Lorine's cabin water lily

Resource information

Author: John William Cunliffe
Title: Century readings for a course in English
Publisher: Century
Year of Publication: 1910
Type of document: Book

Notes: Inside front cover: "Lorine Niedecker" and a note "Lyric impresses emotion and personal"

Title Page: check by editor's name including full name "J[ohn] W[illiam] Cunliffe"

p. 3: Underline under "1340-1400" with a check in margins for Chaucer's life

p.4: Note at top of The Canterbury Tales "iambic pentameter heroic couplet" Brackets around the first stanza. Various notes on translating the language to modern spellings and words: "soote" to "sweet", "swich licour" to "such liquor", "eek" to "also", "croppes" to [illegible]. Underline on the line "To ferne halwes, couthe in sondry londes;" with note over "sondry" to "distant" Notes in margin "atire in hearts" and "shrines known" next to the first stanza.

p. 5: Brackets around "Ther was also a Nonne, a Prioresse," and "Of grece, when she dronken hadde hir draughte."

p. 6-7: Brackets around the introduction of the Clerk

p. 12: Note over the first line of The Nun's Priest's Tale changing "widwe" to "widow" translating "somdel stope" to "advanced" More translating: "Sin thilke" to "that", "ladde" to "led", "for litel was hir catel" to "property", "rente" to "income". Note in the margin "over-eating". Question mark with underline for "whyt and blak,". Note at top of the page: "certain" Underlines under "blak", "asur", "whytter", "burned gold".

p. 13: Note in margins around "Oon of the gretteste auctours that men rede/Seith thus, that whylom two felawes wente/On pilgrimage, in a ful good entente;"

p. 16: Mark and check in margins for lines 435-447

p. 17: "Satire" at the top of the page

p.18: Mark in margin around lines: "Vertu hath now no dominacioun,/Pitee exyled, no man is merciable./Through covetyse is blent discrecioun;"

p. 19: Check by Sir Thomas Malory

p. 34: Check at title of page

p. 38: Check at title of page. Mark in margin next to the first third of the first paragraph. Underlines "refrain, repetition, and dialogue." X by title "Robin Hood and Guy of Gisborne".

p. 41: X by title "Robin Hood's Death and Burial"

p. 42: X by title "The Battle of Otterburn"

p. 47: X by title "The WIfe of Usher's Well"

p. 49: X by titles " Lord Randal" and "Sir Patrick Spens"

pp. 52-53: X by titles "The Cruel Brother" and "Edward"

p. 55: Bracket in margin around lines "For hitherto though I have lost my time,/Me list no longer rotten boughs to climb."

p. 62: Note at bottom with arrow "each line makes complete sense"

p. 63: Note at top "blank verse=5 beat line"

p. 71: Two checks by title of page. Note at top "humanist" Note at bottom "against papistry"

p. 72: Note at top "doesn't like Italian learning"

p. 75: Note at bottom "Circe=entranchtress [enchantress?] with and nymph-maiden, anyone drinking from her magic cup was turned into a beast"

p. 76: Note at top "courtier, dramatist, novelist." Line marked in a box "The interest of Euphues,--an interest more curious and historical than human,--lies in its unremitting artificiality of style, characterized especially by balance, alliteration, citations of classical examples, and references to natural history." Note just below bio paragraph, "Know this reading"

p. 79: Underlines, "But whither do I wade" with check in margin

p. 81: Underlines, "a permanent allurement of frankness, gentleness, and humor."

p. 90: X in bottom right corner of page

p. 91: Check by title of page. Note between bio and reading, "advice to Elizabeth"

p. 92: Note at top, "[possible shorthand]=uniformity"

p. 93: Underlines "victualers"

p. 98: Check next to "A Report of Virginia". Underlines "Thomas Heriot" and "Sir Walter Raleigh". Line bracketed and marked in margin "and some learned physicians also, is sufficient witness."

p. 99: Lines 37-52 of the left column are marked in brackets

p. 103: Underlines "conies" with note "rabbits". Underlines "want" with note "mole"

p. 104: Check by title of page. Bracket in top left corner of bio. Paren by title "From The Shepheardes Calender". Rhyme scheme marked for lines 1-6. Note at bottom "couplet"

p. 107: Rhyme scheme marked for lines 1-6 of "October"

p. 109: Note at top, "learn sonnet". I and II of The Faerie Queene are marked in the margin and have the rhyme scheme written out. Brackets "Fierce warres and faithfull loves shall moralize my song." Underlines "shall moralize my song." Note about IV "Queen Elizabeth". Note at start of Canto I "pentameter". Ryhme scheme written out for I.I with note "musical effect". Probably unrelated pencil marks at bottom of page.

p. 110: Note at top, "hexameter artificial" Note above II, "slows up that".

p. 111: Underlines "greedy" "darksom" "glooming" "ugly" "horribly" "filthie" "foule" "vile" "durtie" "huge long" "mortall" "poisnous" "uncouth" "dam" "hideous" "cursed head"

p. 112: Note at top "uncouth language". Underlines "deadly" "fattie" "fertile slime outwell" "heapes of mudd he leaves wherin there breed"

p. 123: Rhyme scheme for the first several lines of I and VIII. Note below I, "Spenserian Sonnet". Note below VIII, "Shakespearean"

p. 124: Note below XXIV, "Spenserian"

p. 125: Rhyme scheme for lines 1-8

p. 127: Underlines "Open" "enter" "recyve" "commeth" "commeth in" "learne" "come" "humble"

p. 130: Underlines "Calme" "the trembling ayre" "breathing" "softly" "gentle" "lightly" "Titans" "sullein" "long fruitless" "idle hopes" "empty" "silver streaming" "rutty" "variable" "daintie" "brydale" "Sweete Themmes" "softly" "lovely" "goodly greenish" "wicker" "curiously" "fine" "trew" "vermeil" "brydale" "Sweete" "soflty" "saw" "soflty swimming" "snow" "strew" "shew" "love of Leda". Note below line 36, "alliteration"

p. 132: Check in bottom right corner.

p. 135: Note on A Vision Upon this Conceit of the Faery Queen, "Petrarch"

p. 137: Rhyme scheme for lines 1-14 and lines 1-5

p. 150: Note by Sonnets, "Lyric cry=last two lines". Note above XXIX "-x-x-x". Brackets and rhyme scheme for XXIX. Note below "learn. iambic pentameter"

p. 151: Note below Sonnet XXIX, "words of one syllable". Marks in top right corner are probably unimportant.

p. 152: Underlines "in me" three times in LXXIII. LXXIII also has note "3 quatrains in one."

p. 154: Mark in page which underlines "Love's not Time's fool" and then goes down the left margin to the bottom of the column.

p. 162: Brackets lines "While I confess thy writing to be such/As niether man, nor muse, can praise too much."

p. 163: Math at top of page "50 [+] 75 = $1.25". Underlines "Lyly" "Kyd, or Marlowe's mighty" "Small Latin" "less Greek". Note above line 35, "Seneca Latin". Marks for lines "Of all that insolent Greece or haughty Rome" "He was not of an age, but for all time!" "For a good poet's made, as well as born." and "But stay, I see thee in the hemisphere/Advanced, and made a constellation there!"

p. 167: Note at top "immortality love". Underlines "immortal us,"

p. 168: Note above Melancholy, "resembles Milton"

p. 169: Note below left column, "beautiful verse"

p. 170: Note above William Browne, "Spenser imitation"

p. 173: Note at top of page, "musical writer, death". Brackets start of To the Virgins to Make Much of Time

p. 174: Brackets lines, ‘And give me such reposes,/That I, poor I,/May think, thereby,/I live and die/'Mongst roses."

p. 175: Note at top of page, "Holy Herbert"

p. 178: Note above Edmund Waller "forerunner of sense closed after". Note below first column "each rhymed couplet"

p. 179: Note at top, "amusing"

p. 182: Note above first full poem on page "couplet". Brackets and check around "Yet this inconstancy is such/As thou too shalt adore;/I could not love thee, Dear, so much,/Loved I not Honor more."

p. 187: Check next to bio paragraph about bribery charges. Underlines "of bribery" "administration of justice" "imprisoned" "remitted by the king" "literature and philosophy". Question mark next to line 10 of first column. Underlines "candle-lights" Marks in margin for "A mixture of a lie doth ever add pleasure."

p. 188: Question mark by lines 5-7 of first column. Brackets "Certainly it is heaven upon earth to have a man's mind move in charity, rest in providence, and turn upon the poles of truth.". Note on Seneca "Roman philosopher and tutor of Nero". Brackets "It was a high speech of Seneca, after the manner of the Stoics, that ‘the good things which belong to prosperity are to be wished, but the good things that belong to adversity are to be admired.'" Underlines "the virtue of prosperity is temperance" with note "moderation". Brackets and question mark "Prosperity is the blessing of the Old Testament, adversity is the blessing of the New, which carrieth the greater benedictio and the clearer revelation of God's favor."

p. 189: Note at top "adversity-strength". Note in right margin, "Not too indulgent". Note at bottom, "prosperity-when things go well-easy to fall into bad ways, adversity-work for good things".

p. 191: Brackets, "For there was never proud man thought so absurdly well of himself as the lover doth of the person loved, and, therefore, it was well said that it is impossible to love and to be wise." "Nuptial love maketh mankind, friendly love perfecteth it, but wanton love corrupteth and embaseth it." "If the hill will not come to Mahomet, Mahomet will go to the hill."

p. 192: Note below XVII.-Of Superstition, "vs religion". Note above XXIII. "Egotism"

p. 195: Brackets "A man had need, if he be plentiful in some kind of expense, to be as saving again in some other; as if he be plentiful in diet, to be saving in apparel; if he be plentiful in the hall, to be saving in the stable; and the like.". Note above XXXII, "Discretion"

p. 196: Marks "Of great riches there is no real use, except it be in the distribution; the rest is but conceit." In second column, brackets lines 8-13, 31-40. Marks "The ways to enrich are many, and most of them foul; parsimony" with note, "frugality".

p. 198: Marks "Young men are fitter to invent than to judge, fitter for execution than for counsel, and fitter for new projects than for settled business." with note, "Wordsworth"

p. 199: Note at top of page, "Company when alone-discourse, judgement". Marks "Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse; but to weigh and consider.""Some books are to be tasted, others to be swallowed, and some few to be chewed and digested", "Reading maketh a full man, conference a ready man, and writing an exact man. And therefore if a man write little he had need have a great memory; if he confer little he had need have a present wit; and if he read little he had need have much cunning to seem to know that he doth not.". Mark in right bottom corner of page, probably marking the right column.

p. 208: Note at top "Scientific"

p. 209: Marks "Vain ashes, wich, in the oblivion of names, persons, times and sexes, have found unto themselves a fruitless continuation, and only arise unto late posterity as emblems of mortal vanities, antidotes against pride, vain-glory, and madding vices!" There is a crossed out note on this in the margin.

p. 210: Note at top "Balance sentences". Marks with "mem", "There is no antidote against the opium of time, which temporally considereth all things." and "But the iniquity of oblivion blindly scattereth her poppy, and deals with the memory of men without distinction to merit of perpetuity."

p. 211: Note at top, "look up". Box around page number. Marks with "mem.", "But man is a noble animal, splendid in ashes, and pompous in the grace, solemnizing nativities and deaths with equal luster nor omitting ceremonies of bravery in the infamy of his nature." Marks with a blue pen in margin, "Life is a pure flame, and we live by an invisible sun within us. A small fire sufficeth for life, great flames seemed too little after death, while men vaily affected precious pyres, to burn like Sardanapalus."

p. 212: Note at top, "Pastoral"

p. 214: Note in left margin for lines 6-33 "one line 84 in. long"

p. 217: Note at top "Theological"

p. 220: Marks in bottom right corner

p. 221: Note at top "Theological"

p. 225: Note at top "Theological". Check mark by bio.

p. 236: Note at top "read again"

p. 238: Brackets first lines of Il Penseroso in left column

p. 240: Notes at top, "Elegy, Pathetic fallacy, Pastoral verse" Brackets in margin lines 15-16. Note at bottom "Artificial poetry, not fuel filled with life. Pathetic fallacy."

p. 241: Underlines "But lives and spread aloft by those pure eyes/And perfect witness of all-judging Jove:/As he pronounces lastly on each deed," with note "culminating thought". Note by line 131 "Triggs[?]". Underlines "wanton" "freaked with jet" "wan that hang the pensive head" and "with tears". Question mark by line 145. Pen marks in margin by line 125, probably unrelated.

p. 242: Underlines "For Lycidas, you sorrow, is not dead,/Sunk though he be beneath the watery floor./So sinks the day-star in the ocean-bed,/And yet anon repairs his drooping head,/And tricks his beams, and, with new spangled ore,/Flames in the forehead of the morning sky:/So Lycidas sunk low, but mounted high,"

p. 243: Checks by "On the proposals of certain ministers at the committee for propagation of the Gospel", "On his Blindness", lines 11 and 14. Note at bottom, "Not he who works-not he who wins fame, but he who can stand under the lord."

p. 244: Notes by Paradise Lost "Hell Fallen angels" and "Monday". Underlines "Man's disobedience" and "thereupon of Paradise". Notes "Calvinistic" and marks "Of Man's first disobedience, and the fruit/Of that forbidden tree, whose mortal taste/Brought death into the world, and all our woe," and continues with brackets "With loss of Eden, till one greater Man/Restore us, and regain the blissful seat,/Sing, heavenly Muse, that on that secret top"

p. 245: Mark and question mark by word, "mankind" in line 26. Underlines "perdition". Marks between line 54 and 55. Question mark by lines 74-75. Marks in margin lines 82-94. Note at bottom "learn lyric & [illegible]"

p. 246: Underlines "And study of revenge". Note "Satan" above "‘Fallen cherub, to be weak is miserable,/Doing or suffering; but of this be sure,/To do aught good never will be our task,/But ever to do ill our sole delight,/As being the contrary to his high will/Whom we resist.". Note at bottom "iambic pentameter, Blank verse"

p. 247: Note at top of page "Mrs. E calvinistic theory-Milton's Fall". Marks lines "The mind is its own place, and in itself/Can make a heaven of hell, a hell of heaven." Line in margin by "Better to reign in hell, than serve in heaven."

p. 248: Note at top "Seraph-higher than cherub in angel bands". Bracket up by L291. Underlines "of impious". Note at bottom "look up impious".

p. 249: Note at top "Hebrew Prophets=introduced false gods". Note on "Muse", "Spiritual". Marks "For those the race of Israel oft forsook". Note at bottom "Milton-paragraphs in blank verse."

p. 251: Note at top "Epic style-names-warrior"

p. 252: Brackets "What force effected not; that he no less/At length from us may find who overcomes/By force, hath overcome but half his foe./Space may produce new worlds; whereof so rife" with pound sign. Brackets top of second column. Brackets "Clashed on their sounding shields the din of war,/Hurling defiance toward the vault of heaven." Underlines "The riches of heaven's pavement"

p. 254: Note by Book II, "Consultation in hell"

p. 255: Note at top "Sophistry-make worst better" Marks, "O'er heaven's high towers to force resistless way,/Turning our tortures into horrid arms". Brackets down at line 119.

p. 256: Marks "To be no more. Sad cure! for who would lose,/Though full of pain, this intellectual being,/Those thoughts that wander through eternity,/To perish rather, swallowed up and lost" with note "often quoted". Underlines "intellectual being" with note, "personality". Marks "War, therefore, open or concealed, alike/My voice dissuades; for what can force or guile". Brackets "All these our motions vain sees and derides:/Not more almighty to resist our might,/Than wise to frustrate all our plots and wiles./Shall we then live thus vile, the race of heaven/Thus trampled, thus expelled to suffer here/Chains and these torments? Better these than worse," and "Our doom; which if we can sustain and bear,/Our supreme foe in time may much remit/His anger; and perhaps, thus far removed,"

p. 257: Marks "All things invite/To peaceful counsels, and the settled state?Of order, how in safety best we may/Compose our present evils, with regards/Of what we are, and where; dismissing quite/All thoughts of war. Ye have what I advise.'"

p. 261: Note at top "Schism=[phonetic spelling]=division in church". Underlines "beleaguered" "fealty" and "schism".

p. 262" Note at top "oligarchy-government [illegible] in a few". Underlines "presage" with phonetic markings. Underlines "oligarchy".

p. 264: Marks sentence lines 22-23 in second column with note 21.

p. 265: Note at bottom "Monday"

p. 268: Checks by lines 1-5. Note below title.

p. 269: Note at top "closed couplet". Marks lines 66-74 with note "Shaftsbury" and "good". Marks "great wits are sure to madness near allied".

p. 274: Note above Alexander's Feast, "Emotion". Note on St. Cecilia, "Patron Saint of Music". Note at bottom, "Alexander's Musician=Timotheus"

p. 275: Note on lines 33-38, "Musical". Note above 3 "wine". Note by 4, "mood". Marks "War, he sung, is toil and trouble;/Honor but an empty bubble;". Brackets "And sighed and looked, sighed and looked,/Sighed and looked, and sighed again" with note, "good". Note at bottom, "Thais=young courtesan accompanying Alexander"

p. 276: Note, "organ" by "vocal frame"

p. 286: Note at top, "Act of Toleration=relieving non-conformist 2 penalties, not attending the church of England"

p. 287: Bracket at end of from The True Born Englishman. Note at top of second column, "Catholic" and "167[another number to make the year]". Note at bottom "1688=revolution"

p. 288: Question mark by line 55 of left column.

p. 289: Note at bottom "Henry VIII"

p. 290: Note in center by L5 "2", and by L10-11, "3". Mark in Margin for paragraph at L45-50 of left column

p. 294: Mark at top of second column. Mark by L40.

p. 295: Mark above top left column. Marks "I have this felicity (than which no author can desire a greater) viz., not one thing I ever affirmed, but was exactly true; not one conjecture have I made, but has appeared to be rational;". Check mark by L44-45

p. 296: Marks, "I think myself a little loose from the bonds of cadence and perfections of style, and satisfy myself in my study to be explicit, easy, free, and very plain. And for all the rest, Nec careo, nec curo [I neither need it, nor pay attention to it]! I had a design to say something on the entertaining part of this paper; but I have so often explain myself on that head, that I shall not trouble the world much about it.". Underlines "to exalt virtue, expose vice, promote truth and help men to serious reflection"

p. 297: Marks "The capacities of women are supposed to be greater, and their senses quicker than those of men;", "And in particular, music and dancing, which it would be cruelty to bar the sex of because they are their darlings. But besides this, they should be taught languages, as particularly French and Italian, and I would venture the injury of giving a woman more tongues than one." (Check in margin by this last quote.), and "Tempers, indeed may in some degree influence them, but the main distinguishing part is their breeding."

p. 298: Marks, "And, without partiality, a woman of sense and manners is the finest and most delicate part of God's creation", "so agreeable and so delightful to mankind, with souls capable of the same accomplishments with men; and all, to be only stewards of our houses, cooks, and slaves." with note, "good". Underlines "at" in L53. Some shorthand notes at bottom of page.

p. 358: Note at top "rhymed coup[let]"

p. 372: Note at bottom, "Pantheist=Nature is God, so worship Nature;"

p. 373: Note above The Castle of Indolence, "Spenserian stanza"

p. 374: Bracket by L9

p. 503: Underlines lifespan.

p. 504: Marks, "yet I am sensible, that there would be some impropriety in abruptly obtruding upon the public, without a few words of introduction, poems so materially different from those upon which general approbation is at present bestowed.", "It Is supposed, that by the act of writing in verse an author makes a formal engagement that he will gratify certain known habits of association;". Underlines "I have not fulfilled the terms of an engagement thus voluntarily contracted."

p. 505: Brackets majority of left column. Underlines "Humble and rustic life was generally chosen", "and a far more philosophical language", and "arbitrary and capricious habits of expression". Brackets, "From such verses the poems in these volumes will be found distinguished at least by one mark of difference, that each of them has a worthy purpose."

p. 506: Brackets first full paragraph. Underlines and marks, "The subject is indeed important! For the human mind is capable of being excited without the application of gross and violent stimulants". Marks "It has therefore appeared to me, that to endeavor to produce or enlarge this capability is one of the best services in which, at any period, a writer can be engaged;". Marks "When I think upon this degrading thirst after outrageous stimulation". Brackets "I have proposed to myself to imitate, and, as far as is possible, to adopt the very language of men"

p. 507: Underlines "to bring my language near to the language of men" with note, "again this." Brackets, "I have also thought it expedient to restrict myself still further, having abstained from the use of many expressions, in themselves proper and beautiful, but which have been foolishly repeated by bad poets, till such feelings of disgust are connected with them as it is scarcely possible by any art of association to overpower.". Marks, "By the forgoing quotation I have shown that the language of prose may yet be well adapted to poetry;".

p. 508: Underlines, "the language really spoken by men" with note, "again". Brackets most of last paragraph on page with underlines "What is a poet?", "He is a man speaking to men", "more enthusiasm", and "affected more". Note at bottom "degree is [shorthand]"

p. 509: Underlines "carried alive into the heart by passion", "Poetry is the image of man and nature.", "immediate pleasure to" (this with a question mark in margin),and "immediate pleasure".

p. 510: Underlines "it is the impassioned expression", "that he looks before and after", and "Poetry is the first and last….mortal as the heart of man."

p. 511: Brackets below L55 of first column. Underlines "greater promptness to think and feel without immediate external excitement….expressing such thoughts and feelings", and "The poet thinks and feels in the spirit of the passions of men.". Note around L10-5, "passions"

p. 512: Brackets "It will now be proper to answer an obvious question, namely, Why, professing these opinions, have I written in verse?" with a question mark. Brackets, "The end of poetry is to produce excitement i n coexistence with an overbalance of pleasure." and "Now the co-presence of something regular, something to which the mind has been accustomed in various moods, and in a less excited state, cannot but have great efficacy in tempering and restraining the passion by an intertexture of ordinary feeling, and of feeling not strictly and necessarily connected with the passion."

p. 513: Underlines "spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquility". Brackets "Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which has been previously received from works of rime or meter of the same or similar construction, an indistinct perception perpetually that of real life, and yet, in the circumstance of meter, differing from it so widely"

p. 514: Note at top, "Virgil". Marks, "the verse will be read a hundred times where the prose is read once." with a check. Note, "N.9[?]" by the stanza at L15.

p. 515: Underlines "metrical composition" "different from" "endeavored to" with a check.

p. 516: Note on side "effect of nature on him". Underlines, "beauty and by fear", "I was alone," "to the peace" "solitary" "silent" "I hung alone" "Nature" "her" "peaceful clouds". Marks, "I was alone,/And seemed to be a trouble to the peace/That dwelt among them.". Note below L56, "Nature"

p. 517: Underlines "solitude", "dreams", "Not with the mean and vulgar works of man", "Both pain and fear", "in the beatings", "lonely", "lonesome", "calm of", "solitude", "steel" (with note, "skates"), "I retired", "silent bay", "leaving the tumultuous throng" (with check mark), "solitary cliffs", "solemn", "tranquil as a dreamless". Note by L97, "effect". Note at bottom, "published year of death".

p. 518: Marks, "That on a wild secluded scene impress/Thoughts of more deep seclusion; and connect". Underlines "in silence", "hermit sits alone", "serene". Bracket at L23, 37. Check at L22.

p. 519: Note at top of page, "memory-solitude, peace". Marks L86-102,127-132, 135-141. Underlines "elevated thoughts", "sense sublime", "thy solitary walk", "solitude". Note on L100-102, "memory".Double underlines publication year. Notes "Dorothy" by L115.

p. 520: Note at top, "Sincerity". Brackets last stanza, "What fond and wayward thought will slide/Into a lover's head! --/'Oh mercy!' to myself I cried,/'If Lucy should be dead!'". Note above stanza two of She Dwelt Among the Untrodden Ways, "Metaphor". Marks L5-6. Note above Stanza 2, "memory". Note at bottom, "Simple, secluded life yet touched [shorthand?] life.". Parens "‘She shall be sportive as the fawn/That wild with glee across the lawn" and "And hers the silence and the calm/Of mute insensate things."

p. 521: Brackets "And beauty born of murmuring sound/Shall pass into her face.", "How soon my Lucy's race was run!/She died, and left to me". Underlines "memory" with note "memory". Brackets "Rolled round in earth's diurnal course,". Underlines "solitude", "heap of unhewn stones!",. Brackets "Of Shepherds, dwellers in the valleys, men/Whom I already loved; --not verily/For their own sakes, but for the fields and hills/Where was their occupation and abode.". Brackets "When others heeded not, He heard the South/ Make subterraneous music, like the noise/ Of bagpipers on distant Highland hills."

p. 523: Parens "Who dwelt within the limits of the vale,/Both old and young, was named the Evening Star.". Parens "And now when he had reached his eighteenth year/He was his comfort and his daily hope."

p. 524: Large question mark in top left corner.

p. 525: Brackets, "The letter was read over; Isabel/Went forth to show it to the neighbors round;".

p. 526: Brackets, "A work which is not here: a covenant". Underlines "memory" and "Sheep fold"

p. 527: Brackets "There is a comfort in the strength of love". Note by L 467 "nity [?]". Brackets "Was sold, and went into a stranger's hand." Bracket mark by year. Note in bottom right, "Wed=text outlines"

p. 528: Bracket at beginning of Resolution and Independence. Brackets, "But, as it sometimes chanceth, from the might/Of joy in minds that can no further go,/As high as we have mounted in delight/In our dejection do we sink as low". Note by L42, "poet". Underlines "in the end despondency and madness."

p. 529: Underlines, "leeches", "alone", "silently", and "Man". Note at bottom, "Man".

p. 530: Brackets start of The Solitary Reaper. Marks "Of travelers in some shady haunt,/Among Arabian sands:/A voice so thrilling ne'er was heard" Box around "The music in my heart I bore,/Long after it was heard no more." Check by Yarrow Unvisited.

p. 531: Underlines "Spirit, yet a Woman too!"

p. 532: Brackets "The light that never was on sea or land" with note, "imagination"

p. 534: Brackets L39-51. Mark at start of Ode. Note at bottom, "Knows a lot in childhood--must have lived S come here.[?]

p. 535: Note at top, "Previous [illegible]". Underlines "Shepherd-boy!". Brackets L58-65 with note, "memorize".

p. 536: Brackets "To me the meanest flower that blows can give/Thoughts that do often lie too deep for tears.". Crosses out year.

p. 538: Note at top, "Sonnet=5 iambic feet"

p. 539: Brackets "Thy friends are exultations, agonies,/And love, and man's unconquerable mind."

p. 540: Brackets start of The World Is Too Much With Us, with note, "material"

p. 542: Note at top, "Impractical friend of W.S. laudanum fiend Ancient Mariner". Underlines "terribly impractical", "journalist", and "Ancient Mariner". Brackets start of second paragraph.

p. 550: Brackets, "During the first year that Mr. Wordsworth and I were neighbors, our conversations turned frequently on the two cardinal points of poetry, the power of a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colors of imagination." with a difficult to read note, "theorize"? perhaps. Note on second full paragraph, "combination". Underlines "supernatural".

p. 553: Brackets next to year.

p. 560: Check in top left corner. Notes by Christabel, "Meter? New? Regular?". Note at bottom, "Coleridge said didn't make [shorthand?] unaccented syls." Also note, "anapest" with markings for stressed/unstressed syllables.

p. 561: Brackets, "It moaned as near" with note, "mystery" and question mark at end of line. Question marks by L55-57, 69-70

p. 562: Question mark by L151-153. Brackets "They passed the hall, that echoes still,/Pass as lightly as you will."

p. 564: Brackets, "And to be wroth with one we love/Doth work like madness in the brain."

p. 565: Question mark by L472-474. Underlines "savage place", "waning moon", "haunted", "wailing", "demon-lover", "fast thick pants", "dancing", "flung up momently". Question mark at L50. Bracket in bottom right with note, "Wordsworth"

p. 579: Bracket in bottom right.

p. 580: Marks by L30-45 with note, "Iambic". Underlines "A letter forged!". Brackets, "A letter forged! Saint Jude to speed!/Did ever knight so foul a deed?"

p. 582: Brackets, "The Lady Clare behind our lines/Shall tarry while the battle joins.'". Underlines "cruel maid" with question mark.

p. 585: Bracket at bottom right

p. 586: Marks rhyme scheme and stress pattern. Note at bottom, "5 iambic feet=pentameter".

p. 587: Marks rhyme scheme for From Childe Harolde. Notes, "Spenserian verse". Underlines "of faces" and "the scene". Bracket at end of third stanza with note, "shine". Note at bottom, "[Marks stress pattern]=last line, Alexandrine pentameter" Also writes and crosses out "hexameter?". Marks "Gather around these summits, as to show/How earth may pierce to Heaven, yet leave vain man below."

p. 588: Brackets, "There is too much of man here, to look through/With a fit mind the might which I behold;" Illegible note just below this. Brackets"I live not in myself, but I become/Portion of that around me; and to me/High mountains are a feeling, but the hum/Of human cities torture" and "And thus I am absorbed, and this is life:/I look upon the peopled desert past,/As on a place of agony and strife,"

p. 589: Brackets "To look on One, whose dust was once all fire,/A native of the land where I respire/The clear air for a while--a passing guest/Where he became a being,--whose desire/Was to be glorious;'twas a foolish quest,/The which to gain and keep, he sacrificed all rest." Underlines "foolish" with question mark.

p. 590: Brackets "Which shall atone for years;/ none need despair;/It came, it cometh, and will come,--the power/To punish or forgive--in one we shall be slower." Underlines "contrasted", "wild world I dwelt in", "aspirations to be great", "are least" (this last one with check mark).

p. 592: Check mark by first line on page.Underlines "His" and "him" with notes, "love"

p. 593: Brackets "I have not loved the world, nor the world me;/I have not flattered its rank breath, nor bowed". Bracket at L469. Check by L470, and L1 of Canto IV. Underlines, "urn within her withered hands" with note, "simile?"

p. 596: Underlines "Washington?"

p. 597: Underlines "What are our petty griefs?" Brackets, "There is the moral of all human tales;/'Tis but the same rehearsal of the past,/First Freedom and then Glory--when that fails,/Wealth, vice, corruption,--barbarism at last,/And history, with all her volumes vast,"

p. 598: Brackets, "Of contemplation; and the azure gloom/Of an Italian night, where the deep skies assume/Hues which have words, and speak to ye to heaven,". Underlines "an Italian".

p. 599: Brackets "He heard it, but he heeded not--his eyes/Were with his heart, and that was far away;/He recked not of the life he lost nor prize,/But where his rude hut by the Danube lay,/There were his young barbarians all at play, There was their Dacian mother--he, their sire,/Butchered to make a Roman holiday--/All this rushed with his blood--Shall he expire/And unavenged? Arise! ye Goths, and glut your ire!"

p. 600: Bracket at end of poem.

p. 605: Bracket at end of poem. Note at start of Don Juan, "Freedom". Marks rhyme scheme in first stanza. Underlines, "be free", "a slave". Marks by L50,61,73. Notes at bottom, "[marks stress pattern]=4 iambic feet" and "Satire [illegible], and convention"

p. 606: Marks first two stanzas on page. Shorthand note just below this. Marks rhyme scheme for third and fourth stanzas on the page. Underlines, "station", "generation", "nation", "sank" (this last one with question mark), "Life by Archdeacon Coxe", "Milton's", "heavy, but no less divine". Checks by L129,131,136. Bracket above L145. Marks stress pattern at bottom of page.

p. 607: Brackets L161-184, and below L192. Underlines "Baccaccio's lore" with note, "Greece". Marks "Is this a fancy which our reason scorns?/Ah! surely nothing dies but something mourns!"

p. 608: Mark by Don Juan, "Free Love". Brackets, "SOme have accused me of a strange design/Against the creed and morals of the land,/And trace it in this poem every line:/I don't pretend that I quite understand/My own meaning when I would be very fine;/But the fact is, that I have nothing planned/Unless it were to be a moment merry,/A novel word in my vocabulary." and "This is a liberal age, and thoughts are free:"

p. 612: Notes at top, "great artist-playful and precocious" Note at bottom, "Byron tell story well, manner and matter well harmonized."

p. 613: Bracket in bottom right corner.

p. 614: Note at top, "Just 30 years".

p. 615: Note at top, "Shelley's theory of Beauty". Marks rhyme scheme for first stanza. Brackets with various markings, "Thy light alone--like mist o'er mountains driven,/Or music by the night wind sent,/Through strings of some still instrument,/Or moonlight on a midnight stream,/Gives grace and truth to life's unquiet dream." Bracket "I vowed that I would dedicate my powers/To thee and thine--have I not kept the vow?"

p. 616: Notes, "Beauty" above Ozymandias.

p. 625: Bracket at end of poem. Marks rhyme scheme at start of Ode to the West Wind. Note at bottom, "Scan?"

p. 626: Note by V, "merge his soul and Nature but if not-words". Note above The Indian Serenade, "Can be optimistic". Marks stress pattern and rhyme scheme for this. Note by The Cloud, "Personality". Note at bottom of page, "good rhyme, 3 troche fh. and/accent".

p. 627: Underlines "obed maiden with", and "mortals call the moon".Check by L45. Mark by L48. Check by L1,2,8,15,18,32. Note at bottom, "more".

p. 628: Marks "Like a poet hidden/In the light of thought,/ SInging hymns unbidden" with check mark. Check marks by first four full stanzas on page. Note by Stanza of L56-60, "more". Marks, "Teach us, sprite or bird,/What sweet thoughts are thine;/I have never heard/Praise or love of wine." Note by L65, "wed. March" Marks, "We look before and after/And pine for what is not;", and Underlines "pine for what is not" with note, "Shelley". Note above A Lament, "Take from bird happiness and skill to [shorthand] listen"

p. 629: Note at top, "Keats". Note by To--, "Like this" with bracket at end of poem. Marks by line, "And thou, sad Hour, selected from all years". Note by L5, "other hours". Note by L19, "Muse". Paren by "Most musical of mourners, weep again!/Lament anew, Urania!--He died--" with note, "Milton". Note by L33, "Homer". Note by L36, "Homer, Dante [shorthand]". Marks, "But now, thy youngest, dearest one has perished,/The nursling of thy widowhood, who grew"

p. 630: Marks by L73, "O, weep for Adonais!--The quick Dreams,", with question mark. Mark by L74, "The passion-winged Ministers of thought", with note, "73". Mark by L100, "Another Splendor on his mouth alit". Notes, "109" on L109, "120" by L120. Notes at bottom, "73-120, 120-133, 154-189"

p. 631: Note at top, "Nature mourns" with some pronunciation or shorthand.

p. 632: Note at bottom, "190-225=Urania Mourns at grave in Rome"

p. 633: Note by L262, "contemporaries", by L263, "Byron". Underlines "Ierne" with note, "Ireland Moore". Note by L 271, "Shelley", by L311, "Lee Hunt [?]", and L315, "[illegible]"

p. 634: Brackets, "Peace, peace! he is not dead, he doth not sleep--/He hath awakened from the dream of life--/'Tis we who, lost in stormy visions, keep/With phantoms an unprofitable strife,/And in mad trance strike with our spirit's knife/Invulnerable nothings.--We decay/Like corpses in a charnel; fear and grief/Convulse us and consume us day by day,/And cold hopes swarm like worms within our living clay.". Brackets, "He is made one with Nature: there is heard". Brackets, ‘He is a portion of the loveliness/Which once he made more lovely: he doth bear"

p. 635: Brackets, "The splendors of the firmament of time/May be eclipsed, but are extinguished not;" Question mark by L396.

p. 636: Note at top, "United and eternal spirit and beauty". Brackets "What Adonais is, why fear we to become?". Marks "The breath whose might I have invoked in song/Descends on me; my spirit's bark is driven,/Far from the shore, far from the trembling throng". Brackets, "The soul of Adonais, like a star,/Beacons from the abode where the Eternal are." with note, "Optimistic". Parens, "The earth doth like a snake renew/Her winter weeds outworn:" Note on L6, "Greece".

p. 637: Brackets "The world is weary of the past,/O might it die or rest at last!". Check by L9. Brackets, "The desire of the moth for the star,/Of the night for the morrow,"

p. 638: Brackets, "For it had learnt all harmonies/Of the plains and of the skies,/Of the forests and the mountains,/And the many-voiced fountains;/The clearest echoes of the hills,/The softest notes of falling rills,/The melodies of birds and bees,/The murmuring of summer seas,/And pattering rain, and breathing dew/And airs of evening; and it knew/That seldom-heard mysterious sound,/Which driven on its diurnal round,/As it floats through boundless day,/Our world enkindles on its way--". Brackets, "The hearts echoes render/No song when the spirit is mute:--", and "Sad storm, whose tears are vain,/Bare woods, whose branches strain,/Deep caves and dreary main,/Wail, for the world's wrong!"

p. 639: Note by L10, "broke". Note below left column, "Petrarch". Note at start of second column, "reading", note below, "wonder-delight, Greece--"

p. 640: Marks, "A thing of beauty is a joy for ever:/Its loveliness increases; it will never/Pass into nothingness;". Note on left, "memory?". Note above top left column, "contrast [crossed out] to comparison of Nature". Note at end of first poem on page, "23". Note by The Eve of St. Agnes, "cold". Writes out rhyme scheme for L1-6.

p. 641: Note below L28, "Penitence". Underlines, "to bed they must'. Line marking below L55. Underlines, "Agnes' dreams" with question mark.

p. 644: Note on L251, "awe".

p. 645: Note at top, "Betty Blythe=shik's wife[?]" Bracket at end of poem.

p. 647: Check at top with note, "Friday". Note on L10, "real spirit". Marks, "‘Beauty is truth, truth beauty,'--that is all/Ye know on earth, and all ye need to know." Note above Ode to A Nightingale, "Little thing made big". Marks rhyme scheme for first stanza. Marks stress pattern below first stanza. Underlines, "Hippocrene" with note, "=Muse's fountain". Note at bottom, "A Dryad=a tree nymph, Flora=goddess of spring and flowers".

p. 648: Note at top, "Bacchus=god of Wine". Note on L19, "Epicurean". Note by first full stanza, "melancholy". Brackets, "Thou wast not born for death, immortal Bird!/No hungry generations tread thee down:/The voice I hear this passing night was heard/In ancient days by emperor and clown;?Perhaps the self-same song that found a path/Through the sad heart of Ruth, when, sick for home,/She stood in tears amid the alien corn:/The same that oft-times hath/Charmed magic casements, opening on the foam/Of perilous seas in faery lands forlorn.". Underlines and paren, "Forlorn!". Note above Ode on Melancholy, "Lethe=river of oblivion". Note below second column, "Psyche=the soul"

p. 649: Parens, "Then glut thy sorrow on a morning rose/Or on the rainbow of a salt sandwave,/Or on the wealth of globed peonies;/Or if thy mistress some rich anger shows,/Emprison her soft hand, and let her rave,/And feed deep, deep upon her peerless eyes.". Parens, "She dwells with Beauty--Beauty that must die;" and "Ay in the very temple of Delight/Veiled Melancholy has her sovran shrine,". Underlines, "Ay", "Delight", "Veiled Melancholy". Notes, "Melancholy=dying beauty!". Underlines "maturing" with note, "hates". Note above Hyperion, "Why Pagan?" and "god of the Sun [illegible] by Apollo". Note at bottom, "Personification".

p. 650: Note on left side margin, "Theo, A Kind or throne". Underlines "there came one".

p. 651: Note in left margin, "some one usurping[?]". Underlines "where is Saturn?" with question mark. Note in left margin, "Found kingdom [illegible, d'ailleurs perhaps]"

p. 652: Underlines "Hyperion" with note, "former god of the Sun".

p. 653: Underlines "Coelus". Notes at bottom, "Coelus=god of Firmament" with"[shorthand] half human, half divine"

p. 654: Note by In a Drear-Nighted December, "Happy Insensibility", by stanza 1, "content?", by stanza 3, "want change?". Apostrophes around stanzas 1-3 of Le Belle Dame Sans Merci and one at the start of stanza 4.

p. 655: Rhyme scheme written out for On the Sea and When I Have Fears That I May Cease to Be. Note by On the Sea, "Sonnet?". Note by When I Have Fears That I May Cease to Be, "Sonnet in Shakespeare's system". Bracket in bottom right, with note, "Mon."

p. 714: Parens, "Laissez Faire" with note, Let live? make?"

p. 715: Underlines, "wine-and-walnuts philosophy" with note, "afterthought?[?]".

p. 716: Note at top, "Spiritual". Mark by, "Man is created to fight". Marks in margin, "In rage, thous shalt remember mercy, justice;--thou shalt be a Knight and not a Chactaw, if thou wouldst prevail! It is the rule of all battles, against hallucinating fellow Men…" Marks in margin, "He has one enemy never to be struck down; nay two enemies: Mankind and the Maker of Men." Underlines, "Mankind" and "the Maker".

p. 717: Parens, "He found money recognized, by the whole world with one assent, as the true symbol, exact equivalent and synonym of victory". Underlines, "Bucanier", "ceasing to clap hands at!", "moral-sense", "masses of mankind" (this last one with check mark in margin). Large inkblot in left-hand margin, probably accidental.

p. 718: Note at top, "Purpose was to arouse mfa.[?] and merchant class to high deals[?] and help others [shorthand]". Note on left, "Why Westminster?". Underlines, "Westminster". Brackets, "A man has other obligations laid on him, in God's Universe, than the payment of cash". Notes by Chapter XI, "Home[?]" and "Exalted". Brackets, "For there is a perennial nobleness, and even sacredness, in Work.", "in Idlenesss alone is there perpetual despair.", "Know thy work and dot it. ‘Know thyself'", and "Think it not thy business, this of knowing thyself; thou art an unknowable individual: know what thou canst work at; and work at it, like a Hercules! That will be thy better plan.". Notes at bottom, "work-desire for truth, know thyself", and "E.Mark".

p. 719: Note at top, "square deal", and "Experience-Wright". Brackets, "Labor is Life: from the inmost heart of the Worker rises his god-given Force, the sacred celestial Life-essence breathed into him by Almighty God; from his inmost heart awakens him to all nobleness,--to all knowledge, ‘self-knowledge' and much else, so soon as Work fitly begins." and "Doubt, of whatever ind, can be ended by Action alone.'".

p. 720: Brackets "Work is of a religious nature:--work is of a brave nature; which it is the aim of all religion to be. All work of man is as the swimmer's: a waste ocean threatens to devour him; if he front it not bravely, it will keep its word. [By incessant wise defiance of it, lusty rebuke and buffet of it, behold how it loyally supports him, bears him as its conqueror along.] ‘It is so,' says Goethe, ‘with all things that man undertakes in this world.'" (Bracketed section in this quote is bracketed within again by LN. Note in margin by bottom left paragraph, "Passioned"

p. 721: Note at top, "Doctrine [shorthand] Activity". Brackets, "The thistle that grows in thy path, dig it out, that a blade of useful frass, a drop of nourishing milk, may grow there instead.", " but above all, where thou findest Ignorance, Stupidity, Brute-mindedness,--yes, there, with or without Church-tithes and Shovel-hat, with or without Talfourd-Mahon Copyrights, or were it with mere dungeons and gibbets and crosses, attack it, I say; smite it wisely, unweariedly, and rest not while thou livest and it lives; but smite, smite, in the name of God!", "Thou too, if ever man should, shalt work while it is called To-day. For the Night cometh, wherein no man can work." and "All true Work is sacred;"

p. 722: Marks in margin, ""Fair day's-wages for a fair day's-work' is the most unrefusable demand! Money wages ‘to the extend of keeping your worker alive that he may work more'; these, unless you mean to dismiss him straightway out of this world, are indispensable alike to the noblest Worker and to the least noble!" with parenthesis ""Fair day's-wages for a fair day's-work'" and "‘to the extend of keeping your worker alive that he may work more'". Underlines, "Human banks". Brackets "Nay, at bottom, dost thou need any reward?". Underlines, "let the price be Nothing", and "All for it!". Brackets, "‘By heaven, they shall either be invaluable or of no value; I do not need your guineas for them.'" and "he bodies forth the form of Things Unseen;". Underlines, "small Poet every Worker is.". Note by last full paragraph, "Creative".

p. 723: Brackets, ‘All Works, each in their degree are a making of Madness sane;". Underlines, "to no purpose," with note, "gold, lead".

p. 734: Note in top left, "to the point". Underlines, "I do not care about this Exchange". Note in left margin, "taste=moral quality". Brackets, "All good architecture is the expression of national life and character;". Underlines, "essentially a moral quality" with check mark. Note at bottom, "no-movies[?] once a week but I don't--still regret[?] it"

p. 735: "Note how scientifically or how cleverly, but how moral." "not merely do but like what your doing. D.C.". Brackets, "Taste for any pictures or statues is not a moral quality, but taste for good ones is". Underlines "‘good.'". Brackets, "And all delight in fine art, and all love of it, resolve themselves into simple love of that which deserves love.", "What we like determines what we are, and is the sign of what we are; and to teach taste is inevitably to form character.", "a nation cannot be affected by any vice, or weakness, without expressing it, legibly, and forever", and "You know thorougly well how to cast and hammer iron.". Underlines, "the vice of jealousy, which brings competition into your commerce,".

p. 736: Brackets end of last paragraph on page.

p. 737: Brackets, "For if this be the feeling, though it may seem at first as if it were graceful and reverent, at the root of the matter, it signifies neither more nor less that you have separated your religion from your life." Underlines, "not temples".

p. 738: Note at top, "gothic=pure [shorthand] domestic virtue". Brackets, "The book I called "The Seven Lamps' was to show that certain right states of temper and moral feelings were the magic powers by which all good architecture, without exception, had been produced." and "‘The Stones of Venice' had, from beginning to end, no other aim than to show that the Gothic architecture of Venice had arisen out of, and indicated in all its features, a state of pure national faith, and of domestic virtue;". Marks from margin, "--do you mean to build as Christians or as Infidels? And still more--do you mean to build as honest Christians or as honest Infidels? as thoroughly and confessedly either one or the other? You don't like to be asked such rude questions. I cannot help it; they are of much more importance than this Exchange business;". Brackets, "In all my past work, my endeavor has been to show that good architecture is essentially religious--". Marks, "We Europeans, then, have had three great religions: the Greek, which was the worship of the God of Wisdom and Power; the Medieval, which was the Worship of the God of Judgment and Consolation; the Renaissance, which was the worship of the God of Pride and Beauty."

p. 739: Mark at end of first paragraph on page, possibly accidental. Brackets, "not with any ardent affection or ultimate hope; but with a resolute and continent energy of will, as knowing that for failure there was no consolation, and for sin there was no remission. And the Greek architecture rose unerring, bright, clearly defined, and self-contained." with note, "restrained". Underlines, "melancholy and aspiration," and "partly luxuriant, which will bend itself" with note, "Flexible, melancholy, aspirant"

p. 740: Question mark at end of first paragraph. Underlines, "nominal" with question mark. Underlines, "practical one". Marks from margin, "and how you would laugh at me, if I proposed building a cathedral on the top of one of these hills of yours, to make it an Acropolis! But your railroad mounds, vaster than the walls of Babylon; your railroad stations, vaster than the temple of Ephesus, and innumerable; your chimney how much more mighty and costly than cathedral spires! your harbor piers; your warehouses; your exchanges!--all these are built to your great Goddess of ‘Getting-on'; and she has formed, and will continue to form your architecture, as long as you worship her;". Underlines, "heroisms"

p. 741: Marks all of first full paragraph. Brackets, "If you choose to take the matter up on any such soldierly principle, to do your commerce, and your feeding of nations, for fixed salaries; and to be as particular about giving people the best food, and the best cloth, as soldiers are about giving them the best gunpowder, I could carve something for you on your exchange worth looking at." and underlines, "fixed salaries". Check by end of first paragraph in second column. Mark at end of first full paragraph, second column. Marks, "Getting on--but where to? Gather together--but how much?".

p. 742: Marks, "You will have to answer, after all, ‘No; we want, somehow or other, money's worth.'". Underlines with asterisk in margin, "not of everybody's getting on--but only of somebody's getting on.". Underlines later, "not Getting-on" with note at bottom, "Opression from non people"

p. 743: Arrow at end of first paragraph to bottom, "[illegible]-wealth to one leader"

p. 744: Brackets, "for they saw that, if only their common love and virtue increased, all these things would be increased together with them;", "But if you can fix some conception of a true human state of life to be striven for…". Arrows from end of last paragraph to notes, "Nature?" and "Note enough heart"
p. 747: Check by The Lady of Shalott

p. 748: Note at top, "lives in dreams and ideality--wants to meet realities. Stress patterns by stanza 4 of Part II, and stanzas 3 and 5 of Part III. Check mark by line 106, "He flashed into the crystal mirror,". Note at bottom, "Disillusioned."

p. 749: Note at top, "apart man & God". Stress pattern by L158. Check by The Palace of Art. Margin mark by "I built my soul a lordly pleasure-house,/Wherein at ease for aye to dwell.". Underlines, "A flood of fountain-foam", with note, "alliteration". Note at bottom, "Man apart from mankind-won't do."

p. 750: Underlines, "gloom" with note, "a gloom for mood". Note on L65, "resting despondent", on L69, "angry", on L 73, "uncertainty", on L 81, "Perseverance, Enthusiasm", on L 87, "calm". and above L 93, "soul=she".

p. 751: Underlines, "she" with note, "who?". Paren around the first stanza on the second column with note, "romantic". Underlines, "isolation".

p. 752: Note at top, "combination of activity plus meditation". Underlines, "dread and loathing of her solitude", "dull stagnation", and "One deep, deep silence all!".

p. 753: Note at top, "Monastic [illegible]". Check by A Dream of Fair Women.

p. 758: Check by Sir Galahad. Note by beginning of poem, "Lowell". Brackets, "More bounteous aspects on me beam,/Me mightier transports move and thrill;/So keep I fair through faith and prayer/A virgin heart in work and will.". Note at bottom, "Holy grail, cup [shorthand] supper"

p. 759: Check by "Morte D'Arthur". Brackets, "And fling him far into the middle mere;/Watch what thou seest, and lightly bring me word.'".

p. 762: Check by Ulysses. Underlines, "I will drink/Life to the lees."

p. 763: Check by Locksley Hall.

p. 764: Note at top, "Restlessness". Underlines, "Puppet to a father's threat," Note by L52, "Cynical".

p. 765: Note at top, "cynical-hermit-reform". Brackets, "And his spirit leaps within him to be gone before him then,/Underneath the light he looks at, in among the throngs of men;"

p. 766: Parenthesis, "In the steamship, in the railway, in the thoughts that shake mankind."

p. 767: Brackets, "Not with blinded eyesight poring over miserable books--" and "Ancient founts of inspiration well through all my fancy yet.". Notes on Break, Break, Break, "forever, never"

p. 768: Check in top left corner. Brackets, "For he sings of what the world will be/When the years have died away.'" with question mark and note, "Natural thing=love". Underlines, "ninety years" with question mark.

p. 769: Underlines end of L40.

p. 770: Brackets, "‘Tis better to have loved and lost/Than never to have loved at all." and "I stretch lame hands of faith, and grope,/And gather dust and chaff, and call/To what I feel is Lord of all,?And faintly trust the larger hope.". Notes at bottom, "Faith-Compensation in death?" and "Possible way of communication or connection [shorthand] like & death."

p. 771: Brackets "Though mixed with God and Nature thou,/I seem to love thee more and more.". Brackets end of CXXXI.

p. 786: Check at start of Songs from ‘Pippa Passes' and My Last Duchess. Note on My Last Duchess, "See Red Book"

p. 787: Brackets, "The Count your master's known munificence/Is ample warrant that no just pretense/Of mine for dowry will be disallowed;/Though his fair daughter's self, as I avowed/At starting is my object." with note, "situation[?]". Note at end of poem, "Buy". Markings at bottom, looks like "-1-" twice.

p. 791: Note at top, "when troubled evil spirit had harp". Check by Saul. Check and note, "God" by line, "Not a sound hath escaped to thy servants of prayer nor of praise,". Note at bottom, "Samuel XVI 14-23"

p. 795: Underlines first, "thou" in XIV with question mark.

p. 797: Brackets, "This;--'tis not what man Does which exalts him, but what man Would do!"

p. 800: Note by My Star, "memorize". Underlines "furled". Mark at end of My Star.

p. 802: Check and note above Andrea Del Sarto, "Dramatic Monologue". Underlines "Faultless"

p. 804: Note at top, "He wants sympathy, praise, to bring out best.". Brackets, "Ah, but a man's reach should exceed his grasp,/Or what's a heaven for?All is silver-gray", and "That arm is wrongly put--and there again--/A fault to pardon in the drawing's lines,/Its body, so to speak: its soul is right,/He means right--that, a child may understand.". Underlines, "you" with question mark. Underlines, "follows to the snare" with check. Underlines "Some women do so." and "‘God and the glory! never care for gain." Note at bottom, "Lucrezia=his sweetheart-she did not say Live for fame and glory, no for money?"

p. 805: Note at top, "Michelangelo". Underlines, "I should earn more, give you more." Brackets, "To hear them--that is Michel Agnolo/Judge all I do and tell you of its worth./Will you? To-morrow, satisfy your friend.". Marks, "The Cousin! what does he to please you more?" with question mark. Underlines, "The very wrong to Francis!" with question mark. Note at bottom, "Francis-painted fro him for gold-felt that he sinned"

p. 806: Brackets, "While I have mine!" with arrow to end of poem and question mark.

p. 807: Note at top, "grammarian=hopeless but chooses to know rather than live". Mark at end of poem in left column. Brackets, "Grant I have mastered learning's crabbed text/Still there's the comment.". Question mark at bottom with note, "questions".

p. 808: Brackets, "Back to his studies, fresher than at first,/Fierce as a dragon/He (soul-hydroptic with a sacred thirst)/Sucked at the flagon./Oh, if we draw a circle premature,/Heedless of far gain,/Greedy for quick returns of profit, sure/Bad is our bargain!/Was it not great? did not he throw on God/(He loves the burthen)--" Underlines, "This man decided not to Live but Know--" Note at end of poem, "alone passion, above men intellectually"

p. 811: Underlines, "extemporizing" with note, "improvising". Underlines, "of end and of aim". Notes, "Jehovah" by "the ineffable Name". Marks, "Would it might tarry like his, the beautiful building of mine"

p. 812: Notes at top, "music=immaterial" and "improvisation". Brackets, "Well, it is gone at last, the palace of music I reared;" with question mark. Brackets, "All we have willed or hoped or dreamed of good shall exist;"

p. 813: Brackets, "Why else was the pause prolonged but that singing might issue thence?/Why rushed the discords in, but that harmony should be prized?' and "The rest may reason and welcome; ‘tis we musicians know." Check by Rabbi Ben Ezra and note, "paraphrase". Brackets, "Poor vaunt of life indeed,/Were man but formed to feed/On joy, to solely seek and find and feast;/Such feasting ended, then/As sure an end to men;" with question mark. Mark and check mark at start of VI. Underlines, "Each sting that bids". Note at end of VI, "memorize"

p. 814: Question marks by VIII-XII. Brackets, "How far can that project thy soul on its lone way?". Brackets Young, all lay in dispute; I shall know, being old.". Note at end of XVI, "-youth?". Underlines, "proved" with question mark.

p. 815: Brackets, "Right? Let age speak the truth and give us peace at last!". Note by XXII, "22". Note on bottom right, "optimistic".

p. 823: Note at top, "5 fine arts, poetry, painting, architecture, music, sculpture." Note below bio, "[illegible]? qualities of poetry?". Not at bottom, "touchstone high perviousness"

p. 824: Underlines, "poetry to interpret life for us, to console us, to sustain us." and "the breath and finer spirit of knowledge", with note, "consolation?". Check mark by first full paragraph in second column. Arrow to note, "Text=most benefit that is, consolation, delight, thrill, anything you like" from L 45 of second column.

p. 825: Underlines, "The course of thought, and poetry, is profoundly interesting;" and "we must plead for a distinction.". Mark by, "the study of poetry."

p. 827: Note at top, "high seriousness= universal dignity". Marks, "to have always in one's mind lines and expression of the great masters, and to apply them as a touchstone to other poetry", underlines, "touchstone". Brackets "But if we have any tact we shall find them, when we have lodged them well in our minds, an infallible touchstone for detecting the presence or absence of high poetic quality". Note at bottom, "Henry IV, 1st part[?]"

p. 828: Note in left margin, "words". Underlines, "very highest poetical quality". Brackets start of, "They are in the matter and substance of the poetry, and they are in it manner and style."

p. 829: Note by quoted poem, "French Romance". Arrow up from second full paragraph in second column. Note in bottom right margin, "Chaucer". Note at bottom, "Judge by historical setting & vast [?] language"

p. 830: Brackets, "He will be read, as time goes on, far more generally than he is read now. His language is a cause of difficulty for us; but so also, and I think in quite as great a degree, is the language of Burns.". Marks, "His superiority in substance is given by his large, free, simple, clear yet kindly view of human life,--so unlike the total want, in the romance-poets, of all intelligent command of it. Chaucer has not their helplessness; he has gained the power to survey the world from a central, truly human point of view." Brackets, "Chaucer is the father of our splendid English poetry, he is our ‘well of English undefiled,'"

p. 831: Underlines, "It was dependent upon his talent." Brackets, "The substance of Chaucer's poetry, his view of things and his criticism of life, has largeness, freedom, shrewdness, benignity; but it has not this high seriouness. Homer's criticism of life ahs it, Dante's has it," Brackets first full paragraph in second column, underlines, "high seriousness of the great classics" and "truth of substance," and note in margin, "½[?]"
p. 832: Check mark at start of second full paragraph in left column

p. 833: Note at top, "18th century=age of prose and reason. Note by "or of" in second column, "no". Brackets first full paragraph in second column, underlines, "he lived, above all, with the Greeks," "studying and enjoying them;"

p. 834: Brackets, "The real Burns is of course in his Scotch poems.", "Burns is the first case we have had where the bias of the personal estimate tends to mislead; let us look at him closely, he can bear it.", and "There is a great deal of that sort of thing in Burns, and it is unsatisfactory, not because it is bacchanalian poetry, but because it has not that accent of sincerity which bacchanalian poetry, to do it justice, very often has." Marks, "There is something in it of bravado, something which makes us feel that we have not the man speaking to us with his real voice; something, therefore, poetically unsound." with arrow to note at bottom, "doesn't affect me that way"

p. 835: Brackets, "And the application is a powerful one; made by a man of vigorous understanding, and (need I say?) a master of language.", and "No; Burns, like Chaucer, comes short of the high seriousness of the great classics"

p. 836: Note at top, "Appreciation-non-mediocre stay in presence of best". Arrow down last paragraph on page to note, "Nowadays?".

p. 837: Mark above Shakspere

p. 840: Check by Sohrab and Rustum. Note at bottom, "mark similes"

p. 841: Note at top, "Praise from father". Underlines, "Afrasiab". Brackets, "Will challenge forth the bravest P

Date last updated: 11/10/15

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