help me you do good to in mine I take I all ? how in of In it this goes п find out where is the proper, entionally to be expected.. แ II have not and love impury Snow ти with find! "Ire arantinin than Peter House) "Wovens querel ? Here, as you ah but then they are to be "ceinte gratis among " " and back into a thingy, -дек hit out of? trust me one must needs yet for a moment no! lind now, the natural inference from all this? The consistent inference .. the self-denying ordinance"? why do you douts? - wen this, you must, put aside the Romance, and take the americans a whit, heart start up when the letter in laub & and make my must just are well and At the letter full of your news taking me you I will certainly bring you an act of the May... for this cerpent, Unson, in addition in the others. that nog lanko tak you MISCONCEPTIONS. This is a spray the Bird clung to, Making it blossom with pleasure, Oh, what a hope beyond measure Was the poor spray's, which the flying feet hung to- This is a heart the Queen leant on, Thrilled in a minute erratic, Ere the true bosom she bent on, Meet for love's regal dalmatic. Oh, what a fancy ecstatic Was the poor heart's, ere the wanderer went on- HOME THOUGHTS FROM ABROAD. Oh, to be in England Now that April's there, And whoever wakes in England Sees, some morning, unaware, That the lowest boughs and the brush-wood sheaf Round the elm-tree bole are in tiny leaf, While the chaffinch sings on the orchard bough And after April, when May follows, And the whitethroat builds, and all the swallows- The first fine careless rapture! And though the fields look rough with hoary dew, All will be gay when noontide wakes anew The buttercups, the little children's dower, FROM "ONE WORD MORE" (1855). I am mine and yours-the rest be all men's, Karshook, Cleon, Norbert and the fifty. Let me speak this once in my true person, Not as Lippo, Roland or Andrea, Though the fruit of speech be just this sentence Pray you, look on these my men and women, Take and keep my fifty poems finished ; Where my heart lies, let my brain lie also! Poor the speech; be how I speak, for all things. Not but that you know me! Lo, the moon's self! Here in London, yonder late in Florence, Still we find her face, the thrice-transfigured. Came she, our new crescent of a hair's-breadth. THE LOST MISTRESS. All's over, then does truth sound bitter As one at first believes? Hark, 'tis the sparrows' good-night twitter About your cottage eaves ! And the leaf-buds on the vine are woolly, I noticed that, to-day; One day more bursts them open fully To-morrow we meet the same then, dearest? May I take your hand in mine? Mere friends are we,-well, friends the merest For each glance of the eye so bright and black, -Yet I will but say what mere friends say, Or only a thought stronger; I will hold your hand but as long as all may, ANOTHER WAY OF LOVE. June was not over, Though past the full, And the best of her roses Had yet to blow, When a man I know (But shall not discover, Since ears are dull, And time discloses) Turned him and said with a man's true air, Well, Dear, indoors with you! True, serene deadness Tries a man's temper. What's in the blossom June wears on her bosom? Can it clear scores with you? Sweetness and redness, Eadem semper! Go, let me care for it greatly or slightly! If June mends her bowers now, your hand left unsightly And after, for pastime, If June be refulgent With flowers in completeness, All petals, no prickles, Of wine poured at mass-time- To redness and sweetness : Or if, with experience of man and of spider, She use my June-lightning, the strong insect-ridder, Enthusiasm While these great writers were waiting patiently for the public to turn to Reason and them, there occurred in our poetical literature a struggle between the sedative and the enthusiastic temperament which has left a certain mark on its history. The influence of Wordsworth and Southey in their old age was towards the encouragement of good sense and "the equipoise of reason" against an extravagant Byronism. During the reign of William IV., passion and enthusiasm were greatly out of mode, and the school of poetic utility found a successful leader in HENRY TAYLOR, who strenuously advocated the supremacy of reason over imagination and irregularity. From 1834, when the famous preface to his drama of Philip van Artevelde appeared, the doctrines of Taylor were almost paramount, until in 1839 PHILIP JAMES BAILEY published his apocalyptic drama of Festus, founded not on Byron, however, but on Goethe, in which a direct counterblast was blown, and the liberty of imaginative speculation proclaimed as from Photo.] a trumpet. This counteraction, at a very dead moment of our poetical existence, claims a record in the briefest outline of the national literature. |