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And custom lie upon thee with a weight
O joy! that in our embers
What was so fugitive !
-Not for these I raise
The song of thanks and praise ;
Blank misgivings of a creature
But for those first affections,
Which, be they what they may,
Uphold us-cherish—and have power to make
To perish never ;
Nor man nor boy
Though inland far we be,
Which brought us hither ;
Can in a moment travel thither-And see the children sport upon the shore, And hear the mighty waters rolling evermore.
Then, sing ye birds, sing, sing a joyous song!
And let the young lambs bound
As to the tabor's sound !
Ye that pipe and
Feel the gladness of the May !
Though nothing can bring back the hour
We will grieve not, rather find
In the faith that looks through death,
Is lovely yet ; The clouds that gather round the setting sun Do take a sober colouring from an eye That hath kept watch o'er man's mortality ; Another race hath been, and other palms are won. Thanks to the human heart by which we live, Thanks to its tenderness, its joys, and fears, To me the meanest flower that blows can give Thoughts that do often lie too deep for tears.
CCLXXXVIII Music, when soft voices die, Vibrates in the memoryOdours, when sweet violets sicken, Live within the sense they quicken. Rose leaves, when the rose is dead, Are heap'd for the beloved's bed ; And so thy thoughts, when Thou art gone, Love itself shall slumber on.
P. B. Shelley
End of the Golden Treasury
Summary of Book First THE Elizabethan Poetry, as it is rather vaguely termed, forms the substance of this Book, which contains pieces from Wyat under Henry VIII to Shakespeare midway through the reign of James I, and Drummond who carried on the early manner to a still later period. There is here a wide range of style from simplicity expressed in a language hardly yet broken in to verse,—through the pastoral fancies and Italian conceits of the strictly Elizabethan time,-to the passionate reality of Shakespeare : yet a general uniformity of tone prevails. Few readers can fail to observe the natural sweetness of the verse, the single-hearted straightforwardness of the thoughts :-nor less, the limitation of subject to the many phases of one passion, which then characterized our lyrical poetry,-unless when, as with Drummond and Shakespeare, the purple light of Love'is tempered by a spirit of sterner reflection.
It should be observed that this and the following Summaries apply in the main to the Collection here presented, in which (besides its restriction to Lyrical Poetry) a strictly representative or historical Anthology has not been aimed at. Great Excellence, in human art as in human character, has from the beginning of things been even more uniform than Mediocrity, by virtue of the closeness of its approach to Nature :--and so far as the standard of Excellence kept in view has been attained in this volume, a comparative absence of extreme or temporary phases in style, a similarity of tone and manner, will be found throughout :--something neither modern nor ancient, but true in all ages, and like the works of Creation, perfect as on the first day. PAGE NO. 1 II Rouse Memnon's mother: Awaken the Dawn from the
dark Earth and the clouds where she is resting. Aurora in the old mythology is mother of Memnon (the East), and wife of Tithonus (the appearances of Earth and Sky during the last hours of Night). She leaves him every morning in renewed youth, to prepare the way for Phoebus (the Sun), whilst Tithonus re
mains in perpetual old age and grayness. 2 1. 23 by Peneus' stream : Phoebus loved the Nymph
Daphne whom he met by the river Peneus in the vale of
Grecian Mythology, which arose in the Personification of natural phenomena, and was totally free from those debasing and ludicrous ideas with which, through Roman and later misunderstanding or perversion, it
has been associated. 2 II
1. 27 Amphion's lyre: He was said to have built the
this Poem. 3 IV
Time's chest: in which he is figuratively supposed to lay up past treasures. So in Troilus, Act III, Scene 3,
Time hath a wallet at his back' &c. 4 V
A fine example of the highwrought and conventional Elizabethan Pastoralism, which it would be ludicrous to criticize on the ground of the unshepherdlike or unreal character of some images suggested. Stanza 6
was probably inserted by Izaak Walton. 6 IX This Poem, with xxv and xciv, is taken from Davison's
"Rhapsody,' first published in 1602. One stanza has been here omitted, in accordance with the principle noticed in the Preface. Similar omissions occur in XLV, LXXXVII, C, CXXVIII, CLX, CLXV, CCXXVII, ccxxxv. The more serious abbreviation by which it has been attempted to bring Crashaw's Wishes' and Shelley's
Euganean Hills' within the limits of lyrical unity, is commended with much diffidence to the judgment of readers acquainted with the original pieces. Presence in line 12 is here conjecturally printed for present. A very few similar corrections of (it is presumed) misprints have been made :-as thy for my, XXII, 9: men for me, XLI, 3: viol for idol, CCLII, 43 : and one for our, 90: locks for looks, CCLXXI, 5 : dome for doom,
CCLXXV, 25:-with two or three more less important. 9 XV This charming little poem, truly “old and plain, and
dallying with the innocence of love’like that spoken of in Twelfth Night, is taken, with v, XVII, XX, xxxiv, and XL, from the most characteristic collection of Eliza
beth's reign, England's Helicon,'first published in 1600. 10 xvi Readers who have visited Italy will be reminded of
more than one picture by this gorgeous Vision of