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I) in which Arthur overthrew the heathen were, in order of occurrence, at the following places: 1. Glem (Lincolnshire or Northumberland); 2, 3, 4, 5. Duglas (a small stream in Britain); 6. Bassa (a rock in the Firth of Forth); 7. Celidon (the Caledonian forest); 8. Gurnion Castle (in Norfolk); 9. Legion (the city of Exeter); 10. Trath Treroit (a river in Lancashire); 11. Breguoin (a mountain in Northern England); 12. Badon (the place of final victory. See note 8 above).

10. Astolat. The home of Elaine. Supposed to be at Guilford in Surrey. 11. Castle Perilous. The fanciful name given to the home of Lyonors and Lynette.

12. Gelt. A river in Cumberland, on the cliffs above which are certain inscriptions supposed to have been made by a Roman "vexillary" or standard bearer.

[Note III.] Time Occupied by the Idylls

Modified from Maccallum's Tennyson's Idylls and Arthurian Story.

The reign of Arthur may be supposed to have lasted twelve years. The order of its events is recorded in the Idylls as follows:

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definition and kinds of, lxxvi-lxxix; | SHAKESPEARE WILLIAM, his position

masculine, lxxvii; feminine, lxxvii; re-
lation to harmony and melody in verse,
lxxvi-lxxix

Rhyme-royal, lxxxii

Rhythm, - a mode of nature and art,
xxvii-xxviii; a principle, xxix; in verse,
- origin, 1; in prose, l-li; in relation

-

to the material, lxviii-lxix
Rime of the Ancient Mariner: see An-
cient Mariner

Ring and the Book, The, 296

Romans, early conquests, of Britain, I;
of Gaul, 2

Romantic play, the, xcix

in English literature, 37, 48; metre of
his plays, 37; his sonnets, lxxxvii, 462;
a creative and interpretative poet,
xxxiv, xxxv. For examples of his son-
nets, see Sonnets of Shakespeare under
this index

SHELLEY, PERCY BYSSHE, comparison
with Byron, 201; criticism of, 218-219;
life of, 219-220; works of, 220; a pre-
sentative poet, xxxiv. For poems, Ode
to the West Wind, To a Skylark, The
Cloud, and To Night, see titles under

this index

She Stoops to Conquer, 133

Romantic poetry, meaning of, civ; the Short Measure (S.M.), lxxxi

new, 160-161

Rondeau, lxxxvii

Rondel, lxxxviii

Rossetti, Dante Gabriel, 230, 252
Rubaiyat, quatrains of the, lxxxi
Rugby Chapel, text of, 322-328; basis of
poem, 563; notes on, 563-564; asso-
nance in, lxxix; as an elegy, xcviii

Sackville, 37

Samson Agonistes, 54

Sapphics and Adonics, lxxxiii

Satirical verse, ciii

Saul, 294, 296

Saxons, West, language of, 2

Scholar Gipsy, The, 317

Scholasticism of Middle Ages, 34

Scorn not the Sonnet, text of, 178; notes

on, 525

Similarity, images of, xlii
Simile, xliv-xlv

Slurring, lxviii

Social Revolt, poets of, 200-201; relation
to revolutionary spirit, 201; compari-
son of Byron and Shelley, 201
Sohrab and Rustum, 317
Solution, the, in Drama, c

Song for St. Cecilia's Day, 497, lxxii,
lxxxv

Song, the poetry of, xcvii-xcviii

Sonnet, form of, lxxxv-lxxxvii, 462, 494;
origin of, 36; introduction into Eng-
land, 36

Sonnet on Chillon, text of, 215-216; ex-
planation of, 535

Sonnets, of Keats, — rank, 544; of Mil-

ton,- form, 494,-number, 53; of
Wordsworth, -rank, 164, 524

Scotch, Lowland, identical with North- Sonnets of Shakespeare, text of, 48-50;

ern English dialect, 5

Scottish universities, rise of, 34

Scott, Sir Walter, his Lay of the Last
Minstrel, 160; his relation to his time,
161; criticism of, 161

Sculpture, xxix, xxxv, xxxvi
Senarius, lvi

Sensations, the, xli

Senses, the, appeal of poetry to, xxxvi,
xlii, cix

Sentimental, the, in poetry, cv-cvi
Septenarius, septenary, lvi, lxxxi

Serious play, the, xcix
Sestet in sonnet, lxxxvi

remarks on, 462-463

Sonnet to Raleigh, text of, 47; form of
Spenser's sonnets, 462, lxxxvii
Sordello, 295

Southey, Robert, 163, 179

SPENSER, EDMUND, criticism of, 38-39;
life of, 39-40; works of, 40; sonnets
of, lxxxvii, 462. For his poems,-
stanzas from the Faerie Queene, and
the Sonnet to Raleigh, see titles under
this index

Spenserian stanza, lxxxiii, 460.
Spondee, li, liii

Stages, of dramatic action, c-ci

Stanza, the, relation to the verse and the poem, lxxx; kinds of, lxxx-lxxxv; three-line, lxxx; four-line, lxxxi; five-, six-, and seven-line, lxxxii; eight-line and more, lxxxii; classical, lxxxiii Stress in verse, li-lxviii, passim Structural forms of verse, lxxxv-xci; the ode, lxxxv; the sonnet, lxxxv-lxxxvii ; the fourteener,' lxxxvii; fixed forms with refrain, lxxxvii; French forms, lxxxvii-xci

Structural mode, the, of treating material, xxxii

Substituted feet, lx-lxi, lxii-lxiii, lxvilxvii, lxviii

Surrey, Henry Howard, Earl of, 36-37; his sonnets, lxxxvii; his blank verse,

37

Swinburne, Algernon Charles, 230, 252;
his Sapphics, lxxxiii; his estimate of
Coleridge, 530

Syllables, variation in number of, lxvi-
lxvii; extra, lxvii, lxviii; lacking, lxviii
Synæresis, lxviii
Synalopha, lxviii
Synecdoche, xlvi

Tetrameter, liv-lv
Teutonic basis of English Language, 5
Theory of Poetry, Wordsworth's, 161–162
Thomson, James, 125; his Seasons, 125
Three-line stanzas, lxxx
Thyrsis, 318

Tintern Abbey, text of, 164-168; criti-
cism of, 517; circumstances of com-
position, 517; notes on, 517-519;
sound quality in, lxxiii-lxxiv; as a
reflective poem, xcvii; touchstones'
in, cviii

Tithonus, text of, 291-293; criticism of, 553; notes on, 553-554

To a Skylark, text of, 223-226; circumstances of composition, 536; notes on, 536-537; as a lyric, xcvii; 'touchstones' in, cviii

To Mr. Cyriac Skinner, text of, 100; notes on, 496

Tonality in verse: melody, lxviii-lxxvi; harmony, lxix, lxxvi-lxxix

To Night, text of, 229-230; criticism of, 538; notes on, 538

To the Lord General Cromwell, text of, 99; notes on, 495

Syntax study, importance of, in interpret- Tottel's Miscellany, 37 ing literature, 465

Table of English Kings, opposite I
Table of English Poets, opposite I
Taine, criticism of Byron, 201
Tale, metrical, xcvi

Tam o'Shanter, text of, 153–159; cir-
cumstances of composition, 514; notes
on, 515-517

TENNYSON, ALFRED, LORD, criticism
of, 274; life of, 275-276; works of,
275-440; the verse of his In Memoriam,
lxxxi; his alcaics, lxxxiv. For his
poems, - Enone, The Lady of Shalott,
Ulysses, Tithonus, Crossing the Bar,
and the Idylls of the King-Gareth
and Lynette, Lancelot and Elaine, and
The Passing of Arthur, see titles under
this index

Tenure of Kings and Magistrates, 53
Terza rima, lxxx

Test-passage, the, in criticism, cvi
Tests, of poetry, ciii-cxi

'Touchstones,' the, Arnold's use of, in
criticism, cvi-cviii

Tractate on Education, 53
Tragic justice, xcviii
Tragic moment, the, ci
Traveller, The, 133
Trimeter, liv-lv
Triolet, lxxxviii
Trochaic opening, the, lxi
Trochee, li, liii
Troilus and Criseyde, 7
Trope, the, lxiv
Truncation, lxviii
Twa Dogs, The, 147

Ulysses, text of, 289–291; myth of, 552553; notes on, 553

Verse, an instrument of poetry, xxxviii;
compared with prose, xxxix; the larger
units of stanzaic and structural forms,
lxxix-xci; the rhythm of, 1-lxviii
Vicar of Wakefield, The, 133

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162; Lyrical Ballads, 160–161; life of,
163; works of, 163-164; as a sonnet-
eer, 164, 524; as an interpretative
poet, xxxiv; his account of the compo-
sition of The Ancient Mariner, 526-
527; his account of his childhood ex-
periences on which his Immortality
Ode is based, 519. For his poems,
Tintern Abbey, Ode on the Intimations
of Immortality, Ode to Duty, and the
Sonnets, London, 1802, Composed upon
Westminster Bridge, "It is a Beauteous
Evening, Calm and Free," The
World is too Much with Us," and
"Scorn not the Sonnet," see titles under
this index

'World is too much with Us, The,"
text of, 177; notes on, 524-525
Wyatt, Sir Thomas, 36; his sonnets,
lxxxvii

Wycliffe, John, 5

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