leasing tear."

35. _Gorgon terrors_. Cf. Milton, _P. L._ ii. 611: "Medusa with
Gorgonian terror."

36-40. Cf. _Ode on Eton College_, 55-70 and 81-90.

45-48. Cf. Shakespeare, _As You Like It_, ii. 1:

"these are counsellors
That feelingly persuade me what I am.
Sweet are the uses of adversity,
Which, like the toad, ugly and venomous,
Wears yet a precious jewel in his head;"

and Mallet:

"Who hath not known ill-fortune, never knew
Himself, or his own virtue."

Guizot, in his _Cromwell_, says: "The effect of supreme and
irrevocable misfortune is to elevate those souls which it does not
deprive of all virtue;" and Sir Philip Sidney remarks: "A noble
heart, like the sun, showeth its greatest countenance in its lowest
estate."

[Illustration: "Now rolling down the steep amain,
Headlong, impetuous, see it pour;
The rocks and nodding groves rebellow to the roar."
_The Progress of Poesy_, 10.]

APPENDIX TO NOTES.

Just as this book is going to press we have received _The Quarterly
Review_ (London) for January, 1876, which contains an interesting
paper on "Wordsworth and Gray." After quoting Wordsworth's remark
that "Gray was at the head of those poets who, by their reasonings,
have attempted to widen the space of separation between prose and
metrical composition, and was, more than any other man, curiously
elaborate in the construction of his own poetic diction," the
reviewer remarks:

"The indictment, then, brought by Wordsworth against Gray is twofold.
Gray, it seems, had in the first place a false conception of the
nature of poetry; and, secondly, a false standard of poetical
diction. To begin with the first count, Gray, we are told, sought to
widen the space of separation betwixt prose and metrical composition.
What this charge amounts to we shall see hereafter. Meantime, did
Wordsworth think that between prose and poetry there was any line of
demarcation at all? In the Preface [to the "Lyrical Ballads"] from
which we have quoted we read:

"'There neither is nor can be any essential difference between the
language of prose and metrical composition. We are fond of tracing
the resemblance between Poetry and Painting, and accordingly we call
them sisters; but where shall we find bonds of connection
sufficiently strong to typify the connection betwixt prose and
metrical composition?'

"Now