The Golden Treasury
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Оглавление
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
Отрывок из книги
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.
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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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