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which he has almost wholly given himself up, and in which his successes have been many.

No. 124-Page 191.

From The Atlantic Monthly (1877).

No. 125.-Page 192.

In every way a characteristic poem; notable for its thoroughly Arnoldian sentiment, and the happy way in which the irregular metre is managed.

No. 129.-Page 197.

The idea of this little lyric may be found in Longfellow's familiar lines::

"Learn how sublime a thing it is

To suffer and be strong."

But how much nearer adequacy is the Archbishop's treatment of it!

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No. 131.-Page 199.

Here is another instance in which Mr. Arnold's find an echo in a contemporary's song. similar passage

"notes

Compare the second verse with a very

in Empedocles on Etna.

No. 133.-Page 203.

This originally appeared in Macmillan's Magazine. It has been slightly retouched.

No. 134.-Page 205.

From "Meg Blane," a poem first published in North Coast and other Poems (1867).

locutors are Meg and her half-witted son.

No. 135.-Page 207.

The inter

An excellent imitation of the Elizabethan manner; directly reminding us, indeed, of Beaumont and Fletcher's "Lay a garland on my hearse."

No. 136.-—Page 209.

This has been highly praised by Mr. Swinburne.

No. 139.-Page 213.

From The Spectator.

No. 141.-Page 215.

From All in All (1874). See, also, Nos. 156 and 157, which are derived from the same volume.

No. 143.-Page 220.

From Mr. Rhoades' single volume of Poems, from which, also, No. 177 is taken. Mr. Rhoades used to be a frequent contributor to The Spectator; he now rarely publishes.

No. 145.-Page 223.

From the volume of miscellaneous verse entitled Tubal (1874). This volume contains what is perhaps

George Eliot's highest flight in poetry-the lines about "the choir invisible."

No. 149.-Page 229.

Mr. Emerson's verse is thoroughly individual, and well worthy of study; but it lacks genuine inspiration, and has none of the glamour of true poetry.

No. 150.-Page 231.

From Camera Obscura (1876); a little volume of verse and prose, by a writer who is always tender and graceful.

No. 152.-Page 236.

The finest tribute to Shakespeare since Milton's.

No. 153.-Page 237.

Originally published in Macmillan's Magazine.

No. 155.-Page 239.

From Annus Amoris (1876); a book of sonnets, which are not, however, in strict sonnet form, as regards the position of the rhymes. This specimen follows the Shakespearean arrangement.

No. 158.-Page 242.

Mr. Rossetti, strange to say, is not always true to the Italian model, in which the last six lines have but two rhymes between them. His sonnets are,

however, full of masterly expression.

No. 159.-Page 243.

Note, here, the fine sweep of the eleventh line.

No. 160.-Page 244.

Not so thoroughly satisfying as No. 153, but elegant nevertheless.

No. 163.-Page 247.

Mr. Tennyson's sonnets are not quite so highly esteemed as they deserve to be. This is one of his best.

No. 165.-Page 249.

Reminiscent, surely, of one of Mrs. Browning's No. 166 is more original.

sonnets.

No. 173.-Page 257.

By a writer who is best known as a poet in dialect, and that dialect the Dorsetshire. His literary English is, however, very interesting, as this poem testifies.

No. 177.-Page 261.

A sonnet only in the sense that it consists of fourteen lines. The idea is excellent.

No. 179.-Page 264.

From Intaglios (1871); a volume of vigorouslywritten sonnets.

No. 182.-Page 267.

This and No. 183 are two hitherto unpublished pieces by the author of Wood-Notes and Church Bells. Mr. Wilton handles the sonnet form with great ease and effect.

No. 184.-Page 269.

The

From one of Mr. Longfellow's later volumes. ninth, tenth, and eleventh lines may be paralleled by these of Mr. Matthew Arnold's :

:

"From the soul's subterranean depth upborne

As from an infinitely distant land,

Come airs and floating echoes, and convey

A melancholy into all our day."

No. 189.-Page 274.

Mr. Bryant is perhaps the most truly national of all American poets. He is certainly more so than Mr. Longfellow, who has, however, outstripped him in popularity in Britain.

No. 190.-Page 275.

This and the following specimens of Mr. Arnold's sonnet-writing show how skilfully he adapts himself to a kind of verse which can no longer be called "foreign;" which could not, indeed, be called so after Shakespeare and Milton had adopted it.

No. 195.-Page 280.

Apart altogether from the intrinsic value of his poetry, which (in regard especially to the sonnets and

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