rhythm, in places where it might seem doubtful, has been indicated by accents printed over the determining syllables: in the later poems these accents correspond generally with the author's own Marksmarks; in the earlier poems they do not, but are trustworthy translations.
It was at one time the author's practice to use a very elaborate system of marks, all indicating the speech-movement: the autograph (in A) of Harry Ploughman carries seven different marks, each one defined at the foot. When reading through his letters for the purpose of determining dates, I noted a few sentences on this subject which will justify the method that I have followed in the text. In 1883 he wrote: 'You were right to leave out the marks: they were not consistent for one thing, and are always offensive. Still there must be some. Either I must invent a notation applied throughout as in music or else I must only mark where the reader is likely to mistake, and for the present this is what I shall do.' And again in '85: 'This is my difficulty, what marks to use and when to use them: they are so much needed and yet so objectionable. About punctuation my mind Punctuationis clear: I can give a rule for everything I write myself and even for other people, though they might not agree with me perhaps.' In this last matter the autographs are rigidly respected, the rare intentional aberration being scrupulously noted. And so I have respected his indentation of the verse; but in the sonnets, while my indentation corresponds, as a rule, with some autograph, I have felt free to consider conveniences, following, however, his growing practice to eschew it altogether.
Apart from questions of taste—and if these poems were to be Mannerismarraigned for errors of what may be called taste, they might be convicted of occasional affectation in metaphor, as where the hills are 'as a stallion stalwart, very-violet-sweet', or of some perversion of human feeling, as, for instance, the 'nostrils' relish of incense along the sanctuary side', or 'the Holy Ghost with warm breast and with ah! bright wings', these and a few such examples are mostly efforts to force emotion into theological or sectarian channels, as in 'the comfortless unconfessed' and the unpoetic line 'His mystery must be unstressed stressed', or, again, the exaggerated Marianism of
