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  • 1904
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The wide-wandering heart of man
And the galleon of the moon,
On those silent seas of foam;

Oh, if ever ye shall grant
Time and place and room enough 10 To this fond and fragile heart
Stifled with the throb of love,

On that day one grave-eyed Fate,
Pausing in her toil, shall say,
“Lo, one mortal has achieved 15 Immortality of love!”

LXXII

I heard the gods reply:
“Trust not the future with its perilous chance; The fortunate hour is on the dial now.

“To-day be wise and great,
And put off hesitation and go forth 5 With cheerful courage for the diurnal need.

“Stout be the heart, nor slow
The foot to follow the impetuous will, Nor the hand slack upon the loom of deeds.

“Then may the Fates look up 10 And smile a little in their tolerant way, Being full of infinite regard for men.”

LXXIII

The sun on the tide, the peach on the bough, The blue smoke over the hill,
And the shadows trailing the valley-side, Make up the autumn day.

Ah, no, not half! Thou art not here 5 Under the bronze beech-leaves,
And thy lover’s soul like a lonely child Roams through an empty room.

LXXIV

If death be good,
Why do the gods not die?
If life be ill,
Why do the gods still live?

If love be naught, 5 Why do the gods still love?
If love be all,
What should men do but love?

LXXV

Tell me what this life means,
O my prince and lover,
With the autumn sunlight
On thy bronze-gold head?

With thy clear voice sounding 5 Through the silver twilight,–
What is the lost secret
Of the tacit earth?

LXXVI

Ye have heard how Marsyas,
In the folly of his pride,
Boasted of a matchless skill,–
When the great god’s back was turned;

How his fond imagining 5 Fell to ashes cold and grey,
When the flawless player came
In serenity and light.

So it was with those I loved
In the years ere I loved thee. 10 Many a saying sounds like truth,
Until Truth itself is heard.

Many a beauty only lives
Until Beauty passes by,
And the mortal is forgot 15 In the shadow of the god.

LXXVII

Hour by hour I sit,
Watching the silent door.
Shadows go by on the wall,
And steps in the street.

Expectation and doubt 5 Flutter my timorous heart.
So many hurrying home–
And thou still away.

LXXVIII

Once in the shining street,
In the heart of a seaboard town,
As I waited, behold, there came
The woman I loved.

As when, in the early spring, 5 A daffodil blooms in the grass,
Golden and gracious and glad,
The solitude smiled.

LXXIX

How strange is love, O my lover!
With what enchantment and power
Does it not come upon mortals,
Learned or heedless!

How far away and unreal, 5 Faint as blue isles in a sunset
Haze-golden, all else of life seems, Since I have known thee!

LXXX

How to say I love you:
What, if I but live it,
Were the use in that, love?
Small, indeed.

Only, every moment 5 Of this waking lifetime
Let me be your lover
And your friend!

Ah, but then, as sure as
Blossom breaks from bud-sheath, 10 When along the hillside
Spring returns,

Golden speech should flower
From the soul so cherished,
And the mouth your kisses 15 Filled with fire.

LXXXI

Hark, love, to the tambourines
Of the minstrels in the street,
And one voice that throbs and soars Clear above the clashing time!

Some Egyptian royal love-lilt, 5 Some Sidonian refrain,
Vows of Paphos or of Tyre,
Mount against the silver sun.

Pleading, piercing, yet serene,
Vagrant in a foreign town, 10 From what passion was it born,
In what lost land over sea?

LXXXII

Over the roofs the honey-coloured moon, With purple shadows on the silver grass,

And the warm south-wind on the curving sea, While we two, lovers past all turmoil now,

Watch from the window the white sails come in, 5 Bearing what unknown ventures safe to port!

So falls the hour of twilight and of love With wizardry to loose the hearts of men,

And there is nothing more in this great world Than thou and I, and the blue dome of dusk. 10

LXXXIII

In the quiet garden world,
Gold sunlight and shadow leaves
Flicker on the wall.

And the wind, a moment since,
With rose-petals strewed the path 5 And the open door.

Now the moon-white butterflies
Float across the liquid air,
Glad as in a dream;

And, across thy lover’s heart, 10 Visions of one scarlet mouth
With its maddening smile.

LXXXIV

Soft was the wind in the beech-trees; Low was the surf on the shore;
In the blue dusk one planet
Like a great sea-pharos shone.

But nothing to me were the sea-sounds, 5 The wind and the yellow star,
When over my breast the banner
Of your golden hair was spread.

LXXXV

Have you heard the news of Sappho’s garden, And the Golden Rose of Mitylene,
Which the bending brown-armed rowers lately Brought from over sea, from lonely Pontus?

In a meadow by the river Halys, 5 Where some wood-god hath the world in keeping, On a burning summer noon they found her, Lovely as a Dryad, and more tender.

Her these eyes have seen, and not another Shall behold, till time takes all things goodly, 10 So surpassing fair and fond and wondrous,– Such a slave as, worth a great king’s ransom,

No man yet of all the sons of mortals But would lose his soul for and regret not; So hath Beauty compassed all her children 15 With the cords of longing and desire.

Only Hermes, master of word music,
Ever yet in glory of gold language
Could ensphere the magical remembrance Of her melting, half sad, wayward beauty, 20

Or devise the silver phrase to frame her, The inevitable name to call her,
Half a sigh and half a kiss when whispered, Like pure air that feeds a forge’s hunger.

Not a painter in the Isles of Hellas 25 Could portray her, mix the golden tawny
With bright stain of poppies, or ensanguine Like the life her darling mouth’s vermilion,

So that, in the ages long hereafter,
When we shall be dust of perished summers, 30 Any man could say who found that likeness, Smiling gently on it, “This was Gorgo!”

LXXXVI

Love is so strong a thing,
The very gods must yield,
When it is welded fast
With the unflinching truth.

Love is so frail a thing, 5 A word, a look, will kill.
Oh lovers, have a care
How ye do deal with love.

LXXXVII

Hadst thou, with all thy loveliness, been true, Had I, with all my tenderness, been strong, We had not made this ruin out of life,
This desolation in a world of joy,
My poor Gorgo. 5

Yet even the high gods at times do err; Be therefore thou not overcome with woe, But dedicate anew to greater love
An equal heart, and be thy radiant self Once more, Gorgo. 10

LXXXVIII

As, on a morn, a traveller might emerge From the deep green seclusion of the hills, By a cool road through forest and through fern, Little frequented, winding, followed long With joyous expectation and day-dreams, 5 And on a sudden, turning a great rock
Covered with frondage, dark with dripping water, Behold the seaboard full of surf and sound, With all the space and glory of the world Above the burnished silver of the sea,– 10

Even so it was upon that first spring day When time, that is a devious path for men, Led me all lonely to thy door at last;
And all thy splendid beauty, gracious and glad, (Glad as bright colour, free as wind or air, 15 And lovelier than racing seas of foam)
Bore sense and soul and mind at once away To a pure region where the gods might dwell, Making of me, a vagrant child before,
A servant of joy at Aphrodite’s will. 20

LXXXIX

Where shall I look for thee,
Where find thee now,
O my lost Atthis?

Storm bars the harbour,
And snow keeps the pass 5 In the blue mountains.

Bitter the wind whistles,
Pale is the sun,
And the days shorten.

Close to the hearthstone, 10 With long thoughts of thee,
Thy lonely lover

Sits now, remembering
All the spent hours
And thy fair beauty. 15

Ah, when the hyacinth
Wakens with spring,
And buds the laurel,

Doubt not, some morning
When all earth revives, 20 Hearing Pan’s flute-call

Over the river-beds,
Over the hills,
Sounding the summons,

I shall look up and behold 25 In the door,
Smiling, expectant,

Loving as ever
And glad as of old,
My own lost Atthis! 30

XC

A sad, sad face, and saddest eyes that ever Beheld the sun,
Whence came the grief that makes of all thy beauty One sad sweet smile?

In this bright portrait, where the painter fixed them, 5 I still behold
The eyes that gladdened, and the lips that loved me, And, gold on rose,

The cloud of hair that settles on one shoulder Slipped from its vest. 10 I almost hear thy Mitylenean love-song
In the spring night,

When the still air was odorous with blossoms, And in the hour
Thy first wild girl’s-love trembled into being, 15 Glad, glad and fond.

Ah, where is all that wonder? What god’s malice Undid that joy
And set the seal of patient woe upon thee, O my lost love? 20

XCI

Why have the gods in derision
Severed us, heart of my being?
Where have they lured thee to wander, O my lost lover?

While now I sojourn with sorrow, 5 Having remorse for my comrade,
What town is blessed with thy beauty, Gladdened and prospered?

Nay, who could love as I loved thee,
With whom thy beauty was mingled 10 In those spring days when the swallows
Came with the south wind?

Then I became as that shepherd
Loved by Selene on Latmus,
Once when her own summer magic 15 Took hold upon her

With a sweet madness, and thenceforth Her mortal lover must wander
Over the wide world for ever,
Like one enchanted. 20

XCII

Like a red lily in the meadow grasses, Swayed by the wind and burning in the sunlight, I saw you, where the city chokes with traffic, Bearing among the passers-by your beauty, Unsullied, wild, and delicate as a flower. 5 And then I knew, past doubt or peradventure, Our loved and mighty Eleusinian mother
Had taken thought of me for her pure worship, And of her favour had assigned my comrade For the Great Mysteries,–knew I should find you 10 When the dusk murmured with its new-made lovers, And we be no more foolish but wise children, And well content partake of joy together, As she ordains and human hearts desire.

XCIII

When in the spring the swallows all return, And the bleak bitter sea grows mild once more, With all its thunders softened to a sigh;

When to the meadows the young green comes back, And swelling buds put forth on every bough, 5 With wild-wood odours on the delicate air;

Ah, then, in that so lovely earth wilt thou With all thy beauty love me all one way, And make me all thy lover as before?

Lo, where the white-maned horses of the surge, 10 Plunging in thunderous onset to the shore, Trample and break and charge along the sand!

XCIV

Cold is the wind where Daphne sleeps, That was so tender and so warm
With loving,–with a loveliness
Than her own laurel lovelier.

Now pipes the bitter wind for her, 5 And the snow sifts about her door,
While far below her frosty hill
The racing billows plunge and boom.

XCV

Hark, where Poseidon’s
White racing horses
Trample with tumult
The shelving seaboard!

Older than Saturn, 5 Older than Rhea,
That mournful music,
Falling and surging

With the vast rhythm
Ceaseless, eternal, 10 Keeps the long tally
Of all things mortal.

How many lovers
Hath not its lulling
Cradled to slumber
With the ripe flowers, 15

Ere for our pleasure
This golden summer
Walked through the corn-lands
In gracious splendour! 20

How many loved ones
Will it not croon to,
In the long spring-days
Through coming ages,

When all our day-dreams 25 Have been forgotten,
And none remembers
Even thy beauty!

They too shall slumber
In quiet places, 30 And mighty sea-sounds
Call them unheeded.

XCVI

Hark, my lover, it is spring!
On the wind a faint far call
Wakes a pang within my heart,
Unmistakable and keen.

At the harbour mouth a sail 5 Glimmers in the morning sun,
And the ripples at her prow
Whiten into crumbling foam,

As she forges outward bound
For the teeming foreign ports. 10 Through the open window now,
Hear the sailors lift a song!

In the meadow ground the frogs
With their deafening flutes begin,– The old madness of the world 15 In their golden throats again.

Little fifers of live bronze,
Who hath taught you with wise lore
To unloose the strains of joy,
When Orion seeks the west? 20

And you feathered flute-players,
Who instructed you to fill
All the blossomy orchards now
With melodious desire?

I doubt not our father Pan 25 Hath a care of all these things.
In some valley of the hills
Far away and misty-blue,

By quick water he hath cut
A new pipe, and set the wood 30 To his smiling lips, and blown,
That earth’s rapture be restored.

And those wild Pandean stops
Mark the cadence life must keep.
O my lover, be thou glad; 35 It is spring in Hellas now.

XCVII

When the early soft spring wind comes blowing Over Rhodes and Samos and Miletus,
From the seven mouths of Nile to Lesbos, Freighted with sea-odours and gold sunshine,

What news spreads among the island people 5 In the market-place of Mitylene,
Lending that unwonted stir of gladness To the busy streets and thronging doorways?

Is it word from Ninus or Arbela,
Babylon the great, or Northern Imbros? 10 Have the laden galleons been sighted
Stoutly labouring up the sea from Tyre?

Nay, ’tis older news that foreign sailor With the cheek of sea-tan stops to prattle To the young fig-seller with her basket 15 And the breasts that bud beneath her tunic,

And I hear it in the rustling tree-tops. All this passionate bright tender body
Quivers like a leaf the wind has shaken, Now love wanders through the aisles of springtime. 20

XCVIII

I am more tremulous than shaken reeds, And love has made me like the river water.

Thy voice is as the hill-wind over me, And all my changing heart gives heed, my lover.

Before thy least lost murmur I must sigh, 5 Or gladden with thee as the sun-path glitters.

XCIX

Over the wheat-field,
Over the hill-crest,
Swoops and is gone
The beat of a wild wing,
Brushing the pine-tops, 5 Bending the poppies,
Hurrying Northward
With golden summer.

What premonition,
O purple swallow, 10 Told thee the happy
Hour of migration?
Hark! On the threshold
(Hush, flurried heart in me!),
Was there a footfall? 15 Did no one enter?

Soon will a shepherd
In rugged Dacia,
Folding his gentle
Ewes in the twilight, 20 Lifting a level
Gaze from the sheepfold,
Say to his fellows,
“Lo, it is springtime.”

This very hour 25 In Mitylene,
Will not a young girl
Say to her lover,
Lifting her moon-white
Arms to enlace him, 30 Ere the glad sigh comes,
“Lo, it is lovetime!”

C

Once more the rain on the mountain,
Once more the wind in the valley,
With the soft odours of springtime
And the long breath of remembrance, O Lityerses! 5

Warm is the sun in the city.
On the street corners with laughter Traffic the flower-girls. Beauty
Blossoms once more for thy pleasure In many places. 10

Gentlier now falls the twilight,
With the slim moon in the pear-trees; And the green frogs in the meadows
Blow on shrill pipes to awaken
Thee, Lityerses. 15

Gladlier now crimson morning
Flushes fair-built Mitylene,–
Portico, temple, and column,–
Where the young garlanded women
Praise thee with singing. 20

Ah, but what burden of sorrow
Tinges their slow stately chorus,
Though spring revisits the glad earth? Wilt thou not wake to their summons,
O Lityerses? 25

Shall they then never behold thee,–
Nevermore see thee returning
Down the blue cleft of the mountains, Nor in the purple of evening
Welcome thy coming? 30

Nevermore answer thy glowing
Youth with their ardour, nor cherish With lovely longing thy spirit,
Nor with soft laughter beguile thee, O Lityerses? 35

Heedless, assuaged, art thou sleeping Where the spring sun cannot find thee,
Nor the wind waken, nor woodlands
Bloom for thy innocent rapture
Through golden hours? 40

Hast thou no passion nor pity
For thy deserted companions?
Never again will thy beauty
Quell their desire nor rekindle,
O Lityerses? 45

Nay, but in vain their clear voices
Call thee. Thy sensitive beauty
Is become part of the fleeting
Loveliness, merged in the pathos
Of all things mortal. 50

In the faint fragrance of flowers,
On the sweet draft of the sea-wind, Linger strange hints now that loosen
Tears for thy gay gentle spirit,
O Lityerses! 55

EPILOGUE

Now the hundred songs are made,
And the pause comes. Loving Heart,
There must be an end to summer,
And the flute be laid aside.

On a day the frost will come, 5 Walking through the autumn world,
Hushing all the brave endeavour
Of the crickets in the grass.

On a day (Oh, far from now!)
Earth will hear this voice no more; 10 For it shall be with thy lover
As with Linus long ago.

All the happy songs he wrought
From remembrance soon must fade,
As the wash of silver moonlight 15 From a purple-dark ravine.

Frail as dew upon the grass
Or the spindrift of the sea,
Out of nothing they were fashioned
And to nothing must return. 20

Nay, but something of thy love,
Passion, tenderness, and joy,
Some strange magic of thy beauty,
Some sweet pathos of thy tears,

Must imperishably cling 25 To the cadence of the words,
Like a spell of lost enchantments
Laid upon the hearts of men.

Wild and fleeting as the notes
Blown upon a woodland pipe, 30 They must haunt the earth with gladness
And a tinge of old regret.

For the transport in their rhythm
Was the throb of thy desire,
And thy lyric moods shall quicken 35 Souls of lovers yet unborn.

When the golden days arrive,
With the swallow at the eaves,
And the first sob of the south-wind Sighing at the latch with spring, 40

Long hereafter shall thy name
Be recalled through foreign lands,
And thou be a part of sorrow
When the Linus songs are sung.

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CHATTO AND WINDUS

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A CONCISE LIST OF THE KING’S CLASSICS

GENERAL EDITOR:

PROFESSOR I. GOLLANCZ, Litt.D.

ALTHOUGH The King’s Classics are to be purchased for 1/6 net per volume, the series is unique in that

(1) the letterpress, paper, and binding are unapproached by any similar series.

(2) “Competent scholars in every case have supervised this series, which can therefore be received with confidence.”–_Athenaeum_,

(3) With few exceptions, the volumes in this series are included in no similar series, while several are copyright.

THE KING’S CLASSICS

UNDER THE GENERAL EDITORSHIP OF PROFESSOR I. GOLLANCZ, LITT.D.

“Right Royal Series.”–_Literary World._

“We note with pleasure that competent scholars in every case have supervised this Series, which can therefore be received with confidence.”–_Athenaeum_.

The Series of “King’s Classics,” issued under the General Editorship of Professor I. GOLLANCZ, aims at introducing to the larger reading public many noteworthy works of literature not readily accessible in cheap form, or not hitherto rendered into English. Each volume is edited by some expert scholar, and has a summary introduction dealing with the main and essential facts of the literary history of the book; at the end there are the necessary notes for a right understanding of references and textual difficulties; where necessary, there is also a carefully-compiled index. As will be at once seen from the accompanying list, much original and new work has been secured for the Series, and it will be recognised that the “King’s Classics” differentiate themselves in a very marked way from the many reprints of popular books.

It should be noted, however, that while primarily rare masterpieces are included in the “King’s Classics,” modern popular classics, more especially such as have not yet been adequately or at all annotated, are not excluded from the Series.

* * * * *

NOTE.–_At the date of this list, May 1, 1907, Nos. 1-35 were published. Numbers subsequent to 35 are at press or about to go to press._

The “King’s Classics” are printed on antique laid paper, 16mo. (6 X 4-1/2 inches), gilt tops, and are issued in the following styles and prices. Each volume has a frontispiece, usually in photogravure.

Quarter bound, antique grey boards, 1/6 net.

Red Cloth, 1/6 net.

Quarter Vellum, grey cloth sides, 2/6 net.

Special three-quarter Vellum, Oxford side-papers, gilt tops, silk marker, 5/- net.

***Nos. 2, 20 and 24 are double volumes. Price, Boards or Cloth, 3/- net; Quarter Vellum, 5/- net; special three-quarter Vellum, 7/6 net.

1. THE LOVE OF BOOKS: being the Philobiblon of RICHARD DE BURY.

Translated by E.C. THOMAS. Frontispiece, Seal of Richard de Bury (as Bishop of Durham).

3. THE CHRONICLE OF JOCELIN OF BRAKELOND, MONK OF ST. EDMUNDSBURY: a Picture of Monastic and Social Life in the XIIth Century.

Newly translated, from the original Latin, with notes, table of dates relating to the Abbey of St. Edmundsbury, and index, by L.C. JANE, M.A., sometime Exhibitioner in Modern History at University College, Oxon., and with an Introduction by the Right Rev. Abbot GASQUET. Frontispiece, Seal of Abbot Samson (A.D. 1200).

***20. THE NUN’S RULE, or Ancren Riwle, in Modern English.

Being the injunctions of Bishop Poore intended for the guidance of nuns or anchoresses, as set forth in the famous thirteenth-century MS. referred to above.

Editor, the Right Rev. Abbot GASQUET. Frontispiece, Seal of Bishop Poore.

_Double volume._

17. MEDIAEVAL, LORE.

From Bartholomaeus Anglicus. Edited with notes, index and glossary by ROBERT STEELE. Preface by the late WILLIAM MORRIS. Frontispiece, an old illumination, representing Astrologers using Astrolabes.

[The book is drawn from one of the most widely-read works of mediaeval times. Its popularity is explained by its scope, which comprises explanations of allusions to natural objects met with in Scripture and elsewhere. It was, in fact, an account of the properties of things in general.]

11. THE ROMANCE OF FULK FITZWARINE.

Newly translated from the Anglo-French by ALICE KEMP-WELCH, with an introduction by Professor BRANDIN. Frontispiece, Whittington Castle in Shropshire, the seat of the Fitzwarines.

45. THE SONG OF ROLAND.

Newly translated from the old French by Mrs. CROSLAND. Introduction by Professor BRANDIN, University of London. Frontispiece.

22. EARLY LIVES OF CHARLEMAGNE.

Translated and edited by A.J. GRANT. With frontispiece representing an early bronze figure of Charlemagne from the Musee Carnavalet, Paris.

We have here given us two “Lives” of Charlemagne by contemporary authorities–one by Eginhard and the other by the Monk of St. Gall. Very different in style, when brought together in one volume each supplies the deficiencies of the other.

35. WINE, WOMEN, AND SONG.

Mediaeval students’ songs, translated from the Latin, with an essay, by JOHN ADDINGTON SYMONDS. Frontispiece after a fifteenth-century woodcut.

18. THE VISION OF PIERS THE PLOWMAN.

By WILLIAM LANGLAND; _in modern English by_ Professor SKEAT, Litt.D. Frontispiece, “God Speed the Plough,” from an old MS.

8. CHAUCER’S KNIGHT’S TALE, or Palamon and Arcite.

_In modern English by_ Professor SKEAT, Litt.D. Frontispiece, “The Canterbury Pilgrims,” from an illuminated MS.

9. CHAUCER’S MAN OF LAW’S TALE, Squire’s Tale, and Nun’s Priest’s Tale.

_In modern English by_ Professor SKEAT, Litt.D. Frontispiece from an illuminated MS.

10. CHAUCER’S PRIORESS’S TALE, Pardoner’s Tale, Clerk’s Tale, and Canon’s Yeoman’s Tale.

_In modern English by_ Professor SKEAT, Litt.D. Frontispiece, “The Patient Griselda,” from the well-known fifteenth-century picture of the Umbrian School in the National Gallery.

41. CHAUCER’S LEGEND OF GOOD WOMEN.

_In modern English_, with notes and introduction, by Professor W.W. SKEAT, Litt.D. Frontispiece, “Ariadne Deserted,” after the painting by ANGELICA KAUFMANN.

36, 37. GEORGE PETTIE’S “PETITE PALACE OF PETTIE HIS PLEASURE.”

The popular Elizabethan book containing twelve classical love-stories– “Sinorex and Camma,” “Tereus and Progne,” etc.–in style the precursor of Euphues, now first reprinted under the editorship of Professor I. GOLLANCZ. Frontispieces, a reproduction of the original title, and of an original page.

_In two volumes_.

21. THE MEMOIRS OF ROBERT CARY, Earl of Monmouth.

Being a contemporary record of the life of that nobleman as Warden of the Marches and at the Court of Elizabeth.

Editor, G.H. POWELL. With frontispiece from the original edition, representing Queen Elizabeth in a state procession, with the Earl of Monmouth and others in attendance.

19. THE GULL’S HORNBOOK.

By THOMAS DEKKER. Editor, R.B. MCKERROW. Frontispiece, The nave of St. Paul’s Cathedral at the time of Elizabeth.

29. SHAKESPEARE’S SONNETS.

Editor, C.C. STOPES. Frontispiece, Portrait of the Earl of Southampton.

4. THE LIFE OF SIR THOMAS MORE, Knight.

By his son-in-law, WILLIAM ROPER. With letters to and from his famous daughter, Margaret Roper. Frontispiece, Portrait of Sir Thomas More, after Holbein.

33. THE HOUSEHOLD OF SIR THOMAS MORE. By ANNE MANNING. Preface by RICHARD GARNETT. Frontispiece, “The Family of Sir Thomas More.”

40. SIR THOMAS MORE’S UTOPIA.

Now for the first time edited from _the first edition by_ ROBERT STEELE. Frontispiece, Portrait of Sir Thomas More, after an early engraving.

44. THE FOUR LAST THINGS, together with the Life of Pico della Mirandola and the English Poems.

By Sir THOMAS MORE. Edited by DANIEL O’CONNOR. Frontispiece after two designs from the “Daunce of Death.”

43. SIR WILLIAM TEMPLE’S ESSAY ON GARDENS, together with other Carolean Essays on Gardens.

Edited, and with notes and introduction, by A. FORBES SIEVEKING, F.S.A. Frontispiece, Portrait of Sir William Temple, and five reproductions of early “garden” engravings.

5. EIKON BASILIKE: or, The King’s Book.

Edited by EDWARD ALMACK, F.S.A. Frontispiece, Portrait of King Charles I. This edition, which has been printed from an advance copy of the King’s Book seized by Cromwell’s soldiers, is the first inexpensive one for a hundred years in which the original spelling of the first edition has been preserved.

6, 7. KINGS’ LETTERS.

Part I. Letters of the Kings of England, from Alfred to the Coming of the Tudors, newly edited from the originals by ROBERT STEELE, F.S.A. Frontispiece, Portrait of Henry V.

Part II. From the Early Tudors, with the love-letters of Henry VIII. and Anne Boleyn, and with frontispiece, Portrait of Anne Boleyn.

Parts III. and IV., bringing the series up to modern times, will shortly be announced under the same editorship.

39. THE ROYAL POETS OF ENGLAND AND SCOTLAND.

Being Original Poems by English Kings and other Royal and Noble Persons, now first collected and edited by W. BAILEY-KEMPLING. Frontispiece, Portrait of King James I. of Scotland, after an early engraving.

13. THE LIFE OF MARGARET GODOLPHIN.

By JOHN EVELYN, the famous diarist. Re-edited from the edition of Samuel Wilberforce, Bishop of Oxford. Frontispiece, Portrait of Margaret Godolphin engraved on copper.

15. THE FALSTAFF LETTERS.

Editor, JAMES WHITE, possibly with the assistance of CHARLES LAMB, _cf. the Introduction_. Frontispiece, Sir John Falstaff dancing to Master Brooks’ fiddle, from the original edition.

14. EARLY LIVES OF DANTE.

Comprising Boccaccio’s Life of Dante, Leonardo Bruni’s Life of Dante, and other important contemporary records.

Translated and edited by the Rev. PHILIP H. WICKSTEED. Frontispiece, The Death-mask of Dante.

46. DANTE’S VITA NUOVA.

The Italian text with D.G. ROSSETTI’S translation on the opposite page. Introduction and notes by Professor H. OELSNER Ph.D., Lecturer in Romance Literature, Oxford University. Frontispiece after the original water-colour sketch for “Dante’s Dream,” by D.G. ROSSETTI.

12. THE STORY OF CUPID AND PSYCHE.

From “The Golden Ass” of Apuleius, translated by W. ADLINGTON (1566), edited by W.H.D. ROUSE, Litt.D. With frontispiece representing the “Marriage of Cupid and Psyche,” after a gem now in the British Museum.

23. CICERO’S “FRIENDSHIP,” “OLD AGE,” AND “SCIPIO’S DREAM.”

From early translations. Editor, W.H.D. ROUSE, Litt.D. Frontispiece, “Scipio, Laelius and Cato conversing,” from a fourteenth-century MS.

***2. SIX DRAMAS OF CALDERON.

Translated by EDWARD FITZGERALD. Editor, H. OELSNER, M.A., Ph.D. Frontispiece, Portrait of Calderon, from an etching by M. EGUSQUIZA.

_Double volume._

42. SWIFT’S BATTLE OF THE BOOKS.

Edited, and with notes and introduction. Frontispiece.

38. WALPOLE’S CASTLE OF OTRANTO.

The introduction of Sir WALTER SCOTT. Preface by Miss C. SPURGEON. Frontispiece, Portrait of Walpole, after a contemporary engraving.

30. GEORGE ELIOT’S SILAS MARNER.

Frontispiece, Portrait of George Eliot, from a water-colour drawing by Mrs. CHARLES BRAY. Introduction by RICHARD GARNETT.

31. GOLDSMITH’S VICAR OF WAKEFIELD.

Introduction by RICHARD GARNETT. Frontispiece, Portrait of Oliver Goldsmith.

32. PEG WOFFINGTON.

By CHARLES READE. Frontispiece, Portrait of Peg Woffington. Introduction by RICHARD GARNETT.

16. POLONIUS, a Collection of Wise Saws and Modern Instances.

By EDWARD FITZGERALD. With portrait of Edward FitzGerald from the miniature by Mrs. E.M.B. RIVETT-CARNAC as frontispiece; notes and index. Contains a preface by EDWARD FITZGERALD, on Aphorisms generally.

***24. WORDSWORTH’S PRELUDE.

The introduction and notes have been written by W. BASIL WORSFOLD, M.A., and the frontispiece is taken from the portrait of Wordsworth by H.W. PICKERSGILL, R.A., in the National Gallery. A map of the Lake District is added.

_Double volume_.

25. THE DEFENCE OF GUENEVERE and other Poems by WILLIAM MORRIS.

Editor, ROBERT STEELE. With reproduction of DANTE GABRIEL ROSSETTI’S picture of “Lancelot and Guenevere at King Arthur’s tomb” as frontispiece.

26, 27. BROWNING’S “MEN AND WOMEN.”

Edited with introduction and notes by W. BASIL WORSFOLD, M.A. Two volumes, each with portrait of Browning as frontispiece.

_In two volumes_.

28. POE’S POEMS.

Editor, EDWARD HUTTON. Frontispiece, Poe’s cottage.

34. SAPPHO: One Hundred Lyrics By BLISS CARMAN, With frontispiece after a Greek gem.

_To be continued_.

NOTE.–_At the date of this list, May_ 1, 1907, Nos. 1-35 were published. Numbers subsequent to 35 are at press or about to go to press_.

CHATTO AND WINDUS,
111 ST. MARTIN’S LANE, LONDON, W.C.

THE SHAKESPEARE CLASSICS

A Series of volumes of reprints, under the general editorship of Professor I. GOLLANCZ, embodying the Romances, Novels, and Plays used by Shakespeare as the direct sources and originals of his plays. 6-1/2 x 5-1/4 inches, gilt tops, in the following styles. Each volume will contain a photogravure frontispiece reproduction of the original title. Publication of Nos. 1 and 2 in June; No. 3 in September, and thereafter at short intervals.

Quarter-bound antique grey boards, 2/6 net.

Whole gold brown velvet persian, 4/- net.

Three-quarter vellum, Oxford side-papers, gilt tops, silk marker, 6/- net; Postage, 4_d_.

FIRST VOLUMES

1. LODGE’S “ROSALYNDE”: the original of Shakespeare’s “As You Like It.”

Edited by W.W. GREG, M.A.

2. GREENE’S “DORASTUS AND FAWNIA”: the original of Shakespeare’s “Winter’s Tale.”

Edited by P.G. THOMAS, Professor of English Literature, Bedford College, University of London.

3. BROOKE’S POEM OF “ROMEUS AND JULIET”: the original of Shakespeare’s “Romeo and Juliet,” as edited by P.A. DANIEL, modernised and re-edited by J.J. MUNRO.

4. “THE TROUBLESOME REIGN OF KING JOHN”: the Play rewritten by Shakespeare as “King John.”

Edited by F.J. FURNIVALL, D. Litt.

5, 6. “THE HISTORY OF HAMLET.” Together with other Documents illustrative of the source of Shakespeare’s play, and an Introductory Study of the Legend of Hamlet by Professor I. GOLLANCZ, Litt.D., who also edits the work. (NOTE.–No. 6 will fill 2 volumes.)

7. “THE PLAY OF KING LEIR AND HIS THREE DAUGHTERS”: the old play on the subject of King Lear.

Edited by SIDNEY LEE, D. Litt.

*** _Also 520 special sets (500 for sale) on larger paper, about 7-1/2 x 5-3/4 inches, half-bound parchment, boards, gilt tops, as a Library Edition. Sold in sets only. Per volume, 5/- net; Postage, 4d._

***Among other items THE SHAKESPEARE LIBRARY–of which the above Series forms the first section–will contain a complete Old-spelling Shakespeare, edited by Dr. FURNIVALL. A full prospectus of The Shakespeare Library is in preparation, and will be sent post free on application.

_R. Clay & Sons, Ltd., London and Bungay._