kept a gig.' This furnished Carlyle with a text on which he was never tired of preaching against the superficiality of current standards of worth.

14. Simulacrum (Latin), image.

18. Ilion, Troy; Latium, the country about Rome, scenes of the Iliad and the Eneid. Mayfair, a fashionable part of London, east of Hyde Park; so called from a Fair formerly held there in the month of May.

23. Phrygians, inhabitants of Asia Minor, Trojans.

24. jötuns, a supernatural race of giants in Scandinavian mythology. The heroism of the future will consist in overcoming the forces of nature and the evil passions of the heart of man.

30. Fribbles, triflers.

'bush,' preserve game.

See 727. a. 38, note.

35. the Subtle Fowler, Destiny.

42. with beards on their chins, grown men, no longer children.

b. 24. Brindley (1716-72), engineer of the Bridgewater and Grand Trunk Canals.

25. Goethe, for the last hundred years, by far the notablest of all Literary Men,'- Heroes and Hero Worship. Odin, celebrated by Carlyle in his lecture onThe Hero as Divinity.' Arkwright (1732-92), inventor of cotton spinning machinery.

35. Bath-garter. The orders of the Garter and the Bath are among the highest honors conferred by the English sovereign. Carlyle confuses the two, for the purpose of expressing contempt for such decorations regarded as claims to respect.

36. George, the jewel which forms part of the insignia of the Order of the Garter.

43. Duke of Weimar. Carlyle had written in the previous chapter: A modern Duke of Weimar, not a god he either, but a human duke, levied, as I reckon, in rents and taxes and all incomings whatsoever, less than several of our English Dukes do in rent alone. The Duke of Weimar, with these incomings, had to govern, judge, defend, everyway administer his Dukedom. He does all this as few others did: and he improves lands besides all this, maintains not soldiers makes river-embankments, only but Universities and Institutions;-and in his Court these four men: Wieland, Herder, Schiller, Goethe. ... I reckon that this one Duke of Weimar did more for the Culture of his Nation than all the English Dukes and Duces now extant, or that were extant since Henry the Eighth gave them the Church Lands to eat, have done for theirs!'

were

47. The Future hides in it, etc. This is a stanza from Goethe's poem Symbolum,' introductory to the series entitled 'Loge.' Carlyle had given a translation of the whole poem earlier in Past and Present (end of Bk. III). He now recalls it as the final thought he wishes to impress upon the minds of his readers.

38. steel-traps used against poachers, but here allegorically signifying the armaments of modern nations.

54. Bedlam, the monastery of St. Mary of Bethlehem in London, later used as an asylum for the insane.

b. 13. Armstrongs, big guns manufactured by the great English firm of Armstrong. 19. black eagles of Austria. Ruskin means that the English let the great military nations alone. 52. Inigo Jones Sir Christopher Wren, the great English architects of the seventeenth century. The former planned the royal palace of Whitehall in London, the latter St. Paul's Cathedral, both in the Italian style.

737. a. 50. This is none other than the house of God. See Genesis xxviii, 10-17.

b. 25. Thou, when thou prayest. See Matthew vi, 5-6.

49. Lares, Latin gods of the hearth, household gods.

738. a. 5. The Seven Lamps. See introductory biography, p. 733.

b. 48. Bosphorus, the strait dividing Europe from Asia. 739. a. 9. to the Jews. See 1 Corinthians i, 23. b. 51. Tetzel, a seller of papal indulgences who provoked the indignation of Luther.

b. 55. bals masqués, masked balls.

They were

a feature of the French frivolity which preceded the Revolution and the guillotine. 740. a. 6. Revivalist, of classical architecture, as seen in the royal palace of Versailles, near Paris, and the papal palace of the Vatican at Rome.

17. sevenths of time, Sunday, one seventh of the week.

38. Acropolis, the hill overlooking Athens; the site of the Parthenon and other Greek temples. 39. walls of Babylon . .

monuments of antiquity.

12-13.

temple of Ephesus,

b. 23. affairs of exchange. See Matthew xxi,

34. quartering. As armies do when they occupy a country. color, pretence.

55. carry. At the point of the bayonet. 741. b. 2. St. George, the English national saint. fields, 3. semi-fleeced terms of heraldry.

proper

THE LADY OF SHALOTT

This was probably Tennyson's earliest study from the Arthurian legend. It may be compared with his later embodiment of the story in Lancelot and Elaine.

5. Camelot. In Cornwall. The legendary seat of King Arthur's court.

9. Shalott. Malory's Astolat. According to Palgrave, this poem was suggested to Tennyson by an Italian romance upon the Donna di Scalotta. This would account for the form, Shalott.

748. 84. the golden Galaxy. The Milky Way.

107. 'Tirra Lirra.' Tirelirer, in French, signifies to sing like a lark.

'Europa and the Bull is the subject of a famous painting by Titian.

121. Ganymede, the cup-bearer of Zeus, who was conveyed to Olympus by an eagle.

137. the Ionian father, etc. Homer.

163. Verulam. Francis Bacon was created Baron Verulam in 1618. See pp. 187-199.

171-2. as morn from Memnon, etc. A colossus near Thebes, Egypt, was believed by the Greeks to represent this solar deity and to give forth a musical sound when reached by the rays of the rising

sun.

752. 219. Like Herod, etc. See Acts xii, 21-23. 226. The airy hand, etc. See Daniel v, 24-27.

A DREAM OF FAIR WOMEN

753. 2. The Legend of Good Women. For its place among Chaucer's works, see p. 4.

27. tortoise, the roof formed by the shields of soldiers held over their heads.

754. 87. a daughter of the gods, etc. Helen.

100. One that stood beside. Iphigenia, the daughter of Agamemnon. Part of the details are drawn from Aeschylus' Agamemnon, 225-49, and from Lucretius' De Rerum Natura, I, 85-100.

122. Sudden I heard, etc. The description of Cleopatra is based chiefly on Shakspere's Antony and Cleopatra, though there are touches from Horace, Ode i.

755. 145. Canopus. One of the brightest of the first magnitude stars. It is not visible in our middle northern latitudes.

154. the other. Octavius Cæsar.

176. Then I heard, etc. Jephthah's daughter. See Judges xi.

756. 250. Rosamond. See 375. 95, note.

254. Eleanor, Henry II's queen. She is said to have slain Rosamond with her own hand or to have forced her to drink poison.

260. Fulvia. Antony's first wife. Cleopatra means, You should have slain your rival.'

264. The captain of my dreams. The morning star, an allusion to 1. 3.

he hung upon the Cross, was said to have been carried to Britain by Joseph of Arimathea. It was an object of quest among the knights of the Round Table, but only Galahad was pure enough to achieve it. See Tennyson's Holy Grail in The Idylls of the King and Malory's Morte d' Arthur.

A FAREWELL

759. The Tennysons left their old home at Somersby in 1837. There are references to the incident and to the same brook in In Memoriam.

MORTE D'ARTHUR

For Malory's Morte d' Arthur, Bk. XXI, upon which this poem is based, see p. 21. The poem was afterward incorporated, with additions, into The Idylls of the King.

4. Lyonnesse. A mythical region, off the shores of Cornwall, now supposedly submerged by the sea. 15. The goodliest fellowship, etc. The Round Table.

21. Camelot. See 747. 5, note.

23. Merlin. The wise magician of Arthur's court. 31. samite, a kind of silk. 43. hest, behest, command.

760. 139. the northern morn. 140. isles of winter, icebergs. 761. 186. harness, armor.

Aurora borealis.

215. greaves, shin pieces. cuisses, thigh pieces. 762. 259. the island valley of Avilion. Tennyson's description is influenced by classical conceptions of the Fortunate Islands. See 763. 63, note.

ULYSSES

The germ of this poem is to be found in Dante's Inferno xxvi, 85-142.

2. these barren crags, the bleak island of Ithaca. 3. mete, measure.

10. the rainy Hyades. A part of the constellation Taurus, supposed to bring rain. Virgil's pluvias Hyadas.

763. 63. the Happy Isles. Vaguely thought of by the ancients as somewhere in the Atlantic off the west coast of Africa, perhaps the Cape Verde or the Canary Islands. Tennyson's description of Avilion borrows from classical sources. See 762. 259, ff.

LOCKSLEY HALL

Suggestions for this poem were derived from the Amriolkais, an Arabian poem translated by Sir William Jones. Works, Vol. IV, pp. 247-57.

8. Orion. A conspicuous constellation often mentioned by Tennyson.

9. the Pleiads. A group of stars in the constellation Taurus. A similar reference occurs in the Amriolkais.

765. 75. Comfort scorned of devils. The reference is to Paradise Lost, Books I and II, passim.

75-76. this is truth the poet sings, etc. Nessun maggior dolore, Che ricordarsi del tempo felice Nella miseria.- Dante, Inferno v, 121-3.

766. 155. Mahratta-battle. With the Mahrattas, a warlike and powerful Hindu people of mid-India, the British had a number of serious wars between 1750 and 1818.

767. 180. Joshua's moon in Ajalon. See Joshua x,

12-13.

182. the ringing grooves of change. Tennyson has explained that when he traveled by the first train from Liverpool to Manchester in 1830 it was night and he thought that the wheels ran in a groove. Then I wrote this line.'

184. Cathay, China.

BREAK, BREAK, BREAK

Composed in a Lincolnshire lane at five o'clock in the mor ing between blossoming hedges.' (Tennyson.)

IN MEMORIAM A. H. H.

Arthur Henry Hallam died at Vienna, in September, 1833. Ile had been Tennyson's most intimate friend at Cambridge and was betrothed to Tennyson's sister. He was a youth of great intellectual promise and exceptional purity of spirit. The 'elegies' as they were called which make up In Memoriam, were composed at various times during the seventeen years which intervened between Hallam's death and their publication in 1850. 769. 5. orbs of light and shade. The eyes. 8. the skull. As symbolizing death. 35. merit lives from man to man. in comparison with man.

That is, man

42. Confusions of a wasted youth. This section of the poem was written in 1849, while much of the poem had been composed years before.

XIX

1-4. The Danube to the Severn, etc. Vienna, where Hallam died, is on the Danube; while Clevedon Church, where he is buried, is on the river Severn near its confluence with Bristol Channel.

5-8. There twice a day the Severn fills, etc. The tide pushes back into the Severn and up the tributary Wye.

LV

770. 7-8. So careful of the type, etc. Type, species. In lvi, Tennyson points out that types, as well as individuals, become extinct.

LXIV

1. thou, the spirit of Hallam.

LXVII

3. that broad water of the west. The mouth of the Severn. See xix, 1-4, note.

LXXXVIII

2. quicks, hedges. Literally, living things.

MAUD; A MONODRAMA

772. 36. vitriol madness. The frenzy produced by chemicalized liquor.

40. center-bits. The drills of the safe-blower. 43. poisoned poison. Adulterated drugs. 45. Timour-Mammon. Timour (Tamerlane), thè Scourge of the World,' is united with the god of riches to name an evil potency of the modern world.

773. 89. Orion. Compare Locksley Hall, 763. 8, and note.

392. the Breton Strand. The coast of Brittainy, in France.

777. 411. that of Lamech. I have slain a man to my wounding, and a young man to my hurt.' Genesis iv, 23.

456. O that 't were possible, etc. This section of the poem, in slightly different form, had been published in The Tribute, 1837. Tennyson's friend, Sir John Simeon, who greatly admired the verses, suggested that they needed some introduction to make them fully intelligible. Tennyson undertook to carry out the suggestion, and Maud was the result.

18. buzzard-clock, cockchafer.

23. 'Siver, howsoever.

27. thaw summun said it. Though some may have said it.

28. stubb'd, grubbed, cleared.

30. boggle, goblin, bogle.

31. butter-bump, bittern.

32. raäved, rived, tore. rembled, removed. 34. 'enemies, anemones.

35. toaner, the one or the other.

36. 'soize, the assizes.

37. Dubbut, do but.

38. bracken, brake, fern. fuzz, furze, gorse. 41. nobbut, only.

49. 'aapoth, half-penny's worth. 52. hoalms, flats, lowlands.

54. sewerloy, surely.

61. kittle o' steam, steam-engine.

62. Huzzin' an' maasin'. Buzzing and amazing. 781. 65. atta, art thou.

66. 'toattler, teetotaler. a's haollus i' the oud taale, he's always at the old story.

THE REVENGE

BROWNING: SONGS FROM PIPPA PASSES'

Browning was walking alone in a wood on the outskirts of London when the image flashed upon him of someone walking thus alone through life; one apparently too obscure to leave a trace of his or her passage, yet exercising a lasting, though unconscious, influence at every step of it.' This original conception is charmingly worked out in the character of Felippa or Pippa, the little silk winder of Asolo, a hill town in North Italy which had taken Browning's fancy during his first visit. Pippa is introduced in her humble room springing out of bed on her one holiday - New Year's Day, and singing the first of her songs, as here given. During the day she passes in and out of the village, singing her artless songs, and unconsciously The secinfluencing the lives of those about her. ond song, 'The year's at the Spring,' awakens two wicked people to a sense of their guilt and the divine government of the world. The third, Give her but a least excuse to love me,' rouses a young The painter to a higher conception of love and art. explanation of this song is given in the lines which follow in the original:

What name was that the little girl sang forth?
Kate? The Cornaro, doubtless, who renounced
The crown of Cyprus to be lady here

At Asolo, where still her memory stays,
And peasants sing how once a certain page
Pined for the grace of her so far above
His power of doing good to Kate the Queen -
She never could be wronged, be poor,' he sighed,
Need him to help her!'

Browning gives us in the first five lines of each stanza the page's song; in the last four the comments of the Queen and her maid, who overhear him. Caterina (or Kate) Cornaro was a Venetian citizen who married the King of Cyprus, and after his death, resigning her authority to the Republic, retired to keep a small court at the Venetian village of Asolo, where she wielded her little sceptre for her people's good, and won their love by gentleness and grace.'

786. 18. jesses. Straps for hawks' legs.

MY LAST DUCHESS

Ferrara, which Browning gives as the scene of this poem, is a town in North Italy, not far from Venice. It was the capital of the House of Este, who were among the most accomplished and the most cruel of the tyrants of the Italian Renascence. 'Under Symonds says in his Age of the Despots: the House of Este, Ferrara was famous throughout Italy for its gaiety and splendor. No city enjoyed Nomore brilliant or more frequent public shows. where did the aristocracy retain so much feudal magnificence and chivalrous enjoyment. The square castle of red brick, which still stands in the middle of the town, was thronged with poets, players, fools who enjoyed an almost European reputation, court flatterers, knights, pages, scholars, and fair ladies. But beneath its cube of solid masonry, on a level with the moat, shut out from daylight by the sevenfold series of iron bars, lay dungeons in

which the objects of the Duke's displeasure clanked chains and sighed their lives away.'

3. Frà.

The painter, who is an imaginary character, was a monk like Fra Angelico and other Italian artists of the Renascence.

787. 45-6. There has been much discussion as to whether these two lines imply that the Duke gave orders for his wife's execution. Professor Corson put the question to Browning himself, and quotes his answer thus: "Yes, I meant that the commands were that she should be put to death." And then after a pause he added with a characteristic dash of expression, as if the thought had just started in his mind, "Or he might have had her shut up in a convent.""

56. Claus of Innsbruck. An imaginary artist. Innsbruck is in the Tyrol. It is famous for the bronze work on the tomb of the emperor Maximilian.

The teacher should take care that the student masters all the points in this exquisite example of the dramatic monologue, Browning's favorite art form.

COUNT GISMOND

This stirring narrative, in which Browning concentrates the heroic spirit of mediæval chivalry, tells in the very words of the heroine of the incident a straight-forward story which needs no comment; but the reader should not miss the charming equivocation with which the heroine avoids telling her husband that she has been boasting to her friend of his prowess.

INCIDENT OF THE FRENCH CAMP Ratisbon is in Bavaria, on the right bank of the Danube. It was stormed by Napoleon in 1809, after Mrs. Orr an obstinate defence by the Austrians. says: The story is true; but its actual hero was a man.' 788. 1. we French. The story is told by a specta

THE ITALIAN IN ENGLAND

Browning was proud to remember that the Italian patriot Mazzini used to read this poem to his fellow exiles in England to show how an Englishman could sympathize with them. (Mrs. Orr.)

8. Charles. Charles Albert, Prince of Carignano, belonged to the royal house of Savoy, but was brought up among the people, and as a young man expressed sympathy with revolutionary principles. He was afterward accused of betraying Italy, and was bitterly denounced by his former friends.

19. Metternich our friend. Said ironically. Metternich, the Austrian statesman and diplomatist, was the most determined enemy of Italian independ

ence.