration]
+
+
+HYMN TO ADVERSITY.
+
+  [Greek:  Zena----
+           Ton phronein brotous hodo-
+           santa, toi pathei mathan
+           Thenta kurios echein.]
+                     AESCHYLUS, _Agam_.
+
+
+    Daughter of Jove, relentless power,
+      Thou tamer of the human breast,
+    Whose iron scourge and torturing hour
+      The bad affright, afflict the best!
+    Bound in thy adamantine chain,                        5
+    The proud are taught to taste of pain,
+    And purple tyrants vainly groan
+  With pangs unfelt before, unpitied and alone.
+
+    When first thy sire to send on earth
+      Virtue, his darling child, design'd,               10
+    To thee he gave the heavenly birth,
+      And bade to form her infant mind.
+    Stern rugged nurse! thy rigid lore
+    With patience many a year she bore:
+    What sorrow was, thou bad'st her know,               15
+  And from her own she learn'd to melt at others' woe.
+
+    Scar'd at thy frown terrific, fly
+      Self-pleasing Folly's idle brood,
+    Wild Laughter, Noise, and thoughtless Joy,
+      And leave us leisure to be good.                   20
+    Light they disperse, and with them go
+    The summer friend, the flattering foe;
+    By vain Prosperity receiv'd,
+  To her they vow their truth, and are again believ'd.
+
+    Wisdom in sable garb array'd,                        25
+      Immersed in rapturous thought profound,
+    And Melancholy, silent maid,
+      With leaden eye that loves the ground,
+    Still on thy solemn steps attend;
+    Warm Charity, the general friend,                    30
+    With Justice, to herself severe,
+  And Pity, dropping soft the sadly-pleasing tear.
+
+    Oh! gently on thy suppliant's head,
+      Dread goddess, lay thy chastening hand!
+    Not in thy Gorgon terrors clad,                      35
+      Not circled with the vengeful band
+    (As by the impious thou art seen),
+    With thundering voice and threatening mien,
+    With screaming Horror's funeral cry,
+  Despair, and fell Disease, and ghastly Poverty:        40
+
+    Thy form benign, O goddess, wear,
+      Thy milder influence impart;
+    Thy philosophic train be there
+      To soften, not to wound, my heart.
+    The generous spark extinct revive,                   45
+    Teach me to love and to forgive,
+    Exact my own defects to scan,
+  What others are to feel, and know myself a Man.
+
+
+
+
+[Illustration: BERKELEY CASTLE.
+
+  "Mark the year, and mark the night,
+  When Severn shall reecho with affright
+  The shrieks of death thro' Berkeley's roofs that ring,
+  Shrieks of an agonizing king!"
+                        _The Bard_, 53.]
+
+
+
+
+NOTES.
+
+
+
+
+LIST OF ABBREVIATIONS.
+
+
+A. S., Anglo-Saxon.
+
+Arc., Milton's _Arcades_.
+
+C. T., Chaucer's _Canterbury Tales_.
+
+Cf. (_confer_), compare.
+
+D. V., Goldsmith's _Deserted Village_.
+
+Ep., Epistle, Epode.
+
+Foll., following.
+
+F. Q., Spenser's _Faerie Queene_.
+
+H., Haven's _Rhetoric_ (Harper's edition).
+
+Hales, _Longer English Poems_, edited by Rev. J. W. Hales (London,
+1872).
+
+Il Pens., Milton's _Il Penseroso_.
+
+L'All., Milton's _L'Allegro_.
+
+Ol., Pindar's _Olympian Odes_.
+
+P. L., Milton's _Paradise Lost_.
+
+P. R., Milton's _Paradise Regained_.
+
+S. A., Milton's _Samson Agonistes_.
+
+Shakes. Gr., Abbott's _Shakespearian Grammar_ (the references are to
+_sections_, not pages).
+
+Shep. Kal., Spenser's _Shepherd's Kalendar_.
+
+st., stanza.
+
+Wb., Webster's Dictionary (last revised quarto edition).
+
+Worc., Worcester's Dictionary (quarto edition).
+
+
+Other abbreviations (names of books in the Bible, plays of
+Shakespeare, works of Ovid, Virgil, and Horace, etc.) need no
+explanation.
+
+
+
+
+NOTES.
+
+[Illustration]
+
+
+ELEGY IN A COUNTRY CHURCHYARD.
+
+
+This poem was begun in the year 1742, but was not finished until
+1750, when Gray sent it to Walpole with a letter (dated June 12,
+1750) in which he says: "I have been here at Stoke a few days (where
+I shall continue good part of the summer), and having put an end to a
+thing, whose beginning you have seen long ago, I immediately send it
+you. You will, I hope, look upon it in the light of a thing with an
+end to it: a merit that most of my writings have wanted, and are like
+to want." It was shown in manuscript to some of the author's friends,
+and was published in 1751 only because it was about to be printed
+surreptitiously.
+
+February 11, 1751, Gray wrote to Walpole that the proprietors of "the
+Magazine of Magazines" were about to publish his _Elegy_, and added,
+"I have but one bad way left to escape the honour they would inflict
+upon me; and therefore am obliged to desire you would make Dodsley
+print it immediately (which may be done in less than a week's time)
+from your copy, but without my name, in what form is most convenient
+for him, but on his best paper and character; he must correct the
+press himself,[1] and print it without any interval between the
+stanzas, because the sense is in some places continued beyond them;
+and the title must be--'Elegy, written in a Country Churchyard.' If
+he would add a line or two to say it came into his hands by accident,
+I should like it better." Walpole did as requested, and wrote an
+advertisement to the effect that accident alone brought the poem
+before the public, although an apology was unnecessary to any but the
+author. On which Gray wrote, "I thank you for your advertisement,
+which saves my honour."
+
+[Footnote 1: Dodsley's proof-reading must have been somewhat
+careless, for there are many errors of the press in this _editio
+princeps_. Gray writes to Walpole, under date of "Ash-Wednesday,
+Cambridge, 1751," as follows: "Nurse Dodsley has given it a pinch or
+two in the cradle, that (I doubt) it will bear the marks of as long
+as it lives. But no matter: we have ourselves suffered under her
+hands before now; and besides, it will only look the more careless
+and by _accident_ as it were." Again, March 3, 1751, he writes: "I do
+not expect any more editions; as I have appeared in more magazines
+than one. The chief errata were _sacred_ for _secret_; _hidden_ for
+_kindred_ (in spite of dukes and classics); and '_frowning_ as in
+scorn' for _smiling_. I humbly propose, for the benefit of Mr.
+Dodsley and his matrons, that take _awake_ [in line 92, which at
+first read "awake and faithful to her wonted fires"] for a verb, that
+they should read _asleep_, and all will be right." Other errors were,
+"Their _harrow_ oft the stubborn glebe," "And read their _destiny_ in
+a nation's eyes," "With uncouth rhymes and shapeless _culture_
+decked," "Slow through the churchway _pass_," and many of minor
+importance.]
+
+A writer in _Notes and Queries_, June 12, 1875, states that the poem
+first appeared in the _London Magazine_, March, 1751, p. 134, and
+that "the Magazine of Magazines" is "a gentle term of scorn used by
+Gray to indicate" that periodical, and not the name of any actual
+magazine. But in the next number of _Notes and Queries_ (June 19,
+1875) Mr. F. Locker informs us that he has in his possession a
+title-page of the _Grand Magazine of Magazines_, and the page of the
+number for April, 1751, which contains the _Elegy_. The magazine is
+said to be "collected and digested by Roger Woodville, Esq.," and
+"published by Cooper at the Globe, in Pater Noster Row."
+
+Gray says nothing in his letters of the appearance of the _Elegy_ in
+the _London Magazine_. The full title of that periodical was "The
+London Magazine: or Gentleman's Monthly Intelligencer." The editor's
+name was not given; the publisher was "R. Baldwin, jun. at the Rose
+in Pater-Noster Row." The volume for 1751 was the 20th, and the
+Preface (written at the close of the year) begins thus: "As the two
+most formidable Enemies we have ever had, are now extinct, we have
+great Reason to conclude, that it is only the Merit, and real
+Usefulness of our COLLECTION, that hath supported its Sale and
+Reputation for Twenty Years." A foot-note informs us that the
+"Enemies" are the "_Magazine of Magazines_ and _Grand Magazine of
+Magazines_;" from which it would appear that there were two
+periodicals of similar name published in London in 1751.[2]
+
+[Footnote 2: May not the _Elegy_ have been printed in both of these?
+We do not know how otherwise to reconcile the conflicting statements
+concerning the "Magazine of Magazines," as Gray calls it. In the
+first place, Gray appears (from other portions of his letter to
+Walpole) to be familiar with this magazine, and would not be likely
+to confound it with another of similar name. Then, as we have seen,
+he writes _early in March_ to Walpole that the poem has been printed
+"in more magazines than one." This cannot refer to the _Grand
+Magazine of Magazines_, if, as Mr. Locker states, it was the _April_
+number of that periodical in which the poem appeared. Nor can it
+refer to the _London Magazine_, as it is clear from internal evidence
+that the March number, containing the _Elegy_, was not issued until
+early in April. It contains a summary of current news down to Sunday,
+March 31, and the price of stocks in the London market for March 30.
+The _February_ number, in its "monthly catalogue" of new books,
+records the publication of the _Elegy_ by Dodsley thus: "An Elegy
+wrote in a Church-yard, pr. 6d. Dodsley."
+
+If, then, the _Elegy_ did not appear in either the _London Magazine_
+or the _Grand Magazine of Magazines_ until more than a month (in the
+case of the latter, perhaps two months) after Dodsley had issued it,
+in what magazine was it that it _did_ appear just before he issued
+it? The _N. A. Review_ says that "it was a close race between the
+Magazine and Dodsley; but the former, having a little the start, came
+out a few days ahead." If so, it must have been the _March_ number;
+or the _February_ one, if it was published, like the _London_, at the
+end of the month. Gray calls it "the Magazine of Magazines," and we
+shall take his word for it until we have reason for doubting it. What
+else was included in his "more magazines than one" we cannot even
+guess.
+
+We have not been able to find the _Magazine of Magazines_ or the
+_Grand Magazine of Magazines_ in the libraries, and know nothing
+about either "of our own knowledge." The _London Magazine_ is in the
+Harvard College Library, and the statements concerning that we can
+personally vouch for.]
+
+The author's name is not given with the _Elegy_ as printed in the
+_London Magazine_. The poem is sandwiched between an "Epilogue to
+_Alfred, a Masque_" and some coarse rhymes entitled "Strip-Me-Naked,
+or Royal Gin for ever." There is not even a printer's "rule" or
+"dash" to separate the title of the latter from the last line of the
+_Elegy_. The poem is more correctly printed than in Dodsley's
+authorized edition; though, queerly enough, it has "winds" in the
+second line and the parenthesis "(all he had)" in the Epitaph. Of
+Dodsley's misprints noted above it has only "Their _harrow_ oft" and
+"shapeless _culture_." These four errors, indeed, are the only ones
+worth noting, except "Or _wake_ to extasy the living lyre."
+
+The "Magazine of Magazines" (as the writer in the _North American
+Review_ tells us) printed the _Elegy_ with the author's name. The
+authorized though anonymous edition was thus briefly noticed by _The
+Monthly Review_, the critical Rhadamanthus of the day: "_An Elegy in
+a Country Churchyard_. 4to. Dodsley's. Seven pages.--The excellence
+of this little piece amply compensates for its want of quantity."
+
+"Soon after its publication," says Mason, "I remember, sitting with
+Mr. Gray in his College apartment, he expressed to me his surprise at
+the rapidity of its sale. I replied:
+
+  'Sunt lacrymae rerum, et mentem mortalia tangunt.'
+
+He paused awhile, and taking his pen, wrote the line on a printed
+copy of it lying on his table. 'This,' said he, 'shall be its future
+motto.' 'Pity,' cried I, 'that Dr. Young's Night Thoughts have
+preoccupied it.' 'So,' replied he, 'indeed it is.'" Gray himself
+tells the story of its success on the margin of the manuscript copy
+of the _Elegy_ preserved at Cambridge among his papers, and
+reproduced in _fac-simile_ in Mathias's elegant edition of the poet.
+The following is a careful transcript of the memorandum:
+
+  "publish'd in
+   Feb:^{ry}, 1751.
+   by Dodsley: &
+   went thro' four
+   Editions; in two
+   months; and af-
+   terwards a fifth
+   6^{th} 7^{th} & 8^{th} 9^{th} & 10^{th}
+   & 11^{th}
+   printed also in 1753
+   with M^r Bentley's
+   Designs, of w^{ch}
+   there is a 2^d Edition
+   & again by Dodsley
+   in his Miscellany,
+   Vol: 4^{th} & in a
+   Scotch Collection
+   call'd _the Union_.
+   translated into
+   Latin by Chr: Anstey
+   Esq, & the Rev^d M^r
+   Roberts, & publish'd
+   in 1762; & again
+   in the same year
+   by Rob: Lloyd, M: A:"
+
+"One peculiar and remarkable tribute to the merit of the _Elegy_,"
+says Professor Henry Reed, "is to be noticed in the great number of
+translations which have been made of it into various languages, both
+of ancient and modern Europe. It is the same kind of tribute which
+has been rendered to _Robinson Crusoe_ and to _The Pilgrim's
+Progress_, and is proof of the same universality of interest,
+transcending the limits of language and of race. To no poem in the
+English language has the same kind of homage been paid so abundantly.
+Of what other poem is there a polyglot edition? Italy and England
+have competed with their polyglot editions of the _Elegy_: Torri's,
+bearing the title, 'Elegia di Tomaso Gray sopra un Cimitero di
+Campagna, tradotta dall' Inglese in piu lingue: Verona, 1817;
+Livorno, 1843;' and Van Voorst's London edition." Professor Reed adds
+a list of the translations (which, however, is incomplete), including
+one in Hebrew, seven in Greek, twelve in Latin, thirteen in Italian,
+fifteen in French, six in German, and one in Portuguese.
+
+"Had Gray written nothing but his _Elegy_," remarks Byron, "high as
+he stands, I am not sure that he would not stand higher; it is the
+cornerstone of his glory."
+
+The tribute paid the poem by General Wolfe is familiar to all, but we
+cannot refrain from quoting Lord Mahon's beautiful account of it in
+his _History of England_. On the night of September 13th, 1759, the
+night before the battle on the Plains of Abraham, Wolfe was
+descending the St. Lawrence with a part of his troops. The historian
+says: "Swiftly, but silently, did the boats fall down with the tide,
+unobserved by the enemy's sentinels at their posts along the shore.
+Of the soldiers on board, how eagerly must every heart have throbbed
+at the coming conflict! how intently must every eye have contemplated
+the dark outline, as it lay pencilled upon the midnight sky, and as
+every moment it grew closer and clearer, of the hostile heights! Not
+a word was spoken--not a sound heard beyond the rippling of the
+stream. Wolfe alone--thus tradition has told us--repeated in a low
+tone to the other officers in his boat those beautiful stanzas with
+which a country churchyard inspired the muse of Gray. One noble line,
+
+  'The paths of glory lead but to the grave,'
+
+must have seemed at such a moment fraught with mournful meaning. At
+the close of the recitation Wolfe added, 'Now, gentlemen, I would
+rather be the author of that poem than take Quebec.'"
+
+Hales, in his Introduction to the poem, remarks: "The _Elegy_ is
+perhaps the most widely known poem in our language. The reason of
+this extensive popularity is perhaps to be sought in the fact that it
+expresses in an exquisite manner feelings and thoughts that are
+universal. In the current of ideas in the _Elegy_ there is perhaps
+nothing that is rare, or exceptional, or out of the common way. The
+musings are of the most rational and obvious character possible; it
+is difficult to conceive of any one musing under similar
+circumstances who should not muse so; but they are not the less deep
+and moving on this account. The mystery of life does not become
+clearer, or less solemn and awful, for any amount of contemplation.
+Such inevitable, such everlasting questions as rise on the mind when
+one lingers in the precincts of Death can never lose their freshness,
+never cease to fascinate and to move. It is with such questions, that
+would have been commonplace long ages since if they could ever be so,
+that the _Elegy_ deals. It deals with them in no lofty philosophical
+manner, but in a simple, humble, unpretentious way, always with the
+truest and the broadest humanity. The poet's thoughts turn to the
+poor; he forgets the fine tombs inside the church, and thinks only of
+the 'mouldering heaps' in the churchyard. Hence the problem that
+especially suggests itself is the potential greatness, when they
+lived, of the 'rude forefathers' that now lie at his feet. He does
+not, and cannot solve it, though he finds considerations to mitigate
+the sadness it must inspire; but he expresses it in all its awfulness
+in the most effective language and with the deepest feeling; and his
+expression of it has become a living part of our language."
+
+The writer in the _North American Review_ (vol. 96) from whom we have
+elsewhere quoted says of the _Elegy_: "It is upon this that Gray's
+fame as a poet must chiefly rest. By this he will be known forever
+alike to the lettered and the unlettered. Many, in future ages, who
+may never have heard of his classic Odes, his various learning, or
+his sparkling letters, will revere him only as the author of the
+_Elegy_. For this he will be enshrined through all time in the hearts
+of the myriads who shall speak our English tongue. For this his name
+will be held in glad remembrance in the far-off summer isles of the
+Pacific, and amidst the waste of polar snows. If he had written
+nothing else, his place as a leading poet in our language would still
+be assured. Many have asserted, with Johnson, that he was a mere
+mechanical poet--one who brought from without, but never found
+within; that the gift of inspiration was not native to him; that his
+imagination was borrowed finery, his fancy tinsel, and his invention
+the world's well-worn jewels; that whatever in his verse was poetic
+was not new, and what was new was not poetic; that he was only an
+unworldly dyspeptic, living amid many books, and laboriously delving
+for a lifetime between musty covers, picking out now and then
+another's gems and bits of ore, and fashioning them into
+ill-compacted mosaics, which he wrongly called his own. To all this
+the _Elegy_ is a sufficient answer. It is not old--it is not bookish;
+it is new and human. Books could not make its maker: he was born of
+the divine breath alone. Consider all the commentators, the
+scholiasts, the interpreters, the annotators, and other like
+book-worms, from Aristarchus down to Doderlein; and may it not be
+said that, among them all, 'Nec viget quidquam simile aut secundum?'
+
+"Gray wrote but little, yet he wrote that little well. He might have
+done far more for us; the same is true of most men, even of the
+greatest. The possibilities of a life are always in advance of its
+performance. But we cannot say that his life was a wasted one. Even
+this little _Elegy_ alone should go for much. For, suppose that he
+had never written this, but instead had done much else in other ways,
+according to his powers: that he had written many learned treatises;
+that he had, with keen criticism, expounded and reconstructed Greek
+classics; that he had, perchance, sat upon the woolsack, and laid
+rich offerings at the feet of blind Justice;--taking the years
+together, would it have been, on the whole, better for him or for us?
+Would he have added so much to the sum of human happiness? He might
+thus have made himself a power for a time, to be dethroned by some
+new usurper in the realm of knowledge; now he is a power and a joy
+forever to countless thousands."
+
+
+Two manuscripts of the _Elegy_, in Gray's handwriting, still exist.
+Both were bequeathed by the poet, together with his library, letters,
+and many miscellaneous papers, to his friends the Rev. William Mason
+and the Rev. James Browne, as joint literary executors. Mason
+bequeathed the entire trust to Mr. Stonhewer. The latter, in making
+his will, divided the legacy into two parts. The larger share went to
+the Master and Fellows of Pembroke Hall. Among the papers, which are
+still in the possession of the College, was found a copy of the
+_Elegy_. An excellent fac-simile of this manuscript appears in
+Mathias's edition of Gray, published in 1814. In referring to it
+hereafter we shall designate it as the "Pembroke" MS.
+
+The remaining portion of Gray's literary bequest, including the other
+manuscript of the _Elegy_, was left by Mr. Stonhewer to his friend,
+Mr. Bright. In 1845 Mr. Bright's sons sold the collection at auction.
+The MS. of the _Elegy_ was bought by Mr. Granville John Penn, of
+Stoke Park, for _one hundred pounds_--the highest sum that had ever
+been known to be paid for a single sheet of paper. In 1854 this
+manuscript came again into the market, and was knocked down to Mr.
+Robert Charles Wrightson, of Birmingham, for 131 pounds. On the 29th
+of May, 1875, it was once more offered for sale in London, and was
+purchased by Sir William Fraser for 230 pounds, or about $1150. A
+photographic reproduction of it was published in London in 1862. For
+convenience we shall refer to it as the "Wrightson" MS.
+
+There can be little doubt that the Wrightson MS. is the original one,
+and that the Pembroke MS. is a fair copy made from it by the poet.
+The former contains a greater number of alterations, and varies more
+from the printed text. It bears internal evidence of being the rough
+draft, while the other represents a later stage of the poem. We will
+give the variations of both from the present version.[3]
+
+[Footnote 3: For the readings of the Wrightson MS. we have had to
+depend on Mason, Mitford, and other editors of the poem, and on the
+article in the _North American Review_, already referred to. The
+readings of the Pembroke MS. are taken from the engraved fac-simile
+in Mathias's edition.
+
+The two stanzas of which a fac-simile is given on page 73 are from
+the Pembroke MS., but the wood-cut hardly does justice to the
+feminine delicacy of the poet's handwriting.]
+
+The Wrightson MS. has in the first stanza, "The lowing herd _wind_
+slowly," etc. See our note on this line, below.
+
+In the 2d stanza, it reads, "And _now_ the air," etc.
+
+The 5th stanza is as follows:
+
+  "For ever sleep: the breezy call of morn,
+     Or swallow twitt'ring from the straw-built shed,
+   Or Chanticleer so shrill, or echoing horn,
+     No more shall rouse them from their lowly bed."
+
+In 8th stanza, "Their _rustic_ joys," etc.
+
+In 10th stanza, the first two lines read,
+
+  "Forgive, ye proud, th' involuntary fault,
+     If memory to these no trophies raise."
+
+In 12th stanza, "Hands that the _reins_ of empire," etc.
+
+In 13th stanza, "Chill Penury _depress'd_," etc.
+
+The 15th stanza reads thus:
+
+  "Some village Cato, who, with dauntless breast,
+     The little tyrant of his fields withstood;
+   Some mute inglorious Tully here may rest,
+     Some Caesar guiltless of his country's blood."[4]
+
+[Footnote 4: The _Saturday Review_ for June 19, 1875, has a long
+article on the change made by Gray in this stanza, entitled, "A
+Lesson from Gray's Elegy," from which we cull the following
+paragraphs:
+
+"Gray, having first of all put down the names of three Romans as
+illustrations of his meaning, afterwards deliberately struck them out
+and put the names of three Englishmen instead. This is a sign of a
+change in the taste of the age, a change with which Gray himself had
+a good deal to do. The deliberate wiping out of the names of Cato,
+Tully, and Caesar, to put in the names of Hampden, Milton, and
+Cromwell, seems to us so obviously a change for the better that there
+seems to be no room for any doubt about it. It is by no means certain
+that Gray's own contemporaries would have thought the matter equally
+clear. We suspect that to many people in his day it must have seemed
+a daring novelty to draw illustrations from English history,
+especially from parts of English history which, it must be
+remembered, were then a great deal more recent than they are now. To
+be sure, in choosing English illustrations, a poet of Gray's time was
+in rather a hard strait. If he chose illustrations from the century
+or two before his own time, he could only choose names which had
+hardly got free from the strife of recent politics. If, in a poem of
+the nature of the Elegy, he had drawn illustrations from earlier
+times of English history, he would have found but few people in his
+day likely to understand him....
+
+"The change which Gray made in this well-known stanza is not only an
+improvement in a particular poem, it is a sign of a general
+improvement in taste. He wrote first according to the vicious taste
+of an earlier time, and he then changed it according to his own
+better taste. And of that better taste he was undoubtedly a prophet
+to others. Gray's poetry must have done a great deal to open men's
+eyes to the fact that they were Englishmen, and that on them, as
+Englishmen, English things had a higher claim than Roman, and that to
+them English examples ought to be more speaking than Roman ones. But
+there is another side of the case not to be forgotten. Those who
+would have regretted the change from Cato, Tully, and Caesar to
+Hampden, Milton, and Cromwell, those who perhaps really did think
+that the bringing in of Hampden, Milton, and Cromwell was a
+degradation of what they would have called the Muse, were certainly
+not those who had the truest knowledge of Cato, Tully, and Caesar.
+The 'classic' taste from which Gray helped to deliver us was a taste
+which hardly deserves to be called a taste. Pardonable perhaps in the
+first heat of the Renaissance, when 'classic' studies and objects had
+the charm of novelty, it had become by his day a mere silly
+fashion."]
+
+In 18th stanza, "Or _crown_ the shrine," etc.
+
+After this stanza, the MS. has the following four stanzas, now
+omitted:
+
+  "The thoughtless world to Majesty may bow,
+     Exalt the brave, and idolize success;
+   But more to innocence their safety owe
+     Than Pow'r, or Genius, e'er conspir'd to bless.
+
+  "And thou who, mindful of the unhonour'd Dead,
+     Dost in these notes their artless tale relate,
+   By night and lonely contemplation led
+     To wander in the gloomy walks of fate:
+
+  "Hark! how the sacred Calm, that breathes around,
+     Bids every fierce tumultuous passion cease;
+   In still small accents whisp'ring from the ground
+     A grateful earnest of eternal peace.
+
+  "No more, with reason and thyself at strife,
+     Give anxious cares and endless wishes room;
+   But through the cool sequester'd vale of life
+     Pursue the silent tenor of thy doom."[5]
+
+[Footnote 5: We follow Mason (ed. 1778) in the text of these stanzas.
+The _North American Review_ has "Power _and_ Genius" in the first,
+and "_linger_ in the _lonely_ walks" in the second.]
+
+The second of these stanzas has been remodelled and used as the 24th
+of the present version. Mason thought that there was a pathetic
+melancholy in all four which claimed preservation. The third he
+considered equal to any in the whole _Elegy_. The poem was originally
+intended to end here, the introduction of "the hoary-headed swain"
+being a happy after-thought.
+
+In the 19th stanza, the MS. has "never _learn'd_ to stray."
+
+In the 21st stanza, "fame and _epitaph_," etc.
+
+In the 23d stanza, the last line reads,
+
+  "And buried ashes glow with social fires."
+
+"Social" subsequently became "wonted," and other changes were made
+(see p. 74, foot-note) before the line took its present form.
+
+The 24th stanza reads,
+
+  "If chance that e'er some pensive Spirit more,
+     By sympathetic musings here delay'd,
+   With vain, though kind inquiry shall explore
+     Thy once-lov'd haunt, this long-deserted shade."[6]
+
+[Footnote 6: Mitford (Eton ed.) gives "sympathizing" in the second
+line, and for the last,
+
+  "Thy ever loved haunt--this long deserted shade."
+
+The latter is obviously wrong (Gray was incapable of such metre), and
+the former is probably wrong also.]
+
+The last line of the 25th stanza reads,
+
+  "On the high brow of yonder hanging lawn."
+
+Then comes the following stanza, afterwards omitted:
+
+  "Him have we seen the greenwood side along,
+     While o'er the heath we hied, our labour done,
+   Oft as the woodlark pip'd her farewell song,
+     With wistful eyes pursue the setting sun."[7]
+
+Mason remarked: "I rather wonder that he rejected this stanza, as it
+not only has the same sort of Doric delicacy which charms us
+peculiarly in this part of the poem, but also completes the account
+of his whole day; whereas, this evening scene being omitted, we have
+only his morning walk, and his noontide repose."
+
+[Footnote 7: Here also we follow Mason; the _North American Review_
+reads "our _labours_ done."]
+
+The first line of the 27th stanza reads,
+
+  "With gestures quaint, now smiling as in scorn."
+
+After the 29th stanza, and before the Epitaph, the MS. contains the
+following omitted stanza:
+
+  "There scatter'd oft, the earliest of the year,
+     By hands unseen are frequent violets found;
+   The robin loves to build and warble there,
+     And little footsteps lightly print the ground."
+
+This--with two or three verbal changes only[8]--was inserted in all
+the editions up to 1753, when it was dropped. The omission was not
+made from any objection to the stanza in itself, but simply because
+it was too long a parenthesis in this place; on the principle which
+he states in a letter to Dr. Beattie: "As to description, I have
+always thought that it made the most graceful ornament of poetry, but
+never ought to make the subject." The part was sacrificed for the
+good of the whole. Mason very justly remarked that "the lines,
+however, are in themselves exquisitely fine, and demand
+preservation."
+
+[Footnote 8: See next page. The writer in the _North American Review_
+is our only authority for the stanza as given above. He appears to
+have had the photographic reproduction of the Wrightson MS., but we
+cannot vouch for the accuracy of his transcripts from it.]
+
+The first line of the 31st stanza has "and his _heart_ sincere."
+
+The 32d and last stanza is as follows:
+
+  "No farther seek his merits to disclose,
+     Nor seek to draw them from their dread abode--
+   (His frailties there in trembling hope repose);
+     The bosom of his Father and his God."[9]
+
+[Footnote 9: The above are all the variations from the present text
+in the Wrightson MS. which are noted by the authorities on whom we
+have depended; but we suspect that the following readings, mentioned
+by Mitford as in the MS., belong to _that_ MS., as they are _not_
+found in the other: in the 7th stanza, "sickles" for "sickle;" in
+18th, "shrines" for "shrine." Two others (in stanzas 9th and 27th)
+are referred to in our account of the Pembroke MS. below.]
+
+The Pembroke MS. has the following variations from the present
+version:
+
+In the 1st stanza, "wind" for "winds."
+
+2d stanza, "_Or_ drowsy," etc.
+
+5th stanza, "_and_ the ecchoing horn."
+
+6th stanza, "_Nor_ climb his knees."
+
+9th stanza, "_Awaits_ alike." Probably this is also the reading of
+the Wrightson MS. Mitford gives it as noted by Mason, and it is
+retained by Gray in the ed. of 1768.
+
+The 10th stanza begins,
+
+  "_Forgive_, ye Proud, _th' involuntary_ fault
+      If Memory _to these_," etc.,
+
+the present readings ("Nor you," "impute to these," and "Mem'ry o'er
+their tomb") being inserted in the margin.
+
+The 12th stanza has "_reins_ of empire," with "rod" in the margin.
+
+In the 15th stanza, the word "lands" has been crossed out, and
+"fields" written above it.
+
+The 17th has "_Or_ shut the gates," etc.
+
+In the 21st we have "fame and _epitaph_ supply."
+
+The 23d has "_And_ in our ashes _glow_," the readings "Ev'n" and
+"live" being inserted in the margin.
+
+The 27th stanza has "_would he_ rove." We suspect that this is also
+the reading of the Wrightson MS., as Mitford says it is noted by
+Mason.
+
+In the 28th stanza, the first line reads "_from_ the custom'd hill."
+
+In the 29th a word which we cannot make out has been erased, and
+"aged" substituted.
+
+Before the Epitaph, two asterisks refer to the bottom of the page,
+where the following stanza is given, with the marginal note, "Omitted
+in 1753:"
+
+  "There scatter'd oft, the earliest of the Year,
+     By Hands unseen, are Show'rs of Violets found;
+   The Red-breast loves to build, and warble there,
+     And little Footsteps lightly print the Ground."
+
+The last two lines of the 31st stanza (see note below) are pointed as
+follows:
+
+  "He gave to Mis'ry all he had, a Tear,
+     He gain'd from Heav'n ('twas all he wish'd) a Friend."
+
+Some of the peculiarities of spelling in this MS. are the following:
+"Curfeu;" "Plowman;" "Tinkleings;" "mopeing;" "ecchoing;" "Huswife;"
+"Ile" (aisle); "wast" (waste); "village-Hambden;" "Rhimes;"
+"spell't;" "chearful;" "born" (borne); etc.
+
+Mitford, in his Life of Gray prefixed to the "Eton" edition of his
+Poems (edited by Rev. John Moultrie, 1847), says: "I possess many
+curious variations from the printed text, taken from a copy of it in
+his own handwriting." He adds specimens of these variations, a few of
+which differ from both the Wrightson and Pembroke MSS. We give these
+in our notes below. See on 12, 24, and 93.
+
+
+Several localities have contended for the honor of being the scene of
+the _Elegy_, but the general sentiment has always, and justly, been
+in favor of Stoke-Pogis. It was there that Gray began the poem in
+1742; and there, as we have seen, he finished it in 1750. In that
+churchyard his mother was buried, and there, at his request, his own
+remains were afterwards laid beside her. The scene is, moreover, in
+all respects in perfect keeping with the spirit of the poem.
+
+According to the common Cambridge tradition, Granchester, a parish
+about two miles southwest of the University, to which Gray was in the
+habit of taking his "constitutional" daily, is the locality of the
+poem; and the great bell of St. Mary's is the "curfew" of the first
+stanza. Another tradition makes a similar claim for Madingley, some
+three miles and a half northwest of Cambridge. Both places have
+churchyards such as the _Elegy_ describes; and this is about all that
+can be said in favor of their pretensions. There is also a parish
+called Burnham Beeches, in Buckinghamshire, which one writer at least
+has suggested as the scene of the poem, but for no better reason than
+that Gray once wrote a description of the place to Walpole, and
+casually mentioned the existence of certain "beeches," at the foot of
+which he would "squat," and "there grow to the trunk a whole
+morning." Gray's uncle had a seat in the neighborhood, and the poet
+often visited here, but the spot was not hallowed to him by the fond
+and tender associations that gathered about Stoke.
+
+
+1. _The curfew_. Hales remarks: "It is a great mistake to suppose
+that the ringing of the curfew was, at its institution, a mark of
+Norman oppression. If such a custom was unknown before the Conquest,
+it only shows that the old English police was less well-regulated
+than that of many parts of the Continent, and how much the superior
+civilization of the Norman-French was needed. Fires were the curse of
+the timber-built towns of the Middle Ages: 'Solae pestes Londoniae
+sunt stultorum immodica potatio et _frequens incendium_'
+(Fitzstephen). The enforced extinction of domestic lights at an
+appointed signal was designed to be a safeguard against them."
+
+Warton wanted to have this line read
+
+  "The curfew tolls!--the knell of parting day."
+
+It is sufficient to say that Gray, as the manuscript shows, did not
+want it to read so, and that we much prefer his way to Warton's.
+
+Mitford says that _toll_ is "not the appropriate verb," as the curfew
+was rung, not tolled. We presume that depended, to some extent, on
+the fancy of the ringer. Milton (_Il Pens._ 76) speaks of the curfew
+as
+
+  "Swinging slow with sullen roar."
+
+Gray himself quotes here Dante, _Purgat._ 8:
+
+                   --"squilla di lontano
+  Che paia 'l giorno pianger, che si muore;"
+
+and we cannot refrain from adding, for the benefit of those
+unfamiliar with Italian, Longfellow's exquisite translation:
+
+              --"from far away a bell
+  That seemeth to deplore the dying day."
+
+Mitford quotes (incorrectly, as often) Dryden, _Prol. to Troilus and
+Cressida_, 22:
+
+  "That tolls the knell for their departed sense."
+
+On _parting_=departing, cf. Shakes. _Cor._ v. 6: "When I parted
+hence;" Goldsmith, _D. V._ 171: "Beside the bed where parting life
+was laid," etc.
+
+2. _The lowing herd wind_, etc. _Wind_, and not _winds_, is the
+reading of the MS. (see fac-simile of this stanza on p. 73) and of
+_all_ the early editions--that of 1768, Mason's, Wakefield's,
+Mathias's, etc.--but we find no note of the fact in Mitford's or any
+other of the more recent editions, which have substituted _winds_.
+Whether the change was made as an amendment or accidentally, we do
+not know;[10] but the original reading seems to us by far the better
+one. The poet does not refer to the herd as an aggregate, but to the
+animals that compose it. He sees, not _it_, but "_them_ on their
+winding way." The ordinary reading mars both the meaning and the
+melody of the line.
+
+[Footnote 10: Very likely the latter, as we have seen that _winds_
+appears in the unauthorized version of the _London Magazine_ (March,
+1751), where it may be a misprint, like the others noted above.
+
+We may remark here that the edition of 1768--the _editio princeps_ of
+the _collected_ Poems--was issued under Gray's own supervision, and
+is printed with remarkable accuracy. We have detected only one
+indubitable error of the type in the entire volume. Certain
+peculiarities of spelling were probably intentional, as we find the
+like in the fac-similes of the poet's manuscripts. The many
+quotations from Greek, Latin, and Italian are correctly given
+(according to the received texts of the time), and the references to
+authorities, so far as we have verified them, are equally exact. The
+book throughout bears the marks of Gray's scholarly and critical
+habits, and we may be sure that the poems appear in precisely the
+form which he meant they should retain. In doubtful cases, therefore,
+we have generally followed this edition. Mason's (the _second_
+edition: York, 1778) is also carefully edited and printed, and its
+readings seldom vary from Gray's. All of Mitford's that we have
+examined swarm with errors, especially in the notes. Pickering's
+(1835), edited by Mitford, is perhaps the worst of all. The Boston
+ed. (Little, Brown, & Co., 1853) is a pretty careful reproduction of
+Pickering's, with all its inaccuracies.]
+
+3. The critic of the _N. A. Review_ points out that this line "is
+quite peculiar in its possible transformations. We have made," he
+adds, "twenty different versions preserving the rhythm, the general
+sentiment and the rhyming word. Any one of these variations might be,
+not inappropriately, substituted for the original reading."
+
+Luke quotes Spenser, _F. Q._ vi. 7, 39: "And now she was uppon the
+weary way."
+
+6. _Air_ is of course the object, not the subject of the verb.
+
+7. _Save where the beetle_, etc. Cf. Collins, _Ode to Evening_:
+
+  "Now air is hush'd, save where the weak-eyed bat
+   With short shrill shriek flits by on leathern wing,
+       Or where the beetle winds
+       His small but sullen horn,
+   As oft he rises 'midst the twilight path,
+   Against the pilgrim borne in heedless hum."
+
+and _Macbeth_, iii. 2:
+
+                           "Ere the bat hath flown
+   His cloister'd flight; ere to black Hecate's summons
+   The shard-borne beetle, with his drowsy hums,
+   Hath rung night's yawning peal," etc.
+
+10. _The moping owl_. Mitford quotes Ovid, _Met._ v. 550: "Ignavus
+bubo, dirum mortalibus omen;" Thomson, _Winter_, 114:
+
+  "Assiduous in his bower the wailing owl
+   Plies his sad song;"
+
+and Mallet, _Excursion_:
+
+                     "the wailing owl
+   Screams solitary to the mournful moon."
+
+12. _Her ancient solitary reign_. Cf. Virgil, _Geo._ iii. 476:
+"desertaque regna pastorum." A MS. variation of this line mentioned
+by Mitford is, "Molest and pry into her ancient reign."
+
+13. "As he stands in the churchyard, he thinks only of the poorer
+people, because the better-to-do lay interred inside the church.
+Tennyson (_In Mem._ x.) speaks of resting
+
+               'beneath the clover sod
+     That takes the sunshine and the rains,
+     Or where the kneeling hamlet drains
+   The chalice of the grapes of God.'
+
+In Gray's time, and long before, and some time after it, the former
+resting-place was for the poor, the latter for the rich. It was so in
+the first instance, for two reasons: (i.) the interior of the church
+was regarded as of great sanctity, and all who could sought a place
+in it, the most dearly coveted spot being near the high altar; (ii.)
+when elaborate tombs were the fashion, they were built inside the
+church for the sake of security, 'gay tombs' being liable to be
+'robb'd' (see the funeral dirge in Webster's _White Devil_). As these
+two considerations gradually ceased to have power, and other
+considerations of an opposite tendency began to prevail, the inside
+of the church became comparatively deserted, except when ancestral
+reasons gave no choice" (Hales).
+
+17. Cf. Milton, _Arcades_, 56: "the odorous breath of morn;" _P. L._
+ix. 192:
+
+  "Now when as sacred light began to dawn
+   In Eden on the humid flowers that breath'd
+   Their morning incense," etc.
+
+18. Hesiod ([Greek: Erg.] 568) calls the swallow [Greek: orthogoe
+chelidon.] Cf. Virgil, _Aen._ viii. 455:
+
+  "Evandrum ex humili tecto lux suscitat alma,
+   Et matutini volucrum sub culmine cantus."
+
+19. _The cock's shrill clarion_. Cf. Philips, _Cyder_, i. 753:
+
+  "When chanticleer with clarion shrill recalls
+   The tardy day;"
+
+Milton, _P. L._ vii. 443:
+
+  "The crested cock, whose clarion sounds
+   The silent hours;"
+
+_Hamlet_, i. 1:
+
+  "The cock that is the trumpet to the morn;"
+
+Quarles, _Argalus and Parthenia_:
+
+  "I slept not till the early bugle-horn
+   Of chaunticlere had summon'd in the morn;"
+
+and Thomas Kyd, _England's Parnassus_:
+
+  "The cheerful cock, the sad night's trumpeter,
+     Wayting upon the rising of the sunne;
+   The wandering swallow with her broken song," etc.
+
+20. _Their lowly bed_. Wakefield remarks: "Some readers, keeping in
+mind the 'narrow cell' above, have mistaken the 'lowly bed' in this
+verse for the grave--a most puerile and ridiculous blunder;" and
+Mitford says: "Here the epithet 'lowly,' as applied to 'bed,'
+occasions some ambiguity as to whether the poet meant the bed on
+which they sleep, or the grave in which they are laid, which in
+poetry is called a 'lowly bed.' Of course the former is designed; but
+Mr. Lloyd, in his Latin translation, mistook it for the latter."
+
+21. Cf. Lucretius, iii. 894:
+
+  "Jam jam non domus accipiet te laeta, neque uxor
+   Optima nee dulces occurrent oscula nati
+   Praeripere et tacita pectus dulcedine tangent;"
+
+and Horace, _Epod._ ii. 39:
+
+  "Quod si pudica mulier in partem juvet
+   Domum atque dulces liberos
+   *     *     *     *     *     *     *
+   Sacrum vetustis exstruat lignis focum
+   Lassi sub adventum viri," etc.
+
+Mitford quotes Thomson, _Winter_, 311:
+
+  "In vain for him the officious wife prepares
+   The fire fair-blazing, and the vestment warm;
+   In vain his little children, peeping out
+   Into the mingling storm, demand their sire
+   With tears of artless innocence."
+
+Wakefield cites _The Idler_, 103: "There are few things, not purely
+evil, of which we can say without some emotion of uneasiness, _this
+is the last_."
+
+22. _Ply her evening care_. Mitford says, "To _ply a care_ is an
+expression that is not proper to our language, and was probably
+formed for the rhyme _share_." Hales remarks: "This is probably the
+kind of phrase which led Wordsworth to pronounce the language of the
+_Elegy_ unintelligible. Compare his own
+
+  'And she I cherished _turned her wheel_
+   Beside an English fire.'"
+
+23. _No children run_, etc. Hales quotes Burns, _Cotter's Saturday
+Night_, 21:
+
+  "Th' expectant wee-things, toddlin, stacher through
+   To meet their Dad, wi' flichterin noise an' glee."
+
+24. Among Mitford's MS. variations we find "coming kiss." Wakefield
+compares Virgil, _Geo._ ii. 523:
+
+  "Interea dulces pendent circum oscula nati;"
+
+and Mitford adds from Dryden,
+
+  "Whose little arms about thy legs are cast,
+   And climbing for a kiss prevent their mother's haste."
+
+Cf. Thomson, _Liberty_, iii. 171:
+
+  "His little children climbing for a kiss."
+
+26. _The stubborn glebe_. Cf. Gay, _Fables_, ii. 15:
+
+  "'Tis mine to tame the stubborn glebe."
+
+_Broke_=broken, as often in poetry, especially in the Elizabethan
+writers. See Abbott, _Shakes. Gr._ 343.
+
+27. _Drive their team afield_. Cf. _Lycidas_, 27: "We drove afield;"
+and Dryden,_ Virgil's Ecl._ ii. 38: "With me to drive afield."
+
+28. _Their sturdy stroke_. Cf. Spenser, _Shep. Kal._ Feb.:
+
+  "But to the roote bent his sturdy stroake,
+   And made many wounds in the wast [wasted] Oake;"
+
+and Dryden, _Geo._ iii. 639:
+
+  "Labour him with many a sturdy stroke."
+
+30. As Mitford remarks, _obscure_ and _poor_ make "a very imperfect
+rhyme;" and the same might be said of _toil_ and _smile_.
+
+33. Mitford suggests that Gray had in mind these verses from his
+friend West's _Monody on Queen Caroline_:
+
+  "Ah, me! what boots us all our boasted power,
+     Our golden treasure, and our purple state;
+   They cannot ward the inevitable hour,
+     Nor stay the fearful violence of fate."
+
+Hurd compares Cowley:
+
+  "Beauty, and strength, and wit, and wealth, and power,
+   Have their short flourishing hour;
+   And love to see themselves, and smile,
+   And joy in their pre-eminence a while:
+       Even so in the same land
+   Poor weeds, rich corn, gay flowers together stand;
+   Alas! Death mows down all with an impartial hand."
+
+35. _Awaits_. The reading of the ed. of 1768, as of the Pembroke (and
+probably the other) MS. _Hour_ is the subject, not the object, of the
+verb.
+
+36. Hayley, in the Life of Crashaw, _Biographia Britannica_, says
+that this line is "literally translated from the Latin prose of
+Bartholinus in his Danish Antiquities."
+
+39. _Fretted_. The _fret_ is, strictly, an ornament used in classical
+architecture, formed by small fillets intersecting each other at
+right angles. Parker (_Glossary of Architecture_) derives the word
+from the Latin _fretum_, a strait; and Hales from _ferrum_, iron,
+through the Italian _ferrata_, an iron grating. It is more likely
+(see Stratmann and Wb.) from the A. S. _fraetu_, an ornament.
+
+Cf. _Hamlet_, ii. 2:
+
+  "This majestical roof fretted with golden fire;"
+
+and _Cymbeline_, ii. 4:
+
+  "The roof o' the chamber
+   With golden cherubins is fretted."
+
+40. _The pealing anthem_. Cf. _Il Penseroso_, 161:
+
+  "There let the pealing organ blow
+   To the full-voiced quire below,
+   In service high, and anthem clear," etc.
+
+41. _Storied urn_. Cf. _Il Pens._ 159: "storied windows richly
+dight." On _animated bust_, cf. Pope, _Temple of Fame_, 73: "Heroes
+in animated marble frown;" and Virgil, _Aen._ vi. 847: "spirantia
+aera."
+
+43. _Provoke_. Mitford considers this use of the word "unusually
+bold, to say the least." It is simply the etymological meaning, _to
+call forth_ (Latin, _provocare_). See Wb. Cf. Pope, _Ode_:
+
+  "But when our country's cause provokes to arms."
+
+44. _Dull cold ear_. Cf. Shakes. _Hen. VIII._ iii. 2: "And sleep in
+dull, cold marble."
+
+46. _Pregnant with celestial fire_. This phrase has been copied by
+Cowper in his _Boadicea_, which is said (see notes of "Globe" ed.) to
+have been written after reading Hume's History, in 1780:
+
+  "Such the bard's prophetic words,
+     Pregnant with celestial fire,
+   Bending as he swept the chords
+     Of his sweet but awful lyre."
+
+47. Mitford quotes Ovid, _Ep._ v. 86:
+
+  "Sunt mihi quas possint sceptra decere manus."
+
+48. _Living lyre_. Cf. Cowley:
+
+  "Begin the song, and strike the living lyre;"
+
+and Pope, _Windsor Forest_, 281:
+
+  "Who now shall charm the shades where Cowley strung
+   His living harp, and lofty Denham sung?"
+
+50. Cf. Browne, _Religio Medici_: "Rich with the spoils of nature."
+
+51. "_Rage_ is often used in the post-Elizabethan writers of the 17th
+century, and in the 18th century writers, for inspiration,
+enthusiasm" (Hales). Cf. Cowley:
+
+  "Who brought green poesy to her perfect age,
+   And made that art which was a rage?"
+
+and Tickell, _Prol._:
+
+  "How hard the task! How rare the godlike rage!"
+
+Cf. also the use of the Latin _rabies_ for the "divine afflatus," as
+in _Aeneid_, vi. 49.
+
+53. _Full many a gem_, etc. Cf. Bishop Hall, _Contemplations_: "There
+is many a rich stone laid up in the bowells of the earth, many a fair
+pearle in the bosome of the sea, that never was seene, nor never
+shall bee."
+
+_Purest ray serene_. As Hales remarks, this is a favourite
+arrangement of epithets with Milton. Cf. _Hymn on Nativity_:
+"flower-inwoven tresses torn;" _Comus_: "beckoning shadows dire;"
+"every alley green," etc.; _L'Allegro_: "native wood-notes wild;"
+_Lycidas_: "sad occasion dear;" "blest kingdoms meek," etc.
+
+55. _Full many a flower_, etc. Cf. Pope, _Rape of the Lock_, iv. 158:
+
+  "Like roses that in deserts bloom and die."
+
+Mitford cites Chamberlayne, _Pharonida_, ii. 4:
+
+  "Like beauteous flowers which vainly waste their scent
+   Of odours in unhaunted deserts;"
+
+and Young, _Univ. Pass._ sat. v.:
+
+  "In distant wilds, by human eyes unseen,
+   She rears her flowers, and spreads her velvet green;
+   Pure gurgling rills the lonely desert trace,
+   And waste their music on the savage race;"
+
+and Philip, _Thule_:
+
+  "Like woodland flowers, which paint the desert glades,
+   And waste their sweets in unfrequented shades."
+
+Hales quotes Waller's
+
+                 "Go, lovely rose,
+     Tell her that's young
+   And shuns to have her graces spied,
+     That hadst thou sprung
+   In deserts where no men abide
+   Thou must have uncommended died."
+
+On _desert air_, cf. _Macbeth_, iv. 3: "That would be howl'd out in
+the desert air."
+
+57. It was in 1636 that John Hampden, of Buckinghamshire (a cousin of
+Oliver Cromwell), refused to pay the ship-money tax which Charles I.
+was levying without the authority of Parliament.
+
+58. _Little tyrant_. Cf. Thomson, _Winter_:
+
+  "With open freedom little tyrants raged."
+
+The artists who have illustrated this passage (see, for instance,
+_Favourite English Poems_, p. 305, and _Harper's Monthly_, vol. vii.
+p. 3) appear to understand "little" as equivalent to _juvenile_. If
+that had been the meaning, the poet would have used some other phrase
+than "of his fields," or "his lands," as he first wrote it.
+
+59. _Some mute inglorious Milton_. Cf. Phillips, preface to _Theatrum
+Poetarum_: "Even the very names of some who having perhaps been
+comparable to Homer for heroic poesy, or to Euripides for tragedy,
+yet nevertheless sleep inglorious in the crowd of the forgotten
+vulgar."
+
+60. _Some Cromwell_, etc. Hales remarks: "The prejudice against
+Cromwell was extremely strong throughout the 18th century, even
+amongst the more liberal-minded. That cloud of 'detractions rude,' of
+which Milton speaks in his noble sonnet to our 'chief of men' as in
+his own day enveloping the great republican leader, still lay thick
+and heavy over him. His wise statesmanship, his unceasing
+earnestness, his high-minded purpose, were not yet seen."
+
+After this stanza Thomas Edwards, the author of the _Canons of
+Criticism_, would add the following, to supply what he deemed a
+defect in the poem:
+
+  "Some lovely fair, whose unaffected charms
+     Shone with attraction to herself alone;
+   Whose beauty might have bless'd a monarch's arms,
+     Whose virtue cast a lustre on a throne.
+
+  "That humble beauty warm'd an honest heart,
+     And cheer'd the labours of a faithful spouse;
+   That virtue form'd for every decent part
+     The healthful offspring that adorn'd their house."
+
+Edwards was an able critic, but it is evident that he was no poet.
+
+63. Mitford quotes Tickell:
+
+  "To scatter blessings o'er the British land;"
+
+and Mrs. Behn:
+
+  "Is scattering plenty over all the land."
+
+66. _Their growing virtues_. That is, the growth of their virtues.
+
+67. _To wade through slaughter_, etc. Cf. Pope, _Temp. of Fame_, 347:
+
+  "And swam to empire through the purple flood."
+
+68. Cf. Shakes. _Hen. V._ iii. 3:
+
+  "The gates of mercy shall be all shut up."
+
+70. _To quench the blushes_, etc. Cf. Shakes. _W. T._ iv. 3:
+
+  "Come, quench your blushes, and present yourself."
+
+73. _Far from the madding crowd's_, etc. Rogers quotes Drummond:
+
+  "Far from the madding worldling's hoarse discords."
+
+Mitford points out "the ambiguity of this couplet, which indeed gives
+a sense exactly contrary to that intended; to avoid which one must
+break the grammatical construction." The poet's meaning is, however,
+clear enough.
+
+75. Wakefield quotes Pope, _Epitaph on Fenton_:
+
+  "Foe to loud praise, and friend to learned ease,
+   Content with science in the vale of peace."
+
+77. _These bones_. "The bones of these. So _is_ is often used in
+Latin, especially by Livy, as in v. 22: '_Ea_ sola pecunia,' the
+money derived from that sale, etc." (Hales).
+
+84. _That teach_. Mitford censures _teach_ as ungrammatical; but it
+may be justified as a "construction according to sense."
+
+85. Hales remarks: "At the first glance it might seem that _to dumb
+Forgetfulness a prey_ was in apposition to _who_, and the meaning
+was, 'Who that now lies forgotten,' etc.; in which case the second
+line of the stanza must be closely connected with the fourth; for the
+question of the passage is not 'Who ever died?' but 'Who ever died
+without wishing to be remembered?' But in this way of interpreting
+this difficult stanza (i.) there is comparatively little force in the
+appositional phrase, and (ii.) there is a certain awkwardness in
+deferring so long the clause (virtually adverbal though apparently
+coordinate) in which, as has just been noticed, the point of the
+question really lies. Perhaps therefore it is better to take the
+phrase _to dumb Forgetfulness a prey_ as in fact the completion of
+the predicate _resign'd_, and interpret thus: Who ever resigned this
+life of his with all its pleasures and all its pains to be utterly
+ignored and forgotten?=who ever, when resigning it, reconciled
+himself to its being forgotten? In this case the second half of the
+stanza echoes the thought of the first half."
+
+We give the note in full, and leave the reader to take his choice of
+the two interpretations. For ourself, we incline to the first rather
+than the second. We prefer to take _to dumb Forgetfulness a prey_ as
+appositional and proleptic, and not as the grammatical complement of
+_resigned_: Who, yielding himself up a prey to dumb Forgetfulness,
+ever resigned this life without casting a longing, lingering look
+behind?
+
+90. _Pious_ is used in the sense of the Latin _pius_. Ovid has "piae
+lacrimae." Mitford quotes Pope, _Elegy on an Unfortunate Lady_, 49:
+
+  "No friend's complaint, no kind domestic tear
+   Pleas'd thy pale ghost, or grac'd thy mournful bier;
+   By foreign hands thy dying eyes were clos'd."
+
+"In this stanza," says Hales, "he answers in an exquisite manner the
+two questions, or rather the one question twice repeated, of the
+preceding stanza.... What he would say is that every one while a
+spark of life yet remains in him yearns for some kindly loving
+remembrance; nay, even after the spark is quenched, even when all is
+dust and ashes, that yearning must still be felt."
+
+91, 92. Mitford paraphrases the couplet thus: "The voice of Nature
+still cries from the tomb in the language of the epitaph inscribed
+upon it, which still endeavours to connect us with the living; the
+fires of former affection are still alive beneath our ashes."
+
+Cf. Chaucer, _C. T._ 3880:
+
+  "Yet in our ashen cold is fire yreken."
+
+Gray himself quotes Petrarch, _Sonnet_ 169:
+
+  "Ch'i veggio nel pensier, dolce mio fuoco,
+   Fredda una lingua e due begli occhi chiusi,
+   Rimaner doppo noi pien di faville,"
+
+translated by Nott as follows:
+
+  "These, my sweet fair, so warns prophetic thought,
+   Clos'd thy bright eye, and mute thy poet's tongue,
+   E'en after death shall still with sparks be fraught,"
+
+the "these" meaning his love and his songs concerning it. Gray
+translated this sonnet into Latin elegiacs, the last line being
+rendered,
+
+  "Ardebitque urna multa favilla mea."
+
+93. On a MS. variation of this stanza given by Mitford, see p. 80,
+footnote.
+
+95. _Chance_ is virtually an adverb here = perchance.
+
+98. _The peep of dawn_. Mitford quotes _Comus_, 138:
+
+  "Ere the blabbing eastern scout,
+   The nice morn, on the Indian steep
+   From her cabin'd loop-hole peep."
+
+99. Cf. Milton, _P. L._ v. 428:
+
+         "though from off the boughs each morn
+   We brush mellifluous dews;"
+
+and _Arcades_, 50:
+
+  "And from the boughs brush off the evil dew."
+
+Wakefield quotes Thomson, _Spring_, 103:
+
+  "Oft let me wander o'er the dewy fields,
+   Where freshness breathes, and dash the trembling drops
+   From the bent brush, as through the verdant maze
+   Of sweetbrier hedges I pursue my walk."
+
+100. _Upland lawn_. Cf. Milton, _Lycidas_, 25:
+
+          "Ere the high lawns appear'd
+   Under the opening eyelids of the morn."
+
+In _L'Allegro_, 92, we have "upland hamlets," where Hales thinks
+"upland=country, as opposed to town." He adds, "Gray in his _Elegy_
+seems to use the word loosely for 'on the higher ground;' perhaps he
+took it from Milton, without quite understanding in what sense Milton
+uses it." We doubt whether Hales understands Milton here. It is true
+that _upland_ used to mean country, as _uplanders_ meant countrymen,
+and _uplandish_ countrified (see Nares and Wb.), but the other
+meaning is older than Milton (see Halliwell's _Dict. of Archaic
+Words_), and Johnson, Keightley, and others are probably right in
+considering "upland hamlets" an instance of it. Masson, in his recent
+edition of Milton (1875), explains the "upland hamlets" as "little
+villages among the slopes, away from the river-meadows and the
+hay-making."
+
+101. As Mitford remarks, _beech_ and _stretch_ form an imperfect
+rhyme.
+
+102. Luke quotes Spenser, _Ruines of Rome_, st. 28:
+
+  "Shewing her wreathed rootes and naked armes."
+
+103. _His listless length_. Hales compares _King Lear_, i. 4: "If you
+will measure your lubber's length again, tarry." Cf. also _Brittain's
+Ida_ (formerly ascribed to Spenser, but rejected by the best
+editors), iii. 2:
+
+  "Her goodly length stretcht on a lilly-bed."
+
+104. Cf. Thomson, _Spring_, 644: "divided by a babbling brook;" and
+Horace, _Od._ iii. 13, 15:
+
+          "unde loquaces
+   Lymphae desiliunt tuae."
+
+Wakefield quotes _As You Like It_, ii. 1:
+
+                    "As he lay along
+   Under an oak whose antique root peeps out
+   Upon the brook that brawls along this road."
+
+105. _Smiling as in scorn_. Cf. Shakes. _Pass. Pilgrim_, 14:
+
+  "Yet at my parting sweetly did she smile,
+   In scorn or friendship, nill I construe whether."
+
+and Skelton, _Prol. to B. of C._:
+
+         "Smylynge half in scorne
+   At our foly."
+
+107. _Woeful-wan_. Mitford says: "_Woeful-wan_ is not a legitimate
+compound, and must be divided into two separate words, for such they
+are, when released from the _handcuffs_ of the hyphen." The hyphen is
+not in the edition of 1768, and we should omit it if it were not
+found in the Pembroke MS.
+
+Wakefield quotes Spenser, _Shep. Kal._ Jan.:
+
+  "For pale and wanne he was (alas the while!)
+   May seeme he lovd, or els some care he tooke."
+
+108. "_Hopeless_ is here used in a proleptic or anticipatory way"
+(Hales).
+
+109. _Custom'd_ is Gray's word, not _'custom'd_, as usually printed.
+See either Wb. or Worc. s. v. Cf. Milton, _Ep. Damonis_: "Simul
+assueta seditque sub ulmo."
+
+114. _Churchway path_. Cf. Shakes. _M. N. D._ v. 2:
+
+  "Now it is the time of night,
+     That the graves all gaping wide,
+   Every one lets forth his sprite
+     In the churchway paths to glide."
+
+115. _For thou canst read_. The "hoary-headed swain" of course could
+_not_ read.
+
+116. _Grav'd_. The old form of the participle is _graven_, but
+_graved_ is also in good use. The old preterite _grove_ is obsolete.
+
+117. _The lap of earth_. Cf. Spenser, _F. Q._ v. 7, 9:
+
+  "For other beds the Priests there used none,
+   But on their mother Earths deare lap did lie;"
+
+and Milton, _P. L._ x. 777:
+
+         "How glad would lay me down,
+   As in my mother's lap!"
+
+Lucretius (i. 291) has "gremium matris terrai." Mitford adds the
+pathetic sentence of Pliny, _Hist. Nat._ ii. 63: "Nam terra novissime
+complexa gremio jam a reliqua natura abnegatos, tum maxime, ut mater,
+operit."
+
+123. _He gave to misery all he had, a tear_. This is the pointing of
+the line in the MSS. and in all the early editions except that of
+Mathias, who seems to be responsible for the change (adopted by the
+recent editors, almost without exception) to,
+
+  "He gave to Misery (all he had) a tear."
+
+This alters the meaning, mars the rhythm, and spoils the sentiment.
+If one does not see the difference at once, it would be useless to
+try to make him see it. Mitford, who ought to have known better, not
+only thrusts in the parenthesis, but quotes this from Pope's Homer as
+an illustration of it:
+
+  "His fame ('tis all the dead can have) shall live."
+
+126. Mitford says that _Or_ in this line should be _Nor_. Yes, if
+"draw" is an imperative, like "seek;" no, if it is an infinitive, in
+the same construction as "to disclose." That the latter was the
+construction the poet had in mind is evident from the form of the
+stanza in the Wrightson MS., where "seek" is repeated:
+
+  "No farther seek his merits to disclose,
+     Nor seek to draw them from their dread abode."
+
+127. _In trembling hope_. Gray quotes Petrarch, _Sonnet_ 104:
+"paventosa speme." Cf. Lucan, _Pharsalia_, vii. 297: "Spe trepido;"
+Mallet, _Funeral Hymn_, 473:
+
+  "With trembling tenderness of hope and fear;"
+
+and Beaumont, _Psyche_, xv. 314:
+
+  "Divided here twixt trembling hope and fear."
+
+Hooker (_Eccl. Pol._ i.) defines hope as "a trembling expectation of
+things far removed."
+
+
+
+
+[Illustration]
+
+
+ODE ON THE SPRING.
+
+
+The original manuscript title of this ode was "Noontide." It was
+first printed in Dodsley's _Collection_, vol. ii. p. 271, under the
+title of "Ode."
+
+1. _The rosy-bosom'd Hours_. Cf. Milton, _Comus_, 984: "The Graces
+and the rosy-bosom'd Hours;" and Thomson, _Spring_, 1007:
+
+          "The rosy-bosom'd Spring
+   To weeping Fancy pines."
+
+The _Horae_, or hours, according to the Homeric idea, were the
+goddesses of the seasons, the course of which was symbolically
+represented by "the dance of the Hours." They were often described,
+in connection with the Graces, Hebe, and Aphrodite, as accompanying
+with their dancing the songs of the Muses and the lyre of Apollo.
+Long after the time of Homer they continued to be regarded as the
+givers of the seasons, especially spring and autumn, or "Nature in
+her bloom and her maturity." At first there were only two Horae,
+Thallo (or Spring) and Karpo (or Autumn); but later the number was
+three, like that of the Graces. In art they are represented as
+blooming maidens, bearing the products of the seasons.
+
+2. _Fair Venus' train_. The Hours adorned Aphrodite (Venus) as she
+rose from the sea, and are often associated with her by Homer,
+Hesiod, and other classical writers. Wakefield remarks: "Venus is
+here employed, in conformity to the mythology of the Greeks, as the
+source of creation and beauty."
+
+3. _Long-expecting_. Waiting long for the spring. Sometimes
+incorrectly printed "long-expected." Cf. Dryden, _Astraea Redux_,
+132: "To flowers that in its womb expecting lie."
+
+4. _The purple year_. Cf. the _Pervigilium Veneris_, 13: "Ipsa gemmis
+purpurantem pingit annum floribus;" Pope, _Pastorals_, i. 28: "And
+lavish Nature paints the purple year;" and Mallet, _Zephyr_: "Gales
+that wake the purple year."
+
+5. _The Attic warbler_. The nightingale, called "the Attic bird,"
+either because it was so common in Attica, or from the old legend
+that Philomela (or, as some say, Procne), the daughter of a king of
+Attica, was changed into a nightingale. Cf. Milton's description of
+Athens (_P. R._ iv. 245):
+
+                         "where the Attic bird
+   Trills her thick-warbled notes the summer long."
+
+Cf. Ovid, _Hal._ 110: "Attica avis verna sub tempestate queratus;"
+and Propertius, ii. 16, 6: "Attica volucris."
+
+_Pours her throat_ is a metonymy. H. p. 85. Cf. Pope, _Essay on Man_,
+iii. 33: "Is it for thee the linnet pours her throat?"
+
+6, 7. Cf. Thomson, _Spring_, 577:
+
+  "From the first note the hollow cuckoo sings,
+   The symphony of spring."
+
+9, 10. Cf. Milton, _Comus_, 989:
+
+  "And west winds with musky wing
+   About the cedarn alleys fling
+   Nard and cassia's balmy smells."
+
+12. Cf. Milton, _P. L._ iv. 245: "Where the unpierc'd shade Imbrown'd
+the noontide bowers;" Pope, _Eloisa_, 170: "And breathes a browner
+horror on the woods;" Thomson, _Castle of Indolence_, i. 38: "Or
+Autumn's varied shades imbrown the walls."
+
+According to Ruskin (_Modern Painters_, vol. iii. p. 241, Amer. ed.)
+there is no brown in nature. After remarking that Dante "does not
+acknowledge the existence of the colour of _brown_ at all," he goes
+on to say: "But one day, just when I was puzzling myself about this,
+I happened to be sitting by one of our best living modern colourists,
+watching him at his work, when he said, suddenly and by mere
+accident, after we had been talking about other things, 'Do you know
+I have found that there is no _brown_ in nature? What we call brown
+is always a variety either of orange or purple. It never can be
+represented by umber, unless altered by contrast.' It is curious how
+far the significance of this remark extends, how exquisitely it
+illustrates and confirms the mediaeval sense of hue," etc.
+
+14. _O'ercanopies the glade_. Gray himself quotes Shakes. _M. N. D._
+ii. 1: "A bank o'ercanopied with luscious woodbine."[1] Cf. Fletcher,
+_Purple Island_, i. 5, 30: "The beech shall yield a cool, safe
+canopy;" and Milton, _Comus_, 543: "a bank, With ivy canopied."
+
+[Footnote 1: The reading of the folio of 1623 is:
+
+  "I know a banke where the wilde time blowes,
+   Where Oxslips and the nodding Violet growes,
+   Quite ouer-cannoped with luscious woodbine."
+
+Dyce and some other modern editors read,
+
+  "Quite overcanopied with lush woodbine."]
+
+15. _Rushy brink_. Cf. _Comus_, 890: "By the rushy-fringed bank."
+
+19, 20. These lines, as first printed, read:
+
+  "How low, how indigent the proud!
+     How little are the great!"
+
+22. _The panting herds_. Cf. Pope, _Past._ ii. 87: "To closer shades
+the panting flocks remove."
+
+23. _The peopled air_. Cf. Walton, _C. A._: "Now the wing'd people of
+the sky shall sing;" Beaumont, _Psyche_: "Every tree empeopled was
+with birds of softest throats."
+
+24. _The busy murmur_. Cf. Milton, _P. R._ iv. 248: "bees'
+industrious murmur."
+
+25. _The insect youth_. Perhaps suggested by a line in Green's
+_Hermitage_, quoted in a letter of Gray to Walpole: "From
+maggot-youth through change of state," etc. See on 31 below.
+
+26. _The honied spring_. Cf. Milton, _Il Pens._ 142: "the bee with
+honied thigh;" and _Lyc._ 140: "the honied showers."
+
+"There has of late arisen," says Johnson in his Life of Gray, "a
+practice of giving to adjectives derived from substantives the
+termination of participles, such as the _cultured plain_, the
+_daisied bank_; but I am sorry to see in the lines of a scholar like
+Gray the _honied_ spring." But, as we have seen, _honied_ is found in
+Milton; and Shakespeare also uses it in _Hen. V._ i. 1: "honey'd
+sentences." _Mellitus_ is used by Cicero, Horace, and Catullus. The
+editor of an English dictionary, as Lord Grenville has remarked,
+ought to know "that the ready conversion of our substances into
+verbs, participles, and participial adjectives is of the very essence
+of our tongue, derived from its Saxon origin, and a main source of
+its energy and richness."
+
+27. _The liquid noon_. Gray quotes Virgil, _Geo._ iv. 59: "Nare per
+aestatem liquidam."
+
+30. _Quick-glancing to the sun_. Gray quotes Milton, _P. L._ vii.
+405:
+
+                 "Sporting with quick glance,
+   Show to the sun their waved coats dropt with gold."
+
+31. Gray here quotes Green, _Grotto_: "While insects from the
+threshold preach." In a letter to Walpole, he says: "I send you a bit
+of a thing for two reasons: first, because it is of one of your
+favourites, Mr. M. Green; and next, because I would do justice. The
+thought on which my second Ode turns [this Ode, afterwards placed
+first by Gray] is manifestly stole from hence; not that I knew it at
+the time, but having seen this many years before, to be sure it
+imprinted itself on my memory, and, forgetting the Author, I took it
+for my own." Then comes the quotation from Green's _Grotto_. The
+passage referring to the insects is as follows:
+
+  "To the mind's ear, and inward sight,
+   There silence speaks, and shade gives light:
+   While insects from the threshold preach,
+   And minds dispos'd to musing teach;
+   Proud of strong limbs and painted hues,
+   They perish by the slightest bruise;
+   Or maladies begun within
+   Destroy more slow life's frail machine:
+   From maggot-youth, thro' change of state,
+   They feel like us the turns of fate:
+   Some born to creep have liv'd to fly,
+   And chang'd earth's cells for dwellings high:
+   And some that did their six wings keep,
+   Before they died, been forc'd to creep.
+   They politics, like ours, profess;
+   The greater prey upon the less.
+   Some strain on foot huge loads to bring,
+   Some toil incessant on the wing:
+   Nor from their vigorous schemes desist
+   Till death; and then they are never mist.
+   Some frolick, toil, marry, increase,
+   Are sick and well, have war and peace;
+   And broke with age in half a day,
+   Yield to successors, and away."
+
+47. _Painted plumage_. Cf. Pope, _Windsor Forest_, 118: "His painted
+wings; and Milton, _P. L._ vii. 433:
+
+  "From branch to branch the smaller birds with song
+   Solaced the woods, and spread their painted wings."
+
+See also Virgil, _Geo._ iii. 243, and _Aen._ iv. 525: "pictaeque
+volucres;" and Phaedrus, _Fab._ iii. 18: "pictisque plumis."
+
+[Illustration]
+
+
+
+
+ODE ON THE DEATH OF A FAVOURITE CAT.
+
+
+This ode first appeared in Dodsley's _Collection_, vol. ii. p. 274,
+with some variations noticed below. Walpole, after the death of Gray,
+placed the china vase on a pedestal at Strawberry Hill, with a few
+lines of the ode for an inscription.
+
+In a letter to Walpole, dated March 1, 1747, Gray refers to the
+subject of the ode in the following jocose strain: "As one ought to
+be particularly careful to avoid blunders in a compliment of
+condolence, it would be a sensible satisfaction to me (before I
+testify my sorrow, and the sincere part I take in your misfortune) to
+know for certain who it is I lament. I knew Zara and Selima (Selima,
+was it? or Fatima?), or rather I knew them both together; for I
+cannot justly say which was which. Then as to your handsome Cat, the
+name you distinguish her by, I am no less at a loss, as well knowing
+one's handsome cat is always the cat one likes best; or if one be
+alive and the other dead, it is usually the latter that is the
+handsomest. Besides, if the point were never so clear, I hope you do
+not think me so ill-bred or so imprudent as to forfeit all my
+interest in the survivor; oh no! I would rather seem to mistake, and
+imagine to be sure it must be the tabby one that had met with this
+sad accident. Till this affair is a little better determined, you
+will excuse me if I do not begin to cry,
+
+   Tempus inane peto, requiem spatiumque doloris.
+
+"... Heigh ho! I feel (as you to be sure have done long since) that I
+have very little to say, at least in prose. Somebody will be the
+better for it; I do not mean you, but your Cat, feue Mademoiselle
+Selime, whom I am about to immortalize for one week or fortnight, as
+follows: [the Ode follows, which we need not reprint here].
+
+"There's a poem for you, it is rather too long for an Epitaph."
+
+
+2. Cf. Lady M. W. Montagu, _Town Eclogues_:
+
+  "Where the tall jar erects its stately pride,
+   With antic shapes in China's azure dyed."
+
+3. _The azure flowers that blow_. Johnson and Wakefield find fault
+with this as redundant, but it is no more so than poetic usage
+allows. In the _Progress of Poesy_, i. 1, we have again: "The
+laughing flowers that round them blow." Cf. _Comus_, 992:
+
+  "Iris there with humid bow
+   Waters the odorous banks that blow
+   Flowers of more mingled hue
+   Than her purfled scarf can shew."
+
+4. _Tabby_. For the derivation of this word from the French _tabis_,
+a kind of silk, see Wb. In the first ed. the 5th line preceded the
+4th.
+
+6. _The lake_. In the mock-heroic vein that runs through the whole
+poem.
+
+11. _Jet_. This word comes, through the French, from Gagai, a town in
+Lycia, where the mineral was first obtained.
+
+14. _Two angel forms_. In the first ed. "two beauteous forms," which
+Mitford prefers to the present reading, "as the images of _angel_ and
+_genii_ interfere with each other, and bring different associations
+to the mind."
+
+16. _Tyrian hue_. Explained by the "purple" in next line; an allusion
+to the famous Tyrian dye of the ancients. Cf. Pope, _Windsor Forest_,
+142: "with fins of Tyrian dye."
+
+17. Cf. Virgil, _Geo._ iv. 274:
+
+  "_Aureus_ ipse; sed in foliis, quae plurima circum
+   Funduntur, violae _sublucet purpura_ nigrae."
+
+See also Pope, _Windsor Forest_, 332: "His shining horns diffus'd a
+golden glow;" _Temple of Fame_, 253: "And lucid amber casts a golden
+gleam."
+
+24. In the 1st ed. "What cat's a foe to fish?" and in the next line,
+"with eyes intent."
+
+31. _Eight times_. Alluding to the proverbial "nine lives" of the
+cat.
+
+34. _No dolphin came_. An allusion to the story of Arion, who when
+thrown overboard by the sailors for the sake of his wealth was borne
+safely to land by a dolphin.
+
+_No Nereid stirr'd_. Cf. Milton, _Lycidas_, 50:
+
+  "Where were ye, Nymphs, when the remorseless deep
+   Closed o'er the head of your lov'd Lycidas?"
+
+35, 36. The reading of 1st ed. is,
+
+  "Nor cruel Tom nor Harry heard.
+     What favourite has a friend?"
+
+40. The 1st ed. has "Not all that strikes," etc.
+
+42. _Nor all that glisters gold_. A favourite proverb with the old
+English poets. Cf. Chaucer, _C. T._ 16430:
+
+  "But all thing which that shineth as the gold
+   Ne is no gold, as I have herd it told;"
+
+Spenser, _F. Q._ ii. 8, 14:
+
+  "Yet gold all is not, that doth golden seeme;"
+
+Shakes. _M. of V._ ii. 7:
+
+  "All that glisters is not gold;
+   Often have you heard that told;"
+
+Dryden, _Hind and Panther_:
+
+  "All, as they say, that glitters is not gold."
+
+Other examples might be given. _Glisten_ is not found in Shakes. or
+Milton, but both use _glister_ several times. See _W. T._ iii. 2;
+_Rich. II._ iii. 3; _T. A._ ii. 1, etc.; _Lycidas_, 79; _Comus_, 219;
+_P. L._ iii. 550; iv. 645, 653, etc.
+
+
+
+
+[Illustration: ETON COLLEGE.]
+
+
+ODE ON A DISTANT PROSPECT OF ETON COLLEGE.
+
+
+This, as Mason informs us, was the first English[1] production of
+Gray's that appeared in print. It was published, in folio, in 1747;
+and appeared again in Dodsley's _Collection_, vol. ii. p. 267,
+without the name of the author.
+
+[Footnote 1: A Latin poem by him, a "Hymeneal" on the Prince of
+Wales's Marriage, had appeared in the _Cambridge Collection_ in
+1736.]
+
+Hazlitt (_Lectures on English Poets_) says of this Ode: "It is more
+mechanical and commonplace [than the _Elegy_]; but it touches on
+certain strings about the heart, that vibrate in unison with it to
+our latest breath. No one ever passes by Windsor's 'stately heights,'
+or sees the distant spires of Eton College below, without thinking of
+Gray. He deserves that we should think of him; for he thought of
+others, and turned a trembling, ever-watchful ear to 'the still sad
+music of humanity.'"
+
+The writer in the _North American Review_ (vol. xcvi.), after
+referring to the publication of this Ode, which, "according to the
+custom of the time, was judiciously swathed in folio," adds:
+
+"About this time Gray's portrait was painted, at Walpole's request;
+and on the paper which he is represented as holding, Walpole wrote
+the title of the Ode, with a line from Lucan:
+
+  'Nec licuit populis parvum te, Nile, videre.'
+
+The poem met with very little attention until it was republished in
+1751, with a few other of his Odes. Gray, in speaking of it to
+Walpole, in connection with the Ode to Spring, merely says that to
+him 'the latter seems not worse than the former.' But the former has
+always been the greater favourite--perhaps more from the matter than
+the manner. It is the expression of the memories, the thoughts, and
+the feelings which arise unbidden in the mind of the man as he looks
+once more on the scenes of his boyhood. He feels a new youth in the
+presence of those old joys. But the old friends are not there.
+Generations have come and gone, and an unknown race now frolic in
+boyish glee. His sad, prophetic eye cannot help looking into the
+future, and comparing these careless joys with the inevitable ills of
+life. Already he sees the fury passions in wait for their little
+victims. They seem present to him, like very demons. Our language
+contains no finer, more graphic personifications than these almost
+tangible shapes. Spenser is more circumstantial, Collins more
+vehement, but neither is more real. Though but outlines in miniature,
+they are as distinct as Dutch art. Every epithet is a lifelike
+picture; not a word could be changed without destroying the tone of
+the whole. At last the musing poet asks himself, _Cui bono?_ Why thus
+borrow trouble from the future? Why summon so soon the coming
+locusts, to poison before their time the glad waters of youth?
+
+  'Yet ah! why should they know their fate,
+   Since sorrow never comes too late.
+       And happiness too quickly flies?
+   Thought would destroy their paradise.
+   No more;--where ignorance is bliss,
+       'Tis folly to be wise.'
+
+So feeling and the want of feeling come together for once in the
+moral. The gay Roman satirist--the apostle of indifferentism--reaches
+the same goal, though he has travelled a different road. To
+Thaliarchus he says:
+
+  'Quid sit futurum cras, fuge quaerere: et
+   Quem Fors dierum cumque dabit, lucro
+       Appone.'
+
+The same easy-going philosophy of life forms the key-note of the Ode
+to Leuconoe:
+
+  'Carpe diem, quam minimum credula postero;'
+
+of that to Quinctius Hirpinus:
+
+               'Quid aeternis minorem
+   Consiliis animum fatigas?'
+
+of that to Pompeius Grosphus:
+
+  'Laetus in praesens animus, quod ultra est,
+   Oderit curare.'
+
+And so with many others. 'Take no thought of the morrow.'"
+
+Wakefield translates the Greek motto, "Man is an abundant subject of
+calamity."
+
+
+2. _That crown the watery glade_. Cf. Pope, _Windsor Forest_, 128:
+"And lonely woodcocks haunt the watery glade."
+
+4. _Her Henry's holy shade_. Henry the Sixth, founder of the college.
+Cf. _The Bard_, ii. 3: "the meek usurper's holy head;" Shakes. _Rich.
+III._ v. 1: "Holy King Henry;" _Id._ iv. 4: "When holy Harry died."
+The king, though never canonized, was regarded as a saint.
+
+5. _And ye_. Ye "towers;" that is, of Windsor Castle. Cf. Thomson,
+_Summer_, 1412:
+
+                       "And now to where
+   Majestic Windsor lifts his princely brow."
+
+8. _Whose turf, whose shade, whose flowers among_. "That is, the
+_turf_ of whose _lawn_, the _shade_ of whose _groves_, the _flowers_
+of whose mead" (Wakefield). Cf. _Hamlet_, iii. 1: "The courtier's,
+soldier's, scholar's eye, tongue, sword."
+
+In Anglo-Saxon and Early English prepositions were often placed after
+their objects. In the Elizabethan period the transposition of the
+weaker prepositions was not allowed, except in the compounds
+_whereto_, _herewith_, etc. (cf. the Latin _quocum_, _secum_), but
+the longer forms were still, though rarely, transposed (see _Shakes.
+Gr._ 203); and in more recent writers this latter license is
+extremely rare. Even the use of the preposition after the relative,
+which was very common in Shakespeare's day, is now avoided, except in
+colloquial style.
+
+9. _The hoary Thames_. The river-god is pictured in the old classic
+fashion. Cf. Milton, _Lycidas_, 103: "Next Camus, reverend sire, went
+footing slow." See also quotation from Dryden in note on 21 below.
+
+[Illustration: THE RIVER-GOD TIBER.]
+
+10. _His silver-winding way_. Cf. Thomson, _Summer_, 1425: "The
+matchless vale of Thames, Fair-winding up," etc.
+
+12. _Ah, fields belov'd in vain!_ Mitford remarks that this
+expression has been considered obscure, and adds the following
+explanation: "The poem is written in the character of one who
+contemplates this life as a scene of misfortune and sorrow, from
+whose fatal power the brief sunshine of youth is supposed to be
+exempt. The fields are _beloved_ as the scene of youthful pleasures,
+and as affording the promise of happiness to come; but this promise
+never was fulfilled. Fate, which dooms man to misery, soon
+overclouded these opening prospects of delight. That is in vain
+beloved which does not realize the expectations it held out. No fruit
+but that of disappointment has followed the blossoms of a thoughtless
+hope."
+
+13. _Where once my careless childhood stray'd_. Wakefield cites
+Thomson, _Winter_, 6:
+
+                  "with frequent foot
+   Pleas'd have I, in my cheerful morn of life,
+   When nurs'd by careless Solitude I liv'd,
+   And sung of Nature with unceasing joy,
+   Pleas'd have I wander'd," etc.
+
+15. _That from ye blow_. In Early English _ye_ is nominative, _you_
+accusative (objective). This distinction, though observed in our
+version of the Bible, was disregarded by Elizabethan writers (Shakes.
+_Gr._ 236), as it has occasionally been by the poets even to our own
+day. Cf. Shakes. _Hen. VIII._ iii. 1: "The more shame for ye; holy
+men I thought ye;" Milton, _Comus_, 216: "I see ye visibly," etc.
+Dryden, in a couplet quoted by Guest, uses both forms in the same
+line:
+
+  "What gain you by forbidding it to tease ye?
+   It now can neither trouble _you_ nor please ye."
+
+19. Gray quotes Dryden, _Fable on Pythag. Syst._: "And bees their
+honey redolent of spring."
+
+21. _Say, father Thames_, etc. This invocation is taken from Green's
+_Grotto_:
+
+  "Say, father Thames, whose gentle pace
+   Gives leave to view, what beauties grace
+   Your flowery banks, if you have seen."
+
+Cf. Dryden, _Annus Mirabilis_, st. 232: "Old father Thames raised up
+his reverend head."
+
+Dr. Johnson, in his hypercritical comments on this Ode, says: "His
+supplication to Father Thames, to tell him who drives the hoop or
+tosses the ball, is useless and puerile. Father Thames has no better
+means of knowing than himself." To which Mitford replies by asking,
+"Are we by this rule to judge the following passage in the twentieth
+chapter of _Rasselas_? 'As they were sitting together, the princess
+cast her eyes on the river that flowed before her: "Answer," said
+she, "great Father of Waters, thou that rollest thy floods through
+eighty nations, to the invocation of the daughter of thy native king.
+Tell me, if thou waterest, through all thy course, a single
+habitation from which thou dost not hear the murmurs of complaint."'"
+
+23. _Margent green_. Cf. _Comus_, 232: "By slow Maeander's margent
+green."
+
+24. Cf. Pope, _Essay on Man_, iii. 233: "To Virtue, in the paths of
+Pleasure, trod."
+
+26. _Thy glassy wave_. Cf. _Comus_, 861: "Under the glassy, cool,
+translucent wave."
+
+27. _The captive linnet_. The adjective is redundant and "proleptic,"
+as the bird must be "enthralled" before it can be called "captive."
+
+28. In the MS. this line reads, "To chase the hoop's illusive speed,"
+which seems to us better than the revised form in the text.
+
+30. Cf. Pope, _Dunciad_, iv. 592: "The senator at cricket urge the
+ball."
+
+37. Cf. Cowley, _Ode to Hobbes_, iv. 7: "Till unknown regions it
+descries."
+
+40. _A fearful joy_. Wakefield quotes _Matt._ xxviii. 8 and _Psalms_
+ii. 11. Cf. Virgil, _Aen._ i. 513:
+
+  "Obstupuit simul ipse simul perculsus Achates
+   Laetitiaque metuque."
+
+See also _Lear_, v. 3: "'Twixt two extremes of passion, joy and
+grief."
+
+44. Cf. Pope, _Eloisa_, 209: "Eternal sunshine of the spotless mind;"
+and _Essay on Man_, iv. 168: "The soul's calm sunshine, and the
+heartfelt joy."
+
+45. _Buxom_. Used here in its modern sense. It originally meant
+pliant, flexible, yielding (from A. S. _bugan_, to bow); then, gay,
+frolicsome, lively; and at last it became associated with the
+"cheerful comeliness" of vigorous health. Chaucer has "buxom to ther
+lawe," and Spenser (_State of Ireland_), "more tractable and buxome
+to his government." Cf. also _F. Q._ i. 11, 37: "the buxome aire;" an
+expression which Milton uses twice (_P. L._ ii. 842, v. 270). In
+_L'Allegro_, 24: "So buxom, blithe, and debonaire;" the only other
+instance in which he uses the word, it means sprightly or "free" (as
+in "Come thou goddess, fair and free," a few lines before). Cf.
+Shakes. _Pericles_, i. prologue:
+
+  "So buxom, blithe, and full of face,
+   As heaven had lent her all his grace."
+
+The word occurs nowhere else in Shakes. except _Hen. V._ iii. 6: "Of
+buxom valour;" that is, lively valour.
+
+Dr. Johnson appears to have had in mind the original meaning of
+_buxom_ in his comment on this passage: "His epithet _buxom health_
+is not elegant; he seems not to understand the word."
+
+47. _Lively cheer_. Cf. Spenser, _Shep. Kal._ Apr.: "In either cheeke
+depeincten lively chere;" Milton, _Ps._ lxxxiv. 27: "With joy and
+gladsome cheer."
+
+49. Wakefield quotes Milton, _P. L._ v. 3:
+
+  "When Adam wak'd, so custom'd; for his sleep
+   Was airy light, from pure digestion bred,
+   And temperate vapours bland."
+
+51. _Regardless of their doom_. Collins, in the _first manuscript_ of
+his _Ode on the Death of Col. Ross_, has
+
+  "E'en now, regardful of his doom,
+   Applauding Honour haunts his tomb."[2]
+
+[Footnote 2: Mitford gives the first line as "E'en now, _regardless_
+of his doom;" and just below, on verse 61, he makes the line from
+Pope read, "The fury Passions from that _flood_ began." We have
+verified his quotations as far as possible, and have corrected scores
+of errors in them. Quite likely there are some errors in those we
+have not been able to verify.]
+
+55. _Yet see_, etc. Mitford cites Broome, _Ode on Melancholy_:
+
+  "While round stern ministers of fate,
+   Pain and Disease and Sorrow, wait;"
+
+and Otway, _Alcibiades_, v. 2: "Then enter, ye grim ministers of
+fate." See also _Progress of Poesy_, ii. 1: "Man's feeble race," etc.
+
+59. _Murtherous_. The obsolete spelling of _murderous_, still used in
+Gray's time.
+
+61. _The fury Passions_. The passions, fierce and cruel as the
+mythical Furies. Cf. Pope, _Essay on Man_, iii. 167: "The fury
+Passions from that blood began."
+
+66. Mitford quotes Spenser, _F. Q._:
+
+  "But gnawing Jealousy out of their sight,
+   Sitting alone, his bitter lips did bite."
+
+68. Wakefield quotes Milton, _Sonnet to Mr. Lawes_: "With praise
+enough for Envy to look wan."
+
+69. _Grim-visag'd, comfortless Despair_. Cf. Shakes. _Rich. III_. i.
+1: "Grim-visag'd War;" and _C. of E._ v. 1: "grim and comfortless
+Despair."
+
+76. _Unkindness' altered eye_. "An ungraceful elision" of the
+possessive inflection, as Mason calls it. Cf. Dryden, _Hind and
+Panther_, iii.: "Affected Kindness with an alter'd face."
+
+79. Gray quotes Dryden, _Pal. and Arc._: "Madness laughing in his
+ireful mood." Cf. Shakes. _Hen. VI._ iv. 2: "But rather moody mad;"
+and iii. 1: "Moody discontented fury."
+
+81. _The vale of years_. Cf. _Othello_, iii. 3: "Declin'd Into the
+vale of years."
+
+82. _Grisly_. Not to be confounded with _grizzly_. See Wb.
+
+83. _The painful family of death_. Cf. Pope, _Essay on Man_, ii. 118:
+"Hate, Fear, and Grief, the family of Pain;" and Dryden, _State of
+Innocence_, v. 1: "With all the numerous family of Death." On the
+whole passage cf. Milton, _P. L._ xi. 477-493. See also Virgil,
+_Aen._ vi. 275.
+
+86. _That every labouring sinew strains_. An example of the
+"correspondence of sound with sense." As Pope says (_Essay on
+Criticism_, 371),
+
+  "The line too labours, and the words move slow."
+
+90. _Slow-consuming Age_. Cf. Shenstone, _Love and Honour_: "His
+slow-consuming fires."
+
+95. As Wakefield remarks, we meet with the same thought in _Comus_,
+359:
+
+  "Peace, brother, be not over-exquisite
+   To cast the fashion of uncertain evils;
+   For grant they be so, while they rest unknown
+   What need a man forestall his date of grief,
+   And run to meet what he would most avoid?"
+
+97. _Happiness too swiftly flies_. Perhaps a reminiscence of Virgil,
+_Geo._ iii. 66:
+
+  "Optima quaeque dies miseris mortalibus aevi
+   Prima fugit."
+
+98. _Thought would destroy their paradise_. Wakefield quotes
+Sophocles, _Ajax_, 554: [Greek: En toi phronein gar meden hedistos
+bios] ("Absence of thought is prime felicity").
+
+99. Cf. Prior, _Ep. to Montague_, st. 9:
+
+  "From ignorance our comfort flows,
+   The only wretched are the wise."
+
+and Davenant, _Just Italian_: "Since knowledge is but sorrow's spy,
+it is not safe to know."
+
+[Illustration: WINDSOR CASTLE, FROM THE END OF THE LONG WALK.]
+
+
+
+
+[Illustration: HOMER ENTHRONED.]
+
+
+THE PROGRESS OF POESY.
+
+
+This Ode, as we learn from one of Gray's letters to Walpole, was
+finished, with the exception of a few lines, in 1755. It was not
+published until 1757, when it appeared with _The Bard_ in a quarto
+volume, which was the first issue of Walpole's press at Strawberry
+Hill. In one of his letters Walpole writes: "I send you two copies of
+a very honourable opening of my press--two amazing odes of Mr. Gray.
+They are Greek, they are Pindaric, they are sublime, consequently I
+fear a little obscure; the second particularly, by the confinement of
+the measure and the nature of prophetic vision, is mysterious. I
+could not persuade him to add more notes." In another letter Walpole
+says: "I found Gray in town last week; he had brought his two odes to
+be printed. I snatched them out of Dodsley's hands, and they are to
+be the first-fruits of my press." The title-page of the volume is as
+follows:
+
+  ODES
+  BY
+  MR. GRAY.
+  [Greek:  PHONANTA SUNETOISI]--PINDAR, Olymp, II.
+  PRINTED AT STRAWBERRY-HILL,
+  for R. and J. DODSLEY in Pall-Mall.
+  MDCCLVII.
+
+Both Odes were coldly received at first. "Even my friends," writes
+Gray, in a letter to Hurd, Aug. 25, 1757, "tell me they do not
+_succeed_, and write me moving topics of consolation on that head. In
+short, I have heard of nobody but an Actor [Garrick] and a Doctor of
+Divinity [Warburton] that profess their esteem for them. Oh yes, a
+Lady of quality (a friend of Mason's) who is a great reader. She knew
+there was a compliment to Dryden, but never suspected there was
+anything said about Shakespeare or Milton, till it was explained to
+her, and wishes that there had been titles prefixed to tell what they
+were about."[1] In a letter to Dr. Wharton, dated Aug. 17, 1757, he
+says: "I hear we are not at all popular. The great objection is
+obscurity, nobody knows what we would be at. One man (a Peer) I have
+been told of, that thinks the last stanza of the 2d Ode relates to
+Charles the First and Oliver Cromwell; in short, the [Greek: Sunetoi]
+appear to be still fewer than even I expected." A writer in the
+_Critical Review_ thought that "Aeolian lyre" meant the Aeolian harp.
+Coleman the elder and Robert Lloyd wrote parodies entitled Odes to
+Obscurity and Oblivion. Gray finally had to add explanatory notes,
+though he intimates that his readers ought not to have needed
+them.[2]
+
+[Footnote 1: Forster remarks that Gray might have added to the
+admirers of the Odes "the poor monthly critic of _The
+Dunciad_"--Oliver Goldsmith, then beginning his London career as a
+bookseller's hack. In a review of the Odes in the _London Monthly
+Review_ for Sept., 1757, after citing certain passages of _The Bard_,
+he says that they "will give as much pleasure to those who relish
+this species of composition as anything that has hitherto appeared in
+our language, the odes of Dryden himself not excepted."]
+
+[Footnote 2: In a foot-note he says: "When the author first published
+this and the following Ode, he was advised, even by his friends, to
+subjoin some few explanatory notes; but had too much respect for the
+understanding of his readers to take that liberty."
+
+In a letter to Beattie, dated Feb. 1, 1768, referring to the new
+edition of his poems, he says: "As to the notes, I do it out of
+spite, because the public did not understand the two Odes (which I
+have called Pindaric), though the first was not very dark, and the
+second alluded to a few common facts to be found in any sixpenny
+history of England, by way of question and answer, for the use of
+children." And in a letter to Walpole, Feb. 25, 1768, he says he has
+added "certain little Notes, partly from justice (to acknowledge the
+debt where I had borrowed anything), partly from ill temper, just to
+tell the gentle reader that Edward I. was not Oliver Cromwell, nor
+Queen Elizabeth the Witch of Endor."
+
+Mr. Fox, afterwards Lord Holland, said that "if the Bard recited his
+Ode only _once_ to Edward, he was sure he could not understand it."
+When this was told to Gray, he said, "If he had recited it twenty
+times, Edward would not have been a bit wiser; but that was no reason
+why Mr. Fox should not."]
+
+"The metre of these Odes is constructed on Greek models. It is not
+uniform but symmetrical. The nine stanzas of each ode form three
+groups. A slight examination will show that the 1st, 4th, and 7th
+stanzas are exactly inter-correspondent; so the 2d, 5th, and 8th; and
+so the remaining three. The technical Greek names for these three
+parts were [Greek: strophe] (strophe), [Greek: antistrophe]
+(antistrophe), and [Greek: epodos] (epodos)--the Turn, the
+Counter-turn, and the After-song--names derived from the theatre; the
+Turn denoting the movement of the Chorus from one side of the [Greek:
+orchestra] (orchestra), or Dance-stage, to the other, the
+Counter-turn the reverse movement, the After-song something sung
+after two such movements. Odes thus constructed were called by the
+Greeks Epodic. Congreve is said to have been the first who so
+constructed English odes. This system cannot be said to have
+prospered with us. Perhaps no English ear would instinctively
+recognize that correspondence between distant parts which is the
+secret of it. Certainly very many readers of _The Progress of Poesy_
+are wholly unconscious of any such harmony" (Hales).
+
+[Illustration: ALCAEUS AND SAPPHO. FROM A PAINTING ON A VASE.]
+
+1. _Awake, Aeolian lyre_. The blunder of the Critical Reviewers who
+supposed the "harp of Aeolus" to be meant led Gray to insert this
+note: "Pindar styles his own poetry with its musical accompaniments,
+[Greek: Aiolis molpe, Aiolides chordai, Aiolidon pnoai aulon],
+Aeolian song, Aeolian strings, the breath of the Aeolian flute."
+
+Cf. Cowley, _Ode of David_: "Awake, awake, my lyre!" Gray himself
+quotes _Ps._ lvii. 8. The first reading of the line in the MS. was,
+"Awake, my lyre: my glory, wake." Gray also adds the following note:
+"The subject and simile, as usual with Pindar, are united. The
+various sources of poetry, which gives life and lustre to all it
+touches, are here described; its quiet majestic progress enriching
+every subject (otherwise dry and barren) with a pomp of diction and
+luxuriant harmony of numbers; and its more rapid and irresistible
+course, when swollen and hurried away by the conflict of tumultuous
+passions."
+
+2. _And give to rapture_. The first reading of the MS. was "give to
+transport."
+
+3. _Helicon's harmonious springs_. In the mountain range of Helicon,
+in Boeotia, there were two fountains sacred to the Muses, Aganippe
+and Hippocrene, of which the former was the more famous.
+
+7. Cf. Pope, _Hor. Epist._ ii. 2, 171:
+
+  "Pour the full tide of eloquence along,
+   Serenely pure, and yet divinely strong;"
+
+and _Ode on St. Cecilia's Day_, 11:
+
+  "The deep, majestic, solemn organs blow;"
+
+also Thomson, _Liberty_, ii. 257:
+
+  "In thy full language speaking mighty things,
+   Like a clear torrent close, or else diffus'd
+   A broad majestic stream, and rolling on
+   Through all the winding harmony of sound."
+
+9. Cf. Shenstone, _Inscr._: "Verdant vales and fountains bright;"
+also Virgil, _Geo._ i. 96: "Flava Ceres;" and Homer, _Il._ v. 499:
+[Greek: xanthe Demeter].
+
+10. _Rolling_. Spelled "rowling" in the 1st and other early editions.
+
+_Amain_. Cf. _Lycidas_, 111: "The golden opes, the iron shuts amain;"
+_P. L._ ii. 165: "when we fled amain," etc. Also Shakes. _Temp._ iv.
+1: "Her peacocks fly amain," etc. The word means literally _with
+main_ (which we still use in "might and main"), that is, with force
+or strength. Cf. Horace, _Od._ iv. 2, 8: "Immensusque ruit profundo
+Pindarus ore."
+
+11. The first MS. reading was, "With torrent rapture see it pour."
+
+12. Cf. Dryden, _Virgil's Geo._ i.: "And rocks the bellowing voice of
+boiling seas resound;" Pope, _Iliad_: "Rocks rebellow to the roar."
+
+13. "Power of harmony to calm the turbulent sallies of the soul. The
+thoughts are borrowed from the first Pythian of Pindar" (Gray).
+
+14. _Solemn-breathing airs_. Cf. _Comus_, 555: "a soft and
+solemn-breathing sound."
+
+15. _Enchanting shell_. That is, lyre; alluding to the myth of the
+origin of the instrument, which Mercury was said to have made from
+the shell of a tortoise. Cf. Collins, _Passions_, 3: "The Passions
+oft, to hear her shell," etc.
+
+17. _On Thracia's hills_. Thrace was one of the chief seats of the
+worship of Mars. Cf. Ovid, _Ars Am._ ii. 588: "Mars Thracen occupat."
+See also Virgil, _Aen._ iii. 35, etc.
+
+19. _His thirsty lance_. Cf. Spenser, _F. Q._ i. 5, 15: "his thristy
+[thirsty] blade."
+
+20. Gray says, "This is a weak imitation of some beautiful lines in
+the same ode;" that is, in "the first Pythian of Pindar," referred to
+in the note on 13. The passage is an address to the lyre, and is
+translated by Wakefield thus:
+
+  "On Jove's imperial rod the king of birds
+   Drops down his flagging wings; thy thrilling sounds
+   Soothe his fierce beak, and pour a sable cloud
+   Of slumber on his eyelids: up he lifts
+   His flexile back, shot by thy piercing darts.
+   Mars smooths his rugged brow, and nerveless drops
+   His lance, relenting at the choral song."
+
+21. _The feather'd king_. Cf. Shakes. _Phoenix and Turtle_:
+
+  "Every fowl of tyrant wing,
+   Save the eagle, feather'd king."
+
+23. _Dark clouds_. The first reading of MS. was "black clouds."
+
+24. _The terror_. This is the reading of the first ed. and also of
+that of 1768. Most of the modern eds. have "terrors."
+
+25. "Power of harmony to produce all the graces of motion in the
+body" (Gray).
+
+26. _Temper'd_. Modulated, "set." Cf. _Lycidas_, 33: "Tempered to the
+oaten flute;" Fletcher, _Purple Island_: "Tempering their sweetest
+notes unto thy lay," etc.
+
+27. _O'er Idalia's velvet-green_. _Idalia_ appears to be used for
+_Idalium_, which was a town in Cyprus, and a favourite seat of Venus,
+who was sometimes called _Idalia_. Pope likewise uses _Idalia_ for
+the place, in his _First Pastoral_, 65: "Celestial Venus haunts
+Idalia's groves."
+
+Dr. Johnson finds fault with _velvet-green_, apparently supposing it
+to be a compound of Gray's own making. But Young had used it in his
+_Love of Fame_: "She rears her flowers, and spreads her
+velvet-green." It is also among the expressions of Pope which are
+ridiculed in the _Alexandriad_.
+
+29. _Cytherea_ was a name of Venus, derived from _Cythera_, an island
+in the Aegean Sea, one of the favourite residences of Aphrodite, or
+Venus. Cf. Virgil, _Aen._ i. 680: "super alta Cythera Aut super
+Idalium, sacrata sede," etc.
+
+30. _With antic Sports_. This is the reading of the 1st ed. and also
+of the ed. of 1768. Some eds. have "sport."
+
+_Antic_ is the same word as _antique_. The association between what
+is old or old-fashioned and what is odd, fantastic, or grotesque is
+obvious enough. Cf. Milton, _Il Pens._ 158: "With antick pillars
+massy-proof." In _S. A._ 1325 he uses the word as a noun: "Jugglers
+and dancers, anticks, mummers, mimicks." Shakes. makes it a verb in
+_A. and C._ ii. 7: "the wild disguise hath almost Antick'd us all."
+
+31. Cf. Thomson, _Spring_, 835: "In friskful glee Their frolics
+play."
+
+32, 33. Cf. Virgil, _Aen._ v. 580 foll.
+
+35. Gray quotes Homer, _Od._ ix. 265: [Greek: marmarugas theeito
+podon thaumaze de thumoi]. Cf. Catullus's "fulgentem plantam." See
+also Thomson, _Spring_, 158: "the many-twinkling leaves Of aspin
+tall."
+
+36. _Slow-melting strains_, etc. Cf. a poem by Barton Booth,
+published in 1733:
+
+  "Now to a slow and melting air she moves,
+   So like in air, in shape, in mien,
+   She passes for the Paphian queen;
+   The Graces all around her play,
+   The wondering gazers die away;
+   Whether her easy body bend,
+   Or her fair bosom heave with sighs;
+   Whether her graceful arms extend,
+   Or gently fall, or slowly rise;
+   Or returning or advancing,
+   Swimming round, or sidelong glancing,
+   Strange force of motion that subdues the soul."
+
+37. Cf. Dryden, _Flower and Leaf_, 191: "For wheresoe'er she turn'd
+her face, they bow'd."
+
+39. Cf. Virgil, _Aen._ i. 405: "Incessu patuit dea." The gods were
+represented as gliding or sailing along without moving their feet.
+
+41. _Purple light of love_. Cf. Virgil, _Aen._ i. 590: "lumenque
+juventae Purpureum." Gray quotes Phrynichus, _apud_ Athenaeum:
+
+  [Greek: lampei d' epi porphureeisi
+          pareieisi phos erotos.]
+
+See also Dryden, _Brit. Red._ 133: "and her own purple light."
+
+42. "To compensate the real and imaginary ills of life, the Muse was
+given to mankind by the same Providence that sends the day by its
+cheerful presence to dispel the gloom and terrors of the night"
+(Gray).
+
+43 foll. See on _Eton Coll._ 83. Cf. Horace, _Od._ i. 3, 29-33.
+
+46. _Fond complaint_. Foolish complaint. Cf. Shakes. _M. of V._ iii.
+3:
+
+                  "I do wonder,
+   Thou naughty gaoler, that thou art so fond
+   To come abroad with him at his request;"
+
+Milton, _S. A._ 812: "fond and reasonless," etc. This appears to be
+the original meaning of the word. In Wiclif's Bible. 1 _Cor._ i. 27,
+we have "the thingis that ben _fonnyd_ of the world." In _Twelfth
+Night_, ii. 2, the word is used as a verb=dote:
+
+  "And I, poor monster, fond as much on him,
+   As she, mistaken, seems to dote on me."
+
+49. Hurd quotes Cowley:
+
+  "Night and her ugly subjects thou dost fright,
+   And Sleep, the lazy owl of night;
+   Asham'd and fearful to appear,
+   They screen their horrid shapes with the black hemisphere."
+
+Wakefield cites Milton, _Hymn on Nativity_, 233 foll.: "The flocking
+shadows pale," etc. See also _P. R._ iv. 419-431.
+
+50. _Birds of boding cry_. Cf. Green's _Grotto_: "news the boding
+night-birds tell."
+
+52. Gray refers to Cowley, _Brutus_:
+
+  "One would have thought 't had heard the morning crow,
+   Or seen her well-appointed star.
+   Come marching up the eastern hill afar."
+
+The following variations on 52 and 53 are found in the MS.:
+
+   Till fierce Hyperion from afar
+   Pours on their scatter'd rear, |
+   Hurls at   "   flying     "    | his glittering shafts of war.
+     "   o'er "   scatter'd  "    |
+     "    "   "   shadowy    "    |
+   Till   "   "      "       "   from far
+   Hyperion hurls around his, etc.
+
+The accent of _Hyperion_ is properly on the penult, which is long in
+quantity, but the English poets, with rare exceptions, have thrown it
+back upon the antepenult. It is thus in the six instances in which
+Shakes. uses the word: e.g. _Hamlet_, iii. 4: "Hyperion's curls; the
+front of Jove himself." The word does not occur in Milton. It is
+correctly accented by Drummond (of Hawthornden), _Wand. Muses_:
+
+  "That Hyperion far beyond his bed
+   Doth see our lions ramp, our roses spread;"
+
+by West, _Pindar's Ol._ viii. 22:
+
+  "Then Hyperion's son, pure fount of day,
+   Did to his children the strange tale reveal;"
+
+also by Akenside, and by the author of the old play _Fuimus Troes_
+(A.D. 1633):
+
+       "Blow, gentle Africus,
+   Play on our poops when Hyperion's son
+   Shall couch in west."
+
+Hyperion was a Titan, the father of Helios (the Sun), Selene (the
+Moon), and Eos (the Dawn). He was represented with the attributes of
+beauty and splendor afterwards ascribed to Apollo. His "glittering
+shafts" are of course the sunbeams, the "lucida tela diei" of
+Lucretius. Cf. a very beautiful description of the dawn in Lowell's
+_Above and Below_:
+
+  "'Tis from these heights alone your eyes
+     The advancing spears of day can see,
+   Which o'er the eastern hill-tops rise,
+     To break your long captivity."
+
+We may quote also his _Vision of Sir Launfal_:
+
+  "It seemed the dark castle had gathered all
+   Those shafts the fierce sun had shot over its wall
+     In his siege of three hundred summers long," etc.
+
+54. Gray's note here is as follows: "Extensive influence of poetic
+genius over the remotest and most uncivilized nations; its connection
+with liberty and the virtues that naturally attend on it. [See the
+Erse, Norwegian, and Welsh fragments; the Lapland and American
+songs.]" He also quotes Virgil, _Aen._ vi. 796: "Extra anni solisque
+vias," and Petrarch, _Canz._ 2: "Tutta lontana dal camin del sole."
+Cf. also Dryden, _Thren. August._ 353: "Out of the solar walk and
+Heaven's highway;" _Ann. Mirab._ st. 160: "Beyond the year, and out
+of Heaven's highway;" _Brit. Red._: "Beyond the sunny walks and
+circling year;" also Pope, _Essay on Man_, i. 102: "Far as the solar
+walk and milky way."
+
+56. _Twilight gloom_. Wakefield quotes Milton, _Hymn on Nativ._ 188:
+"The nymphs in twilight shade of tangled thickets mourn."
+
+57. Wakefield says, "It almost chills one to read this verse." The
+MS. variations are "buried native's" and "chill abode."
+
+60. _Repeat_ [_their chiefs_, etc.]. Sing of them again and again.
+
+61. _In loose numbers_, etc. Cf. Milton, _L'All._ 133:
+
+  "Or sweetest Shakespeare, Fancy's child,
+   Warble his native wood-notes wild;"
+
+and Horace, _Od._ iv. 2, 11:
+
+            "numerisque fertur
+   Lege solutis."
+
+62. _Their feather-cinctur'd chiefs_. Cf. _P. L._ ix. 1115:
+
+                    "Such of late
+   Columbus found the American, so girt
+   With feather'd cincture."
+
+64. _Glory pursue_. Wakefield remarks that this use of a plural verb
+after the first of a series of subjects is in Pindar's manner. Warton
+compares Homer, _Il._ v. 774:
+
+  [Greek: hechi rhoas Simoeis sumballeton ede Skamandros.]
+
+Dugald Stewart (_Philos. of Human Mind_) says: "I cannot help
+remarking the effect of the solemn and uniform flow of verse in this
+exquisite stanza, in retarding the pronunciation of the reader, so as
+to arrest his attention to every successive picture, till it has time
+to produce its proper impression."
+
+65. _Freedom's holy flame_. Cf. Akenside, _Pleas. of Imag._ i. 468:
+"Love's holy flame."
+
+[Illustration: THE VALE OF TEMPE.]
+
+66. "Progress of Poetry from Greece to Italy, and from Italy to
+England. Chaucer was not unacquainted with the writings of Dante or
+of Petrarch. The Earl of Surrey and Sir Thomas Wyatt had travelled in
+Italy, and formed their taste there; Spenser imitated the Italian
+writers; Milton improved on them: but this school expired soon after
+the Restoration, and a new one arose on the French model, which has
+subsisted ever since" (Gray).
+
+_Delphi's steep_. Cf. Milton, _Hymn on Nativ._ 178: "the steep of
+Delphos;" _P. L._ i. 517: "the Delphian cliff." Both Shakes. and
+Milton prefer the mediaeval form _Delphos_ to the more usual
+_Delphi_. Delphi was at the foot of the southern uplands of Parnassus
+which end "in a precipitous cliff, 2000 feet high, rising to a double
+peak named the Phaedriades, from their glittering appearance as they
+faced the rays of the sun" (Smith's _Anc. Geog._).
+
+67. _Isles_, etc. Cf. Byron:
+
+  "The isles of Greece, the isles of Greece!
+     Where burning Sappho loved and sung," etc.
+
+68. _Ilissus_. This river, rising on the northern slope of Hymettus,
+flows through the east side of Athens.
+
+69. _Maeander's amber waves_. Cf. Milton, _P. L._ iii. 359: "Rolls
+o'er Elysian flowers her amber stream;" _P. R._ iii. 288: "There Susa
+by Choaspes, amber stream." See also Virgil, _Geo._ iii. 520: "Purior
+electro campum petit amnis." Callimachus (_Cer._ 29) has [Greek:
+alektrinon hudor].
+
+70. Ovid, _Met._ viii. 162, describes the Maeander thus:
+
+  "Non secus ac liquidis Phrygiis Maeandros in arvis
+   Ludit, et ambiguo lapsu refluitque fluitque."
+
+Cf. also Virgil's description of the Mincius (_Geo._ iii. 15):
+
+           --"tardis ingens ubi flexibus errat
+   Mincius."
+
+"The first great metropolis of Hellenic intellectual life was Miletus
+on the Maeander. Thales, Anaximander, Anaximines, Cadmus, Hecataeus,
+etc., were all Milesians" (Hales).
+
+71 foll. Cf. Milton, _Hymn on Nativ._ 181:
+
+        "The lonely mountains o'er,
+         And the resounding shore,
+   A voice of weeping heard and loud lament;
+         From haunted spring and dale,
+         Edged with poplar pale,
+   The parting Genius is with sighing sent:" etc.
+
+75. _Hallowed fountain_. Cf. Virgil, _Ecl._ i. 53: "fontes sacros."
+
+76. The MS. has "Murmur'd a celestial sound."
+
+80. _Vice that revels in her chains_. In his _Ode for Music_, 6, Gray
+has "Servitude that hugs her chain."
+
+81. Hales quotes Collins, _Ode to Simplicity_:
+
+        "While Rome could none esteem
+         But Virtue's patriot theme,
+   You lov'd her hills, and led her laureate band;
+         But staid to sing alone
+         To one distinguish'd throne,
+   And turn'd thy face, and fled her alter'd land."
+
+84. _Nature's darling_. "Shakespeare" (Gray). Cf. Cleveland, _Poems_:
+
+  "Here lies within this stony shade
+   Nature's darling; whom she made
+   Her fairest model, her brief story,
+   In him heaping all her glory."
+
+On _green lap_, cf. Milton, _Song on May Morning_:
+
+  "The flowery May, who from her green lap throws
+   The yellow cowslip and the pale primrose."
+
+85. _Lucid Avon_. Cf. Seneca, _Thyest._ 129: "gelido flumine lucidus
+Alpheos."
+
+86. _The mighty mother_. That is, Nature. Pope, in the _Dunciad_, i.
+1, uses the same expression in a satirical way:
+
+  "The Mighty Mother, and her Son, who brings
+   The Smithfield Muses to the ear of kings,
+   I sing."
+
+See also Dryden, _Georgics_, i. 466:
+
+  "On the green turf thy careless limbs display,
+   And celebrate the mighty mother's day."
+
+87. _The dauntless child_. Cf. Horace, _Od._ iii. 4, 20: "non sine
+dis animosus infans." Wakefield quotes Virgil, _Ecl._ iv. 60:
+"Incipe, parve puer, risu cognoscere matrem." Mitford points out that
+the identical expression occurs in Sandys's translation of Ovid,
+_Met._ iv. 515:
+
+                                   "the child
+   Stretch'd forth its little arms, and on him smil'd."
+
+See also Catullus, _In Nupt. Jun. et Manl._ 216:
+
+  "Torquatus volo parvulus
+   Matris e gremio suae
+   Porrigens teneras manus,
+   Dulce rideat."
+
+91. _These golden keys_. Cf. Young, _Resig._:
+
+  "Nature, which favours to the few
+     All art beyond imparts,
+   To him presented at his birth
+     The key of human hearts."
+
+Wakefield cites _Comus_, 12:
+
+  "Yet some there be, that with due steps aspire
+   To lay their hands upon that golden key
+   That opes the palace of eternity."
+
+See also _Lycidas_, 110:
+
+  "Two massy keys he bore of metals twain;
+   The golden opes, the iron shuts amain."
+
+93. _Of horror_. A MS. variation is "Of terror."
+
+94. _Or ope the sacred source_. In a letter to Dr. Wharton, Sept. 7,
+1757, Gray mentions, among other criticisms upon this ode, that "Dr.
+Akenside criticises opening a _source_ with a _key_." But, as Mitford
+remarks, Akenside himself in his _Ode on Lyric Poetry_ has, "While I
+so late _unlock_ thy purer _springs_," and in his _Pleasures of
+Imagination_, "I _unlock_ the _springs_ of ancient wisdom."
+
+95. _Nor second he_, etc. "Milton" (Gray).
+
+96, 97. Cf. Milton, _P. L._ vii. 12:
+
+                    "Up led by thee,
+   Into the heaven of heavens I have presumed,
+   An earthly guest, and drawn empyreal air."
+
+98. _The flaming bounds_, etc. Gray quotes Lucretius, i. 74:
+"Flammantia moenia mundi." Cf. also Horace, _Epist._ i. 14, 9: "amat
+spatiis obstantia rumpere claustra."
+
+99. Gray quotes _Ezekiel_ i. 20, 26, 28. See also Milton, _At a
+Solemn Music_, 7: "Aye sung before the sapphire-colour'd throne;" _Il
+Pens._ 53: "the fiery-wheeled throne;" _P. L._ vi. 758:
+
+  "Whereon a sapphire throne, inlaid with pure
+   Amber, and colours of the showery arch;"
+
+and _id._ vi. 771:
+
+  "He on the wings of cherub rode sublime,
+   On the crystalline sky, in sapphire throned."
+
+101. _Blasted with excess of light_. Cf. _P. L._ iii. 380: "Dark with
+excessive bright thy skirts appear."
+
+102. Cf. Virgil, _Aen._ x. 746: "in aeternam clauduntur lumina
+noctem," which Dryden translates, "And closed her lids at last in
+endless night." Gray quotes Homer, _Od._ viii. 64:
+
+   [Greek: Ophthalmon men amerses, didou d' hedeian aoiden.]
+
+103. Gray, according to Mason, "admired Dryden almost beyond
+bounds."[3]
+
+[Footnote 3: In a journey through Scotland in 1765, Gray became
+acquainted with Beattie, to whom he commended the study of Dryden,
+adding that "if there was any excellence in his own numbers, he had
+learned it wholly from the great poet."]
+
+105. "Meant to express the stately march and sounding energy of
+Dryden's rhymes" (Gray). Cf. Pope, _Imit. of Hor. Ep._ ii. 1, 267:
+
+  "Waller was smooth: but Dryden taught to join
+   The varying verse, the full-resounding line,
+   The long majestic march, and energy divine."
+
+106. Gray quotes _Job_ xxxix. 19: "Hast thou clothed his neck with
+thunder?"
+
+108. _Bright-eyed_. The MS. has "full-plumed."
+
+110. Gray quotes Cowley, _Prophet_: "Words that weep, and tears that
+speak."
+
+Dugald Stewart remarks upon this line: "I have sometimes thought that
+Gray had in view the two different effects of words already
+described; the effect of some in awakening the powers of conception
+and imagination; and that of others in exciting associated emotions."
+
+111. "We have had in our language no other odes of the sublime kind
+than that of Dryden on St. Cecilia's Day; for Cowley (who had his
+merit) yet wanted judgment, style, and harmony, for such a task. That
+of Pope is not worthy of so great a man. Mr. Mason, indeed, of late
+days, has touched the true chords, and with a masterly hand, in some
+of his choruses; above all in the last of _Caractacus_:
+
+  'Hark! heard ye not yon footstep dread!' etc." (Gray).
+
+113. _Wakes thee now_. Cf. _Elegy_, 48: "Or wak'd to ecstasy the
+living lyre."
+
+115. "[Greek: Dios pros ornicha theion]. _Olymp._ ii. 159. Pindar
+compares himself to that bird, and his enemies to ravens that croak
+and clamour in vain below, while it pursues its flight, regardless of
+their noise" (Gray).
+
+Cf. Spenser, _F. Q._ v. 4, 42:
+
+  "Like to an Eagle, in his kingly pride
+   Soring through his wide Empire of the aire,
+   To weather his brode sailes."
+
+Cowley, in his translation of Horace, _Od._ iv. 2, calls Pindar "the
+Theban swan" ("Dircaeum cycnum"):
+
+  "Lo! how the obsequious wind and swelling air
+   The Theban Swan does upward bear."
+
+117. _Azure deep of air_. Cf. Euripides, _Med._ 1294: [Greek: es
+aitheros bathos]; and Lucretius, ii. 151: "Aeris in magnum fertur
+mare." Cowley has "Row through the trackless ocean of air;" and
+Shakes. (_T. of A._ iv. 2), "this sea of air."
+
+118, 119. The MS. reads:
+
+  "Yet when they first were open'd on the day
+   Before his visionary eyes would run."
+
+D. Stewart (_Philos. of Human Mind_) remarks that "Gray, in
+describing the infantine reveries of poetical genius, has fixed with
+exquisite judgment on that class of our conceptions which are derived
+from _visible_ objects."
+
+120. _With orient hues_. Cf. Milton, _P. L._ i. 546: "with orient
+colours waving."
+
+122. The MS. has "Yet never can he fear a vulgar fate."
+
+123. Cf. K. Philips: "Still shew'd how much the good outshone the
+great."
+
+
+We append, as a curiosity of criticism, Dr. Johnson's comments on
+this ode, from his _Lives of the Poets_. The Life of Gray has been
+called "the worst in the series," and perhaps this is the worst part
+of it:[4]
+
+"My process has now brought me to the _wonderful_ 'Wonder of
+Wonders,' the two Sister Odes, by which, though either vulgar
+ignorance or common-sense at first universally rejected them, many
+have been since persuaded to think themselves delighted. I am one of
+those that are willing to be pleased, and therefore would gladly find
+the meaning of the first stanza of 'The Progress of Poetry.'
+
+"Gray seems in his rapture to confound the images of spreading sound
+and running water. A 'stream of music' may be allowed; but where does
+'music,' however 'smooth and strong,' after having visited the
+'verdant vales, roll down the steep amain,' so as that 'rocks and
+nodding groves rebellow to the roar?' If this be said of music, it is
+nonsense; if it be said of water, it is nothing to the purpose.
+
+"The second stanza, exhibiting Mars's car and Jove's eagle, is
+unworthy of further notice. Criticism disdains to chase a schoolboy
+to his commonplaces.
+
+"To the third it may likewise be objected that it is drawn from
+mythology, though such as may be more easily assimilated to real
+life. Idalia's 'velvet-green' has something of cant. An epithet or
+metaphor drawn from Nature ennobles Art; an epithet or metaphor drawn
+from Art degrades Nature. Gray is too fond of words arbitrarily
+compounded. 'Many-twinkling' was formerly censured as not analogical;
+we may say 'many-spotted,' but scarcely 'many-spotting.' This stanza,
+however, has something pleasing.
+
+"Of the second ternary of stanzas, the first endeavours to tell
+something, and would have told it, had it not been crossed by
+Hyperion; the second describes well enough the universal prevalence
+of poetry; but I am afraid that the conclusion will not arise from
+the premises. The caverns of the North and the plains of Chili are
+not the residences of 'Glory and generous Shame.' But that Poetry and
+Virtue go always together is an opinion so pleasing that I can
+forgive him who resolves to think it true.
+
+"The third stanza sounds big with 'Delphi,' and 'Aegean,' and
+'Ilissus,' and 'Maeander,' and with 'hallowed fountains,' and 'solemn
+sound;' but in all Gray's odes there is a kind of cumbrous splendour
+which we wish away. His position is at last false: in the time of
+Dante and Petrarch, from whom we derive our first school of poetry,
+Italy was overrun by 'tyrant power' and 'coward vice;' nor was our
+state much better when we first borrowed the Italian arts.
+
+"Of the third ternary, the first gives a mythological birth of
+Shakespeare. What is said of that mighty genius is true; but it is
+not said happily: the real effects of this poetical power are put out
+of sight by the pomp of machinery. Where truth is sufficient to fill
+the mind, fiction is worse than useless; the counterfeit debases the
+genuine.
+
+"His account of Milton's blindness, if we suppose it caused by study
+in the formation of his poem, a supposition surely allowable, is
+poetically true and happily imagined. But the _car_ of Dryden, with
+his _two coursers_, has nothing in it peculiar; it is a car in which
+any other rider may be placed."
+
+[Footnote 4: Sir James Mackintosh well says of Johnson's criticisms:
+"Wherever understanding alone is sufficient for poetical criticism,
+the decisions of Johnson are generally right. But the beauties of
+poetry must be _felt_ before their causes are investigated. There is
+a poetical sensibility, which in the progress of the mind becomes as
+distinct a power as a musical ear or a picturesque eye. Without a
+considerable degree of this sensibility, it is as vain for a man of
+the greatest understanding to speak of the higher beauties of poetry
+as it is for a blind man to speak of colours. To adopt the warmest
+sentiments of poetry, to realize its boldest imagery, to yield to
+every impulse of enthusiasm, to submit to the illusions of fancy, to
+retire with the poet into his ideal worlds, were dispositions wholly
+foreign from the worldly sagacity and stern shrewdness of Johnson. As
+in his judgment of life and character, so in his criticism on poetry,
+he was a sort of Free-thinker. He suspected the refined of
+affectation, he rejected the enthusiastic as absurd, and he took it
+for granted that the mysterious was unintelligible. He came into the
+world when the school of Dryden and Pope gave the law to English
+poetry. In that school he had himself learned to be a lofty and
+vigorous declaimer in harmonious verse; beyond that school his
+unforced admiration perhaps scarcely soared; and his highest effort
+of criticism was accordingly the noble panegyric on Dryden."
+
+W. H. Prescott, the historian, also remarks that Johnson, as a
+critic, "was certainly deficient in sensibility to the more delicate,
+the minor beauties of poetic sentiment. He analyzes verse in the
+cold-blooded spirit of a chemist, until all the aroma which
+constituted its principal charm escapes in the decomposition. By this
+kind of process, some of the finest fancies of the Muse, the lofty
+dithyrambics of Gray, the ethereal effusions of Collins, and of
+Milton too, are rendered sufficiently vapid."]
+
+[Illustration: PINDAR.]
+
+
+
+
+[Illustration: EDWARD I.]
+
+
+THE BARD.
+
+
+"This ode is founded on a tradition current in Wales that Edward the
+First, when he completed the conquest of that country, ordered all
+the bards that fell into his hands to be put to death" (Gray).
+
+The original argument of the ode, as Gray had set it down in his
+commonplace-book, was as follows: "The army of Edward I., as they
+march through a deep valley, and approach Mount Snowdon, are suddenly
+stopped by the appearance of a venerable figure seated on the summit
+of an inaccessible rock, who, with a voice more than human,
+reproaches the king with all the desolation and misery which he had
+brought on his country; foretells the misfortunes of the Norman race,
+and with prophetic spirit declares that all his cruelty shall never
+extinguish the noble ardour of poetic genius in this island; and that
+men shall never be wanting to celebrate true virtue and valour in
+immortal strains, to expose vice and infamous pleasure, and boldly
+censure tyranny and oppression. His song ended, he precipitates
+himself from the mountain, and is swallowed up by the river that
+rolls at its feet."
+
+Mitford, in his "Essay on the Poetry of Gray," says of this Ode: "The
+tendency of _The Bard_ is to show the retributive justice that
+follows an act of tyranny and wickedness; to denounce on Edward, in
+his person and his progeny, the effect of the crime he had committed
+in the massacre of the bards; to convince him that neither his power
+nor situation could save him from the natural and necessary
+consequences of his guilt; that not even the virtues which he
+possessed could atone for the vices with which they were accompanied:
+
+  'Helm nor hauberk's twisted mail,
+   Nor e'en thy _virtues_, tyrant, shall avail.'
+
+This is the real tendency of the poem; and well worthy it was of
+being adorned and heightened by such a profusion of splendid images
+and beautiful machinery. We must also observe how much this moral
+feeling increases as we approach the close; how the poem rises in
+dignity; and by what a fine gradation the solemnity of the subject
+ascends. The Bard commenced his song with feelings of sorrow for his
+departed brethren and his desolate country. This despondence,
+however, has given way to emotions of a nobler and more exalted
+nature. What can be more magnificent than the vision which opens
+before him to display the triumph of justice and the final glory of
+his cause? And it may be added, what can be more forcible or emphatic
+than the language in which it is conveyed?
+
+  'But oh! what solemn scenes on Snowdon's height,
+     Descending slow their glittering skirts unroll?
+   Visions of glory, spare my aching sight!
+     _Ye unborn ages, crowd not on my soul!_'
+
+The fine apostrophe to the shade of Taliessin completes the picture
+of exultation:
+
+  'Hear from the grave, great Taliessin, hear;
+     They breathe a soul to animate thy clay.'
+
+The triumph of justice, therefore, is now complete. The vanquished
+has risen superior to his conqueror, and the reader closes the poem
+with feelings of content and satisfaction. He has seen the Bard
+uplifted both by a divine energy and by the natural superiority of
+virtue; and the conqueror has shrunk into a creature of hatred and
+abhorrence:
+
+  'Be thine despair, and sceptred care;
+     To triumph, and to die, are mine.'"
+
+With regard to the _obscurity_ of the poem, the same writer remarks
+that "it is such only as of necessity arises from the plan and
+conduct of a prophecy." "In the prophetic poem," he adds, "one point
+of history alone is told, and the rest is to be acquired previously
+by the reader; as in the contemplation of an historical picture,
+which commands only one moment of time, our memory must supply us
+with the necessary links of knowledge; and that point of time
+selected by the painter must be illustrated by the spectator's
+knowledge of the past or future, of the cause or the consequences."
+
+He refers, for corroboration of this opinion, to Dr. Campbell, who in
+his "Philosophy of Rhetoric," says: "I know no style to which
+darkness of a certain sort is more suited than to the prophetical:
+many reasons might be assigned which render it improper that prophecy
+should be perfectly understood before it be accomplished. Besides, we
+are certain that a prediction may be very dark before the
+accomplishment, and yet so plain afterwards as scarcely to admit a
+doubt in regard to the events suggested. It does not belong to
+critics to give laws to prophets, nor does it fall within the
+confines of any human art to lay down rules for a species of
+composition so far above art. Thus far, however, we may warrantably
+observe, that when the prophetic style is imitated in poetry, the
+piece ought, as much as possible, to possess the character above
+mentioned. This character, in my opinion, is possessed in a very
+eminent degree by Mr. Gray's ode called _The Bard_. It is all
+darkness to one who knows nothing of the English history posterior to
+the reign of Edward the First, and all light to one who is acquainted
+with that history. But this is a kind of writing whose peculiarities
+can scarcely be considered as exceptions from ordinary rules."
+
+Farther on in the same essay, Mitford remarks: "The skill of Gray is,
+I think, eminently shown in the superior distinctness with which he
+has marked those parts of his prophecies which are speedily to be
+accomplished; and in the gradations by which, as he descends, he has
+insensibly melted the more remote into the deeper and deeper
+shadowings of general language. The first prophecy is the fate of
+Edward the Second. In that the Bard has pointed out the very night in
+which he is to be destroyed; has named the river that flowed around
+his prison, and the castle that was the scene of his sufferings:
+
+  'Mark the _year_, and mark the _night_,
+   When _Severn_ shall re-echo with affright
+   The shrieks of death thro' Berkeley's roofs that ring,
+   Shrieks of an agonizing king.'
+
+How different is the imagery when Richard the Second is described;
+and how indistinctly is the luxurious monarch marked out in the form
+of the morning, and his country in the figure of the vessel!
+
+  'The swarm that in thy noontide beam were born?
+   Gone to salute the rising morn.
+   Fair laughs the morn,' etc.
+
+The last prophecy is that of the civil wars, and of the death of the
+two young princes. No place, no name is now noted: and all is seen
+through the dimness of figurative expression:
+
+  'Above, below, the rose of snow,
+     Twin'd with her blushing foe, we spread:
+   The bristled boar in infant gore
+     Wallows beneath the thorny shade.'"
+
+Hales remarks: "It is perhaps scarcely now necessary to say that the
+tradition on which _The Bard_ is founded is wholly groundless. Edward
+I. never did massacre Welsh bards. Their name is legion in the
+beginning of the 14th century. Miss Williams, the latest historian of
+Wales, does not even mention the old story."[1]
+
+[Footnote 1: The _Saturday Review_, for June 19, 1875, in the article
+from which we have elsewhere quoted (p. 79, foot-note), refers to
+this point as follows:
+
+"Gray was one of the first writers to show that earlier parts of
+English history were not only worth attending to, but were capable of
+poetic treatment. We can almost forgive him for dressing up in his
+splendid verse a foul and baseless calumny against Edward the First,
+when we remember that to most of Gray's contemporaries Edward the
+First must have seemed a person almost mythical, a benighted Popish
+savage, of whom there was very little to know, and that little hardly
+worth knowing. Our feeling towards Gray in this matter is much the
+same as our feeling towards Mitford in the matter of Greek history.
+We are angry with Mitford for misrepresenting Demosthenes and a crowd
+of other Athenian worthies, but we do not forget that he was the
+first to deal with Demosthenes and his fellows, neither as mere names
+nor as demi-gods, but as real living men like ourselves. It was a
+pity to misrepresent Demosthenes, but even the misrepresentation was
+something; it showed that Demosthenes could be made the subject of
+human feeling one way or another. It is unpleasant to hear the King
+whose praise it was that
+
+  'Velox est ad veniam, ad vindictam tardus,'
+
+spoken of as 'ruthless,' and the rest of it. But Gray at least felt
+that Edward was a real man, while to most of his contemporaries he
+could have been little more than 'the figure of an old Gothic king,'
+such as Sir Roger de Coverley looked when he sat in Edward's own
+chair."]
+
+
+1. A good example of alliteration.
+
+2. Cf. Shakes. _K. John_, iv. 2: "and vast confusion waits."
+
+4. Gray quotes _K. John_, v. 1: "Mocking the air with colours idly
+spread."
+
+5. "The hauberk was a texture of steel ringlets, or rings interwoven,
+forming a coat of mail that sat close to the body, and adapted itself
+to every motion" (Gray).
+
+Cf. Robert of Gloucester: "With helm and hauberk;" and Dryden, _Pal.
+and Arc._ iii. 603: "Hauberks and helms are hewed with many a wound."
+
+7. _Nightly_. Nocturnal, as often in poetry. Cf. _Il Pens._ 84, etc.
+
+9. _The crested pride_. Gray quotes Dryden, _Indian Queen_: "The
+crested adder's pride."
+
+11. "Snowdon was a name given by the Saxons to that mountainous tract
+which the Welsh themselves call _Craigian-eryri_: it included all the
+highlands of Caernarvonshire and Merionethshire, as far east as the
+river Conway. R. Hygden, speaking of the castle of Conway, built by
+King Edward the First, says: 'Ad ortum amnis Conway ad clivum montis
+Erery;' and Matthew of Westminster (ad ann. 1283), 'Apud Aberconway
+ad pedes montis Snowdoniae fecit erigi castrum forte'" (Gray).
+
+It was in the spring of 1283 that English troops at last forced their
+way among the defiles of Snowdon. Llewellyn had preserved those
+passes and heights intact until his death in the preceding December.
+The surrender of Dolbadern in the April following that dispiriting
+event opened a way for the invader; and William de Beauchamp, Earl of
+Warwick, at once advanced by it (Hales).
+
+The epithet _shaggy_ is highly appropriate, as Leland (_Itin._) says
+that great woods clothed the mountain in his time. Cf. Dyer, _Ruins
+of Rome_:
+
+                   "as Britannia's oaks
+   On Merlin's mount, or Snowdon's rugged sides,
+   Stand in the clouds."
+
+See also _Lycidas_, 54: "Nor on the shaggy top of Mona high;" and _P.
+L._ vi. 645: "the shaggy tops."
+
+13. _Stout Gloster_. "Gilbert de Clare, surnamed the Red, Earl of
+Gloucester and Hereford, son-in-law to King Edward" (Gray). He had,
+in 1282, conducted the war in South Wales; and after overthrowing the
+enemy near Llandeilo Fawr, had reinforced the king in the northwest.
+
+14. _Mortimer_. "Edmond de Mortimer, Lord of Wigmore" (Gray). It was
+by one of his knights, named Adam de Francton, that Llewellyn, not at
+first known to be he, was slain near Pont Orewyn (Hales).
+
+On _quivering lance_, cf. Virgil, _Aen._ xii. 94: "hastam quassatque
+trementem."
+
+15. _On a rock whose haughty brow_. Cf. Daniel, _Civil Wars_: "A huge
+aspiring rock, whose surly brow."
+
+The _rock_ is probably meant for Penmaen-mawr, the northern
+termination of the Snowdon range. It is a mass of rock, 1545 feet
+high, a few miles from the mouth of the Conway, the valley of which
+it overlooks. Towards the sea it presents a rugged and almost
+perpendicular front. On its summit is Braich-y-Dinas, an ancient
+fortified post, regarded as the strongest hold of the Britons in the
+district of Snowdon. Here the reduced bands of the Welsh army were
+stationed during the negotiation between their prince Llewellyn and
+Edward I. Within the inner enclosure is a never-failing well of pure
+water. The rock is now pierced with a tunnel 1890 feet long for the
+Chester and Holyhead railway.
+
+17. _Rob'd in the sable garb of woe_. It would appear that Wharton
+had criticised this line, for in a letter to him, dated Aug. 21,
+1757, Gray writes: "You may alter that '_Robed in_ the sable,' etc.,
+almost in your own words, thus,
+
+  'With fury pale, and pale with woe,
+     Secure of Fate, the Poet stood,' etc.
+
+Though _haggard_, which conveys to you the idea of a _witch_, is
+indeed only a metaphor taken from an unreclaimed hawk, which is
+called a _haggard_, and looks wild and _farouche_, and jealous of its
+liberty." Gray seems to have afterwards returned to his first (and we
+think better) reading.
+
+19. "The image was taken from a well-known picture of Raphael,
+representing the Supreme Being in the vision of Ezekiel. There are
+two of these paintings (both believed originals), one at Florence,
+the other in the Duke of Orleans's collection at Paris" (Gray).
+
+20. _Like a meteor_. Gray quotes _P. L._ i. 537: "Shone like a meteor
+streaming to the wind."
+
+21, 22. Wakefield remarks: "This is poetical language in perfection;
+and breathes the sublime spirit of Hebrew poetry, which delights in
+this grand rhetorical substitution."
+
+23. _Desert caves_. Cf. _Lycidas_, 39: "The woods and desert caves."
+
+26. _Hoarser murmurs_. That is, perhaps, with continually increasing
+hoarseness, hoarser and hoarser; or it may mean with unwonted
+hoarseness, like the comparative sometimes in Latin (Hales).
+
+28. Hoel is called _high-born_, being the son of Owen Gwynedd, prince
+of North Wales, by Finnog, an Irish damsel. He was one of his
+father's generals in his wars against the English, Flemings, and
+Normans, in South Wales; and was a famous bard, as his poems that are
+extant testify.
+
+_Soft Llewellyn's lay_. "The lay celebrating the mild Llewellyn,"
+says Hales, though he afterwards remarks that, "looking at the
+context, it would be better to take _Llewellyn_ here for a bard."
+Many bards celebrated the warlike prowess and princely qualities of
+Llewellyn. A poem by Einion the son of Guigan calls him "a
+tender-hearted prince;" and another, by Llywarch Brydydd y Moch,
+says: "Llewellyn, though in battle he killed with fury, though he
+burned like an outrageous fire, yet was a mild prince when the
+mead-horns were distributed." In an ode by Llygard Gwr he is also
+called "Llewellyn the mild."
+
+29. Cadwallo and Urien were bards of whose songs nothing has been
+preserved. Taliessin (see 121 below) dedicated many poems to the
+latter, and wrote an elegy on his death: he was slain by treachery in
+the year 560.
+
+30. _That hush'd the stormy main_. Cf. Shakes. _M. N. D._ ii. 2:
+
+  "Uttering such dulcet and harmonious breath,
+   That the rude sea grew civil at her song."
+
+33. _Modred_. This name is not found in the lists of the old bards.
+It may have been borrowed from the Arthurian legends; or, as Mitford
+suggests, it may refer to "the famous Myrddin ab Morvyn, called
+Merlyn the Wild, a disciple of Taliessin, the form of the name being
+changed for the sake of euphony."
+
+34. _Plinlimmon_. One of the loftiest of the Welsh mountains, being
+2463 feet in height. It is really a group of mountains, three of
+which tower high above the others, and on each of these is a
+_carnedd_, or pile of stones. The highest of the three is further
+divided into two peaks, and on these, as well as on another prominent
+part of the same height, are other piles of stones. These five piles,
+according to the common tradition, mark the graves of slain warriors,
+and serve as memorials of their exploits; but some believe that they
+were intended as landmarks or military signals, and that from them
+the mountain was called _Pump-lumon_ or _Pum-lumon_, "the five
+beacons"--a name somehow corrupted into _Plinlimmon_. Five rivers
+take their rise in the recesses of Plinlimmon--the Wye, the Severn,
+the Rheidol, the Llyfnant, and the Clywedog.
+
+35. _Arvon's shore_. "The shores of Caernarvonshire, opposite the
+isle of Anglesey" (Gray). _Caernarvon_, or _Caer yn Arvon_, means the
+camp in Arvon.
+
+38. "Camden and others observe that eagles used annually to build
+their aerie among the rocks of Snowdon, which from thence (as some
+think) were named by the Welsh _Craigian-eryri_, or the crags of the
+eagles. At this day (I am told) the highest point of Snowdon is
+called _the Eagle's Nest_. That bird is certainly no stranger to this
+island, as the Scots, and the people of Cumberland, Westmoreland,
+etc., can testify; it even has built its nest in the peak of
+Derbyshire [see Willoughby's Ornithology, published by Ray]" (Gray).
+
+40. _Dear as the light_. Cf. Virgil, _Aen._ iv. 31: "O luce magis
+dilecta sorori."
+
+41. _Dear as the ruddy drops_. Gray quotes Shakes. _J. C._ ii. 1:
+
+  "As dear to me as are the ruddy drops
+   That visit my sad heart."
+
+Cf. also Otway, _Venice Preserved_:
+
+  "Dear as the vital warmth that feeds my life,
+   Dear as these eyes that weep in fondness o'er thee."
+
+42. Wakefield quotes Pope: "And greatly falling with a fallen state;"
+and Dryden: "And couldst not fall but with thy country's fate."
+
+44. _Grisly_. See on _Eton Coll._ 82. Cf. _Lycidas_, 52:
+
+                        "the steep
+   Where your old bards, the famous Druids, lie."
+
+48. "See the Norwegian ode that follows" (Gray). This ode (_The Fatal
+Sisters_, translated from the Norse) describes the _Valkyriur_, "the
+choosers of the slain," or warlike Fates of the Gothic mythology, as
+weaving the destinies of those who were doomed to perish in battle.
+It begins thus:
+
+  "Now the storm begins to lower
+     (Haste, the loom of hell prepare),
+   Iron sleet of arrowy shower
+     Hurtles in the darken'd air.
+
+  "Glittering lances are the loom,
+     Where the dusky warp we strain,
+   Weaving many a soldier's doom,
+     Orkney's woe, and Randver's bane.
+
+   *     *     *     *     *     *
+
+  "Shafts for shuttles, dipt in gore,
+     Shoot the trembling cords along;
+   Swords, that once a monarch bore,
+     Keep the tissue close and strong.
+
+   *     *     *     *     *     *
+
+  "(Weave the crimson web of war)
+     Let us go, and let us fly,
+   Where our friends the conflict share,
+     Where they triumph, where they die."
+
+51. Cf. Dryden, _Sebastian_, i. 1:
+
+  "I have a soul that, like an ample shield,
+   Can take in all, and verge enough for more."
+
+55. "Edward the Second, cruelly butchered in Berkeley Castle" (Gray).
+The 1st ed. and that of 1768 have "roofs;" the modern eds. "roof."
+
+Berkeley Castle is on the southeast side of the town of Berkeley, on
+a height commanding a fine view of the Severn and the surrounding
+country, and is in a state of perfect preservation. It is said to
+have been founded by Roger de Berkeley soon after the Norman
+Conquest. About the year 1150 it was granted by Henry II. to Robert
+Fitzhardinge, Governor of Bristol, who strengthened and enlarged it.
+On the right of the great staircase leading to the keep, and
+approached by a gallery, is the room in which it is supposed that
+Edward II. was murdered, Sept. 21, 1327. The king, during his
+captivity here, composed a dolorous poem, of which the following is
+an extract:
+
+  "Moste blessed Jesu,
+   Roote of all vertue,
+   Graunte I may the sue,
+   In all humylyte,
+   Sen thou for our good,
+   Lyste to shede thy blood,
+   An stretche the upon the rood,
+   For our iniquyte.
+   I the beseche,
+   Most holsome leche,
+   That thou wylt seche
+   For me such grace,
+   That when my body vyle
+   My soule shall exyle
+   Thou brynge in short wyle
+   It in reste and peace."
+
+Walpole, who visited the place in 1774, says: "The room shown for the
+murder of Edward II., and the shrieks of an agonizing king, I verily
+believe to be genuine. It is a dismal chamber, almost at the top of
+the house, quite detached, and to be approached only by a kind of
+foot-bridge, and from that descends a large flight of steps, that
+terminates on strong gates; exactly a situation for a _corps de
+garde_."
+
+56. Cf. Hume's description: "The screams with which the agonizing
+king filled the castle."
+
+57. _She-wolf of France_. "Isabel of France, Edward the Second's
+adulterous queen" (Gray). Cf. Shakes. 3 _Hen. VI._ i. 4: "She-wolf of
+France, but worse than wolves of France;" and read the context.
+
+60. "Triumphs of Edward the Third in France" (Gray).
+
+61. Cf. Cowley: "Ruin behind him stalks, and empty desolation;" and
+Oldham, _Ode to Homer_:
+
+  "Where'er he does his dreadful standard bear,
+   Horror stalks in the van, and slaughter in the rear."
+
+63. For _victor_ the MS. has "conqueror;" also in next line "the" for
+_his_; and in 65, "what ... what" for _no_ ... _no_.
+
+64. "Death of that king, abandoned by his children, and even robbed
+in his last moments by his courtiers and his mistress" (Gray).
+
+67. "Edward the Black Prince, dead some time before his father"
+(Gray).
+
+69. The MS. has "hover'd in thy noontide ray," and in the next line
+"the rising day."
+
+In _Agrippina_, a fragment of a tragedy, published among the
+posthumous poems of Gray, we have the same figure:
+
+                      "around thee call
+   The gilded swarm that wantons in the sunshine
+   Of thy full favour."
+
+71. "Magnificence of Richard the Second's reign. See Froissard and
+other contemporary writers" (Gray).
+
+For this line and the remainder of the stanza, the MS. has the
+following:
+
+  "Mirrors of Saxon truth and loyalty,
+   Your helpless, old, expiring master view!
+   They hear not: scarce religion does supply
+   Her mutter'd requiems, and her holy dew.
+   Yet thou, proud boy, from Pomfret's walls shalt send
+   A sigh, and envy oft thy happy grandsire's end."
+
+On the passage as it stands, cf. Shakes. _M. of V._ ii. 6:
+
+  "How like a younger, or a prodigal,
+   The scarfed bark puts from her native bay," etc.
+
+Also Spenser, _Visions of World's Vanitie_, ix:
+
+  "Looking far foorth into the Ocean wide,
+   A goodly ship with banners bravely dight,
+   And flag in her top-gallant, I espide
+   Through the maine sea making her merry flight.
+   Faire blew the winde into her bosome right;
+   And th' heavens looked lovely all the while
+   That she did seeme to daunce, as in delight,
+   And at her owne felicitie did smile," etc.;
+
+and again, _Visions of Petrarch_, ii.:
+
+  "After, at sea a tall ship did appeare,
+   Made all of heben and white yvorie;
+   The sailes of golde, of silke the tackle were:
+   Milde was the winde, calme seem'd the sea to bee,
+   The skie eachwhere did show full bright and faire:
+   With rich treasures this gay ship fraighted was:
+   But sudden storme did so turmoyle the aire,
+   And tumbled up the sea, that she (alas)
+   Strake on a rock, that under water lay,
+   And perished past all recoverie."
+
+See also Milton, _S. A._ 710 foll.
+
+72. _The azure realm_. Cf. Virgil, _Ciris_, 483: "Caeruleo pollens
+conjunx Neptunia regno."
+
+73. Note the alliteration. Cf. Dryden, _Annus Mirab._ st. 151:
+
+  "The goodly London, in her gallant trim,
+     The phoenix-daughter of the vanish'd old,
+   Like a rich bride does to the ocean swim,
+     And on her shadow rides in floating gold."
+
+75. _Sweeping whirlwind's sway_. Cf. the posthumous fragment by Gray
+on _Education and Government_, 48: "And where the deluge burst with
+sweepy sway." The expression is from Dryden, who uses it repeatedly;
+as in _Geo._ i. 483: "And rolling onwards with a sweepy sway;" _Ov.
+Met._: "Rushing onwards with a sweepy sway;" _Aen._ vii.: "The
+branches bend beneath their sweepy sway," etc.
+
+76. _That hush'd in grim repose_, etc. Cf. Dryden, _Sigismonda and
+Guiscardo_, 242:
+
+  "So, like a lion that unheeded lay,
+   Dissembling sleep, and watchful to betray,
+   With inward rage he meditates his prey;"
+
+and _Absalom and Achitophel_, 447:
+
+  "And like a lion, slumbering in the way,
+   Or sleep dissembling, while he waits his prey."
+
+77. "Richard the Second (as we are told by Archbishop Scroop and the
+confederate Lords in their manifesto, by Thomas of Walsingham, and
+all the older writers) was starved to death. The story of his
+assassination by Sir Piers of Exon is of much later date" (Gray).
+
+79. _Reft of a crown_. Wakefield quotes Mallet's ballad of _William
+and Margaret_:
+
+  "Such is the robe that kings must wear
+     When death has reft their crown."
+
+82. _A baleful smile_. The MS. has "A smile of horror on." Cf.
+Milton, _P. L._ ii. 846: "Grinn'd horrible a ghastly smile."
+
+[Illustration: THE TRAITOR'S GATE OF THE TOWER.]
+
+83. "Ruinous wars of York and Lancaster" (Gray). Cf. _P. L._ vi. 209:
+"Arms on armour clashing brayed."
+
+84. Cf. Shakes. 1 _Hen. IV._ iv. 1: "Harry to Harry shall, hot horse
+to horse;" and Massinger, _Maid of Honour_: "Man to man, and horse to
+horse."
+
+87. "Henry the Sixth, George Duke of Clarence, Edward the Fifth,
+Richard Duke of York, etc., believed to be murdered secretly in the
+Tower of London. The oldest part of that structure is vulgarly
+attributed to Julius Caesar" (Gray). The MS. has "Grim towers."
+
+88. _Murther_. See on _murthorous_, p. 105.
+
+89. _His consort_. "Margaret of Anjou, a woman of heroic spirit, who
+struggled hard to save her husband and her crown" (Gray).
+
+_His father_. "Henry the Fifth" (Gray).
+
+[Illustration: HENRY V.]
+
+90. _The meek usurper_. "Henry the Sixth, very near being canonized.
+The line of Lancaster had no right of inheritance to the crown"
+(Gray). See on _Eton Coll._ 4. The MS. has "hallow'd head."
+
+91. _The rose of snow_, etc. "The white and red roses, devices of
+York and Lancaster" (Gray).
+
+Cf. Shakes. 1 _Hen. VI._ ii. 4:
+
+                      "No, Plantagenet,
+   'Tis not for shame, but anger, that thy cheeks
+   Blush for pure shame, to counterfeit our roses."
+
+93. _The bristled boar_. "The silver boar was the badge of Richard
+the Third; whence he was usually known in his own time by the name of
+_the Boar_" (Gray). Scott (notes to _Lay of Last Minstrel_) says:
+"The crest or bearing of a warrior was often used as a _nom de
+guerre_. Thus Richard III. acquired his well-known epithet, 'the Boar
+of York.'" Cf. Shakes. _Rich. III._ iv. 5: "this most bloody boar;"
+v. 2: "The wretched, bloody, and usurping boar," etc.
+
+98. See on 48 above.
+
+99. _Half of thy heart_. "Eleanor of Castile died a few years after
+the conquest of Wales. The heroic proof she gave of her affection for
+her lord is well known.[2] The monuments of his regret and sorrow for
+the loss of her[3] are still to be seen at Northampton, Geddington,
+Waltham, and other places" (Gray). Cf. Horace, _Od._ i. 3, 8: "animae
+dimidium meae."
+
+[Footnote 2: See Tennyson, _Dream of Fair Women_:
+
+  "Or her who knew that Love can vanquish Death,
+     Who kneeling, with one arm about her king,
+   Drew forth the poison with her balmy breath,
+     Sweet as new buds in spring."]
+
+[Footnote 3: Gray refers to the "Eleanor crosses," erected at the
+places where the funeral procession halted each night on the journey
+from Hardby, in Nottinghamshire (near Lincoln), where the queen died,
+to Westminster. Of the thirteen (or, as some say, fifteen) crosses
+only three now remain--at Northampton, Geddington, and Waltham. The
+one at Charing Cross in London has been replaced by a fac-simile of
+the original. These monuments were all exquisite works of Gothic art,
+fitting memorials of _la chere Reine_, "the beloved of all England,"
+as Walsingham calls her.]
+
+101. _Nor thus forlorn_. In MS. "nor here forlorn;" in next line,
+"Leave your despairing Caradoc to mourn;" in 103, "yon black clouds;"
+in 104, "They sink, they vanish;" in 105, "But oh! what scenes of
+heaven on Snowdon's height;" in 106, "their golden skirts."
+
+107. Cf. Dryden, _State of Innocence_, iv. 1: "Their glory shoots
+upon my aching sight."
+
+109. "It was the common belief of the Welsh nation that King Arthur
+was still alive in Fairyland, and would return again to reign over
+Britain" (Gray).
+
+In the MS. this line and the next read thus:
+
+  "From Cambria's thousand hills a thousand strains
+   Triumphant tell aloud, another Arthur reigns."
+
+110. "Both Merlin and Taliessin had prophesied that the Welsh should
+regain their sovereignty over this island; which seemed to be
+accomplished in the house of Tudor" (Gray).
+
+111. _Many a baron bold_. Cf. _L'Allegro_, 119: "throngs of knights
+and barons bold."
+
+The reading in the MS. is,
+
+  "Youthful knights, and barons bold,
+   With dazzling helm, and horrent spear."
+
+112. _Their starry fronts_. Cf. Milton, _Ode on the Passion_, 18:
+"His starry front;" Statius, _Theb._ 613: "Heu! ubi siderei vultus."
+
+115. _A form divine_. Elizabeth. Wakefield quotes Spenser's eulogy of
+the queen, _Shep. Kal._ Apr.:
+
+  "Tell me, have ye seene her angelick face,
+       Like Phoebe fayre?
+   Her heavenly haveour, her princely grace,
+       Can you well compare?
+   The Redde rose medled with the White yfere,
+   In either cheeke depeincten lively chere;
+       Her modest eye,
+       Her Majestie,
+   Where have you seene the like but there?"
+
+117. "Speed, relating an audience given by Queen Elizabeth to Paul
+Dzialinski, ambassador of Poland, says: 'And thus she, lion-like
+rising, daunted the malapert orator no less with her stately port and
+majestical deporture, than with the tartnesse of her princelie
+checkes'" (Gray). The MS. reads "A lion-port, an awe-commanding
+face."
+
+121. "Taliessin, chief of the bards, flourished in the sixth century.
+His works are still preserved, and his memory held in high veneration
+among his countrymen" (Gray).
+
+As Hales remarks, there is no authority for connecting him with
+Arthur, as Tennyson does in his _Holy Grail_.
+
+123. Cf. Congreve, _Ode to Lord Godolphin_: "And soars with rapture
+while she sings."
+
+124. _The eye of heaven_. Wakefield quotes Spenser, _F. Q._ 1. 3. 4,
+
+                   "Her angel's face
+   As the great eye of heaven shined bright."
+
+Cf. Shakes. _Rich. II._ iii. 2: "the searching eye of heaven."
+
+_Many-colour'd wings_. Cf. Shakes. _Temp._ iv. 1: "Hail,
+many-colour'd messenger;" and Milton, _P. L._ iii. 642:
+
+                           "Wings he wore
+   Of many a colour'd plume sprinkled with gold."
+
+126. Gray quotes Spenser, _F. Q._ Proeme, 9:
+
+  "Fierce warres and faithful loves shall moralize my song."
+
+128. "Shakespeare" (Gray). Cf. _Il Penseroso_, 102: "the buskin'd
+stage;" that is, the tragic stage.
+
+129. _Pleasing pain_. Cf. Spenser, _F. Q._ vi. 9, 10: "sweet pleasing
+payne;" and Dryden, _Virg. Ecl._ iii. 171: "Pleasing pains of love."
+
+131. "Milton" (Gray).
+
+133. "The succession of poets after Milton's time" (Gray).
+
+135. _Fond_. Foolish. See on _Prog. of Poesy_, 46.
+
+On the couplet, cf. Dekker, _If this be not a good play_, etc.:
+
+                 "Thinkest thou, base lord,
+   Because the glorious Sun behind black clouds
+   Has awhile hid his beams, he's darken'd forever,
+   Eclips'd never more to shine?"
+
+137. Cf. _Lycidas_, 169: "And yet anon repairs his drooping head;"
+and Fletcher, _Purple Island_, vi. 64: "So soon repairs her light,
+trebling her new-born raies."
+
+141. Mitford remarks that there is a passage (which he misquotes, as
+usual) in the _Thebaid_ of Statius (iii. 81) similar to this,
+describing a bard who had survived his companions:
+
+                     "Sed jam nudaverat ensem
+   Magnanimus vates, et nunc trucis ora tyranni,
+   Nunc ferrum adspectans: 'Nunquam tibi sanguinis hujus
+   Jus erit, aut magno feries imperdita Tydeo
+   Pectora; _vado equidem exsultans_ et _ereptaque fata_
+   Insequor, et comites feror expectatus ad umbras;
+   _Te_ Superis, fratrique.' Et jam media orsa loquentis
+   Abstulerat plenum capulo latus."
+
+Cf. also a passage in Pindar (_Olymp._ i. 184), which Gray seems to
+have had in mind:
+
+   [Greek: Eie se te touton
+           Hupsou chronon patein, eme
+           Te tossade nikaphorois
+           Homilein, k. t. l.
+
+143. Cf. Virgil, _Ecl._ viii. 59:
+
+  "Praeceps aerii specula de montis in undas
+   Deferar; extremum hoc munus morientis habeto."
+
+
+As we have given Johnson's criticism on _The Progress of Poesy_, we
+append his comments on this "Sister Ode:"
+
+"'The Bard' appears, at the first view, to be, as Algarotti and
+others have remarked, an imitation of the prophecy of Nereus.
+Algarotti thinks it superior to its original; and, if preference
+depends only on the imagery and animation of the two poems, his
+judgment is right. There is in 'The Bard' more force, more thought,
+and more variety. But to copy is less than to invent, and the copy
+has been unhappily produced at a wrong time. The fiction of Horace
+was to the Romans credible; but its revival disgusts us with apparent
+and unconquerable falsehood. _Incredulus odi_.
+
+"To select a singular event, and swell it to a giant's bulk by
+fabulous appendages of spectres and predictions, has little
+difficulty; for he that forsakes the probable may always find the
+marvellous. And it has little use; we are affected only as we
+believe; we are improved only as we find something to be imitated or
+declined. I do not see that 'The Bard' promotes any truth, moral or
+political.
+
+"His stanzas are too long, especially his epodes; the ode is finished
+before the ear has learned its measures, and consequently before it
+can receive pleasure from their consonance and recurrence.
+
+"Of the first stanza the abrupt beginning has been celebrated; but
+technical beauties can give praise only to the inventor. It is in the
+power of any man to rush abruptly upon his subject, that has read the
+ballad of 'Johnny Armstrong,'
+
+  'Is there ever a man in all Scotland--'
+
+"The initial resemblances, or alliterations, 'ruin, ruthless, helm or
+hauberk,' are below the grandeur of a poem that endeavours at
+sublimity.
+
+"In the second stanza the Bard is well described; but in the third we
+have the puerilities of obsolete mythology. When we are told that
+'Cadwallo hush'd the stormy main,' and that 'Modred made huge
+Plinlimmon bow his cloud-topt head,' attention recoils from the
+repetition of a tale that, even when it was first heard, was heard
+with scorn.
+
+"The _weaving_ of the _winding-sheet_ he borrowed, as he owns, from
+the Northern Bards; but their texture, however, was very properly the
+work of female powers, as the act of spinning the thread of life is
+another mythology. Theft is always dangerous; Gray has made weavers
+of slaughtered bards by a fiction outrageous and incongruous. They
+are then called upon to 'Weave the warp, and weave the woof,' perhaps
+with no great propriety; for it is by crossing the _woof_ with the
+_warp_ that men weave the _web_ or piece; and the first line was
+dearly bought by the admission of its wretched correspondent, 'Give
+ample room and verge enough.' He has, however, no other line as bad.
+
+"The third stanza of the second ternary is commended, I think, beyond
+its merit. The personification is indistinct. _Thirst_ and _Hunger_
+are not alike; and their features, to make the imagery perfect,
+should have been discriminated. We are told, in the same stanza, how
+'towers are fed.' But I will no longer look for particular faults;
+yet let it be observed that the ode might have been concluded with an
+action of better example; but suicide is always to be had, without
+expense of thought."
+
+[Illustration: "Ye towers of Julius, London's lasting shame!"]
+
+
+
+
+[Illustration: HEAD OF OLYMPIAN JOVE.]
+
+
+HYMN TO ADVERSITY.
+
+
+This poem first appeared in Dodsley's _Collection_, vol. iv.,
+together with the "Elegy in a Country Churchyard." In Mason's and
+Wakefield's editions it is called an "Ode," but the title given by
+the author is as above.
+
+The motto from Aeschylus is not in Dodsley, but appears in the first
+edition of the poems (1768) in the form given in the text. The best
+modern editions of Aeschylus have the reading, [Greek: ton (some,
+toi) pathei mathos]. Keck translates the passage into German thus:
+
+  "Ihn der uns zur Sinnigkeit
+     leitet, ihn der fest den Satz
+   Stellet, 'Lehre durch das Leid.'"
+
+Plumptre puts it into English as follows:
+
+  "Yea, Zeus, who leadeth men in wisdom's way,
+       And fixeth fast the law
+       Wisdom by pain to gain."
+
+Cf. Mrs. Browning's _Vision of Poets_:
+
+  "Knowledge by suffering entereth,
+   And life is perfected by death."
+
+
+1. Mitford remarks: "[Greek: Ate], who may be called the goddess of
+Adversity, is said by Homer to be the daughter of Jupiter (_Il._
+[Greek: t.] 91: [Greek: presba Dios thugater Ate, he pantas aatai).
+Perhaps, however, Gray only alluded to the passage of Aeschylus which
+he quoted, and which describes Affliction as sent by Jupiter for the
+benefit of man." The latter is the more probable explanation.
+
+2. Mitford quotes Pope, _Dunciad_, i. 163: "Then he: 'Great tamer of
+all human art.'"
+
+3. _Torturing hour_. Cf. Milton, _P. L._ ii. 90:
+
+  "The vassals of his anger, when the scourge
+   Inexorable, and the torturing hour,
+   Calls us to penance."
+
+5. _Adamantine chains_. Wakefield quotes Aeschylus, _Prom. Vinct._
+vi.: [Greek: Adamantinon desmon en arrektois pedais]. Cf. Milton, _P.
+L._ i. 48: "In adamantine chains and penal fire;" and Pope,
+_Messiah_, 47: "In adamantine chains shall Death be bound."
+
+7. _Purple tyrants_. Cf. Pope, _Two Choruses to Tragedy of Brutus_:
+"Till some new tyrant lifts his purple hand." Wakefield cites Horace,
+_Od._ i. 35, 12: "Purpurei metuunt tyranni."
+
+8. _With pangs unfelt before_. Cf. Milton, _P. L._ ii. 703: "Strange
+horror seize thee, and pangs unfelt before."
+
+9-12. Cf. Bacon, _Essays_, v. (ed. 1625): "Certainly, Vertue is like
+pretious Odours, most fragrant when they are incensed [that is,
+burned], or crushed:[1] For _Prosperity_ doth best discover Vice;[2]
+But _Adversity_ doth best discover Vertue."
+
+[Footnote 1: So in his _Apophthegms_, 253, Bacon says: "Mr. Bettenham
+said: that virtuous men were like some herbs and spices, that give
+not their sweet smell till they be broken or crushed."]
+
+[Footnote 2: Cf. Shakespeare, _Julius Caesar_, ii. 1: "It is the
+bright day that brings forth the adder."]
+
+Cf. also Thomson:
+
+  "If Misfortune comes, she brings along
+   The bravest virtues. And so many great
+   Illustrious spirits have convers'd with woe,
+   Have in her school been taught, as are enough
+   To consecrate distress, and make ambition
+   E'en wish the frown beyond the smile of fortune."
+
+16. Cf. Virgil, _Aen._ i. 630: "Non ignara mali, miseris succurrere
+disco."
+
+18. _Folly's idle brood_. Cf. the opening lines of _Il Penseroso_:
+
+  "Hence, vain deluding Joys,
+     The brood of Folly, without father bred!"
+
+20. Mitford quotes Oldham, _Ode_: "And know I have not yet the
+leisure to be good."
+
+22. _The summer friend_. Cf. Geo. Herbert, _Temple_: "like summer
+friends, flies of estates and sunshine;" Quarles, _Sion's Elegies_,
+xix.: "Ah, summer friendship with the summer ends;" Massinger, _Maid
+of Honour_: "O summer friendship." See also Shakespeare, _T. of A._
+iii. 6:
+
+"_2d Lord_. The swallow follows not summer more willing than we your
+lordship.
+
+"_Timon_ [_aside_]. Nor more willingly leaves winter; such
+summer-birds are men;"
+
+and _T. and C._ iii. 3:
+
+                  "For men, like butterflies,
+   Shew not their mealy wings but to the summer."
+
+Mitford suggests that Gray had in mind Horace, _Od._ i. 35, 25:
+
+  "At vulgus infidum et meretrix retro
+   Perjura cedit; diffugiunt cadis
+     Cum faece siccatis amici
+       Ferre jugum pariter dolosi."
+
+25. _In sable garb_. Cf. Milton, _Il Pens._ 16: "O'erlaid with black,
+staid Wisdom's hue."
+
+28. _With leaden eye_. Evidently suggested by Milton's description of
+Melancholy, _Il Pens._ 43:
+
+  "Thy rapt soul sitting in thine eyes;
+   There, held in holy passion still,
+   Forget thyself to marble, till
+   With a sad leaden downward cast
+   Thou fix them on the earth as fast."
+
+Mitford cites Sidney, _Astrophel and Stella_, song 7: "So leaden
+eyes;" Dryden, _Cymon and Iphigenia_, 57: "And stupid eyes that ever
+lov'd the ground;" Shakespeare, _Pericles_, i. 2: "The sad companion,
+dull-eyed Melancholy;" and _L. L. L._ iv. 3: "In leaden
+contemplation." Cf. also _The Bard_, 69, 70.
+
+31. _To herself severe_. Cf. Carew:
+
+  "To servants kind, to friendship dear,
+   To nothing but herself severe;"
+
+and Dryden: "Forgiving others, to himself severe;" and Waller: "The
+Muses' friend, unto himself severe." Mitford quotes several other
+similar passages.
+
+32. _The sadly pleasing tear_. Rogers cites Dryden's "sadly pleasing
+thought" (Virgil's _Aen._ x.); and Mitford compares Thomson's
+"lenient, not unpleasing tear."
+
+35. _Gorgon terrors_. Cf. Milton, _P. L._ ii. 611: "Medusa with
+Gorgonian terror."
+
+36-40. Cf. _Ode on Eton College_, 55-70 and 81-90.
+
+45-48. Cf. Shakespeare, _As You Like It_, ii. 1:
+
+              "these are counsellors
+   That feelingly persuade me what I am.
+   Sweet are the uses of adversity,
+   Which, like the toad, ugly and venomous,
+   Wears yet a precious jewel in his head;"
+
+and Mallet:
+
+  "Who hath not known ill-fortune, never knew
+   Himself, or his own virtue."
+
+Guizot, in his _Cromwell_, says: "The effect of supreme and
+irrevocable misfortune is to elevate those souls which it does not
+deprive of all virtue;" and Sir Philip Sidney remarks: "A noble
+heart, like the sun, showeth its greatest countenance in its lowest
+estate."
+
+
+
+
+[Illustration: "Now rolling down the steep amain,
+                Headlong, impetuous, see it pour;
+                The rocks and nodding groves rebellow to the roar."
+                                        _The Progress of Poesy_, 10.]
+
+
+
+
+APPENDIX TO NOTES.
+
+
+Just as this book is going to press we have received _The Quarterly
+Review_ (London) for January, 1876, which contains an interesting
+paper on "Wordsworth and Gray." After quoting Wordsworth's remark
+that "Gray was at the head of those poets who, by their reasonings,
+have attempted to widen the space of separation between prose and
+metrical composition, and was, more than any other man, curiously
+elaborate in the construction of his own poetic diction," the
+reviewer remarks:
+
+"The indictment, then, brought by Wordsworth against Gray is twofold.
+Gray, it seems, had in the first place a false conception of the
+nature of poetry; and, secondly, a false standard of poetical
+diction. To begin with the first count, Gray, we are told, sought to
+widen the space of separation betwixt prose and metrical composition.
+What this charge amounts to we shall see hereafter. Meantime, did
+Wordsworth think that between prose and poetry there was any line of
+demarcation at all? In the Preface [to the "Lyrical Ballads"] from
+which we have quoted we read:
+
+"'There neither is nor can be any essential difference between the
+language of prose and metrical composition. We are fond of tracing
+the resemblance between Poetry and Painting, and accordingly we call
+them sisters; but where shall we find bonds of connection
+sufficiently strong to typify the connection betwixt prose and
+metrical composition?'
+
+"Now this question admits of a very definite answer. Take the Iliad
+of Homer and a proposition of Euclid. Is it conceivable that the
+latter could have been expressed at all in metre, or the former
+expressed half so well in prose? If not, what is the reason? Is it
+not plain that the poem contains a predominant element of imagination
+and feeling which is absolutely excluded from the proposition? And in
+the same way it may be shown that whenever a man expresses himself
+properly in metre, the subject-matter of his composition belongs to
+imagination or feeling; whenever he writes in prose his subject
+belongs to or (if the prose be fiction) intimately resembles matter
+of fact. We may decide then with certainty that the sphere of poetry
+lies in Imagination, and that the larger the amount of _just_ liberty
+the Imagination enjoys, the better will be the poetry it produces.
+But then a further question arises, and this is the key of the whole
+position, How far does this liberty extend? Is Imagination absolute,
+supreme, and uncontrolled in its own sphere, or is it under the
+guidance and government of reason? That its dominion is not universal
+is obvious, but of its influence we are all conscious, and there is
+no exaggeration in the eloquent words of Pascal:
+
+"'This mighty power, the perpetual antagonist of reason, which
+delights to show its ascendency by bringing her under its control and
+dominion, has created a second nature in man. It has its joys and its
+sorrows; its health, its sickness; its wealth, its poverty; it
+compels reason, in spite of herself, to believe, to doubt, to deny;
+it suspends the exercise of the senses, and imparts to them again an
+artificial acuteness; it has its follies and its wisdom; and the most
+perverse thing of all is that it fills its votaries with a
+complacency more full and complete even than that which reason can
+supply.'
+
+"If such be the force of Imagination in active life, how absolute
+must be its dominion in poetry! And absolute it is, if we are to
+believe Wordsworth, who defines poetry to be 'the spontaneous
+overflow of powerful emotion.' This definition coincides well with
+modern notions on the nature of the art. But how different is the
+view if we turn from theory to practice! It would surely be a serious
+mistake to describe the noblest poems, like the 'Aeneid' or 'Paradise
+Lost,' as the product of mere spontaneous emotion. And even in lyric
+verse, to which it may be said Wordsworth is specially alluding, we
+find the greatest poets, like Pindar and Simonides, composing their
+odes for set occasions like the public games, in honour of persons
+with whom they were but little acquainted, and (most significant fact
+of all) in the expectation of receiving liberal rewards. We need not
+say that such considerations detract nothing from the genius of these
+great poets; but they prove very conclusively that poetry is not what
+Wordsworth's definition asserts, and what in these days it is too
+often assumed to be, the mere gush of unconscious inspiration. The
+definition of Wordsworth may perhaps suit short lyrics, such as he
+was himself in the habit of composing, but it would be fatal to the
+claims of poetry to rank among the higher arts, for it would exclude
+that quality which, in poetry as in all art, is truly sovereign,
+Invention. The poet, no less than the mechanical inventor, excels by
+the exercise of reason, by his knowledge of the required effect, his
+power of adapting means to ends, and his skill in availing himself of
+circumstances. Consider for a moment the external difficulties which
+restrict the poet's liberty, and require the most vigorous efforts of
+reason to subdue them. To begin with, in order to secure the happy
+result promised by Horace,
+
+              'Cui lecta potenter erit res
+   Nec facundia deseret hunc nec lucidus ordo,'
+
+he has to take the exact measure of his own powers. How many a poet
+has failed for want of judgment by trespassing on a subject and style
+for which his genius is unfitted! Again, he is confronted by the most
+obvious difficulties of language and metre, which limit his freedom
+to a degree unknown to the prose-writer. And beyond this, if he
+wishes to be read--and a poem without readers is no more than a
+musical instrument without a musician--he has to consider the
+character of his audience. He must have all the instinct of an
+orator, all the intuitive knowledge of the world, as well as all the
+practical resource, which are required to gain command over the
+hearts of men, and to subdue, by the charms of eloquence, their
+passions, their prejudices, and their judgment. To achieve such
+results something more is required than 'the spontaneous overflow of
+powerful feeling.'
+
+"How far Wordsworth's own poetry illustrates his principles we shall
+consider presently; meantime his definition helps us to understand
+what he meant by Gray's fault of widening the space of separation
+betwixt prose and metrical composition. Neither in respect of the
+quantity nor the quality of his verse could Gray's manner of
+composition be described as spontaneous. Compared with Wordsworth's
+numerous volumes of poetry, the slender volume that contains the
+poetry of Gray looks meagre indeed; yet almost every poem in this
+small collection is a considered work of art. To begin with 'The
+Bard.' Few readers, we suppose, would rise from this ode without a
+sense of its poetical 'effect.' The details may be thought to require
+too much attention; the allusions, from the nature of the subject,
+are, no doubt, difficult; but a feeling of loftiness, of harmony, of
+proportion, remains in the mind at the close of the poem, which is
+not likely to pass away. How, then, was this effect produced? First
+of all we see that Gray had selected a good subject; his raw
+materials, so to speak, were poetical. The imagination, unembarrassed
+by common associations, breathes freely in its own region, and is
+instinctively elevated as it moves among the great events of the
+past, dwelling on the misfortunes of monarchs, the rise of dynasties,
+and the splendours of literature. But, in the second place, when he
+has chosen his subject, it is the part of the poet to impress the
+great ideas derived from it on the feelings and the memory by the
+distinctness of the form under which he presents it; and here
+poetical invention first begins to work. By the imaginative fiction
+of 'The Bard,' Gray is enabled to cast the whole course of English
+history into the form of a prophecy, and to excite the patriotic
+feelings of the reader, as Virgil roused the pride of his own
+countrymen by Anchises' forecast of the grandeur of Rome. Finally,
+when the main design of the poem is thus conceived, observe with what
+art all the different parts are made to emphasize the beauty of the
+general conception; with what dramatic propriety the calamities of
+the conquering Plantagenet are prophesied by his vanquished foe;
+while on the other hand, the literary glories of the Tudor Elizabeth
+awaken the triumph of the patriot and the poet; how martial and
+spirited is the opening of the poem! how lofty and enthusiastic its
+close! Perhaps there is no English lyric which, animated by equal
+fervour, displays so much architectural genius as 'The Bard.'
+
+"Take, again, the 'Ode on the Prospect of Eton College.' A subject
+better adapted far the indulgence of personal feeling, or for those
+sentimental confidences between the reader and the poet, in which the
+modern muse so much delights, could not be imagined. But what do we
+find? The theme is treated in the most general manner. Though
+emphasizing the irony of his reflection by the beautiful touch of
+memory in the second stanza, the poet speaks throughout as a moralist
+or spectator; from first to last he seems to lose all thought of
+himself in contemplating the tragedies he foresees for others; the
+subject is in fact handled with the most skilful rhetoric, and every
+stanza is made to strengthen and elaborate the leading thought. In
+the 'Progress of Poesy,' though the general constructive effect is
+perhaps inferior to 'The Bard,' we see the same evidence of careful
+preconsideration, while the course of the poem is particularly
+distinguished by the beauty of the transitions. Of the form of the
+'Elegy' it is superfluous to speak; a poem so dignified and yet so
+tender, appeals immediately, and will continue to appeal, to the
+heart of every Englishman, so long as the care of public liberty and
+love of the soil maintain their hold in this country. In this poem,
+as indeed in all that Gray ever wrote, we find it his first principle
+_to prefer his subject to himself_; he never forgot that while he was
+a man he was also an artist, and he knew that the function of art was
+not merely to indulge nature, but to dignify and refine it.
+
+"Yet, in spite of his love of form, there is nothing frigid or
+statuesque in the genius of Gray. A vein of deep melancholy,
+evidently constitutional, runs through his poetry, and, considering
+how little he produced, the number of personal allusions in his
+verses is undoubtedly large. But he is entirely free from that
+egotism which we have had frequent occasion to blame as the
+prevailing vice of modern poetry. For whereas the modern poet thrusts
+his private feelings into prominence, and finds a luxury in the
+confession of his sorrows, Gray's references to himself are
+introduced on public grounds, or, in other words, with a view to
+poetical effect. He, like our own bards, is 'condemned to groan,' but
+for different reasons--
+
+  'The tender for _another's_ pain,
+     The unfeeling for his own.'
+
+"We have already remarked on the public character of the 'Ode on Eton
+College;' but the second stanza of this poem is a pure expression of
+individual feeling:
+
+  'Ah, happy hills! ah, pleasing shade!
+     Ah, fields belov'd in vain!
+   Where once my careless childhood play'd,
+     A stranger yet to pain!
+   I feel the gales that from ye blow
+   A momentary bliss bestow,
+     As waving fresh their gladsome wing,
+   My weary soul they seem to soothe,
+   And, redolent of joy and youth,
+     To breathe a second spring.'
+
+Every one will perceive the art which enforces the truth of the
+general reflections that follow by the personal experience of the
+speaker. Again, the 'Progress of Poesy' closes with a personal
+allusion which, as it is a climax, might, if ill-managed, have
+appeared arrogant, but which is, in fact, a masterpiece of oratory.
+After confessing his own inferiority to Pindar, the poet proceeds:
+
+  'Yet oft before his infant eyes would run
+     Such forms as glitter in the Muse's ray,
+   With orient hues, unborrow'd of the sun;
+     Yet shall he mount, and keep his distant way,
+   Beyond the limits of a vulgar fate,
+   Beneath the Good how far--but far above the Great!'
+
+There is something very noble in the elevated manner in which the
+self-complacent triumph of genius, expressed by so many poets from
+Ennius downwards, is at once justified and chastened by the
+reflection in these lines. We see in them that the poet alludes to
+himself in the third person, and he repeats this style in the
+'Elegy,' where, after the fourth line, the first personal pronoun is
+never again used. How just and beautiful is the turn where, after
+contemplating the general lot of the lowly society he is celebrating,
+he proceeds to identify his own fate with theirs:
+
+  'For _thee_, who, mindful of th' unhonour'd dead,
+     Dost in these lines their artless tale relate,
+   If, chance, by lonely contemplation led,
+     Some kindred spirit shall inquire thy fate,
+
+  'Haply some hoary-headed swain may say,' etc.
+
+"The two great characteristics of Gray's poetry that we have
+noticed--his self-suppression and his sense of form and dignity--are
+best described by the word 'classical.' What we particularly admire
+in the great authors of Greece and Rome is their public spirit. Their
+writings are full of patriotism, good-breeding, and common-sense, and
+have that happy mixture of art and nature which is only acquired by
+men who have learned from liberty how to discipline individual
+instincts by social refinement. Their style is masculine, clear, and
+moderate; they seem, as it were, never to lose the sense of being
+before an audience, and, like orators who know that they are always
+exposed to the judgment of their intellectual equals, they aim at
+putting intelligible thoughts into the most natural and forcible
+words. Precisely the same qualities are observable in all the best
+English writers of the eighteenth century. Addison, Pope, and
+Goldsmith are perhaps the most shining examples, but the rest are
+'classical' in the sense which we have just indicated; and we can
+hardly be wrong in ascribing this common rhetorical instinct to the
+intimate connection between the men of thought and the men of action,
+which existed both in the free states of antiquity, and in England
+under the rule of the aristocracy. With the advance of the eighteenth
+century the instinct in English literature seems to grow weaker; the
+style of our authors becomes more formal and constrained, and
+symptoms of that dislike of society encouraged by the philosophy of
+Rousseau more frequently betray themselves. As the poetry of Cowper
+shows less social instinct than that of Gray, so Gray himself is
+inferior in this respect to Pope and Goldsmith. But his style has the
+same lofty public spirit that distinguishes his favourite models, and
+no worthier form could be imagined to express the ardour excited in
+the heart of a patriotic poet by the rising fortunes of his native
+country. We feel that it is in every way fitting that the author of
+the 'Elegy' should have been the favourite of Wolfe and the
+countryman of Chatham."
+
+
+
+
+[Illustration: CLIO, THE MUSE OF HISTORY.]
+
+
+
+
+INDEX OF WORDS EXPLAINED.
+
+
+Aeolian, 109.
+
+afield, 86.
+
+amain, 110.
+
+antic, 111.
+
+Arvon, 125.
+
+Attic warbler, 95.
+
+
+Berkeley, 126.
+
+boar (of Richard III.), 130.
+
+broke (=broken), 86.
+
+buskined, 132.
+
+buxom, 104.
+
+
+Cadwallo, 125.
+
+Caernarvon, 125.
+
+captive (proleptic), 104.
+
+chance (adverb), 91.
+
+cheer, 104.
+
+churchway, 92.
+
+curfew, 83.
+
+customed, 92.
+
+Cytherea, 111.
+
+
+Delphi, 114.
+
+
+fond (=foolish), 111, 132.
+
+fretted, 87.
+
+
+glister, 99.
+
+Gloster, 124.
+
+Gorgon, 137.
+
+graved, 93.
+
+grisly, 105, 126.
+
+grove (=graved), 93.
+
+
+haggard, 124.
+
+hauberk, 123.
+
+Helicon, 109.
+
+Hoel, 124.
+
+honied, 96.
+
+Horae, 94.
+
+Hyperion, 112.
+
+
+Idalia, 110.
+
+Ilissus, 114.
+
+
+jet, 99.
+
+
+leaden (eye), 136.
+
+lion-port, 132.
+
+little (=petty), 89.
+
+Llewellyn, 124.
+
+long-expecting, 95.
+
+
+Maeander, 114.
+
+margent, 104.
+
+Modred, 125.
+
+Mortimer, 124.
+
+murther, 129.
+
+murtherous, 105.
+
+
+nightly (=nocturnal), 123.
+
+
+parting (=departing), 83.
+
+pious (=_pius_), 90.
+
+Plinlimmon, 125.
+
+provoke (=_provocare_), 87.
+
+purple, 95, 111, 135.
+
+
+rage, 88.
+
+repair, 132.
+
+repeat, 113.
+
+rose (of snow), 130.
+
+rushy, 96.
+
+
+shaggy, 123.
+
+shell (=lyre), 110.
+
+slow-consuming, 105.
+
+Snowdon, 123.
+
+solemn-breathing, 110.
+
+summer friend, 136.
+
+
+tabby, 99.
+
+Taliessin, 132.
+
+tempered, 110.
+
+Thracia, 110.
+
+Tyrian, 99.
+
+
+upland, 91.
+
+Urien, 125.
+
+
+velvet-green, 110.
+
+
+woeful-wan, 92.
+
+
+ye (accusative), 103.
+
+
+
+
+
+
+
+End of Project Gutenberg's Select Poems of Thomas Gray, by Thomas Gray
+
+*** END OF THIS PROJECT GUTENBERG EBOOK SELECT POEMS OF THOMAS GRAY ***
+
+***** This file should be named 30357.txt or 30357.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/0/3/5/30357/
+
+Produced by Ron Swanson
+
+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.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/old/30357.zip b/old/30357.zip
new file mode 100644
index 0000000..3fa2074
--- /dev/null
+++ b/old/30357.zip