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Alfred, Lord Tennyson.

THE HUNDRED BEST
ENGLISH POEMS

NEW YORK,
THOMAS Y. CROWELL & COMPANY,
PUBLISHERS

THE HUNDRED BEST
ENGLISH POEMS

SELECTED BY

ADAM L. GOWANS, M.A.

NEW YORK
THOMAS Y. CROWELL & COMPANY
PUBLISHERS

Copyright, 1904,
By THOMAS Y. CROWELL & CO.

THIS
LITTLE COLLECTION
IS DEDICATED TO
JAMES FITZMAURICE-KELLY, ESQ.
BY THE SELECTOR
AS A SLIGHT MARK OF A
DEEP ADMIRATION

PREFATORY NOTE.

Let me frankly admit, to begin with, that the attractiveness and probable selling qualities of the title of this little book, "The Hundred Best English Poems," proved, when it had been once thought of, too powerful arguments for it to be abandoned. I am fully conscious of the presumption such a title implies in an unknown selector, but at the same time I submit that only a plebiscite of duly qualified lovers of poetry could make a selection that could claim to deserve this title beyond all question, and such a plebiscite is of course impossible. I can claim no more than that my attempt to realize this title is an honest one, and I can assert, without fear of contradiction, that every one of the poems I have included is a "gem of purest ray serene"; that none can be too often read or too often repeated to one's self; that every one of them should be known by heart by every lover of good literature, so that each may become, as it were, a part of his inner being.

I have not inserted any poems by living authors.

I have taken the greatest care with the texts of the poems. The editions followed have been mentioned in every case. I have scrupulously retained the punctuation of these original editions, and only modernized the spelling of the old copies; while I have not ventured to omit any part of any poem. I have not supplied titles of my own, but have adopted those I found already employed in the editions used as models, or, in some of the cases in which I found none, have merely added a descriptive one, such as "Song from 'Don Juan.'"

In conclusion, my very warmest thanks are due to Messrs. Macmillan & Co., Ltd., for permission to include Tennyson's "Crossing the Bar"; to Mr. D. Nutt for permission to insert W. E. Henley's "To R. T. H. B." and "Margaritæ Sorori"; to Messrs. Smith, Elder & Co. for a like privilege in regard to Browning's "Epilogue," and to Mr. Lloyd Osbourne and Messrs. Chatto & Windus for permission to reproduce Stevenson's "Requiem." Without these poems the volume would have had a much smaller claim to its title than it does possess, slight as that may be. My thanks are also due to the following gentlemen who have kindly allowed me to reproduce copyright texts of non-copyright poems from editions published by them: Messrs. Bickers & Son (Ben Jonson), Messrs. Chapman & Hall, Ltd. (Landor), Messrs. Chatto & Windus (Herrick), Mr. Buxton Forman (Keats and Shelley), Mr. Henry Frowde (Wordsworth), Mr. Alex. Gardner and the Rev. George Henderson, B.D. (Lady Nairne), Messrs. T. C. & E. C. Jack (Burns), Messrs. Macmillan & Co., Ltd. (Clough and Tennyson), Mr. John Murray (Byron), Messrs. Smith, Elder & Co. (Browning), Messrs. Ward, Lock & Co., Ltd. (Coleridge and Hood).

A. L. G.

CONTENTS.

• PAGE
  
• [Anonymous.]
  
• 1. Madrigal [1]
  
• [Arnold] (1822-1888).
• 2. The Forsaken Merman [2]
  
• [Barbauld] (1743-1825).
• 3. Life [10]
• [Browning] (1812-1889).
• 4. Song from "Pippa Passes" [12]
• 5. Song from "Pippa Passes" [12]
• 6. The Lost Mistress [13]
• 7. Home-Thoughts, from the Sea [14]
• 8. Epilogue [15]
• [Burns] (1759-1796).
• 9. The Silver Tassie [17]
• 10. Of a' the Airts [18]
• 11. John Anderson my Jo [19]
• 12. Ae Fond Kiss [20]
• 13. Ye Flowery Banks [21]
• 14. A Red, Red Rose [22]
• 15. Mary Morison [24]
• [Byron] (1788-1824).
• 16. She Walks in Beauty [26]
• 17. Oh! Snatched Away in Beauty's Bloom [27]
• 18. Song from "The Corsair" [28]
• 19. Song from "Don Juan" [29]
• [Campbell] (1777-1844).
• 20. Hohenlinden [35]
• [Clough] (1819-1861).
• 21. Say not the Struggle Nought Availeth [37]
• [Coleridge] (1772-1834).
• 22. Youth and Age [38]
• [Collins] (1721-1759).
• 23. Written in the Year 1746 [41]
• [Cowper] (1731-1800).
• 24. To a Young Lady [42]
• [Cunningham] (1784-1842).
• 25. A Wet Sheet and a Flowing Sea [43]
• [Davenant] (1606-1668).
• 26. Song [45]
• [Dryden] (1631-1700).
• 27. A Song for St. Cecilia's Day, 1687 [46]
• [Goldsmith] (1728-1774).
• 28. Song [50]
• [Gray] (1716-1771).
• 29. Elegy written in a Country Church-yard [51]
• [Henley] (1849-1903).
• 30. To R. T. H. B. [59]
• 31. I. M. Margaritæ Sorori [60]
• [Herbert] (1593-1632).
• 32. Virtue [62]
• [Herrick] (1591-1674).
• 33. To the Virgins, to make much of Time [63]
• 34. To Anthea, who may command him anything [64]
• [Hood] (1798-1845).
• 35. The Death Bed [66]
• 36. The Bridge of Sighs [67]
• 37. I Remember, I Remember [72]
• [Jonson] (1573-1637).
• 38. To Celia [74]
• [Keats] (1795-1821).
• 39. On first looking into Chapman's Homer [75]
• 40. Ode to a Nightingale [76]
• 41. Ode on a Grecian Urn [80]
• 42. To Autumn [83]
• 43. Ode on Melancholy [85]
• 44. La Belle Dame sans Merci [87]
• 45. Sonnet [90]
• [Lamb] (1775-1834).
• 46. The Old Familiar Faces [92]
• [Landor] (1775-1864).
• 47. The Maid's Lament [94]
• [Lovelace] (1618-1658).
• 48. To Lucasta. Going to the Wars [96]
• [Milton] (1608-1674).
• 49. On the Morning of Christ's Nativity [97]
• 50. L'Allegro [112]
• 51. Il Penseroso [119]
• 52. Lycidas [127]
• 53. On his Blindness [137]
• [Nairine] (1766-1845).
• 54. The Land o' the Leal [138]
• [Pope] (1688-1744).
• 55. Ode on Solitude [140]
• [Raleigh] (1552-1618).
• 56. The Night before his Death [142]
• [Rogers] (1763-1855).
• 57. A Wish [143]
• [Shakespeare] (1564-1616).
• 58. Sonnets. XVII. Who will believe my verse? [144]
• 59. XVIII. Shall I compare thee to a summer's day? [145]
• 60. XXX. When to the sessions [145]
• 61. XXXIII. Full many a glorious morning [146]
• 62. LX. Like as the waves [147]
• 63. LXVI. Tired with all these [148]
• 64. LXXI. No longer mourn [149]
• 65. LXXIII. That time of year [149]
• 66. LXXIV. But be contented [150]
• 67. CVI. When in the chronicle [151]
• 68. CXVI. Let me not to the marriage [152]
• 69. Song from "The Tempest" [152]
• 70. Song from "Measure for Measure" [153]
• 71. Song from "Much Ado about Nothing" [153]
• 72. Song from "Cymbeline" [154]
• [Shelley] (1792-1822).
• 73. Song from "Prometheus Unbound" [156]
• 74. Ode to the West Wind [157]
• 75. The Cloud [161]
• 76. To a Skylark [165]
• 77. Chorus from "Hellas" [171]
• 78. Stanzas. Written in Dejection, near Naples [173]
• 79. The Indian Serenade [176]
• 80. To —— [177]
• 81. To Night [178]
• [Shirley] (1596-1666).
• 82. Song from "Ajax and Ulysses" [181]
• [Southey] (1774-1843).
• 83. Stanzas [183]
• [Stevenson] (1850-1894).
• 84. Requiem [185]
• [Tennyson] (1809-1892).
• 85. Song from "The Miller's Daughter" [186]
• 86. St. Agnes' Eve [187]
• 87. Break, break, break [188]
• 88. Song from "The Princess" [189]
• 89. Song from "The Princess" [191]
• 90. Crossing the Bar [192]
• [Waller] (1606-1687).
• 91. On a Girdle [193]
• 92. Song [194]
• [Wordsworth] (1770-1850).
• 93. She dwelt among the untrodden ways [195]
• 94. She was a Phantom of delight [195]
• 95. Sonnets. Part I.—XXXIII. The world is too much with us [197]
• 96. Part II.—XXXVI. Earth has not anything [198]
• 97. To a Highland Girl, at Inversneyde, upon Loch Lomond [198]
• 98. The Solitary Reaper [202]
• 99. Intimations of Immortality from Recollections of Early Childhood [204]
• [Wotton] (1568-1639).
• 100. On his Mistress, the Queen of Bohemia [215]

THE HUNDRED BEST
ENGLISH POEMS.

ANONYMOUS.

1. Madrigal.

Love not me for comely grace,
For my pleasing eye or face;
Nor for any outward part,
No, nor for my constant heart:
For those may fail or turn to ill,
So thou and I shall sever:
Keep therefore a true woman's eye,
And love me still, but know not why;
So hast thou the same reason still
To doat upon me ever.

1609 Edition.

MATTHEW ARNOLD.

2. The Forsaken Merman.

Come, dear children, let us away;
Down and away below.
Now my brothers call from the bay;
Now the great winds shorewards blow;
Now the salt tides seawards flow;
Now the wild white horses play,
Champ and chafe and toss in the spray.
Children dear, let us away.
This way, this way.

Call her once before you go.
Call once yet.
In a voice that she will know:
"Margaret! Margaret!"
Children's voices should be dear
(Call once more) to a mother's ear:
Children's voices, wild with pain.
Surely she will come again.
Call her once and come away.
This way, this way.
"Mother dear, we cannot stay."
The wild white horses foam and fret.
Margaret! Margaret!

Come, dear children, come away down.
Call no more.
One last look at the white-wall'd town,
And the little grey church on the windy shore.
Then come down.
She will not come though you call all day.
Come away, come away.

Children dear, was it yesterday
We heard the sweet bells over the bay?
In the caverns where we lay,
Through the surf and through the swell,
The far-off sound of a silver bell?
Sand-strewn caverns, cool and deep,
Where the winds are all asleep;
Where the spent lights quiver and gleam;
Where the salt weed sways in the stream;
Where the sea-beasts rang'd all round
Feed in the ooze of their pasture-ground;
Where the sea-snakes coil and twine,
Dry their mail and bask in the brine;
Where great whales come sailing by,
Sail and sail, with unshut eye,
Round the world for ever and aye?
When did music come this way?
Children dear, was it yesterday?

Children dear, was it yesterday
(Call yet once) that she went away?
Once she sate with you and me,
On a red gold throne in the heart of the sea,
And the youngest sate on her knee.
She comb'd its bright hair, and she tended it well,
When down swung the sound of the far-off bell.
She sigh'd, she look'd up through the clear green sea.
She said; "I must go, for my kinsfolk pray
In the little grey church on the shore to-day.
'Twill be Easter-time in the world—ah me!
And I lose my poor soul, Merman, here with thee."
I said; "Go up, dear heart, through the waves.
Say thy prayer, and come back to the kind sea-caves."
She smil'd, she went up through the surf in the bay.
Children dear, was it yesterday?

Children dear, were we long alone?
"The sea grows stormy, the little ones moan.
Long prayers," I said, "in the world they say.
Come," I said, and we rose through the surf in the bay.
We went up the beach, by the sandy down
Where the sea-stocks bloom, to the white-wall'd town.
Through the narrow pav'd streets, where all was still,
To the little grey church on the windy hill.
From the church came a murmur of folk at their prayers,
But we stood without in the cold blowing airs.
We climb'd on the graves, on the stones, worn with rains,
And we gaz'd up the aisle through the small leaded panes.
She sate by the pillar; we saw her clear:
"Margaret, hist! come quick, we are here.
Dear heart," I said, "we are long alone.
The sea grows stormy, the little ones moan."
But, ah, she gave me never a look,
For her eyes were seal'd to the holy book.
"Loud prays the priest; shut stands the door."
Come away, children, call no more.
Come away, come down, call no more.

Down, down, down.
Down to the depths of the sea.
She sits at her wheel in the humming town,
Singing most joyfully.
Hark, what she sings: "O joy, O joy,
For the humming street, and the child with its toy.
For the priest, and the bell, and the holy well.
For the wheel where I spun,
And the blessed light of the sun."
And so she sings her fill,
Singing most joyfully,
Till the shuttle falls from her hand,
And the whizzing wheel stands still.

She steals to the window, and looks at the sand;
And over the sand at the sea;
And her eyes are set in a stare;
And anon there breaks a sigh,
And anon there drops a tear,
From a sorrow-clouded eye,
And a heart sorrow-laden,
A long, long sigh.
For the cold strange eyes of a little Mermaiden,
And the gleam of her golden hair.

Come away, away children.
Come children, come down.
The hoarse wind blows colder;
Lights shine in the town.
She will start from her slumber
When gusts shake the door;
She will hear the winds howling,
Will hear the waves roar.
We shall see, while above us
The waves roar and whirl,
A ceiling of amber,
A pavement of pearl.
Singing, "Here came a mortal,
But faithless was she.
And alone dwell for ever
The kings of the sea."

But, children, at midnight,
When soft the winds blow;
When clear falls the moonlight;
When spring-tides are low:
When sweet airs come seaward
From heaths starr'd with broom;
And high rocks throw mildly
On the blanch'd sands a gloom:
Up the still, glistening beaches,
Up the creeks we will hie;
Over banks of bright seaweed
The ebb-tide leaves dry.
We will gaze, from the sand-hills,
At the white, sleeping town;
At the church on the hill-side—
And then come back down.
Singing, "There dwells a lov'd one,
But cruel is she.
She left lonely for ever
The kings of the sea."

1857 Edition.

ANNA LÆTITIA BARBAULD.

3. Life.

Animula, vagula, blandula.

Life! I know not what thou art,
But know that thou and I must part;
And when, or how, or where we met,
I own to me's a secret yet.
But this I know, when thou art fled,
Where'er they lay these limbs, this head,
No clod so valueless shall be,
As all that then remains of me.

O whither, whither dost thou fly,
Where bend unseen thy trackless course,
And in this strange divorce,
Ah tell where I must seek this compound I?
To the vast ocean of empyreal flame,
From whence thy essence came,
Dost thou thy flight pursue, when freed
From matter's base encumbering weed?
Or dost thou, hid from sight,
Wait, like some spell-bound knight,
Through blank oblivious years the appointed hour,
To break thy trance and reassume thy power?
Yet canst thou without thought or feeling be?
O say what art thou, when no more thou'rt thee?

Life! we've been long together,
Through pleasant and through cloudy weather;
'Tis hard to part when friends are dear;
Perhaps 'twill cost a sigh, a tear;
Then steal away, give little warning,
Choose thine own time;
Say not Good night, but in some brighter clime
Bid me Good morning.

1825 Edition.

ROBERT BROWNING.

4. Song from "Pippa Passes."

The year's at the spring
And day's at the morn;
Morning's at seven;
The hill-side's dew-pearled;
The lark's on the wing;
The snail's on the thorn:
God's in his heaven—
All's right with the world!

5. Song from "Pippa Passes."

You'll love me yet!—and I can tarry
Your love's protracted growing:
June reared that bunch of flowers you carry,
From seeds of April's sowing.

I plant a heartful now: some seed
At least is sure to strike,
And yield—what you'll not pluck indeed,
Not love, but, may be, like.

You'll look at least on love's remains,
A grave's one violet:
Your look?—that pays a thousand pains.
What's death? You'll love me yet!

6. The Lost Mistress.

I.

All's over, then: does truth sound bitter
As one at first believes?
Hark, 'tis the sparrows' good-night twitter
About your cottage eaves!

II.

And the leaf-buds on the vine are woolly,
I noticed that, to-day;
One day more bursts them open fully
—You know the red turns grey.

III.

To-morrow we meet the same then, dearest?
May I take your hand in mine?
Mere friends are we,—well, friends the merest
Keep much that I resign:

IV.

For each glance of the eye so bright and black,
Though I keep with heart's endeavour,—
Your voice, when you wish the snowdrops back,
Though it stay in my soul for ever!—

V.

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,
Or so very little longer!

7. Home-Thoughts, from the Sea.

Nobly, nobly Cape Saint Vincent to the North-west died away;
Sunset ran, one glorious blood-red, reeking into Cadiz Bay;
Bluish 'mid the burning water, full in face Trafalgar lay;
In the dimmest North-east distance dawned Gibraltar grand and grey;
"Here and here did England help me: how can I help England?"—say,
Whoso turns as I, this evening, turn to God to praise and pray,
While Jove's planet rises yonder, silent over Africa.

8. Epilogue.

At the midnight in the silence of the sleep-time,
When you set your fancies free,
Will they pass to where—by death, fools think, imprisoned—
Low he lies who once so loved you, whom you loved so,
—Pity me?

Oh to love so, be so loved, yet so mistaken!
What had I on earth to do
With the slothful, with the mawkish, the unmanly?
Like the aimless, helpless, hopeless, did I drivel
—Being—who?

One who never turned his back but marched breast forward,
Never doubted clouds would break,
Never dreamed, though right were worsted, wrong would triumph,
Held we fall to rise, are baffled to fight better,
Sleep to wake.

No, at noonday in the bustle of man's work-time
Greet the unseen with a cheer!
Bid him forward, breast and back as either should be,
"Strive and thrive!" cry "Speed,—fight on, fare ever
There as here!"

1896 Edition.

ROBERT BURNS.

9. The Silver Tassie.

I.

Go, fetch to me a pint o' wine,
And fill it in a silver tassie,
That I may drink before I go
A service to my bonie lassie!
The boat rocks at the pier o' Leith,
Fu' loud the wind blaws frae the Ferry,
The ship rides by the Berwick-Law,
And I maun leave my bonie Mary.

II.

The trumpets sound, the banners fly,
The glittering spears are rankèd ready,
The shouts o' war are heard afar,
The battle closes deep and bloody.
It's not the roar o' sea or shore
Wad mak me langer wish to tarry,
Nor shouts o' war that's heard afar:
It's leaving thee, my bonie Mary!

10. Of a' the Airts.

I.

Of a' the airts the wind can blaw
I dearly like the west,
For there the bonie lassie lives,
The lassie I lo'e best.
There wild woods grow, and rivers row,
And monie a hill between,
But day and night my fancy's flight
Is ever wi' my Jean.

II.

I see her in the dewy flowers—
I see her sweet and fair.
I hear her in the tunefu' birds—
I hear her charm the air.
There's not a bonie flower that springs
By fountain, shaw, or green,
There's not a bonie bird that sings,
But minds me o' my Jean.

11. John Anderson my Jo.

I.

John Anderson my jo, John,
When we were first acquent,
Your locks were like the raven,
Your bonie brow was brent;
But now your brow is beld, John,
Your locks are like the snaw,
But blessings on your frosty pow,
John Anderson my jo!

II.

John Anderson my jo, John,
We clamb the hill thegither,
And monie a cantie day, John,
We've had wi' ane anither;
Now we maun totter down, John,
And hand in hand we'll go,
And sleep thegither at the foot,
John Anderson my jo!

12. Ae Fond Kiss.

I.

Ae fond kiss, and then we sever!
Ae farewell, and then forever!
Deep in heart-wrung tears I'll pledge thee,
Warring sighs and groans I'll wage thee.
Who shall say that Fortune grieves him,
While the star of hope she leaves him?
Me, nae cheerfu' twinkle lights me,
Dark despair around benights me.

II.

I'll ne'er blame my partial fancy:
Naething could resist my Nancy!
But to see her was to love her,
Love but her, and love for ever.
Had we never lov'd sae kindly,
Had we never lov'd sae blindly,
Never met—or never parted—
We had ne'er been broken-hearted.

III.

Fare-thee-weel, thou first and fairest!
Fare-thee-weel, thou best and dearest!
Thine be ilka joy and treasure,
Peace, Enjoyment, Love, and Pleasure!
Ae fond kiss, and then we sever!
Ae farewell, alas, for ever!
Deep in heart-wrung tears I'll pledge thee,
Warring sighs and groans I'll wage thee.

13. Ye Flowery Banks.

I.

Ye flowery banks o' bonie Doon,
How can ye blume sae fair?
How can ye chant, ye little birds,
And I sae fu' o' care?

II.

Thou'll break my heart, thou bonie bird,
That sings upon the bough:
Thou minds me o' the happy days
When my fause Luve was true!

III.

Thou'll break my heart, thou bonie bird,
That sings beside thy mate:
For sae I sat, and sae I sang,
And wist na o' my fate!

IV.

Aft hae I rov'd by bonie Doon
To see the woodbine twine,
And ilka bird sang o' its luve,
And sae did I o' mine.

V.

Wi' lightsome heart I pu'd a rose
Frae aff its thorny tree,
And my fause luver staw my rose,
But left the thorn wi' me.

14. A Red, Red Rose.

I.

O, my luve is like a red, red rose,
That's newly sprung in June.
O, my luve is like the melodie,
That's sweetly play'd in tune.

II.

As fair art thou, my bonie lass,
So deep in luve am I,
And I will luve thee still, my dear,
Till a' the seas gang dry.

III.

Till a' the seas gang dry, my dear,
And the rocks melt wi' the sun!
And I will luve thee still, my dear,
While the sands o' life shall run.

IV.

And fare the weel, my only luve,
And fare the weel a while!
And I will come again, my luve,
Tho' it were ten thousand mile!

15. Mary Morison.

I.

O Mary, at thy window be!
It is the wish'd, the trysted hour.
Those smiles and glances let me see,
That make the miser's treasure poor.
How blythely wad I bide the stoure,
A weary slave frae sun to sun,
Could I the rich reward secure—
The lovely Mary Morison!

II.

Yestreen, when to the trembling string
The dance gaed thro' the lighted ha',
To thee my fancy took its wing,
I sat, but neither heard or saw:
Tho' this was fair, and that was braw,
And yon the toast of a' the town,
I sigh'd and said amang them a':—
"Ye are na Mary Morison!"

III.

O Mary, canst thou wreck his peace
Wha for thy sake wad gladly die?
Or canst thou break that heart of his
Whase only faut is loving thee?
If love for love thou wilt na gie,
At least be pity to me shown:
A thought ungentle canna be
The thought o' Mary Morison.

Henderson and Henley's Text.

LORD BYRON.

16. She Walks in Beauty.

I.

She walks in Beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellowed to that tender light
Which Heaven to gaudy day denies.

II.

One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.

III.

And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!

17. Oh! Snatched Away in Beauty's Bloom.

I.

Oh! snatched away in beauty's bloom,
On thee shall press no ponderous tomb;
But on thy turf shall roses rear
Their leaves, the earliest of the year;
And the wild cypress wave in tender gloom:

II.

And oft by yon blue gushing stream
Shall Sorrow lean her drooping head,
And feed deep thought with many a dream,
And lingering pause and lightly tread;
Fond wretch! as if her step disturbed the dead!

III.

Away! we know that tears are vain,
That Death nor heeds nor hears distress:
Will this unteach us to complain?
Or make one mourner weep the less?
And thou—who tell'st me to forget,
Thy looks are wan, thine eyes are wet.

18. Song from "The Corsair."

I.

Deep in my soul that tender secret dwells,
Lonely and lost to light for evermore,
Save when to thine my heart responsive swells,
Then trembles into silence as before.

II.

There, in its centre, a sepulchral lamp
Burns the slow flame, eternal—but unseen;
Which not the darkness of Despair can damp,
Though vain its ray as it had never been.

III.

Remember me—Oh! pass not thou my grave
Without one thought whose relics there recline:
The only pang my bosom dare not brave
Must be to find forgetfulness in thine.

IV.

My fondest—faintest—latest accents hear—
Grief for the dead not Virtue can reprove;
Then give me all I ever asked—a tear,
The first—last—sole reward of so much love!

19. Song from "Don Juan."

I.

The Isles of Greece, the Isles of Greece!
Where burning Sappho loved and sung,
Where grew the arts of War and Peace,
Where Delos rose, and Phœbus sprung!
Eternal summer gilds them yet,
But all, except their Sun, is set.

II.

The Scian and the Teian muse,
The Hero's harp, the Lover's lute,
Have found the fame your shores refuse:
Their place of birth alone is mute
To sounds which echo further west
Than your Sires' "Islands of the Blest."

III.

The mountains look on Marathon—
And Marathon looks on the sea;
And musing there an hour alone,
I dreamed that Greece might still be free;
For standing on the Persians' grave,
I could not deem myself a slave.

IV.

A King sate on the rocky brow
Which looks o'er sea-born Salamis;
And ships, by thousands, lay below,
And men in nations;—all were his!
He counted them at break of day—
And, when the Sun set, where were they?

V.

And where are they? and where art thou,
My Country? On thy voiceless shore
The heroic lay is tuneless now—
The heroic bosom beats no more!
And must thy Lyre, so long divine,
Degenerate into hands like mine?

VI.

'Tis something, in the dearth of Fame,
Though linked among a fettered race,
To feel at least a patriot's shame,
Even as I sing, suffuse my face;
For what is left the poet here?
For Greeks a blush—for Greece a tear.

VII.

Must we but weep o'er days more blest?
Must we but blush?—Our fathers bled.
Earth! render back from out thy breast
A remnant of our Spartan dead!
Of the three hundred grant but three,
To make a new Thermopylæ!

VIII.

What, silent still? and silent all?
Ah! no;—the voices of the dead
Sound like a distant torrent's fall,
And answer, "Let one living head,
But one arise,—we come, we come!"
'Tis but the living who are dumb.

IX.

In vain—in vain: strike other chords;
Fill high the cup with Samian wine!
Leave battles to the Turkish hordes,
And shed the blood of Scio's vine!
Hark! rising to the ignoble call—
How answers each bold Bacchanal!

X.

You have the Pyrrhic dance as yet,
Where is the Pyrrhic phalanx gone?
Of two such lessons, why forget
The nobler and the manlier one?
You have the letters Cadmus gave—
Think ye he meant them for a slave?

XI.

Fill high the bowl with Samian wine!
We will not think of themes like these!
It made Anacreon's song divine:
He served—but served Polycrates—
A Tyrant; but our masters then
Were still, at least, our countrymen.

XII.

The Tyrant of the Chersonese
Was Freedom's best and bravest friend;
That tyrant was Miltiades!
Oh! that the present hour would lend
Another despot of the kind!
Such chains as his were sure to bind.

XIII.

Fill high the bowl with Samian wine!
On Suli's rock, and Parga's shore,
Exists the remnant of a line
Such as the Doric mothers bore;
And there, perhaps, some seed is sown,
The Heracleidan blood might own.

XIV.

Trust not for freedom to the Franks—
They have a king who buys and sells;
In native swords, and native ranks,
The only hope of courage dwells;
But Turkish force, and Latin fraud,
Would break your shield, however broad.

XV.

Fill high the bowl with Samian wine!
Our virgins dance beneath the shade—
I see their glorious black eyes shine;
But gazing on each glowing maid,
My own the burning tear-drop laves,
To think such breasts must suckle slaves.

XVI.

Place me on Sunium's marbled steep,
Where nothing, save the waves and I,
May hear our mutual murmurs sweep;
There, swan-like, let me sing and die:
A land of slaves shall ne'er be mine—
Dash down yon cup of Samian wine!

Coleridge's Text.

THOMAS CAMPBELL.

20. Hohenlinden.

On Linden, when the sun was low,
All bloodless lay th' untrodden snow;
And dark as winter was the flow
Of Iser, rolling rapidly.

But Linden saw another sight,
When the drum beat, at dead of night,
Commanding fires of death to light
The darkness of her scenery.

By torch and trumpet fast array'd,
Each horseman drew his battle blade,
And furious every charger neigh'd,
To join the dreadful revelry.

Then shook the hills with thunder riv'n,
Then rush'd the steed to battle driv'n,
And louder than the bolts of heaven,
Far flash'd the red artillery.

But redder yet that light shall glow,
On Linden's hills of stained snow,
And bloodier yet the torrent flow
Of Iser, rolling rapidly.

'Tis morn, but scarce yon level sun
Can pierce the war-clouds, rolling dun,
Where furious Frank, and fiery Hun,
Shout in their sulph'rous canopy.

The combat deepens. On, ye brave,
Who rush to glory, or the grave!
Wave, Munich, all thy banners wave!
And charge with all thy chivalry!

Few, few, shall part where many meet!
The snow shall be their winding sheet,
And every turf beneath their feet,
Shall be a soldier's sepulchre.

1809 Edition.

ARTHUR HUGH CLOUGH.

21. Say not the Struggle Nought Availeth.

Say not, the struggle nought availeth,
The labour and the wounds are vain,
The enemy faints not, nor faileth,
And as things have been they remain.

If hopes were dupes, fears may be liars;
It may be, in yon smoke concealed,
Your comrades chase e'en now the fliers,
And, but for you, possess the field.

For while the tired waves, vainly breaking,
Seem here no painful inch to gain,
Far back, through creeks and inlets making,
Comes silent, flooding in, the main.

And not by eastern windows only,
When daylight comes, comes in the light,
In front, the sun climbs slow, how slowly,
But westward, look, the land is bright.

1869 Edition.

SAMUEL TAYLOR COLERIDGE.

22. Youth and Age.

Verse, a breeze mid blossoms straying,
Where Hope clung feeding, like a bee—
Both were mine! Life went a maying
With Nature, Hope, and Poesy,
When I was young!

When I was young?—Ah, woful when!
Ah! for the change 'twixt Now and Then!
This breathing house not built with hands,
This body that does me grievous wrong,
O'er aery cliffs and glittering sands,
How lightly then it flashed along:—
Like those trim skiffs, unknown of yore,
On winding lakes and rivers wide,
That ask no aid of sail or oar,
That fear no spite of wind or tide!
Nought cared this body for wind or weather
When Youth and I liv'd in't together.
Flowers are lovely; Love is flower-like;
Friendship is a sheltering tree;
O! the joys, that came down shower-like,
Of Friendship, Love, and Liberty,
Ere I was old.

Ere I was old? Ah woful Ere,
Which tells me, Youth's no longer here!
O Youth! for years so many and sweet
'Tis known, that Thou and I were one,
I'll think it but a fond conceit—
It cannot be, that Thou art gone!
Thy vesper-bell hath not yet toll'd:—
And thou wert aye a masker bold!
What strange disguise hast now put on,
To make believe, that Thou art gone?
I see these locks in silvery slips,
This drooping gait, this altered size:
But springtide blossoms on thy lips,
And tears take sunshine from thine eyes!
Life is but thought: so think I will
That Youth and I are house-mates still.

Dew-drops are the gems of morning,
But the tears of mournful eve!
Where no hope is, life's a warning
That only serves to make us grieve,
When we are old:

That only serves to make us grieve
With oft and tedious taking-leave,
Like some poor nigh-related guest,
That may not rudely be dismist.
Yet hath outstay'd his welcome while,
And tells the jest without the smile.

1869 Edition.

WILLIAM COLLINS.

23. Written in the Year 1746.

How sleep the brave, who sink to rest
By all their country's wishes bless'd!
When Spring, with dewy fingers cold,
Returns to deck their hallow'd mould,
She there shall dress a sweeter sod
Than Fancy's feet have ever trod.

By fairy hands their knell is rung;
By forms unseen their dirge is sung;
There Honour comes, a pilgrim gray,
To bless the turf that wraps their clay;
And Freedom shall a while repair,
To dwell a weeping hermit there.

1822 Edition.

WILLIAM COWPER.

24. To a Young Lady.

Sweet stream that winds through yonder glade,
Apt emblem of a virtuous maid—
Silent and chaste she steals along,
Far from the world's gay busy throng,
With gentle, yet prevailing, force,
Intent upon her destin'd course;
Graceful and useful all she does,
Blessing and blest where'er she goes,
Pure-bosom'd as that wat'ry glass,
And heav'n reflected in her face.

1813 Edition.

ALLAN CUNNINGHAM.

25. A Wet Sheet and a Flowing Sea.

A wet sheet and a flowing sea,
A wind that follows fast,
And fills the white and rustling sail,
And bends the gallant mast;
And bends the gallant mast, my boys,
While, like the eagle free,
Away the good ship flies, and leaves
Old England on the lee.

O for a soft and gentle wind!
I heard a fair one cry;
But give to me the snoring breeze,
And white waves heaving high;
And white waves heaving high, my boys,
The good ship tight and free—
The world of waters is our home,
And merry men are we.

There's tempest in yon horned moon,
And lightning in yon cloud;
And hark the music, mariners!
The wind is piping loud;
The wind is piping loud, my boys,
The lightning flashing free—
While the hollow oak our palace is,
Our heritage the sea.

1847 Edition.

SIR WILLIAM DAVENANT.

26. Song.

The lark now leaves his wat'ry nest,
And, climbing, shakes his dewy wings;
He takes this window for the east;
And to implore your light, he sings:
"Awake, awake! the morn will never rise,
Till she can dress her beauty at your eyes.

"The merchant bows unto the seaman's star,
The ploughman from the sun his season takes;
But still the lover wonders what they are,
Who look for day before his mistress wakes.
Awake, awake! break thro' your veils of lawn!
Then draw your curtains, and begin the dawn."

1810 Edition.

JOHN DRYDEN.

27. A Song for St. Cecilia's Day, 1687.

I.

From harmony, from heav'nly harmony
This universal frame began:
When nature underneath a heap
Of jarring atoms lay,
And cou'd not heave her head,
The tuneful voice was heard from high,
Arise, ye more than dead.
Then cold, and hot, and moist, and dry,
In order to their stations leap,
And Music's power obey.
From harmony, from heavenly harmony
This universal frame began:
From harmony to harmony
Through all the compass of the notes it ran,
The diapason closing full in Man.

II.

What passion cannot Music raise and quell!
When Jubal struck the corded shell,
His list'ning brethren stood around,
And, wond'ring, on their faces fell
To worship that celestial sound.
Less than a God they thought there could not dwell
Within the hollow of that shell,
That spoke so sweetly and so well.
What passion cannot Music raise and quell!

III.

The trumpet's loud clangour
Excites us to arms,
With shrill notes of anger
And mortal alarms.
The double double double beat
Of the thund'ring drum
Cries, Hark! the foes come;
Charge, charge, 'tis too late to retreat.

IV.

The soft complaining flute
In dying notes discovers
The woes of hopeless lovers,
Whose dirge is whisper'd by the warbling lute.

V.

Sharp violins proclaim
Their jealous pangs, and desperation,
Fury, frantic indignation,
Depth of pains, and height of passion,
For the fair, disdainful dame.

VI.

But oh! what art can teach,
What human voice can reach,
The sacred organ's praise?
Notes inspiring holy love,
Notes that wing their heavenly ways
To mend the choirs above.

VII.

Orpheus cou'd lead the savage race;
And trees uprooted left their place,
Sequacious of the lyre:
But bright Cecilia rais'd the wonder higher:
When to her organ vocal breath was giv'n,
An angel heard, and straight appear'd,
Mistaking Earth for Heav'n.

Grand Chorus.

As from the pow'r of sacred lays
The spheres began to move,
And sung the great Creator's praise
To all the Bless'd above;
So when the last and dreadful hour
This crumbling pageant shall devour,
The trumpet shall be heard on high,
The dead shall live, the living die,
And Music shall untune the sky.

1743 Edition.

OLIVER GOLDSMITH.

28. Song.

The wretch condemn'd with life to part,
Still, still on hope relies;
And ev'ry pang that rends the heart,
Bids expectation rise.

Hope, like the glimm'ring taper's light,
Adorns and cheers the way;
And still, as darker grows the night,
Emits a brighter ray.

1816 Edition.

THOMAS GRAY.

29. Elegy written in a Country Church-yard.

The curfew tolls the knell of parting day,
The lowing herd winds slowly o'er the lea,
The ploughman homeward plods his weary way,
And leaves the world to darkness and to me.

Now fades the glimmering landscape on the sight,
And all the air a solemn stillness holds,
Save where the beetle wheels his droning flight,
And drowsy tinklings lull the distant folds:

Save that from yonder ivy-mantled tow'r,
The moping owl does to the moon complain
Of such as, wand'ring near her secret bow'r,
Molest her ancient solitary reign.

Beneath those rugged elms, that yew-tree's shade,
Where heaves the turf in many a mould'ring heap,
Each in his narrow cell for ever laid,
The rude forefathers of the hamlet sleep.

The breezy call of incense-breathing morn,
The swallow twitt'ring from the straw-built shed,
The cock's shrill clarion, or the echoing horn,
No more shall rouse them from their lowly bed.

For them no more the blazing hearth shall burn,
Or busy housewife ply her evening care;
No children run to lisp their sire's return,
Or climb his knees the envied kiss to share.

Oft did the harvest to their sickle yield,
Their furrow oft the stubborn glebe has broke:
How jocund did they drive their team afield!
How bow'd the woods beneath their sturdy stroke.

Let not ambition mock their useful toil,
Their homely joys, and destiny obscure;
Nor grandeur hear with a disdainful smile
The short and simple annals of the poor.

The boast of heraldry, the pomp of pow'r,
And all that beauty, all that wealth e'er gave,
Await alike th' inevitable hour.
The paths of glory lead but to the grave.

Nor you, ye proud, impute to these the fault,
If memory o'er their tomb no trophies raise,
Where through the long-drawn aisle and fretted vault
The pealing anthem swells the note of praise.

Can storied urn, or animated bust,
Back to its mansion call the fleeting breath?
Can honour's voice provoke the silent dust,
Or flatt'ry soothe the dull cold ear of death?

Perhaps in this neglected spot is laid
Some heart once pregnant with celestial fire;
Hands, that the rod of empire might have sway'd,
Or wak'd to ecstasy the living lyre:

But knowledge to their eyes her ample page
Rich with the spoils of time did ne'er unroll;
Chill penury repress'd their noble rage,
And froze the genial current of the soul.

Full many a gem of purest ray serene
The dark unfathom'd caves of ocean bear:
Full many a flower is born to blush unseen,
And waste its sweetness on the desert air.

Some village-Hampden, that, with dauntless breast,
The little tyrant of his fields withstood,
Some mute inglorious Milton here may rest,
Some Cromwell guiltless of his country's blood.

Th' applause of list'ning senates to command,
The threats of pain and ruin to despise,
To scatter plenty o'er a smiling land,
And read their history in a nation's eyes,