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 This and No. 183 are two hitherto unpublished pieces by the author of Wood-Notes and Church Bells.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 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 sonnets. No. 166 is more original. 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 This and No. 183 are two hitherto unpublished pieces by the author of Wood-Notes and Church Bells.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 the ballads) is obviously great, Mr. Scott may be regarded as the Nestor of the school of writers in which Messrs. Swinburne and Rossetti are the leading masters. He is happier, perhaps, in his ballads than in his sonnets, though the latter are original in subject and bold in treatment. His proper place among contemporaries is a high one. No. 198.-Page 283. A fair example of Mrs. Pfeiffer's work. This lady has imagination, if not fancy; and the matter of her verse is always valuable. No. 201.-Page 289. From Poems (1873). This triolet is so neatly turned that it is to be regretted Mr. Bridges has not written more in this form than he has. As it is, he is entitled to the credit of having been the first to use it in English poetry. No. 202.-Page 290. This is one of several examples of the same form, printed in Proverbs in Porcelain (1877). Here is another specimen : 66 'Oh, Love's but a dance, Where Time plays the fiddle! See the couples advance, Oh, Love's but a dance! A whisper, a glance,— 'Shall we twirl down the middle?' Oh, Love's but a dance, Where Time plays the fiddle!" No. 203.-Page 291. From The Athenæum. The reader will remark how largely and successfully Mr. Payne figures in this volume as an imitator of the old French forms. His facility in rhyme and rhythm is not more remarkable than the intrinsic poetry of his work. This rondel especially has a happy charm. So has the rondeau which forms No. 207. Nos. 210, 213, 217, 219, and 222 are here printed, by Mr. Payne's permission, for the first time. It may be mentioned that Mr. Payne has achieved, and is about to publish, a translation into English, in the original metres, of the whole poetical works of François Villon. No. 204.-Page 292. From Poems (1873), where it is accompanied by two other rondeaux. No. 206.-Page 294. Kindly written for this volume by Mr. Gosse, who is one of the leaders in the new movement for the Anglicisation of French metres. No. 208.-Page 296. Hitherto unprinted. Mr. Waddington is known as a graceful contributor to the magazines. No. 209.-Page 297. From The Athenæum. See Mr. Dobson's Note (page 342). Mr. Dobson has himself written a |