MILTON, JOHN (continued).

84.

3. Paradise Lost: B. I., 11. 587-669 (Satan's Size and Speech),
4. Paradise Lost: B. I., 11. 769-797 (Gathering in Pandemonium),
86.

5. Paradise Lost: B. II., ll. 11-386 (Meeting of the Peers in

Hell), 87.

6. Paradise Lost: B. III., 11. 1-55 (Invocation to Light), 97.
7. Paradise Lost: B. V., 11. 275-287 (Raphael), 99.

8. Paradise Lost: B. VI., 11. 207-353 (Battle in Heaven), 99.

9. Paradise Lost: B. VI., 11. 748-784 (Chariot of Deity), 103.
10. Paradise Lost: B. X., 11. 720-844 (Complaint of Adam), 104.
11. Sonnet on his Blindness, 78.

Further References: Comus (il. 1–144, 419–477; Samson Agonistes)
(11. 1-109, 1268-1296); Paradise Lost (B. I., 11. 23–576, 670-730; B. II.,
11. 666-722; B. III., 11. 253–338, 536-539; B. IV., 11. 248-311; B. V., 11.
153-208, 276-287, 627-657; B. VI., 11. 824-849; B. VII., 11. 561-587; B.
X., 11. 350–384); Paradise Regained (B. II., 11. 279–297, 427–438, 466–
480, 504-521, 915–936; B. III., 11. 47–59; B. IV., 11. 6–24, 221–235); L'Al-
legro; Il Penseroso; Prose (Truth vs. Osiris, Freedom of the Press).

MOORE, THOMAS. b. Dublin, Ireland, 1779; d. Sloperton, 1852; Trans-
lation from Anacreon, 1800.

1. Canadian Boat Song, 291.

2. Erin, 291.

3. Forget not the Field, 293.

4. Miriam's Song, 297.

5. Oh! Breathe not his Name, 292.

6. The Turf shall be my Fragrant Shrine, 295.

7. Those Evening Bells, 296.

8. 'Tis the Last Rose of Summer, 292.

9. Wreathe the Bowl, 294.

Further References: All that's bright must fade; Oft in the stilly
night; Oh! Thou who dry'st the mourner's tear; A Beam of Tran-
quillity (Stanzas); Trio and Who'll Buy (Summer Fête); The Bird let
Loose; The Flying Fish; The Harp that once through Tara's Halls;
The time I've lost in wooing; This world is all a fleeting show; Weep
not for those; Rich and rare were the gems she wore; Lalla Rookh.

POPE, ALEXANDER. b. London, 1688; d. Twickenham, 1744; Pastorals,
1709.

1. An Essay on Criticism: Criticism and Critics, 148.
2. An Essay on Criticism: Harmony of Versification, 150.

3. An Essay on Criticism: Pride, 149.

4. Eloisa to Abelard: Introduction, 144.

5. Eloisa to Abelard: Holiness, 145.

POPE, ALEXANDER (continued).

6. Eloisa to Abelard: Immortality, 146.

7. Essay on Man: Ep. II., 11. 1-113 (Know Then Thyself), 136.
8. The Dunciad: B. IV., 11. 81–118 (Gathering of the Dunces),

139.

9. The Rape of the Lock: C. I. (The Toilet), 141.

10. The Rape of the Lock: C. II. (The Sylphs), 142.

11. The Rape of the Lock: C. V. (Beauty), 143.

12. Translation of Homer's Odyssey (B. VI., ll. 187–212), 147.
13. Windsor Forest, 140.

Further References: Translation of Homer's Iliad and of Homer's
Odyssey; Essay on Man (Ep. III., 11. 49-72, 146-201); The Dying
Christian to his Soul Universal Prayer.

SCOTT, SIR WALTER. b. Edinburgh, Scotland, 1771; d. Abbotsford,
Scotland, 1832; Translation of Bürger's Leonore, 1796.

1. Lay of the Last Minstrel: Introduction (The Bard), 275.
2. Lay of the Last Minstrel: C. II. (Melrose Abbey), 276.

3. Lay of the Last Minstrel: C. VI., st. 1, 2 (Breathes there a
man), 276.

4. Marmion: C. VI., st. 13–15 (Marmion and Douglas), 277.
5. Song-The Monks of Bangor's March, 280.

6. Hunting Song, 281.

7. Description of Ellangowan (Guy Mannering), 282.

Further References: Rokeby; Marmion (Introduction, C. I., st. 5-8;
C. III., Introduction and st. 1; C. V., Lochinvar); Lady of the Lake
(C. I., C. II., st. 19, 20, 22; C. III., st. 2, 29); The Bridal of Triermain
(C. I.); Harold the Dauntless (C. II., st. 1, 2); The Erl-King; The
Waverley Novels; Lay of the Last Minstrel (C. V., st. 1, 2); Marmion
(C. III., st. 26-34); The Sun on Weirdlaw Hill.

SHAKESPEARE, WILLIAM. b. Stratford-upon-Avon, 1564; d. Stratford-
upon-Avon, 1616; Venus and Adonis, 1595.

1. A Sea-dirge (The Tempest), 48.

2. Defiance to Time (Sonnet cxxiii.), 55.

3. Fancy (Merchant of Venice), 48.

4. Inevitable Slander (Sonnet lxx.), 52.

5. Nature and Man (As You Like It), 49.

6. Sunshine and Cloud (Sonnet xxiii.), 53.

7. The Lost Love (Hamlet), 49.

8. The Life According to Nature (As You Like It), 50.

9. The Poet's Immortality (Sonnet lxxiv.), 51.

10. The True and the False (Sonnet liv.), 54.

11. The Unfading Picture (Sonnet xviii.), 52.

12. The World's Way (Hamlet), 50.

SHAKESPEARE, WILLIAM (continued).

13. The World's Way (Sonnet lxvi.), 51.
14. Time and Love (Sonnet lxiv.), 47.

15. Time and Love (Sonnet lxv.), 54.

16. Hark, hark! the lark (Cymbeline), 47.

Further References: The Tempest (Act III., Scene I., Ferdinand and Miranda; Act IV., Scene I., Masque); Two Gentlemen of Verona (Act II., Scene III., Launce's soliloquy); As You Like It (Act II., Scene V., Amiens, Jaques, and others); Merchant of Venice (Act I., Scene II., Portia and Nerissa; Scene III., Bassanio, Shylock, and Antonio; Act II., Scene II., Launcelot's soliloquy; Scene I., Solanio, Salerino, Shylock, and Tubal; Act III., Scene II., So may thee, etc., You see me, etc.; Act IV., Scene I., The quality of mercy is not strained; Act V., Scene I., How sweet the moonlight, etc.); A Winter's Tale (Act III., Scene II., Hermione—Since what I am, etc.; Scene III., Come poor babe); All's Well that Ends Well (Act II., Scene III., King'Tis only title, etc.); King John (Act I., Scene I., to enter Sheriff, Bastard's soliloquy; Act II., Scene II., You men of Angiers, etc.; Act III., Scene I., Constance. - Gone to be married! Act IV., Scene I., Hubert and Arthur; Scene II., King John; Scene III., Death of Arthur; Act V., Scene VII., Prince Henry); Richard II. (Act I., Scene I., Richard; Act III., Scene II., Richard on the coast of Wales; Scene III., Before Flint Castle; Act IV., Scene I., Bolingbroke in Westminster Hall, Act V., Scene II., Duke of York's Palace); Henry IV., Part I. (Act I., Scene III., King Henry, Northumberland, Worcester, and others; Act II., Scene II., enter Bardolph at Gadshill; Scene III., Hotspur and Lady Percy; Scene IV., Hal and Francis, Falstaff's exploits; Act III., Scene I., Hotspur, Worcester, and others at Bangor; Scene II., King Henry, Prince of Wales, and others at London; Scene III., Falstaff at the Boar's Head Tavern); Part II. (Act III., Scene I., Henry's soliloquy; Act IV., Scene IV., King Henry, Clarence, and others at Westminster; Act V., Scene I., Falstaff's soliloquy; Scenes II. and III., King Henry and Lord Chief Justice); Henry V. (Act III., Scene I., King Henry before Harfleur; Scene IV., Katharine and Alice); Henry VI., Part I. (Act I., Scene I., body of Henry V. in Westminster Abbey); Richard III. (Act I., Scene I., Gloster's first speech; Scene IV., Clarence's dream; Act V., Scene III., soliloquies of Richard and Richmond); Henry VIII. (Act I., Scene I., Gloster, Clarence, and Hastings; Act II., Scene I., Buckingham; Scene IV., Queen Katharine's trial; Act III., Scene II., Wolsey's soliloquies, Act V., Scene V., Cranmer's prophecy for Elizabeth); Julius Cæsar (Act I., Scene I., Cassius to Brutus; Act III., Scene II., Brutus' speech, Antony's speech; Act IV., Scene III., quarrel between Brutus and Cassius); Antony and Cleopatra (Act II., Scene II., Cleopatra's barge); Romeo and Juliet (Act I., Scene I., Clowns; Scene IV., Queen

SHAKESPEARE, WILLIAM (continued).

Mab; Act II., Scene III., Friar Laurence's soliloquy; Act II., Scene
II., Romeo and Juliet); Midsummer Night's Dream (Act II., Scene
II., The Players; Act II., Scene I., Fairy; Act III., Scene I., Players in
the wood, Bottom and Titania; Act IV., Scene I., Bottom among
the Fairies, Bottom's soliloquies; Act V., Scene I., Theseus and the
Players); Hamlet (Act I., Scene II., Act II., Scene I., from enter
Ophelia; Scene II., from enter Hamlet to enter Rosencrantz and
Guildenstern, and from exeunt Rosencrantz and Guildenstern to end
of scene; Act III., Scene I., from enter Hamlet; Act III., Scene IV.,
to exit Polonius; Act IV., Scene V., from exeunt Rosencrantz and
Guildenstern; Scene VII., from enter Queen; Act V.); Macbeth (Act
I., Scenes V., VI., and VII.; Act V., Scenes I. and V.); Lear (Act I.,
Scene I.; Act III., Scenes II. and IV.; Act IV., Scenes III. and VII.;
Act V., Scene III., from enter Lear); Cymbeline (Act I., Scene I.
from enter Queen to enter Pisanio, Scene III., Scene VI.; Act III.,
Scenes I. and VI.); Titus Andronicus (Act I., Scene II.; Act II., Scene
II.); Coriolanus (Act II., Scene III., speech of Coriolanus; Act III.,
Scene I., speech of Coriolanus; Act V., Scene III.); Timon of Athens
(Act III., Scene V., To you breathe in vain; Act IV., Scene III., enter
Flavius, to end); Pericles (Act III., Scenes III. and IV.; Act IV.,
Scene III.); Measure for Measure (Act I., Scene IV.; Act II., Scene
II., from enter Lucio and Isabella to exeunt the same); Troilus and
Cressida (Act II., Scene II.; Act III., Scene III., from Ulysses' speech
to exit Ulysses); Othello (Act I., Scene III., from Othello's speech-
Most potent, etc., to end of Desdemona's - Let me go with him; Act
III., Scene III., Othello's Thou dost conspire, etc., to reënter Desde-
mona and Emilia).

SHELLEY, PERCY BYSSHE. b. Horsham, England, 1792; drowned off the
coast of Tuscany, 1822; Queen Mab, 1813.

1. Adonais, 3-5, and 11-24, 316.

2. The Sensitive Plant, 313.

Further References: Hymn of Apollo; Autumn; The Cloud; Are-
thusa; Queen Mab (I., st. 1-12; II., st. 1-4; III., st. 1-14; IV., st. 1-11;
V., st. 5-10, 13, 14); Revolt of Islam (Dedication, I., st. 1-15, 34-60;
II., st. 3-6, 9-12, 20-42; XI., st. 22-24); Prometheus Unbound (Act
II., Scene II., Song of the Spirits; Scene V., My soul is an enchanted
boat, Here, oh! here; Act IV., Scene I., We come from the mind);
Hellas (as far as Mahmud starting from his sleep); To Wordsworth;
Mt. Blanc; The Euganean Hills; The Medusa of Leonardo da Vinci;
Lines written in dejection near Naples; Lines to an Indian Air; To
the Night; Liberty; The Fugitives; Mutability; Lines on the Death of
Napoleon; Ginevra; Alastor; Hymn of Pan; To a Skylark; Adonais.

SOUTHEY, ROBERT. b. Bristol, 1774; d. Greta Hall, England, 1843; Wat
Tyler, 1794.

1. God's Judgment on Bishop Hatto of Mentz, 253.

2. The Spanish Armada, 255.

Further References: Mary the Maid of the Inn; Cataract of Lodore;
The Old Man's Comforts; Love; The Scholar; The Inchcape Rock;
After Blenheim; Bishop Bruno; The Well of St. Keyne; Rudiger; The
Complaints of the Poor; Thalaba; Conspiracy of Essex.

SPENSER, EDMUND. b. London, 1553; d. London, 1599; The Shepherd's
Calendar, 1579.

1. Mother Hubberd's Tale, 11. 892-914 (The Suitor), 37.

2. The Fairy Queen: B. I., C. 1 (Cave of Morpheus), 21.

3. The Fairy Queen: B. I., C. 2 (The Red-Cross Knight and
Sarazin), 23.

4. The Fairy Queen: B. I., C. 3 (Una), 25.

5. The Fairy Queen: B. II., C. 3 (Belphoebe), 33.

6. The Fairy Queen: B. II., C. 7 (Cave of Mammon), 36.

7. The Fairy Queen: B. IV., C. 1 (House of Pride), 26.

Further References: Mother Hubberd's Tale; The Ruins of Time
(C. II., st. 7, 8, 29, 30, 51, 52, 58, 59); Tears of the Muses (Clio, 2-9;
Melpomene, 3-6; Calliope, 5, 6; Urania, 4-8); Ruins of Rome (III.,
XIX.); Muiopotmos (27-29); Visions of the World's Vanity (I., IV.);
Visions of Bellay (I.); Daphnaida (I., st. 6, 7; II., st. 1–7; III., st.
1-7); Amoretti (V., VI., VII., VIII., IX., XXVI., XXVII., LIV.,
LXXII., LXXIII., LXXIX.); Epithalamion; Prothalamion; Hymns
(Love, 190-196; Beauty, 85–273); Fairy Queen (B. I., C. 7, st. 1; C. 8,
st. 1, 2; C. 10, st. 6; C. 4, st. 1; C. 6, st. 1; C. 12, st. 13; C. 11, st. 1;
B. II., C. 12, st. 42-76; B. III., C. 1, st. 15, 16; C. 4, st. 27, 55, 59; C.
6, st. 29-45; C. 7, st. 38-43; C. 8, st. 37; C. 10, st. 10; C. 11, st. 40,
C. 12, st. 5-26; B. IV., C. 1, st. 2, 27-30; C. 2., st. 1, 2, 33–58; C. 3,
C. 4, st. 1, 33–37, 41, 42; B. V., Introduction, st. 1-4; C. 2, st. 1;
C. 4, st. 1; C. 8, st. 1; C. 9, st. 10-19, 23-33; C. 10, st. 1, 2; C. 11, st.
1; C. 12, st. 1, 29–36; B. VI., C. 2, st. 1, 2; C. 3, st. 1, 2; C. 6, st. 1).

41;

st. 1;

STERNE, LAURENCE. b. Clonmel, Ireland, 1713; d. London, 1769;
Sermons for Charity Schools, 1747.

1. The Story of Le Fevre (Tristram Shandy), 175.

SWIFT, JONATHAN (Dean of St. Patrick's). b. Dublin, Ireland, 1667; d.
Dublin, 1745; Letters of Sir William Temple, 1700.

1. Pretended Philosophers (Gulliver's Travels), 121.

Further References: Gulliver's Travels; Tale of a Tub; Battle of
the Books; The Spider and the Bee; Morning; Bancis and Philemon.