The Golden Treasury

The Golden Treasury
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Unknown. The Golden Treasury

DEDICATION

PREFACE

FIRST BOOK

SUMMARY

1. SPRING

2. SUMMONS TO LOVE

3. TIME AND LOVE

4

5. THE PASSIONATE SHEPHERD TO HIS LOVE

6. A MADRIGAL

7

8

9. PRESENT IN ABSENCE

10. ABSENCE

11

12. A CONSOLATION

13. THE UNCHANGEABLE

14

15. DIAPHENIA

16. ROSALINE

17. COLIN

18. TO HIS LOVE

19. TO HIS LOVE

20. LOVE'S PERJURIES

21. A SUPPLICATION

22. TO AURORA

23. TRUE LOVE

24. A DITTY

25. LOVE'S OMNIPRESENCE

26. CARPE DIEM

27. WINTER

28

29. REMEMBRANCE

30. REVOLUTIONS

31

32. THE LIFE WITHOUT PASSION

33. THE LOVER'S APPEAL

34. THE NIGHTINGALE

35

36. MADRIGAL

37. LOVE'S FAREWELL

38. TO HIS LUTE

39. BLIND LOVE

40. THE UNFAITHFUL SHEPHERDESS

41. A RENUNCIATION

42

43. MADRIGAL

44. DIRGE OF LOVE

45. FIDELE

46. A SEA DIRGE

47. A LAND DIRGE

48. POST MORTEM

49. THE TRIUMPH OF DEATH

50. MADRIGAL

51. CUPID AND CAMPASPE

52

53. PROTHALAMION

54. THE HAPPY HEART

55

56. SOUL AND BODY

57. LIFE

58. THE LESSONS OF NATURE

59

60. THE WORLD'S WAY

61. SAINT JOHN BAPTIST

SECOND BOOK

SUMMARY

62. ODE ON THE MORNING OF CHRIST'S NATIVITY

63. SONG FOR ST CECILIA'S DAY,

64. ON THE LATE MASSACRE IN PIEMONT

65. HORATIAN ODE UPON CROMWELL'S RETURN FROM IRELAND

66. LYCIDAS

67. THE TOMBS IN WESTMINSTER ABBEY

68. THE LAST CONQUEROR

69. DEATH THE LEVELLER

70. WHEN THE ASSAULT WAS INTENDED TO THE CITY

71. ON HIS BLINDNESS

72. CHARACTER OF A HAPPY LIFE

73. THE NOBLE NATURE

74. THE GIFTS OF GOD

75. THE RETREAT

76. TO MR. LAWRENCE

77. TO CYRIACK SKINNER

78. HYMN TO DIANA

79. WISHES FOR THE SUPPOSED MISTRESS

80. THE GREAT ADVENTURER

81. CHILD AND MAIDEN

82. COUNSEL TO GIRLS

83. TO LUCASTA, ON GOING TO THE WARS

84. ELIZABETH OF BOHEMIA

85. TO THE LADY MARGARET LEY

86. THE LOVELINESS OF LOVE

87. THE TRUE BEAUTY

88. TO DIANEME

89

90. TO CELIA

91. CHERRY-RIPE

92. THE POETRY OF DRESS

93.—II

94.—III

95. ON A GIRDLE

96. TO ANTHEA WHO MAY COMMAND HIM ANY THING

97

98

99. TO ALTHEA FROM PRISON

100. TO LUCASTA, ON GOING BEYOND THE SEAS

101. ENCOURAGEMENTS TO A LOVER

102. A SUPPLICATION

103. THE MANLY HEART

104. MELANCHOLY

105. TO A LOCK OF HAIR

106. THE FORSAKEN BRIDE

107. FAIR HELEN

108. THE TWA CORBIES

109. TO BLOSSOMS

110. TO DAFFODILS

111. THOUGHTS IN A GARDEN

112. L'ALLEGRO

113. IL PENSEROSO

114. SONG OF THE EMIGRANTS IN BERMUDA

115. AT A SOLEMN MUSIC

116. ALEXANDER'S FEAST, OR, THE POWER OF MUSIC

THIRD BOOK

SUMMARY

117. ODE ON THE PLEASURE ARISING FROM VICISSITUDE

118. SOLITUDE

119. THE BLIND BOY

120. ON A FAVOURITE CAT, DROWNED IN A TUB OF GOLD FISHES

121. TO CHARLOTTE PULTENEY

122. RULE BRITANNIA

123. THE BARD

124. ODE WRITTEN IN MDCCXLVI

125. LAMENT FOR CULLODEN

126. LAMENT FOR FLODDEN

127. THE BRAES OF YARROW

128. WILLIE DROWNED IN YARROW

129. LOSS OF THE ROYAL GEORGE

130. BLACK-EYED SUSAN

131. SALLY IN OUR ALLEY

132. A FAREWELL

133

134. TO A YOUNG LADY

135. THE SLEEPING BEAUTY

136

137

138

139

140. THE PROGRESS OF POESY

141. THE PASSIONS

142. ODE ON THE SPRING

143. THE POPLAR FIELD

144. TO A FIELD-MOUSE

145. A WISH

146. TO EVENING

147. ELEGY WRITTEN IN A COUNTRY CHURCH-YARD

148. MARY MORISON

149. BONNIE LESLEY

150

151. HIGHLAND MARY

152. AULD ROBIN GRAY

153. DUNCAN GRAY

154. THE SAILOR'S WIFE

155. JEAN

156. JOHN ANDERSON

157. THE LAND O' THE LEAL

158. ODE ON A DISTANT PROSPECT OF ETON COLLEGE

159. HYMN TO ADVERSITY

160. THE SOLITUDE OF ALEXANDER SELKIRK

161. TO MARY UNWIN

162. TO MARY

163. THE DYING MAN IN HIS GARDEN

164. TO-MORROW

165

FOURTH BOOK

SUMMARY

166. ON FIRST LOOKING INTO CHAPMAN'S HOMER

167. ODE ON THE POETS

168. LOVE

169. ALL FOR LOVE

170. THE OUTLAW

171

172. LINES TO AN INDIAN AIR

173

174

175

176

177. THE LOST LOVE

178

179. THE EDUCATION OF NATURE

180

181. LORD ULLIN'S DAUGHTER

182. JOCK O' HAZELDEAN

183. FREEDOM AND LOVE

184. LOVE'S PHILOSOPHY

185. ECHOES

186. A SERENADE

187. TO THE EVENING STAR

188. TO THE NIGHT

189. TO A DISTANT FRIEND

190

191. HAPPY INSENSIBILITY

192

193. LA BELLE DAME SANS MERCI

194. THE ROVER

195. THE FLIGHT OF LOVE

196. THE MAID OF NEIDPATH

197. THE MAID OF NEIDPATH

198

199. THE TERROR OF DEATH

200. DESIDERIA

201

202. ELEGY ON THYRZA

203

204. GATHERING SONG OF DONALD THE BLACK

205

206

207. BATTLE OF THE BALTIC

208. ODE TO DUTY

209. ON THE CASTLE OF CHILLON

210. ENGLAND AND SWITZERLAND

211. ON THE EXTINCTION OF THE VENETIAN REPUBLIC

212. LONDON, MDCCCII

213. THE SAME

214

215. HOHENLINDEN

216. AFTER BLENHEIM

217. PRO PATRIA MORI

218. THE BURIAL OF SIR JOHN MOORE AT CORUNNA

219. SIMON LEE THE OLD HUNTSMAN

220. THE OLD FAMILIAR FACES

221. THE JOURNEY ONWARDS

222. YOUTH AND AGE

223. A LESSON

224. PAST AND PRESENT

225. THE LIGHT OF OTHER DAYS

226. INVOCATION

227. STANZAS WRITTEN IN DEJECTION NEAR NAPLES

228. THE SCHOLAR

229. THE MERMAID TAVERN

230. THE PRIDE OF YOUTH

231. THE BRIDGE OF SIGHS

232. ELEGY

233. HESTER

234. CORONACH

235. THE DEATH BED

236. ROSABELLE

237. ON AN INFANT DYING AS SOON AS BORN

238. THE AFFLICTION OF MARGARET

239. HUNTING SONG

240. TO THE SKYLARK

241. TO A SKYLARK

242. THE GREEN LINNET

243. TO THE CUCKOO

244. ODE TO A NIGHTINGALE

245. UPON WESTMINSTER BRIDGE

246. OZYMANDIAS OF EGYPT

247. COMPOSED AT NEIDPATH CASTLE, THE PROPERTY OF LORD QUEENSBERRY, 1803

248. ADMONITION TO A TRAVELLER

249. TO THE HIGHLAND GIRL OF INVERSNEYDE

250. THE REAPER

251. THE REVERIE OF POOR SUSAN

252. TO A LADY, WITH A GUITAR

253. THE DAFFODILS

254. TO THE DAISY

255. ODE TO AUTUMN

256. ODE TO WINTER

257. YARROW UNVISITED

258. YARROW VISITED

259. THE INVITATION

260. THE RECOLLECTION

261. BY THE SEA

262. TO THE EVENING STAR

263. DATUR HORA QUIETI

264. TO THE MOON

265

266. TO SLEEP

267. THE SOLDIERS DREAM

268. A DREAM OF THE UNKNOWN

269. THE INNER VISION

270. THE REALM OF FANCY

271. HYMN TO THE SPIRIT OF NATURE

272. WRITTEN IN EARLY SPRING

273. RUTH: OR THE INFLUENCES OF NATURE

274. WRITTEN IN THE EUGANEAN HILLS, NORTH ITALY

275. ODE TO THE WEST WIND

276. NATURE AND THE POET

277. THE POET'S DREAM

278

279. WITHIN KING'S COLLEGE CHAPEL, CAMBRIDGE

280. YOUTH AND AGE

281. THE TWO APRIL MORNINGS

282. THE FOUNTAIN

283. THE RIVER OF LIFE

284. THE HUMAN SEASONS

285. A LAMENT

286

287. ODE ON INTIMATIONS OF IMMORTALITY FROM RECOLLECTIONS OF EARLY CHILDHOOD

288

PALGRAVE'S NOTES

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This little Collection differs, it is believed, from others in the attempt made to include in it all the best original Lyrical pieces and Songs in our language, by writers not living,—and none beside the best. Many familiar verses will hence be met with; many also which should be familiar:—the Editor will regard as his fittest readers those who love Poetry so well, that he can offer them nothing not already known and valued. For those who take up the book in a serious and scholarly spirit, the following remarks on the plan and the execution are added.

The Editor is acquainted with no strict and exhaustive definition of Lyrical Poetry; but he has found the task of practical decision increase in clearness and in facility as he advanced with the work, whilst keeping in view a few simple principles. Lyrical has been here held essentially to imply that each Poem shall turn on some single thought, feeling, or situation. In accordance with this, narrative, descriptive, and didactic poems,—unless accompanied by rapidity of movement, brevity, and the colouring of human passion,—have been excluded. Humorous poetry, except in the very unfrequent instances where a truly poetical tone pervades the whole, with what is strictly personal, occasional, and religious, has been considered foreign to the idea of the book. Blank verse and the ten-syllable couplet, with all pieces markedly dramatic, have been rejected as alien from what is commonly understood by Song, and rarely conforming to Lyrical conditions in treatment. But it is not anticipated, nor is it possible, that all readers shall think the line accurately drawn. Some poems, as Gray's Elegy, the Allegro and Penseroso, Wordsworth's Ruth or Campbell's Lord Ullin, might be claimed with perhaps equal justice for a narrative or descriptive selection: whilst with reference especially to Ballads and Sonnets, the Editor can only state that he has taken his utmost pains to decide without caprice or partiality.

.....

Chalmers' vast collection, with the whole works of all accessible poets not contained in it, and the best Anthologies of different periods, have been twice systematically read through: and it is hence improbable that any omissions which may be regretted are due to oversight. The poems are printed entire, except in a very few instances (specified in the notes) where a stanza has been omitted. The omissions have been risked only when the piece could be thus brought to a closer lyrical unity: and, as essentially opposed to this unity, extracts, obviously such, are excluded. In regard to the text, the purpose of the book has appeared to justify the choice of the most poetical version, wherever more than one exists: and much labour has been given to present each poem, in disposition, spelling, and punctuation, to the greatest advantage.

In the arrangement, the most poetically effective order has been attempted. The English mind has passed through phases of thought and cultivation so various and so opposed during these three centuries of Poetry, that a rapid passage between Old and New, like rapid alteration of the eye's focus in looking at the landscape, will always be wearisome and hurtful to the sense of Beauty. The poems have been therefore distributed into Books corresponding, I. to the ninety years closing about 1616, II. thence to 1700, III. to 1800, IV. to the half century just ended. Or, looking at the Poets who more or less give each portion its distinctive character, they might be called the Books of Shakespeare, Milton, Gray, and Wordsworth. The volume, in this respect, so far as the limitations of its range allow, accurately reflects the natural growth and evolution of our Poetry. A rigidly chronological sequence, however, rather fits a collection aiming at instruction than at pleasure, and the Wisdom which comes through Pleasure:—within each book the pieces have therefore been arranged in gradations of feeling or subject. The development of the symphonies of Mozart and Beethoven has been here thought of as a model, and nothing placed without careful consideration. And it is hoped that the contents of this Anthology will thus be found to present a certain unity, "as episodes," in the noble language of Shelley, "to that great Poem which all poets, like the co-operating thoughts of one great mind, have built up since the beginning of the world."

.....

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