Young Jamie lo'ed me weel, and sought me for his bride;
But saving a croun he had naething else beside:
To make the croun a pund young Jamie gaed to sea;
And the croun and the pund they were baith for me.

The authoress of that was born twenty-one years before Gray died. I
speak, perhaps, only for myself when I say that reading that, or the
like of that in Burns or in Blake, my heart becomes as water, and
I feel that I would lose, if necessary, all of Milton, all of
Shakespeare but a song or two, much of Dante and some of Homer, to
be secured in them for ever. My friend (of the Ramillies) and I
were disputing about a phrase I had applied to lyric poetry as the
infallible test of its merit. I asked for "the lyric cry," and he
scorned me. I could find a better phrase with time; but the quatrain
just quoted makes it unmistakable, as I think. Anyhow, it will be
conceded that there was some putting off of the tie-wig, the hoop and
the red-heeled shoe about 1770.

In the time of Reform, say from 1795 to 1830, you could do much as
you pleased, and dress according to your fancy. You could smother your
neck in a stock, wear a high-waisted swallow-tail coat, kerseymere
continuations and silk stockings. So sat Southey for his portrait, and
so did Rogers continually. Or you could wear a curly _toupé_ with Tom
Moore and the Prince Regent, be as rough as a dalesman with Wordsworth
or as sleek as a dissenting minister with Coleridge, an open-throated
pirate with Byron, or a seraph with Shelley. If the rules lingered,
they were relaxed. I think there were none. Individuality was in the
air; schools were closing down. For the first time since the spacious
days men sang as they pleased, and some sang as they felt and were,
but with this difference added that you would no longer identify the