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The Poetical Works of Aubrey De Vere

De Vere, Aubrey (1814-1902)

collapse sectionI. 
VOL. I. THE SEARCH AFTER PROSERPINE
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[section]
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THE SEARCH AFTER PROSERPINE.
 I. 
SCENE I. IN SICILY.
 II. 
SCENE II. NAXOS.
 III. 
SCENE III. SICILIAN SEA.
 IV. 
SCENE IV. THE SICILIAN SHORE.
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RECOLLECTIONS OF GREECE,
  
[dedication]
  
STANZAS
  
A NIGHT AT CORCYRA.
  
GRECIAN ODE.
  
ODE TO THE PLANET MERCURY.
  
ODE TO THE PLANET VENUS.
  
TO A GREEK LADY.
  
AN AGED GREEK.
  
THE PANTHEIST.
  
THE PLATONIST.
  
THE ACADEMIC'S ADDRESS TO TRUTH.
  
AN EPICUREAN'S EPITAPH.
  
WISDOM.
  
THE ANTIGONE OF SOPHOCLES.
  
THE NIGHTINGALE.
  
ZOE, AN ATHENIAN CHILD.
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[section]
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[subsection]
 I. 
I. THE TOMB OF AGAMEMNON.—1.
 II. 
II. THE TOMB OF AGAMEMNON.—2.
 III. 
III. A STATUE OF JUNO.
 IV. 
IV. THE THEATRE AT ARGOS.
 V. 
V. THE TOMB OF THEMISTOCLES AT THE PIRÆUS.
 VI. 
VI. SOPHOCLES.
 VII. 
VII. ÆSCHYLUS.
 VIII. 
VIII. THE SUN GOD.
 IX. 
IX. URANIA.
 X. 
X. THE ACROPOLIS OF ATHENS.—1.
 XI. 
XI. THE ACROPOLIS OF ATHENS.—2.
 XII. 
XII. THE PRISON OF SOCRATES.
 XIII. 
XIII. WRITTEN WHILE SAILING ON THE GULF OF LEPANTO.
 XIV. 
XIV. THE SETTING OF THE MOON NEAR CORINTH.
 XV. 
XV. CONSTANTINOPLE.
 XVI. 
XVI. ISLAM.
  
EUROPA.
  
STANZAS.
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GREEK IDYLS.
 1. 
1.—GLAUCÈ.
 2. 
2.—IONÈ.
 3. 
3.—LYCIUS.
  
LINES WRITTEN UNDER DELPHI.
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KING HENRY THE SECOND AT THE TOMB OF KING ARTHUR,
  
[dedication]
  
KING HENRY THE SECOND AT THE TOMB OF KING ARTHUR.
  
EPITAPH.
  
THE INFANT BRIDAL.
  
QUEEN BERTHA'S MATIN SONG.
  
QUEEN BERTHA'S ALMS.
  
QUEEN BERTHA AT HER VESPERS.
  
QUEEN BERTHA'S VIGIL.
  
THE SOUL'S WASTE.
  
GOOD AND EVIL.
  
A TRAVELLER'S GRACE.
  
SONG.
  
THE SOLITARY.
  
SONG.
  
SONG.
  
LINES.
  
UNA.
  
IN VIA.
  
DE VIA.
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SONNETS.
  
[dedication]
 I. 
I. TO COLERIDGE.
 II. 
II. TO E.—1.
 III. 
III. TO E.—2.
 IV. 
IV. TO E.—3.
 V. 
V. TO E.—4.
 VI. 
VI. ART AND SCIENCE.
 VII. 
VII. TO POWER.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII. TO A SCEPTIC.
 XVIII. 
XVIII. A CHURCHYARD.—1.
 XIX. 
XIX. A CHURCHYARD.—2.
 XX. 
XX. TO------.
 XXI. 
XXI. FAME.
 XXII. 
XXII. TO A JUST LAWYER (EDWARD O'BRIEN).
 XXIII. 
XXIII.
 XXIV. 
XXIV.
 XXV. 
XXV. THE CHRISTIAN FAMILY.
 XXVI. 
XXVI. THE SPIRITUAL TIES REHEARSED IN THE NATURAL.
 XXVII. 
XXVII. ‘THE FLESH IS WEAK.’
 XXVIII. 
XXVIII. THE DYING PLATONIST.
 XXIX. 
XXIX. RELIGIOUS LITERATURE.
 XXX. 
XXX. RELIGIOUS ANTIQUARIANISM.
 XXXI. 
XXXI. STORM AND STABILITY.
 XXXII. 
XXXII. THE BEATIFIC VISION OF THE EARTH.—1.
 XXXIII. 
XXXIII. THE BEATIFIC VISION OF THE EARTH.—2.
 XXXIV. 
XXXIV. THE BEATIFIC VISION OF THE EARTH.—3.
 XXXV. 
XXXV. THE CONSTELLATION OF THE PLOUGH.
 XXXVI. 
XXXVI. HUMAN LIFE.
 XXXVII. 
XXXVII. FORTITUDE.
 XXXVIII. 
XXXVIII. MEDITATION.
 XXXIX. 
XXXIX. SORROW.
 XL. 
XL. EVANESCENCE OF THE PATRIARCHAL RELIGION.
 XLI. 
XLI. VIGILANCE.
 XLII. 
XLII. PROVIDENCE.
 XLIII. 
XLIII. UNIVERSAL HISTORY.
 XLIV. 
XLIV. TRUTH.
 XLV. 
XLV. NATIONAL STRENGTH.
 XLVI. 
XLVI. HONOUR.
  
THE FALL OF RORA.
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MISCELLANEOUS POEMS.
  
[dedication]
  
FEMALE POETRY.
  
SONG.
  
SONG.
  
SONG.
  
TO A WILD PANSY.
  
SONG.
  
LOVE AND SORROW.
  
ODE ON LEAVING ITALY.
  
SONG.
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ODE ON THE ASCENT OF THE ALPS.
 1. 
1.
 2. 
2.
 3. 
3.
 4. 
4.
 5. 
5.
 6. 
6.
 7. 
7.
 8. 
8.
 9. 
9.
 10. 
10.
 11. 
11.
  
SONG.
  
SONG.
  
THE DIGNITY OF SORROW.
  
ODE TO AN EOLIAN HARP.
  
SONG.
  
TO M. O. B.
  
COLERIDGE.
  
A CHARACTER.
  
MOODS.
  
TO A. S. O. B.
  
ANGELINA.
  
[My hope, in happier days than these]
  
DEATH IN CHILDBIRTH.
  
[Three prayers to Heaven the Lover doth present]
  
[Smiles are the wrinkles of our Youth:—]
  
EPITAPH.
  
A SKETCH.
  
[A sigh in the morning grey!]
  
DOUBTS.
  
LOVE'S SPITE.
  
DOLORES.
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SONNETS.
 I. 
I. THE POETIC FUNCTION.—1.
 II. 
II. THE POETIC FUNCTION.—2.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII. HUMILITY.
 VIII. 
VIII. THE ISLAND OF INISFALLEN.
 IX. 
IX.
 X. 
X. LOW COMPANY.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV.
 XV. 
XV. FORM OF CONSECRATION FOR A NEW HOUSE.
 XVI. 
XVI. TO AN INFANT.
 XVII. 
XVII. EARTHLY HOPE.
 XVIII. 
XVIII.
 XIX. 
XIX.
 XX. 
XX. TO THE THAMES.
 XXI. 
XXI. ‘IN ALL THINGS LOYALTY.’
 XXII. 
XXII. MILTON VISITING GALILEO IN HIS BLINDNESS.
 XXIII. 
XXIII. THE OLD AGE OF MILTON.
 XXIV. 
XXIV.
 XXV. 
XXV.
 XXVI. 
XXVI. MARCELLA.—1.
 XXVII. 
XXVII. MARCELLA.—2.
 XXVIII. 
XXVIII. RATIONALISM.
 XXIX. 
XXIX.
 XXX. 
XXX. SOLITUDE WITHOUT VOCATION.
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THE YEAR OF SORROW AND OTHER POEMS.
  
[dedication]
  
THE YEAR OF SORROW—IRELAND— 1849.
  
TO BURNS'S ‘HIGHLAND MARY.’
  
PSYCHE; OR, AN OLD POET'S LOVE.—
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SONNETS WRITTEN IN TRAVEL.
 I. 
I. GIOTTO'S CAMPANILE AT FLORENCE.
 II. 
II. OLD PICTURES AT FLORENCE.
 III. 
III. ON A PICTURE BY COREGGIO AT PARMA.
 IV. 
IV. COREGGIO'S CUPOLAS AT PARMA.
 V. 
V. TO ITALY.
 VI. 
VI. GENOA.
 VII. 
VII. A PICTURE BY ANDREA DEL SARTO, IN THE CATHEDRAL OF PISA.
 VIII. 
VIII. THE RENAISSANCE, AND SAVONAROLA.—1.
 IX. 
IX. THE RENAISSANCE, AND SAVONAROLA.—2.
 X. 
X. FRESCOES BY MASACCIO, AT FLORENCE.
 XI. 
XI. SAINTS BY PIETRO PERUGINO.
 XII. 
XII. PICTURE OF A SAINT.
 XIII. 
XIII. A NIGHT ON THE GENOESE RIVIERA.
 XIV. 
XIV. BOCCACCIO AND CERTALDO.
 XV. 
XV. THE CAMPO SANTO AT PISA.—1.
 XVI. 
XVI. THE CAMPO SANTO AT PISA.—2.
 XVII. 
XVII. TASSO'S HOUSE AT SORRENTO.
 XVIII. 
XVIII. CASTELAMARE.
 XIX. 
XIX. A MORNING AT SALERNO.
 XX. 
XX. TO NAPLES.
 XXI. 
XXI. THE SIBYL'S CAVE AT CUMA.
 XXII. 
XXII. THE RUINS OF CORNELIA'S HOUSE AT BAIA.
 XXIII. 
XXIII. VENICE BY DAY.
 XXIV. 
XXIV. VENICE IN THE EVENING.
 XXV. 
XXV. LEONARDO'S ‘LAST SUPPER’ AT MILAN.
 XXVI. 
XXVI. THE CHURCH OF ST. AMBROSE AT MILAN.
 XXVII. 
XXVII. THE STATUE OF ST. CARLO BORROMEO AT ARONA.
 XXVIII. 
XXVIII. THE MILANESE SCHOOL.
 XXIX. 
XXIX. THE CATHEDRAL OF MILAN.
 XXX. 
XXX. BYZANTINE MOSAICS AT RAVENNA.
 XXXI. 
XXXI. TO A MOUNTAIN IN SWITZERLAND.—1.
 XXXII. 
XXXII. TO A MOUNTAIN IN SWITZERLAND.—2.
 XXXIII. 
XXXIII. TO A MOUNTAIN IN SWITZERLAND.—3.
 XXXIV. 
XXXIV. THE CHAPEL OF TELL ON THE LAKE LUCERNE.
 XXXV. 
XXXV. THE LAKE OF LUCERNE.
 XXXVI. 
XXXVI.
 XXXVII. 
XXXVII. THE MOUNTAIN MUSE.
 XXXVIII. 
XXXVIII. THE BLUE GENTIAN.
 XXXIX. 
XXXIX. THE MOUNTAIN LANGUAGE.
 XL. 
XL. A TYROLESE VILLAGE.
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[section]
  
[dedication]
  
THE AUTUMN OF THE SPRING.
  
SONG.
  
[Heart wingèd once; self-doomed]
  
SONG.
  
A FAREWELL TO NAPLES.
  
LINES WRITTEN AT HALSTEADS.
  
WRITTEN AT THE BEGINNING OF THE CRIMEAN WAR.
  
A WANDERER'S MUSINGS AT ROME.
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MISCELLANEOUS SONNETS.
 I. 
I.
 II. 
II. ON THE DEATH OF A GOOD KING.
 III. 
III. ON THE FALL OF A USURPER.
 IV. 
IV. POLAND.
 V. 
V. TO THE NOBILITY OF ENGLAND, 1848.
 VI. 
VI. ON A CONVENT.
 VII. 
VII. A CONVENT SCHOOL IN A CORRUPT CITY.
 VIII. 
VIII.
 IX. 
IX. TROILUS AND CRESSIDA.—1.
 X. 
X. TROILUS AND CRESSIDA.—2.
 XI. 
XI. ON A PORTRAIT.
 XII. 
XII. FALSE FRIENDSHIP.
 XIII. 
XIII.
 XIV. 
XIV. THE POETRY OF LIFE.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII. A POET TO A PAINTER.
 XVIII. 
XVIII. THE FALL OF BACON.
 XIX. 
XIX. GRACE DIEU.
 XX. 
XX. TO S. C.
 XXI. 
XXI. FROM PETRARCH.
 XXII. 
XXII. FROM PETRARCH.
 XXIII. 
XXIII. FROM PETRARCH.
 XXIV. 
XXIV. IN MEMORY OF SIR WILLIAM R. HAMILTON.—1.
 XXV. 
XXV. AFTER READING AGAIN HIS LETTERS.—2.
 XXVI. 
XXVI. TRUE AND FALSE LOVE OF FREEDOM. 1860.
 XXVII. 
XXVII. NATIONAL APOSTACY.
 XXVIII. 
XXVIII.
  
TO IRELAND.
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THE BATTLE OF CLONTARF;
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
  
THE BARD ETHELL.
  
THE SISTERS; OR, WEAL IN WOE.
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VOL. II.
  
[dedication]
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THE LEGENDS OF SAINT PATRICK.
  
THE BAPTISM OF ST. PATRICK.
  
THE DISBELIEF OF MILCHO,
  
SAINT PATRICK AT TARA.
  
SAINT PATRICK AND THE TWO PRINCESSES.
  
SAINT PATRICK AND THE CHILDREN OF FOCHLUT WOOD.
  
SAINT PATRICK AND KING LAEGHAIRE.
  
SAINT PATRICK AND THE IMPOSTOR;
  
SAINT PATRICK AT CASHEL;
  
SAINT PATRICK AND THE CHILDLESS MOTHER.
  
SAINT PATRICK AT THE FEAST OF KNOCK CAE;
  
SAINT PATRICK AND KING EOCHAID.
  
SAINT PATRICK AND THE FOUNDING OF ARMAGH CATHEDRAL.
  
THE ARRAIGNMENT OF SAINT PATRICK.
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THE STRIVING OF SAINT PATRICK ON MOUNT CRUACHAN
  
ARGUMENT.
  
[section]
  
EPILOGUE.
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OISEEN THE BARD AND SAINT PATRICK.
 I. 
I. THE GREAT CONTENTION.
 II. 
II. THE DEATH OF OSCAR.
 III. 
III. OISEEN'S YOUTH.
 IV. 
IV. OISEEN'S QUESTION.
 V. 
V. OISEEN'S GRATEFUL COUNSEL.
 VI. 
VI. OISEEN'S MISGIVINGS.
 VII. 
VII. OISEEN'S VISION.
 VIII. 
VIII. OISEEN'S GOOD CONFESSION.
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LEGENDS OF IRELAND'S HEROIC AGE.
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THE FORAY OF QUEEN MEAVE;
  
PROLOGUE.
 I. 
BOOK I. THE CAUSE OF THE GREAT WAR.
 II. 
BOOK II. THE DEEDS OF CUCHULLAIN.
 III. 
BOOK III. THE COMBAT AT THE FORD.
 IV. 
BOOK IV. THE INVASION OF ULADH.
 V. 
BOOK V. QUEEN MEAVE'S RETREAT.
  
THE SONS OF USNACH.
  
THE CHILDREN OF LIR.
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EARLY IRISH RECORDS.
  
THE BALLAD OF KING CORMAC'S CHOICE.
  
ST. COLUMBA'S FAREWELL TO THE ISLE OF ARRAN ON SETTING SAIL FOR IONA.
  
SAINT COLUMBA'S STORK.
  
ST. BRIGID AND THE BLIND NUN.
  
THE BALLAD OF TURGESIUS THE DANE;
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THE BATTLE OF CLONTARF;
  
[prologue]
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
 VIII. 
VIII.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
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VOL. III.
  
[dedication]
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[section]
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ALEXANDER THE GREAT.
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ACT I.
 I. 
Scene I.—The Shore at Sestos.
 II. 
Scene II.—Troy.
 III. 
Scene III.—Troy. The Portico of Aphrodite's Temple.
 IV. 
Scene IV.—Troy: near the Tomb of Achilles.
 V. 
Scene V.—The Palace at Susa.
 VI. 
Scene VI.—The Western side of the Granicus.
 VII. 
Scene VII.—The Eastern bank of the Granicus.
 VIII. 
Scene VIII.—The Western bank of the Granicus.
 IX. 
Scene IX.—The Eastern bank of the Granicus.
 X. 
Scene X.—Near the Granicus.
collapse sectionII. 
ACT II.
 I. 
Scene I.—A Sea-cliff opposite New Tyre.
 II. 
Scene II.—The Senate House in New Tyre.
 III. 
Scene III.—Sea-shore near Old Tyre.
 IV. 
Scene IV.—The Causeway between Old and New Tyre.
 V. 
Scene V.—The Gardens of the Palace at Old Tyre.
 VI. 
Scene VI.—Gate of the Temple of Jerusalem.
 VII. 
Scene VII.—Interior of the Temple.
 VIII. 
Scene VIII.—The Causeway between Old Tyre and New Tyre.
 IX. 
Scene IX.—The Palace of New Tyre.
collapse sectionIII. 
ACT III.
 I. 
Scene I.—The Road to Rhagæ near the Caspian Gates.
 II. 
Scene II.—At Rhagæ.
 III. 
Scene III.—Rhagæ.
 IV. 
Scene IV.—The Persian Camp.
 V. 
Scene V.—The Southern Shore of the Caspian.
 VI. 
Scene VI.—The mountains in Aria.
 VII. 
Scene VII.—Alexander's Tent on the Jaxartes.
 VIII. 
Scene VIII.—On the Jaxartes.
 IX. 
Scene IX.—A Hill close to the Jaxartes.
 X. 
Scene X.—Susa. The Cypress Cemetery.
collapse sectionIV. 
ACT IV.
 I. 
Scene I.—Susa, in front of the Palace.
 II. 
Scene II.—Palace at Susa.
 III. 
Scene III.
 IV. 
Scene IV.—Palace at Susa.
 V. 
Scene V.—Susa.
 VI. 
Scene VI.—A Terrace of the Queen-mother's Palace at Susa.
 VII. 
Scene VII.—Susa. The Gate of the Bridal Pavilion.
 VIII. 
Scene VIII.—Opis, on the Tigris.
 IX. 
Scene IX.—Ecbatana. The House of Phylax.
 X. 
Scene X.—Postern of the Great Temple at Ecbatana.
 XI. 
Scene XI.—The Great Temple at Ecbatana.
 XI. 
Scene XI.—Ecbatana.
collapse sectionV. 
ACT V.
 I. 
Scene I.—The Road to Babylon.
 II. 
Scene II.—Palace Terrace at Babylon.
 III. 
Scene III.—Hall of the Palace of Babylon.
 IV. 
Scene IV.—Hanging Gardens at Babylon.
 V. 
Scene V.—The Lake of Pallacopas, near Babylon.
 VI. 
Scene VI.—A Street in Babylon.
 VII. 
Scene VII.—The Palace at Babylon. Ante-room of the Royal Apartment.
 VIII. 
Scene VIII.—Alexander's Chamber.
 IX. 
Scene IX.—Ecbatana.
 X. 
Scene X.—The Palace of Babylon.
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[section]
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ST. THOMAS OF CANTERBURY.
  
DRAMATIS PERSONÆ.
collapse sectionI. 
ACT I.
 I. 
Scene I.—The Western Entrance to Westminster Abbey.
 II. 
Scene II.—A House in London.
 III. 
Scene III.—Palace at Rouen.
 IV. 
Scene IV.—London; House of the Chief Justiciary.
 V. 
Scene V.—The Western Entrance to the Cathedral of Canterbury.
collapse sectionII. 
ACT II.
 I. 
Scene I.—The Castle of Northampton.
 II. 
Scene II.—Northampton; Becket's House.
 III. 
Scene III.—A Street in Northampton.
 IV. 
Scene IV.—The Great Hall of Northampton Castle.
 V. 
Scene V.—Castle of Northampton.
collapse sectionIII. 
ACT III.
 I. 
Scene I.—Castle of Compiègne.
 II. 
Scene II.—The Palace at Sens.
 III. 
Scene III.—The Palace at Rouen.
 IV. 
Scene IV.—A room in the Abbey of Pontigny.
 V. 
Scene V.—Palace of the Empress Matilda at Rouen.
 VI. 
Scene VI.—The Abbey of Pontigny.
 VII. 
Scene VII.—A bay window in the Palace at Le Mans.
 VIII. 
Scene VIII.—Vezelay.
 IX. 
Scene IX.—A street in Southampton.
 X. 
Scene X.—Abbey of St. Colombe, near Sens.
collapse sectionIV. 
ACT IV.
 I. 
Scene I.—The Palace of the Empress Matilda at Rouen.
 II. 
Scene II.—Palace of Woodstock.
 III. 
Scene III.—A wood close to the Abbey of St. Colombe, near Sens.
 IV. 
Scene IV.—The Abbey of St. Colombe.
 V. 
Scene V.—Abbey of St. Colombe.
 VI. 
Scene VI.—A house in Freitval.
 VII. 
Scene VII.—The ‘Traitor's Meadow’ near Freitval.
collapse sectionV. 
ACT V.
 I. 
Scene I.—Gilors.
 II. 
Scene II.—Wytsand, on the Coast of Boulogne.
 III. 
Scene III.—Sea-shore at Dover.
 IV. 
Scene IV.—The Great Hall of the Palace of Bur, near Bayeux.
 V. 
Scene V.—The porch of Canterbury Cathedral.
 VI. 
Scene VI.—A Street in Canterbury.
 VII. 
Scene VII.—A room in the Archiepiscopal Palace at Canterbury.
 VIII. 
Scene VIII.—A room in the Archiepiscopal Palace at Canterbury.
 IX. 
Scene IX.—Archiepiscopal Palace at Canterbury.
 X. 
Scene X.—Canterbury Cathedral—the north transept.
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MISCELLANEOUS POEMS.
  
[dedication]
  
ODE TO THE DAFFODIL.
  
A FAREWELL.
  
SONG.
  
A PICTURE OF HERODIAS' DAUGHTER BY LUINI.
  
VANITY.
  
CHAUCER.
  
SPENSER.
  
ODE, WRITTEN BESIDE THE LAGO VARESE.
  
ODE.
  
LINES COMPOSED NEAR SHELLEY'S HOUSE AT LERICI, ON ALL SOULS' DAY, 1856.
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SONNETS.
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[subsection]
 1. 
1.
 2. 
2.
 3. 
3.
 4. 
4.
 5. 
5.
 6. 
ON REVISITING A SPOT BY THE ROTHA, NEAR AMBLESIDE.
  
A FRAGMENT.
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[subsection]
 I. 
I. WRITTEN AT VEVEY, SEPTEMBER 15, 1856.
 II. 
II. WRITTEN NEAR SPEZIA, OCTOBER 19, 1856.
 III. 
III. WRITTEN IN ISCHIA, FEBRUARY 1, 1859.
 IV. 
IV. WRITTEN NEAR SPEZIA, 1864.
  
TO A BIBLE.
  
SPRING.
  
STANZAS.
  
CHARITY.
  
ODE.
  
A MOTHER'S SONG.
  
A GIRL'S SONG.
  
A SONG OF AGE.
  
A CHRISTIAN MAID.
  
A CHRISTIAN POETESS.
  
IN MEMORY OF EDWIN, EARL OF DUNRAVEN.
  
EPITAPH.
  
AN EPITAPH WITHOUT A NAME.
  
EPITAPH.
  
AGE.
  
GENIUS AND SANCTITY.
  
DEATH.
  
FEBRUARY.
  
THE MATERIALIST'S RELIGION;
  
SONG.
  
EPIGRAMS.
  
ON A GREAT PLAGIARIST.
  
THE TRUE HARP.
  
SELF-LOVE.
  
THE SERIOUS ‘VIVE LA BAGATELLE.’
  
TO A FORMALIST.
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SONNETS.
 I. 
I. WORDSWORTH. COMPOSED AT RYDAL.—1.
 II. 
II. WORDSWORTH, ON VISITING THE DUDDON. —2.
 III. 
III. WORDSWORTH, ON VISITING THE DUDDON.—3.
 IV. 
IV. SELF-DECEPTION.
 V. 
V. POETIC RESERVE.
 VI. 
VI. ON A GREAT FUNERAL.
 VII. 
VII.TO CHARLES ELIOT NORTON.—1.
 VIII. 
VIII. TO THE SAME.—2. June 12, 1861.
 IX. 
IX. THE AMERICAN STRUGGLE.—1.
 X. 
X. THE AMERICAN STRUGGLE.—2.
 XI. 
XI. THE CENTENARY OF AMERICAN LIBERTY.
 XII. 
XII. ROBERT ISAAC WILBERFORCE.
 XIII. 
XIII. ‘LE RÉCIT D'UNE SŒUR.’—1.
 XIV. 
XIV. ‘LE RÉCIT D'UNE SŒUR.’—2.
 XV. 
XV. A WINTER NIGHT IN THE WOODS.
 XVI. 
XVI. POLAND AND RUSSIA.—1.
 XVII. 
XVII. POLAND AND RUSSIA.—2.
 XVIII. 
XVIII. GALATEA AND URANIA; OR, ART AND FAITH.
 XIX. 
XIX. COMMON LIFE.
 XX. 
XX. TO KEATS.
 XXI. 
XXI. MODERN DESPONDENCY.
 XXII. 
XXII. PONTEFRACT CASTLE; OR, TREASON'S TWOFOLD BEQUEST.
 XXIII. 
XXIII. INDUSTRY.
 XXIV. 
XXIV. TO THE MOST FAIR.
 XXV. 
XXV. IN MEMORY OF THE LATE SIR JOHN SIMEON.—1.
 XXVI. 
XXVI. IN MEMORY OF THE LATE SIR JOHN SIMEON.—2.
 XXVII. 
XXVII. IN MEMORY OF THE LATE SIR JOHN SIMEON.—3.
 XXVIII. 
XXVIII. THE POETRY OF THE FUTURE.
 XXIX. 
XXIX. THE RUINS OF EMANIA, NEAR ARMAGH.
 XXX. 
XXX. DUNLUCE CASTLE, COUNTY OF ANTRIM.
 XXXI. 
XXXI. HORN HEAD, COUNTY OF DONEGAL.
 XXXII. 
XXXII. FOUNTAINS ABBEY.
 XXXIII. 
XXXIII. ON READING AN UNTRUE CHARGE.
  
ON VISITING A HAUNT OF COLERIDGE'S.
  
LINES TO AN OLD LARCH-TREE AT CURRAGH CHASE.
  
AUTUMNAL ODE.
collapse sectionIV. 
VOL. IV.
  
[dedication]
  
PROLOGUE.
collapse section 
MAY CAROLS.
collapse sectionI. 
PART I. THE DIVINE CHILDHOOD.
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V. SANCTA MARIA.
 VI. 
VI. FEST. NATIVITATIS B. V. M.
 VII. 
VII. AB ANGELO SALUTATA.
 VIII. 
VIII. NIHIL RESPONDIT.
 IX. 
IX. ST. JOSEPH'S DOUBT.
 X. 
X. FEST. VISITATIONIS.
 XI. 
XI. AMOR INNOCENTIUM.
 XII. 
XII. FEST. NATIVITATIS.
 XIII. 
XIII. PROTEVANGELION.
 XIV. 
XIV. DEI GENITRIX.
 XV. 
XV. ADOLESCENTULÆ AMAVERUNT TE NIMIS.
 XVI. 
XVI.
 XVII. 
XVII. FEST. EPIPHANIÆ.
 XVIII. 
XVIII. FEST. EPIPHANIÆ.
 XIX. 
XIX. MATER DEI.
 XX. 
XX. GAUDIUM ANGELORUM.
 XXI. 
XXI. LEGENDA.
 XXII. 
XXII. FEST. PRESENTATIONIS.
 XXIII. 
XXIII. THE FIRST DOLOUR.
 XXIV. 
XXIV.
 XXV. 
XXV. LEGENDA.
 XXVI. 
XXVI. THE SECOND DOLOUR.
 XXVII. 
XXVII. SAINT JOSEPH.
 XXVIII. 
XXVIII. ‘JOSEPH, HER HUSBAND.’
 XXIX. 
XXIX. SAINT JOSEPH'S PATRONAGE.
 XXX. 
XXX. MATER CHRISTI.
 XXXI. 
XXXI. MATER CHRISTI.
 XXXII. 
XXXII. MATER CREATORIS.
 XXXIII. 
XXXIII. MATER SALVATORIS.
 XXXIV. 
XXXIV. HER FOUNDATIONS ARE ON THE HOLY HILLS.
 XXXV. 
XXXV. MATER ADMIRABILIS.
 XXXVI. 
XXXVI. MATER AMABILIS.
 XXXVII. 
XXXVII. THE THIRD DOLOUR.
 XXXVIII. 
XXXVIII. MATER FILII.
 XXXIX. 
XXXIX.
 XL. 
XL.
 XLI. 
XLI.
 XLII. 
XLII. NAZARETH.
 XLIII. 
XLIII. FŒDERIS ARCA.
 XLIV. 
XLIV. SPIRITUS SPONSA.
 XLV. 
XLV. ORANTE.
 XLVI. 
XLVI. RESPEXIT HUMILITATEM.
 XLVII. 
XLVII. MULIER FORTIS.
collapse sectionII. 
PART II. THE SPIRITUAL MOTHERHOOD.
 I. 
I. AGIOS ATHANATOS.
 II. 
II. PASTOR ETERNUS.
 III. 
III. JESUM OSTENDE.
 IV. 
IV. TURRIS EBURNEA.
 V. 
V. CONSERVABAT IN CORDE.
 VI. 
VI. THE KINDLY TRANSIENCE.
 VII. 
VII.
 VIII. 
VIII. MARIÆ CLIENS.
 IX. 
IX. IN MORTE TUTAMEN.
 X. 
X. SPECULUM JUSTITIÆ.
 XI. 
XI. AUXILIUM CHRISTIANORUM.
 XII. 
XII.
 XIII. 
XIII. AB ETERNO ORDINATA.
 XIV. 
XIV.
 XV. 
XV.
 XVI. 
XVI. IDOLATRIA.
 XVII. 
XVII. ‘IN HIM WE HAVE OUR BEING.’
 XVIII. 
XVIII. TOTA PULCHRA.
 XIX. 
XIX. ‘AD NIVES.’
 XX. 
XX. FEST. PURITATIS.
 XXI. 
XXI.
 XXII. 
XXII. STELLA MATUTINA.
 XXIII. 
XXIII. THE FLESH AND THE SPIRIT.
 XXIV. 
XXIV. MADE SUBJECT TO VANITY.
 XXV. 
XXV. MATER DIVINÆ GRATIÆ.
 XXVI. 
XXVI. MATER DIVINÆ GRATIÆ.
 XXVII. 
XXVII. DETACHMENT.
 XXVIII. 
XXVIII. THE BEGINNING OF MIRACLES.
 XXIX. 
XXIX. FILIA MARIÆ.
 XXX. 
XXX. EXPECTATIO.
 XXXI. 
XXXI.
 XXXII. 
XXXII. ‘JESUS AND HIS MOTHER WERE THERE.’
 XXXIII. 
XXXIII. LUMEN NUPTIARUM.
 XXXIV. 
XXXIV.
 XXXV. 
XXXV.
 XXXVI. 
XXXVI. ‘WHEN THOU HAST SET MY HEART AT LIBERTY.’
 XXXVII. 
XXXVII. GRATIÆ PLENA.
 XXXVIII. 
XXXVIII. VAS INSIGNE DEVOTIONIS.
 XXXIX. 
XXXIX. THE LETTER AND THE SPIRIT.
 XL. 
XL. THE ‘SINGLE EYE.’
 XLI. 
XLI. MYSTICA.
 XLII. 
XLII. BEATI QUI AUDIUNT VERBUM DEI.
 XLIII. 
XLIII. AUTHENTIC THEISM.
 XLIV. 
XLIV. ‘TESTE DAVID CUM SIBYLLA.’
 XLV. 
XLV. ‘TESTE DAVID CUM SIBYLLA.’
 XLVI. 
XLVI. ‘TESTE DAVID CUM SIBYLLA.’
 XLVII. 
XLVII. DEUS ABSCONDITUS.
 XLVIII. 
XLVIII. THE VEIL.
 XLIX. 
XLIX. ‘THE SECRET OF GOD IS WITH THEM THAT FEAR HIM.’
 L. 
L. JANUA CŒLI.
 LI. 
LI.
 LII. 
LII. CAUSA NOSTRÆ LÆTITIÆ.
 LIII. 
LIII. STELLA MARIS.
 LIV. 
LIV. AARONIS VIRGA.
 LV. 
LV. UNICA.
 LVI. 
LVI. REGINA PROPHETARUM.
 LVII. 
LVII.
 LVIII. 
LVIII. TURRIS DAVIDICA.
 LIX. 
LIX. ‘TU SOLA INTEREMISTI OMNES HÆRESES.’
 LX. 
LX. UT ACIES ORDINATA.
 LXI. 
LXI.
 LXII. 
LXII. SEDES SAPIENTIÆ.
 LXIII. 
LXIII. TRUTH.
 LXIV. 
LXIV. IMPLICIT FAITH.
 LXV. 
LXV. MATER VIVENTIUM.
 LXVI. 
LXVI. GEUS NON SANCTA.
 LXVII. 
LXVII. MATER VENERABILIS.
 LXVIII. 
LXVIII.
 LXIX. 
LXIX. THE FOURTH DOLOUR.
 LXX. 
LXX. REFUGIUM PECCATORUM.
 LXXI. 
LXXI. THE FIFTH DOLOUR.
 LXXII. 
LXXII. STABAT MATER.
 LXXIII. 
LXXIII. REGINA MARTYRUM.
 LXXIV. 
LXXIV. THE SIXTH DOLOUR.
 LXXV. 
LXXV. THE SEVENTH DOLOUR.
 LXXVI. 
LXXVI. MATER DOLOROSA.
collapse sectionIII. 
PART III. MARIÆ IN CŒLIS.
 I. 
I. THE ‘UNKNOWN GOD.’
 II. 
II. ASCENSIO DOMINI.
 III. 
III. ASCENSIO DOMINI.
 IV. 
IV.
 V. 
V. DOMINICA PENTECOSTES.
 VI. 
VI. DOMINICA PENTECOSTES.
 VII. 
VII.
 VIII. 
VIII. REGINA CŒLI.
 IX. 
IX. FEST. SS. TRINITATIS.
 X. 
X. FESTUM SS. TRINITATIS.
 XI. 
XI. THRONUS TRINITATIS.
 XII. 
XII. REGINA SANCTORUM OMNIUM.
 XIII. 
XIII. ADVOCATA.
 XIV. 
XIV. EXALTAVIT HUMILES.
 XV. 
XV.
 XVI. 
XVI.
 XVII. 
XVII. IN CIVITATE SANCTIFICATA REQUIEVI.
 XVIII. 
XVIII. QUASI CEDRUS EXALTATA SUM IN LIBANO.
 XIX. 
XIX. SAPIENTIA.
 XX. 
XX. BEATI MITES.
 XXI. 
XXI. SINE LABE ORIGINALI CONCEPTA.
 XXII. 
XXII. SINE LABE ORIGINALI CONCEPTA.
 XXIII. 
XXIII. SINE LABE ORIGINALI CONCEPTA.
 XXIV. 
XXIV. SINE LABE ORIGINALI CONCEPTA.
 XXV. 
XXV. SINE LABE ORIGINALI CONCEPTA.
 XXVI. 
XXVI. FREMUERUNT GENTES.
 XXVII. 
XXVII. THE RAINBOW.
 XXVIII. 
XXVIII. ANCILLA DOMINI.
 XXIX. 
XXIX.
 XXX. 
XXX. CORPUS CHRISTI.
 XXXI. 
XXXI. CORPUS CHRISTI.
 XXXII. 
XXXII. THE TWO LAST GIFTS.
 XXXIII. 
XXXIII. DOMUS AUREA.
 XXXIV. 
XXXIV.
 XXXV. 
XXXV. FEST. ASSUMPTIONIS.
 XXXVI. 
XXXVI. ELIAS AND ENOCH.
 XXXVII. 
XXXVII. FEST. DE MONTE CARMELO.
 XXXVIII. 
XXXVIII. VAS SPIRITUALE.
 XXXIX. 
XXXIX.
 XL. 
XL. CŒLI ENARRANT.
 XLI. 
XLI. CARO FACTUS EST.
 XLII. 
XLII. CONDESCENSIO.
 XLIII. 
XLIII. THE CREATED WISDOM.
 XLIV. 
XLIV. REGINA ANGELORUM.
 XLV. 
XLV. REGINA ANGELORUM.
 XLVI. 
XLVI. REGINA ANGELORUM.
 XLVII. 
XLVII. MULIER AMICTA SOLE.
 XLVIII. 
XLVIII.
 XLIX. 
XLIX. OTHER SHEEP I HAVE.
 L. 
L.
 LI. 
LI.
  
EPILOGUE. THE SON OF MAN.
collapse section 
LEGENDS OF THE SAXON SAINTS.
  
TO THE VENERABLE BEDE
  
PROLOGUE. ODIN THE MAN.
  
KING ETHELBERT OF KENT AND SAINT AUGUSTINE.
  
THE CONSECRATION OF WESTMINSTER ABBEY.
  
THE PENANCE OF SAINT LAURENCE.
  
KING SIGEBERT OF EAST ANGLIA, AND HEIDA THE PROPHETESS.
  
KING SIGEBERT OF ESSEX, OR A FRIEND AT NEED.
  
KING OSWALD OF NORTHUMBRIA, OR THE BRITON'S REVENGE.
  
CEADMON THE COWHERD, THE FIRST ENGLISH POET.
  
KING OSWY OF NORTHUMBRIA, OR THE WIFE'S VICTORY.
  
THE VENGEANCE OF THE MONKS OF BARDENEY
  
HOW SAINT CUTHBERT KEPT HIS PENTECOST AT CARLISLE.
  
SAINT FRIDESWIDA, OR THE FOUNDATIONS OF OXFORD.
  
THE BANQUET HALL OF WESSEX, OR THE KING WHO COULD SEE.
  
EPILOGUE. BEDE'S LAST MAY.
collapse sectionV. 
VOL. V.
collapse section 
INISFAIL
  
[dedication]
collapse sectionI. 
PART I.
  
Prologue.
  
THE WARNINGS.
  
A BARD SONG.
  
THE DIRGE OF THE INVADERS;
  
PECCATUM PECCAVIT.
  
THE MALISON.
  
THE LEGENDS.
  
THE LEGENDS.
  
THE FAITHFUL NORMAN.
  
SONG.
  
THE LEGENDS.
  
THE BARD ETHELL.
  
KING MALACHI.
  
SAINT PATRICK AND THE KNIGHT;
collapse section 
THE BALLAD OF THE BIER THAT CONQUERED;
  
[section]
 I. 
I.
 II. 
II.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII.
  
THE DIRGE OF ATHUNREE
  
THE DIRGE OF EDWARD BRUCE.
  
THE TRUE KING.
  
THE BALLAD OF QUEEN MARGARET'S FEASTING.
  
THE WEDDING OF THE CLANS.
  
THE IRISH NORMAN;
  
THE STATUTE OF KILKENNY.
  
THE DAYS OF OUTLAWRY.
  
THE THREE CHOIRS;
  
THE BALLAD OF TURGESIUS THE DANE;
  
EPILOGUE.
collapse sectionII. 
PART II. The Wars of Religion.
  
Prologue.
  
PLORANS PLORAVIT.
  
ROISIN DUBH;
  
THE DIRGE OF DESMOND.
  
WAR-SONG OF MAC CARTHY.
  
FLORENCE MAC CARTHY'S FAREWELL TO HIS ENGLISH LOVE.
  
TO THE SAME.
  
THE DIRGE OF KILDARE.
  
WAR-SONG OF TIRCONNELL'S BARD AT THE BATTLE OF BLACKWATER.
  
THE TRUE VICTORY.
  
THE SUGANE EARL.
  
ORMOND'S LAMENT;
  
THE PHANTOM FUNERAL;
  
THE MARCH TO KINSALE.
  
KINSALE.
  
ROISIN DUBH.
  
TO NUALA IN ROME.
  
THE ARRAIGNMENT;
  
THE SUPPRESSION OF THE FAITH IN ULSTER.
  
KING CHARLES'S ‘GRACES.’
  
SIBYLLA IERNENSIS.
  
THE BALLAD OF ‘BONNY PORTMORE’;
  
THE INTERCESSION.
  
THE SILK OF THE KINE.
  
THE BATTLE OF BENBURB.
  
TRADITOR ISTE.
  
DIRGE OF OWEN ROE O'NEILL.
  
THE BISHOP OF ROSS.
  
DIRGE.
  
THE WHEEL OF AFFLICTION.
  
EPILOGUE.
collapse sectionIII. 
PART III.
  
Prologue.
  
IN RUIN RECONCILED.
  
THE CHANGED MUSIC.
  
THE MINSTREL OF THE LATER DAY.
  
ODE. THE ‘CURSE OF CROMWELL’;
  
PEACE.
  
THE BALLAD OF THE LADY TURNED BEGGAR.
  
THE IRISH SLAVE IN BARBADOES.
  
ARCHBISHOP PLUNKET.
  
A BALLAD OF SARSFIELD;
  
A BALLAD OF ATHLONE;
  
THE REQUITAL.
  
THE LAST MAC CARTHYMORE.
  
A HUNDRED YEARS;
  
QUOMODO SEDET SOLA.
  
SPES UNICA.
  
SEDERUNT IN TERRA.
  
DEEP CRIETH UNTO DEEP.
  
ADHÆSIT LINGUA LACTANTIS.
  
THE PROMISE.
  
[Only a reed that sighed—]
  
ODE.
  
THE SPIRITUAL RENOVATION.
  
A SONG OF THE BRIGADE.
  
A SONG OF THE BRIGADE.
  
SONG.
  
A SONG OF THE BRIGADE.
  
THE SEA-WATCHER.
  
THE FRIENDLY BLIGHT.
  
THE NEW RACE.
  
THE IRISH EXILE AT FIESOLE.
  
WINTER SONG.
  
GAIETY IN PENAL DAYS.
  
DIRGE.
  
UNA.
  
DOUBLE-LIVED;
  
ADDUXIT IN TENEBRIS.
  
DIRGE.
  
IRISH AIRS
  
HOPE IN DEATH.
  
THE DECREE.
  
SAINT BRIGID OF THE LEGENDS.
  
SAINT COLUMBA'S STORK.
  
THE GRAVES.
  
THE LONG DYING.
  
A BARD'S LOVE FOR ERIN.
  
UNREVEALED.
  
SHANID'S KEEP.
  
SAINT BRIGID OF THE CONVENTS.
  
IN FAR LANDS.
  
SAINT COLUMBA'S FAREWELL.
  
ARBOR NOBILIS.
  
ST. COLUMBA OF THE LEGENDS.
  
THE HERMIT'S COUNSEL.
  
EVENING MELODY.
  
CARO REQUIESCET.
  
THE SECRET OF POWER.
  
EVENING MELODY.
  
THE ‘OLD LAND.’
  
TO ETHNEA READING HOMER.
  
GRATTAN.
  
THE SECRET JOY.
  
INSIGHT.
  
SONG.
  
THE CLUE.
  
ODE ON THE FIRST REPEAL OF THE PENAL LAWS.
  
THE CAUSE.
  
MEMORY.
  
ALL-HALLOWS; OR, THE MONK'S DREAM.
  
HYMN.
  
ELECTA.
  
SONG.
  
THE CHANGE.
  
SEMPER EADEM.
  
EPILOGUE.
collapse section 
“THE IRISH SISTERS.”
  
[dedication]
  
THE SISTERS; OR, WEAL IN WOE.
collapse section 
EARLY POEMS:
  
[dedication]
  
ODE TO JERUSALEM.
  
PERSECUTION.
  
THE MARTYRDOM.
  
ODE.
  
VESPER HYMN.
  
NOCTURN HYMN.
  
ADAM REFUSES THE GIFTS OF THE RACE OF CAIN.
  
THE PLANETS;
  
A TALE OF THE MODERN TIME.
  
MAGDALENE IN THE DESERT.
  
ASSOCIATION OF IDEAS.
  
REALITY.
  
HUMANITY.
  
VIA INTELLIGENTIÆ.
  
[Forward, a step or two, where'er we go]
  
ST. DYMPHNA.
  
MARTHA AND MARY.
collapse section 
HYMNS.
collapse section 
[subsection]
 I. 
I.
 II. 
II. PEACE.
 III. 
III.
 IV. 
IV.
 V. 
V.
 VI. 
VI.
 VII. 
VII. CHRIST OUR EXAMPLE.
 VIII. 
VIII. TO THE HOLY SPIRIT.
  
HYMN.
  
HYMN.
  
HYMN.
  
HYMN.
  
HYMN.
  
MAUNDY THURSDAY.
  
SELF-SACRIFICE.
  
THE CREATION OF MAN.
  
AN ANCIENT LEGEND, AND ITS ANSWER.
  
TRIAL.
collapse section 
Sonnets.
 I. 
I. GOD'S GIFTS.
 II. 
II. LAW AND GRACE.
 III. 
III. CHURCHES.
 IV. 
IV.
 V. 
V.
 VI. 
VI. THE VASTNESS OF DIVINE TRUTH LOST IN ITS SIMPLICITY.
 VII. 
VII. EVIDENCES OF RELIGION.
 VIII. 
VIII. EVIDENCES OF RELIGION.
 IX. 
IX. SIMPLICITY AND STEADFASTNESS OF MIND.
 X. 
X. THE PENITENT.
 XI. 
XI. SPIRITUAL RETREATS.
 XII. 
XII. DISCIPLINE OF THE CHURCH.
 XIII. 
XIII. PENITENTIAL SEASONS.
 XIV. 
XIV. ON A PICTURE OF THE MAGDALENE.
 XV. 
XV. DISCIPLINE OF THE CHURCH.
 XVI. 
XVI. NATURAL RELIGION.
 XVII. 
XVII. INTERIOR EVIDENCES.
 XVIII. 
XVIII. CONVERSION.
 XIX. 
XIX. THE COMMUNION OF SAINTS.
 XX. 
XX. NATURE AND GRACE.
collapse section 
SONNETS BY THE LATE HON STEPHEN E. SPRING RICE.
 I. 
I.
 II. 
II. THE BLACK TARN UNDER MANGERTON.
 III. 
III. EARLY FRIENDSHIP.
 IV. 
IV. DRUDGERY.
 V. 
V. TITIAN'S PICTURE OF BACCHUS AND ARIADNE.
 VI. 
VI. MARY SAYING HER PRAYERS.
 VII. 
VII.
 VIII. 
VIII. OLD AND MODERN LEARNING.
 IX. 
IX.
 X. 
X.
 XI. 
XI.
 XII. 
XII.
 XIII. 
XIII.
 XIV. 
XIV. SYMPATHY DISPENSED WITH.
 XV. 
XV. THE HEART KNOWETH ITS OWN BITTERNESS.
 XVI. 
XVI.
 XVII. 
XVII. SICK DREAMS ALL.
 XVIII. 
XVIII. THE DREAM OF A LIFE.
 XIX. 
XIX. ‘HOLD UP, OLD HORSE!’
 XX. 
XX. SPRING.
 XXI. 
XXI. TO LINA.
 XXII. 
XXII. LEFT ALONE.
 XXIII. 
XXIII. EDIFICATION.
 XXIV. 
XXIV. THE BABY ON THE RUG.
collapse section 
POEMS FOR THE MOST PART CONNECTED WITH THE GREAT IRISH FAMINE, 1846—1849.
  
[dedication]
collapse section 
Sonnets.
  
IRISH COLONIZATION.
  
THE YEAR OF SORROW—IRELAND—1849.
  
WIDOWHOOD.
  
THE LAST IRISH GAEL TO THE LAST IRISH NORMAN;
collapse section 
Irish Odes.
 I. 
I. AFTER ONE OF IRELAND'S FAMINE YEARS.
 II. 
II. THE MUSIC OF THE FUTURE.
 III. 
III. INDUSTRY.
 IV. 
IV. THE FOUNDATION OF THE CATHOLIC UNIVERSITY.
 V. 
V. TO IRELAND—AGAINST FALSE FREEDOM.
  
SONNET.
  
TO CHARLES COUNT DE MONTALEMBERT,
collapse section 
Sonnets.
 I. 
I. THE IRISH CONSTITUTION OF 1782.
 II. 
II. CHRISTIAN EDUCATION.
 III. 
III. IRELAND AND THE ‘ECCLESIASTICAL TITLES ACT.’
  
SHEPHERD SONG.
collapse section 
[subsection]
  
[dedication]
 I. 
I. JOAN OF ARC.
 II. 
II. THE PRINCE OF WALES' TRIBUTE OF PRAISE TO FATHER DAMIEN.
 III. 
III. ON THE LATE PILGRIMAGE TO PARAY LE MONIAL.
 IV. 
IV. ST. CHRYSOSTOM'S RETURN FROM EXILE.
 V. 
V. THE DEATH OF POPE HILDEBRAND.
 VI. 
VI. THE FORMULARY OF POPE HORMISDAS.
 VII. 
VII. THE SPANISH ARMADA AND THE ENGLISH CATHOLICS.
 VIII. 
VIII. THE ISLAND OF IONA.
 IX. 
IX. MARY QUEEN OF SCOTS.
 X. 
X. A PORTRAIT OF ANNE BOLEYN.
 XI. 
XI. ON THE CONSECRATION OF ST. PATRICK'S NEW CATHEDRAL AT ARMAGH.
 XII. 
XII. ON THE CONSECRATION OF IRELAND TO THE SACRED HEART.
collapse section 
ON THE LAYING OF THE FOUNDATION STONE OF THE NEW CHURCH AT MAYNOOTH COLLEGE.
 XIII. 
XIII. THE PAST.
 XIV. 
XIV. THE FOUNDATION STONE.
 XV. 
XV. THE MAYNOOTH CENTENARY;
 XVI. 
XVI. THE NEW CATHOLIC CHURCH NEAR WINDERMERE.
 XVII. 
XVII. WALNA CRAG, AND ‘THE LADY'S RAKE,’ DERWENTWATER.
 XVIII. 
XVIII. ULSWATER.
collapse section 
URBS ROMA
  
[dedication]
 I. 
I. ST. PETER'S BY MOONLIGHT.
 II. 
II. PONTIFIC MASS IN THE SISTINE CHAPEL.
 III. 
III. THE PILLAR OF TRAJAN.
 IV. 
IV. THE ARCH OF TITUS.
 V. 
V. THE CAMPAGNA SEEN FROM ST. JOHN LATERAN.
 VI. 
VI. BIRDS IN THE BATHS OF DIOCLETIAN.
 VII. 
VII. THE ‘MISERERE’ IN THE SISTINE CHAPEL.
 VIII. 
VIII. THE ‘MISERERE’ IN THE SISTINE CHAPEL.
 IX. 
IX. THE MONUMENTS OF QUEEN CHRISTINA OF SWEDEN AND THE COUNTESS MATILDA IN ST. PETER'S.
 X. 
X. THE CATACOMBS.
 XI. 
XI. THE APPIAN WAY.
 XII. 
XII. ON THE CROSS IN THE INTERIOR OF THE COLISEUM.
 XIII. 
XIII. THE FOUNTAIN OF EGERIA.
 XIV. 
XIV. THE GRAVES OF TIRCONNEL AND TYRONE ON SAN PIETRO, IN MONTORIO.
 XV. 
XV. TO THE PILLAR THAT STANDS BESIDE THE HIGH ALTAR AT ‘ST. PAUL'S OUTSIDE THE WALLS,’ ROME.
collapse section 
SAINT PETER'S CHAINS;
  
[dedication]
collapse sectionI. 
PART I. The Revolt against Christian Civilization.
 I. 
I. CHRISTMAS EVE, 1859.
 II. 
II. ITALIAN ‘UNIFICATION’ IN 1860.
 III. 
III. GREAT CONNIVING POWERS.
 IV. 
IV. THE RETRIBUTION.
 V. 
V. JUVENILE PATRIOTISM.
 VI. 
VI. THE ORIGIN OF THE TEMPORAL POWER.
 VII. 
VII. THE OLD AND NEW BARBARIANS.
 VIII. 
VIII. TO ITALY, 1861.
 IX. 
IX. THE ITALY OF OLD.
 X. 
X. THE INVASION OF THE PAPAL STATES.
 XI. 
XI. ROSSI.
 XII. 
XII. TRUE AND FALSE LOVE OF FREEDOM.
 XIII. 
XIII. THE APPROACHING DEED.
 XIV. 
XIV. THE CONSUMMATION.
collapse sectionII. 
PART II.
 XV. 
XV. THE FRENCH REVOLUTION AND NATIONAL APOSTASY.
 XVI. 
XVI. A RUINED FRENCH ABBEY.
 XVII. 
XVII. THE LAWLESS RACE.
 XVIII. 
XVIII.
 XIX. 
XIX. THE CHURCH OF THE MADELEINE AT PARIS AND THE FRENCH REVOLUTION.
 XX. 
XX. THE STATUE OF VOLTAIRE,
 XXI. 
XXI. THE FRANCE OF A FUTURE TIME.
 XXII. 
XXII. THE NEW GERMAN PERSECUTION.
 XXIII. 
XXIII.
 XXIV. 
XXIV. THE FAITHFUL FEW.
 XXV. 
XXV. MONTALEMBERT AND DE MÉRODE.
 XXVI. 
XXVI. THE WORLD'S APPRECIATIONS.
 XXVII. 
XXVII. THE HIGHER CIVILIZATION.
collapse sectionIII. 
PART III.
 XXVIII. 
XXVIII. THE TEMPORAL POWER.
 XXIX. 
XXIX. AUSTRIA AND SPAIN.
 XXX. 
XXX. THE NATIONS OF CHRISTENDOM.
 XXXI. 
XXXI. THE LAW OF NATIONS.
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[section]
 XXXII. 
XXXII. ST. GREGORY THE GREAT AND CHARLEMAGNE.
 XXXIII. 
XXXIII. ST. GREGORY THE GREAT AND ENGLAND.
 XXXIV. 
XXXIV. THE NOBLE REVENGE.
 XXXV. 
XXXV.
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[section]
 XXXVI. 
XXXVI. WALTER SCOTT AT THE TOMB OF THE STUARTS IN SAINT PETER'S.
 XXXVII. 
XXXVII. WALTER SCOTT AT THE TOMB OF THE STUARTS IN SAINT PETER'S.
 XXXVIII. 
XXXVIII. THE ‘ARA CŒLI’ ON THE CAPITOL.
 XXXIX. 
XXXIX. THE RESTORATION.
 XL. 
XL.
 XLI. 
XLI. SAINT PETER.
 XLII. 
XLII. SAINT PETER.
collapse sectionVI. 
VOL. VI. LEGENDS AND RECORDS OF THE CHURCH AND THE EMPIRE
  
[dedication]
collapse sectionI. 
Part I THE ROMANO-BARBARIC AGES
  
THE LEGEND OF SAINT THECLA.
  
SAINT DIONYSIUS, THE AREOPAGITE.
  
THE LEGEND OF SAINT LONGINUS.
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THE LEGEND OF SAINT PANCRATIUS.
 I. 
PART I.
  
[part]
  
THE LEGEND OF SAINT DOROTHEA.
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[section]
 I. 
I. CONSTANTINE IN THRACE.
 II. 
II. CONSTANTINE AT CONSTANTINOPLE.
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THE LEGEND OF SAINT ALEXIS.
 I. 
PART I.
  
[part]
  
[part]
  
SAINT AGATHA.
  
SAINT LUCY.
  
SAINT ANASTASIA AT AQUILEIA.
  
THE FEAST OF ST. PETER'S CHAINS.
  
SAINT PERPETUA.
  
SAINTS VALERIAN AND CECILIA.
  
SAINT EMMELIA.
  
THE ALEXANDRIAN VERSION OF THE SCRIPTURES.
  
SAINT LEO THE GREAT.
  
EUSTOCHIUM, OR SAINT JEROME'S LETTER.
  
THE DEATH OF SAINT JEROME.
  
STILICHO.
  
THE LEGEND OF SAINT GENEVIEVE.
  
AMALASUNTA.
  
SAINT BONIFACE AT FULDA.
  
THE CROWNING OF CHARLEMAGNE; AND THE CREATION OF THE HOLY ROMAN EMPIRE.
collapse sectionII. 
Part II MEDIÆVAL RECORDS
  
[dedication]
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LEGENDS OF THE CID.
 I. 
I. The Cid's Marriage.
 II. 
II. The Cid in Exile.
 III. 
III. The Cid at Valencia.
 IV. 
IV. The Death of the Cid.
  
POPE HILDEBRAND BESIEGED IN THE CASTLE OF ST. ANGELO BY THE EMPEROR HENRY IV.
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ST. FRANCIS AND PERFECT JOY.
  
ARGUMENT.
  
[section]
  
ROBERT BRUCE'S HEART;
  
JOAN OF ARC.
  
THE HIGHER PURGATORY.
  
HYMNS FROM ST. GERTRUDE.
  
HYMN OF PRAISE TO GOD.
  
HYMN ON THE DIVINE HUMANITY OF CHRIST.
  
THE TRUE HUMANITY.
  
COLUMBUS AND THE SEA-PORTENT.
  
COLUMBUS AT SEVILLE.
  
THE DEATH OF COPERNICUS.
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Sonnets on Mediæval Science and Art.
  
SAINT THOMAS AQUINAS.
  
GIOTTO'S CAMPANILE AT FLORENCE.
  
OLD PICTURES AT FLORENCE.
  
ON A PICTURE BY COREGGIO AT PARMA.
  
COREGGIO'S CUPOLAS AT PARMA.
  
A PICTURE BY PIETRO PERUGINO.
  
FRESCOES BY MASACCIO.
  
A TYROLESE VILLAGE.
  
AN EARLY PICTURE BY RAFFAEL.
  
BOCCACCIO AND CERTALDO.
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[subsection]
  
I. THE CAMPO SANTO AT PISA.
 II. 
II. THE CAMPO SANTO AT PISA.
  
THE FEAST OF ST. PETER'S CHAIR AT ANTIOCH;
  
MURILLO'S PICTURE, ‘THE IMMACULATE CONCEPTION’.
  
HYMN.

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DOLORES.

(SCENE IN A MADHOUSE).

1

She sings her wild dirges, and smiles 'mid the strain;
Then turns to remember her sorrow.
Men gaze on that smile till their tears fall like rain,
And she from their weeping doth borrow.
She forgets her own story: and none, she complains,
Of the cause for her grief will remind her:
She fancies but one of her kindred remains:
She is certain he never can find her.
Whence caught you, sweet Mourner, the swell of that song?
‘From the arch of yon wind-laden billow.’
Whence learned you, sweet Lady, your sadness?—
‘From Wrong.’
Your meekness who taught you?—‘The Willow.’

2

She boasts that her tresses have never grown grey;
Yet murmurs, ‘How long I am dying!
My sorrows but make me more lovely, men say;
But I soon in my grave shall be lying!
217

My grave will embrace me all round and all round,
More warmly than thou, my false lover;
No Rival will steal to my couch without sound:
No Sister will come to discover!’
Whence caught you, sweet Mourner, the swell of that song?
‘From the arch of the wind-laden billow.’
Whence learned you, sweet Lady, your sadness?—
‘From Wrong.’
Your meekness who taught you?—‘The Willow.’

3

She courts the cold wind when the tempests blow hard,
And at first she exults in their raving:
She clasps with her fingers the lattice close-barred:
Like the billows her bosom is waving:
But ere long with strange pity her spirit is crossed,
And she sighs for poor mariners drowning:
And—‘thus in my passion of old I was tossed’—
And—‘thus stood my grey Father frowning!’
Whence caught you, sweet Mourner, the swell of that song?
‘From the arch of the wind-laden billow.’
Whence learned you, sweet Lady, your sadness?—
‘From Wrong.’
Your meekness who taught you?—‘The Willow.’

4

On the wall the rough water chafes ever its breast;
'Mid the willows my bark was awaiting;
Passing by, on her cold hand a sad kiss I prest,
And slowly moved on to the grating.
218

‘For my lips, not my fingers, your bounty I crave!’
She cried with a laugh and light shiver:
‘You drift o'er the ocean, and I to the grave;
Henceforward we meet not for ever!’
Where found you, sweet Mourner, the swell of that song?
‘In the arch of yon wind-laden billow.’
Whence learned you, sweet Lady, your sadness?—
‘From Wrong.’
Your meekness who taught you?—‘The Willow.’
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