Textual Notes:
Authorial Revisions and Editorial Emendations

These notes record all revisions made by Lampman in the holograph manuscript of The Story of an Affinity in the Library of Parliament, Ottawa and all editorial emendations to the copy-text. For both types or change, the entries record the reading or the present text before the “]” and the reading of the unrevised or unedited manuscript arter the “]”. Lampman’s revisions are either described in some detail or — where he has followed his characteristic practice or stroking through a word or phrase and replacing it with a word or phrase above the line—they are indicated simply by “(L.)”. Thus “I, 583 path] fields (L.)” indicates that in Part I, line 583 Lampman has revised “fields” to “path” and “I, 21 sons.] sons” indicates that in Part I, line 21 a period has been added after “sons” where there is none in the copy-text.

I, 21 sons.] sons
I, 54 other.] other
I, 101 worked.] worked
I, 128 board] Board
I, 130 father’s] fathers
I, 140 hope.] hope
I, 164 Lampman has overwritten “earth” with “leaf”.
I, 212 back.] back
I, 226 Lampman has overwritten what might be “trees” with “trunks”.
I, 250 Lampman has revised “That sunny head, thick coiled, with hair, not curled,” to “That sunny head, with hair, thick-coiled, not curled,”.
I, 252 On one] One one
I. 258 luxury] gladness (L.)
I, 294 inured] innured
I, 299 Lampman has overwritten what appears to be “of” with “and”.
I, 316 Fixed in] In all (L.)
I, 355-356 Between these lines Lampman has scored through the rollowing passage:

Not with the pallor of those piteous ones,
Whose blood some cankerous malady consumes,
But with that clear translucent paleness seen
Beyond the blackening hilltops in the West
When even darkens and the first star shines.

I, 356 In accordance with the preceding deletions, Lampman has scored through “And as he” and written above “As Richard”.
I, 388 Possessed him, and] Possessed and      This emendation is written in pencil in a hand other than Lampman’s in the manuscript.
I, 400 don’t] dont
I, 412 turned and closed] lifted up (L.)
I, 413 with a despairing tenderness] sad and simple dignity (L.)
I, 436 with these than] with than      This emendation is written in pencil in a hand other that Lampman’s in the manuscript.
I, 436 me.] me
I, 448 possessed] glowed forth (L.)
I, 448-450 Lampman has revised and condensed these lines from the following:

A sweet and simple dignity glowed forth
In this great frame and mighty head unkempt,
A grace of solemn steadfastness that touched
His uncouth garb, and almost with a cry:

I, 499 Richard’s] Richards
I, 517 quaintly] quanitly
I, 546 Lampman has written over what appears to be “were” with “had”.
I, 554 toil] toils
I, 575 doubting] doubling
I, 576 He] Her
I, 583 path] fields (L.)
I, 594 brushed] banked (L.)
I, 603 silent] drowsy (L.)
I, 642 changed.”] changed”
I, 657 many] joined (L.)
I, 657 myself.”] myself”
I, 665 day’s] days
I, 694 free.] free
I, 716 school.] school
I, 738 The bottom right hand corner of the page is missing with part of what has been taken to be “thus” severed. Scott, who may well have seen the page before it was torn, also gives a reading of’ “thus”.
II, 54 humbler] humblers
II, 232 central] midmost (L.)
II, 248 fascination] facination      This emendation is written in pencil in a hand other than Lampman’s in the manuscript.
II, 260 him:] him
II, 275 leaguer] leager
II, 275 ten-year’s] ten-years
II, 316 balance] ballance
II, 324 that] with (L.)
II, 344 vain.] vain
II, 376 there] their
II, 418 pure and helpful hands] helpful hands and tongues (L.)
II, 421 secrecies] secresies
II, 466 Or] And (L.)
II, 551 august] trumpet (L.)
II, 554 And] A (L)
II, 641 They] The      This emendation is written in pencil in a hand other than Lampman’s.
II, 674 book.”] book.      This emendation is written in pencil in the manuscript, presumably by the same hand as the other pencillings.
III, 130 untouched.] untouched
III, 160 hoarded] horded      This emendation is written in pencil in a hand other than Lampman’s.
III, 209 Richard’s] Richards
III, 225 shrivel] shivel
III, 233 need] power (L.)
III, 240 source] sourse      This emendation is written in pencil in a hand other than Lampman’s.
III, 247 ellipse] elipse      This emendation is written in pencil in a hand other than Lampman’s.
III, 274 fervid] passionate (L.)
III, 302 frenzied] frienzied
III, 305 this] This
III, 336 Shone] She (L.)
III, 357 fascination] facination      This emendation is written in pencil in a hand other than Lampman’s.
III, 369 knew] new      This emendation is written in pencil in a hand other than Lampman’s.
III, 375-376 Lampman has revised these lines from the following:

The union with Vantassel was but death,
The sacrifice of all that fed her life

III, 402 clack] sound (L.)
III, 405 Lampman has revised this line from “She stilled her spirit to a wilful calm,”.
III, 418 power] spell (L.)
III, 438 cares?”] cares”?
III, 449-450 Lampman has stroked through “From you to me, were not our spirits charged” and written the present lines above and below.
III, 451 Lampman has stroked through “answering” and written below “fated”.
III, 477 won.”] won”
III, 493 I cannot] And you (L.)
III, 540 grief.] grief
III, 572 longing] secret (L.)
III, 572 my] My
III, 577 Indeed] “Indeed
III, 586 Lampman has stroked through a largely illegible word (“Jacob”?) and written above “Hawthorne’s”.
III, 596 other’s] lawyer’s (L.)
III, 663 Lampman has stroked through “bitter” between “The” and “silence”.
III, 663 ceased.] ceased


Explanatory Notes

The primary purpose of these Explanatory Notes is threefold: to explain or identify words and references which might be unfamiliar to modern readers of The Story of an Affinity; to indicate parallels between The Story of an Affinity and other passages and poems by Lampman; and to call attention to words and phrases that allude to or, as the case may be, derive from the works of other writers. In these last two categories, the notes are intended to complement the Introduction, where emphasis is placed, not on local verbal and phrasal echoes, but on the large patterns that link The Story of an Affinity with works by Tennyson, Arnold, Lampman himself and others. Parallels within Lampman’s canon are indicated by means of poem titles and page references to Duncan Campbell Scott’s edition of the Poems of Archibald Lampman (1900) as reprinted by Margaret Whitridge In The Poems of Archibald Lampman (including At the Long Sault) (Toronto, 1974). Quotations from Wordsworth — the writer most frequently echoed in the diction, tone and poetic texture of Lampman’s poem — are from Ernest de Selincourt’s edition of The Poetical works of William Wordsworth as revised by Helen Darbishire (Oxford: Clarendon, 1966). Quotations from Tennyson, who is also frequently echoed in The Story of an Affinity, are from The Poems of Tennyson, edited by Christopher Ricks (London: Longman, 1969). Other writers are quoted from standard editions of their works.


The Story of an Affinity       As suggested in the Introduction (p. xxiii),
Lampman’s title points toward Goethe’s Die Wahlverwandtschafted, usually translated as The Elective Affinities.
I, 1-14 Cf. the opening of Tennyson’s The Lover’s Tale, and also Lampman’s
“Among the Orchards,” Poems, p. 210. Although the opening of The Story of an Affinity is not specific as to the poem’s geographical location (See introduction, p. xiii), a fragment in the Lampman Papers in the Public Archives of Canada in Ottawa (MS Notebook 10, p. 2228) reads as follows:

Between the overlapping of two seas
Ontario and Erie, lies a land
Rich with wide fields and sloped with trellised vine
The blossoming garden of the northern world.

The contrast between this fragment and the opening of The Story of an Affinity throws into relief the pastoral and mythopoeic dimensions of the poem.

I, 9-14  Keatsian: see “To Autumn”.
I, 15f.  Cf. the opening of Tennyson’s “Dora”.
I, 34 Margaret       Margaret is also the name of Wordsworth’s heroine in the
first book of The Excursion. Entitled simply “Margaret” by Arnold in The Poems of William Wordsworth (1879), Margaret’s tale has also become known variously as “The Story of Margaret” and “The Ruined Cottage.”
I, 36  great city       Wordsworth, The Prelude (1850), II, 451-452: “Thou, my
friend! wert reared / In the great city, ’mid far other scenes. . . “
I, 61  darkening mind       See Milton, Paradise Lost, IX, 1052-1054: “. . . and
each the other viewing, / Soon found thir Eyes op’n’d, and thir minds / How dark’n’d. . . .”
I, 64-65  See Tennyson, “A Character,” 5-6: “Yet could not all creation
pierce / Beyond the bottom of his eye.”
I, 68-69  See Tennyson, “The Gardener’s Daughter,” 7-8: “My Eustace might
have sat for Hercules; / So muscular he spread, so broad of breast.”
I, 70  yellow curls . . . king       See Tennyson, “Morte d’Arthur,” 216-217:
“. . . and the light and lustrous curls—/ That made his [Arthur’s] forehead like a rising sun. . . .”
I, 152  long grass . . . waist-deep       Tennyson, “The Brook,” 118: “. . . waist-
deep in meadow-sweet.”
I, 156  Now it chanced       A Wordsworthian locution, but see also Tennyson’s
“Enoch Arden,” 485: “At last one night it chanced. . . .”
I, 160f.  See Wordsworth, “The Brothers,” 423f.: “. . . thoughts which had
been his an hour berore, / All pressed on him with such a weight, that now, / This vale, where he had been so happy, seemed / A place in which he could not bear to live. . . .”      And see also Wordsworth, “The Old Cumberland Beggar,” 50-51 (“. . . one little span of earth / Is all his prospect”) and passim.
I, 164  Hebe-loveliness       The daughter of Zeus and Hera, Hebe is the
goddess of spring and youth. See Tennyson, “The Gardener’s Daughter,” 136 for Rose as “Hebe bloom.”
I, 182  soft-murmuring sound       This phrase and several others in the poem
(see for example III, 69: “. . . murmurous summer nights . .”; III, 123: “. . . many-murmured mountain-shadowed lanes . . .”; and III, 692: “. . . the murmurous stillness of the summer night . . .”) are resonantly Tennysonian in their use of the “m” sound and of cognates of the verb murmur. See the conclusion of “Come down, O maid, from yonder mountain height . . . ,” The Princess, III for Tennyson’s famously onomatopoeic “. . . moan of doves in immemorial elms, / And murmuring of innumerable bees.” In excising lines 1, 182, and III, 123 (see Appendix) was Duncan Campbell Scott attempting partially to erase Lampman’s debt to Tennyson?
I, 192  A moment like one suddenly awake       This and the surrounding
passages constitute a demonic version of the Wordsworthian spot of time as found, for instance, In the first book of The Prelude (1850).
I, 201f.  See Milton’s description of Hercules in Paradise Lost, II, 542f.:
“As when Alcides . . tore / . . . up by the roots Thessalian Pines. . . .”
I, 207-208  See Tennyson, “Morte d’Arthur,” 136f.
I, 221-224  See Tennyson, “Mariana,” 3-8 and 42.
I, 234, 236, 247  The repetition of “pale” in these lines suggests that
Tennyson’s as well as Wordsworth’s Margaret may lie behind Lampman’s heroine. Tennyson’s “Margaret” begins “O sweet pale Margaret, / O rare pale Margaret . . .”, and it contains several other phrases and images that resonate with The Story of an Affinity.
I, 240-241 See Tennyson, “The Gardener’s Daughter,” 139-140: “Half light,
half shade, / She stood, a sight to make an old man young.”
I, 242  grey eyes       Cf. “A Portrait in Six Sonnets,” I, Poems, p. 43
(supplementary): “Grey-eyed, for grey is wisdom. . . .”
I, 263-266  See the description of “The Sleeping Beauty” in Tennyson, “The
I, 283f.  Cf. Abigail’s speech in “David and Abigail,” Poems, pp. 400-403.
I, 305f.  See the description of the young woman’s bounty in the sermon in
Tennyson’s “Aylmer’s Field,” especially II. 698-707.
I, 318f.  Richard’s first sight of Margaret is strongly reminiscent of similarly
momentous events in Tennyson’s “English Idyls”; see especially “The Miller’s Daughter” where the “long and listless boy” (33) experiences love at first sight of the miller’s daughter (“For love possessed the atmosphere, / And filled the breast with purer breath. / My mother thought, What ails the boy?” 91-93), and “The Gardener’s Daughter,” 122f.
I, 336  a Saint in Patmos       St. John, who is supposed to have seen the
visions of the Apocalypse on the Aegean island of Patmos.
I, 366  that old story       As the preceding line makes clear, the account of the
fall of Adam and Eve in Genesis. Lampman probably also had in mind Milton’s account of the fall in Paradise Lost, IX.
I, 437  But, courage       Wordsworth, “Michael,” 6: “But, courage!”
I, 467f.  a smooth and polished shell       See Wordsworth, The Excursion, IV,
1135-1140 for the “smooth-lipped shell” from within which are heard the “Murmurings” of “the sea”. See also Tennyson, “The splendour falls on castle walls . . .” in The Princess, III where the “wild echoes” (Lampman has “winding echoes”, I, 488) are described as “flying” and “dying” in contrast to the “echoes” (of affinity and posterity) that “. . . roll from soul to soul, / And grow for ever and for ever.”
I, 504  they took their way       Milton, Paradise Lost, XII, 648-649: “They
hand in hand with wand’ring steps and slow, / Through Eden took their solitary way.”
I, 564  Cf. “Beauty,” Poems, p. 258 for another rendition of the Neoplatonic
triad of “‘the good, the beautiful, the true’.”
I, 579-580  storm / Of passion       See Tennyson, “Aylmer’s Field,” 285, 322,
332 and 339.
I, 595f.  Cf. “Heat” and “Among the Timothy,” Poems, 12-16. See also note
to I, 152 above.
I, 600  succory       Chicory, a wild plant with blue flowers and medicinal
I, 610  oven-bird       Warbler that builds an oven-shaped nest on the floor of
the forest.
I, 614  gentle influence       As suggested in the Introduction (pp. xvi and xxix,
n. 26), Wordsworth’s “Influence of Natural Objects,” a poem later incorporated into The Prelude (1850), I (and, it may be noted, included by Arnold in the 1879 Poems) probably lies behind this and other passages in The Story of an Affinity.
I, 616-617  See Shelley, Prometheus Unbound, III, ii, 49: “It is the unpastured
sea hungering for calm.”
I, 702f.  The interaction between Richard and Old Stahlberg here is reminiscent
of the interaction between Luke and his father towards the end of Wordsworth’s “Michael.” Whereas Luke goes to the city, sinks to ignominy, and never returns to the countryside, Richard of course succeeds in the city and returns to claim Margaret.
I, 731  for a little space       See Dante Gabriel Rossetti, “My Sister’s Sleep”
(1870), 51-52: “. . . but I heard / The silence for a little space” and Tennyson, “The Lady of Shalott,” 167: “But Lancelot mused a little space. . . .”
II, 27f.  Cf. “The City of the End of Things,” Poems, pp. 179-182.
II, 34f. Cf. “The Railway Station,” Poems, p. 116.
II, 68f.  The daughter of the “two friendly folk” recalls Aglaïa, Psyche’s daughter
in Tennyson’s The Princess, II, 93f., who is also two years old and associated with light. Aglaïa, like the daughter here, is an agent of reconciliation.
II, 136ff.  The education of Richard has echoes in the education of Leolin in
“Aylmer’s Field,” 432f.
II, 162  Titan      An offspring of Zeus and Gê, often, through confusion with
the Giants, assumed to be a person of enormous size. See also I, 84.
II, 169f.  Cf. “Sebastian,” in “Twenty-five Fugitive Poems by Archibald
Lampman,” ed. L.R. Early, Canadian Poetry: Studies, Documents, Reviews, 12 (Spring/Summer, 1983), pp. 57-59, especially I. 82f.
II, 199f.  Cf. “April in the Hills,” Poems, pp. 127-128.
II, 210-211  the flame/Of crocuses       Tennyson, “The Progress of Spring,” 1:
“The groundflame of the crocus. . . .”
II, 217  great city       See note to I, 36.
II, 232  central roar       Tennyson, “Ode on the Death of the Duke of
Wellington,” 9: “. . . London’s central roar.” And cf. “April,” Poems, p. 6: “. . . and once more/ The city smites me with its dissonant roar. / To its hot heart I pass. . . .”
II, 253  higher range       Tennyson, In Memoriam, XXX, 21: “. . . higher
range. . . .”
II, 261f.  The Mantuan       Virgil, the Roman poet born near Mantua whose epic
poem the Aeneid recounts, amongst other things, the unhappy love of Dido for Aeneas, the fall of Troy, and the “battle on the Latian plain” — the battle between the Trojans under Aeneas and the Rutulians under Turnus for the hand of Lavinia, daughter of the king of Latium.
II, 261  trim  and  stately  flow       See Tennyson, “To Virgil,” 19-20:
“. . . Wielder of the stateliest measure / ever moulded by the lips of man.”
II, 264-265  See Tennyson, “Œnone,” 260-261: “. . . A fire dances before her,
and a sound / Rings ever in her ears of armèd men.”
II, 273  the Sabine farm       The farm near Mantua (on land, Lampman’s phrase
suggests, originally owned by the Sabines) where Virgil is believed to have written his Eclogues, pastoral poems in which he nevertheless treats of such contemporary events as the eviction of farmers like himself from their lands after the battle of Philippi. Virgil’s “Sabine farm” was eventually restored to him.
II, 274f.  Homer       The putative author of two epic poems, the Iliad and the
Odyssey, the former centred on the siege of Troy by an alliance (“leaguer”) of Greeks led by Achilles, and the latter treating of the wanderings of Odysseus after the fall of Troy and his eventual return to the island of Ithaca and his wife Penelope.
II, 285f.  the Drama of the Greek       The plays of Sophocles, specifically
here Oedipus Tyrannus, Oedipus at Colonus, Antigone and, for “The blood-stained destinies of Pelop’s line,” Electra. It is possible that Lampman intended “the Greek” more generally, in which case the Oresteia trilogy of Aesehelus (along with other, less famous plays) may be subsumed by his reference to “Pelop’s line.”
II, 290  Plato’s vast and golden dream       The idealistic vision expounded by
Plato with reference to society in the Republic and to the universe in the Timaeus.
II, 291  old-world histories       A general reference to the historians, ancient and
(possibly) modern, of classical Greece and Rome (Plutarch, Xenophon, Suetonius, Tacitus, and Gibbon amongst others) or, less likely, a particular reference to The histories of Tacitus, which treat of part of the first century A.D. in Roman history.
II, 295f.  Cf. Lampman’s “At the Mermaid Inn” column for January 7, 1893,
reprinted in At the Mermaid Inn: Wilfred Campbell, Archibald Lampman, Duncan Campbell Scott in the Globe 1892-93, ed. Barrie Davies (Toronto: University of Toronto Press, 1979), p. 231 and L.R. Early “Archibald Lampman,” Canadian Writers and Their Works, ed. Robert Lecker, Jack David, and Ellen Quigley (Downsview: ECW Press, 1983), pp. 140 and 173 n.15 for the use by Lampman (possibly on the precedent of Keats) of the figure of the “chambers” of the “soul”.
II, 362f.  See Wordsworth, The Prelude (1850), VII, 594f.
II, 407  sybilline eyes       Mysterious, prophetic eyes, in allusion to the Sibyls
of ancient Greece and Rome — women who were supposed to be prophetesses.
II, 417  Charlotte Ambray       It is tempting to speculate that the portrait of
this charitable woman is based, at least in part, on someone in Lampman’s life, possibly Maud Playter, the daughter of the Toronto physician whom he married in 1887, or Kate Waddell, the one-time Ottawa schoolteacher with whom he apparently became romantically involved in c. 1893 (see L.R. Early “Lampman’s Love Poetry,” Essays on Canadian Writing, 27 [Winter, 1983-84], pp. 117-118 and, for an earlier date of c. 1889, Margaret Whitridge’s Introduction to the University of Toronto reprint of The Poems, pp. xxi-xxii). The association of Charlotte Ambray with pleasant odours and tastes (see, for example, II, 442: “. . . the rich mist of her delicious presence  . . .”) suggests an allusion In her surname to ambrosia, the food of the immortals in Greek mythology and, hence, something divinely sweet to taste or smell. The “ray” in her name is consistent with her association with light (see, for instance, the “changing lights” of II, 424).
II, 449  noble friendship       Cf. “An Athenian Reverie,” Poems, pp. 90-104
and “Friendship” in Archibald Lampman: Selected Prose, ed., and with an Introduction by Barrie Davies (Ottawa: Tecumseh, 1975), pp. 17-19 for other treatments by Lampman of the value of friendship.
II, 455f.  Cf. “Alcyone,” Poems, pp. 177-178.
II, 476f.  Cf. “Among the Timothy” and “Freedom,” Poems, pp. 13-19.
II, 488f.  See Wordsworth, “Lines Composed a Few Miles above Tintern
Abbey. . . .” 75-83.
II, 519  purple gloom       Tennyson, The Lover’s Tale, 2: “. . . purple gloom. . . .”
II, 522  soft Pandean voices       The Greek god of shepherds and flocks, Pan
came to be regarded as an embodiment of rural nature. As noted in the Introduction (p. xiii-xiv and xxvii, n. 19) Larnpman may have been influenced in his association of Pan’s piping with the sound of frogs by Roberts’ “The Pipes of Pan.” Cf. “The Frogs,” “Favorites of Pan,” and “The Song of Pan,” Poems, pp. 7-10, 131-133, and 193-194.
II, 538  Cf. “April,” Poems, p. 6.
II, 549  Milton’s line in The Excursion, I, 244f. Wordsworth refers to “The
divine Milton” in a passage that may be centrally in the background of The Story of an Affinity:

   So passed the time; yet to the nearest town
He duly went with what small overplus
His earnings might supply, and brought away
The book that most had tempted his desires
While at the stall he read. Among the hills
He gazed upon that mighty art of song,
The divine Milton. Lore of different kind,
The annual savings of a toilsome life,
His Schoolmaster supplied; books that explain
The purer elements of truth involved
In lines and numbers. . . .


II, 554  daedalian web       In Greek legend Daedalus was an accomplished
craftsman who constructed for himself and his son (Icarus) wings that enabled them to fly out of a maze in which they had been confined. Adjectives derived from his name were a favourite of Shelley; see, for example, the “Daedal harmony” of Prometheus Unbound, IV, 416.
II, 626f.  Cf. “The Piano,” Poems, pp. 260-261.
II, 652  old philosophies       Tennyson, In Memoriam, XXIII, 21: “And many
an old philosophy. . . .”
II, 661  deep seclusion       Wordsworth, “Lines Composed a Few Miles above
Tintern Abbey . . . ,” 7: “Thoughts of more deep seclusion. . . .”
III, 38f.  Cf. “David and Abigail,” Poems, pp. 401-402.
III, 47  the  unconquerable  mind       Wordsworth, “To Toussaint
  L’Ouverture,” 14: “. . . man’s unconquerable mind”.
III, 99f.  See Wordsworth, “The Solitary Reaper,” 30-32: “And, as I mounted
up the hill, / The music in my heart I bore,/ Long after it was heard no more.”
III, 265-267  See Wordsworth, “She was a Phantom of Delight,” 27-28: “A
perfect Woman, nobly planned, / To warn, to comfort, and command. . . .”
III, 297  noble and erect       See Milton, Paradise Lost, IV, 288 (“. . . far nobler
shape erect and tall, / Godlike erect ...”) and VII, 508 (“With . . . Reason . . . erect / Hils stature, and upright . ..”).
III, 336  Vega       The brightest star in the constellation Lyra (i.e., shaped like a
III, 351f.  Cf. the conclusion of “Winter-Store,” Poems, pp. 172-173.
III, 381f.  Cf. “Sorrow,” Poems, p. 281.
III, 437  Cf. “The Clearer Self,” Poems, p. 200.
III, 453-456  See Milton, Paradise Lost, X, 958-961: “. . . let us no more
contend, nor blame / Each other . . . but strive / In offices of Love, how we may light’n / Each other’s burden. . . .”
III, 502  And laid her head between her hands and wept      Dante Gabriel
Rossetti, “The Blessed Damozel,” final lines: “And laid her face between her hands, / And wept.” There may also be a syntactical, rhythmical and imagistic echo of the opening stanza of “The Blessed Damozel” —   “Her eyes were deeper than the depth/ Of waters stilled at even;/ She had three lilies in her hand . . .” — in The Story of an Affinity, III, 460-461: “. . . and her face / Grew whiter than white lilies to the lips. ..”
III, 515  dreaming house       Tennyson, “Mariana,” 61: “All day within the
dreamy house, / The doors upon their hinges creaked. . . .”
III, 518  heavy mist       Tennyson, “The Vision of Sin,” 52-54: “. . and, slowly
drawing near, / A vapour heavy, hueless, formless, cold, / Came floating on...” See also Tennyson’s “Œnone” for the cloud image. 
III, 581  leal       Loyal, faithful.
III, 647  Berserker       A Norse warrior renowned for fighting with a distracted
fury known as the “berserker rage.”
III, 705  beck       Silent signal.
III, 709  She laid her arms upon the silent rails       D. G. Rossetti, “The
Blessed Damozel,” final stanza: “And then she cast her arms along / The golden barriers, / And laid her face between her hands. . . .”
III, 735f.  Milton, Paradise Lost, XII, final lines: see quotation under I, 504.