pretty lines a faint prelude of Wordsworth’s immortal poem addressed to
the same bird.
P. 177, No. cxlvii.--There can scarcely be a severer trial of the poet’s
power of musical expression, of his command of the arts by which melody
is produced, than the unrhymed lyric, which very seldom perfectly
satisfies the ear. That Collins has so completely succeeded here is
itself a sufficient answer to Gray’s assertion that he ‘had a bad ear,’
to Johnson’s complaint, ‘his lines commonly are of slow motion; clogged
and impeded with a cluster of consonants.’ Collins, in whom those lines
of Wordsworth found only too literal a fulfilment,
‘We poets do begin our lives in gladness,
But thereof comes in the end despondency and madness,’
has falsified the prediction of Gray. Writing of him and of Warton,
who both had lately died, Gray passes this judgment upon them, ‘They
both deserve to live some years, but will not.’ Half of this prophecy
has come true; and Warton cannot be said to have lasted to our time; but
Collins has now won a position so assured that instead of the ‘some
years’ which were all that Gray would have allotted to him, we may
confidently affirm that he will live as long as any love for English
poetry survives.
P. 181, No. cl.--This and the following poem are of the court, courtly.
At the same time a truly poetical treatment may raise _vers de Société_
such as these are, into a higher sphere than their own; and if I do not
mistake, it has done so here; and may justly claim for these poems that
they be drawn from the absolute oblivion into which they have fallen.
Ambrose Philips, it is true, has a niche in _Johnson’s Poets_; but so
much which is stupid, and so much which is worse than stupid, finds its
place there, that for a minor poet, for all except those mighty ones to
whom admission or exclusion would be a matter of absolute indifference,
who are strong enough to burst any cerements, that collection is rather
a mausoleum of the dead than a temple of the living. These poems with
two or three others of like kind--a singularly beautiful one is quoted
in Palgrave’s _Golden Treasury_--earned for Philips the title of Namby
Pamby, so little were his contemporaries able to appreciate even the
partial return to nature which they display. For a clever travesty of
his style by Isaac Hawkins Browne, beginning,
‘Little tube of mighty power,
Charmer of an idle hour,’
see Campbell’s _Specimens_, vol. v. p. 361.
P. 186, No. cliii.--This admirable poem has this in common with another
of scarcely inferior merit,
‘And ye shall walk in silk attire,’
that they both first appeared as broad-sheets sold in the streets of
Edinburgh; and, justly popular as they both from the first have been, no
one has ever cared to challenge either of them as his own. This,
however, though not claimed by Mickle, nor included by him in an edition
of his poems published by himself, was after his death claimed _for_
him, and Allan Cunningham thinks the claim to be fairly made out. It
mainly rests on the fact that a copy of the poem with alterations
marking the text as in process of formation was found among his papers
and in his handwriting. Without inspection of the document, it is
impossible to say what value as evidence it possesses. Certainly
everything else which we know of Mickle’s is rather evidence against his
authorship of this exquisite domestic lyric than for it. Still I have
not felt myself at liberty to disturb the ascription of it to him.
P. 189, No. clv.--The immense superiority of this poem over every other
in the little volume of Hamilton of Bangour’s poems, which was published
at Edinburgh in 1760, some six years after his death, is not easy to
account for. This poem has its faults; that it is a modern seeking to
write in an ancient manner is sometimes too evident; but it is a tragic
story tragically told, the situation boldly conceived, and the treatment
marked by strength and passion throughout. Nothing else in the volume
contains a trace of passion or of power, or is of the slightest value
whatever. The fact that the poet has here come within the circle of the
inspirations of Yarrow cannot of itself be accepted as sufficient to
explain a fact which is certainly a curious one. It is plain from more
than one citation or allusion that Wordsworth, in his _Yarrow Unvisited_
and _Yarrow Visited_, had this poem quite as much in his eye as the
earlier ballads whose scene is laid on the banks of the same stream.
P. 199, No. clx.--I cannot refuse myself the pleasure of quoting Mr.
Palgrave’s beautiful criticism of this sonnet, in its own kind of a
beauty so peerless:--‘The Editor knows no sonnet more remarkable than
this which records Cowper’s gratitude to the Lady whose affectionate
care for many years gave what sweetness he could enjoy to a life
radically wretched. Petrarch’s sonnets have a more ethereal grace and a
more perfect finish, Shakespeare’s more passion, Milton’s stand supreme
in stateliness, Wordsworth’s in depth and delicacy. But Cowper’s unites
with an exquisiteness in the turn of thought which the ancients would
have called irony, an intensity of pathetic tenderness peculiar to his
loving and ingenuous nature.’
P. 201, No. clxii.--Gray, who esteemed Tickell ‘a poor short-winded
imitator of Addison,’ qualifies his contempt so far that he adds, ‘His
ballad, however, of Colin and Lucy I always thought the prettiest in the
world.’ After some hesitation I have not thought it pretty enough for a
place in this volume. It is otherwise with the poem for which I have
found room. Johnson’s censure of poems, whether praise or blame, carries
no great weight with it; and when he says of this one, ‘nor is a more
sublime or more elegant funeral poem to be found in the whole compass of
English literature,’ the praise is extravagant. Still it has real
merits, and sounds like the genuine utterance of a true regret for one
who had been the poet’s effectual patron and friend.
P. 204, No. clxiii.--There have been many guesses who the ‘Unfortunate
Lady’ commemorated in these pathetic, but thoroughly pagan, lines may
have been; but the mystery which wraps her story has never been
dispersed. With the ten first lines before us nothing can be idler than
to deny that she was one who had laid violent hands on her own life.
P. 207, No. clxiv.--Robert Levet lived above twenty years under
Johnson’s roof, a dependant and humble friend, and when under it he died
in 1782, Johnson commemorated his genuine worth in these admirable
lines. He is mentioned several times in Boswell’s _Life_.
P. 209, No. clxvi.--This is the last original piece which Cowper wrote;
and, as Southey has truly observed, ‘all circumstances considered, one
of the most affecting that ever was composed.’ The incident on which it
rests is related in Anson’s _Voyage round the World_, fifth edition, p.
79.
P. 212, No. clxviii.--This noblest elegy has a point of contact with an
illustrious event in English history. As the boats were advancing in
silence to that night-assault upon the lines of Quebec which should give
Canada to the English crown, Wolfe repeated these lines in a low voice
to the other officers in his boat, adding at the close of the
recitation, ‘Now, gentlemen, I would rather be the author of that poem
than take Quebec.’ For himself within a few hours that line was to find
its fulfilment,
‘The paths of glory lead but to the grave.’
We owe to Lord Stanhope (_History of England from the Peace of
Utrecht_, c. 35) this interesting anecdote.--l. 45-72: Gray, who had
read almost everything, may have here had in his eye a remarkable
passage in Philo, _De Sobriet_. § 9. Having spoken of the many who were
inwardly equipped with the highest gifts and faculties, he goes on: τὀ
δἐ κάλλος τῶν ἐν ταῖς διανοίαις ἀγαλμάτων οὐκ ίσχυσαν ἐπιδείξασθαι δ’ἀ
πενίαν ἠ ἀδοξίαν, ἠ νόσον σώματος, ἠ τἀς αλλας κῆρας, όσαι τὀν
ἀνθρώπινον περιπολοῦσι βίον. And then he goes on, exactly as Gray does,
to point out how these outward hindrances have circumscribed not merely
the virtues of some but the crimes of others: πάλιν τοίνυν κατἀ τἀ
ἐναντία μυρίους ἐστἰν ἰδιῖν ἀνάνδρούς, ἀκολάστους, ἀφρονας, ἀδίκους,
ἀσεβεῖς ἐν ταῖς διανοίαις ὑπάρχοντας, τὀ δἐ κακίας ἐκάστης αίσχος
ἀδυνατοῦντας ἐπιδεικνυσθαι δἰ ἀκαιμίαν τῶν εἰς τὀ ἁμαρτάνειν καιρῶν.
P. 216, No. clxix.--I have not included hymns in this collection, save
only in rare instances when a high poetical treatment of their theme has
given them a value quite independent of that which they derive from
adequately fulfilling the special objects for which they were composed.
It is thus with this noble poem, which, though not eminently adapted for
liturgic use, is yet to my mind quite the noblest among Charles Wesley’s
hymns. It need hardly be said that the key to it, so far as a key can be
found from without and not from within, lies in the study of Gen. xxxii.
24-32.--l. 59: The attempt to break down in English the distinction
between the perfect and the past participle, and because they are
identical in some instances to regard them as identical in all, has
happily been defeated, at least for the present; but it has left its
mark on much of the poetry of the seventeenth and eighteenth century,
and Wesley, who here writes ‘strove’ for ‘striven,’ and l. 68, ‘rose’
for ‘risen,’ only does what Shakespeare and Milton have done before him.
P. 241, No. cxci.--Campbell’s _Lord Ullin’s Daughter_ is a poem of
considerable merit, but a comparison of it with this of Shelley (the
motive of the two compositions is identical) at once reveals the
distinction between a poet of first-rate eminence, of ‘imagination all
compact,’ and one of the second order. Both poems are narrative; but the
imagination in one has fused and absorbed the whole action of the story
into itself in a way which is not so much as attempted in the other.
P. 256, No. ccviii.--In Beattie’s _Life and Letters of Campbell_, vol.
ii. p. 42, we have the original sketch of this poem. It is very
instructive, revealing as it does how one chief secret of success in
poetry may be the daring to omit. As it is there sketched out, extending
as it does to twenty stanzas of six lines each, that is to more than
twice its present length, many of these stanzas being but of secondary
merit, it would have passed as a spirited ballad, and would have
presently been forgotten, instead of taking as it has now done its place
among the noblest lyrics, the trumpet-notes in the language. But indeed
this willingness to sacrifice parts to the interests of the whole is a
condition without which no great poem, least of all a great lyric poem,
which is absolutely dependent for its effects on rapidity of movement,
can be written; and those who would fain escape the inevitable doom of
oblivion which awaits almost all verse will do well to keep ever in
remembrance how immeasurably more in poetry the half will sometimes be
than the whole.
P. 265, No. ccxiv.--There is a mistake here, into which it is curious
that one who had watched so closely as Scott had done the struggle with
Republican and Imperial France should have fallen. It was not Marengo
(1800) but Austerlitz (1805) which did so much to kill Pitt, and with
which is connected the anecdote of his last days here referred to, and
thus related by Lord Stanhope: ‘On leaving his carriage, as he passed
along the passage to his bedroom [at Putney, which he never left], he
observed a map of Europe which had been drawn down from the wall; upon
which he turned to his niece, and mournfully said, “Roll up that map; it
will not be wanted these ten years.”’ (_Life of Pitt_, vol. iv. p. 369.)
P. 266, No. ccxv.--After the battle of Novara, which had virtually
decided the conflict for a time, but before peace was signed between
Austria and Piedmont, the inhabitants of Brescia rose against their
Austrian garrison, March 21, 1849. They were crushed after a gallant
struggle, but one which had been hopeless from the first.
P. 277, No. ccxix.--This poem is full of allusions to the tragical
issues of Shelley’s first rash and ill-considered marriage--issues which
must have filled him ever after with very deep self-reproach. Far too
slight as the expression of this is here--indeed it is hardly here at
all--we know from other sources that the retrospect was one which went
far to darken his whole after life. This serious fault has not hindered
me from quoting these lines, in many respects of an exquisite tenderness
and beauty, and possessing that deep interest which autobiography must
always possess. One stanza has been omitted.
P. 291, No. ccxxiv.--These lines, written in Greece, and only three
months before his death, are the last which Byron wrote, and, in their
earlier stanzas at least, about the truest. In many of his smaller poems
of passion, and in _Childe Harold_ itself, there is a _falsetto_ which
strikes painfully on the ear of the mind. But it is quite otherwise with
these deeply pathetic lines, in which the spoiled child of this world
passes judgment on that whole life of self-pleasing which he had laid
out for himself, and declares what had been the mournful end of it all.
P. 315, No. ccxlvii.--This, if I mistake not, is the only poem by
Herbert Knowles which survives. It appeared first in _The Quarterly
Review_, vol. ii. p. 396, with this account of the writer: ‘His life had
been eventful and unfortunate, till his extraordinary merits were
discovered by persons capable of appreciating and willing and able to
assist him. He was then placed under a kind and able instructor, and
arrangements had been made for supporting him at the University; but he
had not enjoyed that prospect many weeks before it pleased God to remove
him to a better world. The reader will remember that they are the verses
of a schoolboy, who had not long been taken from one of the lowest
stations of life, and he will then judge what might have been expected
from one who was capable of writing with such strength and originality
upon the tritest of all subjects.’ It was Southey, I believe, who wrote
thus, in whose estimate of these verses I entirely concur; as it was he
who was prepared to befriend the youthful poet, if he had not passed so
soon beyond the reach and need of human help.
P. 326, No. cclvii.--It is not a little remarkable that one to whom
English was an acquired language, who can have had little or no
experience in the mechanism of English verse, should yet have left us
what Coleridge does not hesitate to call, ‘the finest and most grandly
conceived sonnet in our language’--words, it is true, which he slightly
modifies by adding, ‘at least it is only in Milton and in Wordsworth
that I remember any rival.’
P. 352, No. cclxxii.--This poem is drawn from a small volume with the
title, _David and Samuel, with other Poems_, published in the year 1859.
Much in the volume has no right to claim exemption from the doom which
before very long awaits all verse except the very best. Yet one or two
poems have caught excellently well the tone, half serious, half
ironical, of Goethe’s lighter pieces; while more than one of the more
uniformly serious, this above all, seem to me to have remarkable merit.
It finds its motive, as I need hardly say, in the resolution of the
Dutch, when their struggle with the overwhelming might of Louis XIV. and
his satellite Charles II. seemed hopeless, to leave in mass their old
home, and to found another Holland among their possessions in the
Eastern world.
P. 354, No. cclxxiii.--During the last Chinese war the following passage
occurred in a letter of the Correspondent of _The Times_: ‘Some Seiks,
and a private of the Buffs, having remained behind with the grog-carts,
fell into the hands of the Chinese. On the next morning, they were
brought before the authorities, and commanded to perform the kotou. The
Seiks obeyed; but Moyse, the English soldier, declaring that he would
not prostrate himself before any Chinaman alive, was immediately knocked
upon the head, and his body thrown on a dunghill.’
P. 356, No. cclxxiv.--Turner’s fine picture of the Téméraire, a grand
old man-of-war (it had been, as its name indicates, taken from the
French) towed into port by a little ugly steamer, that so, after all its
noble toils, it might there be broken up, is itself a poem of a very
high order, which has here been finely transferred into verse.
P. 359, No. cclxxviii.--A selection of Walt Whitman’s poetry has very
lately been published in England, the editor of this declaring that in
him American poetry properly so-called begins. I must entirely dissent
from this statement. What he has got to say is a very old story indeed,
and no one would have attended to his version of it, if he had not put
it more uncouthly than others before him. That there is no contradiction
between higher and lower, that there is no holy and no profane, that the
flesh has just as good rights as the spirit--this has never wanted
prophets to preach it, nor people to act upon it; and this is the
sum-total of his message to America and to the world. I was glad to find
in his _Drum-taps_ one little poem which I could quote with real
pleasure.
P. 379, No. ccxcviii.--_Tithonus_ is a noble variation on Juvenal’s
noble line in the 10th Satire, where, enumerating the things which a
wise man may fitly pray for, he includes among these the mind and
temper,
Qui spatium vitæ extremum inter munera ponat
Naturæ:
words which, grand as they are, reappear in still grander form, even
as they are brought into a more intimate connection with this poem in
Dryden’s translation,
‘And count it nature’s privilege to die.’
P. 386, No. ccciv.--Few readers of this and other choice specimens of
American poetry--some of which have now for the first time found their
way into any English anthology--but will share the admiration which I
cannot refuse to express for many among them. It is true that they are
not always racy of the soil, that sometimes they only do what has been
as well done, though scarcely better, in the old land; but whether we
regard the perfect mechanism of the verse, the purity and harmony of the
diction, the gracious thoughts so gracefully embodied, these poems, by
Whittier, by Bryant, by Holmes, by Emerson and by others, do, so far as
they reach, leave nothing to be desired.
INDEX OF AUTHORS.
NO.
ALDRICH, James (1810-1856), CCXCVII
ALFORD, Henry, _b._ 1810, CCC
ARNOLD, Edwin, _b._ 1831, CCLXXXVII
ARNOLD, Matthew, _b._ 1822, CCLVIII
AYTOUN, Sir Robert (1570-1638), XIV
BACON, Lord (1561-1616), IV
BAILLIE, Joanna (1762-1851), CLXXXVII
BAXTER, Richard (1615-1691), CXXXII
BEAUMONT (1586-1616) and FLETCHER (1576-1625), XXIV, XXVI,
XXVII, XXVIII, XLIII
BEAUMONT, Francis (1586-1616), LV
BEAUMONT, Sir John (1582-1628), LIII
BEDDOES, Thomas Lovell (1803-1849), CCXXXI
BERKELEY, George (1684-1753), CXXXVII
BLACKSTONE, Sir William (1723-1780), CXXXVIII
BLAKE, William (1757-1828), CLXXV, CLXXXIII, CXCIV, CCXXXVI, CCXXXIX
BOWLES, William L., (1762-1850), CLXXVIII
BROWNE, Sir Thomas (1605-1682), CXXXI
BROWNING, Elizabeth Barrett (1809-1861), CCXL, CCLIV
BROWNING, Robert, _b._ 1812, CCLIX, CCLXXXVIII, CCLXXXIX
BRYANT, William Cullen, _b._ 1794, CCLX, CCLXIII
BUCHANAN, Robert, _b._ 1841, CCXCIV
BURBIDGE, Thomas, _b._ 1816, CCLXI, CCLXIV
BURNS, Robert (1759-1796), CXLVIII, CLIV, CLXV
BYRON, Lord (1788-1824), CLXXXVI, CCIII, CCXIII, CCXXIV
CAMPBELL, Thomas (1777-1844), CLXXI, CCVII, CCVIII, CCL
CAMPION, Thomas, XXII
CAREW, Thomas (1589-1639), LXV, LXXX, CXX
CHARLES I. (1600-1649), CII
CLARE, John (1793-1864), CLXXVII
CLEVELAND, John (1613-1659), XLVI
CLOUGH, Arthur Hugh (1819-1861), CCXXV, CCXXIX, CCXXXV
COLERIDGE, Hartley (1796-1849), CLXXXVIII, CXCV, CXCVI
COLERIDGE, Samuel Taylor (1772-1834), CLXXIX, CLXXXV, CCXVI, CCXX
COLLINS, William (1720-1756), CXLV, CXLVII
COTTON, Charles (1630-1687), LXXXVII
COWLEY, Abraham (1618-1677), LXXXVIII, CV, CVI
COWPER, William (1731-1800), CLX, CLXI, CLXVI
CRASHAW, Richard (1600-1650), CXVII
CROLY, George (1780-1860), CLXXXIV
CUNNINGHAM, Allan (1784-1842), CCLII
DAVENANT, Sir William (1605-1668), C, CVII, CXXVI, CLII
DE VERE, Aubrey, _b._ 1814, CCLXXXI
DONNE, John (1573-1631), LXIV, CXXIII, CXXIV
DOUBLEDAY, Thomas, CLXXXI, CLXXXII
DOYLE, Sir Francis Hastings, _b._ 1810, CCLXXIII
DRAYTON, Michael (1563-1631), XXXV, XLI
DRUMMOND, William (1585-1649), XXXI, XXXII, XXXIII, XXXIV, LI
DRYDEN, John (1631-1700), LXXXIX, XC, CXIII, CXXIV
EASTMAN, Charles Gammage, CCXCVI
ELLIOT, Ebenezer (1781-1841), CC
ELLIOTT, Jane (1727-1805), CXLII, CC
EMERSON, Ralph Waldo, _b._ 1803, CCLXII, CCLXXV
FALKLAND, Lord (1610-1643), CXIV
FANSHAWE, Sir Richard (1608-1666), LXIX
FORSTER, John, _b._ 1812, CCLXXX
GAY, John (1688-1732), CXXXIX
GLEN, William, CXLIII
GLOVER, Richard (1712-1785), CXLI
GRAY, David (1838-1861), CCXXXIII, CCXXXIV, CCXXXV
GRAY, Thomas (1716-1771), CXLIX, CLVII, CLXVIII
GREENE, Robert (1560-1592), XXI
HABINGTON, William (1605-1645), LXX, LXXI
HALE, Sir Matthew (1609-1676), CIX
HALLAM, Arthur Henry (1811-1834), CCII
HAMILTON, William (1704-1754), CLV
HERBERT, George (1593-1632), LXXXI, CXXVII
HERRICK, Robert (1591-1674), LXVI, LXXXII
HOLMES, Oliver Wendell, _b._ 1809, CCCI
HOLYDAY, Barten (1593-1661), XCI
HOOD, Thomas (1798-1845), CCXLVI
HOUGHTON, Lord, _b._ 1809, CCLXV, CCLXXIV
HUME, Alexander (1560-1607), VIII
HUNNIS, William, XIII
HUNT, Leigh (1784-1859), CXCVII
IRVING, Edward (1792-1834), CCLV
JAMES, Thomas (17th Century), CXIX
JOHNSON, Samuel (1709-1784), CLXIV
JONES, Sir William (1746-1794), CXLIV
JONSON, Ben (1574-1637), XXIII, XL, XLII, XLV
KEATS, John (1795-1821), CXCIII, CCI, CCXXII, CCXXVII
KEBLE, John (1792-1866), CCXLIV, CCLIII
KING, Henry (1591-1669), LXXII, CVIII, CXXI
KINGSLEY, Charles, _b._ 1819, CCLXXXII, CCXCV
KNOWLES, Herbert (1798-1817), CCXLVII
LAMB, Charles (1775-1835), CCXXXII, CCXLII
LANDOR, Walter Savage (1775-1864), CCXLIII, CCLI
LINDSAY, Lady Anne (1750-1825), CLVI
LOGAN, John (1748-1788), CXLVI
LONGFELLOW, Henry Wadsworth, _b._ 1807, CCLXXVI, CCLXXXIII
LOVELACE, Richard (1618-1658), XCVII, XCVIII
LUSHINGTON, Henry (1812-1855), CCXV
MACAULAY, Lord (1800-1859), CCV
MACDONALD, George, _b._ 1824, CCLXXXIV
MARLOWE, Christopher (1562-1593), XIX
MARVELL, Andrew (1620-1678), LXXIX, CIII, CXXIX
MICKLE, William Julius (1734-1788), CLIII
MILTON, John (1608-1674), LXXVIII, LXXXIII, LXXXV,
LXXXVI, CIV, CXVI, CXXV, CCXLIX
MONTGOMERY, James (1771-1854), CLXXII
MONTROSE, Marquis of (1612-1651), XCVI
MOORE, Thomas (1780-1852), CCXXX, CCXLIX
NAIRN, Lady (1766-1845), CLXVII
NEWCASTLE, Duchess of (1624-1673), XCII
NEWMAN, John Henry, _b._ 1801, CCXC, CCCII
OXFORD, Earl of (1534-1604), XI
PALMER, John Williamson, CCXCIII
PATMORE, Coventry, _b._ 1823, CCLXIX, CCLXX
PHILIPS, Ambrose (1671-1749), CL, CLI
POPE, Alexander (1688-1744), CXXXV, CLXIII
QUARLES, Francis (1592-1644), CXII
RALEIGH, Sir Walter (1552-1618), III, XVIII, LIX
ROBERTSON, John, CCLXXII
SCOTT, Sir Walter (1771-1832), CLXXXIX, CXC, CCVI, CCXIV, CCXXVIII
SEWARD, Anna (1747-1809), CLXXVI
SHAKESPEARE, William (1594-1616), XXVIII, XXIX, XXX, XLVIII, XLIX, LIV
SHELLEY, Percy Bysshe (1792-1822), CXCI, CCXIX,
CCXXI, CCXXIII, CCXXXVII, CCXLVIII
SHEPHERD, Nathaniel G., CCLXVI
SHIRLEY, James (1596-1666), LVI, LVII
SIDNEY, Sir Philip (1554-1586), XXV, XXVI
SOUTHEY, Robert (1774-1843), CLXXIII
SOUTHWELL, Robert (1560-1593), XLIV, L
SPENSER, Edmund (1553-1598), XVI, XVII, LX
STILLINGFLEET, Benjamin, CLVIII
STIRLING, Earl of (1580-1640), XXVII
STODDARD, Richard Henry, _b._ 1825, CCLXXIX
STORY, William, _b._ 1819, CCLXVIII
STRONG, Charles, CCIV
SURREY, Earl of (1520-1546), IX, XII
SWIFT, Jonathan (1667-1745), CXXXVI
SYLVESTER, Joshua (1563-1618), VII, XLVII
TAYLOR, Henry, _b._ 1805, CCXCII
TAYLOR, Jane (1783-1823), CLXXIV
TAYLOR, Jeremy (1613-1667), CXXXIII
TENNYSON, Alfred, _b._ 1809, CCLXVII, CCXCI, CCXCVIII, CCXCIX
TENNYSON, Charles, CCLXXXV, CCLXXXVI
TERRY, Rose, CCLXXI
THACKERAY, William Makepeace (1811-1863), CCXLI