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made in the case of Byron's master-work, Don Juan, which of course could not be given in full, and which has been represented by long passages.
The amount of space given to an author does not necessarily correspond with his relative importance or rank as a poet. Some authors can best be represented by their shorter poems, while others-Scott, for instance, and William Morris-could not be fairly represented at all unless one of their longer poems were given. Browning and Byron could not be represented without some complete example of their poems in dramatic form, while Tennyson's drama does not hold the same relative importance in his work. Byron, in particular, cannot really be known except through his longer poems; some example must necessarily be given of the series of Oriental Romances, which, with Childe Harold, won him his early fame; at least one Canto of Childe Harold must be given complete; an example of the great Satires must be known in the Vision of Judgment; and finally the whole man is summed up in the different aspects of Don Juan. Wordsworth, on the other hand, has less space than poets of inferior rank; but he is represented by a hundred complete poems, the largest number given for any author.
The selection of shorter poems has been made generously inclusive. For Browning, more than two-thirds of the Dramatic Lyrics, and more than half of the Dramatic Romances and Men and Women, as well as representative poems from the other collections, are given. For Keats, the entire contents (except one poem) of the volume of 1820 is given, as well as full representation of his earlier volumes and of the posthumous poems. I have included nearly eighty poems from Landor, and hope that this-I think the first-representative selection from his verse may serve to make his work as a poet more familiarly known, in the sheer beauty of its simplicity and condensation. No apology need be made, I hope, for the extent of the Shelley selections, since his Alustor, Lines Written among the Euganean Hills, Epipsychidion, The Sensitive Plant, Adonais, etc., as well as the Prometheus Unbound, make his work take a large amount of space in proportion to the number of titles. For Rossetti, I have given more than two-thirds of the sonnets from the House of Life, as well as Sister Helen, The Stream's Secret, Love's Nocturn, The Burden of Nineveh, The King's Tragedy, and some thirty or forty of the shorter poems. I hope that the space devoted to him will be found to represent a true judgment of his great permanent value as a poet; and that the same will be true of the still larger amount of space given to the poet most different from him, Matthew Arnold.
A principal feature of the volume is the classified Reference Lists. I have tried to indicate, for each poet, the standard editions, other important editions, the best one-volume editions, the standard biography, the best brief biography, and all the important essays. The critical essays are usually classed in two paragraphs, and, throughout, the most important books or essays are indicated by asterisks.
The Notes have been made as few and brief as possible; and critical comment, except that of the poet himself, or, in a few cases, of other poets, has been excluded from them. They give only essential facts regarding the poems, or comment and explanation added by the poet himself.
The poems are arranged in chronological order under each author, according to the dates of writing when these are known, and in other cases according to the dates of publication. The dates are given after each poem, dates of writing being indicated by italic figures, and dates of publication by upright figures.
It is a pleasure to acknowledge the ready generosity with which critics and teachers have given their help in making the selections. My thanks are due, in particular, to Mr. Paul E. More of the New York Evening Post, to Professor Stoddard of New York University, Professor Trent and Professor Odell of Columbia University, Professor Baker and Professor Sykes of Teachers' College, Professor van Dyke of Princeton, and Professor Mott of the College of the City of New York.
It can hardly be hoped that such a book as this will be entirely free from errors, especially in the reference lists and dates. Any corrections will be gratefully received. Most of the proof has been carefully read three times, but-as my friend Ronsard hath it-Tu excuseras les fautes de l'imprimeur, car tous les yeux d'Argus n'y verraient assez clair.
CURTIS HIDDEN PAGE
PREFACE TO THE FOURTH EDITION
In the present edition a number of typographical errors have been cor rected, the text and dates of some poems have been verified by comparison with more authoritative editions than were available when the book was first published, an Index of First Lines has been added to the Author-Index and Title-Index, and the Reference Lists have been thoroughly revised and brought up to date. I am under obligation to several friends who have sent me corrections and especially suggestions for the improvement of the Reference Lists: in particular to Professor Lane Cooper, Professor Frank E. Farley, Miss Henriette E. Moore, Professor A. B. Milford, Professor Richard Jones, and Professor Charles W. Hodell; and I take this opportunity to thank the many other teachers who have written me concerning their use of the book. It is a pleasure to know that the general plan and method of the book, and of the Reference Lists, have been found helpful; and though these have been only too generously flattered by imitation, it is also a pleasure to note that no similar collection has ventured to include so much as one-third the material offered by the present volume.
C. H. P.
I TRAVELLED AMONG UNKNOWN MEN..
THREE YEARS SHE GREW IN SUN AND
THE FOUNTAIN: A CONVERSATION..
MY HEART LEAPS UP WHEN I BEHOLD.
COMPOSED UPON WESTMINSTER BRIDGE.
COMPOSED BY THE SEA-SIDE, NEAR
IT IS A BEAUTEOUS EVENING, CALM
WRITTEN IN LONDON, SEPTEMBER 1802.
GREAT MEN HAVE BEEN AMONG US....
TO HARTLEY COLERIDGE, SIX YEARS
THE WORLD IS TOO MUCH WITH US..
THOUGHT OF A BRITON ON THE SUB
ODE: INTIMATIONS OF IMMORTALITY.. 39
1 The poems of each author are arranged in chronological order. Exact dates will be found at
CHARACTER OF THE HAPPY WARRIOR.
YES, IT WAS THE MOUNTAIN ECHO.......... 48
NUNS FRET NOT AT THEIR CONVENT'S