The Heart of England - Edward Thomas

Achilles, modern, questioning Ulysses, [189]
After-harvest, stillness of, [99]
Aphrodite, [169]
Apollo and Pan, [27]
Apple blossom, [166-169]
Ash-tree, solitary, dying, endiademed with woe, [53], [54];
how its leaves are shed, [124]
August, [73-76];
Nature’s perfect poise, [73];
cool places in, [73];
the woods in, [75]
Autumn, [176]
Autumn bells, [174], [175]
Autumn garden, an, [93-96], [174], [175];
farmhouse the royal flower of, [93];
a farmer’s love of his, [95]
Ballad, a pathetic, described, [207], [208];
on the horse, [190], [237]
Ballads and folk-songs, [206-208];
their words and melodies richest in immortal symbols, [206], [207]
Barge, a black, [143-145];
its strange cargo, [145]
Beech wood, a, [166]
Birdnesting, [60]
“Blue Bell,” the cosmic melody, [194]
Bodleian Library, August in, [73]
Books, a night with, [118]
Boy, long thoughts of, [3]
Brook, the, [88-92];
its insect, mineral, and plant life, [88-91];
its meandering course, [91], [92]
Burns, Robert, prejudice against his poetry for epitaphs, [114]
Calm, effect of, [2]
Carbonek, castle of, [225-232];
now only a ruined crag, [226];
dreary outlook from, [226];
and Sir Launcelot’s vision, [229-232]
Cassiopeia, the constellation, [194]
Catullus, love of, song suggestive of, [208]
Centaur, farmer on horse compared to, [66]
Chalk hills, the, [171]
Cherry blossom, [153], [154]
Cherry of Zennor, Hunt’s story of, [198-201];
her dissatisfaction with home, [199];
her strange adventure, [199];
her curiosity and its consequences, [200], [201]
Church bells, [176]
Church, decorated, description of, [41-48];
service in, [41-43];
hymn-singing, [42];
modern worshippers and mythical gods, [43];
caged bells, [43]
Church, village, description of, [176-178];
dull worshippers, [177];
a spiritless sermon, [178];
dream of an earthly heaven, [178-180]
Clock, a silent, [118], [119]
Clouds on the sea, [216-219];
their changeableness, [217], [218]
Coach, London, [78]
Company, good, walking in, [28-30]
Country churchyard, a, [111-115];
village life in, [111];
life and death in, [111], [112];
epitaphs, [112-115];
eighteenth and nineteenth century epitaphs compared, [112]
Country lover, the, [91]
Crashaw’s poem, [62]
Daffodils, the first, [183-191]
Dante, love of, song suggestive of, [208]
Dawn, beauties of nature at, [15], [16];
a July, [119]
Deucalion stones, [223]
Dis, chariot of, coming to Persephone, [148]
“Dolly Gray,” sung in July fields, [206]
Downs, the, [171-3]
Dream, a strange, [39], [40]
Earth Children, [126-137]
Elves, lingering superstitions regarding, [66]
Epitaph on infant’s tomb, [24]
Epitaphs, [112-115];
history and progress seen in, [112];
sources of, [113], [114]
“Fantastic summer’s heat,” [73]
Farm, an old, [64-68];
relics of its long-dead generations, [67];
a deserted, [69], [70]
Farmer, his life and habits, [66-68];
his house, [67];
his library, [67], [68];
relics of ancestors and thoughts of posterity, [68]
Farmer’s daughter, the, [168], [169]
Farmhouse, the royal flower of autumn, [93];
youth and antiquity mingled in the aspect of, [93], [94];
wayfarer’s first view of, [96];
a little red, [100];
life in, [101]
Farmyard, in a, [52-55]
Faunus, [21-25]
Fell and moor, [184]
Field, a green, [84-87];
antiquity of, [86];
November the notable month of, [87]
Fields, antiquity of, [86]
Fishing-boats in a tidal river, [214], [215]
Footpaths, ancient, [115]
“Four Elms, The,” typical village inn, [106], [110];
its old-time furniture, [107];
tramps and labourers in tap-room, [107-110]
Fox-hunt, [141], [155-165]
Gaberdine, a pedlar’s description of, [186]
Galahad and Launcelot, [228]
Gardens, summer flowers in, [170], [171];
autumn flowers, [174], [175]
Garland day, [44-48];
song of, [48]
Gods, ancient, and modern worshippers, [42], [43];
and heroes, [54]
Golden Age, the, [13], [15], [16], [100-102];
and modern literature, [14]
Goldfinches happy among thistles, [87]
Good Friday and marbles, [60]
Happiness, pursuit of, futile, [83]
Happy Fields, [73]
Harvest, a little before, [170-173]
Harvest field, a moonlight love-race in, [201-204]
Harvest moon, under a, [202-204]
Haul of spring flowers, a March, [211-213]
Hazlitt, love of, song suggestive of, [208]
Heathland in the wind, [216], [217]
Hedges, unruliness of, [84]
Heroes and gods, [54]
Hill, a tall beechen, [153]
Holm-bank Hunting Song the, [194]
“Hop-idgit,” the, or “shim,” [126]
Horse, ballad on the, [190]
House, white stone, [74]
Hunt’s story of Cherry of Zennor, [198]
Inn, the village, [205-208];
metamorphosed into a temple of all souls, [208]
Inns, [63], [104], [106], [123], [183], [194];
a medley, [5];
roadside, [5], [61]
January sunshine, [140-142]
July night, and dawn, a, reminiscences of a, [118], [119]
Junonian woman, [73], [76];
best representative of August, [73]
Keats, [147], [148]
Kilhwch, love of, song suggestive of, [208]
King, Farmer, anecdote of his hay, [129]
Labourer, aged, reminiscences of, [77-82];
a memory with a voice, [79];
feats of strength and endurance, [80], [81];
his coaching days, [81];
disciple of Culpeper, [82]
Lamia and Lycius, [226]
Landscapes on the walls by the roadside, [192]
Lane, an ideal country, [56], [57]
Launcelot, Sir, at the water of Morteise, [228];
his vision of the Sangreal, [228];
his adventures, [228-232];
at the castle of Carbonek, [229-232]
Lethe, [214]
Lethe’s stream, the flotsam on, [101]
Literature, modern, [14]
London, [7], [188];
midnight walk in, [7];
pedestrians encountered, [7], [8];
river, seen from bridge, [8];
names of streets an epitome of the world and time, [9];
can it be told? [188], [189];
The Soul of London, [188]
Love-race in a moonlit harvest-field, [201-204]
Lover’s game, children playing at, [59]
Lycius, Corinthian, and Lamia, [226]
Malory’s story of Sir Launcelot and the Sangreal, [228]
Marbles and Good Friday, [60]
March doubts, [37-40]
March haul, a, [211], [213]
Marlowe, love of, song suggestive of, [208]
Marsh, the, [220-222]
“Mary, come into the Field,” a peasant song, [34], [35], [237], [238]
Maypole, the village, [70]
Meadowland, [56-63];
pastoral inhabitants of, [58]
Meadow-sweet, the, [75]
Men prisons to themselves, [7]
Meredith, Arabella, old man’s love-story concerning, [157-163];
her prowess in the hunting-field, [158];
her proposal of marriage, [159];
at the Fair, [161];
her lover’s daring swim, [162], [163];
her death, [163]
Merediths, the, [157]
Metamorphosis of the trees, [124]
Mind, pool an image of the, [154]
Moon, reign of, [153], [154]
Moor and fell, [184]
Moor, under the, [198-201]
Moorhen, the home of the, [85]
Morning, pride of the, [121-123]
Morteise, water of, Sir Launcelot at the, [228]
Mountainous country, scene in, [183]
Mountains haunting the day, [184]
Mowing, extraordinary day’s work at, [80], [81];
song, [11], [235]
Music, the romantic cry of matter striving to become spirit, [206]
Myratana and blind Tiriel, [226]
Names, of streets, an epitome, [9];
of inns, rich in suggestion, [9]
Nature, sorrowing, [5];
a philosopher of, [12];
beauties of, at dawn, [15], [16], [119]
No man’s garden, [31-36]
November, the notable month of the field, [87];
rain, [138], [139]
Orchard, an, [167]
Pace-egging Play, [179]
Paganism, eternal, the multitude’s, [130], [131]
Page, Margaret Helen, earth child, [127];
her better days, [127];
her Franciscan fondness for bird and beast, [127];
her Christian-pagan prayer and aspirations, [128-130]
Page, Robert, earth child, [126];
his home, [127];
his varied avocations, [131], [132];
his belief of all things in print, [133];
his strange dream of the judgment day, [133], [134];
Bacchus his only god, [134];
his likeness to a lesser god in mythology, [135], [136]
Palomides, love of, song suggestive of, [208]
Pan and Apollo, [27]
Pastoral inhabitants of meadowland, [58];
song, [58];
valley, [174]
Pedlar, a, [186];
his picturesque dress, [186];
his birthplace, [186];
his simple life described, [187];
his questionings, [187-190]
Pelleas, [228]
Pellinore, [228]
Persephone and the chariot of Dis, [148]
Pleiades, the, and clouds, [218]
Ploughman, the, [22-25];
his daily task, [23];
his recreation, [23], [24]
Poetry, pastoral, [14]
Poison, slow, dream-search for, [39], [40]
Pond, a primeval, [52], [53];
the field, [85];
its aspect at dawn, [86]
Pond-mirror, the, [192-197];
reflections on and in, [196], [197]
Pool, beauties of, [73-76];
an image of the mind, reflections in, [154]
“Poor Mary,” children’s lovers’ game, [59], [60]
Poppies, [71]
Popular Romances of the West of England, Hunt’s, [198]
Pork, roast, procuring a dinner of, [79], [80]
Princess, an impossible, [72]
Rain, night walk in, [5], [6]
River, a tidal, fishing-heats in, [214]
Robin’s eggs, superstition regarding, [60]
Ruy Blas, love of, song suggestive of, [208]
Sail, one, at sea, [223], [224];
image of watcher’s hopes, [223]
St. Martin’s Summer, [118-120]
Sangreal, Sir Launcelot and the, [228], [229]
Sea, clouds on the, [216], [219];
one sail at, [223], [224]
Seifelmolouk, modern, and his memlooks, [43]
“Shim,” or “hop-idgit” of six tynes, the Sussex, [126]
Sign-post, duty of, [10]
Siren, melody of, [220]
Song, a country marching, [11], [235]
Songs, old, fragments of, [29], [30], [34]
Songs with music: Mowing song, [235];
Holm-bank Hunting Song, [236];
Poor old Horse, song of the, [237];
Mary, come into the Field [237], [238];
La Fille du Roi, [238]
Soul of London, the, [188]
Sovereign things, three: ship, chariot, plough, [21]
Spring, birds and flowers, [37-40]
Squire of olden days, a, [79]
Streets, as seen from railway carriage, [3], [4];
a problem, [4];
at night, [8];
city, [9];
names of, an epitome, [9]
Suburban street, a, [1]
Summer garden, [170], [171]
Summer-time, [170]
Sunday, autumn, in country, [176-180]
Sunshine, January, [140-142]
Superstitions: robin’s eggs, [60];
elves, [66];
tadpoles, [82]
Swift, love of, song suggestive of, [208]
Symbols that surge and satisfy, [205]
Tadpoles, rustic remedy for “decline,” [82]
Tartarus, [131]
Ten miles drive, [155]
Tennyson’s poetry as source of epitaphs, [114]
Times, old-fashioned, [77-82];
advantages and disadvantages, [78];
were they “good”? [78]
Tiriel, blind, and Myratana, [226]
Tombs, only records of early races, [111], [112];
life and death of, [112];
various objects in, [111];
bodies found in sitting posture, [112]
Tower, a spectacular, [221]
Town-leaving, [1-17]
Tramp, a, conversations with, [31-35];
his wife, [32];
a murder, [32], [33];
on Bank-holiday, [35], [36];
at work, [36]
Tramps of various nationalities, [107];
strange sleeping-place of, [115]
Tree-worship, mild, suggestion of, [192]
Trees, [6], [16];
ancient, [42];
metamorphosis of, [124]
Valley, a quiet, [140]
Village, the, [103-117];
its ancient cottages, [105];
its church and churchyard, [104], [111];
its inns and their frequenters, [104], [106-110];
flower-gardens, [105];
its eighteenth-century vicarage, [106];
longevity of inhabitants, [113];
its roads and footpaths, [115], [116];
its archæological and historic remains, [116]
Villon, love of, song suggestive of, [208]
Walnut-tree, the, [97-99]
Watercress-man, [2];
conversation with, [11-15];
as philosopher and flower-seller, [12];
as landscape-painter, [12-13]
Water-mill, deserted, [97]
Wayfarer, the, [121]
Winter morning, a, [146]
Wood at sunrise, [44];
antiquity of, [46];
youth of, [47];
an old, beauties of, [49-51];
memories evoked by, [51];
a triangular, [139]
Woodland walk, [26], [27], [44-51]
World, still primitive, the, [143]
Worshipper, modern and ancient gods, [42], [43]
Yeoman of long ancestry, [156];
and Enid, his betrothed, [157], [160], [164]
Youth, wood of, [47]

Richard Clay & Sons, Limited, London and Bungay.

Transcriber's Note

Duplicate headings have been removed.

The following apparent errors have been corrected:

p. 35 "Dig ’em up by the roots, etc." changed to "‘Dig ’em up by the roots,’ etc."
p. 42 "Through all the changing scenes of life”" changed to "“Through all the changing scenes of life”"
p. 58 "Aud all" changed to "And all"
p. 65 "Si g, birds,in" changed to "Sing, birds, in"
p. 96 "declares it" changed to "declares its"
p. 243 "his home, 127:" changed to "his home, 127;"

Archaic or inconsistent language has otherwise been kept as printed.