Mitford cites Sidney, _Astrophel and Stella_, song 7: "So leaden eyes;" Dryden, _Cymon and Iphigenia_, 57: "And stupid eyes that ever lov'd the ground;" Shakespeare, _Pericles_, i. 2: "The sad companion, dull-eyed Melancholy;" and _L. L. L._ iv. 3: "In leaden contemplation." Cf. also _The Bard_, 69, 70. 31. _To herself severe_. Cf. Carew: "To servants kind, to friendship dear, To nothing but herself severe;" and Dryden: "Forgiving others, to himself severe;" and Waller: "The Muses' friend, unto himself severe." Mitford quotes several other similar passages. 32. _The sadly pleasing tear_. Rogers cites Dryden's "sadly pleasing thought" (Virgil's _Æn._ x.); and Mitford compares Thomson's "lenient, not unpleasing tear." 35. _Gorgon terrors_. Cf. Milton, _P. L._ ii. 611: "Medusa with Gorgonian terror." 36-40. Cf. _Ode on Eton College_, 55-70 and 81-90. 45-48. Cf. Shakespeare, _As You Like It_, ii. 1: "these are counsellors That feelingly persuade me what I am. Sweet are the uses of adversity, Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head;" and Mallet: "Who hath not known ill-fortune, never knew Himself, or his own virtue." Guizot, in his _Cromwell_, says: "The effect of supreme and irrevocable misfortune is to elevate those souls which it does not deprive of all virtue;" and Sir Philip Sidney remarks: "A noble heart, like the sun, showeth its greatest countenance in its lowest estate." [Illustration: "Now rolling down the steep amain, Headlong, impetuous, see it pour; The rocks and nodding groves rebellow to the roar." _The Progress of Poesy_, 10.] APPENDIX TO NOTES. Just as this book is going to press we have received _The Quarterly Review_ (London) for January, 1876, which contains an interesting paper on "Wordsworth and Gray." After quoting Wordsworth's remark that "Gray was at the head of those poets who, by their reasonings, have attempted to widen the space of separation between prose and metrical composition, and was, more than any other man, curiously elaborate in the construction of his own poetic diction," the reviewer remarks: "The indictment, then, brought by Wordsworth against Gray is twofold. Gray, it seems, had in the first place a false conception of the nature of poetry; and, secondly, a false standard of poetical diction. To begin with the first count, Gray, we are told, sought to widen the space of separation betwixt prose and metrical composition. What this charge amounts to we shall see hereafter. Meantime, did Wordsworth think that between prose and poetry there was any line of demarcation at all? In the Preface [to the "Lyrical Ballads"] from which we have quoted we read: