verse is that in him which has been most consciously and successfully copied, his greater contribution to the technique of English poetry, by which he must always retain a historic place in the development of his art, can be found only in his lyrical metres — above all in Maud. Mr. Coventry Patmore pointed out (in the Edinburgh Review) that here an artist had definitely returned to the Anglo-Saxon principle of dividing the verse into bars of equal time-value, which the poet filled up at will, without the obligation to make any type of foot preponderate. "In the greater part of Maud," he wrote, "there is really no other metrical foundation than equality of the number of accents in each verse." Tennyson, as he points out, employs rhyme which was unknown to the Anglo-Saxons, but employs it as a thing of secondary value, spacing the rhymes often at immense distances. Alliteration, again, he uses, though not as the Anglo-Saxons did, on a fixed principle; but with the increasing number of long words, each having its accent fixed, there is no such need to mark the stress, as was felt in the monosyllabic Anglo-Saxon. In a word, the metre of Maud is a metre which can dispense with rhyme, and may be compared to the Homeric hexameter, but is freer from fixed law. Such a metre can be handled with wonderful effect by a fine artist, and the precedent set was caught up by Mr. Swinburne, who drew from the language harmonies richer and more varied than had been heard before. Tennyson himself, after the day of Maud, adhered mainly to better marked rhythms; but to the end of his life he was always capable of infinite and subtle variations of metre. His skill was never more nobly shown than in the rare music of his Ode to Virgil, from which may be quoted two lines applicable not unfitly to himself,
Thou that singest wheat and woodland, tilth and vineyard, hive and horse and herd,
All the charm of all the Muses often flowering in a lonely word.
And it is present in full measure even in the last poem of all the Silent Voices, which he dictated while half articulate on his death-bed, interweaving alliteration, varying the pauses, swelling the vowel sounds, up to the solemn close; as some skilled fencer might thrust and parry with unfailing grace and accuracy, though with flagging forces, while life ebbed from his veins.
Abbotsford, built by Sir Walter | Annesley, near Newstead, 311.
Scott, 296, 297, 298. Absalom and Achitophel, 142. Acropolis, the, marbles taken from, 313.
Act of Oblivion, 111. Adam Bede, 389. Addison, Joseph, life and work, 162-169; referred to, 156, 177, 182-183, 243; Pope's portrait of, 181-182. Address to the Deil, 262, 267. Address to the Irish People, 358. Adonais, 363, 364, 365–369. Aeneid, Keats' translation of, 370.
Affliction of Margaret, The,
Alchemist, The, 72-74. Alexander's Feast, 143, 145. All for Love, 142. Alleyn, George, 33.
All's Well that Ends Well, 50. Amelia, 222-223.
America, The True Policy of Great Britain towards her American Colonies, speech by Burke, 248-249. Ancient Mariner, The, 346, 347, 348-349, 355. Anne, Queen, 189 (see also Literature in time of).
Annus Mirabilis, 141. Antiquary, The, 303, 307. Antony and Cleopatra, 52, 142. Apologia pro Vita Sua, 394. Arbuthnot, John, 183, 194. Arcades, 99.
Arcadia, 23, 49, 83. Areopagitica, 108. Argument against Abolishing Christianity, 189. Aristotle, 171.
Armour, Jean, Burns' wife, 259.
Arnold, Matthew, 148-149, 208, 245, 246, 331, 342, 399. Arthur, King, theme for many writers, 27.
As You Like It, 52, 65. Astraea Redux, 140, 141. Astrophel and Stella, 22, 46. At the Corner of Wood Street,
Augusta, Byron's half-sister, 309.
Auld Wat of Harden, 289. Austen, Jane, life and work, 281-287; referred to, 225, 383, 389, 390, 391; Mac- aulay's praise of, 287; Emma, 283; Mansfield Park, 283, 284; Northanger Abbey, 282, 283-284; Persuasion, 283,
284; Pride and Prejudice, | Boccaccio, 7; Filostrato, 8, 9.
282, 283, 284-287. Austen, Lady, friendship with Cowper, 275-277. Autobiography, 250, 252, 254.
Bacon, Sir Francis, 84-88, 148, 151.
Bacon, Sir Nicholas, 85. Bailey, Harry, 10.
Ballantyne, James, 293, 295, 296, 297.
Bard, The, 207, 208. Barnaby Rudge, 384. Barry Lyndon, 387.
Bath, Miss Austen's stay in, 283.
Battle of the Books, 184, 186. Beaconsfield, Lord, 173. Beardie, 289. ✔Beaumont and Fletcher, 57, 69-70, 71, 74, 75, 77; Lines on the Tombs in Westminster Abbey, 75; Maid's Tragedy, 69, 75; Philaster, 69; Two Noble Kinsmen, 69. Bee, The, Goldsmith's butions to, 241. Beeching, Canon, 394.
Boethius, Chaucer's prose ver- sion of, 19.
Boileau, 136, 139, 163, 171. Bolingbroke, Viscount, 183, 189, 196.
Bonnie Dundee, 301. Book of Martyrs, 129. Book of Thel, 273. Boswell's Life of Johnson, 153, 232, 237-239, 243.
Boyle, Robert, Lord Orrery, 185.
Brawne, Miss, engagement to Keats, 374.
Bride of Abydos, 313. Bride of Lammermoor, 303. Bridgewater, Earl of, 99. Brignall Banks, 301. Broken Heart, 70. Brontë, Charlotte, 225; Criti- cism of Jane Austen, 287; Jane Eyre and Villette, 389. Brontë, Emily, 225; Wuthering Heights, 389.
Broome, Dr. William, 179. contri-Browne, Sir Thos., 89-93, 148; Garden of Cyrus, 89; Religio Medici, 89, 90; Urn Burial, 89; Vulgar Errors, 89.
Belle Dame Sans Merci, La, Browning, Robert, 381, 399-
Berkeley, Bishop, 163. Berkeley, Lord, Viceroy of Ireland, 185.
Bible, authorised version of the, 84.
Blackwood's Magazine, 372, 374.
Blake, William, 257-258, 271- 273; Book of Thel, 273; Poetical Sketches, 273; Song of the Chimney Sweeper, 272; Songs of Experience, 273; Songs of Innocence, 272, 273. Bleak House, 385. Blenheim, battle of, 163.
400; Men and Women, 400; Ring and the Book, The, 400. Buccleugh, Duke of, 289. Buckingham, Duke of, 87, 145, 152.
Bull, Rev. Mr., 274. Bunyan, John, 89, 129–133, 148, 158; Grace Abounding in the Chief of Sinners, 130; Holy War, 130; Life and Death of Mr. Badman, 130; Pilgrim's Progress, 130–133, 159.
Burbadge, Richard, 44. Burke, Edmund, life and work, 247-249; referred to, 231, 243.
Burney, Fanny, 281-282.
Burns, Gilbert, 258, 259. Burns, Robert, life and work, 258-270; referred to, 231, 256, 257, 300, 394; Ad- dress to the Deil, 262, 267; Cotter's Saturday Night, 260, 261; Duncan Gray, 264; Hallowe'en, 265; The Holy Fair, 262, 265-266; Holy Willie's Prayer, 262, 266; Jacobite's Farewell, 262; Jolly Beggars, 262, 265, 270; Of a' the airts the wind can blaw, 269; Macpherson's La-
Cademus and Vanessa, 190. Cain, 316, 317, 318, 326. Call not the royal Swede un- fortunate, 342.
Cambridge, Byron at, 310; Dryden, 140; Thos. Gray, 207; Gabriel Harvey, 22; Macaulay, 392; Milton, 97, 98; Spenser, 21-22; Jeremy Taylor, 93; Tennyson, 400; Thackeray, 380, 387. Campaign, The, 163. Candide, 175.
Canterbury, Chaucer's visit to, 2.
Cardenio, 45, 57. Carew, 77, 82, 99. Carlyle, Thomas,
ment, 264; Scots wha ha'e, | Canterbury Tales, 8-20, 21, 143. 261; Tam Glen, 264; Tam o' Shanter, 262, 265; The Twa Dogs, 270; A Winter Night, 269-270. Burns, William, 258. Butler, Samuel, Hudibras, 133- 136, 150. Byron, Ada, 314.
work, 380, 391-397, 398; Chartism, 396; Cromwell, 396; Frederick the Great, 396; History of the French Revolution, 395; Latter-day Pamphlets, 390; Life of Schiller, 395; Past and Present, 396; Sartor Resar- tus, 395.
Byron, Lord, life and work, 308-328, 361; referred to, 67, 241, 270, 288, 329, 369; Scott's successful rival in narrative poetry, 295; Shelley's friendship for, 361; Beppo, 317; Bride of Abydos, 313; Cain, 316, 317, 318, 326; Childe Harold, 310, | Cecilia, 281, 282. 313, 315, 316; The Corsair, | Celbridge, 190.
Carlyle, Mrs., 395, 396. Castaway, The, 278, 279. Cato, 164.
Caxton, William, 27.
Wales up to middle of eighteenth century, 255. Cenci, The, 362. Chalfont St. Giles, Milton's stay at, 111. Chapman, George, 148. Chapman & Hall, Dickens' publishers, 381. Characters, 89. Charles I., 93, 109, 151, 152. Charles II., 89, 137, 138, 139, 151. Charpentier, Miss (Lady Scott), 292.
313; The Deformed Trans-Celtic language in Ireland and formed, 317; Don Juan, 309, 317, 318, 319, 320, 325, 362; The Dream, 311-312; English Bards and Scotch Reviewers, 310; The Giaour, 313; Hours of Idleness, 310; Lara, 313; Manfred, 315, 316, 317, 326; Marino Faliero, 317; Mazeppa, 316; Parisina, 313; Prisoner of Chillon, 315; Sardanapalus, 317; Siege of Corinth, 313; Two Foscari, 319; Vision of Judg- ment, 319-325. Byron, Lady, 314–315.
Charter-house, Steele and Ad-
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