POPE, ALEXANDER (continued).
6. Eloisa to Abelard: Immortality, 146.
7. Essay on Man: Ep. II., 11. 1-113 (Know Then Thyself), 136.
8. The Dunciad: B. IV., 11. 81-118 (Gathering of the Dunces),
9. The Rape of the Lock: C. I. (The Toilet), 141.
10. The Rape of the Lock: C. II. (The Sylphs), 142.
11. The Rape of the Lock: C. V. (Beauty), 143.
12. Translation of Homer's Odyssey (B. VI., 11. 187–212), 147.
13. Windsor Forest, 140.
Further References: Translation of Homer's Iliad and of Homer's
Odyssey; Essay on Man (Ep. III., 11. 49-72, 146-201); The Dying
Christian to his Soul Universal Prayer.
SCOTT, SIR WALTER. b. Edinburgh, Scotland, 1771; d. Abbotsford,
Scotland, 1832; Translation of Bürger's Leonore, 1796.
1. Lay of the Last Minstrel: Introduction (The Bard), 275.
2. Lay of the Last Minstrel: C. II. (Melrose Abbey), 276.
3. Lay of the Last Minstrel: C. VI., st. 1, 2 (Breathes there a
man), 276.
4. Marmion: C. VI., st. 13-15 (Marmion and Douglas), 277.
5. Song-The Monks of Bangor's March, 280.
7. Description of Ellangowan (Guy Mannering), 282.
Further References: Rokeby; Marmion (Introduction, C. I., st. 5–8;
C. III., Introduction and st. 1; C. V., Lochinvar); Lady of the Lake
(C. I., C. II., st. 19, 20, 22; C. III., st. 2, 29); The Bridal of Triermain
(C. I.); Harold the Dauntless (C. II., st. 1, 2); The Erl-King; The
Waverley Novels; Lay of the Last Minstrel (C. V., st. 1, 2); Marmion
(C. III., st. 26-34); The Sun on Weirdlaw Hill.
SHAKESPEARE, WILLIAM. b. Stratford-upon-Avon, 1564; d. Stratford-
upon-Avon, 1616; Venus and Adonis, 1595.
1. A Sea-dirge (The Tempest), 48.
2. Defiance to Time (Sonnet cxxiii.), 55.
3. Fancy (Merchant of Venice), 48.
4. Inevitable Slander (Sonnet lxx.), 52.
5. Nature and Man (As You Like It), 49.
6. Sunshine and Cloud (Sonnet xxiii.), 53.
7. The Lost Love (Hamlet), 49.
8. The Life According to Nature (As You Like It),
9. The Poet's Immortality (Sonnet lxxiv.), 51.
10. The True and the False (Sonnet liv.), 54.
11. The Unfading Picture (Sonnet xviii.), 52.
12. The World's Way (Hamlet), 50.
SHAKESPEARE, WILLIAM (continued).
13. The World's Way (Sonnet lxvi.), 51.
14. Time and Love (Sonnet lxiv.), 47.
15. Time and Love (Sonnet lxv.), 54.
16. Hark, hark! the lark (Cymbeline), 47.
Further References: The Tempest (Act III., Scene I., Ferdinand and
Miranda; Act IV., Scene I., Masque); Two Gentlemen of Verona (Act
II., Scene III., Launce's soliloquy); As You Like It (Act II., Scene
V., Amiens, Jaques, and others); Merchant of Venice (Act I., Scene
II., Portia and Nerissa; Scene III., Bassanio, Shylock, and Antonio;
Act II., Scene II., Launcelot's soliloquy; Scene I., Solanio, Salerino,
Shylock, and Tubal; Act III., Scene II., So may thee, etc., You see
me, etc.; Act IV., Scene I., The quality of mercy is not strained; Ac
V., Scene I., How sweet the moonlight, etc.); A Winter's Tale (Act
III., Scene II., Hermione-Since what I am, etc.; Scene III., Come
poor babe); All's Well that Ends Well (Act II., Scene III., King-
'Tis only title, etc.); King John (Act I., Scene I., to enter Sheriff,
Bastard's soliloquy; Act II., Scene II., You men of Angiers, etc.; Act
III., Scene I., Constance Gone to be married! Act IV., Scene I.,
Hubert and Arthur; Scene II., King John; Scene III., Death of Arthur;
Act V., Scene VII., Prince Henry); Richard II. (Act I., Scene I.,
Richard; Act III., Scene II., Richard on the coast of Wales; Scene III.,
Before Flint Castle; Act IV., Scene I., Bolingbroke in Westminster
Hall, Act V., Scene II., Duke of York's Palace); Henry IV., Part I.
(Act I., Scene III., King Henry, Northumberland, Worcester, and
others; Act II., Scene II., enter Bardolph at Gadshill; Scene III.,
Hotspur and Lady Percy; Scene IV., Hal and Francis, Falstaff's ex-
ploits; Act III., Scene I., Hotspur, Worcester, and others at Bangor;
Scene II., King Henry, Prince of Wales, and others at London; Scene
III., Falstaff at the Boar's Head Tavern); Part II. (Act III., Scene
I., Henry's soliloquy; Act IV., Scene IV., King Henry, Clarence, and
others at Westminster; Act V., Scene I., Falstaff's soliloquy; Scenes
II. and III., King Henry and Lord Chief Justice); Henry V. (Act III.,
Scene I., King Henry before Harfleur; Scene IV., Katharine and
Alice); Henry VI., Part I. (Act I., Scene I., body of Henry V. in
Westminster Abbey); Richard III. (Act I., Scene I., Gloster's first
speech; Scene IV., Clarence's dream; Act V., Scene III., soliloquies
of Richard and Richmond); Henry VIII. (Act I., Scene I., Gloster,
Clarence, and Hastings; Act II., Scene I., Buckingham; Scene IV.,
Queen Katharine's trial; Act III., Scene II., Wolsey's soliloquies, Act
V., Scene V., Cranmer's prophecy for Elizabeth); Julius Cæsar (Act
I., Scene I., Cassius to Brutus; Act III., Scene II., Brutus' speech,
Antony's speech; Act IV., Scene III., quarrel between Brutus and
Cassius); Antony and Cleopatra (Act II., Scene II., Cleopatra's
barge); Romeo and Juliet (Act I., Scene I., Clowns; Scene IV., Queen
SHAKESPEARE, WILLIAM (continued).
Mab; Act II., Scene III., Friar Laurence's soliloquy; Act II., Scene
II., Romeo and Juliet); Midsummer Night's Dream (Act II., Scene
II., The Players; Act II., Scene I., Fairy; Act III., Scene I., Players in
the wood, Bottom and Titania; Act IV., Scene I., Bottom among
the Fairies, Bottom's soliloquies; Act V., Scene I., Theseus and the
Players); Hamlet (Act I., Scene II., Act II., Scene I., from enter
Ophelia; Scene II., from enter Hamlet to enter Rosencrantz and
Guildenstern, and from exeunt Rosencrantz and Guildenstern to end
of scene; Act III., Scene I., from enter Hamlet; Act III., Scene IV.,
to exit Polonius; Act IV., Scene V., from exeunt Rosencrantz and
Guildenstern; Scene VII., from enter Queen; Act V.); Macbeth (Act
I., Scenes V., VI., and VII.; Act V., Scenes I. and V.); Lear (Act I.,
Scene I.; Act III., Scenes II. and IV.; Act IV., Scenes III. and VII.;
Act V., Scene III., from enter Lear); Cymbeline (Act I., Scene I.
from enter Queen to enter Pisanio, Scene III., Scene VI.; Act III.,
Scenes I. and VI.); Titus Andronicus (Act I., Scene II.; Act II., Scene
II.); Coriolanus (Act II., Scene III., speech of Coriolanus; Act III.,
Scene I., speech of Coriolanus; Act V., Scene III.); Timon of Athens
(Act III., Scene V., To you breathe in vain; Act IV., Scene III., enter
Flavius, to end); Pericles (Act III., Scenes III. and IV.; Act IV.,
Scene III.); Measure for Measure (Act I., Scene IV.; Act II., Scene
II., from enter Lucio and Isabella to exeunt the same); Troilus and
Cressida (Act II., Scene II.; Act III., Scene III., from Ulysses' speech
to exit Ulysses); Othello (Act I., Scene III., from Othello's speech —
Most potent, etc., to end of Desdemona's - Let me go with him; Act
III., Scene III., Othello's Thou dost conspire, etc., to reënter Desde-
mona and Emilia).
SHELLEY, PERCY BYSSHE. b. Horsham, England, 1792; drowned off the
coast of Tuscany, 1822; Queen Mab, 1813.
1. Adonais, 3-5, and 11-24, 316.
2. The Sensitive Plant, 313.
Further References: Hymn of Apollo; Autumn; The Cloud; Are-
thusa; Queen Mab (I., st. 1-12; II., st. 1–4; III., st. 1–14; IV., st. 1–11;
V., st. 5-10, 13, 14); Revolt of Islam (Dedication, I., st. 1-15, 34–60;
II., st. 3-6, 9-12, 20-42; XI., st. 22-24); Prometheus Unbound (Act
II., Scene II., Song of the Spirits; Scene V., My soul is an enchanted
boat, Here, oh! here; Act IV., Scene I., We come from the mind);
Hellas (as far as Mahmud starting from his sleep); To Wordsworth;
Mt. Blanc; The Euganean Hills; The Medusa of Leonardo da Vinci;
Lines written in dejection near Naples; Lines to an Indian Air; To
the Night; Liberty; The Fugitives; Mutability; Lines on the Death of
Napoleon; Ginevra; Alastor; Hymn of Pan; To a Skylark; Adonais.
SOUTHEY, ROBERT. b. Bristol, 1774; d. Greta Hall, England, 1843; Wat
Tyler, 1794.
1. God's Judgment on Bishop Hatto of Mentz, 253.
2. The Spanish Armada, 255.
Further References: Mary the Maid of the Inn; Cataract of Lodore;
The Old Man's Comforts; Love; The Scholar; The Inchcape Rock;
After Blenheim; Bishop Bruno; The Well of St. Keyne; Rudiger; The
Complaints of the Poor; Thalaba; Conspiracy of Essex.
SPENSER, EDMUND. b. London, 1553; d. London, 1599; The Shepherd's
Calendar, 1579.
1. Mother Hubberd's Tale, 11. 892-914 (The Suitor), 37.
2. The Fairy Queen: B. I., C. 1 (Cave of Morpheus), 21.
3. The Fairy Queen: B. I., C. 2 (The Red-Cross Knight and
Sarazin), 23.
4. The Fairy Queen: B. I., C. 3 (Una), 25.
5. The Fairy Queen: B. II., C. 3 (Belphoebe), 33.
6. The Fairy Queen: B. II., C. 7 (Cave of Mammon), 36.
7. The Fairy Queen: B. IV., C. 1 (House of Pride), 26.
Further References: Mother Hubberd's Tale; The Ruins of Time
(C. II., st. 7, 8, 29, 30, 51, 52, 58, 59); Tears of the Muses (Clio, 2-9;
Melpomene, 3-6; Calliope, 5, 6; Urania, 4-8); Ruins of Rome (III.,
XIX.); Muiopotmos (27–29); Visions of the World's Vanity (I., IV.) ;
Visions of Bellay (I.); Daphnaida (I., st. 6, 7; II., st. 1–7; III., st.
1-7); Amoretti (V., VI., VII., VIII., IX., XXVI., XXVII., LIV.,
LXXII., LXXIII., LXXIX.); Epithalamion; Prothalamion; Hymns
(Love, 190-196; Beauty, 85-273); Fairy Queen (B. I., C. 7, st. 1; C. 8,
st. 1, 2; C. 10, st. 6; C. 4, st. 1; C. 6, st. 1; C. 12, st. 13; C. 11, st. 1;
B. II., C. 12, st. 42-76; B. III., C. 1, st. 15, 16; C. 4, st. 27, 55, 59; C.
6, st. 29-45; C. 7, st. 38-43; C. 8, st. 37; C. 10, st. 10; C. 11, st. 40,
41;
C. 12, st. 5-26; B. IV., C. 1, st. 2, 27-30; C. 2., st. 1, 2, 33–58; C. 3,
st. 1; C. 4, st. 1, 33-37, 41, 42; B. V., Introduction, st. 1-4; C. 2, st. 1;
C. 4, st. 1; C. 8, st. 1; C. 9, st. 10-19, 23-33; C. 10, st. 1, 2; C. 11, st.
1; C. 12, st. 1, 29–36; B. VI., C. 2, st. 1, 2; C. 3, st. 1, 2; C. 6, st. 1).
STERNE, LAURENCE. b. Clonmel, Ireland, 1713; d. London, 1769;
Sermons for Charity Schools, 1747.
1. The Story of Le Fevre (Tristram Shandy), 175.
SWIFT, JONATHAN (Dean of St. Patrick's). b. Dublin, Ireland, 1667; d.
Dublin, 1745; Letters of Sir William Temple, 1700.
1. Pretended Philosophers (Gulliver's Travels), 121.
Further References: Gulliver's Travels; Tale of a Tub; Battle of
the Books; The Spider and the Bee; Morning; Bancis and Philemon.
TENNYSON, ALFRED. b. Somerby, England, 1810; Poems by Two
Brothers, 1827.
2. Charge of the Light Brigade, 360.
3. Idyls of the King: Dedication, 390
4. Idyls of the King: Guinevere, 391.
5. In Memoriam: Introduction, 377.
6. In Memoriam: I., 379.
7. In Memoriam: LIII., 379.
8. In Memoriam: CV., 380.
9. Lines from Locksley Hall, 363.
10. Maud: I., 1–15, 367.
11. Maud: IV., 1-10, 370.
12. Maud: V., 1-3, 372.
13. Maud: XI., 1, 2, 373.
14. Maud: XII., 1-8, 373.
15. Maud: XXII., 1–11, 375.
16. The Brook, 358. ·
17. The Lotos-Eaters: I.-IV., 364.
18. The Princess: Home they brought her warrior dead, 361.
19. The Princess: The splendor falls, 362.
20. The Princess: Cradle Song, 363.
21. The Sea Fairies, 365.
22. To the Queen, 389.
23. Vivien, 392.
Further References: The Poet; Dream of Fair Women; The Lady
of Shalott; Lady Clara Vere de Vere; The May-Queen; New Year's
Eve; Enid; Mariana; Break, break, break; The Death of the Old
Year; Dora; Sir Galahad; The Poet's Song.
THACKERAY, WILLIAM MAKEPEACE. b. Calcutta, India, 1811; d. Lon-
don, 1863; Paris Sketch-Book, 1840.
Further References: The End of the Play; The Four Georges; Vanity
Fair; The Newcomes; Henry Esmond.
THOMSON, JAMES. b. Roxburghshire, 1710; d. Kew, 1748; The Seasons,
1726.
1. Castle of Indolence: C. I., st. 7-47, 153.
Further References: The Seasons (Spring: "See where the winding
vale "—"All this innumerable coloured," etc.; "Behold slow set-
ting," etc.—"Guilt hears appalled," etc; Autumn: "But the fading
many-coloured," etc.-"Or is this gloom too much," etc.; Winter:
"The keener tempest came,'
," etc.-"Ah! little think the gay," etc.;
"What art thou, frost," etc. - "But what is this," etc.; "'Tis done,
dead Winter," etc., to end of poem; Hymn to Winter); The Happy
Man.
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