ness, taking all easy. And so to supper and bed. Here comes a violent but effective hyperbaton or suspension, in which the action of the mind mimics that of the labourer—surveys his lot, low but free from care; then by a sudden strong act throws it over the shoulder or tosses it away as a light matter. The witnessing of which lightheartedness makes me indignant with the fools of Radical Levellers. But presently I remember that this is all very well for those who are in, however low in, the Commonwealth and share in any way the common weal; but that the curse of our times is that many do not share it, that they are outcasts from it and have neither security nor splendour; that they share care with the high and obscurity with the low, but wealth or comfort with neither. And this state of things, I say, is the origin of Loafers, Tramps, Cornerboys, Roughs, Socialists and other pests of society. And I think that it is a very pregnant sonnet, and in point of execution very highly wrought, too much so, I am afraid.... G.M.H.'
43. 'Harry Ploughman. Dromore, Sept. 1887.' Autograph in A.—Autograph in B has several emendations written over without deletion of original. Text is B with these corrections, which are all good.—line 10, features is the verb.—13, 's is his. I have put a colon at plough, in place of author's full stop, for the convenience of reader.—15 = his lilylocks windlaced. 'Saxo cere- comminuit -brum.'—17, Them. These, A.—In the last three lines the grammar intends, 'How his churl's grace governs the movement of his booted (in bluff hide) feet, as they are matched in a race with the wet shining furrow overturned by the share'. G. M. H. thought well of this sonnet and wrote on Sept. 28, 1887: 'I have been touching up some old sonnets you have never seen and have within a few days done the whole of one, I hope, very good one and most of another; the one finished is a direct picture of a ploughman, without afterthought. But when you read it let me know if there is anything like it in Walt Whitman; as perhaps there may be, and I should be sorry for that.' And again on Oct. 11, '87: 'I will enclose the sonnet on Harry Ploughman, in which burden-lines (they might be recited by a chorus) are freely used: there is in this very heavily loaded sprung rhythm a call for their employment. The rhythm of this sonnet, which is alto-
