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firmament on high） Alexander Pope （1688…1744） Elegy William Cowper
（1731…1800） Lines on receiving his mother's picture Anna Laetitia
Barbauld （1743…1825） Life William Blake （1757…1828） The land of
dreams The piper Holy Thursday The tiger To the muses Love's secret
Robert Burns （1759…1796） To a mouse The farewell William Wordsworth
（1770…1850） Why art thou silent？ Thoughts of a Briton on the subjugation
of Switzerland It is a beauteous evening； calm and free On the extinction
of the Venetian Republic O friend！ I know not Surprised by joy To
Toussaint L'ouverture With ships the sea was sprinkled The world Upon
Westminster bridge； Sept。 3； 1802 When I have borne in memory Three
years she grew The daffodils The solitary reaper Elegiac stanzas To H。 C。
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THE FLOWER OF THE MIND
'Tis said that some have died for love The pet lamb Stepping westward
The childless father Ode on intimations of immortality Sir Walter Scott
（1771…1832） Proud Maisie A weary lot is thine The Maid of Neidpath
Samuel Taylor Coleridge （1772…1834） Kubla Khan Youth and age The
rime of the ancient mariner Walter Savage Landor （1775…1864） Rose
Aylmer Epitaph Child of a day Thomas Campbell （1767…1844）
Hohenlinden Earl March Charles Lamb （1775…1835） Hester Allan
Cunningham （1784…1842） A wet sheet and a flowing sea George Noel
Gordon； Lord Byron （1788…1823） The Isles of Greece Percy Bysshe
Shelley （1792…1822） Hellas Wild with weeping To the night To a skylark
To the moon The question The waning moon Ode to the west wind Rarely；
rarely comest thou The invitation； to Jane The recollection Ode to heaven
Life of life Autumn Stanzas written in dejection near Naples Dirge for the
year A widow bird The two spirits John Keats （1795…1821） La Belle Dame
sans merci On first looking into Chapman's Homer To sleep The gentle
south Last sonnet Ode to a nightingale Ode on a Grecian urn Ode to
Autumn Ode to Psyche Ode to Melancholy Hartley Coleridge （1796…1849）
She is not fair
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THE FLOWER OF THE MIND
ALICE MEYNELL'S
COMMENTS/NOTES
EPITHALAMION
Written by Spensor on his marriage in Ireland； Elizabeth Boyle of
Kilcoran； who survived him； married one Roger Seckerstone； and was
again a widow。 Dr。 Grosart seems to have finally decided the identity of
the heroine of this great poem。 It is worth while to explain； once for all；
that I do not use the accented e for the longer pronunciation of the past
participle。 The accent is not an English sign； and； to my mind； disfigures
the verse； neither do I think it necessary to cut off the e with an apostrophe
when the participle is shortened。 The reader knows at a glance how the
word is to be numbered； besides； he may have his preferences where
choice is allowed。 In reading such a line as Tennyson's
〃Dear as remembered kisses after death；〃
one man likes the familiar sound of the word 〃remembered〃 as we all
speak it now； another takes pleasure in the four light syllables filling the
line so full。 Tennyson uses the apostrophe as a rule； but neither he nor any
other author is quite consistent。
ROSALYND'S MADRIGAL
It may please the reader to think that this frolic； rich； and delicate
singer was Shakespeare's very Rosalind。 From Dr。 Thomas Lodge's novel；
Euphues' Golden Legacy； was taken much of the story； with some of the
characters； and some few of the passages； of As You Like It。
ROSALINE
This splendid poem （from the same romance）； written on the poet's
voyage to the Islands of Terceras and the Canaries； has the fire and
freshness of the south and the sea； all its colours are clear。 The reader's ear
will at once teach him to read the sigh 〃heigh ho〃 so as to give the first
syllable the time of two （long and short）。
FAREWELL TO ARMS
George Peele's four fine stanzas （which must be mentioned as
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THE FLOWER OF THE MIND
dedicated to Queen Elizabeth； but are better without that dedication） exist
in another form； in the first person； and with some archaisms smoothed。
But the third person seems to be far more touching； the old man himself
having done with verse。
THE PASSIONATE SHEPHERD
The sixth stanza is perhaps by Izaak Walton。
TAKE； O TAKE THOSE LIPS AWAY
The author of this exquisite song is by no means certain。 The second
stanza is not with the first in Shakespeare； but it is in Beaumont and
Fletcher。
KIND ARE HER ANSWERS
These verses are a more subtle experiment in metre by the musician
and poet； Campion； than even the following； Laura； which he himself
sweetly commended as 〃voluble； and fit to express any amorous conceit。〃
In Kind are her Answers the long syllables and the trochaic movement of
the short lines meet the contrary movement of the rest； with an exquisite
effect of flux and reflux。 The 〃dancers〃 whose time they sang must have
danced （with Perdita） like 〃a wave of the sea。〃
DIRGE
I have followed the usual practice in omitting the last and less
beautiful stanza。
FOLLOW
Campion's 〃airs；〃 for which he wrote his words； laid rules too urgent
upon what would have been a delicate genius in poetry。 The airs demanded
so many stanzas； but they gave his imagination leave to be away； and they
depressed and even confused his metrical play； hurting thus the two vital
spots of poetry。 Many of the stanzas for music make an unlucky repeating
pattern with the poor variety that a repeating wall…paper does not attempt。
And yet Campion began again and again with the onset of a true poet。
Take； for example； the poem beginning with the vitality of this line；
〃touching in its majesty〃…
〃Awake； thou spring of speaking grace； mute rest becomes not thee！〃
Who would have guessed that the piece was to close in a jogging
stanza containing a reflection on the fact that brutes are speechless； with
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