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188 cxc The Editor in this and in other instances has risked the addition (or the change) of a Title, that the aim of the verses following may be grasped more clearly and immediately.
194 cxcvIn Nature's Eremite: like a solitary thing in Nature. --This beautiful Sonnet was the last word of a poet deserving the title 'marvellous boy' in a much higher sense than Chatterton. If the fulfilment may ever safely be prophesied from the promise, England appears to have lost in Keats one whose gifts in Poetry have rarely been surpassed. Shakespeare, Milton, and Wordsworth, had their lives been closed at twenty-five, would (so far as we know) have left poems of less excellence and hope than the youth who, from the petty school and the London surgery, passed at once to a place with them of 'high collateral glory.'
It is impossible not to regret that Moore has written
206 CCIX Bonnivard, a Genevese, was imprisoned by the Duke of Savoy in Chillon on the lake of Geneva for his courageous defence of his country against the tyranny with which Piedmont threatened it during the first half of the seventeenth century.-This noble Sonnet is worthy to stand near Milton's on the Vaudois massacre.
Switzerland was usurped by the French under
209 ccxv This battle was fought Dec. 2, 1800, between the
212 CCXVIII After the capture of Madrid by Napoleon, Sir J. Moore retreated before Soult and Ney to Corunna, and was killed whilst covering the embarcation of his troops. His tomb, built by Ney, bears his inscription-'John Moore, leader of the English armies, slain in battle, 1809.'
The Mermaid was the club-house of Shakespeare, Ben Jonson, and other choice spirits of that age. 226 ccxxx Maisie: Mary. Scott has given us nothing more complete and lovely than this little song, which unites simplicity and dramatic power to a wildwood music of the rarest quality. No moral is drawn, far less any conscious analysis of feeling attempted:the pathetic meaning is left to be suggested by the
mere presentment of the situation. Inexperienced critics have often named this, which may be called the Homeric manner, superficial, from its apparent simple facility: but first rate excellence in it (as shown here, in CXCVI, CLVI, and cxxIx) is in truth one of the least common triumphs of Poetry.-This style should be compared with what is not less perfect in its way, the searching out of inner feeling, the expression of hidden meanings, the revelation of the heart of Nature and of the Soul within the Soul,-the Analytical method, in short,-most completely represented by Wordsworth and by Shelley.
231 CCXXXIV correi: covert on a hillside. Cumber: trouble. 243 CCXLIII This poem has an exaltation and a glory, joined with an exquisiteness of expression, which place it in the highest rank amongst the many masterpieces of its illustrious Author.
252 CCLII interlunar swoon: interval of the Moon's invisibility. 257 CCLVI Calpe: Gibraltar. Lofoden: the Maelstrom whirlpool off the N.W. coast of Norway.
259 CCLVII This lovely poem refers here and there to a ballad by Hamilton on the subject better treated in cxxvII and CXXVIII.
271 CCLXVIII Arcturi: seemingly used for northern stars. And wild roses &c. Our language has no line modulated with more subtle sweetness. A good poet might have written And roses wild-yet this slight change would disenchant the verse of its peculiar beauty. 275 CCLXX Ceres' daughter: Proserpine. God of Torment: Pluto. CCLXXI This impassioned address expresses Shelley's most rapt imaginations, and is the direct modern representative, of the feeling which led the Greeks to the worship of Nature.
284 CCLXXIV The leading idea of this beautiful description of a day's landscape in Italy is expressed with an obscurity not unfrequent with its author. It appears to be,-On the voyage of life are many moments of pleasure, given by the sight of Nature, who has power to heal even the worldliness and the uncharity of man.
1. 24 Amphitrite was daughter to Ocean.
1. 1 Sungirt City: It is difficult not to believe that the correct reading is Seagirt. Many of Shelley's poems appear to have been printed in England during his residence abroad: others were printed from his manuscripts after his death. Hence probably the text of no English Poet after 1660 contains so many errors. See the Note on No. IX.
289 CCLXXV 1. 21 Maenad: a frenzied Nymph, attendant on Dionysus in the Greek mythology.
She was a phantom of delight
Since brass, nor stone, nor earth, ner boundless sea
Souls of Poets dead and gone
Spring, the sweet Spring, is the year's pleasant king
Stern Daughter of the voice of God
Surprized by joy-impatient as the wind
Sweet, be not proud of those two eyes
Tax not the royal Saint with vain expense
Tell me where is Fancy bred .
That time of year thou may'st in me behold
That which her slender waist confined
There was a time when meadow, grove, and stream
There is a garden in her face.
There's not a joy the world can give like that it takes away 218
The World is too much with us: late and soon
Three years she grew in sun and shower.
The World's a bubble, and the Life of Man
Thy braes were bonny, Yarrow stream
Tired with all these, for restful death I cry.
To me, fair Friend, you never can be old
Two Voices are there, one is of the Sea
Under the greenwood tree
Verse, a breeze 'mid blossoms straying
Waken, lords and ladies gay
Wee, sleekit, cow'rin', tim'rous beastie
When Britain first at Heaven's command
When he who adores thee has left but the name
When I consider how my light is spent
When I have borne in memory what has tamed
When the sheep are in the fauld, and the kye at hame
Why art thou silent! Is thy love a plant
Yet once more, O ye laurels, and once more
R. Clay, Son, and Taylor, Printers
290 CCLXXV 1. 4 Plants under water sympathize with the seasons of the land, and hence with the winds which affect them. 291 CCLXXVI Written soon after the death, by shipwreck, of Wordsworth's brother John. This Poem should be compared with Shelley's following it. Each is the most complete expression of the innermost spirit of his art given by these great Poets:-of that Idea which, as in the case of the true Painter, (to quote the words of Reynolds,) 'subsists only in the mind: The sight never beheld it, nor has the hand expressed it; it is an idea residing in the breast of the artist, which he is always labouring to impart, and which he dies at last without imparting.'
the Kind: the human race.
293 CCLXXVIII Proteus represented the everlasting changes, united with ever-recurrent sameness, of the Sea. CCLXXIX the Royal Saint: Henry VI.