PREFATORY NOTE

THE design of this work is to group as many of the best sonnets in American literature as can be included in a volume of convenient size, and to make the selection as widely representative as possible while giving to the most eminent sonnetwriters a proper prominence by more numerous examples of their work. The editor has endeavored to apply to every sonnet the test of merit : first, for genuine poetic thought; second, for melodious expression and a reasonable regard for the accepted forms. Sonnets of merit in imagination and structure have been rejected in some cases because they contained some repellent idea or discordant note. Again, it has seemed well to allow some subjects to be represented by several sonnets in order to secure the best work of each author, regardless of subject, as well as to give the additional interest of comparing the various views of the same theme. Generally it has been intended to place the finest of an author's sonnets at the head, but occasionally it has been put at the close or elsewhere, when the exceptional arrangement enhanced the general effect. A considerable number of the

sonnets have been revised since their first appearance, especially for this bock; titles have been supplied where they were lacking. Not a few of the sonnets are printed now for the first time, and it has been intended to include as many good sonnets of biographical and personal interest, by or about famous people, as possible. The systematic indenting of lines will enable readers to see at a glance whether the form is Petrarcan, Shakespearean, or irregular, thus contributing to the enjoyment of the reading.

Being convinced of the superiority of the Petrarcan style of sonnet, the compiler at first determined to admit no other form, at least from living poets, but the frequent fine poems modeled on the Shakespearean or other patterns constrained him to make frequent exceptions to the rule. The older poets, especially, often used irregular arrangements, and it has seemed only fair and hospitable to welcome their poesy, and let the question of superiority of form be referred to the reader.

In making selections and preparing a study of the sonnet the author acknowledges his indebtedness to the Hunt-Lee "Book of the Sonnet," as well as to English treatises, among many sources of material. The uniform courtesy of publishers and authors in granting copyright is cordially acknowledged. Proper request has been made, whenever practicable, for the use of each sonnet, and as no author has refused permission it is hoped

that any oversight will not be construed as intended discourtesy. The compiler has profited by the generous assistance of a number of well-known students and critics whose names are passed in silence, though in sincere gratitude.