Lovers of pleasure will think small beer of these desultory annotations. But in the case of a great dramatist like Congreve, whose career is very imperfectly known to us, I hold that all information is welcome, even though the separate details of it seem to be trivial. I present these glimmerings in the hope that they may not be useless to the future editor and biographer, whoever he may be, whose lamp will throw my taper into the shade. THE FIRST DRAFT OF SWINBURNE'S ANACTORIA No modern poet offers a more interesting field for critical examination in his MSS. than Swinburne does, and in perhaps no other can the movement of mind, under changes of mood, be so accurately followed. His prose MSS. have a somewhat heavy uniformity, from which little is to be gathered, but the aspect of his written verse is so diverse as to be almost bewildering in its changes of form, not merely from one group of years to another, but even in the effusions of a single day. After long consideration, and a study of a multitude of MSS. written between 1857 and 1909, I have come to the conclusion that the critical value of Swinburne's drafts depends very much upon the spirit in which he happened to compose his poems. There were evidently three methods in his use. Some time ago there turned up a large number of dramatic and lyrical exercises, written by Swinburne as an undergraduate. These have greatly modified our conception of his early work, and they reveal in the apparently idle youth an amazing persistence in self-apprenticeship to the craft of verse. I hope to find leisure on a future occasion to describe these interesting and voluminous papers: in the meantime I only mention them here, in order to point out that they are written, with curious uniformity, and with very few corrections, in a hard, angular handwriting which Swinburne presently abandoned, but which resembles the formal script in which his later Putney poems appear to be composed.