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The poetical works of George MacDonald in two volumes — Volume 1

By George MacDonald
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Table of Contents
  • THE POETICAL WORKS
  • CONTENTS.
    • WITHIN AND WITHOUT
  • WITHIN AND WITHOUT:
    • WITHIN AND WITHOUT
      • PART I.
    • PART I.
    • SCENE II.—The refectory. The monks at table. A buzz of conversation. ROBERT enters, wiping his forehead, as if he had just come in.
      • SCENE III.—Julian's cell. An open chest. The lantern on a stool, its candle nearly burnt out. JULIAN lying on his bed, looking at the light.
    • SCENE III.—Julian's cell. An open chest. The lantern on a stool, its candle nearly burnt out. JULIAN lying on his bed, looking at the light.
    • SCENE IV.—Night. The court of a country-inn. The Abbot, while his horse is brought out.
      • SCENE V.—After midnight. JULIAN seated under a tree by the roadside.
      • SCENE VI.—The Abbot's room. The Abbot and one of the Monks.
      • SCENE VII.—Afternoon. The mountains. JULIAN.
    • SCENE V.—After midnight. JULIAN seated under a tree by the roadside.
    • SCENE VI.—The Abbot's room. The Abbot and one of the Monks.
    • SCENE VII.—Afternoon. The mountains. JULIAN.
    • SCENE VIII.—A dungeon in the monastery. A ray of the moon on the floor. ROBERT.
  • PART II.
    • SCENE I.—A room in Julian's castle. JULIAN and the old Nurse.
      • SCENE II.—A poor cottage. An old Man and Woman sitting together.
      • SCENE III.—Kitchen of a small inn. Host and Hostess.
      • SCENE IV.—The inn; a room upstairs. JULIAN at the window, half hidden by the curtain.
      • SCENE V.—A back street. Two Servants with a carriage and pair.
        • SCENE VI.—Julian's room. JULIAN standing at the window, his face pressed against a pane. Storm and gathering darkness without.
      • SCENE VI.—Julian's room. JULIAN standing at the window, his face pressed against a pane. Storm and gathering darkness without.
      • SCENE VII.—The landing.
      • SCENE VIII.—A room in the castle. JULIAN and the Nurse.
      • SCENE IX.—The Abbot's room in the monastery. The Abbot.
      • SCENE X.—Towards morning. The Nurse's room. LILIA in bed. JULIAN watching.
      • SCENE XI.—A hilly road. STEPHEN, trudging alone, pauses to look around him.
        • SCENE XII.—The Nurse's room. LILIA sitting up in bed. JULIAN seated by her; an open note in his hand.
      • SCENE XII.—The Nurse's room. LILIA sitting up in bed. JULIAN seated by her; an open note in his hand.
      • SCENE XIII.—The Steward's room. JULIAN and the Steward. Papers on the table, which JULIAN has just finished examining.
    • SCENE II.—A poor cottage. An old Man and Woman sitting together.
    • SCENE III.—Kitchen of a small inn. Host and Hostess.
    • SCENE IV.—The inn; a room upstairs. JULIAN at the window, half hidden by the curtain.
    • SCENE V.—A back street. Two Servants with a carriage and pair.
      • SCENE VI.—Julian's room. JULIAN standing at the window, his face pressed against a pane. Storm and gathering darkness without.
    • SCENE VI.—Julian's room. JULIAN standing at the window, his face pressed against a pane. Storm and gathering darkness without.
    • SCENE VII.—The landing.
    • SCENE VIII.—A room in the castle. JULIAN and the Nurse.
    • SCENE IX.—The Abbot's room in the monastery. The Abbot.
    • SCENE X.—Towards morning. The Nurse's room. LILIA in bed. JULIAN watching.
    • SCENE XI.—A hilly road. STEPHEN, trudging alone, pauses to look around him.
      • SCENE XII.—The Nurse's room. LILIA sitting up in bed. JULIAN seated by her; an open note in his hand.
    • SCENE XII.—The Nurse's room. LILIA sitting up in bed. JULIAN seated by her; an open note in his hand.
    • SCENE XIII.—The Steward's room. JULIAN and the Steward. Papers on the table, which JULIAN has just finished examining.
    • SCENE XIV.—A road near the town. A Waggoner. STEPHEN, in lay dress, coming up to him.
      • SCENE XV.—The Nurse's room. JULIAN and LILIA standing near the window.
      • SCENE XVI.—The Steward's room. JULIAN. The Steward.
      • SCENE XVII.—The inn; the room which had been JULIAN'S. STEPHEN, Host, and Hostess. Wine on the table.
      • SCENE XVIII.—Night. The Nurse's room. LILIA; to her JULIAN.
    • SCENE XV.—The Nurse's room. JULIAN and LILIA standing near the window.
    • SCENE XVI.—The Steward's room. JULIAN. The Steward.
    • SCENE XVII.—The inn; the room which had been JULIAN'S. STEPHEN, Host, and Hostess. Wine on the table.
    • SCENE XVIII.—Night. The Nurse's room. LILIA; to her JULIAN.
    • PART III.
      • SCENE II.—Rooms in Lord Seaford's house. A large company; dancers; gentlemen looking on.
      • SCENE III.—Julian's room. LILY asleep.
      • SCENE IV.—LILIA in bed. The room lighted from a gas-lamp in the street; the bright shadow of the window on the wall and ceiling.
      • SCENE V.—LORD SEAFORD, alternately writing at a table and composing at his pianoforte.
      • SCENE VI.—Julian's room next morning; no fire. JULIAN stands at the window, looking into a London fog.
    • SCENE II.—Rooms in Lord Seaford's house. A large company; dancers; gentlemen looking on.
    • SCENE III.—Julian's room. LILY asleep.
    • SCENE IV.—LILIA in bed. The room lighted from a gas-lamp in the street; the bright shadow of the window on the wall and ceiling.
    • SCENE V.—LORD SEAFORD, alternately writing at a table and composing at his pianoforte.
    • SCENE VI.—Julian's room next morning; no fire. JULIAN stands at the window, looking into a London fog.
    • SCENE VII.—Julian's room. Noon. LILIA at work; LILY playing in a closet.
      • SCENE VIII.—A merchants counting-house. JULIAN preparing to go home.
      • SCENE IX.—LILIA preparing to go out. LILY.
        • SONG.
      • SONG.
      • SCENE X.—Julian's room. Christmas Day; early morn. JULIAN.
    • SCENE VIII.—A merchants counting-house. JULIAN preparing to go home.
    • SCENE IX.—LILIA preparing to go out. LILY.
      • SONG.
    • SONG.
    • SCENE X.—Julian's room. Christmas Day; early morn. JULIAN.
    • PART IV.
      • SCENE I.—Summer. Julian's room. JULIAN is reading out of a book of poems.
      • SCENE IV.—Julian's room. The dusk of evening. JULIAN standing with his arms folded, and his eyes fixed on the floor.
      • SCENE V.—Lord Seaford's house; Lady Gertrude's room. LADY GERTRUDE lying on a couch; LILIA seated beside her, with the girl's hand in both hers.
        • SONG.
        • SCENE VI.—A rainy day. LORD SEAFORD walking up and down his room, murmuring to himself.
      • SONG.
      • SCENE VI.—A rainy day. LORD SEAFORD walking up and down his room, murmuring to himself.
      • SCENE VII.—JULIAN reading in his room.
        • SCENE VIII.—Lord Seaford's room. LILIA and LORD SEAFORD. Her hand lies in his.
        • SCENE IX.—Evening. Hampstead Heath. LILIA seated.
        • SCENE X.—Julian's room. JULIAN reading. A letter is brought in. He reads it, turns deadly pale, and leans his arms and head on the table, almost fainting. This lasts some time; then starting up, he paces through the room, his shoulders slightly shrugged, his arms rigid by his sides, and his hands clenched hard, as if a net of pain were drawn tight around his frame. At length he breathes deep, draws himself up, and walks erect, his chest swelling, but his teeth set.
        • SCENE XI.—A table in a club-room. Several Gentlemen seated round it. To them enter another.
      • SCENE VIII.—Lord Seaford's room. LILIA and LORD SEAFORD. Her hand lies in his.
      • SCENE IX.—Evening. Hampstead Heath. LILIA seated.
      • SCENE X.—Julian's room. JULIAN reading. A letter is brought in. He reads it, turns deadly pale, and leans his arms and head on the table, almost fainting. This lasts some time; then starting up, he paces through the room, his shoulders slightly shrugged, his arms rigid by his sides, and his hands clenched hard, as if a net of pain were drawn tight around his frame. At length he breathes deep, draws himself up, and walks erect, his chest swelling, but his teeth set.
      • SCENE XI.—A table in a club-room. Several Gentlemen seated round it. To them enter another.
      • SCENE XII.—A by-street. JULIAN walking home very weary. The child in his arms, her head lying on his shoulder. An Organ-boy with a monkey, sitting on a door-step. He sings in a low voice.
      • SCENE XIII.—LILIA'S room. JULIAN enters with the child; undresses her, and puts her to bed.
      • SCENE XIV.—Crowd about the Italian Opera-House. JULIAN. LILY in his arms. Three Students.
      • SCENE XV.—JULIAN seated in his room, his eyes fixed on the floor. LILY playing in a corner.
        • SCENE XVI.—JULIAN walking with LILY through one of the squares.
        • SCENE XVII.—Julian's room. JULIAN. LILY asleep.
      • SCENE XVI.—JULIAN walking with LILY through one of the squares.
      • SCENE XVII.—Julian's room. JULIAN. LILY asleep.
      • SCENE XVIII.—Portsmouth. A bedroom. LORD SEAFORD. LADY GERTRUDE.
        • SCENE XIX.—A country churchyard. JULIAN seated on a tombstone. LILY gathering flowers and grass among the grass.
        • SCENE XX.—Portsmouth. LORD SEAFORD, partially recovered. Enter LADY GERTRUDE and BERNARD.
        • SCENE XXI.—LILY in bed. JULIAN seated by her.
        • SCENE XXII.—A cottage-room. LILIA folding a letter.
        • SCENE XXIII.—LILY lying dead. JULIAN bending over her.
        • SCENE XXIV.—The country-churchyard. JULIAN standing by LILY'S new-filled grave. He looks very worn and ill.
        • SCENE XXV.—The empty room, formerly Lilia's.
      • SCENE XIX.—A country churchyard. JULIAN seated on a tombstone. LILY gathering flowers and grass among the grass.
      • SCENE XX.—Portsmouth. LORD SEAFORD, partially recovered. Enter LADY GERTRUDE and BERNARD.
      • SCENE XXI.—LILY in bed. JULIAN seated by her.
      • SCENE XXII.—A cottage-room. LILIA folding a letter.
      • SCENE XXIII.—LILY lying dead. JULIAN bending over her.
      • SCENE XXIV.—The country-churchyard. JULIAN standing by LILY'S new-filled grave. He looks very worn and ill.
      • SCENE XXV.—The empty room, formerly Lilia's.
      • PART V.
      • A DREAM.
        • SCENE II.—A room in a cottage. LILIA on her knees before a crucifix. Her back only is seen, for the Poet dares not look on her face. On a chair beside her lies a book, open at CHAPTER VIII. Behind her stands an Angel, bending forward, as if to protect her with his wings partly expanded. Appear JULIAN, with LILY in his arms. LILY looks with love on the angel, and a kind of longing fear on her mother.
      • SCENE II.—A room in a cottage. LILIA on her knees before a crucifix. Her back only is seen, for the Poet dares not look on her face. On a chair beside her lies a book, open at CHAPTER VIII. Behind her stands an Angel, bending forward, as if to protect her with his wings partly expanded. Appear JULIAN, with LILY in his arms. LILY looks with love on the angel, and a kind of longing fear on her mother.
      • SCENE III.—JULIAN on the summit of a mountain-peak. The stars are brilliant around a crescent moon, hanging half-way between the mountain and the zenith. Below lies a sea of vapour. Beyond rises a loftier pinnacle, across which is stretched a bar of cloud. LILY lies on the cloud, looking earnestly into the mist below.
    • SCENE I.—Summer. Julian's room. JULIAN is reading out of a book of poems.
    • SCENE IV.—Julian's room. The dusk of evening. JULIAN standing with his arms folded, and his eyes fixed on the floor.
    • SCENE V.—Lord Seaford's house; Lady Gertrude's room. LADY GERTRUDE lying on a couch; LILIA seated beside her, with the girl's hand in both hers.
      • SONG.
      • SCENE VI.—A rainy day. LORD SEAFORD walking up and down his room, murmuring to himself.
    • SONG.
    • SCENE VI.—A rainy day. LORD SEAFORD walking up and down his room, murmuring to himself.
    • SCENE VII.—JULIAN reading in his room.
      • SCENE VIII.—Lord Seaford's room. LILIA and LORD SEAFORD. Her hand lies in his.
      • SCENE IX.—Evening. Hampstead Heath. LILIA seated.
      • SCENE X.—Julian's room. JULIAN reading. A letter is brought in. He reads it, turns deadly pale, and leans his arms and head on the table, almost fainting. This lasts some time; then starting up, he paces through the room, his shoulders slightly shrugged, his arms rigid by his sides, and his hands clenched hard, as if a net of pain were drawn tight around his frame. At length he breathes deep, draws himself up, and walks erect, his chest swelling, but his teeth set.
      • SCENE XI.—A table in a club-room. Several Gentlemen seated round it. To them enter another.
    • SCENE VIII.—Lord Seaford's room. LILIA and LORD SEAFORD. Her hand lies in his.
    • SCENE IX.—Evening. Hampstead Heath. LILIA seated.
    • SCENE X.—Julian's room. JULIAN reading. A letter is brought in. He reads it, turns deadly pale, and leans his arms and head on the table, almost fainting. This lasts some time; then starting up, he paces through the room, his shoulders slightly shrugged, his arms rigid by his sides, and his hands clenched hard, as if a net of pain were drawn tight around his frame. At length he breathes deep, draws himself up, and walks erect, his chest swelling, but his teeth set.
    • SCENE XI.—A table in a club-room. Several Gentlemen seated round it. To them enter another.
    • SCENE XII.—A by-street. JULIAN walking home very weary. The child in his arms, her head lying on his shoulder. An Organ-boy with a monkey, sitting on a door-step. He sings in a low voice.
    • SCENE XIII.—LILIA'S room. JULIAN enters with the child; undresses her, and puts her to bed.
    • SCENE XIV.—Crowd about the Italian Opera-House. JULIAN. LILY in his arms. Three Students.
    • SCENE XV.—JULIAN seated in his room, his eyes fixed on the floor. LILY playing in a corner.
      • SCENE XVI.—JULIAN walking with LILY through one of the squares.
      • SCENE XVII.—Julian's room. JULIAN. LILY asleep.
    • SCENE XVI.—JULIAN walking with LILY through one of the squares.
    • SCENE XVII.—Julian's room. JULIAN. LILY asleep.
    • SCENE XVIII.—Portsmouth. A bedroom. LORD SEAFORD. LADY GERTRUDE.
      • SCENE XIX.—A country churchyard. JULIAN seated on a tombstone. LILY gathering flowers and grass among the grass.
      • SCENE XX.—Portsmouth. LORD SEAFORD, partially recovered. Enter LADY GERTRUDE and BERNARD.
      • SCENE XXI.—LILY in bed. JULIAN seated by her.
      • SCENE XXII.—A cottage-room. LILIA folding a letter.
      • SCENE XXIII.—LILY lying dead. JULIAN bending over her.
      • SCENE XXIV.—The country-churchyard. JULIAN standing by LILY'S new-filled grave. He looks very worn and ill.
      • SCENE XXV.—The empty room, formerly Lilia's.
    • SCENE XIX.—A country churchyard. JULIAN seated on a tombstone. LILY gathering flowers and grass among the grass.
    • SCENE XX.—Portsmouth. LORD SEAFORD, partially recovered. Enter LADY GERTRUDE and BERNARD.
    • SCENE XXI.—LILY in bed. JULIAN seated by her.
    • SCENE XXII.—A cottage-room. LILIA folding a letter.
    • SCENE XXIII.—LILY lying dead. JULIAN bending over her.
    • SCENE XXIV.—The country-churchyard. JULIAN standing by LILY'S new-filled grave. He looks very worn and ill.
    • SCENE XXV.—The empty room, formerly Lilia's.
    • PART V.
    • A DREAM.
      • SCENE II.—A room in a cottage. LILIA on her knees before a crucifix. Her back only is seen, for the Poet dares not look on her face. On a chair beside her lies a book, open at CHAPTER VIII. Behind her stands an Angel, bending forward, as if to protect her with his wings partly expanded. Appear JULIAN, with LILY in his arms. LILY looks with love on the angel, and a kind of longing fear on her mother.
    • SCENE II.—A room in a cottage. LILIA on her knees before a crucifix. Her back only is seen, for the Poet dares not look on her face. On a chair beside her lies a book, open at CHAPTER VIII. Behind her stands an Angel, bending forward, as if to protect her with his wings partly expanded. Appear JULIAN, with LILY in his arms. LILY looks with love on the angel, and a kind of longing fear on her mother.
    • SCENE III.—JULIAN on the summit of a mountain-peak. The stars are brilliant around a crescent moon, hanging half-way between the mountain and the zenith. Below lies a sea of vapour. Beyond rises a loftier pinnacle, across which is stretched a bar of cloud. LILY lies on the cloud, looking earnestly into the mist below.
  • A HIDDEN LIFE.
    • I.
      • II.
    • II.
  • A HIDDEN LIFE.
  • A STORY OF THE SEA-SHORE.
    • TO THEM THAT MOURN.
    • A STORY OF THE SEA-SHORE.
      • THE STORY.
    • THE STORY.
  • THE DISCIPLE.
    • DEDICATION.
  • THE DISCIPLE.
    • II.
      • IV.
        • VI.
        • VII.
        • VIII.
        • IX.
        • X.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
      • XI.
        • XII.
        • XIII.
        • XIV.
        • XV.
        • XVI.
        • XVIII.
        • XIX.
        • XX.
        • XXI.
        • XXII.
        • XXIII.
        • XXIV.
        • XXV.
        • XXVI.
        • XXVII.
        • XXVIII.
        • XXIX.
        • XXX.
        • XXXI.
      • XII.
      • XIII.
      • XIV.
      • XV.
      • XVI.
      • XVIII.
      • XIX.
      • XX.
      • XXI.
      • XXII.
      • XXIII.
      • XXIV.
      • XXV.
      • XXVI.
      • XXVII.
      • XXVIII.
      • XXIX.
      • XXX.
      • XXXI.
    • IV.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
      • XII.
      • XIII.
      • XIV.
      • XV.
      • XVI.
      • XVIII.
      • XIX.
      • XX.
      • XXI.
      • XXII.
      • XXIII.
      • XXIV.
      • XXV.
      • XXVI.
      • XXVII.
      • XXVIII.
      • XXIX.
      • XXX.
      • XXXI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVIII.
    • XIX.
    • XX.
    • XXI.
    • XXII.
    • XXIII.
    • XXIV.
    • XXV.
    • XXVI.
    • XXVII.
    • XXVIII.
    • XXIX.
    • XXX.
    • XXXI.
  • THE GOSPEL WOMEN.
    • I.
      • II.
        • III.
        • IV.
        • V.
        • II.
        • III.
        • IV.
      • III.
      • IV.
      • V.
      • II.
      • III.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
      • XI.
      • XII.
      • XIII.
        • XIV.
      • XIV.
      • XV.
        • II.
      • II.
      • XVI.
    • II.
      • III.
      • IV.
      • V.
      • II.
      • III.
      • IV.
    • III.
    • IV.
    • V.
    • II.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
      • XIV.
    • XIV.
    • XV.
      • II.
    • II.
    • XVI.
  • A BOOK OF SONNETS.
    • THE BURNT-OFFERING.
      • THE UNSEEN FACE.
    • THE UNSEEN FACE.
  • CONCERNING JESUS.
    • I.
      • II.
      • III.
        • IV.
        • V.
        • VI.
        • VII.
        • VIII.
        • IX.
        • X.
        • XI.
        • XII.
        • XIII.
        • XIV.
        • XV.
        • XVI.
        • XVII.
        • XVIII.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
      • XI.
      • XII.
      • XIII.
      • XIV.
      • XV.
      • XVI.
      • XVII.
      • XVIII.
    • II.
    • III.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
      • IX.
      • X.
      • XI.
      • XII.
      • XIII.
      • XIV.
      • XV.
      • XVI.
      • XVII.
      • XVIII.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
    • IX.
    • X.
    • XI.
    • XII.
    • XIII.
    • XIV.
    • XV.
    • XVI.
    • XVII.
    • XVIII.
    • A MEMORIAL OF AFRICA.
      • I.
        • II.
      • II.
    • I.
      • II.
    • II.
  • A. M. D.
  • TO GARIBALDI—WITH A BOOK.
  • TO S. F. S.
  • RUSSELL GURNEY.
  • TO ONE THREATENED WITH BLINDNESS.
    • I.
      • II.
    • II.
    • TO AUBREY DE VERE.
  • GENERAL GORDON.
    • I.
      • II.
    • II.
  • THE CHRYSALIS.
  • THE SWEEPER OF THE FLOOR.
  • DEATH.
  • ORGAN SONGS.
    • TO A. J. SCOTT
  • LIGHT.
  • TO A. J. SCOTT.
    • I WOULD I WERE A CHILD.
  • A PRAYER FOR THE PAST.
    • A PRAYER FOR THE PAST.
    • LONGING.
    • I KNOW WHAT BEAUTY IS.
  • SYMPATHY.
  • THE THANK-OFFERING.
  • PRAYER.
  • REST.
    • II.
      • III.
        • IV.
      • IV.
    • III.
      • IV.
    • IV.
  • O DO NOT LEAVE ME.
  • BLESSED ARE THE MEEK, FOR THEY SHALL INHERIT THE EARTH.
  • HYMN FOR A SICK GIRL.
    • WRITTEN FOR ONE IN SORE PAIN.
    • A CHRISTMAS CAROL FOR 1862,
    • A CHRISTMAS CAROL.
  • THE SLEEPLESS JESUS.
    • CHRISTMAS, 1873.
    • CHRISTMAS, 1884.
    • AN OLD STORY.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • A SONG FOR CHRISTMAS.
    • II.
  • TO MY AGING FRIENDS.
  • CHRISTMAS SONG OF THE OLD CHILDREN.
    • CHRISTMAS MEDITATION.
  • THE OLD CASTLE.
  • CHRISTMAS PRAYER.
  • SONG OF THE INNOCENTS.
  • CHRISTMAS DAY AND EVERY DAY.
  • THE CHILDREN'S HEAVEN.
  • REJOICE.
  • THE GRACE OF GRACE.
    • ANTIPHON.
  • DORCAS.
  • MARRIAGE SONG.
  • BLIND BARTIMEUS.
  • COME UNTO ME.
  • MORNING HYMN.
  • NOONTIDE HYMN.
  • EVENING HYMN.
  • THE HOLY MIDNIGHT.
  • RONDEL.
  • A PRAYER.
  • HOME FROM THE WARS.
  • GOD; NOT GIFT.
  • TO ANY FRIEND.
  • VIOLIN SONGS.
    • HOPE DEFERRED.
    • DEATH.
  • HARD TIMES.
  • IF I WERE A MONK, AND THOU WERT A NUN.
  • MY HEART.
    • II.
      • III.
    • III.
  • THE FLOWER-ANGELS.
  • TO MY SISTER,
    • I.
      • II.
        • III.
      • III.
    • II.
      • III.
    • III.
  • OH THOU OF LITTLE FAITH!
  • WILD FLOWERS.
  • SPRING SONG.
  • SUMMER SONG.
    • AUTUMN SONG.
  • WINTER SONG.
  • PICTURE SONGS.
    • I.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • A DREAM SONG.
    • AT MY WINDOW AFTER SUNSET.
      • A FATHER TO A MOTHER.
    • A FATHER TO A MOTHER.
  • THE TEMPLE OF GOD.
  • GOING TO SLEEP.
  • TO-MORROW.
  • FOOLISH CHILDREN.
    • LOVE IS HOME.
    • FAITH.
  • WAITING.
  • OUR SHIP.
  • MY HEART THY LARK.
  • TWO IN ONE.
  • BEDTIME.
  • A PRAYER.
  • A SONG PRAYER.
  • SONGS OF THE DAYS AND NIGHTS.
    • SONGS OF THE SUMMER DAYS.
      • I.
        • II.
        • III.
      • II.
      • III.
    • I.
      • II.
      • III.
    • II.
    • III.
  • SONGS OF THE SUMMER NIGHTS.
    • I.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • SONGS OF THE AUTUMN DAYS.
    • I.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • SONGS OF THE AUTUMN NIGHTS.
    • I.
      • III.
        • IV.
      • IV.
    • III.
      • IV.
    • IV.
  • SONGS OF THE WINTER DAYS.
    • I.
      • II.
        • IV.
      • IV.
    • II.
      • IV.
    • IV.
    • SONGS OF THE WINTER NIGHTS.
      • I.
        • II.
        • III.
      • II.
      • III.
    • I.
      • II.
      • III.
    • II.
    • III.
  • SONGS OF THE SPRING DAYS.
    • I.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • SONGS OF THE SPRING NIGHTS.
    • I.
      • II.
        • III.
        • IV.
      • III.
      • IV.
    • II.
      • III.
      • IV.
    • III.
    • IV.
  • A BOOK OF DREAMS.
    • PART I.
      • I.
        • II.
        • III.
        • IV.
        • V.
      • II.
      • III.
      • IV.
      • V.
      • PART II.
      • I.
        • II.
        • III.
        • IV.
        • V.
        • VI.
      • II.
      • III.
      • IV.
      • V.
      • VI.
    • I.
      • II.
      • III.
      • IV.
      • V.
    • II.
    • III.
    • IV.
    • V.
    • PART II.
    • I.
      • II.
      • III.
      • IV.
      • V.
      • VI.
    • II.
    • III.
    • IV.
    • V.
    • VI.
  • ROADSIDE POEMS.
    • BETTER THINGS.
  • AN OLD SERMON WITH A NEW TEXT.
  • LITTLE ELFIE.
  • RECIPROCITY.
    • THE SHADOWS.
  • THE CHILD-MOTHER.
  • HE HEEDED NOT.
  • THE SHEEP AND THE GOAT.
    • THE WAKEFUL SLEEPER.
    • A DREAM OF WAKING.
  • A MANCHESTER POEM.
  • WHAT THE LORD SAITH.
  • HOW SHALL HE SING WHO HATH NO SONG?
  • THIS WORLD.
  • SAINT PETER.
  • ZACCHAEUS.
  • AFTER THOMAS KEMPIS.
    • I.
      • II.
        • III.
        • IV.
        • V.
        • VI.
        • VII.
        • VIII.
      • III.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
    • II.
      • III.
      • IV.
      • V.
      • VI.
      • VII.
      • VIII.
    • III.
    • IV.
    • V.
    • VI.
    • VII.
    • VIII.
  • TO AND OF FRIENDS.
    • TO LADY NOEL BYRON.
  • TO THE SAME.
    • TO AURELIO SAFFI.
  • A THANKSGIVING FOR F. D. MAURICE.
  • GEORGE ROLLESTON.
  • TO GORDON, LEAVING KHARTOUM.
  • SONG OF THE SAINTS AND ANGELS,
    • FAILURE.
  • TO E. G., DEDICATING A BOOK.
  • TO G. M. T.
  • IN MEMORIUM
    • END OF VOL. I.
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