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cases bear the names of the writers responsible for them. It has been the Editor's desire that these should be written sympathetically, as he believes that a sympathetic spirit is necessary to an accurate insight, and that the whole truth is rarely spoken except by those who speak the truth in love. In the Editor's judgment every man has a right that the best shall be said of him that can be said, and he has a right that the best shall be said, if not first in point of order, certainly in the best place and in the best way. It is not yet possible to appraise accurately the poetic work of the century; distance is necessary to a comprehensive view, and the ultimate verdict after all is not with the critics, but with mankind. Lord Houghton, in his introduction to the poems of David Gray, says, "There is in truth no critic of poetry but the man who enjoys it, and the amount of gratification felt is the only just measure of criticism." To help to the enjoyment of contemporary poetry is the object of the criticism in this work, and in no sense is it an attempt to anticipate the final judgment which can only be pronounced when Time, the Editor of editors, shall select for the last anthology the swan-songs of the world.

The Editor's indebtedness to critics, poets, and publishers is too great for due acknowledgment here. He would, however, be wanting in the simplest gratitude were he to miss the earliest opportunity of recording his high sense of the generous help accorded him by Dr. Garnett, Mr. Buxton Forman, and many of our most eminent contemporary critics, whose disinterested sympathy and invaluable advice have placed him under permanent obligation. To these gentlemen, with the numerous poets, critics,

and publishers represented in this work, and without whose co-operation its issue would have been impossible, the Editor tenders his sincere thanks, recognising in their generous treatment a poetry of action which is alike above expression, criticism, and publication. Further, the Editor begs to say that he will be grateful to poets and critics alike who, with these volumes before them, will point out anything which may tend to make future editions more useful and complete.

It is the Editor's hope, that beyond the pleasure, it may yield to the general reader, this work may encourage a more serious study of poetic literature and prove a valuable help to those who lack the means of access to the works of the poets in their complete form. It has grown out of his own searchings after truth and beauty in the fields of literature, and is issued in the hope that it may facilitate the search of others, and by saving them some toil upon the hill of Difficulty, leave them the larger leisure for the feast in the Palace Beautiful and the view of the Promised Land.

A. H. M.

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1. Song: "How sweet I roam'd"
II. Song: "My silks and fine array"
III. Song: "Memory, hither come"
Iv. Mad Song: "The wild winds weep
v. Song: "Fresh from the dewy hill"
VI. To the Muses

VII. Blind-man's Buff

SONGS OF INNOCENCE-

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PAGE

SAMUEL ROGERS (1763—1855)

SONGS-

Alfred H. Miles 123

1. A Wish: "Mine be a Cot"

II. The Sailor: "The Sailor sighs"
III. On a Tear

IV. To the Butterfly

THE PLEASURES OF MEMORY-

1. Opening Lines. Part I.

II. Closing Lines. Part II.

HUMAN LIFE-

1. Opening Lines
II. Closing Lines

ITALY-

1. Bergamo.

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THE FARMER'S BOY-

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ROBERT BLOOMFIELD (1766-1823). A. H. Miles 151

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1. Opening Lines. From "The Invitation" 167

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Walter Whyte 173

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III. When the Kye come Hame"

IV. "My Love she's but a Lassie yet"

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