NOTES. To the Queen, p. 1. First printed in the seventh edition of Tennyson's Poems, 1851. A defective stanza, relating to the Crystal Palace Exhibition, was omitted in later edi tions: 66 She brought a vast design to pass When Europe and the scattered ends Of our fierce world did meet as friends And brethren, in her halls of glass." Other changes were made in the text. Another version of To the Queen, in thirteen stanzas, was published in Jones's Growth of the Idylls of the King, 1895, pp. 152-54. Tennyson was appointed poet laureate in 1850, to succeed Wordsworth. Claribel, p. 3. First printed in Poems, chiefly Lyrical, 1830. This poem is peculiarly Tennysonian in rhythm, diction, and feeling. It is appropriately placed first in the collection of Juvenilia.1 Nothing will die, p. 3. First printed in 1830, and for a long time suppressed. The poem is a versified statement of the old Heraclitean philosophy of the eternity of matter. Cf. Lucretius, p. 160. 1 Most of the poems included in the Juvenilia were printed in the books of 1830 and 1832, but not all. Some of the pieces in these earlier volumes were for many years withdrawn from publication, and restored at various times in the collected editions (from 1869 to 1886). All Things will die, p. 4. First printed in 1830, and afterward suppressed. A companion poem to Nothing will die, giving the opposite view of the beginning and ending of the world. Leonine Elegiacs, p. 4. First printed, with the title Elegiacs, in 1830, and suppressed in later editions. Of Leonine Mr. Luce remarks: "From Leo or Leoninus, canon of the Church of St. Victor, Paris, twelfth century, who wrote many such. The end of the line rhymes with the middle." (Handbook to Tennyson's Works, 1895, p. 80.) Cf. lines 13 and 14 with the paraphrase of Sappho's verses in Frederick Teunyson's Isles of Greece: — "Hesper, thou bringest back again All that the gaudy daybeams part, The sheep, the goat back to their pen, The child home to his mother's heart." Also see couplet on Hesper in Locksley Hall Sixty Years After, p. 645. Supposed Confessions, p. 4. First printed in 1830, with the title Supposed Confessions of a Second-Rate Sensitive Mind not in Unity with Itself; suppressed in later editions, and afterward restored. The poem probably contains some autobiographical touches, revealing the poet's introspective habits and questioning moods in youth, notwithstanding the pious atmosphere of his Somersby home. Cf. In Memoriam, XCVI. The Kraken, p. 7. First printed in 1830; suppressed in later editions, and afterward restored. Song, p. 7. First printed in 1830, but suppressed in later editions. The influence of Shelley is apparent in this song, as in other poems of Tennyson's. Lilian, p. 7. First published in 1830. Of Tennyson's portraits of women, Lilian, Adeline, etc., Taine says: "I have translated many ideas and many styles, but I shall not attempt to translate one of these portraits. Each word of them is like a tint, curiously deepened or shaded by the neighboring tint, with all the boldness and results of the happiest refinement. The least alteration would obscure all. And there an art so just, so consummate, is necessary to paint the charming prettinesses, the sudden hauteurs, the half-blushes, the imperceptible and fleeting caprices of feminine beauty." (Hist. Eng. Lit., V., vi.) Isabel, p. 7. First printed in 1830. The poet's much-loved mother is the woman whose praises are sung in this poem and elsewhere in his works. See Memoir by his son, 1897, Vol. I., pp. 17, 18. Mariana, p. 8. says: "Moated granges of this descripLincolnshire, but they are many miles tion still exist in the fenny districts of distant from Somersby, hence the scenery which colors this poem is not taken from the country round the poet's birthplace, as it has no features in common with the landscape depicted in Mariana.'" (Homes and Haunts of Tennyson, 1892, p. 84.) Mariana in the South, p. 9. First printed in the 1832 Poems; rewritten, with two new stanzas, for the 1842 edition. The scenery is said to be that of southern France, which the poet visited in 1830. To—, p. 10. First printed in 1830. The "clearheaded friend" was J. W. Blakesley (1808-85), who belonged to the intimate circle of Tennyson's associates at Cambridge; he was later Dean of Lincoln. Madeline, p. 11. First printed in 1830. Possibly this poem and other word-portraits of women contain references to the love affairs of the poet in his early manhood. The Owl, p. 11. First printed in 1830. The poem is an echo of the song in Shakespeare's Love's Labor Lost, V., ii. First printed in 1830, substantially as it is now. Even then Tennyson was fond of using uncommon words, such as marish for marsh, a habit that clung to him a through life. The poem is an admirable piece of word-painting, built on the merest suggestion in Shakespeare's drama. Cf. Spenser's Faerie Queene, III., ii., stanzas 28, 29. According to Tennyson, "the Moated Grange is an imaginary house in the fen." Napier Second Song, p. 12. First printed in 1830. Tennyson when boy had a pet owl. (Memoir, I., p. 19.) Recollections of the Arabian Nights p. 12. First printed in 1830. A piece of gorgeous description after the manner of Coleridge's Kubla Khan. Says Luce: "Probably there is no more striking |