^. "'^ ^V *^. *onO^ ,0-^ '^^ I ^'^ ^.* ^ ^ ^^^^^^ , ^^ <^. <(? ^*. °o ^^ ^^TT.-^ ,__iSKiL English • Classic • Series i-i-i-i i=r i-i-i =11 r KELLOGG'S EDITIONS. SHAKESPEARE'S PLAYS. Bacb IMas In Qnc IDolume. Text Carefully Expurgated for Use in Mixed Classes. With Portrait^ Notes^ Introdttction to STiakespeare's Ghrammar^ Examination Papers^ and Plan of Study, (SSLKOTBD.) By BRAINERD KELLOGG, A.M., Professor of the English Language and Literature in the Brooklyn Polytechnic : Institute, and author of a " Text-Book on Rhetoric,'^ a " Text-Book on English Literature,'''' and one of the authors of Beed dt Kellogg^ s " Lessons in English." The notes have been especially prepared and selected, to meet the) requirements of School and College Students, from editions by emi- nent English scholars. We are confident that teachers who examine these editions will pro- I nounce them better adapted to the wants of the class-room than any I others published. These are the only American !Editionsi i of these Plays that have been carefully expurgated 1 for use in mixed classes. Printed from large type, attractively bound in cloth, and sold att nearly one half the price of other School Editions of Shakespeare. The following Plays, each in one volume, are now ready: MERCHANT OF VENICE. JULIUS C/ESAR. MACBETH. I'EMPEST. HAMLET. KING HENRY V. KING LEAR. KING HENRY IV., Part I. KING HENRY VIII. AS YOU LIKE IT. KING RICHARD Kf. A MIDSUMMER-NIGHT'S DREAM. A WINTER'S TALE, Jtrailing price, 30 cents per copy. Special JPriee to Teachers, Full Descriptive Catalogue sent on application. The Holy Grail FROM THE IDYLS OF THE KING ALFRED TENNYSON. NEW YORK : Effingham Maynaud & Co., Publishers, 771 Broadway and 67 & 69 Ninth Street. .HI: A Complete Course in the Study of EnglishJ Spelling, Language, Grammar, Composition, Literature, Reed's Word Lessons— A Complete Speller. Reed & Kellogg's Graded Lessons in English. Reed 8l Kellogg's Higher Lessons in English. Kellogg's Text-Book on Rhetoric. Kellogg's Text-Book on English Literature. In the preparation of this series the authors have had one object I clearly in view— to so develop the study of the English language as to present a complete, progressive course, from the Spelling-Book to the study of English Literature. The troublesome contradictions which arise in using books arranged by different authors on these subjects, and which require much time for explanation in the school-room, will be avoided by the use of the above " Complete Course." Teachers are earnestly invited to examine these books. Effingham Maynard & Co., Publishers, 771 Broadway, New York. Copyright, 1891, by EFFINGHAM MAYNARD & CO. CM Biographical and General Introduction. "Alfred Tennyson was born August 5, 1809, at Somersby a hamlet in Lincolnshire, England, of which, and of a neigh- boring parish, his father. Dr. George Clayton Tennyson, was rector. The poet's rnother was Elizabeth, daughter of the Rev. Stephen Fytche, vicar of Louth. Alfred was the third of seven sons — Frederick, Charles, Alfred, Edward, Horatio, Arthur, and Septimus. A daughter, Cecilia, became the wife of Edmund Law Lushington, long professor of Greek in Glasgow UniA'er- sity. Whether there were other daughters, the biographies of the poet do not mention. Tennyson's career as a poet dates back as far as 1827, in which year, he being then but eighteen years of age, he published anonymously, in connection with his brother Charles (who was only thirteen months his senior, having been born July 4, 1808), a small volume, entitled Poems by Two Brothers. The Preface, which is dated March, 1827, states that the poems contained in the volume ' were written from the ages of fifteen to eighteen, not conjointly, but individually; which may account for the difference of style and matter.' In 1828, or early in 1829, these two brothers entered Trinity College, Cambridge, where their eldest brother, Frederick, had already entered. At the Cambridge Commencement in 1829, Alfred took the Chancellor's gold medal, by his poem entitled Timbuctoo. That appears to have been the first year of his ac- quaintance, Avhich soon ripened into an ardent friendship, M'ith Arthur Henry Hallam ; this friendship, as we learn from tho twenty-second section of In Memoriam, having been, at tho death of Hallam, of 'four sweet years,' ' duration. It is an in- teresting fact that Hallam was one of Tennyson's rival com- petitors for the Chancellor's prize. His poem is dated June, 1829. It is contained in his Litcrar)/ liemains. Among other of Tennyson's friends at the University were John Mitchell 3 4 BIOGRAPHICAL AND GENERAL INTRODUCTION. Kemble, the Anglo-Saxon scholar ; William Henry Brookfield, long an eloquent preacher in London ; James Spedding, the biographer and editor of Lord Bacon ; Henry Alford, Dean of Canterbury; Richard Monckton Milnes (afterwards Lord Houghton), who united the poet and the politician, and was the biographer of Keats; and Richard Chenevix Trench, who became Dean of Westminster, in 1856, and Archbishop of Dub- lin, in 1864. A brilliant array of college friends ! Tennyson's prize poem was published shortly after the Cam- bridge Commencement of 1829, and was very favorably noticed in The Athenmum of July 22, 1829. In it can already be recog- nized much of the real Tennyson. There are, indeed, but vei-y few poets whose earliest productions exhibit so much of their after selves. The real Byron, the most vigorous in his diction of all modern poets, hardly appears at all in his Hours of Idle- ness, which was published when he was about the age of Tenny- son was when Timhuctoo was published. In 1830 appeared Poems, chicflrj Lyrical, by Alfred Tennyson. In this volume appeared, among others, the poems entitled Ode to Memory, The Poet, The Poefs Mind, The Deserted House, and The Sleeping Beauty, which were full of promise, and struck key-notes of future Avorks. The reviews of the volume mingled praise and blame-the blame perhaps being predominant. In 1832 appeared Poems by Alfred Tennyson, among which were included The Lady of Shalott, The Miller^ s Daughter, The Palace of Art, The Lotos Eaters, and A Dream of Fair Women, all showing a great advance in workmanship and a more distinctly articulate utterance-^many of the poems of the previous volumes being rather artist-studies in vowel and melody suggestiveness. It was reviewed, somewhat face- tiouslv, in The Quarterly, July, 1833, (vol. 49, pp. 81-96,) by, as ; was generally understood, John Gibson Lockhart, the son-in- law of Sir Walter Scott, at that time editor of The Quarterly ; and in a more earnest and generous vein, by John Stuart Mill, in The Westminster, July, 1835. A silence of ten years succeeded the 1832 volume, broken only by an occasional contribution of a short poem to some magazine or collection. In 1842 appeared Poems by Alfred Tennyson, in two volumes, containing selections from the volumes of 1830 and 1832, and many new poems, among which were Ulysses, Love and Duty, The Talking Oak, Godiva, ai^d the remarkable poems of The Two Voices, and The Vision of BIOGRAPHICAL AND GENERAL INTRODUCTION. 5 Sin. The .volumes Avere most enthusiastically received, and Tennyson took at once his place as England's great jjoet. A second edition followed in 1843, a third in 1845, a fourth in 184G, and a fifth in 1848. Then came The Princess: A Medley, 1847; a second edition, 1848 ; In Memoriam, 1850, three editions ap- pearing in the same year. The poet was married June 13, 1850, to Emily, daughter of Henry Sellwood, Esq., and niece of Sir John Franklin, of Arctic Expedition fame. Wordsworth had died April 23 of that year, and the laureateship was vacant. After some opposition, the chief coming from The Athenceuni, which advocated the claims of Elizabeth Barrett Browning, Tennyson received the appointment, his In Memoriam, which had apj)eared a short time before, and which at once laid hold of so many hearts, contributing much, no doubt, to the final decision. His presen- tation to the queen took place at Buckingham Palace, March 6, 1851, and in the same month appeared the seventh edition of the Poems, with, an introductory poem To the Queen, in which he pays a high tribute to his predecessor in the laureateship : — 'Victoria, since your royal grace To one of less desert allows This laurel greener from the brows Of him that uttered nothing base ;' To do much more than note the titles of his principal works since he became Poet-Laureate, the j^rescribed limit of this sketch will not allow. In 1855 appeared Maud, which, though it met with great disapprobation and but stinted j) raise, is, i^er- haps, one of his greatest poems. In July, 1859, the first of the Idyls of the King appeared, namely, Enid, Vivien, Elaine, and Guinevere, which were at once great favorites with all readers of the poet; in August, 1SG4, Enoch Ar den, with which were published ^4 ?/^mer' 5 Field, Sea Dreams, The Grandmother, and The Northern Farmer: in December, 1869, four additional Idyls, under the title, The Holy Grail and Other Poems, namely — The Coming of Arthur, The Holy Grail, Pellcas and Ettare, and The Passing of Arthur, of which forty thousand copies were ordered in advance; in December, 1871, in The Contemporary Peview, The Last Tournament ; in 1872, Gareth and Lynette ; in 1875, Queen Mary : A Drama; in 1877, Harold: Drama; in 1880, Ballads and Other Poe7ns. Tennyson's IMuse has been productive of a body of lyric, idyllic, metaphysical, and narrative or descriptive poetry, the 6 BIOGRAPHICAL AND GENERAL INTRODUCTION. i choicest, rarest, daintiest, and of the most exquisite workman- shii3 of any that the century has to show. In a strictly dramatic direction he can hardly be said to have been successful. His Queen Mary is but little short of a failure as a drama, and his Harold but a partial success. With action proper he has shown but little sympathy, and in the domain of vicarious thinking and feeling, in which Robert Browning is so pre-eminent, but little ability. But no one who is well acquainted with all the best poetry of the nineteenth century, will hesitate to pro- nounce him facile 2)i'inccps in the domain of the lyric and idyllic ; and in these departments of poetry he has developed a style at once individual and, in an artistic point of view, almost ' faultily faultless ' — a style which may be traced from his earliest efforts up to the most complete perfection of his latest poetical works. The splendid poetry he has given to the world has been the product of the most patient elaboration. No English poet, with the exception of Milton, Wordsworth, and the Brownings, ever worked w ith a deeper sense of the divine mission of poetry than Tennyson has worked. And he has Avorked faithfully, earnestly, and conscientiously to realize the ideal with w^hich he appears to have been early possessed. To this ideal he gave expression in two of his early j^oems, entitled The Poet and The PoeVs Mind; and in another of his early poems. The Lady of iShalott, is mystically shadowed forth the relations which poetic genius should sustain to the world for whose spiritual redemption it labors, and the fatal consequences of its being seduced by the world's temi)tations— the lust of the flesh, and the lust of the eyes, and the pride of life. Great thinkers and writers owe their power among men, not necessarily so much to a wide range of ideas, or to the origi- nality of their ideas, as to the intense vitality which they are able to impart to some one comi^rehensive, fructifying idea, with which, through constitution and the circumstances of their times, they have become possessed. It is only when a man is really possessed with an idea (that is, if it does not run away with him) that he can express it with a quickening power, and ring all possible changes upon it. What may be said to be the dominant idea, and the most vitalized, in the poetry of Alfred Tennyson? It is easily noted. It glints forth everj^vhere in his poetry. It is, that the ; complete man must be a well-poised duality of the active and BlOGliAPHICAL AND GENERAL INTRODUCTION. 7 the passive or receptive; must unite with an * all-subtilizing intellect,' an 'all-comprehensivo tenderness;' must 'gain in sweetness and in moral height, nor lose the wrestling thews that throAv the world.' " Thus far Dr. Corson, of Cornell University, in his Introduc- tion to The Two Voices, and A Dream of Fair Women, poems edited by him for the English Classics. "It seems to me that the only just estimate of Tennyson's position is that Avhich declares him to be by eminence, the representative poet, of the recent era. Not, like one or another of his compeers, represen- tative of the melody, wisdom, passion, or other partial phase of the era, but of the time itself, with its diverse elements in harmonious conjunction. ********* In his verse he is as truly * the glass of fashion and the mould of form ' of the Victorian generation in the nineteenth century as Spenser was of the Elizabethan court, Milton of the Protectorate, Pope of the reign of Queen Anne. During his supremacy there have been few great leaders at the head of different schools, such as belonged to the time of Byron, Wordsworth, and Keats. Plis poetry has gathered all the elements which find vital expression in the complex modern art."— Stedman's Victorian Poets. " To describe his command of language by any ordinary terms expres- sive of fluency or force would be to convey an idea both inadequate and erroneous. It is not only that he knows every word in the language suited to express his every idea; he can select with the ease of magic the word that above all others is best for his purpose ; nor is it that he can at once sun.mon to his aid the best word the language affords; with an art which Shakespeare never scrupled to apply, though in our day it is apt to be counted mere Germanism, and pronounced contrary to the genius of the language, he combines old words into new epithets, he daringly mingles all colors to bring out tints that never were on sea or shore. His words gleam like pearls and opals, like rubies and emer- alds. He yokes the stern vocables of the English tongue to the chariot of his imagination, and they become gracefully brilliant as the leopards of Bacchus, soft and glowing as the Cytherean doves. He must have been born with an ear for verbal sounds, an instinctive appreciation of the beautiful and delicate in words, hardly ever equaled. Though his later works speak less of the blossom-time-shoAv less of the efflor- escence and iridescence, and mere glance and gleam of colored words —they display no falling off, but rather an advance, in the mightier elements of rhythmic speech."— Pe^er J3ayne. Idyls of The King. The Idyls of the King is a group of magnificent poems ten in number — dealing with the character and reign of King Arthur, and describing the exploits of the Knights of the Round Table, when these knights were at the height of their glory, and when they had fallen to the depths of their shame. These poems picture, also, the life of Queen Guinevere at the Court and in the Abbey, her death, and that of her lord. They were dedicated by their author to the memory of Prince Albert, and afterwards to Queen Victoria. Having to do exclusively with the Arthurian legends, which have come down to us iu numberless books of prose and of jjoetry, these poems belong, in their subject-matter, to the past. But the legends have filtered through the poet's nature, been etherealized by his imagination, and moulded by his artistic hands into such felicitous forms that this great work is, and will forever re- main, fascinating to all lovers of the beu'utiful in thought and expression. Tennyson himself says of it that it is New-old, and shadowing Sense at war M-ith Soul Rather than that gray king, whose name, a ghost. Streams like a cloud, man-shaped, from £nountain peak. ^' The great hero of the Idyls, though not always the most A active, never contending in the tournaments, is \A^ j|>/| King Arthur. Of him, as a veritable and historical personage, -[^^M^ nothing can be said. But he is the idealized and idolized hero ^ rj[\/W^f British and Welsh legend ; is even the Magnificence of ^"^ Spenser's Fcerie Queene (see Spenser's dedication of the poem to Sir Walter Raleigh, and also the opening stanzas of Canto IX., Book I). He is as real, or, if you please, as mythical, a character as William Tell. He is the reputed son of a reputed ^ king, Uther — Pendragon (dragon-head), a surname, Ritson says, taken possibly from the form of his helmet or his crest. ! From him Arthur inherits the title. Arthur grew up ignorant 8 IDYLS OF THE KING. » of his high birth, was taken to London, and, there drawing from a stone, in which it was imbedded, a sword on which was inscribed, "Whoso puUeth this sword out of this stone is rightwise born King of England," was crowned King of Britain. His fabulous exploits in arms, as recorded by the Welshman Geoffrey of Monmouth, about 1138, and in a multi- tude of poems afterwards, put to shame the achievements of Alexander or of Caesar. His great enemy, near at home, was the Saxons, after their invasion of the Island in 449. With them he is said to have fought twelve battles (of which Lance- lot speaks in Elame), in all of which he was conqueror. The battle-fields have been placed in half the shires of England, and in Wales, and their location is as certain, probably, as the battles themselves, or even as the existence of their victor ! Where were Arthur's Palaces is equally uncertain. Cserleon-upon-Usk, the Isca Silurum of the Romans, is said to have been his chief city. But places claiming the honor of his residence are found scattered throughout the Island. For an epitome of the facts concerning a real, historic Arthur, the basis, perhaps, of the mythical Arthur of the Romances, see "Arthur," EncyclopcEdia Britannica. The Round Table was the famous circle of knights gathered around Arthur as then- head. Who these knights were and what they were to do may as well be told in- Tennyson's own lines, put into the mouth of Arthur, in Guinevere : But I was first of all the kings who drew The knighthood-errant of this realm, and all The realms, together under me, their Head, In that fair order of my Table Round, A glorious company, the flower of men. To serve as model for the mighty world, And be the fair beginning of a time. I made them lay their hands in mine and swear To reverence the King, as if he were Their conscience, and their conscience as their King, To break the heathen and uphold the Christ, To ride abroad redressing human wrongs, To speak no slander, no, nor listen to it, To lead sweet lives in purest chastity, To love one maiden only, cleave to her, And worship her by years of noble deeds Until they won her; for, indeed, I knew 10 IDYLS OF THE KING. Of no more subtle master under heaven Than is the maiden passion for a maid, Not only to keep down the base in man But teach high thought and amiable words And courtliness and the desire of fame And love of truth and all that makes a man. How this circle had declined in virtue the Idyls show. But one is grateful to Tennyson that, in the exquisite poems ems braced under this title, these knights are lifted out of the grossness of their sins, in which Sir Thomas Mallory makes them wallow, in his History of King Arthur. Of this group Lancelot was chief, at least in prowess, and the favorite ofi Arthur. He is especially prominent in Elaine ; sinning in hisi love for Queen Guinevere, and yet repenting, and dying, at last, "a holy man." He is represented as born in Brittany., On the death of his father, he was carried away, then an infant, by Vivien, the lady of the lak^, who fostered him ; hence he was called Lancelot du Lacr His birth and possessions in Britany explain his offer to Elaine of a '' realm beyond the seas." In his Victorian Poets, Stedman says : * * «- «- <' We come at last to Tennyson's master-work, so recently brought to a completion after tw^enty years— during Mhich period the separate Idyls of the King had appeared from time to time. Nave and transept, aisle after aisle, the Gothic minster has ex- tended, until, with the addition of a cloister here and a chapel yonder, the structure stands complete. I hardly think that the poet at first expected to compose an epic. It has grown insensibly under the hands of one man who has given it the best years of his life,— but somcAvhat as Wolf conceived the Homeric poems to have grown, chant by chant, until the time came for the whole to be welded together in heroic form. It is the epic of chivalry, the Christian ideal of chivalry which we have deduced from a barbaric source,— our conception of what knighthood should be, rather than what it really was; but so skillfully wrought of high imaginings, fairy spells, fan- tastic legends, and mediaeval splendors, that the whole work, suffused with the Tennysonian glamour of golden mist, seems like a chronicle illuminated by saintly hands, and often blazes with light like that Avhich flashed from the holy wizard-book when the covers were unclasped," I I THE HOLY GRAIL. Tennyson's Holy Grail is based on a conception tliat has found expression under similar titles since a.d. 1100, when it first ap- peared in verse. The Holy Grail, accordincj to some legends of the middle ages, was the cup used by our Saviour in dispensing the wine at the last supper; and according to others, the platter on which the paschal lamb was served at the last Passover observed by our Lord. By some it was said to have been preserved by Joseph of Arimathea, who received into it the blood which flowed from the Redeemer's wounds as He hung on the cross. By others it was said to have been brought down from heaven by the angels, and committed to the charge of knights, who guarded it on the top of a lofty mountain. It is believed by some that where the body or the blood of Christ is, there are His soul and His divinity That the Grail — such being its contents— should be marvelous, divine, mysterious, was but logical and natural. This cup, ac- cording to the legend, if approached by any but a perfectly pure and holy person, would be borne away and vanish from sight. The quest of the Grail was "the commencement of all bold enterprise, the occasion of all prowess and heroic deeds, the inves- tigation of all the sciences, the demonstration of great wonders, the end of all bounty and goodness, the marvel of all marvels." M. Paulin Paris, who has been engaged for nearly forty years in the study of Arthurian romance, is of the opinion, that the legend conception came from some Welsh monk or hermit who lived early in the eighth century; that its guiding and essential pur- pose was an assertion for the British Church of an independent derivation of its Christianity direct from Palestine, and not through Rome; that the conception was embodied in a book called Liber Gradalis, or De Oradali; that this book was kept for more than three hundred years from a fear lest it should bring them into collision with the hierarchy and make their orthodoxy suspected; that it came to be known and read in the second half of the twelfth century; that a French poet, Robert de Boron, who probably had not seen the book, but received information regard- ing it, was the first to embody the conception in a vernacular literary form by writing his poem of Josej)h d' Arimathie, and 11 12 THE HOLY GEAIL. that, after Boron, "Walter Map and others came into Ihe field. It is maintained by English writers generally that the concep- tion arose certainly on British ground, but in the twelfth cen- tury, not in the eighth; that it was introduced by some master- hand, probably that of Walter Map, into every branch of Arthu- rian romance; and that if Map was not oue author of the concep- tion, as seems highly probable, he tirst invested it in literary form. Accepting the general testimony of the M!SS and assume with- out further proof that Map composed the original book of the Saint Oraal, the genesis of the work seems not dithcult to trace. Id early life. Map was a canon of Salisbury; either afterwards or at the same time he was parish priest of Westbury near Bris- tol. Gloucestershire and Wiltshire are both neighboring counties to Somersetshire, in which Glastonbury was the most sacred and celebrated spot. Visiting that ancient abbey, Map would have become acquainted with the legend of Joseph of Arimathea in all its details; and he would have seen the altar said to have been transported by angels from Palestine and which, long hidden from mortal sight on account of the wickedness of the times, had lately been revealed and reinstated. His versatile and capacious mind would as a matter of course have been familiar with the whole Arthur legend as it then (1170-1180) existed, if for no other rea- son because he lived in the very part of England which was studded with Arthurian sites. He fully answers to the descrip- tion of the " great clerks " who, according to Robert de Boron, first made and told the history of the Grail. The spread and ascendency to which the Grail conception rapidly attained in all Christian countries made the creations of Artliurian romance the delight of all cultivated minds. From England, which we regard as the land of its origin, the Grail legend at once passed to France, where is given in metrical dress the legend of Percival, one of the knights of the Round Table, under the transformation which the Grail conception had effected. Flemish, Icelandic, and Welsh reproductions of the Grail romances have been found to exist. One of the first em- ployments of the piiuting press in England, France, and Germany was to multiply poems or romances embodying this legend. Hence Caxton printed for Sir Tliomas Malory (1485) TJie History of King Arthur and his Nohle Knights, a work that has formed the basis of Tennyson's Idyls of the King, one of which is The Holy Grail. THE HOLY GRAIL. From noiseful arms, and acts of prowess done In tournament or tilt, Sir Percivale, Whom Arthur and his knighthood called The Pure, Had passed into the silent life of prayer, Praise, fast, and alms ; and leaving for the cowl The helmet in an abbey far away From Camelot, there, and not long after, died. And one, a fellow-monk among the rest, Ambrosius, loved him much beyond the rest, And honored him, and wrought into his heart A way by love that wakened love within. To answer that which came : and as they sat Beneath a world-old yew-tree, darkening half The cloisters, on a gustful April morn That puffed the swaying branches into smoke Above them, ere the summer when he died, The monk Ambrosius questioned Percivale : " O brother, I have seen this yew-tree smoke, Spring after spring, for half a hundred years : 2. Sir Percivale.— The third son of Pellinore, king of Wales. He caught sight t.f the holy giail after his combat with Lancelot's brother, Ector de Maris, and both were healed by it. Sir Peicivale was with Sir Bors and Sir Galahad when the visible Sa%ionr went into tlie consecrated wafer given them by the bishop. This is called the achievement of the quest of the holy grail. 7. Camelot.— Arthur's palace, the ruins of which are still shown in Win- Che&t Burns' s Cotter's Saturday Night» and other Poems. ) Crabbe's The Village. L Campbell's Pleasures of Hope. (Abridgment of Part I.) i Macaulay's Essay on Bunyan's Pilgrim's Progress. I Macaulay's Armada, and other Poems. I Shakespeare's Merchant of Ve- nice. (Selections *rom Acts I., III. and IV.) » Goldsmith's Traveller. i Hogg's Queen's Wake, andKil- meny. r Coleridge's Ancient Mariner. i Addison's Sir Boger de Cover- ley. > Gray's Elegy in a Country Churchyard. ) Scott's L,ady of the Lake. (Canto I.) L Shakespeare's As You Like It, etc. (Selections.) I Shakespeare's King John, and Richard II. (Selections.) I Shakespeare's Henry IV., Hen- . oJ'-^^'"' Henry VI. (Selections.) I Shakespeare's Henry VIII., and . J"l>"** Caesar. (Selections.) > TVordsworth's Excursion. (Bk I.) J Pope's Essay on Criticism. 1 Spenser's Faerie Queene. (Cantos I. an.i II.) * Cowper's Task. (Book I.) ) Milton's Com us. ) Tennyson's Enoch Arden, The ,. Lotus Eaters, Ulysses, and Titbonus. 31 33 33 34 35 36 37 38 39 40 41 43 43 44 45 46 47 48 49 60 51 53 53 54 55 56 57 58 59 60 61 63 {Additional numbers on Irving's Sketch Book. (Selec- tions.) Dickens's Christmas Carol. (Condensed.) Carlyle's Hero as a Prophet. Macaulay's Warren Hastings. (Condensed.) Goldsmith's Vicar of "Wake- field. (Condensed.) Tennyson's The Two Voices, and a Dream of Fair Women, Memory Quotations. Cavalier Poets. Dryden's Alexander's Feast, and MacFlecknoe. Keats' The Eve of St. Agnes. Irving's Legend of Sleepy Hol- low. Lamb's Tales from Shake- speare. Le Row's How to Teach Read- ing. "Webster's Bunker Hill Ora- tions. The Academy OrthoSpist. A Manual of Pronunciation. Milton's Lycidas, and Hymn on the Nativity. Bryant's Thana'topsis, and other Poems. Ruskin's Modem Painters. (Selections.) The Shakespeare Speaker. Thackeray's Roundabout Pa- pers. Webster's Oration on Adams and Jefferson. Brown's Rab and His Friends. Morris's Life and Death of Jason. Burke's Speech on American Taxation. Pope's Rape of the Lock. Tennyson's Elaine. Tennyson's In Memorlam. Church's Storv of the ^neid. Church's Story of the Iliad. Swift's Gulliver's Voyage to Lilliput. Macaulay's Essay on Lord Ba- con. (Condensfd.) The Alcestis of Euripides. Eng- lish Version by Rev. R. Potter,M. A. next page.) r English Classic Series— continued. 63 The Antigone of Sophocles. English Version by Thos. Franck- lin, D.D. 64 Elizabeth Barrett Browning. (Selected Poems.) 65 Robert Browning. (Selected Poems.) 66 Addison^ The Spectator. (Sel'ns.) 67 Scenes from George £liot*s Adam Bede. 68 Matthew Arnold's Coltnre and Anarchy. 69 DeQuincey's Joan of Arc. 70 Carlyle's Essay on Bams. 71 Byron's Childe Harold's Pil- grimage. 72 Poe's Baven, and other Poems. 73 & 74 Macaulay's Lord CUve. (Double Nimiber.) 75 Webster's Keply to Hayne. 76 & 77 Macaulay'B tayg of An cient Borne. (Double Number. 78 American Patriotic Selections Declaration of independence Washington's Farewell Ad dress, Lincoln's Gettysburi Speech, etc. 79 & 80 Scott's Lady of the lAke (Condensed.) i 81 & 82 Scott's Marmlom (Ck>n densed.) 83 & 84 Pope's Ilssay on Man. 85 Shelley's Skylark, Adonais, anc other Poems. 86 Dickens's Cricket on th< Hearth. 87 Spencer's Philosophy of Style 88 Lamb's Essays of Elia. 89 Cowper's Task, Book IL 90 Wordsworth's Selected Poems. Single numbers, 32 to 64 pp. Mailing price, 12 cents per copy. JDouble numbers, 75 to 128 pp. Mailing price, 24: cents per copy. Special Prices to Teachers. SPECIAL NUMBERS. Milton's Paradise Lost. Book I. With portrait and bio graphical sketch of Milton, essay on his genius, epitome of the views of the besl known critics, Milton's verse, argument, and full introductory and explanator; notes. Bound in boards. Mailing price, 30 cents. Milton's Paradise Lost. Books I. and II. With portrait anc biographical sketch of Milton, his verse; essay on his genius, epitome of the view ef toe best-known critics, argument, and full introductory and explanatory notei Bound in boards. Mailing price, 40 cents. Wykes's Shakespeare Reader. Being extracts from th Plays of Shakespeare, with introductory paragraphs, and grammatical, historica and explanatory notes. By C. H. Wykes. 160 pp., 16mo, cloth. Mailing prict 35 cents. Chaucer's The Canterbury Tales. The Prologue. Th text collated with the seven oldest MSS., a portrait and biographical sketch of tb author, introductory notices, grammar, critical and explanatory notes, index t obsolete and difficult words, argiunent and characters of the prologue, brief histor of English language to time of Chaucer, and glossary. Boimd in boards. Mailin price, 35 cents. Chaucer's The Squieres Tale. With portrait and biograpl icai sketch ©f author, introduction to his grammar and versification, glossary, ea amination papers, and full explanatory notes. Bound iu boards. Mailing prio 36 cents. Chaucer's The Knightes Tale. With portrait and blcl graphical sketch of author, essay on his language, history of the English IaBgua|[ to time of Chaucer, glessary, and full explanatory notes. Bound in beards. Mat] ing price, 40 cents. Goldsmith's She Stoops to Conquer. W^th biographiaj sketch of author, introduction, dedication, Garrick's Prologue, epilogue and thn intended epilogues, and full explanatory notes. Bound in bowds. MaiUng pric. 90 cents, Full Descfuptive Catalogue sent on appucation. rjr ^ '<'«^SoA\^'%v^ Deacidified using the Bookkeeper process. \ij, r\v o i?s\^^^^^7l Neutralizing agent: Magnesium Oxide " ^^^^^ ^a^'- Treatment Date: May 2009 f,"^ PreservationTechnologies A WORLD LEADER IN COLLECTIONS PRESERVATION 111 Thomson Park Drive Cranberry Township, PA 1 6066 (724)779-2111 ^