CONTENTS

BOOK I. THE LINE

PART I. THE NATIVE METRE

CHAPTER I

GENERAL INTRODUCTION TO THE SCIENCE OF METRE AND THE STRUCTURE OF VERSE

PAGE

§ 1.Uses of the study of English metre1

2.Object of the science of metre1

3.Definition of rhythm2

4.Distinction between prose and poetry3

5.Phonetic qualities of syllables4

6.Definition and use of the word accent4

7.Classification of accent5

8.Marks indicating position of accent8

9.Principles of versification and their terms9

10.Rhyme; its twofold purpose11

11.End-rhyme, or full-rhyme12

12.Vocalic assonance12

13.Alliteration13

CHAPTER II

THE ALLITERATIVE VERSE IN OLD ENGLISH

§ 14.General remarks15

15.Theories on the metrical form of the alliterative line15

16.The four-beat theory16

17.The two-beat theory19

18.Accentuation of Old English24

19.The secondary accent28

20.Division and metrical value of syllables29

21.Structure of the whole alliterative line30

22.The structure of the hemistich in the normal alliterative line31

23.Number of unaccented syllables of the thesis33

24.Order of the verse-members in the hemistich35

Analysis of the Verse Types.

I. Hemistichs of four members.

25.Type A, with sub-types A 1–336

26.Type B, with sub-types B 1, 241

27.Type C, with sub-types C 1–342

28.Type D, with sub-types D 1–442

29.Type E, with sub-types E 1, 243

II. Hemistichs of five members.

30.Type A*, with sub-types A* 1, 2; Type B*; Type C*; Type D*, with sub-types D* 1–344

31.Principles adopted in classification45

32.Combination of hemistichs by means of alliteration45

Principles of Alliteration.

33.Quality of the alliteration46

34.Position of the alliterative words48

35.Alliteration in relation to the parts of speech and to the order of words50

36.Arrangement and relationship of verse and sentence54

The Lengthened Verse.

37.The lengthened line; alliteration55

38.The origin and structure of the lengthened verse57

39.Examples of commonly occurring forms of the lengthened hemistich59

Formation of Stanzas and Rhyme.

40.Classification and examples62

CHAPTER III

THE FURTHER DEVELOPMENT OF THE FREER FORM OF THE ALLITERATIVE LINE IN LATE OLD ENGLISH AND EARLY MIDDLE ENGLISH

A. Transitional Forms.

§ 41.Increasing frequency of rhyme65

42.Combination of alliteration and rhyme65

B. The ‘Proverbs of Alfred’ and Layamon’s ‘Brut’.

43.Development of the progressive form of the alliterative line67

44.Nature and origin of the four-beat short-lined metre69

45.Number of stresses72

46.Analysis of verse-types74

47.Extended types75

48.Verse-forms rhythmically equivalent78

C. The Progressive Form of the Alliterative Line, Rhymed Throughout. ‘King Horn.’

49.Further development of the Layamon-verse79

50.The metre of King Horn and its affinity to the alliterative line82

51.Characteristics of King Horn and Layamon compared84

CHAPTER IV

THE ALLITERATIVE LINE IN ITS CONSERVATIVE FORM DURING THE FOURTEENTH AND FIFTEENTH CENTURIES

A. the Alliterative Verse Without Rhyme.

§ 52.Homilies and lives of the saints in rhythmical prose. Poems in regular alliterative verse85

53.Use and treatment of words in alliterative verse87

54.Examples of alliteration88

55.Comparison of Middle and Old English alliterative verse90

56.The versification of Piers Plowman93

57.Modification of forms in the North of England and in the Midlands95

B. the Alliterative Line Combined With Rhyme.

58.Growing influence of verse formed on foreign models97

59.Lyrical stanzas: four-beat and two-beat lines97

60.Forms of structure and versification99

61.Narrative verse101

62.Relation between rhyme and alliteration101

63.Features of alliterative-rhyming lines105

64.Structures of the cauda105

65.Two-beat lines in tail-rhyme stanzas106

66.Rhyming alliterative lines in Mystery Plays108

67.Alliteration in Moralities and Interludes109

68.Four-beat scansion of Bale’s verses110

69.Examples of the presence or absence of anacrusis in the two hemistichs110

70.Entire tail-rhyme stanzas113

71.Irregular tail-rhyme stanzas: Skeltonic verse114

C. Revival of the Four-beat Alliterative Verse in the Modern English Period.

72.Examples from Gascoigne, Wyatt, Spenser, &c.117

73.Attempted modern revival of the old four-beat alliterative line without rhyme119

74.Examples of the development of the four-beat alliterative line in reversed chronological order120

75.Summing-up of the evidence124

PART II. FOREIGN METRES

DIVISION I. THE FOREIGN METRES IN GENERAL

CHAPTER V

INTRODUCTION AND THE STRUCTURE OF VERSE

§ 76.Influence of French and Low Latin metres126

77.The different kinds of line127

78.The breaking up of long lines128

79.Heroic verse; tail-rhyme staves131

80.Different kinds of caesura131

81.Causes of variation in the structure of metres of equal measures133

CHAPTER VI

VERSE-RHYTHM AND THE STRUCTURE OF VERSE

§ 82.Lines with and without diaeresis135

83.Effect of diaeresis on modulation136

84.Suppression of the anacrusis137

85.Level stress, or ‘hovering accent’138

86.Absence of thesis in the interior of a line139

87.Lengthening of a word by introduction of unaccented extra syllable141

88.Inversion of rhythm141

89.Disyllabic or polysyllabic thesis143

90.Epic caesura145

91.Double or feminine endings146

92.Enjambement, or run-on line147

93.Rhyme-breaking148

94.Alliteration149

CHAPTER VII

THE METRICAL TREATMENT OF SYLLABLES

§ 95.General remarks on formative and inflexional syllables151

96.Treatment of the unaccented e of words of three and four syllables in Middle English152

97.Special remarks on individual inflexional endings154

98.Treatment of -en in Middle and Modern English155

99.The comparative and superlative endings -er, -est156

100.The ending -est157

101.The endings -eth, -es (’s)158

102.The ending -ed (’d, t)158

103.The ending -ed (-od, -ud) of the 1st and 3rd pers. sing. pret. and plur. pret. of weak verbs159

104.The final -e in Middle English poetry160

105.Examples of the arbitrary use of final -e161

106.The final -e in later poetry of the North162

107.Formative endings of Romanic origin163

108.Contraction of words ordinarily pronounced in full165

109.Amalgamation of two syllables for metrical purposes166

110.Examples of slurring or contraction167

111.Other examples of contraction; apocopation168

112.Lengthening of words for metrical purposes169

CHAPTER VIII

WORD-ACCENT

§ 113.General remarks171

I. Word-accent in Middle English.

A. Germanic words.

114.Alleged difference in degree of stress among inflexional endings containing e172

115.Accent in trisyllables and compounds174

116.Pronunciation of parathetic compounds175

117.Rhythmical treatment of trisyllables and words of four syllables175

B. Romanic words.

118.Disyllabic words177

119.Trisyllabic words178

120.Words of four and five syllables179

II. Word-accent in Modern English.

121.Romanic accentuation still continued180

122.Disyllabic words181

123.Trisyllabic and polysyllabic words181

124.Parathetic compounds182

DIVISION II. VERSE-FORMS COMMON TO THE MIDDLE AND MODERN ENGLISH PERIODS

CHAPTER IX

LINES OF EIGHT FEET, FOUR FEET, TWO FEET, AND ONE FOOT

§ 125.The eight-foot line and its resolution into four-foot lines183

126.Examples of the four-foot line183

127.Treatment of the caesura in four-foot verse185

128.Treatment of four-foot verse in North English and Scottish writings186

129.Its treatment in the Midlands and the South187

130.Combinations of four-foot and three-foot verse in Middle English188

131–2.Freer variety of this metre in Modern English188

133.Two-foot verse190

134.One-foot verse191

CHAPTER X

THE SEPTENARY, THE ALEXANDRINE, AND THE THREE-FOOT LINE

§ 135.The septenary192

136.Irregularity of structure of the septenary rhyming line as shown in the Moral Ode193

137.Regularity of the rhymeless septenary verse of the Ormulum193

138.The septenary with a masculine ending194

139.The septenary as employed in early lyrical poems and ballads195

140.Use of the septenary in Modern English196

141–4.Intermixture of septenaries, alexandrines, and four-beat lines197

145, 146.Origin of the ‘Poulter’s Measure’202

147.The alexandrine: its first use204

148.Structure of the alexandrine in Mysteries and Moral Plays205

149.The alexandrine in Modern English205

150.The three-foot line206

CHAPTER XI

THE RHYMED FIVE-FOOT VERSE

§ 151.Rhymed five-foot verse in Middle English209

152.Sixteen types of five-foot verse210

153.Earliest specimens of this metre212

154.Chaucer’s five-foot verse; treatment of the caesura213

155.Masculine and feminine endings; rhythmic licences214

156.Gower’s five-foot verse; its decline215

157.Rhymed five-foot verse in Modern English216

158.Its use in narrative poetry and by Shakespeare217

159.The heroic verse of Dryden, Pope, and later writers218

DIVISION III. VERSE-FORMS OCCURRING IN MODERN ENGLISH POETRY ONLY

CHAPTER XII

BLANK VERSE

§ 160.The beginnings of Modern English poetry219

161.Blank verse first adopted by the Earl of Surrey219

162.Characteristics of Surrey’s blank verse221

163.Further development of this metre in the drama222

164.The blank verse of Shakespeare223

165.Rhymed and unrhymed lines in Shakespeare’s plays224

166.Numerical proportion of masculine and feminine endings225

167.Numerical proportion of ‘weak’ and ‘light’ endings225

168.Proportion of unstopt or ‘run-on’ and ‘end-stopt’ lines226

169.Shakespeare’s use of the full syllabic forms of -est, -es, -eth, -ed227

170.Other rhythmical characteristics of Shakespeare’s plays228

171.Alexandrines and other metres occurring in combination with blank verse in Shakespeare230

172.Example of the metrical differences between the earlier and later periods of Shakespeare’s work232

173.The blank verse of Ben Jonson233

174.The blank verse of Fletcher234

175.Characteristics of Beaumont’s style and versification235

176.The blank verse of Massinger236

177.The blank verse of Milton237

178.The dramatic blank verse of the Restoration239

179.Blank verse of the eighteenth century240

180.Blank verse of the nineteenth century240

CHAPTER XIII

TROCHAIC METRES

§ 181.General remarks; the eight-foot trochaic line242

182.The seven-foot trochaic line243

183.The six-foot trochaic line244

184.The five-foot trochaic line245

185.The four-foot trochaic line246

186.The three-foot trochaic line246

187.The two-foot trochaic line247

188.The one-foot trochaic line247

CHAPTER XIV

IAMBIC-ANAPAESTIC AND TROCHAIC-DACTYLIC METRES

§ 189.General remarks249

I. Iambic-anapaestic Metres.

190.Eight-foot iambic-anapaestic verse250

191.Seven-foot iambic-anapaestic verse250

192.Six-foot iambic-anapaestic verse251

193.Five-foot iambic-anapaestic verse251

194.Four-foot iambic-anapaestic verse252

195.Three-foot iambic-anapaestic verse253

196.Two-foot iambic-anapaestic verse253

197.One-foot iambic-anapaestic verse254

II. Trochaic-dactylic Metres.

198.Eight-foot trochaic-dactylic verse254

199.Seven-foot trochaic-dactylic verse255

200.Six-foot trochaic-dactylic verse255

201.Five-foot trochaic-dactylic verse256

202.Four-foot trochaic-dactylic verse256

203.Three-foot trochaic-dactylic verse257

204.Two-foot dactylic or trochaic-dactylic verse257

205.One-foot dactylic verse258

CHAPTER XV

NON-STROPHIC, ANISOMETRICAL COMBINATIONS OF RHYMED VERSE

§ 206.Varieties of this metre; Poulter’s measure259

207–8.Other anisometrical combinations260

CHAPTER XVI

IMITATIONS OF CLASSICAL FORMS OF VERSE AND STANZA

§ 209.The English hexameter262

210.Structure of the hexameter263

211.Elegiac verse; the minor Asclepiad; the six-foot iambic line; Phaleuciac verse; Hendecasyllabics; rhymed Choriambics264

212.Classical stanzas:—the Sapphic metre; the Alcaic metre; Anacreontic stanzas266

213.Other imitations of classical verses and stanzas without rhyme267

BOOK II THE STRUCTURE OF STANZAS

PART I

CHAPTER I. DEFINITIONS

STANZA, RHYME, VARIETIES OF RHYME

§ 214.Structure of the stanza270

215.Influence of lyrical forms of Provence and of Northern France on Middle English poetry271

216.Classification of rhyme according to the number of the rhyming syllables: (1) the monosyllabic or masculine rhyme; (2) the disyllabic or feminine rhyme; (3) the trisyllabic, triple, or tumbling rhyme272

217.Classification according to the quality of the rhyming syllables: (1) the rich rhyme; (2) the identical rhyme; (3) the broken rhyme; (4) the double rhyme; (5) the extended rhyme; (6) the unaccented rhyme273

218.Classification according to the position of the rhyming syllables: (1) the sectional rhyme; (2) the inverse rhyme; (3) the Leonine rhyme or middle rhyme; (4) the interlaced rhyme; (5) the intermittent rhyme; (6) the enclosing rhyme; (7) the tail-rhyme276

219.Imperfect or ‘eye-rhymes’278

CHAPTER II

THE RHYME AS A STRUCTURAL ELEMENT OF THE STANZA

§ 220.Formation of the stanza in Middle English and Romanic poetry279

221.Rhyme-linking or ‘concatenation’ in Middle English280

222.The refrain or burthen; the wheel and the bob-wheel280

223.Divisible and indivisible stanzas281

224.Bipartite equal-membered stanzas282

225.Bipartite unequal-membered stanzas282

226.Tripartite stanzas283

227.Specimens illustrating tripartition284

228.The envoi286

229.Real envois and concluding stanzas286

PART II. STANZAS COMMON TO MIDDLE AND MODERN ENGLISH, AND OTHERS FORMED ON THE ANALOGY OF THESE

CHAPTER III

BIPARTITE EQUAL-MEMBERED STANZAS

I. Isometrical Stanzas.

§ 230.Two-line stanzas288

231.Four-line stanzas, consisting of couplets288

232.The double stanza (eight lines of the same structure)289

233.Stanzas of four isometrical lines with intermittent rhyme290

234.Stanzas of eight lines resulting from this stanza by doubling290

235.Stanzas developed from long-lined couplets by inserted rhyme291

236.Stanzas of eight lines resulting from the four-lined, cross-rhyming stanza and by other modes of doubling292

237.Other examples of doubling four-lined stanzas293

238.Six-lined isometrical stanzas294

239.Modifications of the six-lined stanza; twelve-lined and sixteen-lined stanzas295

II. Anisometrical Stanzas.

240.Chief species of the tail-rhyme stanza296

241.Enlargement of this stanza to twelve lines297

242.Further development of the tail-rhyme stanza298

243.Variant forms of enlarged eight and ten-lined tail-rhyme stanzas298

244.Tail-rhyme stanzas with principal verses shorter than tail-verses299

245.Other varieties of the tail-rhyme stanza300

246.Stanzas modelled on the tail-rhyme stanza300

247.Stanzas formed of two septenary verses301

248.Analogical developments from this type302

249.Eight-lined (doubled) forms of the different four-lined stanzas302

250.Other stanzas of similar structure303

CHAPTER IV

ONE-RHYMED INDIVISIBLE AND BIPARTITE UNEQUAL-MEMBERED STANZAS

I. One-rhymed and Indivisible Stanzas.

§ 251.Three-lined stanzas of one rhyme305

252.Four-lined stanzas of one rhyme306

253.Other stanzas connected with the above307

II. Bipartite Unequal-membered Isometrical Stanzas.

254.Four-lined stanzas308

255.Five-lined stanzas308

256.Four-lined stanzas of one rhyme extended by the addition of a couplet310

III. Bipartite Unequal-membered Anisometrical Stanzas.

§ 257–8.Four-lined stanzas; Poulter’s measure and other stanzas311

259.Five-lined stanzas314

260.Shortened tail-rhyme stanzas316

261.Six-lined stanzas317

262.Seven-lined stanzas319

263.Eight-, nine-, and ten-lined stanzas320

264.The bob-wheel stanzas in the Middle English period321

265.Bob-wheel stanzas of four-stressed rhyming verses322

266.Modern English bob-wheel stanzas323

CHAPTER V

TRIPARTITE STANZAS

I. Isometrical Stanzas.

§ 267.Six-lined stanzas326

268.Seven-lined stanzas; the Rhyme Royal stanza327

269.Eight-lined stanzas329

270.Nine-lined stanzas330

271.Ten-lined stanzas331

272.Eleven-, twelve-, and thirteen-lined stanzas332

II. Anisometrical Stanzas.

273–4.Six-lined stanzas333

275.Seven-lined stanzas335

276–8.Eight-lined stanzas337

279.Nine-lined stanzas339

280–1.Ten-lined stanzas341

282.Eleven-lined stanzas343

283.Twelve-lined stanzas344

284.Thirteen-lined stanzas345

285.Fourteen-lined stanzas346

286.Stanzas of fifteen to twenty lines347

PART III. MODERN STANZAS AND METRES OF FIXED FORM ORIGINATING UNDER THE INFLUENCE OF THE RENASCENCE, OR INTRODUCED LATER

CHAPTER VI

STANZAS OF THREE AND MORE PARTS CONSISTING OF UNEQUAL PARTS ONLY

§ 287.Introductory remark348

288.Six-lined stanzas349

289.Seven-lined stanzas351

290–2.Eight-lined stanzas; the Italian ottava rima352

293.Nine-lined stanzas355

294.Ten-lined stanzas355

295.Eleven-lined stanzas356

296.Twelve-lined stanzas356

CHAPTER VII

THE SPENSERIAN STANZA AND THE FORMS DERIVED FROM IT

§ 297.First used in the Faerie Queene358

298–300.Imitations and analogous forms359

CHAPTER VIII

THE EPITHALAMIUM STANZA AND OTHER ODIC STANZAS

§ 301.The Epithalamium stanza363

302.Imitations of the Epithalamium stanza365

303–5.Pindaric Odes, regular and irregular366

CHAPTER IX

THE SONNET

§306.Origin of the English sonnet371

307.The Italian sonnet371

308.Structure of the Italian form illustrated by Watts-Dunton373

309.The first English sonnet-writers, Surrey and Wyatt373

310.Surrey’s transformation of the Italian sonnet, and the form adopted by Shakespeare374

311.Another form used by Spenser in Amoretti375

312.The form adopted by Milton375

313.Revival of sonnet writing in the latter half of the eighteenth century376

314.The sonnets of Wordsworth377

315.The sonnet in the nineteenth century379

CHAPTER X

OTHER ITALIAN AND FRENCH POETICAL FORMS OF A FIXED CHARACTER

316–7.The madrigal380

318–9.The terza-rima381

320–1.The sextain383

322.The virelay385

323.The roundel385

324.The rondeau387

325.The triolet388

326.The villanelle388

327.The ballade389

328.The Chant Royal390

LIST OF EDITIONS REFERRED TO

The quotations of Old English poetry are taken from Grein-Wülker, Bibliothek der Angelsächsischen Poesie, Strassburg, 1883–94. For the Middle English poets the editions used have been specified in the text. Most of the poets of the Modern English period down to the eighteenth century are quoted from the collection of R. Anderson, The Works of the British Poets, Edinburgh, 1795 (15 vols.), which is cited (under the title Poets) by volume and page. The remaining Modern English poets are quoted (except when some other edition is specified) from the editions mentioned in the following list.

Arnold, Matthew. Poetical Works, London, Macmillan & Co., 1890. 8vo.

Beaumont, Francis, and Fletcher, John. Dramatick Works, London, 1778. 10 vols. 8vo.

Bowles, W. L. Sonnets and other Poems. London, 1802–3. 2 vols. 8vo.

Browning, Elizabeth Barrett. Poetical Works. London, Chapman & Hall, 1866. 5 vols. 8vo.

Browning, Robert. Poetical Works. London, Smith, Elder & Co., 1868. 6 vols. 8vo.

Bulwer Lytton, Sir E. (afterwards Lord Lytton). The Lost Tales of Miletus. London, John Murray, 1866. 8vo.

Burns, Robert. Complete Works, ed. Alexander Smith. London, Macmillan & Co., 1870. (Globe Edition.)

Byron, Lord. Poetical Works. London, H. Frowde, 1896. 8vo. (Oxford Edition.)

Campbell, Thomas. Poetical Works, ed. W.A. Hill. London, G. Bell & Sons, 1875.

Coleridge, Samuel Taylor. Poems, ed. Derwent and Sara Coleridge. London, E. Moxon & Co., 1863.

Cowper, William. Poetical Works, ed. W. Benham. London, Macmillan & Co., 1870. (Globe Edition.)

Dryden, John. Comedies, Tragedies, and Operas. London, 1701. fol.

—— —— Poetical Works, ed. W. D. Christie. London, Macmillan & Co., 1870. (Globe Edition.)

Fletcher, John. See Beaumont.

Goldsmith, Oliver. Miscellaneous Works, ed. Prof. Masson. London, Macmillan & Co., 1871. 8vo. (Globe Edition.)

Gorboduc, or Ferrex and Porrex, a Tragedy, by Thomas Norton and Thomas Sackville, ed. L. Toulmin Smith. (Englische Sprach- und Litteraturdenkmale des 16., 17. und 18. Jahrhunderts, herausgegeben von K. Vollmöller, I.) Heilbronn, Gebr. Henninger 1883. 8vo.

Hemans, Felicia. The Works of Mrs. Hemans, with a Memoir of her life by her sister. Edinburgh, W. Blackwood & Sons, 1839. 7 vols.

Herbert, George. Works, ed. R. A. Willmott. London, G. Routledge & Co., 1854. 8vo.

Hymns, Ancient and Modern, for Use in the Services of the Church. Revised and Enlarged Edition. London, n.d.

Jonson, Ben. Chiefly cited from the edition in Poets iv. 532–618 (see the note prefixed to this list); less frequently (after Wilke, Metr. Unters. zu B. J., Halle, 1884) from the folio edition, London, 1816 (vol. i), or from the edition by Barry Cornwall, London, 1842. A few of the references are to the edition of F. Cunningham, London, J.C. Hotten, n.d. (3 vols.)

Keats, John. Poetical Works. London, F. Warne & Co. (Chandos Classics.)

Longfellow, Henry Wadsworth. Poetical Works. Edinburgh, W. P. Nimmo. 8vo. (Crown Edition.)

Lytton. See Bulwer Lytton.

Marlowe, Christopher. Works, ed. A. Dyce. London, 1850. 3 vols. 8vo.

—— —— Works, ed. F. Cunningham. London, F. Warne & Co., 1870. 8vo.

Massinger, Philip. Plays, ed. F. Cunningham. London, F. Warne & Co., 1870. 8vo.

Milton, John. Poetical Works, ed. D. Masson. London, Macmillan & Co., 1874. 3 vols. 8vo.

—— —— English Poems, ed. R.C. Browne. Second Edition. Oxford, Clarendon Press, 1872. 3 vols. 8vo. Moore, Thomas. Poetical Works. London, Longmans, 1867. 8vo.

Morris, William. Love is Enough. Third Edition. London, Ellis & White, 1873. 8vo.

Norton, Thomas. See Gorboduc.

Percy, Thomas. Reliques of Ancient Poetry. London, H. Washbourne, 1847. 3 vols. 8vo.

Poe, Edgar Allan. Poetical Works. London, Sampson Low, Son & Co., 1858. 8vo.

Pope, Alexander. Poetical Works, ed. A. W. Ward. London, Macmillan & Co., 1870. 8vo. (Globe Edition.)

Rossetti, Dante Gabriel. Poems. London, F. S. Ellis, 1870.

Sackville, Thomas, and Norton, Thomas. See Gorboduc.

Scott, Sir Walter. Poetical Works, ed. F. T. Palgrave. London, Macmillan & Co., 1869. 8vo. (Globe Edition.)

Shakespeare, William. Works, ed. W. G. Clark and W. Aldis Wright. London and Cambridge, Macmillan & Co., 1866. 8vo. (Globe Edition.)

Shelley, Percy Bysshe. Poetical Works. London, Chatto & Windus, 1873–1875. 3 vols. 8vo. (Golden Library.)

Sidney, Sir Philip. Arcadia. London, 1633. fol.

—— —— Complete Poems, ed. A. B. Grosart. 1873. 2 vols.

Southey, Robert. Poetical Works. London, Longman, Orme, Brown, Green & Longmans, 1837. 10 vols. 8vo.

Spenser, Edmund. Complete Works, ed. R. Morris. London, Macmillan & Co., 1869. 8vo. (Globe Edition.)

Surrey, Henry Howard, Earl of. Poems. London, Bell & Daldy. 8vo. (Aldine Edition.)

Swinburne, Algernon Charles. Poems and Ballads. Third Edition. London, J. C. Hotten, 1868. 8vo.

—— —— Poems and Ballads, Second Series. Fourth Edition. London, Chatto & Windus, 1884. 8vo.

—— —— A Century of Roundels. London, Chatto & Windus, 1883. 8vo.

—— —— A Midsummer Holiday and other Poems. London, Chatto & Windus, 1884. 8vo.

Tennyson, Alfred. Works. London, Kegan Paul & Co., 1880. 8vo.

Thackeray, William Makepeace. Ballads and The Rose and the Ring. London, Smith, Elder & Co., 1879. 8vo.

Tusser, Thomas. Five Hundred Pointes of Good Husbandrie, ed. W. Payne and S.J. Herrtage, English Dialect Soc., 1878.

Wordsworth, William. Poetical Works, ed. W. Knight. Edinburgh, W. Paterson, 1886. 8 vols. 8vo.

Wyatt, Sir Thomas. Poetical Works. London, Bell & Daldy. (Aldine Edition.) The references marked N. are to vol. ii. of The Works of Surrey and Wyatt, ed. Nott, London, 1815. 2 vols. 4to.

ERRATA

P. 268. In the references to Bulwer, for p. 227 read p. 147; for p. 217 read p. 140; for p. 71 read p. 45; for p. 115 read p. 73.

P. 315, l. 14. For p. 123 read p. 78.

P. 340, l. 34. For p. 273 read p. 72.

P. 353, l. 15. For 89 read 5.

P. 381, l. 12. For ii. 137–40 read Poetical Works, London, 1891, pp. 330–32.