88	GARDEN	GUIDE
	considered	a	poor	time	to	move	them.	When	Iris	clumps	begin	to
	choke	themselves	out	by	covering	the	ground	so	that	young	shoots
	have	difficulty	hi	establishing	roots,	they	should	be	broken	up	and
	set	in	another	place.	Due	to	the	prolificacy	of	German	Iris	this	will
	be	necessary	every	third	year.
	SWEET	PEAS
	The	poet	has	a	jingle	upon	Peas.	He	says:
	"	Peas	along	the	border,	Peas	upon	the	lawn,
	Peas	against	an	eastern	wall	to	welcome	in	the	dawn.
	Peas	among	the	Roses,	Peas	behind	the	Pinks;
	Peas	to	catch	the	western	glow	when	evening	sunlight	sinks.
	Peas	upheld	with	Chestnut,	Peas	held	up	with	Ash;
	Peas	asprawl	on	Hazel	spray,	Peas	on	Larchen	brash.
	Peas	on	stiff,	unyielding	^wire,	Peas	tied	up	with	string;
	Peas	upon	the	trellis	work	where	Rambler	Roses	swing.
	Oh	!	merry,	merry,	merry,	are	the	gay	Sweet	Peas;
	Plant	them	when	and	how	you	will,	it's	certain	they	will	please."
	It	would	appear	that	the	answer	to	the	question	of	where	to
	plant	Sweet	Peas	is,	"	Everywhere."	But	Sweet	Peas	should	be
	planted	on	a	well	drained	soil	only,	or	one	in	which	the	excessive	rains
	of	Spring	will	not	cause	water	to	stand	around	the	roots	an(J	start
	mildew.	They	do	not	like	excessive	shade,	for	the	plants	should	make
	a	sturdy	growth.	In	the	shade	the	growth	is	weak	and	spindly	and
	but	few	flowers	are	produced.
	Place	Peas,	then,	in	the	open,	giving	them	all	available	light	and
	air,	although	a	little	shade	from	midday	suns	of	June	and	July	is,
	of	course,	beneficial.	Hot	weather	causes	short	stems	on	Peas	and
	the	best	hay	and	grain	weather	makes	an	end	of	them.
	THE	PREPARATION	OF	THE	SOIL	is	one	of	the	most	important
	points	in	the	success	of	Sweet	Peas.	They	like	the	cool	soil	and
	attempt	to	strike	down	deeply.	Dig	a	trench	two	or	three	feet	deep,
	break	up	and	turn	over	the	subsoil.	Do	not	use	it	for	top	soil	if	it
	is	poor.	Put	in	a	liberal	amount	of	stable	manure	and	work	in	a
	heavy	dressing	of	bonemeal.	This	preparation	should	be	made	in
	the	Fall	and	the	bed	left	all	Whiter.	When	working	over	in	the
	Spring	give	a	good,	liberal	coating	of	well	decayed	manure	or	some
	fertilizer.	If	the	soil	is	deficient	in	lime,	dust	the	surface	with	-fresh
	lime	in	Fall	or	Winter,	using	it	as	soon	as	slaked.
	SOWING	SEEDS	IN	POTS.	In	order	to	gain	a	month	in	season
	Sweet	Peas	may	be	sown	in	three-inch	pots	in	February	and	placed	in	a
	coldframe.	But	they	are	generally	sown	a	month	before	wanted	for
	outdoor	planting	and	a	smaller	pot	is	used.	Four	seeds	are	sown	hi
	each	pot.	The	frame	used	should	be	thoroughly	cleaned	and	dusted


BULBOUS	PLANTS	113
	natural	method	of	rapidly	dividing	year	after	year	insures	its	spreading
	widely.	They	also	do	well	in	beds	and	borders.
	SCILLAS,	or	SQUILLS.	Species:	sibirica	(Siberian	Squill),	companulata
	(Wood	Hyacinth),	and	bifolia.	The	Siberian	Squill	bears	an	intensely
	blue	flower	which	is	unexcelled	for	the	planting	of	entire	beds.	The
	bulbs	are	extremely	hardy,	the	beds	needing	almost	no	care.	The	Wood
	Hyacinths	are	white,	light	pink	or	blue,	and	are	very	showy	used	as
	clumps	in	borders	or	woodland.	They	much	resemble	the	Hyacinth,
	except	that	the	blooms	are	much	more	sparsely	arranged.
	POND	WITH	WATER	LILIES
	There	are	many	places	that	could	be	converted	into	pools	for	Water	Lilies,
	even	in	small	gardens.	The	pools	or	ponds	should	be	2	ft.	to	2	l	/	2	ft.	deep.
	The	plants	can	be	placed	in	boxes	or	hampers	of	a	size	2x2x1	ft.,	or	a	system
	of	half	barrels	or	hogsheads	can	be	arranged	in	a	chain,	with	water	running
	between	each.	Sometimes	a	number	of	barrels	are	arranged	together,
	either	sunk	in	the	soil	or	grass,	or	arranged	a	little	above,	sufficiently	close
	to	have	soil	filled	between	them,	and	Papyrus,	Reeds,	and	other	plants
	planted	therein
	SNOWDROP.	(See	Galanthus.)
	SQUILLS.	(See	Scillas.)
	SUMMER	HYACINTH.	(See	Galtonia	candicans.)
	TULIPS.	The	finest	garden	subject	among	the	Dutch	bulbs	is,	in	the
	opinion	of	many,	the	Tulip.	It	is	so	hardy,	the	colors	are	both	dainty
	and	vivid,	the	form	is	exquisite,	and	the	ease	of	success	commends	it
	to	every	garden.	It	is	hardly	a	wonder	that	hi	1634	there	was	a
	Tulipomania,	a	time	when	bulbs	were	placed	in	balances	with	gold,
	when	a	single	bulb	of	Semper	Augustus	sold	for	thirteen	thousand
	florins	and	it	was	necessary	for	the	Government	to	interfere	in	this	wild
	speculation.	The	name	has	been	derived	from	the	Persian	toliban,	or


132	GARDEN	GUIDE
	tioned	are	not	all	of	the	good	ones,	they	have	been	selected	for	their
	superiority	in	vigor	and	production.
	These	do	best	in	a	rich,	loamy,	well	drained	soil,	in	a	position
	preferably	facing	the	east	or	southeast.	This	situation	protects	the
	trees	from	north	and	west	winds	and	retards	blooming	in	Spring,
	thereby	often	preventing	the	destruction	of	the	blossom	by	late	Spring
	frosts	and	the	consequent	failure	of	the	crop.	In
	APPLES	planting,	select	a	three-year-old	tree,	which	can	be
	procured	at	any	reliable	nursery,	and	insist	on	this
	being	true	-	to	name,	because	a	mistake	at	this	point	means
	years	of	disappointment.	Nothing	is	more	annoying	than	to	find,
	after	a	period	of	six	years,	that	the	Red	Astrachan	you	planted
	turns	out	to	be	some	other	variety,	which	upsets	your	plan	of	suc-
	cession	of	fruiting.	Do	not	make	the	usual	mistake	of	planting	your
	tree	in	a	small	hole,	or	planting	too	deeply,	but	be	liberal	in	all	your
	treatment	and	your	tree	will	respond	accordingly.	Prune	all	broken
	and	damaged	roots,	and	after	spreading	the	remaining	roots	evenly
	in	the	hole,	cover	with	fine	earth	and	give	the	tree	a	slight	shake.
	Allow	the	earth	to	sift	down	among	the	fine	roots,	then	put	on	more
	soil	and	tread	in	firmly,	finish	filling	the	hole,	and	put	on	a	generous
	mulching	to	keep	the	soil	about	the	tree	moist,	for	upon	this	mulching
	often	depends	the	life	of	the	tree.	After	the	tree	is	firmly	planted,
	prune	in	the	head	to	five	or	six	branches	and	reduce	these	to	half
	their	original	length.	Attach	a	label	to	the	tree	and	it	is	ready	to
	take	a	permanent	place	in	the	garden.
	During	its	first	season	of	growth	all	superfluous	shoots	should
	be	cut	out,	keeping	in	mind	the	future	form	of	the	mature	tree.	The
	second	season	the	previous	year's	growth	should	be	cut	back	about
	hah	,	and	after	this	the	tree	will	usually	need	only	thinning	out	the
	centre	and	such	shoots	as	cross	each	other,	to	secure	abundance	of
	light	and	sunshine.	The	shoots	which	come	out	of	the	stem	should
	be	rubbed	off	as	they	appear.	This	treatment	applies	to	standards,
	which	should	be	planted	at	least	twenty-five	feet	apart,	but	in	a	small
	garden	trees	known	as	pyramids,	cordons,	and	espaliers	may	be	grown
	with	success.	These	can	be	purchased	in	that	form,	and	are	used	for
	covering	arches	or	for	growing	against	buildings,	walls	or	fences.
	They	have	the	advantage	of	producing	fruit	quicker	than	standards
	and	in	taking	less	space	in	which	to	grow,	a	consideration	where	room
	s	limited.	Pyramids	could	be	planted	in	a	row	ten	feet	apart,
	cordons	three	feet	apart	against	a	wall	or	to	form	an	arch	over	a	walk,
	and	espaliers	along	each	side	of	a	walk	or	against	a	wall	or	building,
	thus	making	the	most	of	restricted	space.	Their	pruning	is	more


FRUIT	FOR	THE	SMALL	GARDEN
	133
	severe	and	may	be	done	in	July	and	in	Spring,	the	production	of	fruit
	bearing	spurs	being	the	end	in	view.
	The	prevention	of	San	Jose	scale	is	necessary	to	success,	and	a
	spraying	with	any	good	insecticide	sold	for	that	purpose	must	be
	given	while	the	trees	are	dormant	in	Spring;	lime	and	sulphur	mix-
	Typical	half	standard	Apple	tree	suitable	for	the	amateur'u
	garden
	ture	treatment	is	very	good.	Then	the	familiar	codlin	moth	has	to
	be	dealt	with.	Arsenate	of	lead,	three	pounds	to	fifty	gallons	of
	water,	sprayed	through	a	fine	nozzle,	has	proved	the	very	best	treat-
	ment	for	this	pest,	but	many	egg	clusters	can	be	gathered	from	the
	trees	if	carefully	scrutinized	while	pruning.	The	trees	should	be
	"sprayed	as	soon	as	possible	after	the	blossoms	fall,	the	object	being	to


CHAPTER	XIV
	The	Vegetable	Garden
	NO	matter	how	small	the	place,	none	is	complete	without	its	own
	vegetable	garden	to	furnish	the	home	table.^	In	some	instances,
	a	vegetable	garden	is	objected	to	on	the	ground	that	it	inter-
	feres	with	the	beauty	of	the	surrounding	effects.	But	the	latter	can	be
	made	to	fit	in	with	the	general	scheme.	A	well-planned	and	neatly-
	kept	vegetable	garden	need	never	detract	from	the	general	appearance
	of	the	place;	usually	it	is	a	decidedly	attractive	feature;	it	lends	an	air
	of	simplicity	and	"hominess"	which	flowers	alone	cannot	furnish.	On	a
	"dollars	and	cents"	basis	alone,	in	these	days	of	high	prices,	the	vege-
	table	garden	is,	or	can	almost	always	be	made,	a	paying	factor.	Even
	where	that	side	of	the	matter	is	to	be	disputed	there	is	no	question
	that	to	get	the	very	best	quality	of	vegetables	you	must	grow	your	own.
	The	commercial	grower	must	be	guided	in	his	choice	of	varieties
	by	the	market	demands,	and	by	the	factor	of	big	yields,	even	though
	the	varieties	which	meet	these	requirements	may	not	be	those	of	the
	best	table	quality.	The	home	gardener,	on	the	other	hand,	may	select
	varieties	which	satisfy	his	own	personal	taste.	Furthermore,	there	are
	many	vegetables	which,	to	be	had	at	their	very	best,	must	be	gathered
	only	a	few	hours	before	they	are	used.	As	an	old	saying	has	it:	"The
	pot	should	be	boiling	before	you	pick	your	Corn."
	As	a	healthful	recreation,	nothing	surpasses	the	cultivation	of
	culinary	vegetables.	It	never	gets	monotonous,	for	the	work	changes
	from	day	to	day,	and	every	day	brings	its	own	problems.	The	work	in-
	volved	may	be	made	as	mild	or	as	strenuous	as	is	desired.	If	one	fears
	that	not	enough	exercise	is	to	be	had	with	a	hoe,	a	few	hours'	"trench-
	ing"	with	a	spade	will	give	him	as	big	an	appetite	for	his	dinner	as
	anything	he	can	find	to	do.
	It	is	not	necessary	to	hesitate	about	having	a	vegetable	garden
	because	such	a	location	as	you	may	have	available	is	not	naturally	the
	most	ideal	for	the	purpose.	The	plot	of	ground	which	cannot,	with	in-
	telligent	preparation,	be	made	to	grow	successfully	practically	every
	one	of	the	garden	vegetables,	is	by	all	means	the	exception	and	not	the
	general	rule.	At	the	same	time	it	pays	well	to	take	advantage	of	any
	favorable	natural	conditions	that	may	be	atjhand.	The	best	soil	is
	what	is	termed	a	"sandy	loam,"	that	is,	a	good	clay	soil	in	which	there
	is	enough	material	of	a	sand-like	character	to	keep	it	friable	and	work-
	147


CALENDAR	OF	OPERATIONS	243
	Spray	fruit.	Plant	Gladiolus	till	late	in	June.	Plant	about
	four	inches	deep.	Dahlias	may	be	planted	for	later	blooming.
	When	planting	be	sure	to	divide	Gannas.
	In	the	region	of	Central	New	York	it	is	hardly	safe	to	set	out	any
	bedding	stock	before	May	30	A	frost	usually	comes	quite	near	this
	date.	Roses	bought	from	nurserymen	can	be	set	out.
	Spray	Currants	with	arsenate	of	lead	wash,	against	caterpillars.
	Plant	Gladiolus,	tuberous-rooted	Begonias,	Caladiums,	Cannas,
	Tuberose,	Madeira	vine.	Start	Asparagus	seed	to	keep	up	your	stock.
	Put	up	window	boxes,	porch	boxes,	hanging	baskets.
	Make	another	sowing	of	all	crops	already	sown.	Sow	early	Corn,
	Cucumber,	Melon	and	Squash.	Thin	crops	to	prevent	overcrowding.
	Examine	Peach	trees	for	borers.	Spray	for	Codlin	moth	as	soon	as
	Apple	blossoms	have	fallen.	Dust	with	hellebore	powder	for	cater-
	pillars	on	Gooseberries.
	JUNE
	Dahlias	may	be	planted	up	to	the	middle	of	the	month.	Tender
	or	half	hardy	annuals	can	be	sown	out-of-doors.	Plant	out	tender
	Water	Lilies.	Spray	against	Rose	bugs	and	aphis.	Tie	climbing
	Roses	and	vines.	Keep	all	land	well	cultivated.	See	that	recently
	planted	trees	are	kept	watered.	Evergreens	may	require	to	be	sprayed
	with	clear	water	to	prevent	wilting.	Lawns	also	may	require	watering.
	German	Iris	can	be	divided	and	replanted	at	the	end	of	the	month.
	Make	successional	sowings	of	desired	vegetables.	Sow	Sweet	Corn	for
	September;	also	start	Cabbage	and	Brussels	Sprouts	for	Autumn	use.
	Store	away	temporary	frames	and	sashes.
	JULY
	Some	pruning	can	be	done	to	certain	shrubs	(see	Pruning	chapter)
	that	have	flowered,	but	this	should	mostly	be	done	merely	to	thin	the
	growths	and	allow	room	for	the	development	of	new	ones,	as	in	the	case
	of	the	Flowering	Currant,	climbing	Roses,	Spiraea	Thunbergii	and	Van
	Houttei,	Calycanthus	florida.	Give	herbaceous	borders	and	flower
	beds	constant	cultivation.	Staking	must	be	done	wherever	plants
	require	it.	Trim	lawns	and	hedges.	Divide	Japanese	Iris.	Remove
	seed	pods	from	Rhododendrons.	Keep	everything	well-watered.
	Cultivate	thoroughly.	Plant	Sweet	Corn	and	Beans	for	use	in	late
	September.	Plant	out	late	Tomatoes,	Celery,	Cabbage	and	Brussels
	Sprouts.	Sow	Endive	for	use	in	Fall.
	AUGUST
	Evergreens	may	be	moved	now.	Transplant	Iris,	Peonies,	Oriental
	Poppies	and	Madonna	Lilies.	Spray	Box	plants	for	red	spider.	Dust


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INDEX.
	131
	Pictures	at	Wilton	House,	84
	Piers,	Edmund,	85
	Thos.	D.D.	80
	Pike,	63
	Pin	and	Web,	74
	"	Pindar	of	Wakefield,"	Battle
	Bridge,	38
	Pines,	57
	Pinhill,	57
	Plague,	the,	73,	75
	PLANTS,	Pt.	I.	Ch.	ix.	48
	Plot,	Dr.	35,	67
	Polshut,	21,	24,	74
	Ponds	(See	Fish	Ponds)
	Poor	Rates	and	Pauperism,	75
	Pope,	Dr.	Walter,	96
	Population,	75
	Porcelain,	34,	35
	Porch	by	Holbein	at	Wilton,	83
	Portland	stone,	42
	Potter,	Francis,	38,	67,	68,	74
	Potteries,	35
	Pottern,	99
	Power,	family	of,	119
	Prelates,	76
	Prick	timber,	56
	Princes,	76
	Proverbs,	Old	English,	16,	51,	58,
	62,	64,	105
	Purbeck	Marble,	98
	Rabbits,	59
	RACE,	THE,	Pt.	II.	Ch.	xv.	117
	Race	horses,	87,	117
	Rain,	16
	Raleigh,	Sir	Walter,	40,	64,	90
	Ramsbury,	28,	62
	Ramsons,	61
	Randolph,	Thos.	his	Poems,	109
	Ray,	John,	Notes	by,	16,	37,	38,
	46,	48,	49,	50,	51,	52,	54,	59,
	64,	65
	Recipes	and	Prescriptions	(SEE
	DISEASES	AND	CURES)
	RENTS,	FALLING	OF,	Pt.	II.	Ch.
	x.	Ill
	REPTILES	AND	INSECTS,	Pt.	I.
	Ch.	xiii.	66
	Restoration	of	Chas.	II.	81
	Richard	III.	76
	Richelieu,	Cardinal,	97
	Richmond,	Surrey,	75
	Ricketts,	the,	74
	RIVERS,	Pt.	I.	Ch.	Hi.	27,	24
	Roach,	63
	Robert	of	Salisbury,	79
	Rooks,	64,	67
	Rook-worms,	67
	Roseneath,	remarkable	echo	at,	14
	Rouen,	Normandy,	98
	Rowd,	21
	Royal	Society,	Preface	v.	x.	3,	31
	Royston,	64
	Ruddle,	39
	Ruddyer,	Sir	Benj.	77,	91
	Rumsey,	Judge,	73
	Ramsey,	Wm.	73
	Rupert,	Prince,	41
	St.	Anne's	Hill,	24
	St.	Giles's	parish,	London,	75
	St.	Paul's	Cathedral,	98,	100
	St.	Quintin's,	Battle	of,	86
	St.	Vincent's	Rocks,	10
	Saints,	76
	Salisbury,	17,27,	28,	37,	62,63,	70,
	71,72,74,81,94,95,100,	101
	104,105,107,112,113,114,121
	Salisbury	plains,	10,	14,	54,	64,
	107,	108
	Salisbury	Cathedral,	18,	42,	80,
	95,	97,	98,	99,	101
	Salisbury	Races,	117
	Salmon,	63
	Sand,	37
	Sarsden	stones,	44
	Sarum	(SEE	OLD	SARUM	AND
	SALISBURY)
	Savannas	of	America,	10
	Savernake	Forest,	36,	50
	Scott's	Rokeby,	123
	Scott,	Wm.	72
	Scrope,	family	of,	119
	John,	114
	Seagry,	65
	Sea	mews,	65
	SEATS,	Pt.	II.	Ch.	xix.	123
	Securis,	John,	17,	18
	Seend,	21,	112
	Servants'	wages,	111
	Service	trees,	56
	Shaen,	Sir	James,	31,	32
	Shakespeare,	Jo.	105
	Shakspere,	William,	51
	Shard,	a	Wiltshire	word,	109
	Sheep,	108
	Shells,	petrified,	9
	Shepherds,	107,	108,	109
	Sherborne,	75
	Sherfield,	Henry,	100
	Sherington,	Sir	Henry,	70
	Sherington,	Olivia,	70
	Shrewsbury,	78
	Sidney,	Sir	Philip,	84,	85,	86,	88,
	89,	108,	109
	Sidney,	Mary	(SEE	PEMBROKE,
	COUNTESS	OF)
	Silbury	Hill,	67
	Silchester,	37
	Silver,	39
	Singing	voices,	1	1
	Slaughtonford,	10,	50,	62
	Smith,	Wm.	his	Geological	Map	of
	England,	10
	Snails,	10,	67
	Snakes,	66
	Snell,	Sir	Cha.	60
	Snow,	16,	17
	Sodbury,	41
	SOILS,	Pt.	I.	Ch.	iv.	34
	Soil	of	Wiltshire,	15
	Soldiers,	78
	Songs	by	William	Yokeney,	81
	Sopworth,	99
	Southampton,	Duke	of,	72
	Duchess	of,	72
	Southbury	Hill,	38
	South	Wiltshire,	compared	and	con-
	trasted	with	North	Wiltshire,	1	1	,
	15,	16,	23,	36,	45,	53,	56
	South	Wraxhall,	66
	Sounds	and	Echoes,	18
	Source	of	the	Thames,	30
	Sources	of	Wiltshire	rivers,	27	30
	Spar,	41
	Spectre	of	the	Brocken,	1	5
	Speed,	J.	58
	Spenser,	Edmund,	89
	Spontaneous	vegetation,	38
	SPRINGS	MEDICINAL,	Pt.	I.	Ch.	ii.
	20
	Stables	at	Wilton	House,	87
	Stafford,	Archbishop,	76
	Stanton	St.	Quintin,	69,	101,	119
	Staple	(SEE	WOOL-STAPLE)
	Statesmen,	77
	Steeple	Ashton,	17,	41,	45,	115
	Steeple	Langford,	43
	Stevens,	J.	10
	Stobball-play,	117
	Stocking	weaving,	95
	Stokes's	"Wiltshire	Rant,"	12
	STONES,	Pt.	I.	Ch.	vi.	42
	Stonchenge,	44,	64,	96
	Storms,	remarkable,	14,	17,	120
	Stour	river,	28
	Stourhead,	28
	Stourton,	101
	Strawberries,	50
	Stump,	family	of,	78,	79,	81
	Stump,	Capt.	Tho.	79,	81
	Stump,	William,	1	13
	Sugar,	67
	Suffolk,	attorneys	in,	118
	Sumner,	J.	21
	Joan,	72
	Sussex,	64
	Sussex	Marble,	98
	Sutton	Benger,	36,	72,	100
	Swallow	holes,	in	rivers,	29
	Swifts,	66
	Swindon,	43,	45,	115
	Talbot,	Henry	Fox,	70
	John,	70
	Sir	John,	70


THE	SEVEN	BOOKS	OF	OROSIUS	97
	which	it	is	quite	unnecessary	to	give	here.	Dante	does	not
	pass	it	over	in	the	Inferno,	where	(v.	54-60)	he	translates	one
	of	Orosius's	pungent	phrases.
	Or.	i.	5	;	A.	i.	3.	Here	Alfred	omits	the	first	half	of	the
	chapter	in	Orosius,	which	speaks	of	the	region	called	Pen-
	tapolis,	the	five	"cities	of	the	plain"	(Gen.	xiii.	12),	and
	makes	quotations	from	Tacitus.	The	second	half	of	the
	chapter	is	much	abridged	in	Alfred's	version,	as	follows	:
	*	One	thousand	one	hundred	and	sixty	years	before	the
	building	of	Rome,	the	fruitful	land	on	which	were	the
	cities	of	Sodom	and	Gomorrah	was	burnt	up	by	fire	from
	heaven.	That	was	between	Arabia	and	Palestine.	There
	was	an	abundance	of	fruit,	chiefly	because	the	River	Jordan
	every	year	overflowed	the	mid-land	with	water	a	foot
	deep,	and	thus	manured	it.'	This	detail	is	not	in	the	Latin
	text.
	'	Then	the	people	immoderately	enjoyed	this	great	wealth,
	till	great	sensuality	waxed	within	them	;	and	for	this	sen
	suality	God's	wrath	so	came	upon	them,	that	He	burned	up
	all	the	land	with	sulphurous	fire.	Afterwards	there	was
	standing	water	over	the	land	through	which	the	river	formerly
	flowed.	The	part	of	the	dale	which	the	flood	did	not	reach
	is	to	this	day	fertile	in	fruits	of	every	kind	;	and	they	are
	very	pleasant	and	fair	to	look	upon,	but	when	they	are	taken
	in	hand,	they	turn	to	ashes.'	It	may	be	noted	here	that	these
	last	words	have	no	corresponding	words	in	the	Latin	text.
	But	an	edition	of	Orosius	in	1471	had	this	and	other	details	:
	"	You	may	see	there	apples	flourishing	and	bunches	of	grapes,
	which	excite	the	appetite	;	but	if	you	pluck	them	they	turn
	to	ashes	and	give	forth	a	fume	as	though	they	were	burning."
	These	were	the	fabled	"	apples	of	Sodom."	Josephus	gives
	the	story.
	Alfred	here	omits	the	whole	of	a	very	striking	chapter	of
	Orosius,	contrasting	Rome	of	his	time	with	the	cities	of	the
	plain.	Orosius	quotes	as	typical	the	saying	of	the	Roman
	citizen	when	the	Gothic	king	was	at	the	gates,	"	If	the	games
	of	the	circus	were	kept	up,	he	didn't	care	what	happened	to
	Rome,"	and	ends	with	a	solemn	warning	that	the	fate	of
	Sodom	and	Gomorrah	was	intended	to	make	men	learn	and
	understand	how	God	has	punished	sinners,	how	He	can
	punish	them,	and	how	He	will.	This	was	more	in	accordance
	with	the	purpose	of	Orosius	in	writing	the	History	than	with


192	IRISH	POETS.
	liis	tour	of	the	United	States	and	Ca
	nada,	visiting	the	principal	cities	and
	places	of	interest	along	his	route.	Dur
	ing	this	journey	he	wrote	many	beauti
	ful	epistles	in	verse	to	his	family	and
	friends	at	home,	and	some	long	descrip
	tions	of	American	men	and	manners,
	which,	though	evincing	considerable	li
	terary	ability,	were	sadly	deficient	in
	justice	and	discrimination.	He	had	dur
	ing	his	four	years	residence	in	London
	imbibed	a	portion	of	that	hatred	of	the
	United	States	and	her	institutions	which
	then	pervaded	all	classes	in	Britain
	the	last	resource	of	a	beaten	and	baflied
	foe	who	looked	at	everything	in	the
	young	Republic	with	a	jaundiced	and
	jealous	eye.	However,	he	lived	long
	enough	to	regret	the	gross	blunder,	and
	to	apologize	for	it.	In	the	preface	to
	the	second	volume	of	his	works	he	thus
	alludes	to	it	:	"	In	the	most	formidable
	of	all	my	censors	at	that	period	the
	great	master	of	the	art	of	criticism	in
	our	day	I	have	found	ever	since	one


37
	(Tape	3,	Side	B]
	Pcnnica:	People	would	assume	they	never	could,	compete	with	us	because	we	had	hundreds	of
	people	working	on	a	project,	but	that	wasn	t	the	case.	We	just	had	a	small	group	who
	worked	like	a	hundred	people.
	Hughes:	Yes,	yes.	And	who	also,	as	you	were	pointing	out,	were	in	most	cases	the	best	in	the
	field.
	Pennica:	Yes.	I	think	we	had	the	best	in	the	field.	Dave	knew	all	the	tricks	or	things	to	try.	In
	many	cases,	the	things	we	tried	didn	t	work,	but	each	gene	that	you	work	with	is
	different,	and	that	s	why	you	can	never	predict	success,	and	that	s	why	I	think	the
	patents	are	important.	When	we	were	trying	to	defend	these	cases	in	court,	the	patent
	attorneys	would	say,	"Well,	it	s	obvious	that	it	can	be	cloned."	And	my	response	to
	them	was,	it	s	not	obvious	that	you	would	ever	succeed.	You	can	try,	but	it	s	not
	obvious	that	it	would	work	because	every	molecule	is	so	different.	And	there	s
	problems	with	each	project	that	we	encountered.	So	you	have	to	try	different	strategies.
	With	t-PA,	I	tried	five	or	six	different	strategies	just	to	get	the	5-prime	end.	There	s	not
	a	cookbook	that	tells	you	how	to	do	certain	things.	There	s	things	you	can	try,	but
	believe	me,	everything	s	a	struggle.
	Hughes:
	Pennica:
	Hughes:
	Pennica:
	I	can	imagine.
	So	basically,	we	published	the	first	wild-type	p53	clone,	which	was	quite	exciting,	given
	the	fact	that	I	had	people	saying,	"Why	are	you	working	on	p53?	What	is	p53?"	And
	then	later,	I	would	say,	"Molecule	of	the	Year,"	because	we	didn	t	know	at	the	time.
	Do	you	want	to	bring	home	the	importance	of	the	fact	that	you	were	working	on	the
	wild-type?	Is	it	just	simply	that	most	people	were	working	on	a	mutant?
	The	fact	that	most	people	were	working	on	a	mutant,	they	thought	it	was	just	involved
	in	tumor	growth.	In	fact,	they	were	misled	because	they	thought	that	was	p53	s
	function,	where	in	fact,	the	wild-type	gene	acts	to	protect,	acts	as	a	tumor	suppressor,
	acts	to	protect	the	DNA	or	the	cell	from	damage.	So	it	s	actually	a	three	hundred	and
	sixty	degree	difference	in	function,	based	on	the	fact	that	others	were	working	with	the
	mutant	forms	because	they	were	isolating	them	from	tumors	or	tumor	cell	lines	which
	had	made	mutations.
	Hughes:	Is	this	sort	of	thing	a	worry	in	the	back	of	scientists	minds,	that	maybe	they	are
	working	on	the	wrong	version	of	the	molecule	or	the	wrong	virus?	I	mean,	I	m	thinking
	also	of	the	development	of	the	AIDS	vaccine,	where	there	was	concern	at	one	stage	that
	the	laboratory	strain	of	HIV	was	not	the	one	that	was	circulating	in	the	population,
	particularly	in	Africa.	All	this	work	had	been	done	on	this	particular	lab	strain	that
	might	not	be	relevant	to	the	real	world.
	Pennica:	Right.	1	think	that	s	a	worry	that	every	scientist	has,	and	you	have	to	make	sure	you	re
	not	working	with	an	alternative	splice	form.	We	now	know	that	one	base	change	can
	change	the	function	of	a	molecule.	So	now	we	have	methods	where	you	can	screen
	populations	to	look	for	polymorphisms	or	changes	and	different	splice	forms.	The
	computer	programs	we	have	now	can	analyze	a	gene	and	pull	out	different	splice	forms,


56
	Hughes:	Maybe	you	could	make	a	comment	about	the	technology	and	how	that	has	impacted
	both	the	efficiency	and	also	the	direction	of	the	research	that	you	ve	done	at	Genentech
	over,	was	it	twenty-three	years?
	Pennica:	Twenty-three	years.	Yes,	the	technology	has	changed	dramatically.	Back	in	1980,	we
	had	to	do	everything	ourselves.	For	every	project	we	worked	on,	if	you	needed
	something	done,	you	did	it	alone.	We	did	work	in	teams;	you	couldn	t	do	anything	in
	isolation.	As	I	mentioned,	Bill	Kohr	did	all	the	protein	sequencing	because	he	had	the
	expertise	to	do	that,	but	the	cloning	was	so	labor-intensive	at	the	time.	Now	it	is
	cookbook.	There	are	kits	that	you	can	use	to	do	everything.	The	kits	have	become	more
	sophisticated,	so	in	the	WISP	project	1	did	use	a	kit,	but	it	was	still	a	little	bit	labor-
	intensive	but	unbelievably	easier	than	what	we	had	done	twenty	years	before.
	Hughes:	Give	me	an	example	of	something	specific	that	had	changed.
	Pennica:	So	you	could	make	a	cDNA	library	in	a	week	in	1997,	whereas	back	in	1980,	it	may
	take	months	to	make	a	cDNA	library	that	you	could	analyze.	Just	the	steps	to	make	the
	cDNA	was	time-consuming	because	we	had	to	make	all	of	the	components.	When	you
	have	a	kit,	you	just	take	out	a	little	tube	and	you	add	it	to	the	reaction.	It	was	very
	different	twenty	years	ago.	We	had	to	make	our	own	gels.	That	s	another	good	example.
	I	was	making	my	own	gels,	which	often	took	an	entire	day,	to	make	all	the	reagents,	to
	pour	the	gel,	to	have	it	set,	to	let	it	sit	overnight,	to	use	it.	Now	there	are	whole
	companies	dedicated	to	making	gels.	It	s	in	a	Ziploc	bag,	you	tear	it	open,	pop	it	in	the
	machine	and	load	your	sample.	It	takes	thirty	seconds.	Unbelievable.
	So	things	have	changed	dramatically,	and	now	we	have	whole	groups	that	clone	what
	we	want.	They	have	perfected	the	technique,	and	they	can,	in	a	few	days,	get	you	a
	clone	that	you	need.	Everything	is	more	streamlined.	It	s	certainly	a	lot	quicker,	but	I
	think	the	questions	are	a	little	different	that	we	are	asking	now.	We	re	now	trying	to
	determine	the	biology	of	these	molecules	to	see	if	they	re	involved	in	tumor	formation.
	Back	then,	we	were	just	identifying,	not	just,	but	we	were	identifying	new	molecules
	that	could	be	involved	in	heart	disease	and	cancer.	You	have	to	learn	all	about	the
	biology	of	the	molecule,	also,	to	see	if	it	s	relevant	or	does	anything	of	interest.	Clearly,
	it	does.
	Hughes:	Obviously,	you	re	describing	a	tremendous	revolution	in	efficiency	and	just	general
	ease,	but	at	the	same	time	you	are	in	a	sense	losing	control	in	the	fact	that	you	have	to
	depend	on	a	kit,	or	you	have	to	depend	on	a	sequencing	group	or
	Pennica:	Yes,	absolutely.
	Hughes:	Did	this	require	sort	of	a	shift	in	your	thinking	about	how	you	did	research?
	Pennica:	Yes.	When	you	rely	on	other	people,	you	rely	on	their	quality,	their	efficiency	and
	their	we	are	fortunate	at	Genentech	to	have	super-team	people,	who	do	incredible
	work	here.	But	if	there	s	one	kink	or	one	person	who	just	doesn	t	do	their	job
	efficiently,	then	it	can	waste	a	lot	of	time.	For	example,	Kathy	King,	who	was	a
	superstar	on	the	CT-1	project,	without	her	expertise	and	painstaking	patience	to	look
	under	the	microscope	at	that	hypertrophy	assay,	the	project	never	would	have	gotten
	done.	So	there	are	superstars,	and	then	I	have	worked	with	other	people	who	are	not	as


OUR	POSITION	TOWARDS	RUSSIA.	233
	provisions	is	enormous.	In	Persia,	if	it	was	really
	defended	by	the	people,	a	large	army	would	starve	and
	a	small	army	be	beaten.	The	possession	of	Erivan	lies
	upon	the	frontiers	of	Turkey	and	of	Persia.	Our
	influence	in	Persia	has	been	much	weakened	by	our
	vacillating	conduct.	I	must	endeavour	to	retrieve	our
	affairs	there.
	October	2.
	The	Duke	of	Wellington	dined	at	Eoehampton.
	After	dinner	he	told	me	how	we	stood	with	Eussia.
	We	are	to	send	out	two	line-of-battle	ships	to	reinforce
	our	fleet	in	the	Levant	(this	will	give	us	six,	and	we
	have	as	many	large	frigates	there),	and	to	order	our
	admiral	to	give	protection	to	all	British	vessels	which
	may	have	cleared	out	from	England	before	the	notifica-
	tion	of	the	blockade.	This	is	to	be	done	by	force	if
	necessary.
	So	far	this	is	well	;	but	we	should	provide	that	no
	vessel	of	whatever	nation	should	incur	capture	or	deten-
	tion	which	may	have	cleared	out	on	her	voyage	on	the
	faith	of	our	declaration	in	the	King's	Speech,	and	to
	Turkey	that	Eussia	had	deposed	her	belligerent	rights
	in	the	Levant.	I	have	written	the	sketch	of	a	paper	to
	this	effect.
	Nothing	more	has	been	done.	The	Duke	seems	to
	doubt	what	France	will	do.	We	say	we	can	no	longer
	co-operate	with	Eussia.	If	France	says	the	same
	Eussia	is	Voted	out,	and	France	goes	on	with	us.	If
	France	co-operates	with	Eussia,	we	are	voted	out,	and
	free.	In	one	way	or	the	other	the	Duke	thinks	we	shall
	get	rid	of	Eussia.


268	WILLIAM	HICKLING	PRESCOTT.
	now	asked	Don	Pascual's	counsel	and	aid	in	collecting	the
	materials	he	needed	for	his	work	on	the	reign	of	Philip	the
	Second.	He	could	not	have	addressed	himself	more	fortu-
	nately.	Don	Pascual	entered	into	the	literary	projects	of	Mr.
	Prescott,	as	we	have	already	seen,	in	his	previous	correspond-
	ence,	with	great	disinterestedness	and	zeal.	He	at	once	caused
	above	eighteen	hundred	pages	of	manuscript	to	be	copied	in
	the	British	Museum	and	the	State-Paper	Office,	London,	and
	went	with	an	assistant,	to	the	remarkable	collection	of	Sir
	Thomas	Phillips,	in	Worcestershire,	where	he	again	obtained
	much	that	proved	valuable.	Subsequently	he	visited	Brussels,
	and,	with	letters	from	Mr.	Van	de	Weyer,	the	accomplished
	Minister	of	Belgium	in	London,	was	permitted	to	take	copies
	of	whatever	could	be	found	in	the	archives	there.	Still	later,
	he	went	to	Paris,	and,	assisted	by	M.	Mignet,	discovered	other
	rich	materials,	which	were	immediately	transcribed	and	sent
	to	their	destination.	The	mass	of	manuscripts	was,	therefore,
	in	1842,	already	considerable.
	But	Spain	was,	after	all,	the	country	where	the	chief	mate-
	rials	for	such	a	subject	were	to	be	found	;	and	nobody	knew
	this	better	than	Mr.	Prescott.	While,	therefore,	he	neglected
	no	resource	outside	of	the	Pyrenees	;	and	while,	by	the	kind-
	ness	of	Mr.	Edward	Everett,	our	statesman	at	once	and	our
	scholar,	who	happened	then	to	be	in	Florence	;	by	that	of	Dr.
	Ferdinand	Wolf	of	Vienna,	learned	in	everything	Spanish	;	and
	by	that	of	Humboldt	and	Ranke,	at	Berlin,	each	primus	inter
	pares	on	such	matters,	he	had	obtained	a	great	deal	that	was
	most	welcome	from	the	public	offices	and	libraries	of	Tuscany,
	Austria,	Prussia,	and	Gotha,	still	he	kept	his	eye	fastened
	on	Spain,	as	the	main	resource	for	his	great	undertaking.
	is	dated	Dec.	1,	1839.	From	this	I	infer	that	Mr.	Prescott	had	written	to
	him	on	the	30th	of	March	preceding,	to	thank	him	for	his	review	of	the
	"	Ferdinand	and	Isabella,"	and	on	the	6th	of	July	concerning	his	literary
	projects	generally	;	but	that	illness	and	absence	from	London	had	prevented
	Don	Pascual	from	answering	earlier.	On	the	28th	of	December,	1841,	Mr.
	Prescott	records	in	his	memoranda:	"I	have	had	the	satisfaction	to	learn
	from	that	accomplished	scholar,	Gayangos,	that	he	will	undertake	the	col-
	lection	of	manuscripts	for	me	relating	to	Philip	the	Second's	history,	so	far
	as	it	can	be	effected	in	Paris	and	London."	A	part	of	Mr.	Prescott's	corre-
	spondence	with	Don	Pascual	about	the	materials	for	a	history	of	Philip	the
	Second	has	already	been	given,	as	its	dates	required,	while	Mr,	Prescott	was
	employed	on	his	M	Conquest	of	Peru."


CH.	XVIL]	FOSSILS	OF	THE	UPPER	CRETACEOUS	BEDS.
	249
	are	dispersed	indifferently	through	the	soft	chalk	and	hard	flint,	and	some
	of	the	flinty	nodules	owe	their	irregular	forms	to	inclosed	sponges,	such	as
	fig.	285	ct,	where	the	hollows	in	the	exterior	are	caused	by	the	branches
	of	a	sponge,	seen	on	breaking	open	the	flint	(fig.	285	6).
	Fig.	286.
	Fig.	285.
	A	branching	sponge	in	a	flint,	from	the	white	chalk.
	From	the	collection	of	Mr.	Bowerbank.
	Siphonia	pyri-
	formif,
	Chalk	marl
	The	remains	of	fishes	of	the	Upper	Cretaceous	formations	consist
	chiefly	of	teeth	of	the	shark	family,	of	genera	in	part	common	to	the
	Fig.	287.
	Palatal	tooth	of
	Ptychodua	decurrens.
	Lower	white	chalk.
	Maidstone.
	Cestracion.	Phillippi	;	recent
	Port	Jackson.	Buckland,	Bridgewater	Treatise,	pi.	27,	d.
	tertiary,	and	partly	distinct.	To	the	latter	belongs	the	genus	Ptychodus
	(fig.	287),	which	is	allied	to	the	living	Port	Jackson	Shark,	Oestracion


POETICAL	PERIOD.	93
	peared	;	that	of	Lachmann,	Berol.,	1845	;	of	Orelli	and	Baiter,	Turic.,
	1845	;	and	of	Lewis,	Lond.,	1847.
	XI.	The	other	kind	of	poetry	to	which	we	referred	was	Parody	(irapw-
	S/a).	This	was	understood	by	the	ancients,	as	it	is	by	ourselves,	to	mean
	an	adoption	of	the	form	of	some	celebrated	poem,	with	such	changes	in
	the	matter	as	to	produce	a	totally	different	effect	;	and	generally	to	sub
	stitute	mean	and	ridiculous	for	elevated	poetical	sentiments.	This	con
	trast	between	the	grand	and	sublime	images	suggested	to	the	memory,
	and	the	comic	ones	introduced	in	their	stead,	renders	parody	peculiarly
	fitted	to	place	any	subject	in	a	ludicrous,	grotesque,	and	trivial	light.	The
	purpose	of	it,	however,	was	not,	in	general,	to	detract	from	the	reverence
	due	to	the	ancient	poet	(who,	in	most	instances,	was	Homer)	by	this	trav
	esty,	but	only	to	add	zest	and	pungency	to	the	satire.	1
	CHAPTER	XVI.
	SECOND	OR	POETICAL	PERIOD	continued.
	LYRIC	POETR	Y	continued.
	CONNECTION	OF	LYRIC	POETRY	WITH	MUSIC.	2
	I.	IN	the	Elegiac	and	Iambic	styles	of	poetry,	the	former	suited	to	the
	expression	of	grief,	the	latter	to	the	expression	of	anger,	hatred,	and	con
	tempt,	Greek	poetry	entered	the	domain	of	real	life.	Still,	however,	a
	great	variety	of	new	forms	of	poetry	was	reserved	for	the	invention	of
	future	poets.	The	ele^y	and	the	iambic	versification	contained	the	germs
	of	the	lyric	style,	but	Jie	principal	characteristic	of	lyric	poetry,	strictly
	so	called,	was	its	connection	with	music,	vocal	as	well	as	instrumental.
	This	connection,	indeed,	existed,	to	a	certain	extent,	in	epic,	and	still
	more	in	elegiac	and	iambic	poetry	;	but	singing	was	not	essential	in	those
	styles.	Such	a	recitation	by	a	rhapsodist,	as	was	usual	for	epic	poetry,
	also	served,	at	least	in	the	beginning,	for	elegiac,	and	in	great	part	for
	iambic	verses.
	II.	Singing,	however,	and	a	continued	instrumental	accompaniment,	are
	appropriate	where	the	expression	of	feeling	or	passion	is	inconsistent	with
	a	more	measured	and	equable	mode	of	recitation.	Moreover,	as	the	ex
	pression	of	strong	feeling	required	more	pauses	and	resting-places,	the
	verses	in	lyric	poetry,	strictly	so	called,	naturally	fell	into	strophes	of	great
	er	or	less	length,	each	of	which	comprised	several	varieties	of	metre,	and
	admitted	of	an	appropriate	termination.	This	arrangement	of	the	strophes
	was,	at	the	same	time,	connected	with	dancing,	which	was	naturally,
	though	not	necessarily,	associated	with	lyric	poetry	in	this	its	stricter
	sense.
	III.	The	Greek	lyric	poetry,	therefore,	in	the	stricter	sense	in	which
	we	are	now	considering	it,	was	characterized	by	the	expression	of	deeper
	and	more	impassioned	feeling,	and	a	more	swelling	and	impetuous	tone,
	i	Miiller,	Hist.	Gr.	Lit.,	p.	146.	2	Ib.,	p.	149.


Thomas	Holley	Chivers
	December	i8th,	1858.	His	demise	received
	wide	notice	in	the	North,	and	the	breadth
	of	his	territory	of	renown	among	scholars	is
	indicated	by	the	fact	that	Professor	Gier-
	low,	a	Danish	author,	wrote	a	beautiful
	poem	on	the	event.
	William	Gilmore	Simms,	at	that	time	one
	of	the	greatest	names	in	Southern	litera
	ture,	took	much	interest	in	Chivers,	and
	called	him	"the	wild	Mazeppa	of	letters."
	He	frequently	rallied	his	friend	on	his
	choice	of	strange	words	and	on	"the	mo
	notony	of	his	sorrow."	In	good-humored
	retaliation,	no	doubt,	the	doctor	advised
	Simms	to	cease	writing	stupid	novels	and
	"take	up	literature	as	a	pleasure."
	Chivers	s	face	was	of	poetic	cast.	The
	fine	lines	of	the	mouth	alone	gave	it	dis
	tinction,	and	the	intent,	piercing	eye	and
	dark,	flowing	hair,	as	well	as	the	contour	of
	the	head,	with	its	massive	forehead,	com
	pleted	an	intellectual	ensemble	at	least
	competent	for	fame.
	[67]


The	^Esthetics	of	Poetry
	S	eparpiller	dans	1	air	bleu,	toutes	blanches,
	Et	se	poser	plus	loin	sur	quelque	toil.
	Mon	ame	est	1	arbre	ou	tous	les	soirs,	comme	elles,
	De	blancs	essaims	de	folles	visions
	Tombent	des	cieux,	en	palpitant	des	ailes,
	Pour	s	envoler	des	les	premiers	rayons.
	Finally,	the	effort	to	detach	poetry	from	the	inner
	world	and	make	it	an	expression	of	outer	things,	is
	incompatible	with	its	musical	character.	For	music
	is	essentially	subjective,	an	expression	of	pure	mood
	unaffixed	to	objects.	As	rhythmical,	poetry	shares
	the	inwardness	of	music	;	wherefore,	unless	its	rhythm
	is	to	be	a	mere	f	unctionless,	ornamental	dress,	whatever
	it	expresses	should	have	its	source	in	the	inner	man.
	Of	course,	through	their	meanings,	word-sounds	indi
	cate	the	causes	and	objects	of	emotion	and	this
	differentiates	music	from	poetry	but	in	poetry	the
	emotion	is	still	the	primary	thing,	springing	from	inner
	strivings,	and	not	from	objects,	as	in	painting	and
	sculpture.	It	is	therefore	no	accident	that	the	con
	temporary	imagists	tend	to	abandon	the	forms	of
	verse	;	their	poetry	has	little	or	no	regular	rhythm	;
	it	approximates	to	prose.	For	in	proportion	as	poetry
	becomes	free,	it	ceases	to	be	tied	to	musical	expressive
	ness,	and	may	become	objective,	without	prejudice	to
	its	own	nature.	Prose	poetry,	and	prose	too,	of	course,
	may	be	highly	emotional	and	subjective,	for	words
	can	express	emotions	directly	without	any	rhythmical
	ordering;	yet	prose	need	not	be	subjective,	as	poetry
	must	be.	There	is	no	absolute	difference	between
	prose	and	poetry;	for	even	prose	has	its	rhythm	and


Bibliography	371
	MEYER,	MAX.	Contributions	to	a	Psychological	Theory	of	Music,
	University	of	Missouri	Studies,	1901,	1,	No.	1	;	The	Psychology
	of	Music,	in	American	Journal	of	Psychology,	1903	:	14.
	BINGHAM,	W.	VAN	DYKE.	Studies	in	Melody,	1910.
	LIPPS.	Zur	Theorie	der	Melodic,	in	Zeitschrift	fucr	Psychologic,
	1902	:	27.
	REVESZ,	GEZA.	Tonpsychologie,	1913.
	SPENCER,	H.	The	Origin	and	Function	of	Music.
	BOLTON.	Rhythm,	in	American	Journal	of	Psychology,	Vol.	6.
	MEUMANN,	E.	Untersuchungen	zur	Psy.	u.	Aest.	d.	Rhythmus,	in
	Philosophische	Studien,	X.
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	Chapter	Nine.	Poetry.
	ARISTOTLE.	Poetics.
	SIDNEY,	SIR	PHILIP.	Defense	of	Poesy,	1581.
	WORDSWORTH,	WM.	Preface	to	the	Lyrical	Ballads,	1800.
	SHELLEY,	P.	B.	A	Defense	of	Poetry,	1821.
	BRADLEY,	A.	C.	Oxford	Lectures	on	Poetry,	1909.
	SCOTT,	F.	N.	The	Most	Fundamental	Differentia	of	Poetry	and
	Prose,	Modern	Language	Association	Publications,	V.	19,	pp.
	250-269.
	MILL,	J.	S.	Thoughts	on	Poetry	and	Its	Varieties,	in	Dissertations
	and	Discussions,	Vol.	1.
	SANTA	YANA,	G.	Elements	of	Poetry,	in	Poetry	and	Religion,	1900.
	LANIER,	S.	Science	of	English	Verse,	1880.
	EASTMAN,	MAX.	The	En]oyment	of	Poetry.
	SOURIAU,	P.	La	Reverie	esthetique,	1906.
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	WERNER,	R.	M.	Lyrik	und	Lyriker,	1890.
	LOWELL,	AMY.	Tendencies	in	Modern	American	Poetry,	1917.
	GUMMERE,	F.	B.	A	Handbook	of	Poetics,	1895.
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	Sublime	and	Beautiful,	Part	4,	1756.
	MACKAIL,	J.	W.	Lectures	on	Poetry,	1911.
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SECT,	in.]	POTASSIUM	SALTS.	289
	vegetable	matter	being	produced	in	the	United	Kingdom,	nor	wood	used	as	fuel	in
	sufficient	quantities	to	yield	ash.	for	the	preparation	of	potash	between	the	ash	obtained
	by	the	combustion	of	the	refuse	wood	of	forests	and	the	ash	from	wood	used	as	fuel,
	the	former	being	termed	forest-	and	the	latter	fuel-ash.	As	ash	from	other	fuel	than
	wood	may	be	mixed	with	fuel-ash,	a	sample	may	be	roughly	tested	by	lixiviation,	and
	the	density	of	the	liquor	taken	by	the	areometer,	the	higher	the	specific	gravity	the
	larger	the	quantity	of	soluble	salts.	Formerly	the	forest-ash	was	purposely	prepared
	and	sold	to	potash-boilers.	There	is	still	known	in	Eastern	Prussia	and	Sweden	a
	material	termed	okros	or	ochras,	holding	a	position	intermediate	between	crude	ash	and
	potash.
	(a)	The	lixiviation	of	the	ash	effects	the	separation	of	the	soluble	from	the	insoluble
	saline	matter,	the	former	amounting	to	about	25	to	30	per	cent,	of	the	entire	weight	of
	the	ash.	The	operation	is	carried	on	in	wooden	vessels	shaped	like	an	inverted	trun-
	cated	cone,	and	provided	with	a	perforated	false	bottom,	which	is	covered	with	straw	;
	in	the	real	bottom	a	tap	is	fixed	for	removing	the	liquor.	If	the	lixiviation	is	system-
	atically	carried	on,	several	of	these	vessels	are	placed	together,	forming	what	is	termed
	a	battery,	and	under	each	a	tank	to	receive	the	liquor.	The	ash	to	be	lixiviated	is	first
	sifted	from	the	coarse	particles	of	charcoal,	next	put	into	a	small	square	water-tight
	wooden	box,	and	thoroughly	saturated	with	water	for	at	least	twenty-four	hours.	By
	this	proceeding	the	lixiviation	is	greatly	assisted,	and	the	potassium	silicate	to	some
	extent	decomposed	by	the	action	of	the	carbonic	acid	of	the	atmosphere.	The	next	step
	is	to	transfer	the	wet	ash	to	the	lixiviation	vessel,	care	being	taken	to	press	it	tightly
	down	on	to	the	false	bottom	;	cold	water	is	then	poured	in,	until	the	liquor	begins	to
	run	off	at	the	taps	left	open	for	that	purpose.	The	liquor	which	runs	off,	after	the
	water	has	remained	some	little	time	in	contact	with	the	ash,	is	found	to	contain	about
	30	per	cent,	of	soluble	salts,	afterwards	decreasing	to	about	10	per	cent.,	when	hot	water
	is	employed	to	compete	the	lixiviation.	The	insoluble	residue	left	in	the	lixiviation-tub
	is	of	value	as	a	manure,	on	account	of	the	phosphate	of	lime	it	contains,	and	is	also	used
	in	making	green	bottle-glass,	and	for	building	up	saltpetre-beds.
	(6)	Boiling	down	the	liquor.	The	liquor	obtained	by	lixiviation	is	of	a	brown	colour,
	owing	to	organic	matter,	humine	or	ulmine,	which	the	potassium	carbonate	has	dis-
	solved	from	the	small	chips	of	imperfectly	burnt	charcoal.	The	evaporation	is	carried	on
	in	large	shallow	iron	pans,	fresh	liquor	being	from	time	to	time	added,	and	the	operation
	continued	until	a	sample	of	the	hot	concentrated	liquor	exhibits	on	cooling	a	crystalline
	solid	mass.	When	this	point	is	reached	the	fire	is	gradually	extinguished,	and	as	soon
	as	the	contents	of	the	pan	are	sufficiently	cold	to	handle,	the	solid	salt	mass	is	broken
	up	;	its	colour	is	a	deep	brown.	This	crude	product,	containing	about	6	per	cent,	water,
	is	known	in	the	trade	as	crude,	or	lump-potash.	It	is	evident	that	this	method	of
	boiling	down	may	cause	considerable	damage	to	the	iron	pans	;	therefore	in	many
	instances	the	operation	is	conducted	in	a	somewhat	different	manner.	The	liquid	is	kept
	stirred	with	iron	rakes,	and	the	salt,	instead	of	forming	a	hard	solid	mass,	is	obtained
	as	a	granular	powder,	containing	upwards	of	1	2	per	cent,	water.	Some	manufacturers
	first	separate	the	potassium	sulphate,	which,	being	less	soluble,	crystallises	before	the
	carbonate,	a	deliquescent	salt,	is	separated	from	the	liquor	;	in	most	cases,	however,
	this	operation	is	only	carried	on	where	the	potassium	sulphate	is	required	for	alum-
	making.	The	pearl-ash	or	potash	of	commerce	almost	invariably	contains	a	large
	quantity	of	potassium	sulphate.
	(c)	In	order	to	expel	all	the	water	and	to	destroy	the	organic	matter,	the	saline	mass
	is	calcined,	and	as	this	operation	was	formerly	performed	in	cast-iron	pots,	the	salt	has
	obtained	the	name	of	potash.	A	calcining	furnace,	Fig.	278,	is	now	used,	distinguished
	from	ordinary	reverberatory	furnaces	by	being	provided	with	a	double	fire-place.	These
	hearths,	one	of	which	is	exhibited	in	section	at	A,	Fig.	278,	are	placed	at	right	angles


428	SCIENCE,	INFORMATION,	DOCUMENTS	Chap.
	ace,	May	1,	1387.	The	five	original	chapters	afford	much
	valuable	evidence	as	to	the	changes	in	hunting	since	the
	Conquest.
	2.	MEDICAL	AND	PLANT	TREATISES
	PERI	DIDAXEON	[3],	in	MS.	Harley	6258	f.	83	v	(12th
	century),	is	a	collection	of	medical	recipes	in	captions,	break
	ing	off	in	the	midst	of	Caption	67.	The	source	is	indirectly	or
	partly	the	Practica	of	Petrocellus	or	Petronius	Salernitanus,
	written	about	1035.	The	English	piece	is	perhaps	of	the
	beginning	of	the	twelfth	century.
	MEDICINA	DE	QUADRUPEDIBUS	[4],	found	also	in
	several	earlier	MSS.,	is	in	MS.	Harley	6258	f.	44	(12th	cen
	tury).	This	prose	piece	gives	instructions	for	medical	use	of
	the	badger,	the	fox,	the	hare,	the	goat,	the	ram,	the	boar,	and
	the	wolf;	and	it	adds	several	special	cures	for	physical	ills.
	THE	SCIENCE	OF	CIRURGIE	[5]	is	an	English	prose
	version	of	Lanfranc's	elaborate	treatise.	It	was	composed
	perhaps	between	1387	and	1400,	and	is	preserved	in	MSS.
	Ashmole	1396	(?	c.	1380)	and	Br.	Mus.	Additional	12056	(c.
	1420).
	THE	HENSLOWE	MS.	RECIPES	[6]	are	in	a	manu
	script	of	before	1400	that	was	in	1899	in	the	possession	of
	Professor	J.	G.	Henslowe,	formerly	Lecturer	on	Botany	at	St.
	Bartholomew's	Hospital	Medical	School.	It	is	a	collection	of
	medical	recipes	in	English	prose	inserted	among	Latin	recipes.
	RECIPES	IN	THE	BRITISH	MUSEUM	[7].	In	Vol.
	101,	Class	Catalogue	of	MSS.	of	the	British	Museum	there	are
	various	entries	of	collections	of	medical	recipes	in	Latin,
	French,	and	English,	from	the	ninth	to	the	eighteenth	century.
	About	fifty	are	in	English,	and	about	forty	in	Latin,	of	the
	fourteenth	century.	Parts	of	the	English	recipes	(originally
	Northern)	of	MSS.	Harley	2378	(Southern),	Sloane	2584
	(Midland,	near	1400),	and	Sloane	521	(c.	1400,	by	a	scribe	of
	Norman	birth,	in	Kent),	have	been	edited.


X	MEDICAL	TREATISES	429
	STOCKHOLM	RECIPES	[8].	A	list	of	28	brief	recipes
	and	charms	for	physicians,	of	probably	the	end	of	the	four
	teenth	century	and	the	South-East	Midland,	is	in	MS.	Royal
	Library	Stockholm	Med.	Miscell.	XIV	(15th	century).	Of
	these	Items	10,	25,	26	are	Latin,	and	Item	24	is	French.	All
	the	items	are	in	prose	except	Item	27,	which	is	ababacac	of
	four-stress	lines.
	PHILLIPPS	RECIPES	[9].	A	more	extensive	originally
	Northern	prose	collection	of	medical	recipes,	is	on	a	fragment
	of	a	fourteenth-century	MS.	(No.	335)	formerly	owned	by
	J.	O.	Halliwell-Phillipps.	The	MS.	has	several	short	additions
	of	the	end	of	the	fourteenth	or	the	first	of	the	fifteenth	cen
	tury.	The	last	recipes	seem	to	go	back	to	Old	English	medical
	collections.
	STOCKHOLM-	ADDITIONAL	VERSE	RECIPES	[10].
	In	MSS.	Royal	Library	Stockholm	Med.	Miscell.	XIV	(15th
	century)	and	Br.	Mus.	Additional	17866	f.	5	r	(early	15th
	century)	,	is	a	group	of	medical	recipes	in	short	couplets.	The
	two	MSS.	vary	considerably	from	each	other.	The	Stockholm
	MS.	consists	of	496	verses	of	prescriptions,	followed	by	965
	verses	of	a	medico-botanical	nature.	In	the	Additional	MS.
	the	medico-botanical	section	comprises	753	verses,	and	pre
	cedes	370	verses	of	prescriptions.	Both	MSS.	show	traces	of
	a	Northern	dialect.
	FIFTEENTH-CENTURY	RECIPES	[11].	A	collection
	of	medical	recipes	of	considerable	extent	is	in	MSS.	Br.	Mus.
	Additional	33996,	Sloane	3153,	Royal	17	A	III,	Royal
	19,	674,	Harley	1600,	and	Sloane	405.	The	matter	was	writ
	ten	down	perhaps	by	several	hands	in	1400-1450.	Additional
	at	least	was	probably	of	the	Southern	East	Midland,	with	its
	second	part	of	a	more	Northerly	character.
	Other	collections	or	short	scraps	of	the	fifteenth	century	are
	listed	by	Heinrich	in	his	edition	of	the	above	collection,	and
	others	may	be	found	in	Reliquice	Antique?.


X	SCIENCE,	INFORMATION,	DOCUMENTS	833
	Sahlender	Engl.	Jagd,	Jagdkunde	u.	Jagdliteratur,	Leipzig	1895;	Sahlender
	Das	Engl.	Jagdwesen	in	seiner	Oeschichtlichen	Entwicklung,	Dresden	and
	Leipzig	1898;	Werth	Altfranzosische	Jagdlehrbiicher,	Halle	1889;	Bieder-
	mann	Ergdnzungen	zu	Werths	.	.	.	,	ZsfRPh	1897.pt.2.	See	Borchers
	Die	Jagd	in	den	Me.	Romanzen,	Kiel	diss.	1912.
	[2]	THE	MASTER	OF	GAME.	Ed.	Baillie-Grohman,	L.	1904	(hand
	some	print,	illustr.),	q.v.	for	accts.	of	MSS.,	bibliogr.,	of	hunting	treatises
	to	16th	century	cheaper	issue	Chatto,	L.	1909;	the	ed.	by	Mylo	and	Hahn
	announced	as	Palaestra	19,	not	issued	by	Sept.	1915.	Mylo	Das	Verhdltnis
	des	Hds.	des	Me.	Jagdbuches	(	M.	of	G.,'	Berlin	diss.	1908;	Hammond
	Chaucer:	A	Bibliogr.	Manual	379.
	2.	MEDICAL	AND	PLANT	TREATISES
	[3]	PERI	DIDAXEON.	Ed.	Cockayne	Saxon	Leechdoms,	Rolls	Ser.,
	L.	1864-6,	3.81;	Lowenack,	Erl	Beitr	12	(crit.	LitBl	20.65).	Schiessl	Laut-
	u.	Flexionsverhaltnisse	d.	.	.	.	P.	D.,	Munchen	1905.
	[4]	MEDICINA	DE	QUADRUPEDIBUS.	Ed.	Cockayne	op.	cit.	1.326
	and	preface;	Delcourt,	AnglForsch	40,	Heidelberg	1914	(see	MLR	10.128).
	[5]	THE	SCIENCE	OF	CIRURGIE.	Ed.	EETS	102	(both	MSS.).
	Schofield	465.
	[6]	HENSLOWE	MS.	RECIPES.	Ed.	Henslowe	Medical	Works	of	the
	14th	Cent.,	L.	1899,	1-74	(notes	by	Skeat).
	[7]	RECIPES	IN	BRIT.	MUS.	Ed.	Henslowe	op.	cit.	76,	123,	132.
	[8]	STOCKHOLM	RECIPES.	Ed.	Angl	19.75.
	[9]	PHILLIPPS	RECIPES.	Ed.	Rel	Ant	1.51.
	[10]	STOCKHOLM-ADDITIONAL	RECIPES.	Ed.	Stock.,	Archaeol
	30.349;	Angl	18.293	(see	Angl	21.442);	Addit.,	Angl	34.163.
	[11]	FIFTEENTH-CENTURY	RECIPES.	Ed.	Heinrich	Ein	Me.
	Medizinbuch,	Halle	1896	(crit.	Ctbl	1896.1674;	Arch	99.170;	AnglBbl	7.233).
	[12]	JOHN	OF	ARDERNE'S	TREATISES.	Ed.	EETS	139	(Fistula
	only).
	[13]-[14]	TREATISE	ON	BLOOD-LETTING	and	VIRTUES	OF
	HERBS.	Ed.	Rel	Ant	1.189,	194.
	[15]	HERBARIUM	APULEII.	Ed.	Cockayne	Saxon	Leechdoms	1.1;
	Berberich	AnglForsch	5	(includes	diss.	of	1900;	crit.	LitBl	1902.285).
	3.	GLOSSES
	[16]	MODERN	COMPILATIONS	OF	PLANT-NAMES.	Pr.	Earle
	English	Plant-Names;	Henslowe	Med.	Works	of	the	14th	Cent.,	L.	1899,
	147.


QO	QUEEN	MARY.
	his	master	was	able	with	difficulty	to	hold	over	that	small
	and	peculiar	state.	The	rigidness	of	the	rule	by	which	he
	and	his	brethren	of	the	clergy	had	resolved	to	walk	is
	better	exemplified	by	one	exceptional	case	of	backsliding
	than	by	their	professions	of	godliness.	One	of	the	new
	clergymen	Paul	Methven,	minister	of	Jedburgh	was	ac-
	cused	of	connubial	infidelity.	Instead	of	any	effort	to	con-
	ceal	this	reproach	to	their	body,	they	proclaimed	it	aloud
	as	an	awful	and	inscrutable	judgment,	and	hunted	the
	accused	man	until,	whether	guilty	or	not,	he	fled	from
	his	pursuers.	He	had	a	claim	that	would	have	served
	him	well	in	any	Church	disposed	to	hide	the	frailties	of	its
	zealous	champions,	for	he	had	the	glory	of	martyrdom.
	We	find	him	outlawed	in	1559	for	"	usurping	the	authority
	and	ministry	of	the	Church,"	and	addressing	large	assem-
	blies	in	Dundee	and	Montrose.	1	The	excitement	aroused
	in	a	considerable	body	of	men	by	the	revelation	among
	them	of	this	one	black	sheep,	points	to	the	conclusion
	that	such	sins	were	rare	in	the	community	to	which	Meth-
	ven	belonged.	Had	there	been	other	instances	of	flagrant
	offence,	these	too	would	have	been	made	known	;	for	it
	was	a	peculiarity	of	the	Presbyterian	bodies	to	blazon	the
	infirmities	of	their	own	members	as	judgments	and	warn-
	ings,	while	those	of	the	opposite	religion	were	dealt	with
	by	ecclesiastical	superiors,	and	shrouded	in	what	they
	deemed	decorous	privacy.
	While	thus	perplexed	by	immoralities	without	and
	within,	the	new	Church	had	to	look	to	the	more	serious
	question	of	its	own	safety,	and	the	preservation	of	the
	Reformed	faith.	The	question,	which	party	should	be	su-
	preme	in	Scotland,	seemed	to	depend	so	much	upon	the
	queen's	marriage,	that	both	preserved	a	sort	of	armed
	neutrality	until	that	event	should	take	place,	and	declare
	for	the	one	or	the	other.	The	anxiety	on	the	point	tra-
	1	Pitcairn's	Criminal	Trials,	I.	407.	Randolph	relating	the	scandal	to
	Cecil,	as	a	morsel	of	important	news,	calls	him	"	a	preacher	brought
	up	under	Mr	Coverdale	"	the	translator	of	the	Bible,	we	must	sup-
	pose	;	and	that	"	he	has	escaped	into	England,	or	was	drowned	in
	crossing	the	water	thitherwards."	Calendar	of	State	Papers	(Foreign),
	22d	January	1562.


CAPTAIN	JINKS
	THE	SERVANT.	Madame	Trentoni	regrets	she	is
	out!	[He	places	their	two	cards	on	top	of	the	card-
	receiver.	There	is	a	knock	on	the	hall	door.	The	Ser-
	vant	goes	to	open	it]
	CHARLIE.	Jinks,	1	11	bet	you	!
	The	Servant	opens	the	door	and	Captain	JINKS
	enters.
	CAPTAIN	JINKS.	Madame	Trentoni	?	[Sees	the	two
	other	men\	he	is	not	pleased,	and	bows	coolly	to	them.]
	How	are	you	!
	CHARLIE.	Madame	Trentoni	is	out;	we	Ve	just
	sent	up	our	cards.
	CAPTAIN	JINKS	[giving	one	of	his	cards	to	the
	Servant].	Oh,	well,	perhaps	you	didn't	have	trumps!
	Try	this	one	!
	THE	SERVANT.	Yes,	sir.	[He	goes	out]
	CHARLIE.	Well,	have	you	worked	it	up	your
	flirtation	?
	CAPTAIN	JINKS	[very	quietly]	No.
	CHARLIE.	Then	what	are	you	doing	here	?
	CAPTAIN	JINKS	[firmly]	That	's	my	affair.
	CHARLIE.	If	you	think	you	are	going	to	marry
	this	lady
	CAPTAIN	JINKS	[still	quietly	but	with	tension].
	That	'sher	affair.


AESTHETICS.	203
	are	represented	in	them	having	individual	features,	are	related
	to	dramatic	art.	The	historian,	however,	is	restricted	by	facts
	and	by	the	actual	order	of	events	;	and	the	end	of	philosophic
	writing	is	not	the	concrete	presentation	of	character,	but
	truth	in	its	generality.	Here	therefore	the	artistic	element
	either	expresses	itself	imperfectly	or	is	something	extraneous	to
	the	end	of	the	writer.	Again	oratory,	in	its	emotional	element,
	has	a	certain	resemblance	to	lyric	poetry.	But	in	listening	to
	an	oration	the	mind	is	not	allowed	to	rest	in	aesthetic	enjoy
	ment	;	an	appeal	is	made	to	the	will	:	hence	poetry	does	not
	permit	the	rhetorical	except	as	an	element	in	a	whole,	as	for
	example	in	the	drama.
	It	has	been	said	that	the	true	antithesis	of	poetry	is	not
	prose	but	science.	Prof.	Carriere	s	discussion	of	the	relations
	of	the	various	forms	of	literary	art	shows	us	in	what	sense	this
	may	be	accepted.	We	may	say	with	a	certain	truth	that	prose
	is	antithetical	to	poetry	not	in	itself,	but	only	in	so	far	as	it	is
	the	organ	of	science	;	but	we	may	equally	well	select	another
	use	to	which	prose	may	be	put,	namely,	its	use	as	a	means	of
	influencing	action,	and	oppose	this	at	once	to	its	artistic
	elaboration	and	to	its	use	as	a	means	of	communicating
	knowledge.	In	this	way	we	arrive	at	rhetoric	as	a	second
	antithesis	to	poetry.	This	antithesis	is	better	than	the	first	;
	for,	as	has	been	seen,	it	is	especially	by	the	absence	of	disin
	terestedness	that	oratory	is	distinguished	from	lyrical	verse	;
	and	disinterestedness	has	been	selected	as	pre-eminently	the
	character	of	art.	On	further	reflection	we	find	that	this
	character	of	disinterestedness	ought	not	to	be	taken	absolutely
	as	the	character	of	art,	but	is	really	common	to	it	with	science
	and	philosophy.	Now	7	rhetoric,	with	respect	to	this	character,
	is	equally	opposed	to	philosophy	and	science	on	the	one	hand
	and	to	art	on	the	other.	And	the	best	critics	have	found	the
	rhetorical	spirit	as	inconsistent	with	the	spirit	of	poetry	as	it
	is	with	the	spirit	of	philosophy.	On	the	contrary	there	is	no
	absolute	inconsistency	between	poetry	and	science.	A	truth
	of	science,	as	Prof.	Carriere	says,	may	become	poetical	under
	impassioned	contemplation.
	The	element	of	"strangeness"	in	beauty,	referred	to	in	a


IDEALISM	31
	already	transferred	nature	into	the	mind,	and	left	matter
	like	an	outcast	corpse.
	4.	Intellectual	science	has	been	observed	to	beget	in
	variably	a	doubt	of	the	existence	of	matter.	Turgot	said,
	"He	that	has	never	doubted	the	existence	of	matter,	may
	be	assured	he	has	no	aptitude	for	metaphysical	inquiries."
	It	fastens	the	attention	upon	immortal	necessary	uncreated
	natures,	that	is,	upon	Ideas;	and	in	their	presence,	we	feel
	that	the	outward	circumstance	is	a	dream	and	a	shade.
	Whilst	we	wait	in	this	Olympus	of	gods,	we	think	of	nature
	as	an	appendix	to	the	soul.	We	ascend	into	their	region,
	and	know	that	these	are	the	thoughts	of	the	Supreme	Be
	ing.	"These	are	they	\vho	were	set	up	from	everlasting,
	from	the	beginning,	or	ever	the	earth	was.	When	he	pre-
	pard	the	heavens,	they,	were	there;	when	he	established	the
	clouds	above,	when	he	strengthened	the	fountains	of	the
	deep,	then	they	were	by	him,	as	one	brought	up	with	him.
	Of	them	took	he	counsel."
	Their	influence	is	proportionate.	As	objects	of	science,
	they	are	accessible	to	few	men.	Yet	all	men	are	capable
	of	being	raised	by	piety	or	by	passion,	into	their	region.
	And	no	man	touches	these	divine	natures,	without	becom
	ing,	in	some	degree,	himself	divine.	Like	a	new	soul,	they
	renew	the	body.	We	become	physically	nimble	and	light
	some;	we	tread	on	air;	life	is	no	longer	irksome,	and	we
	think	it	will	never	be	so.	No	man	fears	age	or	misfortune
	or	death,	in	their	serene	company,	for	he	is	transported	out
	of	the	district	of	change.	Whilst	we	behold	unveiled	the
	nature	of	Justice	and	Truth,	we	learn	the	difference	between
	the	absolute	and	the	conditional	or	relative.	We	appre
	hend	the	absolute.	As	it	were,	for	the	first	time,	we	exist.
	We	become	immortal,	for	we	learn	that	time	and	space	are
	relations	of	matter;	that,	with	a	perception	of	truth,	or	a
	virtuous	will,	they	have	no	affinity.
	5.	Finally,	religion	and	ethics,	which	may	be	fitly	called,
	the	practice	of	ideas,	or	the	introduction	of	ideas	into
	Jife,	have	an	"analogous	effect	with	all	lower	culture,	in
	degrading	nature	and	suggesting	its	dependence	on	spirit.
	Ethics	and	religion	differ	herein;	that	the	one	is	the	system


THE	POET	419
	extraordinary.	If	a	man	is	inflamed	and	carried	away	by
	his	thought,	to	that	degree	that	he	forgets	the	authors	and
	the	public,	and	heeds	only	this	one	dream,	which	holds	him
	like	an	insanity,	let	me	read	his	paper,	and	you	may	have	all
	the	arguments,	and	histories,	and	criticism.	All	the	value
	which	attaches	to	Pythagoras,	Paracelsus,	Cornelius	Agrippa,
	Cardan,	Kepler,	Swedenborg,	Schelling,	Oken,	or	any	other
	who	introduces	questionable	facts	into	his	cosmogony,	as
	angels,	devils,	magic,	astrology,	palmistry,	mesmerism,	and
	so	on,	is	the	certificate	we	have	of	departure	from	routine,
	and	that	here	is	a	new	witness.	That	also	is	the	best	success
	in	conversation,	the	magic	of	liberty,	which	puts	the	world,
	like	a	ball,	in	our	hands.	How	cheap	even	the	liberty	then
	seems;	how	mean	to	study,	when	an	emotion	communicates
	to	the	intellect	the	power	to	sap	and	upheave	nature:	how
	great	the	perspective!	nations,	times,	systems,	enter	and	dis
	appear,	like	threads	in	tapestry	of	large	figure	and	many
	colors;	dream	delivers	us	to	dream,	and,	while	the	drunken
	ness	lasts,	we	will	sell	our	bed,	our	philosophy,	our	religion,
	in	our	opulence.
	There	is	good	reason	why	we	should	prize	this	liberation.
	The	fate	of	the	poor	shepherd;	who,	blinded	and	lost	in	the
	snow-storm,	perishes	in	a	drift	within	a	few	feet	of	his
	cottage	door,	is	an	emblem	of	the	state	of	man.	On	the
	brink	of	the	waters	of	life	and	truth,	we	are	miserably
	dying.	The	inaccessibleness	of	every	thought	but	that	we
	are	in,	is	wonderful.	What	if	you	come	near	to	it,	you
	are	as	remote	when	you	are	nearest	as	when	you	are	farthest.
	Every	thought	is	also	a	prison;	every	heaven	is	also	a	prison.
	Therefore	we	love	the	poet,	the	inventor,	who	in	any	form,
	whether	in	an	ode,	or	in	an	action,	or	in	looks	and	be
	havior,	has	yielded	us	a	new	thought.	He	unlocks	our
	chains,	and	admits	us	to	a	new	scene.
	This	emancipation	is	dear	to	all	men;	and	the	power	to
	impart	it,	as	it	must	come	from	greater	depth	and	scope	of
	thought,	is	a	measure	of	intellect.	Therefore	all	books	of
	the	imagination	endure,	all	which	ascend	to	that	truth,
	that	the	writer	sees	nature	beneath	him,	and	uses	it	as
	his	exponent.	Every	verse	or	sentence,	possessing	this


SUSPICIONS	OF	PLOTS.]
	HISTORY	OF	SCOTLAND.
	[A.D.	1582.
	with	other	of	the	duke's	friends,	are	looked
	to	come	shortly	after.	Besides	the	earl	of
	llothes,	the	lord	Ogilby,	the	abbot	of	New-
	bottle,	and	such	like,	do	still	remain	in	this
	town	beyond	their	appointed	diet.	Sundry
	other	lords	absent	are	seen	to	lean	more	to
	the	duke	than	standeth	with	their	promises	;
	and	some	of	the	duke's	instruments	and
	other	lately	drawn	aside,	do	now	boldly
	offer	themselves	very	familiarly	to	the	king's
	presence.	Thus	the	chief	strength	and	party
	to	the	duke	are	suddenly	flocked	together	;
	and	himself	being	suspected	to	be	near
	hand,	maketh	some	think	that	some	hasty
	enterprise	shall	be	immediately	attempted."
	The	suspicions	excited	by	these	arrivals
	were	somewhat	diminished	by	the	explana-
	tions	given	by	the	king.	"The	king	ap-
	peareth	to	be	thorouglily	persuaded	that	this
	practice,	if	any	such	shall	be,	is	chiefly
	meant	to	hinder	his	course	intended	to	be
	taken	with	her	majesty;	and	he	thinketh
	that	both	these	men	come	lately,	and	also
	some	others	with	him	before,	do	not	greatly
	like	of	the	progress	of	his	course	with	her
	majesty	;	wherein	he	seemeth	to	be	resolute,
	promising	to	proceed	effectually	and	per-
	form	constantly.	Montrose	is	called	hither
	by	the	letters	of	the	king,	who	intendeth	to
	compound	the	griefs	betwixt	Angus	and
	Moutrose,	wherein	no	little	difficulty	will	be
	found.	Morton	is	charged	to	appear	to	an-
	swer	for	matters	in	the	office.	Crawford	will
	depart	this	night	to	Leith,	and	so	return
	home	;	and	Hume	will	be	gone	to-morrow,
	as	he	hath	told	the	king.	The	departure	of
	these,	and	sight	of	the	provision	immediately
	to	be	made,	are	like	to	stay	the	repair	of
	Iluntley	and	others;	so	as	this	storm,	gen-
	erally	doubted	(feared),	is	likely,	by	God's
	grace,	to	blow	over	without	so	sudden	in-
	conveniences	as	were	feared.	The	king	was
	contented	to	give	order	and	commandment
	both	to	the	lords	lately	come,	to	keep	no
	greater	companies	than	ordinarily	they	used,
	and	these	without	armour,	and	also	to	the
	provost	of	Edinburgh	to	take	and	imprison
	any	person	found	armed."
	On	the	last	day	of	November,	Bowes	had
	an	audience	of	the	king,	to	deliver	the
	passport	for	the	duke	of	Lennox's	passage
	through	England.	"	The	king,	receiving	the
	passport	with	great	joy	and	contentment,
	said	openly	that	now	no	excuse	should	serve
	to	delay	the	duke's	departure,	commanding
	the	assembly	of	the	council	to	that	day	for
	the	execution	of	the	same	;	wherein	he	is	so
	earnest,	as	I	needed	little	to	persuade	the
	160
	expedition.	Nevertheless,	for	the	surety	and
	furtherance	thereof,	1	moved	the	king	and
	council,	whereupon	Mr.	David	Collesse	is
	again	chosen,	and	was	on	Sunday	last	sent
	to	the	duke,	with	the	king's	letter	and	com-
	mandment	for	the	duke's	immediate	depar-
	ture	by	land,	or	by	sea,	at	his	own	choice.
	Mr.	David	hath	direction	to	take	order	for
	his	indilate	passage	one	way,	or	otherwise,
	upon	his	denial	or	delay,	to	let	him	know
	that	the	act	made	at	Stirling	shall	be	put	in
	practice	with	all	possible	speed,	and	that	the
	king	will	severely	punish	his	contempt	and
	shameful	abusing	his	favour	towards	him.
	For	the	more	hastening	of	his	departure,
	the	king,	out	of	his	small	store,	hath	sent
	him	five	hundred	crowns	towards	the	charges
	in	his	voyage,	knowing	that	the	duke	hath
	little	money	in	his	coffers.	Mr.	David	is
	purposed	to	return	with	resolute	order,
	within	two	or	three	days	at	the	furthest.
	And	it	is	now	resolved	that	the	duke	shall
	either	depart	presently	without	drift	or	ex-
	cuse,	or	else	to	be	pursued	and	punished
	with	speed	for	his	disobedience;	wherein	I
	shall	within	a	few	days	give	you	advertise-
	ment	with	more	certainty.	The	king,	un-
	derstanding	well	the	present	dangers,	both
	towards	his	own	person,	and	also	for	the
	alteration	of	this	state,	and	to	give	the	more
	occasion	to	hasten	the	duke's	departure,	is
	well	pleased	and	very	desirous	to	have	a
	guard	immediately	to	be	levied	and	planted
	about	him	for	his	safety,	and	the	benefits	of
	these	causes	remembered.	And	albeit	the
	earl	of	Gowrie	and	others	have	hitherto
	stayed	the	same	for	especial	respect	seen	to
	themselves,	yet	upon	the	sight	of	the	perils
	lately	passed,	and	to	avoid	the	inconveniences
	appearing	to	be	still	intended,	it	is	con-
	cluded,	and	that	in	high	time,	that	a	hun-
	dred	horsemen	and	a	hundred	footmen	shall
	be	listed	and	put	in	pay,	under	colonel	Stu-
	art,	to	attend	on	the	king's	person."	Even
	for	these	small	measures	of	defence,	the
	English	ambassador	was	obliged	to	make	an
	advance	of	money.
	Bowes	had	soon	reason	to	be	convinced
	of	the	accuracy	of	his	information	relating
	to	the	new	plan	of	revolution,	and	it	was	his
	watchfulness	alone	that	prevented	it.	It
	appears	to	have	been	arranged	that	on	pre-
	tence	of	proceeding	to	Blackness	for	the
	purpose	of	embarking,	the	duke	of	Lennox
	was	suddenly	to	approach	the	capital,	iu
	order	to	be	ready	to	take	advantage	of	th&
	change	which	was	to	be	made	at	court.
	The	day	fixed	for	this	attempt	was	the	4th


XXXVII
	But	if	by	wasting	of	thy	natural	might
	Thy	soul	has	added	nothing	to	its	height,
	How	durst	thou	hope	for	perfectness	or	ease,
	Or	with	celestial	raiment	to	be	dight?
	XXXVIII
	And	didst	thou	know	none	other	life	could	be
	Than	this	which	holds	such	treasured	wealth	for	thee,
	Thy	Duty	s	star	would	burn	as	bright	as	though
	It	lit	thy	path	to	immortality.
	XXXIX
	Words	cannot	save	thee	though	they	be	of	gold
	Beyond	all	value	earth	has	ever	told,
	And	though	with	collocation	s	art	they	seem
	From	out	divinest	sources	to	have	rolled.
	XL
	The	generations	ever	come	and	go
	On	vasty	seas	of	blended	joy	and	woe,
	But	what	the	deep-hid	meaning	of	it	all
	It	matters	not	for	curious	thee	to	know.
	1	14


Dendy	Young,	a	sophomore	from	Rhodesia,	and	Bob	Lindgren,	another	freshman	from
	Illinois.	Bob	Swanson	was	my	bunkmate.	He	was	a	junior	at	the	time,	a	very	friendly	guy.
	He	gave	tours	on	campus,	as	a	part-time	job,	so	he	would	show	us	freshmen	around	campus.
	He	was	always	very	friendly	to	underclassmen,	taught	us	the	ropes,	would	get	us	dates,	and
	would	draft	us	into	house	social	events.	So	that	s	how	I	met	Bob.
	It	turned	out	Bob	was	a	chemistry	major.	He	was	the	only	chemistry	major	in	the	house.
	There	were	ten	members	of	my	freshman	pledge	class.	Most	of	them	ended	up	going	into
	engineeringelectrical	engineering,	chemical	engineering	one	went	into	math,	a	couple
	went	into	management.	I	ended	up	in	chemistry.	In	high	school	I	really	liked	physics,	but	at
	M.I.T.	we	were	already	doing	special	relativity	by	the	second	course,	8.02,	and	the	physics
	was	all	math,	a	mathematical	science,	not	something	you	could	physically	touch,	whereas
	chemistry	was	more	of	a	real	physical	science	which	I	personally	could	relate	to.	There	were
	a	lot	of	cookbook	aspects	to	chemistry,	doing	experiments,	a	lot	of	lab	work,	but	it	was	just
	for	me	intuitively	easier.	That	s	about	all	I	can	say	about	it.	Because	Bob	was	the	only	other
	chemistry	major	in	the	house,	we	developed	a	friendship.	He	would	tell	me	about	professors
	and	courses,	and	we	d	talk	about	areas	of	interest.
	Bugos:	But	not	chemical	engineering?
	Middleton:	Not	chemical	engineering.	I	tried	chemical	engineering,	and	it	had	a	lot	of	approximating
	about	tanks,	pressure	vessels,	distillation	towers,	etc.	I	found	it	pretty	difficult,	in	that	it	was
	not	to	my	liking.	I	just	did	pure	chemistry,	the	science	of	chemistry-doing	lab	work,
	figuring	out	pathways	for	synthesis,	understanding	matter.	When	I	look	back	at	it,	I	would
	have	to	say	it	was	a	pretty	general	educationa	good	general	background	in	learning	what
	chemistry	is	and	how	it	works.
	M.I.T.	Biochemistry	CourseBiology	7.05
	Middleton:	One	thing	that	did	intrigue	me-	I	was	taking	other	courses.	I	did	take	some	chemical
	engineering	courses,	in	terms	of	how	you	build	a	chemical	plant	or	a	refinery.	I	took	some
	courses	in	astronomy,	in	materials	sciences,	and	I	took	some	courses	in	biochemistry.	There
	was	a	course	7.05.	It	was	called	an	introduction	to	biochemistry.	About	two-thirds	of	the
	students	in	the	class	were	graduate	students.	M.I.T.	didn	t	have	a	medical	school,	but	they
	did	a	lot	of	medical	research.	The	students	who	were	planning	to	go	to	medical	school	took
	this	course.	It	was	an	extremely	broad-based	and	rigorous	survey	course	about	biochemical
	pathways,	DNA,	RNA,	proteins,	and	the	relationship	to	genetics.	It	had	to	do	with	the	latest
	trends	in	genetics,	[tape	interruption]
	So	the	first	introduction	I	had	to	genetics	and	biochemistry	and	the	whole	field	of	science
	that	resulted	in	Genentech	was	through	this	course	which	I	found	to	be	just	an	absolutely
	fascinating	course.	One	of	the	textbooks	was	James	D.	Watson	s	Molecular	Biology	of	the
	Gene,	which	was	a	mainstay	textbook	early	on.	You	learned	about	E.	coli	and	the	genetic
	code.	This	was	in	the	mid-1960s,	and	the	genetic	code	was	just	being	deciphered.	At	this
	point	it	was	maybe	two-thirds	deciphered.	I	remember	in	the	lectures	some	of	this	was	very
	logical	in	terms	of	how	the	proteins	were	made	from	codons,	and	so	forth.	There	were	still


ARCHBISHOP	SHARP.	81
	and	prayers,	and	heartily	recommend	you	to	the	Lord's
	grace,	in	whom	we	are	your	loving	brethren	and	fellow
	labourers	in	the	work	of	the	gospel.
	(Signed)	"	Edm.	Calamy.
	Simeon	Ashe.
	"	London,	10th	August,	1660."	Tho.	Manton."
	"	Directed	to	our	Reverend	and	highly	esteemed	Brethren,
	Mr.	David	Dickson,	Mr.	Robert	Douglass,	Mr.	James
	Hamilton,	Mr.	John	Smith,	Mr.	George	Hutchinson,
	Edinburgh."
	Had	there	been	any	just	cause,	for	accusing
	Mr.	Sharp,	or	even	any	suspicion	of	his	integrity,
	no	better	opportunity	presented	itself	than	the
	present,	for	either	roundly	charging	him	with
	treachery	or	of	putting	their	friends	in	Scotland
	on	their	guard.	Not	a	word	is	said	in	allusion
	to	any	past	or	meditated	treachery;	so	far	from
	it	that	Mr.	Sharp's	integrity	is	clearly	implied.
	'Gillespie,	undoubtedly,	did	act	a	treacherous	part
	towards	the	Presbyterians,	without	being	able	to
	plead	the	palliation	of	temptation	;	for	he
	OFFERED,	of	his	own	accord,	to	go	all	lengths,
	towards	the	restoration	of	the	ancient	church,
	and	"	gave	all	assurance	that	he	would	do	the
	king	service	to	his	utmost,	and	nothing	could	be
	enjoined	to	him	for	promoting	thereof	t	which
	he	would	not	most	faithfully	and	vigorously
	obey	and	perfect,"	to	effect	that	purpose.	Yet
	not	a	word	of	Gillespie's	base	treachery	has	ever


22	JAMES	CLARKE	AND	CO.	S
	I/-
	Tasty	Dishes.	A	Choice	Selection	of	Tested	Recipes,	showing
	what	we	can	have	for	Breakfast,	Dinner,	Tea	and	Supper.
	It	is	designed	for	people	of	moderate	means	who	desire
	to	have	pleasant	and	varied	entertainment	for	themselves
	and	their	friends.	It	is	a	book	of	genuine	and	tested	informa
	tion.	New	Edition.	Thoroughly	revised	and	brought	up	to
	date,	130th	Thousand.	Crown	8vo,	Is,
	"	No	home	ought	to	be	withomt	this	timely,	useful,	and	practical	family
	friend."	Brighton	Gazette.
	*More	Tasty	Dishes.	A	Book	of	Tasty,	Economical,	and	Tested
	Recipes.	Including	a	Section	on	Invalid	Cookery*	A	Supple
	ment	to	"	Tasty	Dishes."	New	Edition.	Price	Is,
	"	Every	recipe	is	so	clearly	stated	that	the	most	inexperienced	cook	could
	follow	them	and	make	dainty	dishes	at	a	small	cost."	Pearson	t	Weekly.
	"	The	recipes	given	have	been	carefully	tried	and	not	been	found	wanting,"
	The	Star.
	Our	Girls	Cookery.	By	the	Author	of	"Tasty	Dishes."
	Crown	8vo,	linen,	Is,
	"	A	most	artistic-looking	little	volume,	filled	with	excellent	recipes,	that
	are	given	so	clearly	and	sensibly	that	the	veriest	tyro	in	the	culinary	art	will
	be	able	to	follow	them	as	easily	as	possible."	The	Lady.
	"	The	contents	are	varied	and	comprehensive.	.	.	&gt;	The	directions
	given	are	clear	and	reliable,	each	recipe	having	been	specially	tested."
	Dundee	Advertiser,
	Tommy,	and	Other	Poems,	for	Recitation.	By	RTJDYAED
	KIPLING,	LEWIS	CABBOLL,	NOBMAN	GALE,	HAT.	FINDON,	MAY
	KENDALL,	CONSTANCE	E.	NADEN,	MARY	E.	MANNERS,	and
	"	P."	Edited	by	F.	H.	FISHEB,	B.A..	I.C.S.,	Barrister-at-
	Law	Paper,	Is,
	Oliver	Cromwell.	By	R.	F.	HOBTON,	D.D.,	Author	of	"	John
	Howe,"	"	The	Teaching	of	Jesus,"	&c.,	&c.	Fourth	Edition,
	Fifteenth	Thousand.	Is,
	Special	Edition	on	hand-made	paper,	Half-vellum	binding,	7s.	Qd.
	Rome	from	the	Inside;	or,	The	Priests	Revolt.	Translated
	and	Compiled	by	"	J.	B."	of	The	Christian	World.	Third
	Thousand,	Fcap.	8vo,	price	Is.
	This	pamphlet	may	be	described	in	brief	as	a	record	of	the
	new	revolt	in	the	French	priesthood.	Its	contents	are	chiefly
	letters	and	addresses	from	priests	and	ex-priests.	These,	it
	will	be	recognised	at	once,	are	a	testimony	of	the	very	first
	order	as	to	what	modern	Rome	really	stands	for	in	relation
	to	spiritual	life,	to	morality,	and	to	intellectual	progress.


RIP	VAN	WINKLE.	171
	HENDRICK.
	Poor	old	fellow	;	he	s	crazy.	Rip	Van	Winkle
	has	been	dead	these	twenty	years.	I	knew	him
	when	I	was	a	child.
	RIP.
	Clutching	at	a	faint	hope.
	You	don	t	know	me?
	HENDRICK.
	No	;	nor	anybody	else	here,	it	seems.
	The	villagers,	finding	that	there	is	to	be	no
	amusement	for	them,	straggle	off	to	their
	occupations.
	SETH.
	As	he	goes	into	the	inn.
	Why,	wife,	he	s	as	cracked	as	our	old	teapot.
	RIP.
	With	simple	pathos.
	Are	we	so	soon	forgot	when	we	are	gone?
	No	one	remembers	Rip	Van	Winkle.
	HENDRICK.
	Come,	cheer	up,	my	old	hearty,	and	you	shall
	share	my	breakfast.
	Assists	Rip	to	sit	at	the	table.	Rip	has
	fallen	into	a	dream	again.
	To	Katchen.
	Bring	us	enough	for	three,	and	of	your	best.


91
	Coliver:	Our	first	apartment	was	on	2340	Pacific	Avenue.	That	was	between	Fillmore	and
	Steiner,	in	a	building	owned	by	one	of	my	mother	s	relatives.	The	first	thing	I	did	was	to
	paint	the	kitchen	red.	I	ve	got	red	again.	And	my
	Glaser:	Is	that	your	symbol	of	good	luck?
	Coliver:	No,	but	I	love	red,	dark	red.	But	this	was	a	fire-engine	red.	My	aunt	looked	at	it	and
	fainted.	She	said,	"We	ll	never	get	it	off	when	you	leave."	We	set	up	house	there.	We	had
	our	honeymoon	in	Palm	Springs,	at	a	hotel	that	s	still	going,	Desert	Inn.	We	had	another
	fight	there.
	Glaser:	When	you	mention	your	fights,	did	you	fight	because	you	were	so	similar	or	so
	dissimilar?
	Coliver:	Because	we	re	so	similar,	in	many	ways.	The	differences	that	I	worried	about	really
	didn	t	become	differences.	I	thought	the	differences	would	be	ideological	because	he
	was	more	conservative	than	I	was,	but	the	difference	became	personal.	I	had	had	a
	number	of	boyfriends	before,	and	he	never	trusted	me.	He	was	a	very	jealous	man.
	Every	man	I	would	look	at,	he	would	be	jealous	of,	so	this	corroded	our	marriage.
	Glaser:	Did	this	start	even	before,	at	the	time	of	your	engagement,	when	you	were	fighting	so
	much?
	Coliver:	Yes,	it	started	even	at	our	honeymoon.	There	was	a	painter	who	did	our	portrait,	one	of
	those	street	painters,	and	my	husband	accused	me	of	being	in	love	with	the	painter.	I
	said,	"I	looked	at	the	man	once."	So	we	had	a	fight	about	that.	But	our	fighting	was	also
	what	you	might	call	a	sort	of	communication.	We	didn	t	talk,	we	fought.	When	we	got
	divorced	thirty-one	years	later,	our	children	missed	it	because	they	missed	the
	communication	we	had	among	ourselves.	I	m	not	sure	whether	we	ought	to	put	that	into
	the	oral	history	or	not.	There	it	is.
	When	we	came	back	to	our	empty	apartment,	my	mother	had	stocked	the	refrigerator
	with	all	sorts	of	things,	including	a	smoked	tongue.	I	didn	t	know	how	to	cook.	I	had
	also	told	myself,	I	never	want	to	marry	a	man	unless	he	is	a	very	good	cook	or	doesn	t
	know	how	to	boil	an	egg.	Norm	was	the	latter;	I	didn	t	know	how	to	boil	an	egg,	myself.
	When	we	got	to	the	kitchen	and	I	was	making	the	first	dinner,	I	just	put	the	tongue	into
	hot	water	and	boiled	it	for	ten,	twenty	minutes.	Of	course,	it	was	tough	because	it	had
	never	been	cooked	before.	I	sliced	it,	and	my	husband	dutifully	ate	it	and	chewed	and
	chewed	and	chewed.	"Very	good,"	he	said.	Of	course,	nobody	could	eat	it.
	That	was	the	first	experience.	I	never	took	cooking	lessons,	but	I	really	concentrated	on
	cooking,	and	I	did	much	more	complicated	cooking	in	those	days	than	I	do	now,
	because	I	lived	out	of	cookbooks.	I	still	have	those	cookbooks.
	Glaser:	How	soon	were	your	children	born?
	Coliver:	Oh,	not	for	a	long	time	because	I	was	working.	We	had	moved	in	1951	and	I	can	t	tell
	you	what	happened	between	47	and	5	1	except	we	lived	in	San	Francisco.	Norman,	who
	had	had	one	year	of	law	school	at	the	University	of	Virginia,	from	which	he	was	a
	graduate,	wanted	to	go	back	to	law	school.	He	had	been	an	executive	trainee	in	a


52	SAM	AN	TH	A	ON	THE	RACE	PROBLEM.
	men	so	wuz	yours.	You	are	both	the	children	of
	freedom	and	liberty.	You	haven't	been	saddled
	with	a	burden	of	ignorance	and	moral	and	physical
	helplessness	and	want.	He	has	no	lurid	back
	ground	of	abuse	and	wrongs	and	arrogance	to	in
	flame	his	fevered	fancies.
	"	You	might	as	well	say	that	you	could	gather	as
	good	grain	down	in	your	old	swamp	that	has	never
	been	tilled	sence	the	memory	of	man,	as	you	can	in
	your	best	wheat	field,	that	has	been	ploughed,	and
	harrowed,	and	enriched	for	year	after	year.
	'	The	old	swamp	can	be	made	to	yield	good	grain,
	Josiah	Allen,	but	it	has	got	to	be	burned	over,	and
	drained,	and	ploughed,	and	sown	with	good	grain.
	"	There	is	a	Hand	that	is	able	to	do	this,	Josiah
	Allen.	And,"	sez	I,	lookin'	off	some	distance	be-
	yend	him	and	Jonesville,	"	there	is	a	Hand	that	I	be
	lieve	is	a	dealin'	with	that	precious	soil	in	which
	saints	and	heroes	are	made,	and	where	the	beauteous
	flower	of	freedom	blows	out.
	"	Has	not	the	South	been	ploughed	with	the
	deep	plough	of	God's	purpose	burned	with	the
	lightnin'	of	His	own	meanin',	enriched	with	the
	blood	of	martyrs	and	heroes	?	Has	not	the	cries	of
	His	afflicted	ones	rose	to	the	heavens	while	onbe-
	known	to	'em	the	chariot	of	Freedom	wuz	march-
	in'	down	towards	the	Red	Sea,	to	go	ahead	on	'em
	through	the	dretful	sea	of	bloodshed	and	tribula
	tions,	while	the	black	clouds	ol	battle	riz	up	and	hid
	the	armies	of	Slavery	and	Freedom,	hid	the	oppress
	ors	and	the	oppressed	?
	"	But	the	sea	opened	before	'em,	and	they	passed
	through	on	dry	land.


3	i8	DEFENSE	OF	POETRY.
	Such	was	poetry	in	those	happy	ages,	when,	camps	and
	courts	unknown,	life	was	itself	an	eclogue.	But	in	later
	days	it	sang	the	achievements	of	Grecian	and	Roman	he-
	roes,	and	pealed	in	the	war-song	of	the	Gothic	Skald.	These
	early	essays	were	rude	and	unpolished.	As	nations	advanced
	in	civilization	and	refinement	poetry	advanced	with	them.
	In	each	successive	age,	it	became	the	image	of	their	thoughts
	and	feelings,	of	their	manners,	customs,	and	characters	;	for
	poetry	is	but	the	warm	expression	of	the	thoughts	and	feel-
	ings	of	a	people,	and	we	speak	of	it	as	being	national
	when	the	character	of	a	nation	shines	visibly	and	distinctly
	through	it.
	Thus,	for	example,	Castilian	poetry	is	characterized	by
	sounding	expressions,	and	that	pomp	and	majesty	so	pecu-
	liar	to	Spanish	manners	and	character.	On	the	other	hand,
	English	poetry	possesses	in	a	high	degree	the	charms	of
	rural	and	moral	feeling;	it	flows	onward	like	a	woodland
	stream,	in	which	we	see	the	reflection	of	the	sylvan	land-
	scape	and	of	the	heaven	above	us.
	It	is	from	this	intimate	connection	of	poetry	with	the
	manners,	customs,	and	characters	of	nations,	that	one	of	its
	highest	uses	is	drawn.	The	impressions	produced	by	poetry
	upon	national	character,	at	any	period,	are	again	reproduced,
	and	give	a	more	pronounced	and	individual	character	to	the
	poetry	of	a	subsequent	period.	And	hence	it	is	that	the
	poetry	of	a	nation	sometimes	throws	so	strong	a	light	upon
	the	page	of	its	history,	and	renders	luminous	those	obscure
	passages	which	often	baffle	the	long-searching	eye	of	stu-
	dious	erudition.	In	this	view,	poetry	assumes	new	impor-
	tance	with	all	who	search	for	historic	truth.	Besides,	the
	.view	of	the	various	fluctuations	of	the	human	mind,	as


350	LIFE	AND	TIMES	[1626.
	It	was,	in	short,	this	very	spirit	of	private	interpre-
	tation	of	the	Scriptures,	which	ought	at	all	times	to
	be	avoided,	that	set	no	limits	to	the	religious	no-
	tions	of	the	Puritans,	and	prompted	the	fanatics	of
	the	Commonwealth,	as	it	is	called,	to	change	that
	petition	of	the	Lord's	Prayer,	"	Thy	kingdom	come,"
	to	a	phraseology	more	agreeable	to	their	enthu-
	siasm,	and,	therefore,	they	rendered	it,	"Thy	com-
	monwealth	come	V
	1	The	above	is	a	true	anecdote	of	English	Puritanism,	and
	luckily	there	is	one	of	Scotch	Presbyterianism	on	the	same	sub-
	ject.	Many	English	Bibles	were	printed	in	1640,	at	Amsterdam
	and.	Edinburgh,	(Holland	and	Scotland	were	the	same,	then,	in
	religion)	imported	into	England,	printed	on	wretched	paper,	and
	sold	at	low	prices,	"	little	margin,"	says	Fuller,	most	happily,
	"	yet	greater	than	the	care	of	the	corrector,	many	most	abomi-
	nable	errata	being	passed	therein."	He	gives	one	instance,	in
	the	Scotch	new	version,	Jer.	iv.	17.	Speaking	of	the	whole
	commonwealth	of	Judah,	instead	of	"	because	she	hath	been
	rebellious	against	me,	saith	the	Lord,"	in	the	Bible	printed	at
	Edinburgh,	1637,	the	Scots	thought	proper	to	render	it,	"	be-
	cause	she	hath	been	religious	against	me,	saith	the	Lord."
	This	was	during	the	monarchy,	but	they	could	not	endure	the
	idea	of	a	rebellious	commonwealth,	that	glorious	consummation
	they	had	in	prospect.	"	Many	complaints,"	says	Fuller,	"	were
	made,	especially	by	the	Company	of	Stationers,	against	these
	false	printed	Bibles,	arguing	great	advantage	to	the	Papists,
	but	nothing	was	therein	effected.	For	at	this	juncture	of	time
	came	in	the	Scotch	army,	and	invaded	the	northern	parts	of
	England.	What	secret	solicitations	invited	them	hither,	it	ig
	not	my	province	to	inquire.	Many	beheld	them	as	the	only
	physicians	of	the	distempered	state,	and	believed	that	they	gave
	not	their	patient	a	visit	on	pure	charity,	but	having	either	re-
	ceived	or	being	well	promised	their	fee	hither."	Fuller's	Church
	History,	book	xi.	p.	171,	172.


His	Second	Love	Affair
	official	world.	His	imagination	travelled	in	its
	search	for	a	falsehood	to	the	very	opposite	world
	from	the	one	in	which	he	lived	and	worked,	and
	he	had	to	smile	at	the	romance	with	which	it
	furnished	him.	"What	a	sheriff	I	d	be,	if	I	was
	one	!"	he	exclaimed.	"Ruderick	Clowd	turned	cop
	per	!	ha	!	ha	!"	He	was	in	love,	honestly	and	sin
	cerely	for	a	man	of	his	type,	and	he	hated	the	tan
	talizing	regrets	and	emotions	which	his	profession
	caused	him	when	in	the	presence	of	the	object	of
	his	love;	but	traitor	to	his	pals	in	the	profession	he
	would	not	be,	even	though	his	suit	should	come
	to	naught.	The	struggle	at	the	bottom	of	his	soul
	between	good	and	evil	bothered	him	when	he
	walked	abroad	in	the	day	as	well	as	when	he	lay
	down	in	the	dark	to	sleep,	but	it	was	an	insignifi
	cant	skirmish	compared	with	that	other	struggle
	which	would	have	followed	had	he	actually	be
	come	what	he	made	his	sweetheart	believe	that	he
	was.	He	adored	the	little	seamstress	after	the	fash
	ion	of	his	kind,	but	he	held	his	honor	as	a	mem
	ber	of	his	clan	dearer	than	any	other	possession
	in	the	world.	Ruderick	Clowd	a	deputy-sheriff!
	The	very	birds	in	the	street	would	have	chirped
	their	denial	had	they	heard	the	rumor.	Yet	the
	249


B.}	ELEMENTARY	CONCEPTIONS.	281
	2.	An	examination,	on	the	other	hand,	into	the	aim	or	func-
	tion	of	poetry	involves	the	vexed	question	of	all	arts	:	Is	its
	purpose	aesthetic	or	ethical,	or	both	?	Materials	for	the	answer
	to	this	question	are	furnished	above,	7-9	and	13-15.	If	it
	be	determined	that	the	purpose	is	purely	aesthetic,	an	array	of
	specific	questions	confronts	the	student.	What,	for	instance,
	is	the	history	of	the	aesthetic	exposition	of	poetry	?	(See
	Bosanquet,	Schasler,	or	Knight,	and	other	references	in	9
	and	15,	for	the	development	of	aesthetic	interest	before	Kant.)
	The	statement	is	made	that	Hegel	is	the	most	pronounced
	exponent	of	the	purely	aesthetic	theory	of	poetry.	But	Burke
	and	Kaimes	in	the	purgation	theory	of	tragedy,	Kant	with
	his	demarcation	of	aesthetic	consciousness	in	the	Kritik	der
	Urtheilskraft	(1790),	Schiller	with	his	doctrine	of	aesthetic
	culture	and	his	development	of	the	Kantian	theory	in	the
	doctrines	of	aesthetic	semblance	and	the	play-impulse,	Goethe
	with	his	belief	in	the	characteristic	as	the	excellent	in	art,
	and	Schelling	with	his	treatment	of	the	ideal	nature	of	poetry,
	had	prepared	the	way	for	Hegel's	definition	of	the	aesthetic
	purpose	of	poetry	as	of	all	art	;	and	it	will	be	observed	that
	Wordsworth	("	the	end	of	Poetry	is	to	produce	excitement	in
	coexistence	with	an	overbalance	of	pleasure,"	Preface	to	Lyri-
	cal	Ballads,	1800),	Coleridge	in	his	antithesis	between	poetry
	and	science,	Sir	Henry	Taylor,	Dallas,	and	Pater,	follow	in
	the	steps	of	these	masters.
	In	the	next	place,	the	value	of	current	conceptions	of	the
	aesthetic	function	of	poetry	may	be	considered,	first,	of
	the	more	popular,	those,	for	instance,	presented	by	Poe	in	his
	Poetic	Principle	;	by	Theodore	Watts	in	his	article	in	the
	Encycl.	-Brit.	;	by	Shelley	in	his	Defense	of	Poetry	;	by	Leigh
	Hunt	;	by	Principal	Shairp	(the	aim	of	poetry	is	to	express	the
	glow	of	emotion,	the	thrill	of	joy)	;	by	Goldsmith	(poetry	is
	"	so	contrived	and	executed	as	to	soothe	the	ear,	surprise	and
	delight	the	fancy,	mend	and	melt	the	heart,	elevate	the	mind,


.]	SCHEME	OF	INVEST1GA	TION.	289
	B.	THE	THEORETICAL	SIDE.	i.	The	Relation	of	Art	to	Science,
	Philosophy,	Ethics,	and	Religion.	The	distinction	between
	poetry	and	the	other	arts	;	the	boundaries	of	poetry	and	paint-
	ing	;	of	poetry	and	music,	etc.	The	distinction	between	poetry
	and	history.	Aristotle,	Poetics,	9	;	Sidney,	Defense	of	Poesy
	(Cook's	ed.,	p.	18)	;	Bosanquet,	Hist.	Aesth.,	p.	59	;	Butcher,
	Aristotle's	Theory	of	Poetry,	chaps.	Ill	and	XI.	Is	poetry	a
	term	applicable	to	all	the	arts	?	(Plato,	Aristotle,	Lessing,
	Kant,	Schiller,	Coleridge,	Wordsworth,	Mill.)	Is	not	the
	distinction	between	poetry	and	other	literature	of	power	that
	of	the	absolute	and	the	relative,	prose	and	verse	being	less
	or	more	appropriate	instruments	of	poetry,	and	poetry	(or
	absolute	literature)	being	the	emotive	expression	or	suggestion
	of	an	aesthetic	interpretation	of	things,	by	means	of	the	rhyth-
	mical	and	imaginative	language	proper	to	the	subject	?
	2.	The	Materials	of	Poetry.	(a)	Of	Idea	(Aristotle,	Poetics,
	9;	15;	18:6;	24;	25.	Butcher's	Aristotle's	Theory	of
	Poetry,	chapters	on	Poetic	Truth	and	Universality.	Kant's
	Critique	of	Judgment,	Schiller's	Aesthetic	Letters,	Eckermann's
	Conversations	of	Goethe	(Bohn),	p.	258,	Coleridge,	Biographia
	Literaria,	2	:	41).
	(b)	Of	Form.	The	word	basis,	the	sentence	basis,	the	rhetori-
	cal	and	logical	bases	;	pitch,	stress,	quantity,	and	tone	;	rhythm	;
	speech-tunes	;	cadences	;	rhythms	of	nature	;	imagery	and
	verse,	which	the	more	essential	?	The	sensuous	element	in
	relation	to	the	imaginative.	(See	22-24.	Lanier,	Ellis,
	Schipper,	Gurney,	Kawczynski.)
	(<r)	Of	Organism.	Whether	the	organic	structure	contains
	elements	not	present	in	the	materials	either	of	idea	or	form.
	If	the	organism	is	not	the	sum,	is	it	the	product	of	idea	and
	form	?
	3.	How	the	Materials	are	Manipulated.	The	question
	should	be	looked	at	from	;^<z)	the	physical	point	of	view;
	(b)	the	psychological	;	(c^	the	ethical;	and	the	following


290	LITERARY	CRITICISM.	[19,77.
	subjects	will	demand	consideration	:	(i)	the	faculties	aroused
	and	employed	by	the	poetic	impulse	;	(2)	the	effect	of	mood
	and	imaginative	training	upon	the	appreciation	of	poetry	;
	(3)	the	relation	of	poetic	truth,	beauty,	and	'	accent	'	to	other
	truth,	beauty,	and	'	accent	'	(Arnold)	;	(4)	the	signification
	of	proportion,	harmony,	aesthetic	economy	(Spencer,	Dewey),
	and	rhythm	;	(5)	the	relation	of	rhythm	to	idea	;	(6)	the
	relation	of	metre	and	rhythm	to	each	other	and	to	language	;
	(7)	the	difference	between	rhythmical	prose	and	rhythmical
	verse	;	(8)	whether	verse	is	a	quality	of	poetry,	or	an	instru-
	ment	;	whether	rhythmical	prose	may	be	used	by	poetry,	and
	whether	unmetrical	or	unrhythmical	verbal	expression	could	be
	so	used	;	(9)	the	difference	of	effect	between	imaginative
	verse	and	imaginative	prose	(Gurney),	and	whether	the	charm
	of	rhythm	and	metre	lies	in	the	illusion	that	they	create	;
	(10)	whether	poetry	is	imaginative	language	plus	metrical
	form	;	or	whether	the	effect	is	the	product	of	the	ear	pleasure
	and	the	mind	pleasure	(Gurney)	;	(n)	whether	poetry	is	a
	"	heightened	form	of	prose	"	;	(12)	whether	poetry	can	be	turned
	into	prose,	still	retaining	the	poetic	flavor,	or	be	translated,	as
	poetry,	from	one	language	into	another	;	(13)	whether	poetry
	is	representative	or	presentative,	imitative	or	creative,	pene-
	trative,	'	magical	'	(Gurney),	or	suggestive.	See	Plato,	Aristotle,
	Plotinus,	etc.,	on	Imitation,	9	above,	Kant,	Lessing,	Goethe,
	Schiller,	Hegel,	Wordsworth,	Arnold,	Austin,	Gurney,	Everett,
	and	others	;	(14)	whether	all	theories	of	poetry	may	be
	reduced	to	the	creative-imitative	classification.
	4.	The	Purpose	of	Poetry.	(a)	Aesthetic.	Whether	the
	pleasure	conveyed	by	poetry	is	essential	to	the	purpose,	or	acci-
	dental.	Does	the	pleasure	of	the	reader	lie	in	the	momentary
	relief	from	worldly	care,	from	the	sense	of	actuality	?	in	the
	opportunity	afforded	the	emotions	to	'	discharge	'	themselves
	impersonally	?	in	the	aesthetic	contemplation	of	the	signifi-
	cance	of	life	?	Does	the	author	aim	at	giving	pleasure	to	others,


300	LITERARY	CRITICISM.	[20.
	After	discussing	inadequate	methods	of	defining	poetry,	the
	author	passes	in	review	the	definitions	of	Aristotle,	Bacon,
	Wordsworth,	Arnold,	Austin,	etc.,	and	advances	to	moot	points
	of	criticism,	such	as	the	function	of	language,	the	relation	of
	poetry	to	science,	to	oratory,	to	morality,	the	choice	of	subjects,
	and	the	ideal	in	poetry.	He	emphasizes	the	aesthetic	aim
	and	effect	of	poetry,	and	would,	in	that	respect,	appear	to
	sympathize	with	Austin	rather	than	with	Matthew	Arnold.
	The	work	is	a	useful	discussion	of	the	question,	Is	Poetry
	'	imitative,'	or	is	it	'	effusive	?	'	According	to	Bain,	poetry
	neither	interprets	nor	penetrates	the	natural,	but	assimilates
	it	with	some	aspect	of	humanity.	The	definition	on	p.	257,
	"	Poetry	is	a	fine	art,	operating	by	means	of	thought	conveyed
	in	language,"	requires	for	its	interpretation	a	definition	of	fine
	art,	and	for	its	validity,	a	theory	of	the	relation	of	rhythmical
	language	to	aesthetic	thought.
	BATTEUX,	L'ABB	CHARLES.	Des	quatre	poetiques	d'Aristote,
	d'	Horace,	de	Vida,	et	de	Despreaux.	2	vols.	Paris	:
	1771.
	See	21,	B	4,	below	for	a	list	of	the	other	French	poetics
	of	the	century.
	BAUMGART,	H.	Handbuch	der	Poetik.	Stuttg.	:	1887.
	One	of	the	most	learned,	trustworthy,	and	exhaustive	of	the
	recent	contributions	to	the	science.	It	should	have	a	place	in
	the	library	of	every	critic.	"
	BAYNE,	PETER.	Two	Great	Englishwomen	.	.	.	with	an	Essay
	on	Poetry.	Lond.:	1881.
	Pp.	i-lxxviii.
	As	the	author's	object	is	to	make	a	definition	of	poetry	that
	will	give	Mrs.	Browning	the	highest	claim	to	consideration,	he
	immediately	falls	foul	of	Mr.	Arnold's	criticism	of	life.	Lyric
	poetry	is	for	Mr.	Bayne	"	the	essential	poetry."


20.]	REFERENCES.	307
	A	series	of	University	Extension	Lectures,	simple	in	manner
	and	suggestive.	Adopting	the	realistic	principles,	the	author
	bases	his	argument	upon	Plato,	but	can	hardly	be	said	to	grasp
	Plato's	conclusions	concerning	art	and	poetry.	The	chapters	on
	Art	Creation,	The	Classical	School,	and	Wordsworth,	will	be	of
	service	to	the	beginner.
	COURTHOPE,	W.	J.	The	Liberal	Movement	in	English	Litera-
	ture.	Lond.	:	1885.
	Pp.	3-32	Definition	of	Poetry,	pp.	71-108	Wordsworth's	Theory
	of	Poetry,	pp.	197-240	Prospects	of	Poetry.
	This	work	is	valuable,	even	though	its	judgments	are	not
	always	trustworthy.	Mr.	Courthope	disavows	all	intention	of
	prejudicing	his	argument	by	the	use	of	political	terms,	but	his
	treatment	of	the	romantic	movement	shows	that	conservatism,
	whether	political	or	literary,	means	all	that	is	desirable	in	civili-
	zation.	Consequently,	although	he	indicates	in	his	Introduc-
	tory	Chapter,	pp.	3-32,	the	weak	point	in	Bowles's	axioms	of
	poetry,	he	fails	to	appreciate	the	general	soundness	of	that
	poet's	criticism	upon	Pope	and	the	Classical	School.	The
	poetic	theories	of	Arnold	and	Swinburne	are	criticised	with
	apparent	candor,	but	are	disposed	of	in	such	a	way	as	to	show
	that	the	author	understands	neither	of	them.	Macaulay's
	dictum	concerning	the	decline	of	poetry	is	adopted	on	altogether
	insufficient	historical	proof	;	and	Wordsworth's	theory	of	poetry
	is	deliberately	misstated*	It	is	hard	to	see	that	Mr.	Courthope
	recognizes	any	genuine	standard	of	poetic	excellence.	His
	apparently	simple	definition	of	poetry	(pp.	30,	31),	'the	art	of
	producing	pleasure	by	the	just	expression	of	imaginative	thought
	and	feeling	in	metrical	language,'	is	invalidated	by	a	dualistic
	conception	of	the	relation	of	idea	to	form.	(Cf.	his	essay	in
	Nineteenth	Century,	41	=270	Life	in	Poetry	:	Poetical	Expres-
	sion.)	The	chapter	on	the	Prospects	of	Poetry	is,	like	the	rest
	of	the	book,	eminently	readable,	but	indicative	of	the	author's


308	LITERARY	CRITICISM.	[20.
	inability	to	see	two	sides	of	a	question.	The	romantic	move-
	ment	is	in	his	opinion	an	aberration	an	obsession	of
	poetry.
	The	author's	History	of	English	Poetry,	now	appearing,	will
	afford	him	scope	for	illustration	of	these	peculiarities.
	DALLAS,	E.	S.	Poetics;	an	Essay	on	Poetry.	Lond.	:	1852.
	DALLAS,	E.	S.	The	Gay	Science.	2	vols.	Lond.	:	1866.
	The	Gay	Science	of	the	Troubadours	was	poetry	;	of	Mr.
	Dallas,	it	is	criticism.	For,	holding	with	the	Troubadours	that
	the	aim	of	poetry,	as	of	all	art,	is	pleasure,	he	makes	criticism
	the	science	of	the	laws	under	which	pleasure	is	produced.	He
	discusses	skilfully,	though	sometimes	inconclusively,	the	more
	notable	theories	of	poetry.	His	quest	for	the	fundamental
	unity	of	art	is	scientific	in	intention,	but	is	vitiated	by	a	mis-
	construction	of	Aristotle's	theory	of	imitation,	and	a	radical
	misapprehension	of	Hegel's	theory	of	manifestation	('Art	is
	the	manifestation	of	the	Beautiful	').	It	may	be	questioned
	whether	Mr.	Dallas	does	not	also	confound	the	aim	of	poetry
	with	its	nature.	In	vol.	I	the	chapters	on	the	Hidden	Soul,
	The	Play	of	Thought,	and	The	Secrecy	of	Art,	are	decidedly
	suggestive.	They	anticipate	in	a	popular	way	a	theory	of	art
	which	is	now	being	worked	out	scientifically	by	certain	of	the
	physiological	psychologists.	His	theory	of	the	unconscious
	pleasure	evoked	by	art	requires	to	be	tested	by	a	larger	selec-
	tion	from	poetry	than	that	adduced	to	confirm	the	argument.
	According	to	him,	poetry	is	the	imaginative,	harmonious,	and
	unconscious	activity	of	the	soul	;	the	art	of	giving	imaginative
	pleasure.	Vol.	II,	chaps.	XIII	and	XIV,	and	passages	in	the
	section	on	the	Pursuit	of	Pleasure	and	the	World	of	Fiction
	display	to	advantage	the	author's	rich	and	entertaining	style.
	He	asserts	that	in	poetry	a	synthetic	reproduction	of	truth	is
	subsumed	under	the	category	of	poetic	imagination.	He	holds,
	therefore,	to	the	Baconian	theory.


20.]	REFERENCES.	309
	Many	of	these	theories	will	be	found	in	Mr.	Dallas's	shorter
	and	earlier	works	on	Poetics,	Masson's	review	of	which	will	be
	found	in	No.	Brit.	Rev.	19	:	297	Theories	of	Poetry,	and	in	his
	Essays,	as	below.
	DAVIDSON,	JAS.	W.	The	Poetry	of	the	Future.	N.	Y.	:	1888.
	"	Aims	to	show	that	the	one	essential	characteristic	of	verse
	the	language	of	poetry	in	English	is	rhythm."
	DE	VERE,	AUBREY.	Essays,	chiefly	Literary	and	Ethical.
	Lond.	:	1889.
	P.	10	Definition	of	Poetry.
	DE	VERE,	AUBREY.	Essays,	chiefly	on	Poetry.	2	vols.	Lond.	:
	1887.
	"	Poetry	has	ever	recognized	these	two	great	offices,	distinct
	though	allied,	the	one,	that	of	representing	the	actual	world	;
	the	other,	that	of	creating	an	ideal	region,	into	which	spirits
	whom	this	world	has	wearied	may	retire.	...	A	perfect	poet
	ought	to	discharge	both	these	great	offices	of	poetry	"	(Two
	Schools	of	Poetry).	De	Vere	is,	in	creation	and	criticism,	an
	ardent	admirer	and	follower	of	Wordsworth.
	DEWEY,	JOHN.	Andover	Ren.	16	:	92	Poetry	and	Philosophy.
	A	comparison	of	Arnold	and	Browning.	The	author's	thesis
	is	that	the	best	poetry	is	that	which	is	informed	by	the	soundest
	philosophy.
	DIXON,	WM.	M.	English	Poetry	from	Blake	to	Browning.
	Lond.:	1894.
	Pp.	1-25	Poetry	and	its	Relation	to	Life.
	The	substance	of	the	author's	definition	(p.	6)	is	as	follows	:
	Poetry	is	impassioned	language,	appropriate	to	higher	moods
	("	intenser	spiritual	life	than	the	one	in	which	we	hourly
	move	"),	ordered	or	marshaled	in	a	rhythmically	effective	way.