Page 580. Line 13. The tree in Virgil, etc. The grafted tree of Georgics,' ii. 82: Miraturque novas frondes et non sua poma.'

Page 582. Line 125. Not red like Iscariot's. It was a current opinion that Judas had red hair, and he was commonly so represented in the old paintings and tapestries.

Page 585. Line 23. The scarlet thread of Rahab. See Joshua, ii. and vi.

Line 25. The heathen giant. Antæus, the son of Terra, who was invincible so long as he was in contact with the earth.

Line 56. That long low minster. Winchester Cathedral.

Line 62. Enclosed with boards of cedar. See Song of Solomon, viii. 8, 9.

Page 586. Line 75. Saint Andrew's Day. November 30th.

Line 82. Swept and garnish'd after him. See Luke, xi. 25, 26.

Page 587. Line 139. A high-dropsy. The page's blunder for 'hydropsy.'

Page 590. Line 25. An amphisbæna. A fabulous venomous serpent supposed to have a head at each end and to be able to move in either direction. Compare Paradise Lost,' x. 524.

Page 594. Line 260. Their Dies Ira. Their judgment-day; alluding to the Latin hymn, Dies iræ, dies illa,' etc.

Page 596. Line 5. Mercy, that herb-of-grace. A figurative use of the popular name of the rue. Compare Hamlet, iv. 5. 182 or Richard II.' iii. 4. 105.

Page 598. Line 77. What Virgil sings, etc. See the Eneid,' iv. 569: Varium et mutabile semper Femina.'

Page 600. Line 89. Martyr's blood-seed of the Church. The often-quoted saying of Tertullian. Page 606. Line 142. Ignorance crying in the streets, etc. A parody on Proverbs, i. 20, 24.

Page 609. Line 5. The narrow seas. A common name then for the English Channel. Compare The Merchant of Venice,' ii. 8. 28, etc. Page 613. Line 80. The Great Harry. The famous ship of war named for him.

Line 99. The Dance of Death. The separation of bridegroom and bride was represented in various forms in this series of pictures. Compare Longfellow's description of the covered bridge at Lucerne in The Golden Legend,' v.

Page 615. Line 205. The gloom of Saul. See 1 Samuel, xvi. 23, and compare Browning's 'Saul.'

Line 250. This coarseness is a want of phantasy. Phantasy' here is equivalent to 'sensibility,' as the context indicates - a meaning of the word not recognized in the dictionaries.

Page 620. Line 77. Thou light a torch that

never will go out! Referring to Latimer's words to Ridley at the time of their martyr dom: We shall this day light such a candle, by God's grace, as I trust shall never be put out." Page 622. HAROLD.

Page 623. Line 2. Yon grimly-glaring, treblebrandish'd scourge. A remarkable comet appeared in 1066. Several comets have had two or more tails; and that of 1744 had six.

Line 19. Molochize them. Sacrifice them, as infants were sacrificed to Moloch. See Leviticus, xviii. 21, Jeremiah, xxxii. 35, etc.

Page 624. Line 81. The kingly touch that cures the evil. Edward the Confessor was the first English monarch who professed to cure scrofula- the king's evil,' as it came to be called by touching the victims of the disease; and the practice continued until the reign of Anne. Compare Macbeth,' iv. 3. 140 fol.

Page 625. Line 99. The great church of Holy Peter. Westminster Abbey.

Page 628. Line 17. Thou art my music! Compare Shakespeare, 'Sonnets,' 8: Music to hear, why hear'st thou music sadly?' and 1:28: How oft when thou, my music, music play'st,'

etc.

Page 631. Line 1. We hold our Saxon woodcock in the springe. The woodcock was the popular synonym for a fool, the bird being supposed to have no brains. Compare Ford, 'Lover's Melancholy,' ii. 1.: A headpiece-of woodcock without brains in it;' ‘Hamlet,' i. 3. 115: Ay, springes to catch woodcocks,' etc. Page 637. Line 368. Woe, knave, to thy familiar and to thee! All the English editions have Woe knave to thy familiar,' etc.

Page 642. Line 115. all Christian lands, etc. 99, above.

The kingliest Abbey in See on page 625, line

Page 643. Line 50. The Saints at peace, etc. All the English editions point thus: the Saints at peace

The Holiest of our Holiest one should be
This William's fellow-tricksters; etc.

Page 644. Line 85. The Pope and that Arch deacon Hildebrand. Alexander II. and Hildebrand, who became Gregory VII. in 1073.

Page 645. Line 47. Like the great King of all. Most of the English editions, including those of 1894 and 1895, print the great king of all.' The 1st edition has King.'

Page 648. Line 19. Thy fierce forekings had clench'd their pirate hides, etc. This was actu ally done sometimes.

Line 37. The Raven's wing. The raven was the symbol of Denmark.

Page 651. Line 47. A world of tonguesters. Compare Locksley Hall Sixty Years After." 'thro' the tonguesters we may fall.'

Page 652. Line 131. Son Harold, I thy king, etc. The visions here may have been suggested by those in Richard III. v. 3.

Page 659. BECKET.

Page 660. Line 17. Look to your king. There is the suggestion of a double meaning in this and other remarks of Becket during the game.

Line 45. An easy father confessor in thee. The accent on confessor' is on the first syllable; as in ii. 1. 158 (p. 681) below. Compare Romeo and Juliet,' ii. 6. 21: Good even to my ghostly confessor,' etc.

Page 662. Line 201. Toulouse. The English editions have 'Toulouse' here, but 'Thoulouse' in other passages.

Page 664. Line 20. Her scutage. In feudal law, a tax on a knight's fee or scutum (literally, shield); also (as here) a commutation for personal service.

Page 666. Line 128. Out, bear! Here, as elsewhere, a play upon the name 'Fitzurse' (from the Latin ursus, bear).

Page 672. Line 217. Who ranged confusions. Brought order out of disorder; a meaning of 'range' not recognized by the dictionaries, so far as I am aware.

Page 676. Line 431. Deal gently with the young man Absalom. See 2 Samuel, xviii. 12.

Page 677. Line 106. Swine, sheep, ox. The beggar naturally uses the Saxon names for the meats instead of the Norman pork,' 'mutton,' and beef.' Compare the often-quoted dialogue of Gurth and Wamba in Ivanhoe.' So in line 133 Becket translates venison' into the Saxon buck' or 'deer' for the beggar, who does not understand the Norman name.

Page 680. Line 74. A dog's name. Alluding to the common English name, 'dog-rose' (Rosa canina).

Line 76. Thou rose of the world. A play upon Rosamund' as derived from the Latin rosa mundi. Compare v. 2. 140 (p. 702) below. Page 682. Line 44. The golden Leopard. In the coat-of-arms.

Page 684. Line 194. To diagonalize. The word appears to be Tennyson's own coinage. The Oxford Dictionary gives no other example of it.

Page 685. Line 207. Non defensoribus istis. From Virgil, Æneid,' ii. 521.

Page 686. Line 21. Fond excess. Foolish excess; the usual meaning of 'fond' in Elizabethan English.

Page 690. Line 85. Like the Greek king, etc. Compare A Dream of Fair Women,' 107: I was cut off from hope in that sad place Which men call'd Aulis in those iron years; My father held his hand upon his face. Line 88. The young crownling. The Oxford Dictionary gives this as the only example of crownling, which was probably coined by Tennyson. The same seems to be true of 'Goliasing' and 'Goliathizing' in 106 below.

Page 693. Line 56. Come along, then! The one-volume English editions (down to 1897) have an interrogation-mark after then.'

Page 700. Line 43. These wells of Marah! See Exodus, xv. 23.

Page 701. Line 116. Uror pauperis Ibyci. From Horace, Carmina,' iii. 15. 1.

Page 704. Line 270. When God makes up his jewels. See Malachi, iii. 17.

Page 708. THE FALCON.

Page 709. Line 24. Darning, your lordship.

Line 53. Not the head of a toad, and not a heart like the jewel in it. Compare As You Like It,' ii. 1. 12:

Sweet are the uses of adversity,

Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head.

Page 731. THE PROMISE OF MAY. The following is the analysis of Edgar's char acter by Mr. Lionel Tennyson, referred to on p. 731 above:

Edgar is not, as the critics will have it, a freethinker drawn into crime by his Communistic theories; Edgar is not a protest against the atheism of the age; Edgar is not even an honest Radical nor a sincere follower of Schopenhauer; he is nothing thorough and nothing sincere; but he is a criminal, and at the same time a gentleman. These are the two sides of his character. He has no conscience until he is brought face to face with the consequences of his crime, and in the awakening of that conscience the poet has manifested his fullest and sublimest strength. At our first introduction to Edgar we see him perplexed with the haunting of a pleasure that has sated him. "Let us eat and drink, for to-morrow we die " has been his motto; but we can detect that his appetite for all pleasure has begun to pall. He repeats wearily the formulæ of a philosophy which he has followed because it suits his mode of life. He plays with these formulæ, but they do not satisfy him. So long as he had on him the zest of libertinism he did not in all probability trouble himself with philosophy. But now he begins to hanker after his position as a gentleman as a member of society. He feels he has outlawed himself. He has no one but himself to look to. He must endeavor to justify himself to himself. His selfishness compels him to take a step of which he feels the wickedness and repugnancy. The companionship of the girl he has ruined no longer gives him pleasure; he hates her tears because they remind him of himself, his proper self. He abandons her with a pretence of satisfaction; but the philosophical formulæ he repeats no more satisfy him than they satisfy this poor girl whom he deserts. Her innocence has not, however, been wantonly sacrificed by the dramatist. She has sown the seed of repentance in her seducer, though the fruit is slow in ripening. Years after, he returns like the ghost of a murderer to the scene of his crime. He feels remorse. He is ashamed of it; he battles against it; he hurls the old formulæ at it; he acts the cynic more thoroughly than ever. But he is changed. He feels a desire to "make amends." Yet that desire is still only a form of selfishness. He has abandoned the Utopian idiocy" of Communism. Perhaps, as he says with the self-mockery that makes the character so individual and

66

remarkable, because he has inherited estates. His position of gentleman is forced on his notice; he would qualify himself for it, selfishly and without doing excessive penance. To marry the surviving sister and rescue the old father from ruin would be a meritorious act. He sets himself to perform it. At first everything goes well for him; the old weapons of fascination that had worked the younger sister's ruin now conquer the heart of the elder. He is comfortable in his scheme of reparation, and “lays that flattering unction to his soul." Suddenly, however, the girl whom he has betrayed and whom he thought dead returns; she hears him repeating to another the words of love she herself had caught from him and believed. Edgar," she cries, and staggers forth from her concealment, as she forgives him with her last breath, and bids him make her sister happy. Then, and not till then, the true soul of the man rushes to his lips; he recognizes his wickedness, he knows the blankness of his life. That is his punishment. He feels then and will always feel aspirations after good which he can never or only imperfectly fulfil. The position of independence on which he prided himself is wrested from him; he is humiliated; the instrument of his selfish repentance turns on him, with a forgiveness that annihilates him; the bluff and honest farmer, whom he despises, triumphs over him, not with the brute force of an avenging hand, but with the preeminence of superior morality. Edgar quits the scene, never again, we can well believe, to renew his libertine existence, but to expiate with lifelong contrition the monstrous wickedness of the past. This is dramatic justice.'

Page 734. Line 240. 'What are we?' says the blind old man in Lear.' See Lear,' iv. 1. 38:

As flies to wanton boys, are we to the gods;

They kill us for their sport.

Page 737. Line 504. Like the Love-goddess, etc. Aphrodite (Venus) rising from the sea.

Page 738. Line 561. I had no mother. Compare Browning, Blot in the 'Scutcheon,' ii.: 'I had no mother, and I loved him so!'

Page 742. Line 265. Scizzars and Pumpy. Cæsar and Pompey.

ma.

Page 746. Line 540. An' maäted an' muddled Formaäted' (stupefied), compare Macbeth,' v. 1. 86: My mind she has mated, and amazed my sight.'

Page 747. Line 107. The Queen's Real Hard Tillery. The Royal Artillery.

Page 753. Line 633. Make, make! I cannot find the word-forgive it. In the 1st edition this is properly made one line, as it is in the one-volume editions; but in the ten-volume editions of 1893, 1894, etc., Make, make!' is a separate line.

Page 760. WRITTEN BY AN EXILE OF BAS

SORAH.

6th stanza. Like Cama's young glance. For the allusion to the Hindu god of love, Cama or Camdeo, compare The Palace of Art,' line 115. See also the early poem, 'Love,' p. 776.

Page 766. SUBLIMITY.

8th stanza. On Niagara's flood of matchless might. For the penultimate accent of Niagara, compare Goldsmith, The Traveller,' 412: And Niagara stuns with thundering sound.' This was the original pronunciation of the name. See Lippincott's Gazetteer.'

Page 768. THE GRAVE OF A SUICIDE.

1st stanza. Sighs thro' yon grove of aged oaks. The reprint (Macmillan's American edition has "grave' for 'grove.'

3d stanza. For thou, wed to misery from the tomb. The verse halts, unless we accent misery' on the second syllable, a pronunciation which some critics recognize in occasional instances in Elizabethan poetry. I rather suspect some misprint here.

Page 769. The Walk at Midnight. Last stanza. Rise! let us trace, etc. This reminds one of the closing stanza of 'The Miller's Daughter.'

Page 773. THE PASSIONS.

1st stanza. Beware, beware, e'er thou wakest! This is the reading of the reprint, but the 'ere' in the 1st line shows that 'e'er ' is a slip either of the pen or of the type.

A CONTRAST.

1st stanza. The 'riven' and 'giv'n' are in the reprint, which probably follows the original edition.

Page 778. TIMBUCTOO.

I retain the original spelling and pointing.

Page 780. And thou, with ravish'd sense. Some of the reprints have lavish'd sense '; and above multitude of multitudes' for 'multitudes of multitudes.'

Page 781. POEMS PUBLISHED IN THE EDITION OF 1830.

The spelling and pointing here are those of the original edition; except in certain compound words (like ' pale-cold,' 'hollow-hearted,' etc.), which do not there have the hyphen. Page 782. SONG.

1st stanza. The blosmy brere. The blossoming briar, or wild rose. Compare Shelley, Adonais, viii.: 'And build their mossy homes in field and brere.'

and Louth.

1829. TIMBUCTOO.

London

Printed in 'Prolusiones Academica, Cambridge.

1830. POEMS, CHIEFLY LYRICAL. London. 1831. Anacreontics,' 'No More,' and 'A Fragment' contributed to The Gem; a Literary Annual'; and a Sonnet (* Check every outflash,' etc.) to The Englishman's Magazine' for August (reprinted in Friendship's Offering,' 1833).

1832. POEMS BY ALFRED TENNYSON. London (dated 1833).

A Sonnet (There are three things,' etc.) contributed to 'The Yorkshire Literary Annual'; and a Sonnet (Me my own Fate,' etc.) to Friendship's Offering.' 1833. THE LOVER'S TALE. London. Suppressed immediately after publication. 1837.

O that 't were possible' (the germ of Maud) contributed to The Tribute'; and Saint Agnes' Eve' to The Keep

sake.'

875

uted to 'The Keepsake.' Sonnet to Macready read at dinner to him, and printed in The Household Narrative of Current Events.'

1852. ODE ON THE DEATH OF THE DUKE OF WELLINGTON. London.

'Britons, guard your own,' contributed to the Examiner,' January 31; and The Third of February' and 'Hands all Round' to the same, February 7.

1854. The Charge of the Light Brigade,' in the Examiner,' December 9. Reprinted in separate form, in August, 1855. 1855. MAUD, AND OTHER POEMS. London. A second enlarged edition, in 1856. 1857. ENID AND NIMUË: OR THE TRUE AND THE FALSE (earliest form of two 'Idylls of the King'), London. Suppressed before publication.

Illustrated edition of the 'Poems.' Lon

don.

1858. Two additional stanzas to God Save the Queen' (on the marriage of the Princess Royal), printed in the Times,' January 29. 1859. IDYLLS of the King (first four Idylls). London.

1860.

The War' (afterwards 'Riflemen, form'), printed in the Times,' May 9. The Grandmother's Apology,' contributed to Once a Week,' July 16.

'Sea Dreams' contributed to 'Macmillan's Magazine,' January; and 'Tithonus' to the Cornhill Magazine,' February. 1861. The Sailor Boy' contributed to 'Victoria Regia.' 'Helen's Tower,' privately printed.

1862. New edition of 'Idylls of the King,' with dedication to the memory of Prince Albert. Ode for Opening of International Exhibition (May 1), printed in Fraser's Magazine,' June.

1863. A WELCOME (to Alexandra), London. Attempts at Classic Metres in Quantity contributed to the Cornhill Magazine,' December.

1864. ENOCH ARDEN, AND OTHER POEMS. London. Epitaph on the Late Duchess of Kent' printed in the Court Journal,' March 19.

1865. A SELECTION FROM THE WORKS OF ALFRED TENNYSON (containing six new poems). London.

1867. THE WINDOW: OR THE LOVES OF THE WRENS. Privately printed at Canford Manor. Reprinted at London, 1870 (dated 1871).

THE VICTIM. Privately printed at same place.

1868. The Victim' reprinted in 'Good Words,' January. On a Spiteful_Letter' contributed to Once a Week,' January; 'Wages' to 'Macmillan's Magazine,' February; 1865-1866' to 'Good Words,' March; and Lucretius' to 'Macmillan's Magazine,' May.

1869. THE HOLY GRAIL, AND OTHER POEMS. London.

The Sonnet to W. H. Brookfield contributed to the Memoir' by Lord Lyttleton. 1871. The Miniature Edition' of the Poems' (10 vols.), London.

The Last Tournament' contributed to the Contemporary Review,' December. 1872. GARETH AND LYNETTE (and The Last Tournament'), London.

The Library Edition' of the 'Poems' (7 vols.), London (1872-73).

1873. The Popular Edition' of the 'Poems,' London (1873-74).

1874. A WELCOME TO MARIE ALEXANDROVNA (first printed in the Times,' and afterwards separately).

Com

The Cabinet Edition of the 'Poems,' containing important additions. pleted (12 vols.) in 1880.

1875. QUEEN MARY, London.

The Author's Edition' of the 'Poems,' London, 6 vols. (1875–77).

1876. HAROLD, London (dated 1877). 1877. A Prefatory Sonnet' contributed to the Nineteenth Century,' March; Montenegro' to number for May; Sonnet' To Victor Hugo,' to number for June; and 'Achilles over the Trench,' August.

to the

Epitaph on Sir John Franklin written for the memorial in Westminster Abbey. 1878. The Revenge' contributed 'Nineteenth Century,' March. 1879. THE LOVER'S TALE (completed), London.

The Defence of Lucknow,' with 'Dedicatory Poem to the Princess Alice,' contributed to the Nineteenth Century,' April. 1880. BALLADS, AND OTHER POEMS, London. 'Child Songs' contributed to 'Saint Nicholas,' February and March; De Profundis' to Nineteenth Century,' May; and 'Midnight, June 30, 1879,' to Collected Sonnets,' by Charles Tennyson Turner (London, 1880).

.

1881. Despair' contributed to the 'Nineteenth Century,' November.

1882. The Charge of the Heavy Brigade' contributed to Macmillan's Magazine,' March; and 'To Virgil' to the Nineteenth Century,' September.

1883. Frater Ave atque Vale,' contributed to the Nineteenth Century,' March.

The Epitaph on Caxton written for the memorial window in St. Margaret's, Westminster.

1884. THE CUP AND THE FALCON, London. BECKET, London.

Collected editions of the 'Poems' in one volume and in seven volumes (three volumes added in 1886).

Early Spring contributed to 'Youth's Companion; and Freedom' to the New York Independent' and Macmillan's Magazine,' December.

1885. TIRESIAS, AND OTHER POEMS, London. 'The Fleet' contributed to the 'Times,"

1890. New one-volume editions of the Poems without the Dramas, and with the Dramas (reprinted in 1891) including the 'Demeter' poems.

1891. To Sleep' contributed to the 'New Re view,' March.

1892. Verses on The Death of the Duke of Clarence and Avondale' printed in the 'Nineteenth Century,' February.

THE FORESTERS, London and New York.

SILENT VOICES, published privately in London on the day of the Poet's funeral (October 12).

THE DEATH OF ENONE, AKBAR'S DREAM, and OTHER POEMs. London and New York.

A miniature 16-volume edition, bound in 8 volumes (one thousand copies on India paper, printed at the Oxford University Press) was published in September. It did not include The Foresters nor the Death of Enone' volume. It is not mentioned in any of the Bibliographies. 1893. POEMS BY TWO BROTHERS, London; a reprint of the edition of 1827, with four additional poems from MS. and Timbuctoo." Edited, with preface, by Hallam Lord Tennyson. London and New York.

New 10-volume edition of the Poems, in cluding the Foresters' and the poems in The Death of Enone' volume; also a new one-volume edition similarly complete. London and New York.

BECKET, as arranged for the stage by Henry Irving, and presented at the Lyceum Theatre, February 6, 1893. London and New York.

1897. ALFRED LORD TENNYSON: A Memoir, by his Son. 2 vols. London and New York. Contains seventy or more unpub lished poems and fragments, mostly of early date.

1898. New 'Globe Edition' of the Poems." complete in one volume. London and New York.