[Footnote 4: The present Greek professor at Trinity College, Cambridge; a man whose powers of mind and writings may, perhaps, justify their preference. [Richard Porson (1759-1808). For Byron's description of him, see letter to Murray, of February 20, 1818. Byron says ('Diary', December 17, 18, 1813) that he wrote the 'Devil's Drive' in imitation of Porson's 'Devil's Walk'. This was a common misapprehension at the time. The 'Devil's Thoughts' was the joint composition of Coleridge and Southey, but it was generally attributed to Porson, who took no trouble to disclaim it. It was originally published in the 'Morning Post', Sept. 6, 1799, and Stuart, the editor, said that it raised the circulation of the paper for several days after. (See Coleridge's Poems (1893), pp. 147, 621.)] [Footnote 5: Lines 59-62 are not in the Quarto. They first appeared in 'Poems Original and Translated'] [Footnote 6: Since this was written, Lord Henry Petty has lost his place, and subsequently (I had almost said consequently) the honour of representing the University. A fact so glaring requires no comment. (Lord Henry Petty, M.P. for the University of Cambridge, was Chancellor of the Exchequer in 1805; but in 1807 he lost his seat. In 1809 he succeeded his brother as Marquis of Lansdowne. He died in 1863.)] [Footnote i: 'M--us--l.--'[4to]] [Footnote ii: 'Whilst all around.'--[4to]] [Footnote iii: 'Who with scarse sense to pen an English letter, Yet with precision scans an Attis metre.' [4to]] [Footnote iv: 'The manner of the speech is nothing, since', [4to. 'P, on V. Occasions'.]] [Footnote v: 'Celebrated critics'. [4to. 'Three first Editions'.]] [Footnote vi: 'They court the tool of power'. [4to. 'P. on V. Occasions.']] [Footnote vii: 'While mitres, prebends'. [4to. 'P. on V. Occasions.']] [Footnote viii: The 'reward's' scarce equal to the 'price' they pay. [4to]] TO MARY, ON RECEIVING HER PICTURE. [1] 1. This faint resemblance of thy charms, (Though strong as mortal art could give,) My constant heart of fear disarms, Revives my hopes, and bids me live. 2. Here, I can trace the locks of gold Which round thy snowy forehead wave; The cheeks which sprung from Beauty's mould, The lips, which made me 'Beauty's' slave. 3. Here I can trace--ah, no! that eye, Whose azure floats in liquid fire, Must all the painter's art defy, And bid him from the task retire. 4. Here, I behold its beauteous hue; But where's the beam so sweetly straying, [i.] Which gave a lustre to its blue, Like Luna o'er the ocean playing? 5. Sweet copy! far more dear to me, Lifeless, unfeeling as thou art, Than all the living forms could be, Save her who plac'd thee next my heart. 6. She plac'd it, sad, with needless fear, Lest time might shake my wavering soul, Unconscious that her image there Held every sense in fast controul. 7.