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verse is that in him which has been most consciously and successfully copied, his greater contribution to the technique of English poetry, by which he must always retain a historic place in the development of his art, can be found only in his lyrical metresabove all in Maud. Mr. Coventry Patmore pointed out (in the Edinburgh Review) that here an artist had definitely returned to the Anglo-Saxon principle of dividing the verse into bars of equal time-value, which the poet filled up at will, without the obligation to make any type of foot preponderate. "In the greater part of Maud," he wrote, "there is really no other metrical foundation than equality of the number of accents in each verse." Tennyson, as he points out, employs rhyme which was unknown to the Anglo-Saxons, but employs it as a thing of secondary value, spacing the rhymes often at immense distances. Alliteration, again, he uses, though not as the Anglo-Saxons did, on a fixed principle; but with the increasing number of long words, each having its accent fixed, there is no such need to mark the stress, as was felt in the monosyllabic Anglo-Saxon. In a word, the metre of Maud is a metre which can dispense with rhyme, and may be compared to the Homeric hexameter, but is freer from fixed law. Such a metre can be handled with wonderful effect by a fine artist, and the precedent set was caught up by Mr. Swinburne, who drew from the language harmonies richer and more varied than had been heard before. Tennyson himself, after the day of Maud, adhered mainly to better marked rhythms; but to the end of his life he was always capable of infinite and subtle variations of metre. His skill was never more nobly shown than in the rare music of his Ode to Virgil, from which may be quoted two lines applicable not unfitly to himself,

Thou that singest wheat and woodland, tilth and vineyard, hive and horse and herd,

All the charm of all the Muses often flowering in a lonely word.

And it is present in full measure even in the last poem of all-the Silent Voices, which he dictated while half articulate on his death-bed, interweaving alliteration, varying the pauses, swelling the vowel sounds, up to the solemn close; as some skilled fencer might thrust and parry with unfailing grace and accuracy, though with flagging forces, while life ebbed from his veins.

INDEX

Abbotsford, built by Sir
Walter Scott, 296, 297,
298.

Absalom and Achitophel, 142.
Acropolis, The, marbles taken
from, 313.

Act of Oblivion, 111.
Adam Bede, 389.
Addison, Joseph, life and
work, 162-169; referred to,
156, 177, 182-183, 243;
Pope's portrait of, 181-182.
Address to the Deil, 262, 267.
Address to the Irish People,
358.

Adonais, 363, 364, 365-369.
Eneid, Keats' translation of,
370.

Affliction of Margaret, The,
340-341.

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Annus Mirabilis, 141.
Antiquary, The, 303, 307.
Antony and Cleopatra, 52, 142.
Apologia pro Vita Sua, 394.
Arbuthnot, John, 183, 194.
Arcades, 99.

Arcadia, 23, 49, 83.
Areopagitica, 108.

Argument against Abolishing
Christianity, 189.
Aristotle, 171.

Armour, Jean, Burns' wife,
259.

Arnold, Matthew, 148-149, 208,
245, 246, 331, 342, 399.
Arthur, King, theme for many
writers, 27.

As you like it, 52, 65.
Astræa Redux, 140, 141.
Astrophel and Stella, 22, 46.
At the corner of Wood Street,
272.

Augusta, Byron's half-sister,
309.

Auld Wat of Harden, 289.
Austen, Jane, life and work,
281-287; referred to, 225,
383, 389, 390, 391; Mac-
aulay's praise of, 287; Emma,

283; Mansfield Park, 283,
284; Northanger Abbey, 282,
283-284; Persuasion, 283,
284; Pride and Prejudice,
282, 283, 284-287.
Austen, Lady, friendship with
Cowper, 275-277.
Autobiography, 250, 252, 254.

Bacon, Sir Francis, 84-88, 148,
151.

Bacon, Sir Nicholas, 85.
Bailey, Harry, 10.
Ballantyne, James, 293, 295,
296, 297.

Bard, The, 207, 208.
Barnaby Rudge, 384.
Barry Lyndon, 387.

Bath, Miss Austen's stay in,
283.

Battle of the Books, 184, 186.
Beaconsfield, Lord, 173.
Beaumont and Fletcher, 57,

69-70, 71, 74, 75, 77; Lines
on the Tombs in Westminster
Abbey, 75; Maid's Tragedy,
69, 75; Philaster, 69; Two
Noble Kinsmen, 69.
Beardie, 289.

Bee, The, Goldsmith's

tributions to, 241.

Beeching, Canon, 394.

Beggar's Opera, 183.

con-

Belle Dame sans Merci, La,

375, 378.

Beppo, 317.

Bentley, Richard, 185.
Berkeley, Bishop, 163.

Berkeley, Lord, Viceroy of
Ireland, 185.

Bible, authorized version of
the, 84.

Blackwood's Magazine, 372,
374.

Blake, William, 257-258, 271-
273; Book of Thel, 273;
Poetical Sketches, 273; Song
of the Chimney Sweeper, 272;

Songs of Experience, 273;
Songs of Innocence, 272,
273.

Bleak House, 385.

Blenheim, Battle of, 163.
Boccaccio, 7; Filostrato, 8, 9.
Boethius, Chaucer's prose ver-
sion of, 19.

Boileau, 136, 139, 163, 171.
Bolingbroke, Viscount, 183,
189, 196.

Book of Martyrs, 129.
Book of Thel, 273.
Bonnie Dundee, 301.

Boswell's Life of Johnson, 153,
232, 237-239, 243.

Boyle, Robert, Lord Orrery,
185.

Brawne, Miss, engagement to
Keats, 374.

Bride of Abydos, 313.

Bride of Lammermoor, 303.
Bridgewater, Earl of, 99.
Brignall Banks, 301.
Broken Heart, 70.

Bronte, Charlotte, 225; Criti-
cism of Jane Austen, 287;
Jane Eyre and Villette, 389.
Bronte, Emily, 225; Wuthering
Heights, 389.

Broome, Dr. William, 179.
Browne, Sir Thos., 89-93, 148;
Garden of Cyrus, 89; Religio
Medici, 89, 90; Urn Burial,
89; Vulgar Errors, 89.
Browning, Robert, 381, 399-
400; Men and Women, 400;
The Ring and the Book, 400.
Buccleugh, Duke of, 289.
Buckingham, Duke of, 87, 145,

152.

Bull, Rev. Mr., 274.
Bunyan, John, 89, 129-133,
148, 158; Grace Abounding
in the Chief of Sinners, 130;
Holy War, 130; Life and
Death of Mr. Badman, 130;
Pilgrim's Progress, 130-133,
159.

Burbadge, Richard, 44.
Burke, Edmund, life and work,
247-249; referred to, 231,
243.

Burney, Fanny, 281-282.
Burns, Gilbert, 258, 259.
Burns, Robert, life and work,
258-270; referred to, 231,
256, 257, 300, 394; Ad-
dress to the Deil, 262, 267;
Cotter's Saturday Night, 260,
261; Duncan Gray, 264;
Hallowe'en, 265; The Holy
Fair, 262, 265-266; Holy
Willie's Prayer, 262, 266;
Jacobite's Farewell, 262; Jolly
Beggars, 262, 265, 270; Of
a' the airts the wind can
blaw, 269; Macpherson's La-
ment, 264; Scots wha ha'e,
261; Tam Glen, 264; Tam
o' Shanter, 262, 265; The
Twa Dogs, 270; A Winter
Night, 269-270.
Burns, William, 258.
Butler, Samuel, Hudibras, 133-
136, 150.
Byron, Ada, 314.

Byron, Lord, life and work,
308-328, 361; referred to,
67, 241, 270, 288, 329, 369;
Scott's successful rival in
narrative poetry,

295;
Shelley's friendship for, 361;
Beppo, 317; Bride of Abydos,
313; Cain, 316, 317, 318,
326; Childe Harold, 310,
313, 315, 316; The Corsair,
313; The Deformed Trans-
formed, 317; Don Juan, 309,
317, 318, 319, 320, 325, 362;
The Dream, 311-312; English
Bards and Scotch Reviewers,
310; The Giaour, 313;
Hours of Idleness, 310; Lara,
313; Manfred, 315, 316, 317,
326; Marino Faliero, 317;
Mazeppa, 316; Parisina,
313; Prisoner of Chillon,

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Cadenus and Vanessa; 190.
Cain, 316, 317, 318, 326.
Call not the royal Swede un-
fortunate, 342.

Cambridge, Byron at, 310;
Dryden, 140; Thos. Gray,
207; Gabriel Harvey, 22;
Macaulay, 392; Milton, 97,
98; Spenser, 21-22; Jeremy
Taylor, 93; Tennyson, 400;
Thackeray, 380, 387.
Campaign, The, 163.
Candide, 175.

Canterbury, Chaucer's visit
to, 2.

Canterbury Tales, 8-20, 21,
143.
Cardenio, 45, 57.
Carew, 77, 82, 99.

Carlyle, Thomas, life and
work, 380, 391-397, 398;
Chartism, 396; Cromwell,
396; Frederick the Great,
396; History of the French
Revolution, 395; Latter-day
Pamphlets, 390; Life of
Schiller, 395; Past and
Present, 396; Sartor Resar-
tus, 395.

Carlyle, Mrs., 395, 396.
Castaway, The, 278, 279.
Cato, 164.

Caxton, William, 27.
Cecilia, 281, 282.
Celbridge, 190.

Celtic language in Ireland and
Wales up to

middle of

eighteenth century, 255.

Cenci, The, 362.

Chalfont St. Giles, Milton's

stay at, 111.
Chapman, George, 148.

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