the wild scenery of Treryn
Dinas, led me to begin the work; and it has been completed under your
advice and assistance. For the favour now asked I have thus a second
reason: and to this I may add, the homage which is your right as Poet,
and the gratitude due to a Friend, whose regard I rate at no common
value.

Permit me then to inscribe to yourself a book which, I hope, may be
found by many a lifelong fountain of innocent and exalted pleasure; a
source of animation to friends when they meet; and able to sweeten
solitude itself with best society,--with the companionship of the wise
and the good, with the beauty which the eye cannot see, and the music
only heard in silence. If this Collection proves a store-house of
delight to Labour and to Poverty,--if it teaches those indifferent to
the Poets to love them, and those who love them to love them more, the
aim and the desire entertained in framing it will be fully
accomplished.

F.T.P.

MAY: 1861

* * * * *

PREFACE

This little Collection differs, it is believed, from others in the
attempt made to include in it all the best original Lyrical pieces and
Songs in our language (save a very few regretfully omitted on account
of length), by writers not living,--and none beside the best. Many
familiar verses will hence be met with; many also which should be
familiar:--the Editor will regard as his fittest readers those who
love Poetry so well, that he can offer them nothing not already known
and valued.

The Editor is acquainted with no strict and exhaustive definition of
Lyrical Poetry; but he has found the task of practical decision
increase in clearness and in facility as he advanced with the work,
whilst keeping in view a few simple principles. Lyrical has been here
held essentially to imply that each Poem shall turn on some single
thought, feeling, or situation. In accordance with this, narrative,
descriptive, and didactic poems,--unless accompanied by rapidity of
movement, brevity, and the colouring of human passion,--have been
excluded. Humourous poetry, except in the very unfrequent instances
where a truly poetical tone pervades the whole, with what is strictly
personal, occasional, and religious, has been considered foreign to
the idea of the book. Blank verse and the ten-syllable couplet, with
all pieces markedly dramatic, have been rejected as alien from what is
commonly understood by Song, and rarely conforming to Ly