We met the British in the dead of winter, 2869 We must look at the harebell as if, 2467 We sat together at one summer's end, 2028 We stood by a pond that winter day, 1869 Wee, sleeket, cowran, tim'rous beastie, 135 Welcome, welcome with one voice!, 1626 Well! If the Bard was weather-wise, who made, 466 Well, they are gone, and here must I remain, 428 Well, World, you have kept faith with me, 1884 Wha wrong wid Mary dry-foot bwoy?, 2470 What a joyful news, Miss Mattie, 2472 "What are the bugles blowin' for?" said Files- on-Parade, 1818 What Is Poetry?, 1044 What large, dark hands are those at the window, 2273 What need you, being come to sense, 2030 What passing-bells for these who die as cattle?, 1971 Whate'er is Born of Mortal Birth, 96 When chapman billies leave the street, 139 When first, descending from the moorlands, 321 When I am dead, my dearest, 1461 When I behold the skies aloft, 1586
When I, Good Friends, Was Called to the Bar, 1534 When I have fears that I may cease to be,
888
When I see a couple of kids, 2570 When I Was One-and-Twenty, 1949 When my mother died I was very young, 85 When snow like sheep lay in the fold, 2717 When the chilled dough of his flesh went in an oven, 2534 When the lamp is shattered, 836 When the voices of children are heard on the green [Songs of Experience], 90 When the voices of children are heard on the green [Songs of Innocence], 86 When we two parted, 613 When You Are Old, 2026 'Whenever I plunge my arm, like this, 1880 Where dips the rocky highland, 2022 Where the quiet-colored end of evening smiles, 1264 Whirl up, sea�, 2009 White Knight's Song, The, 1532 White Man's Burden, The, 1821
"White Slavery" of London Match Workers, The, 1577 Who died on the wires, and hung there, one of two�, 1966 Who dreamed that beauty passes like a dream?, 2024 Who Goes with Fergus?, 2026 Who has not wak'd to list the busy sounds, 69 Who will go drive with Fergus now, 2026
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A132 / INDEX
Who will remember, passing through this Gate, 1963
Why did I laugh tonight? No voice will tell,
898 Why is the word pretty so underrated?, 2377 Why should I blame her that she filled my days, 2029 Why the Novel Matters, 2269 "Why, William, on that old grey stone, 250
Widow at Windsor, The, 1819 Wild Swans at Coole, The, 2033 Wilde, Oscar, 1686 ['Will sprawl, now that the heat of day is best, 1296 Wilt thou go with me, sweet maid, 858 Wind, 2594 Windhover, The, 1518 Winter: My Secret, 1464 Winter's Day, A, 213 Witch, The, 1792 With blackest moss the flower-plots, 1112 With Rue My Heart Is Laden, 2044 Wollstonecraft, Mary, 158, 167 Woman much missed, how you call to me, call to me, 1882 ["Woman's cause is man's, The"], 1136 Woman's Thoughts about Women, A, 1596
Women of England: Their Social Duties and Domestic Habits, The, 1584
Woolf, Virginia, 2080 Wordsworth, Dorothy, 389 Wordsworth, William, 243
Workbox, The, 1882 World is too much with us, The, 319
Would that the structure brave, the manifold music I build, 1303
Written after Swimming from Sestos to Abydos, 611 Written at the Close of Spring, 40 Written in the Church-Yard at Middleton at Sussex, 41
Yeats, William Butler, 2019
Yes, I remember Adlestrop�, 1956 Yes! in the sea of life enisled, 1355 Yes, injured Woman! rise, assert thy right!, 35 Yesterday all the past. The language of size, 2424 You did not come, 1870 You did not walk with me, 1881 You love us when we're heroes, home on leave, 1962 Your bed's got two wrong sides. Your life's all grouse, 2533
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The Romantic Period (1785-1830)
La Prise de la Bastille, le 14 Juillet 1789, Claude Cholat, 1789
This amateur painting (in gouaehe on cardboard) was made "on the spot" by one of the participants in the five-hour siege, a local wine merchant, and presented to the French National Assembly two years later. The storming of the Bastille�the fortress and state prison in Paris, a hated symbol of absolutism�marked the entry of the lower classes ("the people") into the Revolution. The anniversary of the event, July 14, is the principal French national holiday.
REUNION DES MUSSES NATIONAUX/ART RESOURCE, NY.
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Plate 1 of The Marriage of Heaven and Hell, William Blake, 1790-93
This title page of a work composed in the early years of the French Revolution (see p. 1430) juxtaposes lighthearted activities (birds and humans soaring, strolling, playing music, dancing, embracing) with bleak and ominous surroundings (the leaflessness of the trees, the intensity of the flames). The larger reclining figures at the bottom of the page, sexy but genderless, are usually read as a devil and an angel whose embrace symbolizes the union ("marriage") of contraries running throughout the work.
LIBRARY OF CONGRESS, WASHINGTON DC ,
USA/BRIDGEMAN ART LIBRARY.
The Sick Rose, William Blake, 1794
Blake's "illumination" (the poem is plate 39 of Songs of Innocence and of Experience ; see
p. 1420) further complicates an already highly ambiguous poetic text. In the picture are two worms�one eating a leaf in the upper left corner, the other coming out of the fallen blossom at the bottom�and three female figures, two of which, situated on the thorny stems above the engraved text, appear to be in postures of despair. The third female figure, emerging from the blossom, has arms flung forward in an expression of either ecstasy or terror. LIBRARY OF CONGRESS, WASHINGTON DC , USA/BRIDGEMAN ART LIBRARY.
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Glad Day, or The Dance of Albion, William Blake, ca. 1793
Blake kept returning to this image of liberation. He first designed it in 1780, shortly after finishing his apprenticeship as an engraver, when the vision of a rising sun and a radiant human body may have expressed his own youthful sense of freedom. But later, in an age of revolution, he identified the figure as Albion�"Albion rose from where he labourd at the Mill with Slaves." For Blake the giant Albion represents the ancient form of Britain, a universal man who has fallen on evil, repressive times but is destined to awake and to unite all people in a dance ol liberty, both political and spiritual. Eventually, in ferusalem (ca. 1820), Blake's last great prophetic work, the figure of Albion merged with Jesus, risen from the tomb as an embodiment of "the human form divine"� immortal and perpetually creative. BRITISH MUSEUM, LONDON, UK/BRIDGEMAN ART LIBRARY.
First draft of The Eve of St. Agnes, John Keats, 1819
The extant holograph of The Eve of St. Agnes�here a part of the page containing stanza 30 (see p. 1837)�is possibly the messiest and most fragile manuscript in all of English poetry. The poem's Spenserian stanzas require an elaborate calculation of rhymes ahead of time to line up the quadruple b-rhymes and triple c- rhymes needed for each stanza. In page after page of this first draft, Keats's final wording varies in only a phrase or two (if that much) from the version that was published in 1820, still the standard text. THE HARVARD KEATS COLLECTION, HOUGHTON LIBRARY, HARVARD UNIVERSITY, CAMBRIDGE.