Maisie: Mary. Scott has given us nothing more complete and lovely than this little song, which unites simplicity and dramatic power to a wild-wood music of the rarest quality. No moral is drawn, far less any conscious analysis of feeling attempted:—the pathetic meaning is left to be suggested by the mere presentiment of the situation. Inexperienced critics have often named this, which may be called the Homeric manner, superficial, from its apparent simple facility: but first-rate excellence in it (as shown here, in 196, 156, and 129) is in truth one of the least common triumphs of Poetry.—This style should be compared with what is not less perfect in its way, the searching out of inner feeling, the expression of hidden meanings, the revelation of the heart of Nature and of the Soul within the Soul,—the analytical method, in short,—most completely represented by Wordsworth and by Shelley.
Poem 234.
correi: covert on a hillside; Cumber: trouble.
Poem 235.
Two intermediate stanzas have been here omitted. They are very ingenious, but, of all poetical qualities, ingenuity is least in accordance with pathos.
Poem 243.
This poem has an exaltation and a glory, joined with an exquisiteness of expression, which place it in the highest rank amongst the many masterpieces of its illustrious Author.
Poem 252.
interlunar swoon: interval of the Moon's invisibility.
Poem 256.