INTRODUCTION
PartialcollectionsofEnglishpoems，decidedbyacommonsubjectorboundedbynarrowdatesandperiodsofliteraryhistory，aremadeatveryshortintervals，andthemakersaresafefromthereproachofproposingtheirownpersonaltasteasaguideforthereadingofothers。ButageneralAnthologygatheredfromthewholeofEnglishliterature——thewholefromChaucertoWordsworth——byagathererintentuponnothingexceptthequalityofpoetry，isamorerareenterprise。Itishardlytobemadewithouttemptingthesuspicion——nay，hardlywithoutseemingtohazardtheconfession——ofsomemeasureofself—confidence。Norcaneventhedesiretoenteruponthatlabourbeafrequentone——thedesireoftheheartofoneforwhompoetryisveritably"thecomplementarylife"tosetupapaleforinclusionandexclusion，toaddhonours，tomultiplyhomage，tocherish，torestore，toprotest，toproclaim，todepose；
andtogaintheconsentofamultitudeofreaderstoallthoseacts。Manyyears，then——somepartofacentury——mayeasilypassbetweenthepublicationofonegeneralanthologyandthemakingofanother。
Theenterprisewouldbeasorryoneifitwerereallyarbitrary，andifananthologistshouldgiveeffecttopassionatepreferenceswithoutauthority。Ananthologythatshallhaveanyvaluemustbemadeontheresponsibilityofonebutontheauthorityofmany。
Thereisnocaprice；themindofthemakerhasbeenformedfordecisionbythewisdomofmanyinstructors。Itistheverystudyofcriticism，andthegratefulandprofitablestudy，thatgivesthejustificationtoworkdoneuponthestrongestpersonalimpulse，anddone，finally，inthementalsolitudethatcannotbeescapedatthelast。Inanotherorder，moraleducationwouldbebestcrownedifitprovedtohavequickandprofoundcontroloverthefirstimpulses；itsfinishedworkwouldbetosetthesoulinastateoflaw，deliveredfromthedelaysofself—distrust；notactiononly，butthedesireswouldbeinanoldsecurity，andawishwouldcometolightalreadyjustified。Thiswouldbethesecond——ifitwerenottheonly——liberty。Evensoanintellectualeducationmightassuredlyconferfreedomuponfirstandsolitarythoughts，andconfidenceandcomposureuponthesalliesofimpetuouscourage。Inaword，itshouldmakeastudiousanthologistquitesureaboutgenius。Andallwhohavebestowed，orhelpedinbestowing，theliberatingeducationhavegiventheirstudenttheauthoritytobefree。Personalandsingularthechoiceinsuchabookmustbe，notwithoutright。
Claiminganddisclaimingsomuch，thegatherersmayfollowoneanothertoharvest，andgleaninthesamefieldsindifferentseasons，fortherepetitionoftheworkcanneverbealtogetherarepetition。Thegeneralconsentofcriticismdoesnotstandstill；
andmoreover，amereaccidenthasuntilnowleftapoetofgeniusofthepasthereandtheretoneglectorobscurity。Thisisnotverylikelytobefallagain；thetimehascomewhenthereislittleornothinglefttodiscoverorrediscoverinthesixteenthcenturyortheseventeenth；weknowthattheredoesnotlurkanotherCrashawcontemned，oranotherHenryVaughandisregarded，oranotherGeorgeHerbertmisplaced。Thereisnowsomethinglikefinalityofknowledgeatleast；andthereforenotalittleerrorinthepastisreadytoberepaired。Thisistheresultoftime。Oftheslowactionsandreactionsofcriticaltastetheremightbesomethingtosay，butnothingimportant。Noloyalanthologistperhapswillconsenttoacknowledgethesetides；hewillhardlydohisworkwellunlesshebelieveittobestableandperfect；nor，bytheway，willhejudgeworthilyinthenameofothersunlessheberesolvedtojudgeintrepidlyforhimself。
Inasmuchaseventhebestofallpoemsarethebestuponinnumerabledegrees，thesizeofmostanthologieshasgonefartodecidewhatdegreesaretobegatheredinandwhatleftwithout。
Thebestmightmakeaverysmallvolume，andbeindeedthebest，oraverylargevolume，andbestillindeedthebest。Butmylabourhasbeentodosomewhatdifferently——togathernothingthatdidnotoverpassacertainboundary—lineofgenius。Gray’sElegy，forinstance，wouldrightlybeplacedattheheadofeverythingbelowthatmark。Itis，infact，soneartotheworkofgeniusastobemostdirectly，closely，andimmediatelyrebukedbygenius；itmeetsgeniusatclosequartersandalmostdeservesthatShakespearehimselfshoulddefeatit。MediocritysaiditsowntruewordintheElegy:
"Fullmanyaflowerisborntoblushunseen，Andwasteitssweetnessonthedesertair。"
Butgreatnesshadsaiditsownwordalsoinasonnet:
"ThesummerfloweristothesummersweetThoughtoitselfitonlyliveanddie。"
Thereproofhereistoosure；notalwaysdoesittouchsoquick，butitisnotseldommanifest，anditmakesexclusionasimpletask。Inclusion，ontheotherhand，cannotbesocompletelyfulfilled。Theimpossibilityoftakinginpoemsofgreatlength，howeverpurelylyrical，isamechanicalbarrier，evenontheplanofthepresentvolume；inthecaseofSpenser’sProthalamion，theunmanageablyautobiographicalandlocalpassagemakesitinappropriate；someexquisitethingsofLandor’sarelyricsinblankverse，andthenecessaryruleagainstblankverseshutsthemout。Noextractshavebeenmadefromanypoem，butinaveryfewinstancesastanzaorapassagehasbeendroppedout。Nopoemhasbeenputinforthesakeofasingleperfectlyfinepassage；itwouldbetoomuchtosaythatnopoemhasbeenputinforthesakeoftwosplendidpassagesorso。TheScottishballadpoetryisrepresentedbyexamplesthataretomymindfinerthananythingleftout；still，itisbutrepresented；andasthesongofthismultitudeofunknownpoetsoverflowsbyitsquantityacollectionoflyricsofgenius，sodoesseverallythesongofWordsworth，Crashaw，andShelley。Ithasbeennecessary，inconsideringtraditionalsongsofevidentlymingledauthorship，torejectsomeoneinvaluablestanzaorburden——theoriginalandancientsurvivingmatterofaspoiltsong——becauseitwasnecessarytorejectthesequelthathascumbereditsincesomesentimentalisttookitforhisown。Anexample，whichmakestheheartache，isthatburdenofkeenandremotepoetry:
"Othebroom，thebonnie，bonniebroom，ThebroomofCowdenknowes！"
Perhapssomehandwillgatherallsuchpreciousfragmentsasthesetogetheroneday，freedfromwhatisalienintheworkoftherestorer。Itisinexplicablethatagenerationresolvedtoforbidtherestorationofancientbuildingsshouldapprovetheeighteenthcenturyrestorationofancientpoems；nay，thearchitectural"restorer"isimmeasurablythemorerespectful。Inordertogiveusagaintheancientfragments，itishappilynotnecessarytobreakupthecompositesongswhich，sincethetimeofBurns，havegainedanationallove。Letthembe，butlettheoldversesbealso；andletthemhave，forthosewhodesireit，thesolitarinessoftheirstateofruin。Eveninthecases——andtheyarenotfew——
whereBurnsisprovedtohavegivenbeautyandmusictotheancientfragmentitself，hisworkupontheoldstanzaisimmeasurablyfinerthanhisworkinhisownnewstanzasfollowing，anditwouldbelessthanimpietytopartthetwo。
IhaveobeyedaprofoundconvictionwhichIhavereasontohopewillbemorecommendedinthefuturethanperhapsitcanbenow，inleavingasideamultitudeofcompositesongs——anachronisms，andworsethanmereanachronisms，asIthinkthemtobe，fortheypatchwildfeelingwithsentimentofthesentimentalist。Therearesomeexceptions。TheonefinestanzaofasongwhichbothSirWalterScottandBurnsrestoredisgivenwiththerestorationsofboth，thoserestorationsbeingseverallybeautiful；andtheburden，"Hame，hame，hame，"isprintedwiththeJacobitesongthatcarriesit；thissongseemssomingledandvariousindateandoriginthatnoapologyisneededforplacingitamongstthebundleofScottishballadsofdaysbeforetheJacobites。SirPatrickSpensistreatedhereasanancientsong。Itistobenotedthatthemodern，orcomparativelymodern，additionstooldsongsfullofquantitativemetre——"Hame，hame，hame，"isoneofthese——fulloflongnotes，rests，andinterlinearpauses，arealmostalwayswritteninanapaests。Thelaterwriterhasslippedawayfromthefine，various，andsubtlemetreoftheolder。Assuredlythepopularityofthemetrewhich，forwantofatermsuitingtheEnglishrulesofverse，mustbecalledanapaestic，hasdonemorethananyotherthingtovulgarisethenationalsenseofrhythmandtosilencethefinerrhythms。AnapaestscamequitesuddenlyintoEnglishpoetryandbroughtcoarseness，glibness，volubility，dapperandfatuouseffects。Amastermayuseitwell，butasapopularmeasureithasbeendisastrous。Iwouldbeboundtofindthemodernstanzasinanoldsongbythisveryhabitofanapaestsandthisverymisunderstandingofthelongwordsandinterlinearpausesoftheolderstanzas。This，forinstance，istheoldmetre:
"Hame，hame，hame！OhamefainwadIbe！"
andthisthelamentableanapaesticline（fromthesamesong）:
"Yetthesunthroughthemirkseemstopromisetome—。"
IthasbeendifficulttorefusemyselfthedelightofincludingA
DivineLoveofCarew，butitseemedtooboldtoleaveoutfourstanzasofapoemofseven，andthelastfourareofthepoorestargument。Thispassageatleastshallspeakforthefirstthree:
"ThoudidstappearAgloriousmystery，sodark，soclear，AsNaturedidintendAllshouldconfess，butnonemightcomprehend。"
FromChrist’sVictoryinHeavenofGilesFletcher（outofreachforitslength）itisahappinesstoextracthereatleastthepassageupon"Justice，"wholooks"astheeagle"thathathsooftcomparedHereyewithheaven’s"；
fromMarlowe’spoem，alsounmanageable，thatinwhichLoverantothepriestess"Andlaidhischildishheaduponherbreast"；
withthatwhichtellshowNight，"deep—drenchedinmistyAcheron，Heavedupherhead，andhalftheworlduponBreatheddarknessforth"；
fromRobertGreenetwolinesofalovelypassage:
"Cupidabroadwaslatedinthenight，Hiswingswerewetwithrangingintherain"；
fromBenJonson’sHueandCry（notthroughoutfine）thestanza:
"Beauties，haveyeseenatoy，CalledLove，alittleboy，Almostnaked，wanton，blind；
Cruelnow，andthenaskind？
Ifhebeamongstye，say；
HeisVenus’run—away"；
fromFrancisDavison:
"Herangryeyesaregreatwithtears"；
fromGeorgeWither:
"IcangorestOnhersweetbreastThatistheprideofCynthia’strain"；
fromCowley:
"Return，return，gayplanetofmineeast"！
Thepoemsinwhichthesearecannotmakepartofthevolume，butthecitationofthefragmentsisarelievingactoflove。
Attheverybeginning，Skelton’ssongto"MistressMargeryWentworth"hadalmosttakenaplace；butitscharmishardlyfineenough。
IfitisnecessarytoanswertheinevitablequestioninregardtoByron，letmesaythatinanotherAnthology，asecondaryAnthology，theoneinwhichGray’sElegywouldhaveanhonourableplace，somemoreofByron’slyricswouldcertainlybefound；andexceptthisthereisnoapology。Ifthelaststanzaofthe"DyingGladiator"
passage，orthelaststanzaonthecascaderainbowatTerni，"Lovewatchingmadnesswithunalterablemien，"
hadbeenseparatepoemsinsteadofpartsofChildeHarold，theywouldhavebeenamongstthepoemsthatareherecollectedinnospiritofarrogance，orofcaprice，ofdiffidenceordoubt。
ThevolumeclosessometimebeforethemiddleofthecenturyandthedeathofWordsworth。
A。M。
Anonymous。
ThefirstcarolSirWalterRaleigh（1552—1618）
VersesbeforedeathEdmundSpenser（1553—1599）
EasterFreshspringLikeasashipEpithalamionJohnLyly（1554？—1606）
TheSpringSirPhilipSidney（1554—1586）
TrueloveThemoonKissSweetjudgeSleepWat’redwasmywineThomasLodge（1556—1625）
Rosalynd’smadrigalRosalineThesolitaryshepherd’ssongAnonymousIsawmyladyweepGeorgePeele（1558？—1597）
FarewelltoarmsRobertGreene（1560？—1592）
FawniaSephestia’ssongtoherchildChristopherMarlowe（1562—1593）
ThepassionateshepherdtohisloveSamuelDaniel（1562—1619）
SleepMyspotlessloveMichaelDrayton（1563—1631）
Sincethere’snohelpJoshuaSylvester（1563—1618）
WereIasbaseWilliamShakespeare（1564—1616）
Poorsoul，thecentreofmysinfulearthOme！WhateyeshathloveputinmyheadShallIcomparetheetoasummer’sday？
WheninthechronicleofwastedtimeThattimeofyearthoumay’stinmebeholdHowlikeawinterhathmyabsencebeenBeingyourslave，whatshouldIdobuttendWhenindisgracewithfortuneandmen’seyesTheythathavepowertohurt，andwilldoFarewell！thouarttoodearformypossessingWhentothesessionsofsweetsilentthoughtDidnottheheavenlyrhetoricofthineeyeTheforwardvioletthusdidIchideOlesttheworldshouldtaskyoutoreciteLetmenottothemarriageoftruemindsHowoft，whenthou，mymusic，musicplay’stFullmanyagloriousmorninghaveIseenTheexpenseofspiritinawasteofshameFancyFairiesComeawayFullfathomfiveDirge（Fearnomoretheheato’thesun）
Song（Take，Otakethoselipsaway）
Song（HowshouldIyourtrueloveknow）
AnonymousTomo’BedlamThomasCampion（circa1567—1620）
KindareheranswersLauraHersacredbowerFollowWhenthoumusthomeWesternwindFollowyoursaintCherry—ripeThomasNash（1567—1601？）
SpringJohnDonne（1573—1631）
ThishappydreamDeathHymntoGodthefatherThefuneralRichardBarnefield（1574？—？）
ThenightingaleBenJonson（1574—1637）
Charis’triumphJealousyEpitaphonElizabethL。H。
HymntoDianaOnmyfirstdaughterEcho’slamentforNarcissusAnepitaphonSalathielPavy，achildofQueenElizabeth’sChapelJohnFletcher（1579—1625）
Invocationtosleep，fromValentinianToBacchusJohnWebster（—？1625）
SongfromtheDuchessofMalfiSongfromtheDevil’sLaw—caseInEarth，dirgefromVittoriaCorombonaWilliamDrummondofHawthornden（1585—1649）
Song（Phoebus，arise！）
Sleep，Silence’childTothenightingaleMadrigalI
MadrigalII
BeaumontandFletcher（1586—1616）—（1579—1625）
IdiedtrueFrancisBeaumont（1586—1616）
OnthetombsinWestminsterAbbeySirFrancisKynaston（1587—1642）
ToCynthia，onconcealmentofherbeautyNathanielField（1587—1638）
MatinsongGeorgeWither（1588—1667）
Sleep，baby，sleep！
ThomasCarew（1589—1639）
Song（AskmenomorewhereJovebestows）
TomyinconstantmistressAnhymenealdialogueIngratefulbeautythreatenedThomasDekker（—1638？）
LullabySweetcontentThomasHeywood（—1649？）
Good—morrowRobertHerrick（1591—1674？）
ToDianemeTomeadowsToblossomsTodaffodilsTovioletsToprimrosesTodaisies，nottoshutsosoonTothevirgins，tomakemuchoftimeDressInsilksCorinna’sgoinga—mayingGraceforachildBenJonsonGeorgeHerbert（1593—1632）
HolybaptismVirtueUnkindnessLoveThepulleyThecollarLifeMiseryJamesShirley（1596—1666）
EqualityAnonymous（circa1603）
Lullaby（Weepyounomore，sadfountains）
SirWilliamDavenant（1605—1668）
MorningEdmundWaller（1605—1687）
TheroseThomasRandolph（1606—1634？）
HismistressCharlesBest（—？）
AsonnetofthemoonJohnMilton（1608—1674）
HymnonChrist’snativityL’allegroIlpenserosoLycidasOnhisblindnessOnhisdeceasedwifeOnShakespeareSongonMaymorningInvocationtoSabrina，fromComusInvocationtoEcho，fromComusTheattendantspirit，fromComusJamesGraham，MarquisofMontrose（1612—1650）
ThevigilofdeathRichardCrashaw（1615？—1652）
Onaprayer—booksenttoMrs。M。R。
TothemorningLove’shoroscopeOnMr。G。Herbert’sbookWishestohissupposedmistressQuemVidistisPastoresetc。
Music’sduelTheflamingheartAbrahamCowley（1618—1667）
OnthedeathofMr。CrashawHymntothelightRichardLovelace（1618—1658）
ToLucastaongoingtothewarsToAmaranthaLucastaToAlthea，fromprisonAguiltlessladyimprisoned:afterpenancedTheroseAndrewMarvell（1620—1678）
AHoratianodeuponCromwell’sreturnfromIrelandThepictureofT。C。inaprospectofflowersThenymphcomplainingofdeathofherfawnThedefinitionofloveThegardenHenryVaughan（1621—1695）
ThedawningChildhoodCorruptionThenightTheeclipseTheretreatTheworldoflightScottishBalladsHelenofKirconnellThewifeofUsher’swellThedowiedensofYarrowSweetWilliamandMayMargaretSirPatrickSpensHame，hame，hameBorderBalladAlyke—wakedirgeJohnDryden（1631—1700）
Ode（Thouyoungestvirgin—daughteroftheskies）
AphreBehn（1640—1689）
Song，fromAbdelazarJosephAddison（1672—1719）
Hymn（Thespaciousfirmamentonhigh）
AlexanderPope（1688—1744）
ElegyWilliamCowper（1731—1800）
Linesonreceivinghismother’spictureAnnaLaetitiaBarbauld（1743—1825）
LifeWilliamBlake（1757—1828）
ThelandofdreamsThepiperHolyThursdayThetigerTothemusesLove’ssecretRobertBurns（1759—1796）
ToamouseThefarewellWilliamWordsworth（1770—1850）
Whyartthousilent？
ThoughtsofaBritononthesubjugationofSwitzerlandItisabeauteousevening，calmandfreeOntheextinctionoftheVenetianRepublicOfriend！IknownotSurprisedbyjoyToToussaintL’ouvertureWithshipstheseawassprinkledTheworldUponWestminsterbridge，Sept。3，1802
WhenIhaveborneinmemoryThreeyearsshegrewThedaffodilsThesolitaryreaperElegiacstanzasToH。C。
’TissaidthatsomehavediedforloveThepetlambSteppingwestwardThechildlessfatherOdeonintimationsofimmortalitySirWalterScott（1771—1832）
ProudMaisieAwearylotisthineTheMaidofNeidpathSamuelTaylorColeridge（1772—1834）
KublaKhanYouthandageTherimeoftheancientmarinerWalterSavageLandor（1775—1864）
RoseAylmerEpitaphChildofadayThomasCampbell（1767—1844）
HohenlindenEarlMarchCharlesLamb（1775—1835）
HesterAllanCunningham（1784—1842）
AwetsheetandaflowingseaGeorgeNoelGordon，LordByron（1788—1823）
TheIslesofGreecePercyByssheShelley（1792—1822）
HellasWildwithweepingTothenightToaskylarkTothemoonThequestionThewaningmoonOdetothewestwindRarely，rarelycomestthouTheinvitation，toJaneTherecollectionOdetoheavenLifeoflifeAutumnStanzaswrittenindejectionnearNaplesDirgefortheyearAwidowbirdThetwospiritsJohnKeats（1795—1821）
LaBelleDamesansmerciOnfirstlookingintoChapman’sHomerTosleepThegentlesouthLastsonnetOdetoanightingaleOdeonaGrecianurnOdetoAutumnOdetoPsycheOdetoMelancholyHartleyColeridge（1796—1849）
SheisnotfairALICEMEYNELL’SCOMMENTS/NOTES
EPITHALAMION
WrittenbySpensoronhismarriageinIreland，ElizabethBoyleofKilcoran，whosurvivedhim，marriedoneRogerSeckerstone，andwasagainawidow。Dr。Grosartseemstohavefinallydecidedtheidentityoftheheroineofthisgreatpoem。Itisworthwhiletoexplain，onceforall，thatIdonotusetheaccentedeforthelongerpronunciationofthepastparticiple。TheaccentisnotanEnglishsign，and，tomymind，disfigurestheverse；neitherdoI
thinkitnecessarytocutofftheewithanapostrophewhentheparticipleisshortened。Thereaderknowsataglancehowthewordistobenumbered；besides，hemayhavehispreferenceswherechoiceisallowed。InreadingsuchalineasTennyson’s"Dearasrememberedkissesafterdeath，"
onemanlikesthefamiliarsoundoftheword"remembered"asweallspeakitnow；anothertakespleasureinthefourlightsyllablesfillingthelinesofull。Tennysonusestheapostropheasarule，butneitherhenoranyotherauthorisquiteconsistent。
ROSALYND’SMADRIGAL
Itmaypleasethereadertothinkthatthisfrolic，rich，anddelicatesingerwasShakespeare’sveryRosalind。FromDr。ThomasLodge’snovel，Euphues’GoldenLegacy，wastakenmuchofthestory，withsomeofthecharacters，andsomefewofthepassages，ofAsYouLikeIt。
ROSALINE
Thissplendidpoem（fromthesameromance），writtenonthepoet’svoyagetotheIslandsofTercerasandtheCanaries，hasthefireandfreshnessofthesouthandthesea；allitscoloursareclear。
Thereader’searwillatonceteachhimtoreadthesigh"heighho"
soastogivethefirstsyllablethetimeoftwo（longandshort）。
FAREWELLTOARMS
GeorgePeele’sfourfinestanzas（whichmustbementionedasdedicatedtoQueenElizabeth，butarebetterwithoutthatdedication）existinanotherform，inthefirstperson，andwithsomearchaismssmoothed。Butthethirdpersonseemstobefarmoretouching，theoldmanhimselfhavingdonewithverse。
THEPASSIONATESHEPHERD
ThesixthstanzaisperhapsbyIzaakWalton。
TAKE，OTAKETHOSELIPSAWAY
Theauthorofthisexquisitesongisbynomeanscertain。ThesecondstanzaisnotwiththefirstinShakespeare，butitisinBeaumontandFletcher。
KINDAREHERANSWERS
Theseversesareamoresubtleexperimentinmetrebythemusicianandpoet，Campion，thaneventhefollowing，Laura，whichhehimselfsweetlycommendedas"voluble，andfittoexpressanyamorousconceit。"InKindareherAnswersthelongsyllablesandthetrochaicmovementoftheshortlinesmeetthecontrarymovementoftherest，withanexquisiteeffectoffluxandreflux。The"dancers"whosetimetheysangmusthavedanced（withPerdita）like"awaveofthesea。"
DIRGE
Ihavefollowedtheusualpracticeinomittingthelastandlessbeautifulstanza。
FOLLOW
Campion’s"airs，"forwhichhewrotehiswords，laidrulestoourgentuponwhatwouldhavebeenadelicategeniusinpoetry。Theairsdemandedsomanystanzas；buttheygavehisimaginationleavetobeaway，andtheydepressedandevenconfusedhismetricalplay，hurtingthusthetwovitalspotsofpoetry。Manyofthestanzasformusicmakeanunluckyrepeatingpatternwiththepoorvarietythatarepeatingwall—paperdoesnotattempt。AndyetCampionbeganagainandagainwiththeonsetofatruepoet。Take，forexample，thepoembeginningwiththevitalityofthisline，"touchinginitsmajesty"—
"Awake，thouspringofspeakinggrace；muterestbecomesnotthee！"
Whowouldhaveguessedthatthepiecewastocloseinajoggingstanzacontainingareflectiononthefactthatbrutesarespeechless，withthesetwofinallines—
"Ifspeechbethenthebestofgraces，Doeitnotinslumbersmother！"
Campionyieldsacuriouscollectionofbeautifulfirstlines。
"Sleep，angrybeauty，sleepandfearnotme"
isfarfinerthananythingthatfollows。Soisthereasinglegloominthis—
"Followthyfairsun，unhappyshadow！"
Andasinglejoyinthis—
"Oh，whatunhoped—forsweetsupply！"
AnothersolitarylineisonethatbyitssplendourprovesCampiontheauthorofCherryRipe—
"Athousandcherubimflyinherlooks。"
Andyet"athousandcherubim"isalineofapoemfullofthedullestkindofreasoning——curiousmatterformusic——andoftheintricateknottingofwhatisaverysimplethreadofthought。ItwasthereforenoeasymattertochoosesomethingofCampion’sforacollectionofthefinestwork。Foranhistoricalbookofrepresentativepoetrythequestionwouldbeeasyenough，forthereCampionshouldappearbyhisgloriouslyric，CherryRipe，byoneortwopoemsofprofounderimagination（howeverimperfect），andbyamadrigalwrittenforthemusic（howeverthestanzasmayflagintheirquibbling）。Buttheworkofchoosingamonghislyricsforthesakeofbeautyshowstooclearlytheinequality，thebrevityoftheinspiration，andthepoet’sabsolutedisregardofthemomentofitsflightanddeparture。Afewsplendidlinesmaybereasonenoughforextractingashortpoem，butmustnotbemadetobeartoogreataburden。
WHENTHOUMUSTHOME
Ofthequalityofthisimaginativelyricthereisnodoubt。Itisfinethroughout，asweconfessevenafterthegreatnessoftheopening:—
"Whenthoumusthometoshadesofunderground，Andtherearrived，anewadmiredguest——"
Itisassolemnandfantasticatthecloseasatthisdarkandsplendidopening，andthroughout，pastdescription，Elizabethan。
ThissinglepoemmustbindCampiontothatperiodwithoutquestion；
andashelivedthirty—sixyearsintheactualreignofElizabeth，andprintedhisBookofAirswithRossetertwoyearsbeforeherdeath，itisbynoviolencethatwegivehimthenamethatcoversourearlierpoetsofthegreatage。WhenthoumustHomeisofthedayofMarlowe。Ithasthequalitiesofgreatpoetry，andespeciallythequalityofkeepingitssimplicity；andithasaqualityofgreatsimplicitynotatallchild—like，butadult，large，gay，credulous，tragic，sombre，andamorous。
THEFUNERAL
Donne，too，isapoetoffineonsets。ItwaswithsomehesitationthatIadmittedapoemhavingthemiddlestanzaofthisFuneral；
buttheearlierlinesofthelastarefine。
CHARIS’TRIUMPH
ThefreshestofBenJonson’slyricshavebeenchosen。Obviouslyitisfreshnessthathegenerallylacks，forallhisvigour，hisemphaticinitiative，andhisoverbearingandimpulsivevoiceinverse。Thereisastalebreathinthatheartyshout。Doubtlessitistothecreditofhishonestythathedidnotadoptthecountry—
phrasesinvogue；butwhenhetakeslandscapeasatasktheeffectisillenough。Ihavealreadyhadthetemeritytofindfaultforablunderofmeaning，withthepassageofamostfamouslyric，whereitsaysthecontraryofwhatitwouldsay—
"ButmightIofJove’snectarsupIwouldnotchangeforthine；"
andfordoingsohaveencounteredtheangerratherthantheargumentofthosewhocannotadmireaprettylyricbuttheymustholdreasonitselftobeinerrorratherthanallowthatalineofithaschancedtogetturnedintherhyming。
INEARTH
"Ieversawanything，"saysCharlesLamb，"likethisfuneraldirge，exceptthedittywhichremindsFerdinandofhisdrownedfatherintheTempest。Asthatisofthewater，watery；sothisisoftheearth，earthy。Bothhavethatintentnessoffeelingwhichseemstoresolveitselfintotheelementwhichitcontemplates。"
SONG（Phoebus，arise！）
AllDrummond’spoemsseemtobeminorpoems，evenattheirfinest，exceptonlythis。Hemusthaveknown，forthecreationofthatpoem，somemoreimpassionedandlessrestlesshour。Itis，fromtheoutsettotheclose，thesighofaprofoundexpectation。Thereisnodivisionintostanzas，becauseitsmetreisthebreathoflife。OnemightwishthattheEnglishode（roughlycalled"Pindaric"）hadneverbeenwrittenbutwithpassion，forsowrittenitisthemostimmediateofallmetres；theshockoftheheartandthebreathofelationorgriefarethelawofthelines。Ithaspassedoutofthegatesofthegardenofstanzas，andwalks（notastray）inthefurtherfreedomwhereallisinteriorlaw。Cowley，longafterwards，wrotethisPindaricode，andwroteitcoldly。ButDrummond’s（hecallsitasong）canneveragainbeforgotten。WithadmirablejudgmentitwassetupattheverygateofthatGoldenTreasuryweallknowsowell；and，therefore，generationaftergenerationofreaders，whohaveneveropenedDrummond’spoems，knowthisfineodeaswellastheyknowanysinglepoeminthewholeofEnglishliterature。TherewasagenerationthathadnotbeentaughtbytheGoldenTreasury，andCardinalNewmanwasofit。
WritingtoCoventryPatmoreofhisgreatodes，hecalledthembeautifulbutfragmentary；wasinclinedtowishthattheymightsomedaybemadecomplete。Thereisnothinginallpoetrymorecomplete。Seldomisapoeminstanzassocompletebutthatanotherstanzamighthavemadeafinalclose；butamaster’sodehastheunityoflife，andwhenitendsitendsforever。
ApoemofDrummond’shasthisauroralimageofablush:Antheahasblushedtohearhereyeslikenedtostars（habitmighthavecausedher，onewouldthink，tobeartheflatterywithafrontascoolastheverydaybreak），andthelovertellsherthatthesuddenincreaseofherbeautyisfutile，forhecannotadmiremore:"Fornaughtthycheeksthatmorndoraise。"Whatsweet，nay，whatsolemnroses！
Again:
"Mehereshefirstperceived，andhereamornOfbrightcarnationsoverspreadherface。"
Theseventeenthcenturyhaspossessionofthat"morn"caughtonceuponitsuplands；norcananycustomofaftertimetouchitsfreshnesstowitherit。
TOMYINCONSTANTMISTRESS
Thesolemnvengeanceofthispoemhasastrangetone——notunique，forithadsoundedsomewhereinmediaevalpoetryinItaly——butinadreadfulsensedivine。Atthefirstreading，thissentenceagainstinconstancy，spokenbyonemorethaninconstant，movessomethinglikeindignation；nevertheless，itismenacinglyandobscurelyjustified，onagroundasitwerebeyondthecommonregionoftoleranceandpardon。
THEPULLEY
Aneditorisgreatlytemptedtomendawordintheseexquisiteverses。GeorgeHerbertwasmaladroitinusingtheword"rest"intwosenses。"Peace"isnotquitesocharacteristicaword，butitoughttotaketheplaceof"rest"inthelastlineofthesecondstanza；sothenthefirstlineofthelaststanzawouldnothavethisratherdistressingambiguity。Thepoemisotherwiseperfectbeyonddescription。
MISERY
GeorgeHerbert’sworkissoperfectlyaboxwherethoughts"compactedlie，"thatnooneismoved，inreadinghisrichpoetry，todetachaline，sofineandsosignificantareitsneighbours；
nevertheless，itmaybewelltostopthereaderatsuchalovelypassageasthis—
"HewasagardeninaParadise。"
THEROSE
ThereisnothingelseofWaller’sfineenoughtobeadmittedhere；
andeventhis，thoughunquestionablyabeautifulpoem，elasticinwordsandfreshinfeeling，despiteitsweariedargument，isofthethird—class。Greatnessseemsgenerally，inthearts，tobeoftwokinds，andthethirdrankislessthangreat。TheweariedargumentofTheRoseisthealmostsqualidpleaofallthepoets，fromRonsardtoHerrick:"Timeisshort；theymakethebetterbargainwhomakehastetolove。"Thisthriftybusinessandessentiallycoldimpatiencewas——timeoutofmind——unknowntothetruerlove；
itislarger，illiberal，untender，andwithoutalldignity。Thepoetswerewrongtogivetheirversesthemessageofsosorryawarning。Thereisonlyonethingthatpersuadesyoutoforgivethepaltrypleaofthepoetthattimeisbrief——andthatisthecharmingreflexglimpseitgivesofhertowhomtheroseandtheverseweresent，andwhohadnotthoughtthattimewasbrief。
L’ALLEGRO
Thesockrepresentsthestage，inL’Allegro，forcomedy，andthebuskin，inIlPenseroso，fortragedy。MiltonseemstothinkthecomicdramainEnglandneedsnoapology，buthehesitatesatthetragic。ThepoetofKingLearisnamedforhissweetnessandhiswood—noteswild。
ILPENSEROSO
ItistoolatetoprotestagainstMilton’sdisplayofweakItalian。
Pensierosois，ofcourse，whatheshouldhavewritten。
LYCIDAS
MostoftheallusionsinLycidasneednoexplainingtoreadersofpoetry。ThegeographyisthatofthewesterncoastsfromfurthestnorthtoCornwall。DevaistheDee；"thegreatvision"meanstheapparitionoftheArchangel，St。Michael，atSt。Michael’sMount；
NamancosandBayonafacethemountfromthecontinentalcoast；
BellerusstandsforBelerium，theLand’sEnd。
ArethusaandMincius——SicilianandItalianstreams——representthepastoralpoetryofTheocritusandVirgil。
ONAPRAYER—BOOK
"Fairandflagrantthings"——Crashaw’sownphrase——mightserveforabrilliantandfantasticpraiseandprotestindescriptionofhisownverses。Inthelastcentury，despitetheopinionofafew，anddespitethefactthatPopetookpossessionofCrashaw’sline—
"Obedientslumbersthatcanwakeandweep，"
andforsometimeofthepresentcentury，thecriticshadawintrywordtoblamehimwith。TheysaidofGeorgeHerbert，ofLovelace，ofCrashaw，andofotherlightheartsoftheseventeenthcentury——
notsomuchthattheirinspirationwasinbadtaste，asthatnoreaderoftastecouldsufferthem。Abetteropiniononthatcompanyofpoetsisthattheyhadatasteextraordinarilyliberal，generous，andelastic，butnotessentiallylax:tastethatgavenowandthentoomuchroomtoplay，butanonclosedwiththepurestandexactestlawsoftemperanceandmeasure。TheextravaganceofCrashawisafarmorelawfulthingthantheextravaganceofAddison，whomsomebelievetohavecommittednone；moreover，Popeandallthepoliterpoetsnursedsomethingtheywerepleasedtocalla"rage，"andthisexpatiated（touseanotherwordoftheirown）beyondallbounds。Ofsheervoluntaryextremesitisnotintheseventeenthcenturyconceitthatweshouldseekexamples，butinaneighteenthcentury"rage。"A"noblerage，"properlyprovoked，couldbebackedtowritemoretrashthanfancyevertemptedthehalf—increduloussweetpoetoftheoldertimetorunupon。Hewasfancy’schild，andthebardoftheeighteenthcenturywasthechildofcommonsensewithstrawsinhishair——vainlyarrangedthere。Theeighteenthcenturywasnevercontentwithamoderatemind；itinvented"rage"；itmatchedragewithaflagrantdictionmingledofLatinwordsandsimpleEnglishwordsmadevacantandridiculous，andtheseweretheworst；itwasresolvedtobebehindnocenturyinpassion——nay，toshowtheway，tofirethenations。Addisontaughthimself，ashisherotaughtthebattle，"wheretorage"；andinthelateryearsofthesameliteraryage，Johnsonsummonedthelapsedandabsentfury，withnokindofmisgivingastotheresultingverse。Takesuchaphraseas"themaddedland"；there，indeed，isawordcoinedbythenoblerageasthelastcenturyevokedit。"Themaddedland"isaphraseintendedtoprovethatthelaw—giveroftaste，Johnsonhimself，couldlodgethefuryinhisbreastwhenopportunityoccurred。"Anddubioustitleshakesthemaddedland。"Itwouldbehardtofindanything，eveninAddison，moreflagrantandlessfair。
TakeTheWeeperofCrashaw——hismostflagrantpoem。Itsfolliesareallsweet—humoured，theysmile。Itsbeautiesareaquickandabundantshower。Thedelicatephrasesaresomingledwiththeflagrantthatitisdifficulttoquotethemwithoutrousingthatgeneralsenseofhumourofwhichanyonemaymakeaboast；andIamthereforeshyevenofcitingthe"briskcherub"whohasearlysippedtheSaint’stear:"Thentohismusic，"inCrashaw’sdivinelysimplephrase；andhissinging"tastesofthisbreakfastalldaylong。"Sorrowisaqueen，hecriestotheWeeper，andwhensorrowwouldbeseeninstate，"thenisshedrestbynonebutthee。"Thenyoucomeuponthefancy，"Fountainandgardeninoneface。"Allplaces，times，andobjectsare"Thytears’sweetopportunity。"Ifthesecharmingpassageslurkinhisworstpoems，thereaderofthisanthologywillnotbeabletocounttheminhisbest。IntheEpiphanyHymntheheavenshavefoundmeans’Todisinheritthesun’srise，DelicatelytodisplaceTheday，andplantitfairerinthyface。"
TotheMorning:SatisfactionforSleep，is，allthrough，luminous。
Itwouldbedifficulttofind，evenintheorientpoetryofthattime，moredaylightormorespirit。True，anElizabethanwouldnothavehadpoetrysorichasinLove’sHoroscope，butyetanElizabethanwouldhavehaditnofresher。TheHymntoSt。Teresahasthebrevitieswhichthispoet——reproachedwithhislongueurs——
masterssowell。HetellshowtheSpanishgirl，sixyearsold，setoutinsearchofdeath:"She’sfortheMoorsandMartyrdom。
Sweet，notsofast！"OfmanycontemporarysongsinpursuitofafugitiveCupid，Crashaw’sCupid’sCryer:outoftheGreek，isthemostdainty。Butifreadersshouldbealittlevexedwiththepoet’slightheartandperpetualpleasure，withthelateripenessofhissweetness，here，fortheirsatisfaction，isapassagecapableofthegreatagethathadlatelyclosedwhenCrashawwrote。
Itisinhissummonstonatureandart:
"Come，andcomestrong，Totheconspiracyofourspacioussong！"
IhavebeenobligedtotakecouragetoalterthereadingoftheseventeenthandnineteenthlinesofthePrayer—Book，soastomakethemintelligible；theyhadbeenobviouslymisprinted。Ihavealsofounditnecessarytore—punctuategenerally。
WISHESTOHISSUPPOSEDMISTRESS
Thisbeautifulandfamouspoemhasitsstanzassocarelesslythrowntogetherthateditorshaveallowedthemselvesacertainfreedomwithit。IhavedonetheleastIcould，byseparatingtwostanzasthatrepeatedtherhyme，andbysuppressingonethatgrewtedious。
ONTHEDEATHOFMR。CRASHAW
Thisodehasbeenchosenasmorenoblyrepresentativethanthat，betterknown，OntheDeathofMr。WilliamHarvey。IntheCrashawode，andintheHymntotheLight，Cowleyis，atlast，tender。Butitcannotbesaidthathislove—poemshadtenderness。Bewroteinagaylanguage，butaddednothingtoitsgaiety。Hewrotethelanguageoflove，andleftitcoolerthanhefoundit。WhattheconceitsofLovelaceandtherest——flagrant，notfrigid——didnotdowasdonebyCowley’squenchingbreath；thelanguageoflovebegantolosebyhim。Buteventhen，eventhen，whocouldhaveforetoldwhatthelossatalaterdaywouldbe！
HYMNTOTHELIGHT
ItissomewhattoberegrettedthatthissplendidpoemshouldshowCowleyasthewriterofthealexandrinethatdividesintotwolines。Forheitwaswhofirstused（orfirstconspicuouslyused）
thealexandrinethatisorganic，integral，anditselfaseparateunitofmetre。Hefirstpassedbeyondtheheroicline，oratleasthefirstusedthealexandrinefreely，athispleasure，amidheroicverse；andafterhimDrydentookpossessionandthenPope。Butboththesemasters，whentheywrotealexandrines，wrotethemintheFrenchmanner，divided。Cowley，however，withadmirableart，isabletopreventevenanaccidentalpause，makingthemiddleofhislinefalluponthemiddleofsomewordthatisrapidinthespeakingandthereforeindivisiblebypauseorevenbyanylingering。Takethisoneinstance—
"Likesomefairpineo’erlookingalltheignoblerwood。"
IfCowley’sdelicateexamplehadruledinEnglishpoetry（andhesurelyhadauthorityonthisonepoint，atleast），thisalexandrinewouldhavetakenitsownplaceasanimportantlineofEnglishmetre，moremobilethantheheroic，lessfittedtoepicordramaticpoetry，butalineliberallylyrical。Itwouldhavebeenthelight，pursuingwavethatrunssuddenly，outrunningtwenty，furtherupthesandsthanthese，aswifttraveller，unspent，oflongerimpulse，ofmoreimpetuousfoot，offullerandofhastierbreath，moreeagertospeak，andyetmorereluctanttohavedone。Cowleyleftthelinewithallthislyricalpromisewithinit，andifhisexamplehadbeenfollowed，Englishprosodywouldhavehadinthisavaluablebequest。
CowleyprobablywastwoorthreeyearsyoungerthanRichardCrashaw，andthealexandrineistobefound——tobefoundbysearching——inCrashaw；andhetookpreciselythesamecareasCowleythatthelongwandofthatlineshouldnotgivewayinthemiddle——shouldbestrongandsuppleandshouldlast。Herearefourofhisalexandrines—
"Oryou，morenoblearchitectsofintellectualnoise。"
"Ofsweetsyouhave，andmurmurthatyouhavenomore。"
"Andeverlastingseriesofadeathlesssong。"
"Toallthedear—boughtnationsthisredeemingname。"
Alaterpoet——CoventryPatmore——wroteafarlongerlinethaneventhese——alinenotonlyspeedingfurther，butspeedingwithamorecelestialmovementthanCowleyorCrashawheardwiththeearofdreams。
"Heunhappilyadopted，"saysDr。JohnsonastoCowley’sdiction，"thatwhichwaspredominant。""Thatwhichwaspredominant"wasasgoodavintageofEnglishlanguageasthecyclesofhistoryhaveeverbroughttopass。