8. 'THE STARLIGHT NIGHT. Feb. 24, '77.' Autograph in A.— 'Standard rhythm opened and counterpointed. March '77.' A.—Later corrected version 'St. Beuno's, Feb. 77' in B.—Text follows B. The second version in A was published in Miles's book 'Poets and Poetry of the Century'.
9. 'SPRING. (Standard rhythm, opening with sprung leadings), May 1877.' Autograph in A.—Text from corrections in B, but punctuation from A. Was published in Miles's book from incomplete correction of A.
10. 'THE LANTERN. (Standard rhythm, with one sprung lead- ing and one line counterpomted.)' Autograph in A.— Text, title, and accents in lines 13 and 14, from corrections in B, where it is called 'companion to No. 26, St. Beuno's '77'.
11. 'WALKING BY THE SEA. Standard rhythm, in parts sprung and in others counterpomted, Rhyl, May '77.' A. This version deleted in B, and the revision given in text written in with new title.—G. M. H. was not pleased with this sonnet, and wrote the following explanation of it in a letter '82: 'Rash fresh more (it is dreadful to explain these things in cold blood) means a headlong and exciting new snatch of singing, resumption by the lark of his song, which by turns he gives over and takes up again all day long, and this goes on, the sonnet says, through all time, without ever losing its first freshness, being a thing both new and old. Repair means the same thing, renewal, resumption. The skein and coil are the lark's song, which from his height gives the impression of some- thing falling to the earth and not vertically quite but tricklingly or wavingly, something as a skein of silk ribbed by having been tightly wound on a narrow card or a notched holder or as twine or fishing-tackle unwinding from a reel or winch or as pearls strung on a horsehair: the laps or folds are the notes or short measures and bars of them. The same is called a score in the musical sense of score and this score is "writ upon a liquid sky trembling to welcome it", only not horizontally. The lark in wild glee races the reel round, paying or dealing out and down the turns of the skein or coil right to the earth floor, the ground, where it lies in a heap, as it were, or rather is all wound off on to another winch, reel, bobbin or spool in Fancy's eye, by the moment the bird touches earth and so is ready for a fresh unwinding at the next flight. Crisp means almost crisped, namely with notes.'
12 'THE WINDHOVER. (Falling paeonic rhythm, sprung and outriding.)' Two contemporary autographs in A.—Text and dedication from corrected B, dated St. Beuno's, May 30, 1877. In a letter June 22, '79: 'I shall shortly send you an amended copy of The Windhover: the amendment only touches a single line, I think, but as that is the best thing I ever wrote I should like you to have it in its best form.'
13 'PIED BEAUTY. Curtal Sonnet: sprung paeonic rhythm. St. Beuno's, Tremeirchion. Summer '77.' Autograph in A.—B agrees.
14 'HURRAHING IN HARVEST: Sonnet (sprung and outriding rhythm. Take notice that the outriding feet are not to be confused with dactyls or paeons, though sometimes the line might be scanned either way. The strong syllable in an outriding foot has always a great stress and after the outrider follows a short pause. The paeon is easier and more flowing). Vale of Clwyd, Sept. 1, 1877.' Auto- graph in A. Text is from corrected B, punctuation of original A. In a letter '78 he wrote: 'The Hurrahing sonnet was the outcome of half an hour of extreme en- thusiasm as I walked home alone one day from fishing in the Elwy.' A also notes 'no counterpoint'.
15 'THE CAGED SKYLARK. (Falling paeonic rhythm, sprung and outriding.)' Autograph in A. Text from corrected B which dates St. Beuno's, 1877. In line 13 B writes úncúmberèd.
16. 'IN THE VALLEY OF THE ELWY. (Standard rhythm, sprung and counterpointed.)' Autograph in A. Text is from corrected B, which dates as contemporary with No. 15, adding 'for the companion to this see No.' 35.
17. THE LOSS OF THE EURYDICE. A contemporary copy in A has this note: 'Written in sprung rhythm, the third line has 3 beats, the rest 4. The scanning runs on without break to the end of the stanza, so that each stanza is rather one long line rhymed in passage than four lines with rhymes at the ends.'—B has an autograph of the poem as it came to be corrected ('83 or after), without the above note and dated 'Mount St. Mary, Derbyshire, Apr. '78'.—Text follows B.—The injurious rhymes are partly explained in the old note.