The Cooper Epigraphs

Sources of the Epigraphs in the Novels of James Fenimore Cooper and Susan Fenimore Cooper

Hugh C. MacDougall, Secretary/Treasurer, James Fenimore Cooper Society

Originally published in James Fenimore Cooper Society Miscellaneous Papers No. 12, August 1999.

See also “Finding Lost Cooper Epigraphs” for information on long unsourced epigraphs that have now been found.

[May be reproduced for instructional use by individuals or institutions; commercial use prohibited.]

Introduction

Hugh C. MacDougall

Both James Fenimore Cooper and his daughter Susan Fenimore Cooper habitually prefaced their works with a title-page “motto” or epigraph — a few lines of borrowed verse or prose — intended to set the tone of the work as a whole. Their novels usually began each chapter with a similar epigraph, in lieu of a chapter title. In this they emulated many writers of the period, most notably Sir Walter Scott, the “British Cooper.”

Epigraphs are an often overlooked clue to the meaning of the works in which they are used. For the Coopers, father and daughter, title-page epigraphs often seem important to the underlying theme of the novel as a whole; frequently, they seem intended to carry with them not only the selected words of the epigraph itself, but all or part of the complete work from which they have been taken.

An example is the epigraph for Cooper’s famous novel The Deerslayer (1841), taken from Thomas Grey’s poem The Bard:

“What Terrors round him wait!

Amazement in his van, with Flight combined

And Sorrow’s faded form, and Solitude behind.”

The words of this epigraph, though unattributed by Cooper, seem intended to carry with them Gray’s poem as a whole. The Bard, published in 1757 and well-known in the 19ᵗʰ century, tells of King Edward I’s attempted destruction of Welsh culture by killing their traditional poets or Bards, of a curse invoked by the dying Bards on the House of Plantagenet, and how this curse destroyed the lives of each of Edward’s descendants until the dynasty was overthrown in 1486 by Henry Tudor of Wales. With this in mind, the slaughter of the Hurons by Captain Warley’s troops at the conclusion of The Deerslayer takes on, it seems to me, considerable added meaning.

In addition to assisting in the reading of texts, the proper identification of epigraphs can also aid in understanding an author’s literary background, interests, and current reading.

Cooper’s attributions are short (usually an author, a title, or a character), and not always easy to track down. On occasion he misattributes an epigraph, or fails to notice typographical errors (e.g., Henry VI for Henry IV) that have been carried down since from edition to edition. Except for a few epigraphs attributed to “Duo,” which appear to be of his own composition, Cooper did not emulate Scott in misleading his readers with faked quotations or phoney attributions.

Cooper evidently considered the search for appropriate epigraphs as something of a chore. His “mottoes” (as he called them) seem to have been selected only after his manuscript was otherwise complete. Manuscripts I have seen show them on the reverse of the first page of each chapter. An acquaintance quoted him as once saying:

To a novel writer above all, [Shakspeare] is an invaluable friend. Publishers will have mottoes for every chapter; and how I should get along without Shakspeare I cannot conceive. I like to take them from my contemporaries whenever I can, and particularly from our own poets. It is a kind of compliment which they have a right to, and I am always glad when I can pay it. Sometimes, however, it is no easy thing. Many a page have I turned over and over without being able to find anything to my purpose; but I never yet turned over three in Shakspeare without hitting upon just what I wanted.”

[Quoted by George Washington Greene in “Personal Recollections of Cooper,” in his Biographical Studies (New York: G.P. Putnam, 1860), p. 56]

The following is a preliminary compilation of the sources of chapter and title page epigraphs (about a thousand in all) from thirty novels by James Fenimore Cooper and one by Susan Fenimore Cooper. Title page epigraphs are added from a number of other works by both authors. I should have preferred to transcribe the epigraphs as well as giving their sources, but this would take too much space.

A. James Fenimore Cooper

Part I — by Novel: (a) chapter number; (b) attribution (verbatim, even if incorrect); (c) author (unless included in attribution); (d) short title (unless included in attribution); (e) epigraph citation. Shakespeare is abbreviated to “WS” and Shakespeare citations are to the Riverside Edition
Part II — by Author: (a) author; (b) (birth and death dates); (c) [dates of first and last Cooper work citing the author]; (d) title (with date of publication for major works); (e) novel; (f) chapter; (g) epigraph citation. Notice is taken of misattributions, and significant alterations in quoted texts.
Part III — Unidentified Epigraphs: (a) attribution; (b) novel; (c) chapter

B. Susan Fenimore Cooper

1. Epigraphs from Elinor Wyllys; or, The Young Folk of Longbridge (Philadelphia: Carey and Hart, 1846), by chapter and author.
2. Title page epigraph from Rural Hours (New York: George P. Putnam, 1850).

Appendix: Shakespeare quotations in The Water-Witch (1830)

Texts of Missing Epigraphs: Texts of epigraphs as yet unidentified; please help us find them!

Citations identify: Act, Book, or Canto (large Roman numerals); scene or verse (small roman numerals); line numbers (Arabic numerals). Where Cooper misattributed an epigraph, or his text differs markedly from the standard version, his attribution or words are shown following the Part II citation.

I have accepted with gratitude epigraphs identified in the eleven novels so far published in the Cooper Edition (SUNY Press, Albany, 1980 to date): The Pioneers, The Pilot, Lionel Lincoln, The Last of the Mohicans, The Prairie, The Red Rover, The Pathfinder, The Deerslayer, The Two Admirals, Wyandotté, and Satanstoe. A few errors have been corrected. I have also accepted epigraphs identified by Thomas Philbrick in his editions of The Crater (Harvard University Press, 1962) and The Wing-and-Wing (New York: Henry Holt, 1998). Prof. Wayne Franklin of Northeastern University, and Ms. Michaelyn Burnette of the Library at the University of California at Berkeley, have both assisted in tracking down epigraphs from sources not available in Cooperstown. My thanks to all.

The editions from which epigraphs were taken can only rarely be identified. James Fenimore Cooper’s eight-volume “travelling set” of Shakespeare (London: J. Nichols et al., 1811), was at his side constantly from at least 1826 until his death. Novels written in Europe suggest that he had with him the poetical works of Byron, Scott, and Samuel Rogers. Many epigraphs from the mid-1840s appear to be taken from anthologies edited by Rufus W. Griswold: The Poets and Poetry of America (1842 and later editions), and The Poets and Poetry of England in the Nineteenth Century (1844 and later editions), both published by Carey & Hart of Philadelphia. Most of the non-Shakespearean epigraphs in The Ways of the Hour (1850) seem to be from a two-volume collection, The British Drama: A Collection of the Most Esteemed Tragedies, Comedies, Operas & Farces in the English Language (London: Jones & Co., 1831; reprinted Philadelphia: Thomas Davis, 1850).

I hope that readers with corrections, emendations, or further identification of Cooper epigraphs, will submit them to me, so that they can be incorporated (with credit where due) into revisions of this compilation. And I hope that The Cooper Epigraphs will prove useful to Cooper scholarship.

Hugh C. MacDougall Secretary, James Fenimore Cooper Society 8 Lake Street, Cooperstown, NY l3326 August 1999

A. James Fenimore Cooper

Part I — Epigraphs by Novel

(a) chapter number; (b) attribution (verbatim, even if incorrect); (c) author (unless included in attribution); (d) short title (unless included in attribution); (e) epigraph citation. Shakespeare is abbreviated to “WS.”

Precaution (1820)

Title page [No attribution]: Young, Night Thoughts (I.390-391)
[No chapter epigraphs]

The Spy (1821)

Title page - [No attribution]: Scott, Last Minstrel (VI.i.1-3)
1 - GERTRUDE OF WYOMING: Campbell (I.viii.5-9)
2 - GERTRUDE OF WYOMING: Campbell (I.x.6-9)
3 - WILSON: “Epistle to Mr. Andrew Clark” (47-52)
4 - WALTER SCOTT: Lord of the Isles (IV.xxii.5-20)
5 - WALTER SCOTT: Last Minstrel (I. xxi.3-12)
6 - MOORE: Lalla Rookh: “Veiled Prophet ... ” (797-801)
7 - SHAKSPEARE: Henry V (III.1.32-33)
8 - [No attribution]: Southey “Battle of Blenheim” (43-48)
9 - WALTER SCOTT: Lady of the Lake (I.ii.9-16)
10 - GRAY: “Elegy ... ” (89-92)
11 - SHAKSPEARE: Romeo (IV.v.49-54)
12 - DUO: [probably by Cooper]
13 - TEMPEST: WS (III.iii.49-50)
14 - CRABBE: Parish Register, III. “Burials” (492-493,498-501)
15 - MOOR OF VENICE: WS Othello (III. iii.322-324)
16 - IAGO: WS Othello (II.iii.69-73)
16 - DUO: [probably by Cooper]
18 - MERCHANT OF VENICE: WS (IV.i.223-224)
19 - LAPLAND LOVE SONG: Scheffer (vii.1-4)
20 - TWO GENTLEMEN OF VERONA: WS (III. i.102-105)
21 - HERMIT OF WARKWORTH: Percy (II.17-20)
22 - COMEDY OF ERRORS: WS (III.ii.10-12)
23 - CYNTHIA’S GRAVE: Anonymous, “Female Celibacy, or, The Grave of Cynthia” (x.1-9)
24 - GERTRUDE OF WYOMING: Campbell (III.xxxii.1-4)
25 - GOLDSMITH: “The Traveller” (171-174)
26 - DUO: [probably by Cooper]
27 - MEASURE FOR MEASURE: WS (IV.ii.92-93)
28 - SONG IN DUO: [probably by Cooper]
29 - COWPER: “John Gilpin” (97-100)
30 - GOLDSMITH: “The Hermit” (5-8)
31 - TEMPEST: WS (III.i.81-83)
32 - ROKEBY: Scott (VI.xxiii.23-24)
33 - HALLECK: “Death of Joseph Rodman Drake” (1-4)
34 - LADY OF THE LAKE: Scott (VI.xxvi.22-25)
35 - GRAY: “Elegy ... ” (57-60)

The Pioneers (1823)

Title page - PAULDING: Backwoodsman (571-574)
1 - THOMSON: Seasons “Winter” (1-3)
2 - RICHARD II: WS (I.iii.275-276,279-280)
3 - DUO: [probably by Cooper]
4 - FALSTAFF: WS 2 Henry IV (II.i.43-44)
5 - SHAKSPEARE: Shrew (IV.i.132-136)
6 - SHAKSPEARE: Romeo (V.i.44-48)
7 - FRENEAU: “Indian Student” (1-4)
8 - CAMPBELL: Gertrude (I.iv.3-4)
9 - HELIOGABALIAD: [not located]
10 - SCOTT’S BURGHER: “Wild Huntsman” (11-12)
11 - GOLDSMITH: Village (I.179)
12 - DUO: [probably by Cooper]
13 - DRINKING SONG: Anon. “Barley Mow”
14 - DRINKING SONG: Anon. “Barley Mow”
15 - [No attribution]: Anon. “Bay of Biscay, O” (15-16)
16 - MUCH ADO ABOUT NOTHING: WS (III. iii.106-107)
17 - SCOTT: Lady of the Lake (V.xx.31-32)
18 - SCOTT: Marmion (I.xxviii.13-16)
19 - BEATTIE: Minstrel (I.xvi.1)
20 - BYRON: Childe Harold (II.xxxvi.1-2)
21 - SCOTT: Lady of the Lake (III.xiii.3-4)
22 - SOMERVILLE: The Chace (197-199)
23 - PERICLES OF TYRE: WS (II.i.116-117)
24 - FALCONER: Shipwreck (354-355)
25 - DUO: [probably by Cooper]
26 - MILMAN: Belshazzar (III.73-74)
27 - THOMSON: Seasons “Autumn” (445-446)
28 - SCOTT: Marmion (VI.xxix.1-5)
29 - TIMON OF ATHENS: WS (IV.iii.402)
30 - MERCHANT OF VENICE: WS (IV.i.300)
31 - MARMION: Scott (VI.xiv.23-25)
32 - POPE: “Temple of Fame” (111-112)
33 - LEAR: WS (II.ii.125-126)
34 - LEAR: WS (II.ii.8)
35 - HUDIBRAS: Butler (ii.841-844)
36 - GERTRUDE OF WYOMING: Campbell (III.xxxv.1-4)
37 - LAY OF THE LAST MINSTREL: Scott (III.ii.5)
38 - GERTRUDE OF WYOMING: Campbell (III.xxxix.3-4)
39 - BYRON: Childe Harold (II.lxxii.50-53)
40 - SHAKSPEARE: Merchant (V.i.279-280)
41 - LORD OF THE ISLES: Scott (I.xvii.1-4,11-12)

Tales for Fifteen (1823)

“Imagination” - MIDSUMMER NIGHT’S DREAM: WS (III.1.137-141)
“Heart” - ANON. BALLAD: [not located]

The Pilot (1824)

Title page - [No attribution]: Stevens, “The Storm” (2)
1 - SONG: Dibdin, “Fresh and Strong” (3-4)
2 - PRIOR: “Henry and Emma” (437-438,441-442)
3 - SHAKSPEARE: J.Caesar (IV.iii.7-8)
4 - SHAKSPEARE: Henry V (III.i.10-13)
5 - SONG: Stevens, “The Storm” (64)
6 - DUO: [probably by Cooper]
7 - CATO: Addison, (II.i.23)
8 - LORD OF THE ISLES: Scott (I.xxi.4-6)
9 - DRAMA: Drayton, Sir John Oldcastle
10 - GERTRUDE OF WYOMING: Campbell (II. iv.2-6,8-9)
11 - SHAKSPEARE: Shrew (V.i.61-62)
12 - FALSTAFF: WS 1 Henry IV (IV.ii.66-67)
13 - CATO: Addison (I.vi.447-448)
14 - PERCY: “Hermit” (II.209-212)
15 - TWELFTH NIGHT: WS (II.iii.145-146)
16 - [No attribution]: [not located]
17 - SHAKSPEARE: Hamlet (III.ii.382)
18 - LORD OF THE ISLES: Scott (I.xxiii.1-4)
19 - KING JOHN: WS (II.i.205)
20 - FALSTAFF: WS 1 Henry IV (V.iv.138-140)
21 - CASCA: WS J.Caesar (I.iii.28-32)
22 - FALSTAFF: WS 2 Henry IV (III.ii.122-123)
23 - COLLINS: “Ode to Fear” (20-21,24-25)
24 - TEMPEST: WS (I.i.10-12)
25 - CAMPBELL: “Battle of the Baltic” (vii.6-9)
26 - DRYDEN: Amphitryon (V.i.306)
27 - MERCHANT OF VENICE: WS (III.i.91-92)
28 - MARMION: Scott (I.iii.1-4)
29 - MUCH ADO ABOUT NOTHING: WS (V.i.113-114)
30 - LORD ULLIN’S DAUGHTER: Campbell (1-4)
31- THOMSON: Coriolanus (V.iv.30-31)
32 - HAMLET: WS (I.i.2)
33 - SPANISH WAR SONG: Percy, “Gentle River” (53-56)
34 - BRYANT: “To a Waterfowl” (1-4)
35 - LINES ON TRIPP: Amicus, “Trippe” (viii.1-4)

Lionel Lincoln (1825)

Title page - [No attribution]: WS Lear (III.iv.154)
1 - GRAY: “Prospect of Eton” (18-20)
2 - LEAR: WS (I.iv.183-186)
3 - RAPE OF THE LOCK: Pope (iii.109-112)
4 - KING HENRY IV: WS Pt. 1 (II.iv.422)
5 - HAMLET: WS (III.ii.149-151)
6 - JULIUS CÆSAR: WS (I.ii.198,205-207)
7 - KING HENRY VI: WS Pt.1 (II.i.5-7)
8 - DEVENANT: D’Avenant, “The Souldier Going to the Field” (1-4)
9 - MACBETH: WS (V.v.1-2)
10 - MARMION: Scott (V.xii.43-45)
11 - KING HENRY V: WS (IV.viii.117-118)
12 - HAMLET: WS (III.ii.238-241)
13 - SHAKSPEARE: J.Caesar (III.ii.260-261)
14 - JULIUS CÆSAR: WS (IV.iii.283)
15 - LETTER FROM A VETERAN OFFICER ETC: Prescott, A Letter from a Veteran ... (p. 15)
16 - HUMPHREYS: “Address to the Armies of the United States” (61-64)
17 - ROMEO: WS (II.ii.12-13)
18 - HAMLET: WS (III.iv.24)
19 - COWPER: The Task (III.221-222)
20 - ANONYMOUS: Percy, “Winifreda” (1-4)
21 - MUCH ADO ABOUT NOTHING: WS (IV.i.1-2)
22 - MACBETH: WS (IV.i.112)
23 - KING HENRY VI: WS Pt.2 (III.iii.31-33)
24 - ALL’S WELL THAT ENDS WELL: WS (V.iii.155-157)
25 - BLAIR: The Grave (177)
26 - KING HENRY IV: WS Pt.2 (IV.viii.1-5)
27 - SLENDER: WS Merry Wives (I.i.210-211)
28 - TWO GENTLEMEN OF VERONA: WS (III. i.1-2)
29 - SCOTT: Marmion (VI.xxv.19-20)
30 - THE BATTLE OF THE KEGS: Hopkinson (65-68)
31 - ROMEO: WS (I.v.117-118)
32 - BURNS: “Auld Man’s Winter Thought” (13-16)
33 - SHAKSPEARE: Hamlet (V.ii.359)
34 - BRYANT: “Old Man’s Funeral” (1-6)

The Last of the Mohicans (1826)

Title page - [No attribution]: WS Merchant (II.i.1-2)
1 - SHAKSPEARE: Richard II (III.ii.93-95)
2 - SHAKSPEARE: Merchant (V.i.39)
3 - BRYANT: “Indian at the Burial Place of his Fathers” (67-72)
4 - MIDSUM. NIGHT’S DREAM: WS (II.i. 47-48)
5 - MERCHANT OF VENICE: WS (V.i.7-8)
6 - BURNS: “Cotter’s Saturday Night” (106-108)
7 - GRAY: “The Bard” (43-45)
8 - GRAY: “The Bard” (45-46)
9 - DEATH OF AGRIPPINA: Gray (I.ii.5-7)
10 - MIDSUMMER NIGHT’S DREAM: WS (V.i. 365-366)
11 - SHYLOCK: WS Merchant (I.iii.51-52)
12 - TWELFTH NIGHT: WS (IV.ii.120-122)
13 - PARNELL: “Night-Piece” (7)
14 - KING HENRY VI: WS Pt.1 (III.ii.13-14)
15 - KING HENRY V: WS (I.i.95-97)
16 - LEAR: WS (V.i.40)
17 - GRAY: “The Bard” (98,100)
18 - OTHELLO: WS (V.ii.293-294)
19 - SHAKSPEARE: Merchant (III.i.51-54)
20 - CHILDE HAROLD: Byron (II.xxxviii.5-6)
21 - MERRY WIVES OF WINDSOR: WS (IV.ii. 150-151)
22 - SHAKSPEARE: Midsummer (III.i.1-3)
23 - LADY OF THE LAKE: Scott (IV.xxx.14-19)
24 - POPE’S ILIAD: (II.107-108)
25 - MIDSUMMER NIGHT’S DREAM: WS (I.ii. 66-69)
26 - MIDSUMMER NIGHT’S DREAM: WS (I.ii.70)
27 - JULIUS CÆSAR: WS (I.ii.9-10)
28 - MUCH ADO ABOUT NOTHING: WS (III.v.4)
29 - POPE’S HOMER: The Iliad (II.77-78)
30 - SHAKSPEARE: Merchant (IV.i.101-103)
31 - KING HENRY V: WS (IV.vii.1-4)
32 - POPE: The Iliad (I.122-124)
33 - HALLECK: “Marco Bozzaris” (37-46)

The Prairie (1827)

Title page - TEMPEST: WS (I.ii.16-17)
1 - AS YOU LIKE IT: WS (II.iv.71-73)
2 - RICHARD THE THIRD: WS (V.iii.7,9)
3 - ROMEO AND JULIET: WS (III.i.12-14)
4 - MERCHANT OF VENICE: WS (III.ii.61-62)
5 - CYMBELINE: WS (IV.ii.124-128)
6 - SHAKSPEARE: Love’s Labour’s (V.i.14-16)
7 - LEAR: WS (I.iv.316)
8 - TROILUS AND CRESSIDA: WS (V.iv.1-5)
9 - LOVE’S LABOUR LOST: WS (V.i.31-32)
10 - AS YOU LIKE IT: WS (I.i.29-30)
11 - KING JOHN: WS (IV.ii.108)
12 - KING HENRY VI: WS Pt.2 (I.iii.181)
13 - SONG IN HAMLET: WS (V.i.102-105)
14 - KING JOHN: WS (II.i.361)
15 - SHAKSPEARE: Romeo (II.vi.1-2)
16 - SHAKSPEARE: Verona (V.ii. 43-45)
17 - SHAKSPEARE: Macbeth (II.iii.76-78)
18 - SHAKSPEARE: Much Ado (II.i.99-100)
19 - SHAKSPEARE: Much Ado (III.iii.28)
20 - SHAKSPEARE: 2 Henry IV (II.iv.120)
21 - SHAKSPEARE: Shrew (IV.iv.68)
22 - MONTGOMERY: “The Common Lot” (33-36)
23 - SHAKSPEARE: Coriolanus (IV.iv.6)
24 - SHAKSPEARE: 1 Henry IV (II.iv.365-366)
25 - SHAKSPEARE: Henry V (II.i.3-4)
26 - SHAKSPEARE: Winter’s Tale (II.i.108-109,110-112)
27 - SHAKSPEARE: 2 Henry IV (II.iv.81-85)
28 - SHAKSPEARE: 2 Henry VI (II.iii.7-8)
29 - SHAKSPEARE: Winter’s Tale (IV.iv.795-798)
30 - SHAKSPEARE: 2 Henry IV (IV.ii.110)
31 - SHAKSPEARE: Merchant (IV.i.174)
32 - SHAKSPEARE: Merchant (IV.i.214-216)
33 - SHAKSPEARE: Richard II (I.iii.251-252)
34 - SHAKSPEARE: Macbeth (II.ii.35)

The Red Rover (1828)

Title page - [No attribution]: WS Henry VIII (III.i.69)
1 - ALL’S WELL THAT ENDS WELL: WS (II.i.47)
2 - TWELFTH NIGHT: WS (II.iii.162)
3 - TEMPEST: WS (I.i.9)
4 - HAMLET: WS (III.ii.384)
5 - CORIOLANUS: WS (IV.v.17-18)
6 - WORDSWORTH: “Rob Roy’s Grave” (37, 39-40)
7 - ROMEO AND JULIET: WS (V.i.73-75)
8 - ROMEO AND JULIET: WS (I.v.128-129,132-133)
9 - SHAKSPEARE: Romeo (II.i.5)
10 - WINTER’S TALE: WS (IV.iv.213)
11 - MERCHANT OF VENICE: WS (I.iii.25-27)
12 - TEMPEST: WS (I.i.3-4)
13 - THE TEMPEST: WS (II.ii.24-25)
14 - MACBETH: WS (I.iii.38)
15 - MACBETH: WS (I.iii.52-54)
16 - TEMPEST: WS (I.i.38-39)
17 - SHAKSPEARE: Tempest (I.ii.170)
18 - TEMPEST: WS (II.i.4-6)
19 - SHAKSPEARE: J.Caesar (III.ii.260-261)
20 - KING HENRY VI: WS Pt.2 (IV.ii.1-2)
21 - TIMON OF ATHENS: WS (IV.iii.452-453)
22 - TWELFTH NIGHT: WS (II.ii.19-21)
23 - CORIOLANUS: WS (V.iii.28-29)
24 - TEMPEST: WS (II.i.6-8)
25 - ANTONY AND CLEOPATRA: WS (IV.x.1)
26 - MUCH ADO ABOUT NOTHING: WS (V.i.130-131)
27 - KING HENRY IV: WS Pt.1 (I.iii.53-55)
28 - CORIOLANUS: WS (III.ii.143-144)
29 - HENRY V: WS (IV.iii.91)
30 - MACBETH: WS (IV.iii.232-235)
31 - CYMBELINE: WS (V.v.320-321)
32 - SHAKSPEARE: Cymbeline (V.v.365-368)

The Wept of Wish-ton-Wish (1829)

Title page - ROGERS: “Jacqueline” (I.91-94)
1 - SHAKSPEARE: King John (III.i.262)
2 - KING LEAR: WS (III.i.17-19)
3 - TEMPEST: WS (IV.i.143-144)
4 - TEMPEST: WS (III.iii.94-95)
5 - CORIOLANUS: WS (IV.v.17-18)
6 - CORIOLANUS: WS (V.ii.2-4)
7 - WINTER’S TALE: WS (IV.iv.244-246)
8 - MERRY WIVES OF WINDSOR: WS (V.v.161-164)
9 - HAMLET: WS (I.i.35-40)
10 - HAMLET: WS (I.i.140-142)
11 - HAMLET: WS (I.ii.241-242)
12 - HAMLET: WS (I.v.125-126)
13 - CYMBELINE: WS (V.v.118-119)
14 - DANA: Buccaneer (409-413)
15 - MACBETH: WS (IV.iii.223-224,227)
16 - MACBETH: WS (I.iii.39-42)
17 - DANA: “Changes of Home” (209-212)
18 - MUCH ADO ABOUT NOTHING: WS (III.iii.13-16)
19 - WINTER’S TALE: WS (II.i.108-109,110-112)
20 - LOVE’S LABOR LOST: WS (IV.ii.23-27)
21 - WINTER’S TALE: WS (II.i.127-128)
22 - BRYANT’S SKIES: “The Firmament” (43-48)
23 - TROILUS AND CRESSIDA: WS (IV.v. 233-235)
24 - MACBETH: WS (I.iii.83-85)
25 - COLLINS: “Song from Shakespear’s Cymbelyne“ (9-12)
26 - MIDSUMMER NIGHT’S DREAM: WS (V.i.9-10)
27 - CYMBELINE: WS (V.iv.123-125)
28 - MACBETH: WS (III.iv.121)
29 - MERCHANT OF VENICE: WS (IV.i.305)
30 - MEASURE FOR MEASURE: WS (V.i.396-398)
31 - MERCHANT OF VENICE: WS (IV.i.252)
32 - COLLINS: “Song from Shakespear’s Cymbelyne“ (21-24)

The Water Witch (1830)

Title page - [No attribution]: Molière, Les Fourberies de Scapin (II.vii).
1 - ROMEO AND JULIET: WS (I.iv.1-2)
2 - TWO GENTLEMEN OF VERONA: WS (II.vii.75-76)
3 - TEMPEST: WS (I.i.28-30)
4 - TEMPEST: WS (IV.i.205-206)
5 - WHAT YOU WILL: WS Twelfth Night (V.i.312-313)
6 - HAMLET: WS (I.i.21)
7 - ROMEO AND JULIET: WS (II.ii.82-84)
8 - MERCHANT OF VENICE: WS (II.v.51-55)
9 - SHYLOCK: WS Merchant (I.iii.37-38)
10 - MERCHANT OF VENICE: WS (II.iii.16-19)
11 - LAUNCELOT: WS Merchant (II.ii.79-80)
12 - MERCHANT OF VENICE: WS (III.v.57-58)
13 - MIDSUMMER NIGHT’S DREAM: WS (III.ii.289-291)
14 - MACBETH: WS (I.iii.11-14)
15 - TAMING OF THE SHREW: WS (IV.ii.72-73)
16 - TEMPEST: WS (III.ii.144-145)
17 - TEMPEST [sic]: WS Twelfth Night (I.ii. 15-17)
18 - HENRY IV [sic]: WS Henry VI Pt.1 (II.i.1)
19 - COASTING SONG: [not located]
20 - CORIOLANUS: WS (I.vi.44-45)
21 - CLOWN IN TWELFTH NIGHT: WS (IV.ii. 120-122)
22 - WHAT YOU WILL: WS Twelfth Night (I.ii.1-2)
23 - CYMBELINE: WS (I.i.4,6-7)
24 - JACK CADE: WS 2 Henry VI (IV.ii.65-68)
25 - TWO GENTLEMEN OF VERONA: WS (I.i.66-68)
26 - MACBETH: WS (I.vii.1)
27 - MEASURE FOR MEASURE: WS (II.iv.171-172)
28 - TEMPEST: WS (I.i.16-17)
29 - SHAKSPEARE: J.Caesar (IV.iii.283)
30 - ALL’S WELL THAT ENDS WELL: WS (III.ii.4-6)
31 - OTHELLO: WS (I.iii.13)
32 - WHAT YOU WILL: WS Twelfth Night (V.i.51-53)
33 - CYMBELYNE: WS (III.iv.18)
34 - WINTER’S TALE: WS (V.ii.1-2)

The Bravo (1831)

Title page - [No Attribution] Anonymous “Venetian saying — Giustizia . ... ” according to Cooper
1 - BYRON: Childe Harold (IV.i.1-9)
2 - SHAKSPEARE: As You Like It (IV.i.38)
3 - KING HENRY VI [sic]: WS 2 Henry IV (IV.i.25)
4 - RICHARD THE SECOND: WS (III.iv.4-5)
5 - ANTONY AND CLEOPATRA: WS (V.ii.15-18)
6 - SHAKSPEARE: Antony (IV.vii.2-3)
7 - ROGERS: Italy “Gondola” (73-75)
8 - ROGERS: Italy “Brides of Venice” (2-7)
9 - SHAKSPEARE: Troilus and Cressida (IV.v.1-2)
10 - MACBETH: WS (V.ix.26-28)
11 - SHAKSPEARE: Merchant (IV.i.174)
12 - ROGERS: Italy “St. Mark’s Place” (170-173)
13 - SHELTON: Apparent typographic error for “Shallow” - Shakespeare, 2 Henry IV (III.ii.219)
14 - ITALY: Rogers “Gondola” (59-61)
15 - VENETIAN BOAT SONG: Anonymous Folksong (1-8)
16 - MARINO FALIERO: Byron (II.i.493-495)
17 - CAIN: Byron (III.i.323-324)
18 - ROGERS: Italy “Marguerite” (25-27)
19 - ST. MARK’S PLACE: Rogers Italy (95-98)
20 - DON JUAN: Byron (XII.lxvi.1)
22 - HENRY VI: WS Pt. 2 (IV.viii.53-54)
23 - ROGERS: Italy “Ginevra” (21-22)
24 - MEASURE FOR MEASURE: WS (II.i.172)
25 - KING JOHN: WS (III.iii.66-69)
26 - PRISONER OF CHILLON: Byron (i.5-10)
27 - ROGERS: Italy “Foscari” (1-2)
28 - JOB: Bible (II.18)
29 - ROGERS: Italy “Foscari” (44)
30 - WERNER: Byron (III.iv.106-109)
31 - MARINO FALIERO: Byron (III.i.119-120)

The Heidenmauer (1832)

Title page - BYRON: Childe Harold (IV.cxxxvi.1-2)
Introduction - MEASURE FOR MEASURE: WS (IV.i.22-24)
1 - AS YOU LIKE IT : WS (I.ii.71-73)
2 - KING HENRY IV: WS Pt.1 (I.ii.77-78)
3 - LARA: Byron (I.iv.1-2)
4 - ROGERS: Italy “Bergamo” (24-25)
5 - HAMLET: WS (II.ii.236-238)
6 - BYRON: Deformed Transformed (I.i.521)
7 - CALIBAN: WS Tempest (V.i.296-297)
8 - ROGERS: Italy “The Nun” (22-24)
9 - BYRON: Heaven and Earth (I.iii.336)
10 - ARMADO: WS Love’s Labour’s (III.i.56)
11 - CORIOLANUS: WS (I.iii.26)
12 - CORIOLANUS: WS (I.iii.82-84)
13 - SHAKSPEARE: WS Midsummer (I.i.132-134)
14 - ROGERS: “On ... Asleep” (5-6)
15 - KING HENRY IV: WS Pt.2 (II.iii.1-2)
17 - ROGERS: “Ode to Superstition” (III.i.1)
18 - TWELFTH NIGHT: WS (III.ii.2)
19 - CORIOLANUS: WS (V.iii.34-37)
20 - MEASURE FOR MEASURE: WS (III.ii.261-262)
21 - BYRON: Two Foscari (IV.i.229-232)
22 - MIDSUMMER NIGHT’S DREAM: WS (III.ii.29-30)
23 - KING HENRY IV: WS Pt.2 (IV.i.25)
24 - ROGERS: Italy “Como” (58-62)
25 - CHATTERTON: “Bristowe Tragedie” (73-76)
26 - BYRON: Marino Faliero (III.ii.108-109)
27 - KING HENRY VI: WS Pt.1 (III.i.127-128)
28 - KING HENRY VI: WS Pt.2 (III.iii.31)
29 - CAIN: Byron (II.i.165-166)
30 - RICHARD III: WS (V.iii.216-218)
31 - ROGERS: Italy “The Nun” (1-2)

The Headsman (1833)

Title page - [No attribution]: WS John (IV.ii.219-220)
1 - ROGERS: Italy “Lake of Geneva” (42-43)
2 - CHATTERTON: “Bristowe Tragedie” (53-56)
3 - KING HENRY IV: WS Pt.2 (III.ii.211-212)
4 - MACBETH: WS (I.iii.35-36)
5 - SHYLOCK: WS Merchant (I.iii.41)
6 - RICHARD III: WS (I.iv.24-28)
7 - BYRON: Childe Harold (III.xciii.7-8)
8 - BYRON: Childe Harold (II.xxi.1-4)
9 - HAMLET: WS (IV.v.98-99)
10 - WERNER: Byron (IV.i.124-125)
11 - SOUTHEY: “St. Juan Gualberto” 187-190
12 - MILTON: Paradise Lost (IV.699-700)
13 - COMEDY OF ERRORS: WS (V.i.33)
14 - COWPER: The Task (III.597-598)
15 - MIDSUMMER NIGHT’S DREAM: WS (V.i.174-177)
16 - AS YOU LIKE IT: WS (III.iii.1-4)
17 - ROSALIND: WS As You Like It (I.ii.70)
18 - POPE: “Essay on Man” (I.113-118)
19 - BURNS: “Lament of Mary, Queen of Scots” (37-40)
20 - TEMPEST: WS (II.ii.160)
21 - THOMSON: Seasons “Spring” (18-21)
22 - ITALY: Rogers “Descent” (17-22)
23 - THOMSON: Seasons “Summer” (318-320)
24 - ROGERS: Italy “Great St. Bernard” (49-50)
25 - SHAKSPEARE: King John (IV.2.223)
26 - CRABBE: The Village (I.xxix.3-8)
27 - HOME: Douglas (II.76-77)
28 - COTTON: Nathaniel Cotton, “Tomorrow” (27-29)
29 - SHELLEY: “Prometheus Unbound” (IV.548)
30 - SHELLEY: “Mutability” (9-12)
31 - YOUNG: Revenge (III.i.80-81)

The Monikins (1835)

Title page - SANCHO PANZA: Cervantes Don Quixote (Pt. I, Ch. XX)
No chapter epigraphs]

Homeward Bound (1838)

Title page - SHAKSPEARE: Antony (III.vii.20-23)
1 - ORRA: Baillie (III.iv.80-82)
2 - BATH GUIDE: Anstey (XIII.58-61)
3 - TIMON OF ATHENS: WS (V.iii.1-2)
4 - HENRY VIII: WS (II.i.1-3)
5 - TWELFTH NIGHT: WS (I.ii.1-2)
6 - TEMPEST: WS (II.ii.96-97)
7 - RICHARD III: WS (II.iii.32-37)
8 - JACK CADE: WS 2 Henry VI (IV.ii.189-190)
9 - ITALY: Rogers “Gondola” (8-10)
10 - MRS. HEMANS: “Song of Night” (21-24)
11 - MRS. HEMANS: “Song of Night” (53-56)
12 - AS YOU LIKE IT: WS (III.ii.33-38)
13 - BYRON: “Epistle to Augusta” (i.7-8)
14 - TEMPEST: WS (I.i.9)
15 - TEMPEST: WS (II.ii.90-92)
16 - BYRON: Don Juan (III.xx.1-4)
17 - TEMPEST: WS (I.ii.196-198)
18 - LEAR: WS (IV.vi.273-274)
19 - TWELFTH NIGHT: WS (II.iii.81-83)
20 - COTTON: Nathaniel Cotton, “Tomorrow” (32-34)
21 - SHELLEY: “Ozymandias” (12-14)
22 - GLOVER: Leonidas (I.337-339)
23 - QUEEN MARY: Park (1-8)
24 - PARK: “Packet Ship ***” (13-16)
25 - BRYANT: “Hymn of the City” (25-30)
26 - MASSINGER: Hemans, “Jeu d’Esprit on the Word ‘Barb’”; imitation of Massinger (1-4).
27 - HENRY VTH: WS (III.ii.12-13)
28 - PARK: “Packet Ship ***” (25-28)
29 - LEAR: WS (II.ii.91)
30 - ISAIAH: Bible (XXI.11)
31 - JACK CADE: WS 2 Henry VI (IV.ii.102-104)
32 - SHAKSPEARE: WS J.Caesar (IV.iii.286)
33 - SHAKSPEARE: WS Richard II (I.iii.148-149)
34 - CORIOLANUS: WS (III.i.330-332)

Home As Found (1838)

Title page - PR. HEN.: WS 1 Henry IV (II.iv.35)
1 - SHAKSPEARE: Much Ado (III.iv.39-40)
2 - MUCH ADO ABOUT NOTHING: WS (III.iii.125-127)
3 - SHAKSPEARE: Midsummer (III.i.148)
4 - MIDSUMMER-NIGHT’S DREAM: WS (III.i.163)
5 - MUCH ADO ABOUT NOTHING: WS (III.i.68-70)
6 - PETER QUINCE: WS Midsummer (I.ii.11-12)
7 - KING HENRY VI [sic]: WS 2 Henry IV (III.i.80-84)
8 - SHAKSPEARE: Shrew (IV.ii.93)
9 - SONG IN SHAKSPEARE: Merchant (III.ii.63-65)
10 - BRYANT: “Indian at the Burial Place” (1-2,5-6)
11 - SHAKSPEARE: Twelfth Night (II.v.2-3)
12 - SIR ANDREW AGUE-CHEEK: WS Twelfth Night (II.iii.22-25)
13 - QUEEN KATHERINE: WS Henry VIII (I.ii.9)
14 - [No attribution]: WS 2 Henry VI (IV.viii.33)
15 - JACK CADE: WS 2 Henry VI (IV.ii.65-69)
16 - JOHN NORTON: “Funeral Elegy upon Miss Anne Bradstreet” (77-80)
17 - SHAKSPEARE [sic]: Bowles, “The Sanctuary” (I.51)
18 - BRYANT: “The Past” (37-40)
19 - SHAKSPEARE: 1 Henry IV (II.iv.535-537,539)
20 - ROMEO AND JULIET: WS (II.ii.33)
21 - KING HENRY VIII: WS (V.iv.74-75)
22 - ANTONY AND CLEOPATRA: WS (III.iv. 20-22)
23 - ROMEO AND JULIET: WS (II.ii.165-166)
24 - HAMLET: WS (II.i.3-5)
25 - SHAKSPEARE: Hamlet (III.ii.23-24)
26 - CORDELIA: WS Lear (I.i.100-102)
27 - HAMLET: WS (II.ii.559-560)
28 - NYM: WS Henry V (II.i.5-6)
29 - ROMEO AND JULIET: WS (II.iii.57-61)

The Chronicles of Cooperstown (1838)

Title page - [No attribution]: WS Macbeth (I.vii.1)

The Pathfinder (1840)

Title page - COWPER: The Task (VI.85-87)
1 - MOORE: “Turf Shall Be My Fragrant Shrine” (1-4)
2 - WILSON: “Highland Glen” (31-36)
3 - BRYANT: “Indian at the Burial Place” (67-72)
4 - SPENSER: Faerie Queen (II.v.29.1-4)
5 - SHELLEY: “Death” (1-2)
6 - THOMSON: “Hymn on the Seasons” (1-2)
7 - WORDSWORTH: “Yarrow Visited” (1-8)
8 - QUEEN’S WAKE: Hogg “Kilmeny” (46-51)
9 - AS YOU LIKE IT: WS (II.i.1-5)
10 - [No attribution]: WS As You Like It (III.v.109-111)
11 - MIRROR FOR MAGISTRATES: Churchyard “Shore’s Wife” (127-133)
12 - BYRON: Don Juan (VII.lxxxvi.3-6)
13 - COTTON: Charles Cotton, “Night Quatrains” (xvii. 65-68)
14 - SHAKSPEARE: 2 Henry IV (I.i.70-73)
15 - COWPER: The Task (III.285-289)
16 - BYRON: Childe Harold (IV.clxxxiii.1-9)
17 - COWPER: “Progress of Error” (550-553)
18 - SHAKSPEARE: As You Like It (V.ii.84,89,94-98)
19 - MILTON: Paradise Lost (IV.246-247)
20 - CAMPBELL: “Scene in Argyleshire” (10-13)
21 - COTTON: Charles Cotton, “Evening Quatrains” (33-36)
22 - WORDSWORTH: Laodamia (38-40)
23 - FAERIE QUEEN: Spenser (III.iv.56.1-9)
24 - MOORE: Lalla Rookh “Paradise and the Peri” (274-277)
25 - WORDSWORTH: “Resolution and Independence” (1-4)
26 - DRYDEN: Aureng-Zebe (IV.i.197-200)
27 - COWPER: The Task (III.268-269)
28 - SPENSER: Shepheardes Calender “Januarye” (19-24)
29 - LALLA ROOKH: Moore “Fire-Worshippers” (269-272)
30 - MOORE: Lalla Rookh “Paradise and the Peri” (250-253)

Mercedes of Castille (1840)

Title page - PINKNEY: “A Health” (1-4)
1 - MRS. HEMANS: “The Cid’s Rising” (22-25)
2 - WORDSWORTH: “To a Sky-Lark” (7-12)
3 - HENRY V: WS (V.ii.268-272)
4 - HUMAN LEARNING: Greville, (xxxiv.1-6)
5 - BYRON: Bride of Abydos (I.vi.13-18)
6 - RUINS OF TIME: Spenser, (57-63)
7 - DANIEL: “Epistle to the Lady Margaret” (1-4)
8 - LALLA ROOKH: Moore, “Paradise and the Peri” (815-818)
9 - WILSON: “Lines Sacred to ... James Grahame” (126-131)
10 - THE FOREST SANCTUARY: Hemans, (I.xii.1-4)
11 - BYRON: Childe Harold (II.xvi.1-6)
12 - THE ABENCERRAGE: Hemans (345-348)
13 - BRYANT’S TRANSLATIONS: “Death of Aliatar” (61-64)
14 - BYRON: Corsair (I.i.1-4)
15 - ARIEL: WS Tempest (II.i.300-305)
16 - BRYANT: “Twenty-second of December” (5-8)
17 - BRYANT: “To a Waterfowl” (1-4)
18 - HYMN TO THE NORTH STAR: Bryant (31-36)
19 - CHILD HAROLD’S PILGRIMAGE: Byron (I.xii.1-9)
20 - THE FOREST SANCTUARY: Hemans, (II.xliv.1-9)
21 - BYRON: Gaiour (112-113)
22 - BRYANT: “To a Waterfowl” (13-16)
23 - SUTERMEISTER: “To a Humming Bird” (ii.1-4)
24 - MACBETH: WS (II.iv.1-4)
25 - VISION OF PATIENCE: Boyse (xii.5-10)
26 - MICKLE: “Syr Martyn” (I.64.1-9)
27 - LORD JOHN TOWNSHEND: “Ode XXII - “A New Scheme to Raise a New Corps ... ” (x.1-6)
28 - MASON: “On the Death of a Lady” (17-20)
29 - BEAUMONT AND FLETCHER: Woman-Hater (V.ii.1-6)
30 - COLERIDGE: “Genevieve” (9-14)
31 - WORDSWORTH: “She Was a Phantom of Delight” 27-30)

The Deerslayer (1841)

Title page - [No attribution]: Gray The Bard (60-62)
1 - CHILDE HAROLD: Byron (IV.clxxviii.1-9)
2 - RECORDS OF WOMAN: Hemans, “Edith. A Tale of the Woods” (191-194)
3 - SHAKSPEARE: As You Like It (II.i.21-25)
4 - BRYANT: “An Indian Story” (11-15)
5 - SHAKSPEARE: Hamlet (III.ii.271-274)
6 - MILTON: Paradise Lost (I.125-126)
7 - BYRON: Childe Harold (III.lxxxv.1-9)
8 - SHAKSPEARE: Verona (II.vii.75-78)
9 - THE SKIES: Bryant “The Firmament” (19-24)
10 - JOANNA BAILLIE: Rayner (II.i.3-4,6-9)
11 - SHAKSPEARE: Richard III (I.iv.195-197,199-200)
12 - SHAKSPEARE: Hamlet (IV.v.4-9)
13 - DEAN SWIFT’S INVENTORY: Sheridan (1-6,13-14)
14 - MERRICK: “Chameleon” (21-26)
15 - CHATTERTON: “Bristowe Tragedie” (357-364)
16 - WORDSWORTH: “To the Cuckoo” (9-12)
17 - MOORE: Lalla Rookh “Veiled Prophet of Khorassan” (1954-1957)
18 - BYRON: Don Juan (IV.lxxi.1-8)
19 - MARINO FALIERO: Byron (IV.ii.230-235)
20 - SCOTTISH BALLAD: Johnson “It Was a’ for our Rightfu King” (7-12)
21 - DISPUTED: Wolfe “Burial of Sir John Moore” (21-24)
22 - COLERIDGE: Remorse (V.i.201-204)
23 - CHURCHYARD: Mirror for Magistrates “Shore’s Wife” (253-259)
24 - RAPE OF LUCRECE: WS (890-894)
25 - MARGARET DAVIDSON: “To my Mother” (7-12)
26 - GILES FLETCHER: “Christ’s Victory in Heaven” (I.xv.1-8)
27 - SOUTHEY: Roderick (xxiv.1-6)
28 - CONGREVE: “Pindaric Ode” (11-20)
29 - LORD DORSET: Sackville “Complaint of Henry Duke of Buckingham” (lxxxi.1-5)
30 - SCOTT: “Field of Waterloo” (v.1-6)
31 - SHELLEY: “Mutability” (1-7)
32 - NOTBROWNE MAYDE: Percy (265-276)

The Two Admirals (1842)

Title page - LINES ON TRIPPE: Amicus “Trippe” (viii.1-4)
1 - KING JOHN: WS (I.i.125-129)
2 - KING LEAR: WS (VI.vi.11-15)
3 - BYRON: Don Juan (I.i.1-4)
4 - MARINO FALIERO: Byron (II.ii.122-124)
5 - YOUNG: Night Thoughts (V.291-292)
6 - COWPER: “The Conversation” (379-382)
7 - RICHARD III: WS (III.i.193-196)
8 - ROMEO AND JULIET: WS (III.v.189-192)
9 - KING HENRY VI: WS Pt.3 (V.ii.33-39)
10 - YOUNG: Revenge (I.ii.105-107)
11 - DRYDEN: Aureng-Zebe (IV.i.33-36)
12 - LOVE’S LABOUR LOST: WS (IV.ii.8-12)
13 - NATHANIEL ET HOLOFERNES: WS Love’s Labour’s (V.i.30-31)
14 - MRS. HEMANS: “To the Same — On the Death of Her Mother” (33-36)
15 - THOMSON: Castle of Indolence (I.xii.1-5)
16 - CHILDE HAROLD: Byron (I.xiii.34-37)
17 - BYRON: Don Juan (II.xxvi.1-8)
18 - MILTON: Paradise Lost (IX.549-551)
19 - THE CORSAIR: Byron (I.i.1-4)
20 - SHAKSPEARE: 2 Henry IV (IV.iv.33-36)
21 - CHILDE HAROLD: Byron (IV.clxxix.1-5)
22 - PERCIVAL: “The Wreck” (507-511)
23 - CHILDE HAROLD: Byron (I.xl.1-4)
24 - MRS. HEMANS: “Last Banquet of Antony and Cleopatra” (II.91-94)
25 - BRAINARD: “The Deep” (1-10)
26 - BYRON: Childe Harold (II.xvii.1-9)
27 - MRS. HEMANS: “To the memory of Sir E------d P------k------m” (13-16)
28 - BYRON: Childe Harold (II.xviii.1-9)
29 - ALSTON: “The Paint-King” (156-160)
30 - MARGARET DAVIDSON: “Earth” (56-60)
31 - MRS. HEMANS: “The Cid’s Rising” (29-35)

The Wing-and-Wing (1842)

Title page - YOUNG: Night Thoughts IX.1856-1858)
1 - CHILDE HAROLD: Byron (IV.xxix.1-9)
2 - COWPER: Progress of Error (375-378)
3 - 14,763D VERSE OF YANKEE DOODLE: Anon. “Yankee Doodle”
4 - OTHELLO: WS (II.i.25-28)
5 - CASSIO: WS Othello (II.i.92-93)
6 - THE CORSAIR: Byron (I.xvii.2-4)
7 - WINTER’S TALE: WS (IV.iv.253-258)
8 - DANA: Buccaneer (331-336)
9 - RICHARDSON: “Ocean Sketches: A Calm” (1-7)
10 - WARE: “Lines to W.R.G. Bates” (8-13)
11 - ANONYMOUS: Anonymous, “Man” (i.1-9)
12 - HALLECK: “Connecticut” (17-24)
13 - SHAKSPEARE: As You Like It (II.vii.113-118)
14 - YOUNG: Night Thoughts (V.764-766)
15 - DANA: Buccaneer (625-630)
16 - TAMING OF THE SHREW: WS (IV.ii.77-79)
17 - KING HENRY VIII: WS (V.ii.24-25)
18 - HAMLET: WS (I.v.156-159)
19 - NIGHT THOUGHTS: Young (VIII.333-335)
20 - THE ISLAND: Byron (IV.i.1-4)
21 - TATHAM: The Distracted State (III.i.51-52)
22 - MANFRED: Byron (I.i.24-27)
23 - DON JUAN: Byron (V.cl.1-4)
24 - ALLEYN: “The Battailes of Crescey and Poictiers ... ”
25 - MILTON: Paradise Lost (I.17-19)
26 - WILSON: “Isle of Palms” (I.605-608)
27 - MILTON: Paradise Lost (XII.614-617)
28 - LADY OF THE LAKE: Scott (V.x.5-8)
29 - DANIEL: Cleopatra (III.i.555-558)
30 - DAVENANT: Love and Honour (V.i.133-135)

Wyandotté (1843)

Title page - SPRAGUE: “Centennial Ode” (xv.1-4)
1 - MRS. SEBA SMITH: Elizabeth Oakes Smith, “The Acorn” (1-8)
2 - LONGFELLOW: “It Is Not Always May” (9-12)
3 - PERCIVAL: “Genius Slumbering” (1-6)
4 - SANDS: Yamoyden (II.1-9)
5 - HILLHOUSE: Demetria (III.i.108-116)
6 - PERCIVAL: “It Is Great for Our Country to Die” (1-4)
7 - SPRAGUE: “Family Meeting” (1-13)
8 - COXE: “I Love the Church” (5-8)
9 - GRIFFIN: “Description of Love” (1-12)
10 - LUNT: “Jewish Battle Song” (1-6)
11 - LUNT: “Bloody Brook” (33-40)
12 - SCOTT: Marmion (VI.xix.1-5)
13 - BYRON: Don Juan (III.xc.1-8)
14 - SIEGE OF CORINTH: Byron (xiii.15-18)
15 - PORTIA: WS Merchant (III.ii.10-14)
16 - FAWCETT: “Fate of Sensibility” (9-12)
17 - MONTGOMERY: ” ... Rev. Thomas Spencer” (15-21)
18 - YOUNG: Love of Fame (iv.87-90)
19 - RICHARD III: WS Richard II (III. ii.73-74)
20 - MRS. SEBA SMITH: Elizabeth Oakes Smith, “The Acorn” (81-88)
21 - PERCIVAL: “To the Eagle” (41-44)
22 - RICHARD II: WS (IV.i.167-171)
23 - WILLIS: “Melanie” (197-200)
24 - COXE: “March” (1-4)
25 - COXE: “March” (29-36)
26 - SPRAGUE: “The Brothers” (5-8)
27 - HILLHOUSE: Demetria (III.i.134-138)
28 - BRYANT’S PAST: “The Past” (45-56)
29 - SANDS: “The Dead of 1832” (1-4)
30 - COXE: “Manhood” (73-76)

Afloat and Ashore (1844)

Title page - TWO GENTLEMEN OF VERONA: WS (I.i.2)
1 - MRS. HEMANS: “A Tale of the Fourteenth Century” (590-597)
2 - TWO GENTLEMEN OF — CLAWBONNY: WS Verona (I.i.1-2,5-6)
3 - BURNS: “There’s a Youth in this City” (1-12)
4 - BRUTUS — JULIUS CÆSAR: WS (IV.iii.218-224)
5 - TEMPEST: WS (I.ii.144-148)
6 - MACBETH: WS (IV.i.53-54)
7 - MRS. HEMANS: “Guerilla Song” (1-6)
8 - LUNT: “Hampton Beach” (10-18)
9 - HENRY V: WS (I.ii.217-220)
10 - ALLSTON: “Tuscan Maid” (1-7)
11 - TEMPEST: WS (I.i.1-4)
12 - PINKNEY: “Voyager’s Song” (1-4)
13 - HALLECK — RED JACKET: (61-65)
14 - HENRY V: WS (IV.i.85-90)
15 - ALL’S WELL THAT ENDS WELL: WS (IV.i.65-70)
16 - DANA: Buccaneer (499-504)
17 - SHAKSPEARE: 1 Henry IV (V.iv.78-80)
18 - MACBETH: WS (I.iii.62-66)
19 - DRAKE: Culprit Fay (viii.1-4)
20 - LUNT: “Pass on, Relentless World” (41-44)
21 - PAULDING: “Old Man’s Carousal” (1-6)
22 - SHYLOCK: WS Merchant (I.iii.22-27)
23 - MERCHANT OF VENICE: WS (II.vii.26-28)
24 - HILLHOUSE: “Untold Love” (3-8)
25 - ALLSTON: “Sylphs of the Seasons” (358-364)
26 - BRAINARD: “Mr. Merry’s Lament” (19-27)
27 - HALLECK: “Red Jacket” (77-80)
28 - SHAKSPEARE: Much Ado (IV.i.155-161)
29 - AS YOU LIKE IT: WS (III.v.86-89)
30 - LONGFELLOW: “Footsteps of Angels” (29-32)

Miles Wallingford (1844)

[No title page epigraph]
1 - LEAR: WS (II.iv.225-229)
2 - SARDANAPALUS: Byron (IV.i.333-335)
3 - SHYLOCK: WS Merchant (IV.i.238-242)
4 - SOUTHEY: “The Lover’s Rock” (5-8)
5 - HEBREW MELODIES: Byron, “All is Vanity” (17-20)
6 - QUEEN CATHERINE: WS Henry VIII (III.i.151-153)
7 - MRS. HEMANS: “The Departed” (21-24)
8 - MRS. HEMANS: “The Departed” (37-40)
9 - SPRAGUE: “Lines on the Death of M.S.C.” (9-16)
10 - MERCHANT OF VENICE: WS (I.iii.1-6)
11 - LOVE’S LABOR LOST: WS (III.i.4-7)
12 - WILLIS: “Lines on Leaving Europe” (7-10)
13 - KING HENRY VI: WS Pt.2 (V.i.12-13)
14 - KING HENRY VI: WS Pt.2 (IV.i.15-17)
15 - KING HENRY VI: WS Pt.2 (IV.i.139-141)
16 - MARINO FALIERO: Byron (III.ii.127-129)
17 - SHAKSPEARE: Midsummer (II.ii.88-89)
18 - ANTONY AND CLEOPATRA: WS (II.vi.83-87)
19 - COMEDY OF ERRORS: WS (I.i.91-95)
20 - IRISH SONG: [not located]
21 - DUO: [probably by COOPER]
22 - POPE: “Universal Prayer” (1-4)
23 - WINTER’S TALE: WS (V.ii.13-19)
24 - DUO: [probably by Cooper]
25 - SCOTTISH SONG: Anonymous, “To Daunton Me” (iii.1-4)
26 - LEAR: WS (II.iv.282-286)
27 - SHAKSPEARE: Richard III (V.iii.19-21)
28 - COLERIDGE: “Love” (85-88)
29 - COLERIDGE: “Love” (93-96)
30 - MACBETH: WS (V.i.59-61)

Satanstoe (1845)

Title page - SPENSER [sic]: Cowper The Task (III.268)
1 - AS YOU LIKE IT: WS (II.iv.19-21)
2 - WINTER’S TALE: WS (III.iii.59-61)
3 - WINTER’S TALE: WS (IV.iv.202-203, 211-212)
4 - LONGFELLOW: “Psalm of Life” (33-36)
5 - NEW YORK CRIES: Anonymous, “Clams”
6 - CYMBELINE: WS (III.iv.165-167)
7 - TWO GENTLEMEN OF VERONA: WS (V.iv.132-135)
8 - HAMLET: WS (II.ii.529-532)
9 - HEBER: “Happiness” (17-20)
10 - BARLOW: “The Hasty Pudding” (I.57-62)
11 - YOUNG: Revenge (I.i.86-88)
12 - THE PUNNING SOCIETY: Anonymous, “The Punning Society”
13 - DOGBERRY: WS Much Ado (IV.ii.20-22)
14 - THE ARAB TO HIS STEED: Norton (1-2,47-48)
15 - LORD WILLIAM: Southey (73-76)
16 - LORD WILLIAM: Southey (69-72)
17 - WORDSWORTH: “My Heart Leaps Up. ... ” (1-9)
18 - BANQUO: WS Macbeth (I.iii.51-54)
19 - SHELLEY: “Mutability” (8-14)
20 - BURNS: “The Ordination” (IV.28-31)
21 - FRENEAU: “Indian Burying Ground” (37-40)
22 - MACBETH: WS (V.iv.43-44)
23 - SARDANAPALUS: Byron (IV.i.210-214)
24 - MRS. HEMANS: “England and Spain” (453-456)
25 - SHAKSPEARE: 2 Henry IV (I.i.68-69)
26 - MEASURE FOR MEASURE: WS (III.i. 127-131)
27 - VIOLA: WS Twelfth Night (II.iv. 107-109)
28 - BYRON: Don Juan (XV.xcix.1-8)
29 - BYRON: Don Juan (IV.lxiii.1-8)
30 - ALBAMAZAR: Tomkis (II.vi.10-14)

The Chainbearer (1845)

Title page - COLLINS: “The Passions: An Ode for Music” (115-118)
1 - ROKEBY: Scott (III.iii.7-12)
2 - DOMINO OF SYRACUSE: WS Comedy (I. ii.19-21)
3 - WINTER’S TALE: WS (IV.iv.159-161)
4 - MUCH ADO ABOUT NOTHING: WS (II. iii.247-253)
5 - BEATRICE: WS Much Ado (II.i.6-10)
6 - HALLECK: “Connecticut” (25-32)
7 - PINCKNEY: “Indian’s Bride” (1-6)
8 - BRYANT: “Hunter of the Prairies” (25-32)
9 - SHAKSPEARE: J.Caesar (III.ii.121-127)
10 - LONGFELLOW: “Maidenhood” (40-42)
11 - BEATRICE: WS Much Ado (II.i.69-72)
12 - MIDSUMMER NIGHT’S DREAM: WS (V.i. 28-30)
13 - TWELFTH NIGHT; OR WHAT YOU WILL: WS (I.v.222-223)
14 - PINCKNEY: “Indian’s Bride” (7-12)
15 - VENUS AND ADONIS: WS (1021-1024)
16 - DRYDEN’S ECLOGUES: “Third Pastoral” (144-145)
17 - MARMION: Scott (IV.xvii.1-6)
18 - COWPER: “Burning of Lord Mansfield’s Library” (13-16)
19 - YOUNG: “Ocean: An Ode” (xlv.1-6)
20 - WARTON: “The Suicide” (iii.1-6)
21 - SHAW: “Monody to the Memory of Emma” (19-26)
22 - OLD SAW: Ball, “When Adam delv’d” (1)
23 - THOMSON: Seasons “Summer” (1188-1191)
24 - SHENSTONE: “Elegy in Memory of a Private Family” (xii.1-4)
25 - AKENSIDE: “Ode to Francis, Earl of Huntington” (VI.iii.1-4)
26 - MALLET: “Funeral Hymn” (1-10)
27 - COLLINS: “The Passions: an Ode for Music” (25-28)
28 - SACKVILLE: “Complaint of Henry Duke of Buckingham” (lxxiii.1-7)
29 - HARTE: “Macarius” (156-159)
30 - BEAUMONT AND FLETCHER: Lover’s Progress (V.iii.409-413)

The Redskins (1846)

Title page - POPE: “Essay on Criticism” (255-256)
1 - TEMPEST: WS (I.ii.56-59)
2 - KING HENRY VI: WS Pt.2 (I.ii.1-2)
3 - MONTGOMERY: “Swiss Cowherd’s Song” (1-6)
4 - CORIOLANUS: WS (I.i.3-11)
5 - WORDSWORTH: “Louisa” (7-12)
6 - ALLAN CUNNINGHAM: “Lass of Lammermoor” (9-12)
7 - MENENIUS AGRIPPA: WS Coriolanus (I.i.124-126)
8 - SPRAGUE: “I See Thee Still” (8-17)
9 - DEVIL’S THOUGHTS: Coleridge (21-24)
10 - WINTER’S TALE: WS (IV.iv.315-316, 321-323)
11 - WILLIS: “Melanie” (197-200)
12 - JACK CADE: WS 2 Henry VI (IV.ii. 65-69)
13 - KING HENRY VI: WS Pt.3 (III.ii.14-15)
14 - [No attribution]: Elliott, “Song” (9-12)
15 - KING HENRY VI: WS Pt.2 (IV.ii.4-6)
16 - KING HENRY VI: WS Pt.2 (IV.ii.16-18)
17 - RED JACKET: Halleck (21-28)
18 - HOGG: “Donald MacDonald” (49-52)
19 - RED JACKET: Halleck (77-80)
20 - PIERPONT: “200th Anniversary of ... Charlestown” (1-4)
21 - CAMPBELL: “Caroline” (i.13-16)
22 - SANDS: “The Dead of 1832” (1-8)
23 - MRS. SIGOURNEY: “Indian Names” (1-8)
24 - SIMMS: “Changes of Home” (1-4,17-20)
25 - HALLECK: “Connecticut” (9-13)
26 - POLITICAL ESSAY: [not located]
27 - HALLECK: “Red Jacket” (85-88)
28 - RED JACKET: Halleck (93-96)
29 - SHAKSPEARE: Merchant (V.i.90-91)
30 - HALLECK’S WILD ROSE OF ALLOWAY: “Burns. To a Rose ... ” (101-104)

The Crater (1847)

Title page - BRYANT: “The Prairies” 86-89)
1 - TAMING OF THE SHREW: WS (II.i.330-331)
2 - ROMEO AND JULIET: WS (I.iii.11-15)
3 - PEABODY: “Hymn of Nature” (9-16)
4 - PERCIVAL: “Coral Grove” (1-6)
5 - TEMPEST: WS (I.ii.221-224)
6 - MILTON: Paradise Lost (IX.199-203)
7 - MRS. HEMANS: Hymns for Children “The Stars” (37-40)
8 - SAVAGE: Wanderer (V.9-12,15-16)
9 - YOUNG: Universal Passion (V.167-170)
10 - WILSON: “Highland Glen” (31-36)
11 - YOUNG: Night Thoughts (IX.95-98)
12 - TEMPEST: WS (II.i.159-164)
13 - MRS. HEMANS: “Homes of England” (9-16)
14 - CHURCHYARD: Mirror for Magistrates “Shore’s Wife” (127-133)
15 - ANONYMOUS: Poems on State Affairs (1703) “Content” (II.iii.1-8)
16 - THE SPANISH ARMADA — MACAULEY: (21-28)
17 - MACAULEY: “Armada” (53-56)
18 - WILSON: “Highland Glen” (1-6)
19 - BERNARD BARTON: “Farewell” (1-6)
20 - MORAL ALCHEMY: Horatio Smith (73-78)
21 - PERCIVAL: “Home” (13-16)
22 - BYRON: Sardanapalus (I.ii.390-391)
23 - DRAKE: Culprit Fay (viii.1-13)
24 - BRAINARD’S SEA SERPENT: (1-9)
25 - PAULDING: “Jamestown” (49-54)
26 - DANA — THE BUCCANEER: (37-42)
27 - SPRAGUE: “Centennial Ode” (xxiv.1-4)
28 - DANA: Buccaneer (391-396)
29 - VENERABLE AXIOM: Anonymous, “Vox Populi ... ”
30 - LUNT: “Hampton Beach” (55-63)

Jack Tier (1848)

Title page - AS YOU LIKE IT: WS (II.iv.16-18)
1 - TEMPEST: WS (I.ii.215-217)
2 - MUCH ADO ABOUT NOTHING: WS (III.iii.54-60)
3 - THE ANCIENT MARINER: Coleridge (171-176)
4 - SANDS: “Monody on Samuel Patch” (58-63)
5 - DANA: Buccaneer (163-166)
6 - BRAINARD: “Mr. Merry’s Lament” (19-27)
7 - LUNT: “Hampton Beach” (10-18)
8 - AS YOU LIKE IT: WS (I.ii.248)
9 - MACBETH: WS (II.iii.54-59)
10 - SHAKSPEARE: Merry Wives (I.i.58-65)
11 - WOLFE: “My Love has an Eye ... ” (5-8,21-24)
12 - WASHINGTON ALSTON: “Spanish Maid” (51-55)
13 - DANA: Buccaneer (517-522)
14 - MISS GOULD: “Changes on the Deep” (65-68)
15 - MATTHEW LEE: Dana, Buccaneer (205-210)
16 - SOUTHEY: “Remembrance” (1-8)
17 - MRS. HEMANS: “Joan of Arc in Rheims” (91-93)

The Oak Openings (1848)

Title page - MILMAN: “Lamentation over Jerusalem” (1-3)
1 - WATTS’S HYMNS FOR CHILDREN: “Against Idleness and Mischief” (1-4)
2 - WATTS’S HYMNS FOR CHILDREN: “Against Idleness and Mischief” (5-8)
3 - CYMBELINE: WS (III.vi.22-24)
4 - SIMMS: “Edge of the Swamp” (40-44)
5 - SHAKSPEARE: Othello (II.iii.93-96)
6 - FRENEAU: “Indian Burying Ground” (37-40)
7 - SPRAGUE: “Centennial Ode” (xiv.1-4)
8 - DRAKE: Culprit Fay (xii.1-8)
9 - THE CULPRIT FAY: Drake (xv.1-8)
10 - WASHINGTON ALSTON: “Tuscan Maid” (15-21)
11 - PEABODY: “Monadnock” (41-44)
12 - PERCIVAL: “New England” (28-36)
13 - LONGFELLOW: “Maidenhood” (22-24,40-42)
14 - BRAINARD: “Loss of a Pious Friend” (13-16)
15 - HILLHOUSE: Haddad (II.iv.14-20)
16 - MRS. HEMANS: “Traveller at the Source of the Nile” (13-18)
17 - HALLECK’S RED-JACKET: (69-76)
18 - HILLHOUSE: “Judgment” (xii.1-7)
19 - WHITTIER: Mogg Megone (II.11-15)
20 - MIDSUMMER-NIGHT’S DREAM: WS (III. i.156-158,162)
21 - ROGERS: Italy “Ginevra” (47-48,53-55)
22 - WHITTIER: Mogg Megone (III.91-96)
23 - PINKNEY: “Indian’s Bride” (1-6)
24 - [No attribution]: Milman, “The Nativity” (1-10)
25 - WHITTIER: Mogg Megone (III.129-133)
26 - MILMAN: “Chorus” (9-16)
27 - KEATS: Endymion (I.263-269)
28 - MRS. HEMANS: “Superstition and Revelation” (x.1-10)
29 - WILSON: “Isle of Palms” (I.139-144)
30 - MRS. HEMANS: “Angel’s Greeting” (1-8)

The Sea Lions (1849)

Title page - CAMPBELL: Pleasures of Hope (II.261-264)
1 - TEMPEST: WS (III.ii.65-66)
2 - TWELFTH NIGHT: WS (III.ii.5-7)
3 - MERCHANT OF VENICE: WS (II.vii.65-68)
4 - BAYLY: “The Old Kirk Yard” (5-8)
5 - CAMPBELL: “O’Connor’s Child” (xvi.1-4)
6 - MRS. SOUTHEY: “The Mariner” (1-8)
7 - BERNARD BARTON: “Children of Light” (1-8)
8 - BYRON: Childe Harold (IV.clxxxiv.1-9)
9 - BYRON: Childe Harold (IV.clxxix.1-9)
10 - MRS. HEMANS: “Edith. A Tale of the Woods” (215-218)
11 - MAZEPPA: Byron (xv.1-4)
12 - SHAKSPEARE: Shrew (IV.ii.72-74)
13 - TEMPEST: WS (I.ii.226-229)
14 - SPRAGUE: “Centennial Ode” (xxiv.1-4)
15 - BRYANT’S WINDS: (iv.1-8)
16 - THE CULPRIT FAY: Drake (xviii.13-16)
17 - DANA: Buccaneer (499-502)
18 - CAMPBELL: Pleasures of Hope (I.61-66)
19 - CAMPBELL: Pleasures of Hope (I.67-70
20 - MRS. SIGOURNEY: “Indian Girl’s Burial” (1-4)
21 - PERCIVAL: “The Sun” (154-162)
2 - LONGFELLOW: “Beleaguered City” (5-8)
23 - WARE: “Seasons of Prayer” (7-12)
24 - BRAINARD: “Sea-Bird’s Song” (33-40)
25 - HILLHOUSE’S JUDGMENT: (xii.12-17)
26 - CAMPBELL: Pleasures of Hope (II.115-116)
27 - BYRON: Manfred (II.iii.116-119)
28 - WILCOX: “Spring in New England” (1-4)
29 - SHAKESPEARE: Merchant (IV.i.85-87)
30 - JULIUS CÆSAR: WS (III.ii.138-141)

The Ways of the Hour (1850)

Title page - [No attribution]: Milton Paradise Lost (XI.462-463)
1 - KING RICHARD II: WS (I.iii.1-2)
2 - MRS. SOUTHEY: “Pauper’s Death Bed” (vii.1-5)
3 - MERCHANT OF VENICE: WS (IV.i.173-174)
4 - SHYLOCK: WS Merchant (IV.i.206-207)
5 - SOUTHEY: “Battle of Blenheim” 30-36)
6 - MACAULAY: Lays of Ancient Rome (xxxii.1-8)
7 - TAMING OF THE SHREW: WS (IV.iv.1)
8 - HAMLET: WS (III.i.1-2)
9 - HAMLET: WS (IV.v.7-10)
10 - SCOTT: Last Minstrel (III.ii.1-7)
11 - KING HENRY V: WS (I.i.60-62)
12 - MIDSUMMER NIGHT’S DREAM: WS (I.i.197-200)
13 - MOORE’S NATIONAL AIRS: “Neapolitan Air” (ii.1-4)
14 - COLERIDGE: “Devil’s Thoughts” (1-4)
15 - THE PHANTOM SHIP: Coleridge Rime of the Ancient Mariner (185-189)
16 - THE DUENNA: Sheridan (II.i.40-44)
17 - EARL OF ESSEX: Jones (I.i.197-199)
18 - MOURNING BRIDE: Congreve (IV.i.1-3)
19 - THE ORPHAN: Otway (V.i.160)
20 - CATO: Addison (IV.iv.43-46)
21 - GEORGE BARNWELL: Lillo, London Merchant (V.v.8-9)
22 - ADDISON: Cato (III.i.44-46)
23 - CUMBERLAND: Brothers (III.vii.27-29)
24 - EARL OF ESSEX: Jones (I.i.213)
25 - THE ORPHAN: Otway (II.i.219-221)
26 - OTWAY: Orphan (II.i.175-177)
27 - THE DISTRESSED MOTHER: Philips (II.i.182-184)
28 - ADDISON: Cato (IV.iii.13-15)
29 - CATO: Addison (IV.i.24-25)
30 - MASSINGER: New Way to Pay Old Debts (I.i.52-53)

Part II — Epigraphs by Author

(a) author; (b) (birth and death dates); (c) [dates of first and last work citing the author]; (d) title (with date of publication for major works); (e) novel; (f) chapter; (g) epigraph citation. Notice is taken of misattributions, and significant alterations in quoted texts.

[A]

ADDISON, Joseph (1672-1719) [1824-1850]

Cato (1713): PILOT 7 (II.i.23), 13 (I.vi.447-448); WAYS OF THE HOUR 20 (IV.iv.43-46), 22 (III.i.44-46), 28 (IV.iii.13-15), 29 IV.i.24-25).

AKENSIDE, Mark (1721-1770) [1845]

“Ode to the Right Hon. Francis, Earl of Huntingdon”: CHAINBEARER 25 (VI.iii.1-4).

ALEYN, Charles (17ᵗʰ century) [1842]

“The Battaile of Poictiers under the Fortunes of Edward, Sirnamed the Black” (ca. 1630): WING AND WING 24. Cooper probably got the couplet from one of the many collections of quotations that have included it. Information from Steven Harthorn. See Cooper Society Newsletter No. 43, Nov. 2004.

ALLSTON, Washington (1779-1843) [1842-1848]

“The Paint-King”: TWO ADMIRALS 29 (156-160).
“The Spanish Maid”: JACK TIER 12 (51-55).
“The Sylphs of the Seasons”: AFLOAT AND ASHORE 25 (358-364)
“The Tuscan Maid”: AFLOAT AND ASHORE 10 (1-7); OAK OPENINGS 10 (15-21).

AMICUS (presumably a pseudonym) [1824-1842]

“Trippe”: PILOT 5 (viii.1-4); TWO ADMIRALS titlepage (viii.1-4)The Poem Appeared in the Charleston (SC) Courier (issue not found, but presumably in September 1810) and was reprinted in the Cooperstown (NY) Otsego Herald and the Baltimore (MD) Federal Republican for September 22, 1810. Information from Wayne Franklin and Hugh C. McDougall. See Cooper Society Newsletter No. 29 (Nov. 1999)

ANONYMOUS

New York Cries: “Here’s your fine clams! ... : SATANSTOE 5.
“The Barley Mow”: PIONEERS 12, 14.
“The Bay of Biscay, O”: PIONEERS 15 (15-16).
“Female Celebacy; or, The Grave of Cynthia ... “: SPY 23 (x.1-9). By the author of “The Bachelor’s Soliloquy” (1744). The poem can be found in The Gentleman’s Magazine and Historical Chronicle Vol. LXXXIII (January-June 1813, pp. 567-568 (June 1813); and in Washington Irving, ed., Analectic Magazine Vol.III, January 1814, pp. 85-87. Information from Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter No. 54 (Fall 2008).
“Man”: WING AND WING 11 (i.1-9). Anonymous, “Man.” Appears in such anthologies as The Monthly Repository and Library of Entertaining Knowledge (New York: Francis S. Wiggins, 1833), Vol. III, pp. 215-216, and The Rural Repository devoted to Polite Literature (Hudson, NY: William B. Stoddard), Vol. XIV (V new series), Dec. 6, 1838, p. 104. Information from Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter No. 45 (Nov. 2005)
Poems on State Affairs (1703) “Content”: CRATER 15 (II.iii-1-8). Cooper almost certainly got this verse from The Poetic Wreath: Consisting of Select Passages from the Works of English Poets ... (Philadelphia: Lea & Blanchard, 1839), pp. 71-72 which couples it with a verse from Shakespeare and attributes it to “Poems on State Affairs, 1703.” The original is “On Content” (v.1-8) in State-Poems; Continued From the time of O. Cromwel, to the YEAR 1697 ... (Printed in the Year MDCCIII), pp. 216-217. [both these works are available on Google Books] For background on the complex printing history of this work see Notes and Queries (Jan.4, 1873), pp. 1-3. Information from Hugh C. McDougall
“The Punning Society”: SATANSTOE 12. Excerpt from a humorous sketch in, for one source, The General Reciter ... of the Most Popular Readings and Recitations ... Halifax (England): William Milner, 1845. Information from Hugh Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter No. 54 (Fall 2008).
“To Daunton Me”: MILES WALLINGFORD 25 (iii.1-4). A Jacobite Song, which can be found in various forms in, e.g., Robert Chambers, The Scottish Songs [as “To Danton Me” second version] (Edinburgh: William Tait, 1839), Vol. II, p. 355; and James Hogg, The Jacobite Relics of Scotland ... [as “To Daunton Me” First Set] (Edinburgh: William Blackwood, Second Series, 1821), p. 86. Information from Steven Harthorn. See Cooper Society Newsletters No. 54 (Fall 2006).
“Venerable Axiom”: Vox populi, vox dei: CRATER 29.
“Yankee Doodle”: WING-AND-WING 3.
“Venetian Boat Song”: BRAVO 15 (1-8) (see Laura Alexandrine Smith, The Music of the Waters (London: Kegan Paul, Trench & Co., 1888; reissued Detroit: Singing Tree Press, 1969), pp. 193-94: “The story of a damsel who dropped a ring in the sea, and owed its rescue to a fisherman, who for sole reward demanded a kiss, is well-known on the Adriatic and Mediterranean coasts — ‘Oh! pescator dell’ onda / Findeliu, / Vieni pescar in qua! / Colla bella sua barca, / Colla bella se ne va / Findeliu! liu! la!’”)
[No attribution] Venetian Saying — Giustizia in palazzo, e pane in piazza: BRAVO Title page (“As to the Motto it is the well known Venitian saying — ‘Guistizzia in palazzo e pane in piazza.’” Cooper to Colburn and Bentley, June 13, 1831 [Beard, Vol. II, p. 101])

ANSTEY, Christopher (1724-1805) [1838]

The New Bath Guide: or, Memoirs of the B ------R ------D Family. (1766): HOMEWARD BOUND 2 (Letter XIII.58-61)

[B]

BAILLIE, Joanna (1762-1851) [1838-1841]

Orra: A Tragedy (1812): HOMEWARD BOUND 1 (III.iv.80-82)
Rayner: A Tragedy (1804): DEERSLAYER 10 (II.i.3-4,6-9).

BALL, John (? -1381) [1845]

“When Adam delv’d ... “: CHAINBEARER 22 (1).

BARLOW, Joel (1754-1812) [1845]

“The Hasty Pudding” (1796): SATANSTOE 10 (I.57-62).

BARTON, Bernard (1789-1849) [1847-1849]

“Children of Light”: SEA LIONS 7 (1-8).
“Farewell”: CRATER 19 (1-6).

BAYLY, Thomas Haynes (1797-1839) [1849]

“The Old Kirk Yard”: SEA LIONS 4 (5-8).

BEATTIE, James (1735-1803) [1823]

The Minstrel (1771): PIONEERS 19 (I.xvi.1).

BEAUMONT, Francis (1585?-1616) and FLETCHER, John (1579-1625) [1840-1845]

The Lovers’ Progress: CHAINBEARER 30 (V.iii.409-413).
The Woman-Hater: MERCEDES OF CASTILE 29 (V.ii.1-6).

BIBLE (King James Version) [1831-1838]

Book of Isaiah: HOMEWARD BOUND 30 (XXI.11)
Book of Job: BRAVO 28 (II.18)

BLAIR, Robert (1699-1746) [1825]

The Grave (1743): LIONEL LINCOLN 25 (177).

BOWLES, William Lisle (1762-1850) [1838]

“The Sanctuary: A Dramatic Sketch”: HOME AS FOUND 17 (I.51) [misattributed to “Shakspeare”]

BOYSE, Samuel (1708-1749) [1840]

“The Vision of Patience: An Allegorical Poem Sacred to the Memory of Mr. Alexander Cuming ... ” (1741), in The British Poets. Including Translations. In One Hundred Volumes (Chiswick: C. Whittingham, 1822), Vol. LIX (The Poems of Grainger and Boyse), pp. 201-210. Information from Steven Harthorn. See Cooper Society Newsletter, No. 43, Nov. 2004.

BRAINARD, John G.C. (1796-1828) [1842-1849]

“The Deep”: TWO ADMIRALS 25 (1-10).
“Mr. Merry’s Lament for ‘Long Tom’”: AFLOAT AND ASHORE 26 (19-27); JACK TIER 6 (19-27).
“On the Loss of a Pious Friend”: OAK OPENINGS 14 (13-16).
“The Sea-Bird’s Song: SEA LIONS 24 (33-40).
“Sonnet to the Sea-Serpent”: CRATER 24 (1-9).

BRYANT, William Cullen (1794-1878) [1824-1849]

“The Death of Aliatar” (from the Spanish): MERCEDES OF CASTILE 13 (61-64).
“The Firmament”: WEPT OF WISH-TON-WISH 22 (43-48 “Skies”); DEERSLAYER 9 (19-24 “The Skies”).
“The Hunter of the Prairies”: CHAINBEARER 8 (25-32).
“Hymn of the City”: HOMEWARD BOUND 25 (25-30).
“Hymn to the North Star”: MERCEDES OF CASTILE 18 (31-36).
“An Indian at the Burial-Place of his Fathers”: LAST OF THE MOHICANS 3 (67-72); HOME AS FOUND 10 (1-2,5-6); PATHFINDER 3 (67-72).
“An Indian Story”: DEERSLAYER 4 (11-15).
“The Old Man’s Funeral”: LIONEL LINCOLN 34 (1-6).
“The Past”: HOME AS FOUND 18 (37-40); Wyandotté 28 (45-56).
“The Prairies” CRATER Title page (86-89).
“The Twenty-second of December”: MERCEDES OF CASTILE 16 (5-8).
“The Winds”: SEA LIONS 15 (iv.1-8).
“To a Waterfowl” (1818): PILOT 34 (1-4); MERCEDES OF CASTILE 17 (1-4), 22 (13-16).

BURGER, Gottfried (1747-1794) — See SCOTT, Sir Walter.

BURNS, Robert (1759-1796) [1825-1845]

“The Auld Man’s Winter Thought”: LIONEL LINCOLN 32 (13-16).
“The Cotter’s Saturday Night” (1786): LAST OF THE MOHICANS 6 (106-108).
“Lament of Mary, Queen of Scots, on the Approach of Spring”: HEADSMAN 19 (37-40).
“The Ordination”: SATANSTOE 20 (IV.28-31).
“There’s a Youth in this City”: AFLOAT AND ASHORE 3 (1-12).

BUTLER, Samuel (1613-1680) [1823]

Hudibras (1633-78): PIONEERS 35 (ii.841-844).

BYRON, George Gordon (LORD BYRON) (1788-1824) [1823-1849]

The Bride of Abydos: A Turkish Tale: MERCEDES OF CASTILE 5 (I.vi.13-18).
Cain (1822): BRAVO 17 (III.i.323-324); HEIDENMAUER 29 (II.i.165-166).
Childe Harold’s Pilgrimage (1812-18): PIONEERS 20 (II.xxxvi.1-2)*, 39 (II. lxxii.50-53)*; LAST OF THE MOHICANS 20 (II.xxxviii.5-6)*; BRAVO 1 (IV.i.1-9); HEIDENMAUER Title page (IV.cxxxvi.1-2); HEADSMAN 7 (III.xciii.7-8), 8 (II.xxi.1-4); PATHFINDER 16 (IV.clxxxiii.1-9); MERCEDES OF CASTILE 11 (II.xvi.1-6); 19 (I.xii.1-9); DEERSLAYER 1 (IV.clxxviii.1-9), 7 (III.lxxxv.1-9); TWO ADMIRALS 16 (I.xiii.34-37), 21 (IV.clxxix.1-5), 23 (I.xl.1-4)*, 26 (II.xvii.1-9), 28 (II.xviii.1-9); WING-AND-WING 1 (IV.xxix.1-9); SEA LIONS 8 (IV.clxxxiv.1-9), 9 (IV.clxxix.1-9). * Cooper ed. citation differs as to stanza.
The Corsair (1814): TWO ADMIRALS 19 (I.i.1-4); WING-AND-WING 6 (I.xvii.2-4); MERCEDES OF CASTILE 14 (I.i.1-4)
Deformed Transformed (1822) HEIDENMAUER 6 (I.i.521)
Don Juan (1822-23): BRAVO 20 (XII.lxvi.1); HOMEWARD BOUND 16 (III.xx.1-4); PATHFINDER 12 (VII.lxxxvi.3-6); DEERSLAYER 18 (IV.lxxi.1-8); TWO ADMIRALS 3 (I.i.1-4), 17 (II.xxvi.1-8); WING-AND-WING 23 (V.cl.1-4); Wyandotté 13 (III.xc.1-8); SATANSTOE 28 (XV.xcix.1-8), 29 (IV.lxiii.1-8).
“Epistle to Augusta”: HOMEWARD BOUND 13 (i.7-8).
The Gaiour: MERCEDES OF CASTILE 21 (112-113).
Heaven and Earth: A Mystery: HEIDENMAUER 9 (I.iii.336).
Hebrew Melodies, “All is Vanity, Saith the Preacher’” (1815): MILES WALLINGFORD 5 (17-20)
The Island: WING-AND-WING 20 (IV.i.1-4).
Lara (1814): HEIDENMAUER 3 (I.iv.1-2).
Manfred (1817): WING-AND-WING 22 (I.i.24-27); SEA LIONS 27 (II.iii.116-119).
Marino Faliero, Doge of Venice (1821): BRAVO 16 (II.i.493-495), 31 (III.i.119-120); HEIDENMAUER 26 (III.ii.108-109); DEERSLAYER 19 (IV.ii.230-235); TWO ADMIRALS 4 (II.ii.122-124); MILES WALLINGFORD 16 (III.ii.127-129).
Mazeppa (1819): SEA LIONS 11 (xv.1-4).
The Prisoner of Chillon (1816): BRAVO 26 (i.5-10).
Sardanapalus (1821): MILES WALLINGFORD 2 (IV.i.333-335); SATANSTOE 23 (IV.i.210-214); CRATER 22 (I.ii.390-391).
“The Siege of Corinth”: Wyandotté 14 (xiii.15-18).
The Two Foscari: HEIDENMAUER 21 (IV.i.229-232).
Werner (1823): BRAVO 30 (III.iv.106-109); HEADSMAN 10 (IV.i.124-125).

[C]

CAMPBELL, Thomas (1777-1844) [1821-1849]

“Battle of the Baltic”: PILOT 25 (vii.6-9).
“Caroline”: REDSKINS 21 (i.13-16).
Gertrude of Wyoming (1809): SPY 1 (I.viii.5-9), 2 (I.x.6-9), 24 (III.xxxii.1-4); PIONEERS 8 (I.iv.3-4), 36 (III.xxxv.1-4), 38 (III.xxxix.3-4); PILOT 10 (II.iv.2-6,8-9).
“Lines Written on Visiting a Scene in Argyleshire” PATHFINDER 20 (10-13).
“Lord Ullin’s Daughter”: PILOT 30 (1-4).
“O’Connor’s Child”: SEA LIONS 5 (1-4)
The Pleasures of Hope (1799): SEA LIONS Title page (II.261-264), 18 (I.61-66), 19 (I.67-70), 26 (II.115-116).

CERVANTES, Miguel de (1547-1614) [1835]

Don Quixote: MONIKINS Title page. (Pt. I, Ch. XX)

CHATTERTON, Thomas (1752-1770) [1832-1841]

“Bristowe Tragedie”: HEIDENMAUER 25 (73-76); HEADSMAN 2 (53-56); DEERSLAYER 15 (357-364).

CHURCHYARD, Thomas (1520?-1604) [1840-1847]

A Mirror for Magistrates, “Shore’s Wife”: (1563): PATHFINDER 11 (127-133); DEERSLAYER 23 (253-259) [Cooper ed. citation differs]; CRATER 14 (127-133).

COLERIDGE, Samuel Taylor (1772-1834) [1840-1850]

“The Devil’s Thoughts”: REDSKINS 9 (21-24); WAYS OF THE HOUR 14 (1-4).
“Genevieve” (1786): MERCEDES OF CASTILE 30 (9-14).
“Love” (1798-99): MILES WALLINGFORD 28 (85-88), 29 (93-96).
Remorse: DEERSLAYER 22 (V.i.201-204).
The Rime of the Ancient Mariner: JACK TIER 3 (171-176); WAYS OF THE HOUR 15 (185-189).

COLLINS, William (1721-1759) [1824-1845]

“A Song from Shakespear’s Cymbelyne” (1744): WEPT OF WISH-TON-WISH 25 (9-12), 32 (21-24).
“Ode to Fear” (1747): PILOT 23 (20-21,24-25).
“The Passions: An Ode for Music” (1747): CHAINBEARER Title page (115-118), 27 (25-28).

CONGREVE, William (1670-1729) [1841-1850]

The Mourning Bride: WAYS OF THE HOUR 18 (IV.i.1-3).
“Pindaric Ode: To the Right Honourable the Earl of Godolphin, Lord High-Treasurer of Great Britain”: DEERSLAYER 28 (11-20).

COTTON, Charles (1630-1687) [1840]

“Evening Quatrains”: PATHFINDER 21 (33-36).
“Night Quatrains”: PATHFINDER 13 (xvii.65-68).

COTTON, Nathaniel (1705-1788) [1833-1838]

Various Pieces. ... (1791): “Tomorrow” HEADSMAN 28 (27-29); HOMEWARD BOUND 20 (32-34).

COWPER, William (1731-1800) [1821-1845]

“The Conversation”: TWO ADMIRALS 6 (II.379-382).
“The Diverting History of John Gilpin”: SPY 29 (97-100).
“On the Burning of Lord Mansfield’s Library” (second version): CHAINBEARER 18 (13-16).
The Progress of Error: PATHFINDER 17 (550-553) ; WING-AND-WING 2 (375-378).
The Task (1785): LIONEL LINCOLN 19 (III.221-222); HEADSMAN 14 (III.597-598); PATHFINDER Title page (VI.85-87), 15 (III.285-289), 27 (III.268-269); SATANSTOE Title page (III.268) [misattributed to “Spenser”].

COXE, Arthur Cleveland [1843]

“I Love the Church.”: Wyandotté 8 (5-8).
“Manhood”: Wyandotté 30 (73-76).
“March”: Wyandotté 24 (1-4), 25 (29-36).

CRABBE, George (1754-1832) [1821-1833]

The Parish Register, III. “Burials”: SPY 14 (492-493,498-501).
The Village: HEADSMAN 26: (I.xxix.3-8)

CUMBERLAND, Richard (1732-1811) [1850]

The Brothers (1769): WAYS OF THE HOUR 23 (III.vii.27-29).

CUNNINGHAM, Allan (1784-1842) [1846]

Songs: LIX “The Lass of Lammermoor”: REDSKINS 6 (9-12)

[D]

DANA, Richard Henry (1787-1879) [1829-1849]

The Buccaneer (1827): WEPT OF WISH-TON-WISH 14 (409-413); WING AND WING 8 (331-336), 15 (625-630); AFLOAT AND ASHORE 16 (499-504); CRATER 26 (37-42), 28 (391-396); JACK TIER 5 (163-166), 13 (517-522) 15 (205-210); SEA LIONS 17 (499-502).
“The Changes of Home”: WEPT OF WISH-TON-WISH 17 (209-212).

DANIEL, Samuel (1562-1619) [1840-1842]

Tragedie of Cleopatra (1594): WING-AND-WING 29 (III.i.555-558).
“Epistle to the Lady Margaret, Countess of Cumberland”: MERCEDES OF CASTILE 7 (1-4).

D’AVENANT, Sir William (1606-1668) [1825-1842]

“Song. The Souldier Going to the Field”: LIONEL LINCOLN 8 (1-4).
Love and Honour: WING-AND-WING 30 (V.i.133-135 ” ... when ‘tis drest/By virgin innocence! It makes/ ... ).

DAVIDSON, Margaret Miller (1823-1838) [1841-1842]

“Earth”: TWO ADMIRALS 30 (56-60).
“To my Mother”: DEERSLAYER 25 (7-12).

DIBDIN, Thomas John (1771-1841) [1821]

Dibdin’s Charms of Melody, “Fresh and Strong” (1797): PILOT 1 (3-4).

DRAKE, Joseph Rodman (1795-1820) [1844-1849]

The Culprit Fay (1816): AFLOAT AND ASHORE 19 (viii.1-4); CRATER 23 (viii.1-13); OAK OPENINGS 8 (xii.1-8), 9 (xv.1-8); SEA LIONS 16 (xviii.13-16).

DRAYTON, Michael (1563-1631) et al. [1824]

Sir John Oldcastle (1600): PILOT 9 (line not determined).

DRYDEN, John (1631-1700) [1824-1845]

Amphytryon (1690): PILOT 26 (V.i.306).
Aureng-Zebe (1676): PATHFINDER 26 (IV.i.197-200); TWO ADMIRALS 11 (IV.i.33-36).
Virgil’s Eclogues, “The Third Pastoral”: CHAINBEARER 16 (144-145).

[E]

ELLIOTT, Ebenezer (1781-1849) [1846]

Corn-Law Rhymes: “Song - Where the Poor Cease to Pay”: REDSKINS 14 (9-12).

[F]

FALCONER, William (1732-1769) [1823]

The Shipwreck: PIONEERS 24 (354-355).

FAWCETT, Joseph [1843]

“The Fate of Sensibility”: Wyandotté 16 (9-12).

FLETCHER, Giles (1585/6-1623) [1841]

Christ’s Victory in Heaven (1610): DEERSLAYER 26 (I.xv.1-8).

FRENEAU, Philip (1752-1832) [1823-1848]

“The Indian Student”: PIONEERS 7 (1-4).
“The Indian Burying Ground”: SATANSTOE 21 (37-40); OAK OPENINGS 6 (37-40).

[G]

GLOVER, Richard (1712-1785) [1838]

Leonidas (1737): HOMEWARD BOUND 22 (I.337-339).

GOLDSMITH, Oliver (1730?-1774) [1821-1823]

“The Deserted Village” (1770): PIONEERS 11 (I.179).
“The Hermit” (aka “Edwin and Angelina”): SPY 30 (5-8).
“The Traveller”: SPY 25 (171-174).

GOULD, Miss Hannah F. (1789-1865) [1848]

“Changes on the Deep”: JACK TIER 14 (65-68).

GRAY, Thomas (1716-1771) [1821-1841]

Agrippina, A Tragedy: LAST OF THE MOHICANS 9 (I.ii.5-7).
The Bard (1759): LAST OF THE MOHICANS 7 (43-45), 8 (45-46), 17 (98,100); DEERSLAYER Title page (60-62).
“Elegy, written in a Country Churchyard” (1751): SPY 10 (89-92), 35 (57-60).
“Ode on a Distant Prospect of Eton College” (1747): LIONEL LINCOLN 1 (18-20).

GREVILLE, Fulke (Lord BROOKE) (1554-1628) [1840]

A Treatie of Human Learning (pub. 1633): MERCEDES OF CASTILE 4 (xxxiv.1-6).

GRIFFIN, Edmund D. [1843]

“Description of Love, by Venus”: Wyandotté 9 (1-12).

[H]

HALLECK, Fitz-Greene (1790-1867) [1821-1848]

“Burns. To a Rose, brought from near Alloway Kirk, in Ayrshire, in the Autumn of 1822”: REDSKINS 30 (101-104).
“Connecticut”: WING-AND-WING 12 (17-24); CHAINBEARER 6 (25-32); REDSKINS 25 (9-13).
“Marco Bozzaris” (1825): LAST OF THE MOHICANS 33 (37-46).
“On the Death of Joseph Rodman Drake”: SPY 33 (1-4).
“Red Jacket”: AFLOAT AND ASHORE 13 (61-65), 27 (77-80); REDSKINS 17 (21-28), 19 (77-80), 27 (85-88), 28 (93-96); OAK OPENINGS 17 (69-76).

HARTE, Walter (1709-1774) [1845]

“Macarius: or, The Confessor”: CHAINBEARER 29 (156-159).

HEBER, Reginald (1783-1826) [1845]

“Happiness”: SATANSTOE 9 (17-20).

HEMANS, Mrs. Felicia (1793-1835) [1838-1849]

“The Abencerrage”: MERCEDES OF CASTILE 12 (345-348).
“The Angel’s Greeting”: OAK OPENINGS 30 (1-8).
“The Cid’s Rising”: MERCEDES OF CASTILE 1 (22-25); TWO ADMIRALS 31 (29-35).
“The Departed”: MILES WALLINGFORD 7 (21-24), 8 (37-40).
“Edith. A Tale of the Woods”: DEERSLAYER 2 (191-194); SEA LIONS 10 (215-218).
“England and Spain”: SATANSTOE 24 (453-456).
“The Forest Sanctuary”: MERCEDES OF CASTILE 10 (I.xii.1-4), 20 (II.xliv.1-9).
“The Homes of England”: CRATER 13 (9-16).
Hymns for Children, “The Stars”: CRATER 7 (37-40).
“Joan of Arc in Rheims”: JACK TIER 17 (91-93).
“Jeu d’Esprit on the Word ‘Barb’”: HOMEWARD BOUND 26 (Imitation of Massinger, 1-4). A likely source for Cooper would be Henry F. Chorley, Memorials of Mrs. Hemans ... (New York: Saunders and Otley, 1836), p. 215. Information from Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter No. 54 (Fall 2008).
“Guerilla Song”: AFLOAT AND ASHORE 7 (1-6).
“The Last Banquet of Antony and Cleopatra”: TWO ADMIRALS 24 (II.91-94).
“The Song of Night”: HOMEWARD BOUND 10 (21-24), 11 (53-56).
“Superstition and Revelation”: OAK OPENINGS 28 (x.1-10).
“A Tale of the Fourteenth Century: AFLOAT AND ASHORE 1 (590-597).
“The Traveller at the Source of the Nile”: OAK OPENINGS 16 (13-18).
“To the memory of Sir E------d P------k------m”: TWO ADMIRALS 27 (13-16).
“To the Same — On the Death of Her Mother: TWO ADMIRALS 14 (33-36).

HILLHOUSE, James Abraham (1789-1841) [1843-1849]

Demetria (1839): Wyandotté 5 (III.i.108-116), 27 (III.i.134-138).
Haddad (1839): OAK OPENINGS 15 (II.iv.14-20)
“Judgment”: OAK OPENINGS 18 (xii.1-7); SEA LIONS 25 (xii.12-17).
“Untold Love”: AFLOAT AND ASHORE 24 (3-8).

HOGG, James (1770-1835) [1840-1846]

“Donald MacDonald”: REDSKINS 18 (49-52).
The Queen’s Wake, “Kilmeny” (1813): PATHFINDER 8 (46-51).

HOME, John (1722-1808) [1833]

Douglas: HEADSMAN 27 (II.76-77)

HOPKINSON, Francis (1737-1791) [1825]

“The Battle of the Kegs” (1778): LIONEL LINCOLN 30 (65-68).

HUMPHREYS, David (1752-1818) [1825]

“A Poem Addressed to the Armies of the United States of America” (1780): LIONEL LINCOLN 16 (61-64).

[J]

JOHNSON, James (fl. 1787-1805??) [1841]

“It Was a’ for our Rightfu King.”: DEERSLAYER 20 (7-12).

JONES, Henry (1721-1770) [1850]

The Earl of Essex: WAYS OF THE HOUR 17 (I.i.197-199), 24 (I.i.213).

[K]

KEATS, John (1795-1821) [1848]

Endymion (1818): OAK OPENINGS 27 (I.263-269).

[L]

LILLO, George (1693-1739) [1850]

The London Merchant, or George Barnwell: WAYS OF THE HOUR 21 (V.v.8-9).

LONGFELLOW, Henry Wadsworth (1807-1882) [1843-1849]

“The Beleaguered City”: SEA LIONS 22 (5-8).
“Footsteps of Angels”: AFLOAT AND ASHORE 30 (29-32).
“It Is Not Always May”: Wyandotté 2 (9-12).
“Maidenhood”: CHAINBEARER 10 (40-42); OAK OPENINGS 13 (22-24,40-42).
“A Psalm of Life”: SATANSTOE 4 (33-36).

LUNT, George (1803-1885) [1843-1848]

“Bloody Brook.”: Wyandotté 11 (33-40).
“Hampton Beach”: AFLOAT AND ASHORE 8 (10-18); CRATER 30 (55-63); JACK TIER 7 (10-18).
“Jewish Battle Song”: Wyandotté 10 (1-6).
“Pass on, Relentless World”: AFLOAT AND ASHORE 20 (41-44).

[M]

MACAULAY, Thomas Babington (1800-1859) [1847-1850]

The Lays of Ancient Rome: WAYS OF THE HOUR 6 (xxxii.1-8).
The Spanish Armada: CRATER 16 (21-28), 17 (53-56).

MALLET, David (1705-1765) [1845]

“A Funeral Hymn”: CHAINBEARER 26 (1-10).

MASON, William (1725-1797) [1840]

“Elegy IV: On the Death of a Lady”: MERCEDES OF CASTILE 28 (17-20).

MASSINGER, Philip (1583-1648) [1838-1850]

A New Way To Pay Old Debts: WAYS OF THE HOUR 30 (I.i.52-53).
Unlocated: HOMEWARD BOUND 26.

MERRICK, James (1720-1769) [1841]

“The Chameleon”: DEERSLAYER 14 (21-26).

MICKLE, William Julius (1734-1788) [1840]

“Syr Martyn (a Poem in the manner of Spenser)”(1767): MERCEDES OF CASTILE 26 (I.64.1-9).

MILMAN, Henry Hart (1791-1868) [1823-1848]

Belshazzar (1822): PIONEERS 26 (III.73-74).
“Chorus”: OAK OPENINGS 26 (9-16).
“Lamentation over Jerusalem”: OAK OPENINGS Title page (1-3).
“Nativity, The”: OAK OPENINGS 24 (1-10)

MILTON, John (1608-1664) [1833-1850]

Paradise Lost: HEADSMAN 12 (IV.699-700); PATHFINDER 19 (IV.246-247); DEERSLAYER 6 (I.125-126); TWO ADMIRALS 18 (IX.549-551); WING-AND-WING 25 (I.17-19), 27 (XII.614-617); CRATER 6 (IX.199-203); WAYS OF THE HOUR Title page (XI.462-463).

MOLIÈRE, Jean Baptiste Poquelin de (1622-1673) [1830]

Fourberies de Scapin:WATER WITCH Title page (II.vii). Molière appears to have stolen the phrase from Cyrano de Bergerac’s Le Pedant Joue. Information from Steven Harthorn and John A. Gallucci. See Cooper Society Newsletter No. 45 (Nov. 2004).

MONTGOMERY, James (1771-1854) [1827-1846]

“The Common Lot”: PRAIRIE 22 (33-36).
“Stanzas to the Memory of the Rev. Thomas Spencer, of Liverpool”: Wyandotté 17 (15-21).
“The Swiss Cowherd’s Song in a Foreign Land”: REDSKINS 3 (1-6).

MOORE, Thomas (1779-1852) [1821-1850]

Lalla Rookh (1817): — “The Fire-Worshipers”: PATHFINDER 29 (269-272) — “Paradise and the Peri”: PATHFINDER 24 (274-277) 30 (250-253); MERCEDES OF CASTILE 8 (815-818). — “The Veiled Prophet of Khorassan”: SPY 6 (797-801); DEERSLAYER 17 (1954-1957)
National Airs, Neapolitan Air, “Where Shall We Bury Our Shame?”: WAYS OF THE HOUR 13 (ii.1-4).
“The Turf Shall Be My Fragrant Shrine”: PATHFINDER 1 (1-4).

[N]

NORTON, Caroline (aka Lady STIRLING-MAXWELL) (1808-1877) [1845]

“The Arab To his Favorite Steed”: SATANSTOE 14 (1-2,47-48).

NORTON, John (1651-1716) [1838]

“A Funeral Elegy upon Miss Anne Bradstreet”: HOME AS FOUND 16 (77-80).

[O]

OTWAY, Thomas (1652-1685) [1850]

The Orphan: WAYS OF THE HOUR 19 (V.i.160), 25 (II.i.219-221), 26 (II.i.175-177).

[P]

PARK, Roswell (1807-1869) [1838]

“The Last Prayer of Queen Mary” (1832): HOMEWARD BOUND 23 (1-8)
“To the Packet Ship ***” (1831): HOMEWARD BOUND 24 (13-16), 28 (25-18).

PARNELL, Thomas (1679-1718) [1826]

“A Night-Piece on Death”: LAST OF THE MOHICANS 13 (7).

PAULDING, James Kirke (1778-1860) [1823-1847]

The Backwoodsman (1818): PIONEERS Title page (571-574).
“Jamestown”: CRATER 25 (49-54).
“The Old Man’s Carousal”: AFLOAT AND ASHORE 21 (1-6).

PEABODY, William B. (1799-1847) [1847-1848]

“Hymn of Nature”: CRATER 3 (9-16).
“Monadnock”: OAK OPENINGS 11 (41-44).

PERCIVAL, James Gates (1795-1856) [1842-1849]

“The Coral Grove”: CRATER 4 (1-6).
“Genius Slumbering”: Wyandotté 3 (1-6).
“Home”: CRATER 21 (13-16).
“It Is Great for Our Country to Die”: Wyandotté 6 (1-4).
“New England”: OAK OPENINGS 12 (28-36).
“The Sun”: SEA LIONS 21 (154-162).
“To the Eagle”: Wyandotté 21 (41-44).
“The Wreck”: TWO ADMIRALS 22 (507-511).

PERCY, Thomas (1729-1811) [1821-1841]

Reliques of Ancient English Poetry (1765): — “Hermit of Warkworth”: SPY 21 (II.17-20); PILOT 14 (II.209-212). — “Notbrowne Mayde”: DEERSLAYER 32 (265-276). — “Gentle River, Gentle River” (“Spanish War Song”): PILOT 33 (53-56). — “Winifreda”: LIONEL LINCOLN 20 (1-4).

PHILIPS, Ambrose (1674-1749) [1850]

The Distressed Mother: WAYS OF THE HOUR 27 (II.i.182-184).

PIERPONT, John (Amer. 1785-1866) [1846]

“Hymn for the Two Hundredth Anniversary of the Settlement of Charlestown”: REDSKINS 20 (1-4).

PINKNEY, Edward Coote (1802-1828) [1840-1848]

“A Health”: MERCEDES OF CASTILE Title page (1-4).
“The Indian’s Bride”: CHAINBEARER 7 (1-6), 14 (7-12); OAK OPENINGS 23 (1-6).
“The Voyager’s Song”: AFLOAT AND ASHORE 12 (1-4).

POPE, Alexander (1688-1744) [1823-1846]

Iliad, The (1715-20): LAST OF THE MOHICANS 24 (II.107-108), 29 (II.77-78), 32 (I.122-124).
“Essay on Criticism”: REDSKINS Title page (255-256 “None e’er can ... “).
“Essay on Man”: HEADSMAN 18 (I.113-118).
“The Rape of the Lock” (1712): LIONEL LINCOLN 3 (III.109-112).
“The Temple of Fame”: PIONEERS 32 (111-112).
“The Universal Prayer” MILES WALLINGFORD 22 (1-4).

PRESCOTT, Robert [1825]

A Letter from a Veteran, to the Officers of the Army Encamped at Boston (1774): LIONEL LINCOLN 15 (p. 15).

PRIOR, Matthew (1664-1721) [1824]

“Henry and Emma”: PILOT 2 (437-438,441-442).

[R]

RICHARDSON, David Lester (1801-1865) [1842]

“Ocean Sketches: A Calm”: WING AND WING 9 (1-7). In David Lester Richardson, ed., The Bengal Annual and Literary Keepsake for MDCCCXXX (Calcutta: Samuel Smith & Co., 1830), pp. 277-283. Cooper might have found it in one of Richardson’s books: Ocean Sketches and Other Poems (1833), or his Literary Leaves, or Prose and Verse Chiefly Written in India (1835; 2ⁿᵈ ed., London: W.H. Allen & Co., 1840), pp. 16-24. Information from Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter No. 54 (Fall 2008).

ROGERS, Samuel (1763-1855) [1829-1848]

Italy (1822-28): — “Bergamo”: HEIDENMAUER 4 (24-25). — “The Brides of Venice”: BRAVO 8 (2-7). — “Como”: HEIDENMAUER 24 (58-62). — “The Descent”: HEADSMAN 22 (17-22). — “Foscari: BRAVO 27 (1-2), 29 (44). — “Ginevra”: BRAVO 23 (21-22); OAK OPENINGS (47-48,53-55). — “The Gondola”: BRAVO 7 (73-75), 14 (59-61); HOMEWARD BOUND 9 (8-10). — “The Great St. Bernard”: HEADSMAN 24 (49-50). — “The Lake of Geneva”: HEADSMAN 1 (42-43). — “Marguerite de Tours”: BRAVO 18 (25-27) — “The Nun”: HEIDENMAUER 8 (22-24), 16 (32), 31 (1-2). — “St. Mark’s Place”: BRAVO 12 (170-173), 19 (95-98).
“Jacqueline” (1813): WEPT OF WISH-TON-WISH Title page (I.91-94).
“Ode to Superstition”: HEIDENMAUER 17 (III.i.1).
“On ... Asleep”: HEIDENMAUER 14 (5-6).

[S]

SACKVILLE, Thomas (1536-1608) [1841-1846]

“The Complaint of Henry Duke of Buckingham” (1563): DEERSLAYER 29 (lxxxi.1-5); CHAINBEARER 28 (lxxiii.1-7).

SANDS, Robert Charles (1799-1832) [1843-1848]

“The Dead of 1832”: Wyandotté 29 (1-4); REDSKINS 22 (1-8).
“Monody on Samuel Patch”: JACK TIER 4 (58-63).
Yamoyden: Wyandotté 4 (II.1-9).

SAVAGE, Richard (? -1743) [1847]

The Wanderer (1729): CRATER 8 (V.9-12,15-16).

SCHEFFER, Johan (1621-1679): SPY 19 (vii.1-4) [1821]

“Lapland Love Song” [sometimes called “Orra Moor”]. First translated from the Lappish by Johan Scheffer in his Latin Lapponia (Frankfurt: 1673); Cooper’s translation first appeared in The Spectator, No. 366 (April 30, 1712), of which there were many reprinted editions. For details on the poem, see Frank Edgar Farley, “I - Three ‘Lapland Songs’ ” in Publications of the Modern Language Association of America, Vol. XXI (new series XIV), No. 1, (1906), pp. 1-39. Information from Steven Harthorn and Hugh C. McDougall. See CooperSociety Newsletter No. 43 (Nov. 2004.

SCOTT, Sir Walter (1771-1832) [1821-1850]

“The Field of Waterloo”: DEERSLAYER 30 (v.1-6).
The Lady of the Lake (1810): SPY 9 (I.ii.9-16), 34 (VI.xxvi.22-25); PIONEERS 17 (V.xx.31-32), 21 (III.xiii.3-4); LAST OF THE MOHICANS 23 (IV.xxx.14-19); WING-AND-WING 28 (V.x.5-8).
The Lay of the Last Minstrel (1805): SPY Title page (VI.i.1-3); 5 (I.xxi.3-12); PIONEERS 37 (III.ii.5); WAYS OF THE HOUR 10 (III.ii.1-7).
The Lord of the Isles (1815): SPY 4 (IV.xxii.5-20); PIONEERS 41 (I.xvii.1-4,11-12); PILOT 8 (I.xxi.4-6), 18 (I.xxiii.1-4).
Marmion (1808): PIONEERS 18 (I.xxviii.13-16), 28 (VI.xxix.1-5), 31 (VI.xiv.23-25); PILOT 28 (I.iii.1-4); LIONEL LINCOLN 10 (V.xii.43-45), 29 (VI.xxv.19-20); Wyandotté 12 (VI.xix.1-5); CHAINBEARER 17 (IV.xvii.1-6).
Rokeby (1813): SPY-32 (VI.xxiii.23-24); CHAINBEARER 1 (III.iii.7-12).
“The Wild Huntsman” (1796) (tr. from Gottfried Burger): PIONEERS 10 (11-12).

SHAKESPEARE, William (1564-1616) [1821-1850]

All’s Well That Ends Well: LIONEL LINCOLN 24 (V.iii.155-157); RED ROVER 1 (II.i.47); WATER-WITCH 30 (III.ii.4-6); AFLOAT AND ASHORE 15 (IV.i.65-70).
Antony and Cleopatra: RED ROVER 25 (IV.x.1); BRAVO 5 (V.ii.15-18), 6 (IV.vii.2-3); HOMEWARD BOUND Title page (III.vii.20-23); HOME AS FOUND 22 (III.iv.20-22); MILES WALLINGFORD 18 (II.vi.83-87).
As You Like It: PRAIRIE 1 (II.iv.71-73), 10 ( I.i.29-30); BRAVO 2 (IV.i.38 “Hast ever swam in a gondola at Venice?”); HEIDENMAUER 1 (I.ii.71-73); HEADSMAN 16 (III.iii.1-4), 17 (I.ii.70); HOMEWARD BOUND 12 (III.ii.33-38); PATHFINDER 9 (II.i.1-5), 10 (III.v.109-111), 18 (V.ii.84,89,94-98); DEERSLAYER 3 (II.i.21-25); WING-AND-WING 13 (II.vii.113-118); AFLOAT AND ASHORE 29 (III.v.86-89); SATANSTOE 1 (II.iv.19-21); JACK TIER Title page (II.iv.16-18), 8 (I.ii.248).
A Comedy of Errors: SPY 22 (III.ii.10-12); HEADSMAN 13 (V.i.33); MILES WALLINGFORD 19 (I.i.91-95); CHAINBEARER 2 (I.ii.19-21).
Coriolanus: PRAIRIE 23 (IV.iv.6); RED ROVER 5 (IV.v.17-18), 23 (V.iii.28-29), 28 (III.ii.143-144); WEPT OF WISH-TON-WISH 5 (IV.v.17-18), 6 (V.ii.2-4); WATER-WITCH 20 (I.vi.44-45); HEIDENMAUER 11 (I.iii.26), 12 (I.iii.82-84), 19 (V.iii.34-37 “a ghostling ... other line”); HOMEWARD BOUND 34 (III.i.330-332); REDSKINS 4 (I.i.3-11), 7 (I.i.124-126 “Menenius Agrippa”).
Cymbeline: PRAIRIE 5 (IV.ii.124-128); RED ROVER 31 (V.v.320-321), 32 (V.v.365-368); WEPT OF WISH-TON-WISH 13 (V.v.118-119), 27 (V.iv.123-125); WATER-WITCH 23 (I.i.4,6-7), 33 (III.iv.18); SATANSTOE 6 (III.iv.165-167); OAK OPENINGS 3 (III.vi.22-24).
Hamlet: PILOT 17 (III.ii.382), 32 (I.i.2); LIONEL LINCOLN 5 (III.ii.149-151), 12 (III.ii.238-241), 18 (III.iv.24), 33 (V.ii.359); PRAIRIE 13 (V.i.102-05); RED ROVER 4 (III.ii.384); WEPT OF WISH-TON-WISH 9 (I.i.35-40), 10 (I.i.140-142), 11 (I.ii.241-242), 12 (I.v.125-126); WATER-WITCH 6 (I.i.21); HEIDENMAUER 5 (II.ii.236-238); HEADSMAN 9 (IV.v.98-99); HOME AS FOUND 24 (II.i.3-5), 25 (III.ii.23-24), 27 (II.ii.559-560); DEERSLAYER 5 (III.ii.271-274), 12 (IV.v.4-9); WING-AND-WING 18 (I.v.156-159); SATANSTOE 8 (II.ii.529-532); WAYS OF THE HOUR 8 (III.i.1-2), 9 (IV.v.7-10).
Henry IV, Part I: PILOT 12 (IV.ii.66-67), 20 (V.iv.138-140); LIONEL LINCOLN-4 (II.iv.422); PRAIRIE 24 (II.iv.365-366); RED ROVER 27 (I.iii.53-55); HEIDENMAUER 2 (I.ii.77-78); HOME AS FOUND Title page (II.iv.35), 19 (II.iv.535-537,539); AFLOAT AND ASHORE 17 (V.iv.78-80).
Henry IV, Part II: PIONEERS 4 (II.i.43-44); PILOT 22 (III.ii.122-123); PRAIRIE 20 (II.iv.120), 27 (II.iv.81-85), 30 (IV.ii.110); BRAVO 3 (IV.i.25) [misattributed to “King Henry VI”], 13 (III.ii.219) [typographical error: “Shelton” for “Shallow”]; HEIDENMAUER 15 (II.iii.1-2), 23 (IV.i.25); HEADSMAN 3 (III.ii.211-212); HOME AS FOUND 7 (III.i.80-84) [misattributed to “King Henry VI”]; PATHFINDER 14 (I.i.70-73); TWO ADMIRALS 20 (IV.iv.33-36); SATANSTOE 25 (I.i.68-69). BRAVO 13. Information from Steven Harthorn. See Cooper Society Newsletter No. 45 (Nov. 2004).
Henry V: SPY 7 (III.i.32-33); PILOT 4 (III.i.10-13); LIONEL LINCOLN 11 (IV.viii.117-118); LAST OF THE MOHICANS 15 (I.i.95-97), 31 (IV.vii.1-4); PRAIRIE 25 (II.i.3-4); RED ROVER 29 (IV.iii.91); HOMEWARD BOUND 27 (III.ii.12-13); HOME AS FOUND 28 (II.i.5-6); MERCEDES OF CASTILE 3 (V.ii.268-272); AFLOAT AND ASHORE 9 (I.ii.217-220), 14 (IV.i.85-90); WAYS OF THE HOUR 11 (I.i.60-62).
Henry VI, Part I: LIONEL LINCOLN 7 (II.i.5-7); LAST OF THE MOHICANS 14 (III.ii.13-14); WATER WITCH 18 (II.i.1) [misattributed to “King Henry IV”]; HEIDENMAUER 27 (III.i.127-128).
Henry VI, Part II: LIONEL LINCOLN 23 (III.iii.31-33), 26 (IV.viii.1-5); PRAIRIE 12 (I.iii.181), 28 (II.iii.7-8); RED ROVER 20 (IV.ii.1-2); WATER-WITCH 24 (IV.ii.65-68); BRAVO 21 (IV.viii.33), 22 (IV.viii.53-54); HEIDENMAUER 28 (III.iii.31); HOMEWARD BOUND 8 (IV.ii.189-190), 31 (IV.ii.102-104); HOME AS FOUND 14 (IV.viii.33), 15 (IV.ii.65-69); MILES WALLINGFORD 13 (V.i.12-13), 14 (IV.i.15-17), 15 (IV.i.139-141); REDSKINS 2 (I.ii.1-2), 12 (IV.ii.65-69), 15 (IV.ii.4-6), 16 (IV.ii.16-18).
Henry VI, Part III: TWO ADMIRALS 9 (V.ii.33-39); REDSKINS 13 (III.ii.14-15).
Henry VIII: RED ROVER Title page (III.i.69); HOMEWARD BOUND 4 (II.i.1-3); HOME AS FOUND 13 (I.ii.9), 21 (V.iv.74-75); WING-AND-WING 17 (V.ii.24-25); MILES WALLINGFORD 6 (III.i.151-153).
Julius Caesar: PILOT 3 (IV.iii.7-8), 21 (I.iii.28-32); LIONEL LINCOLN 6 (I.ii.198,205-207), 13 (III.ii.260-261), 14 (IV.iii.283); LAST OF THE MOHICANS 27 (I.ii.9-10); RED ROVER 19 (III.ii.260-261); WATER WITCH 29 (IV.iii.283); HOMEWARD BOUND 32 (IV.iii.286 “I’ll meet thee ... “); AFLOAT AND ASHORE 4 (IV.iii.218-224); CHAINBEARER 9 (III.ii.121-127); SEA LIONS 30 (III.ii.138-141).
King John: PILOT 19 (II.i.205); PRAIRIE 11 (IV.ii.108), 14 (II.i.361); WEPT OF WISH-TON-WISH 1 (III.i.262); BRAVO 25 (III.iii.66-69); HEADSMAN Title page (IV.ii.219-220), 25 (IV.2.223); TWO ADMIRALS 1 (I.i.125-129).
King Lear: PIONEERS 33 (II.ii.125-126), 34 (II.ii.8); LIONEL LINCOLN Title page (III.iv.154), 2 (I.iv.183-186); LAST OF THE MOHICANS 16 (V.i.40); PRAIRIE 7 (I.iv.316); WEPT OF WISH-TON-WISH 2 (III.i.17-19); HOMEWARD BOUND 18 (IV.vi.273-274), 29 (II.ii.91); HOME AS FOUND 26 (I.i.100-102); TWO ADMIRALS 2 (VI.vi.11-15); MILES WALLINGFORD 1 (II.iv.225-229), 26 (II.iv.282-286).
Love’s Labour’s Lost: PRAIRIE 6 (V.i.14-16), 9 (V.i.31-32); WEPT OF WISH-TON-WISH 20 (IV.ii.23-27); HEIDENMAUER 10 (III.i.56); TWO ADMIRALS 12 (IV.ii.8-12), 13 (V.i.30-31); MILES WALLINGFORD 11 (III.i.4-7).
Macbeth: LIONEL LINCOLN 9 (V.v.1-2), 22 (IV.i.112); PRAIRIE 17 (II.iii.76-78), 34 (II.ii.35); RED ROVER 14 (I.iii.38), 15 (I.iii.52-54), 30 (IV.iii.232-235); WEPT OF WISH-TON-WISH 15 (IV.iii.223-224,227), 16 (I.iii.39-42), 24 (I.iii.83-85), 28 (III.iv.121); WATER-WITCH 14 (I.iii.11-14), 26 (I.vii.1); BRAVO 10 (V.ix.26-28); HEADSMAN 4 (I.iii.35-36); CHRONICLES OF COOPERSTOWN Title page (I.vii.1); MERCEDES OF CASTILE 24 (II.iv.1-4); AFLOAT AND ASHORE 6 (IV.i.53-54), 18 (I.iii.62-66); MILES WALLINGFORD 30 (V.i.59-61); SATANSTOE 18 (I.iii.51-54), 22 (V.v.43-44); JACK TIER 9 (II.iii.54-59).
Measure for Measure: SPY 27 (IV.ii.92-93); WEPT OF WISH-TON-WISH 30 (V.i.396-398); WATER-WITCH 27 (II.iv.171-172); BRAVO 24 (II.i.172); HEIDENMAUER Intro (IV.i.22-24), 20 (III.ii.261-262); SATANSTOE 26 (III.i.127-131).
The Merchant of Venice: SPY 18 (IV.i.223-224); PIONEERS 30 (IV.i.300), 40 (V.i.279-280); PILOT 27 (III.i.91-92); LAST OF THE MOHICANS Title page (II.i.1-2), 2 (V.i.39), 5 (V.i.7-8), 11 (I.iii.51-52), 19 (III.i.51-54), 30 (IV.i.101-103); PRAIRIE 4 (III.ii.61-62), 31 (IV.i.174), 32 (IV.i.214-216); RED ROVER 11 (I.iii.25-27); WEPT OF WISH-TON-WISH 29 (IV.i.305), 31 (IV.i.252); WATER-WITCH 8 (II.v.51-55), 9 (I.iii.37-38 “you stare!”), 10 (II.iii.16-19), 11 (II.ii.79-80), 12 (III.v.57-58); BRAVO 11 (IV.i.174); HEADSMAN 5 (I.iii.41); HOME AS FOUND 9 (III.ii.63-65); Wyandotté 15 (III.ii.10-14); AFLOAT AND ASHORE 22 (I.iii.22-27), 23 (II.vii.26-28); MILES WALLINGFORD 3 (IV.i.238-242), 10 (I.iii.1-6); REDSKINS 29 (V.i.90-91); SEA LIONS 3 (II.vii.65-68), 29 (IV.i.85-87); WAYS OF THE HOUR 3 (IV.i.173-174), 4 (IV.i.206-207).
The Merry Wives of Windsor: LIONEL LINCOLN 27 (I.i.210-211); LAST OF THE MOHICANS 21 (IV.ii.150-151); WEPT OF WISH-TON-WISH 8 (V.v.161-164); JACK TIER 10 (I.i.58-65).
A Midsummer Night’s Dream: TALES FOR FIFTEEN: Imagination (III.i.137-141); LAST OF THE MOHICANS 4 (II.i.47-48), 10 (V.i.365-366), 22 (III.i.1-3), 25 (I.ii.66-69), 26 (I.ii.70); WEPT OF WISH-TON-WISH 26 (V.i.9-10); WATER-WITCH 13 (III.ii.289-291); HEIDENMAUER 13 (I.i.132-134), 22 (III.ii.29-30 ” ... among yourselves.”); HEADSMAN 15 (V.i.174-177); HOME AS FOUND 3 (III.i.148), 4 (III.i.163), 6 (I.ii.11-12); MILES WALLINGFORD 17 (II.ii.88-89); CHAINBEARER 12 (V.i.28-30); OAK OPENINGS 20 (III.i.156-158,162); WAYS OF THE HOUR 12 (I.i.197-200).
Much Ado About Nothing: PIONEERS 16 (III.iii.106-107); PILOT 29 (V.i.113-114); LIONEL LINCOLN 21 (IV.i.1-2); LAST OF THE MOHICANS 28 (III.v.4); PRAIRIE 18 (II.i.99-100), 19 (III.iii.28); RED ROVER 26 (V.i.130-131); WEPT OF WISH-TON-WISH 18 (III.iii.13-16); HOME AS FOUND 1 (III.iv.39-40), 2 (III.iii.125-127), 5 (III.i.68-70); AFLOAT AND ASHORE 28 (IV.i.155-161); SATANSTOE 13 (IV.ii.20-22); CHAINBEARER 4 (II.iii.247-253), 5 (II.i.6-10), 11 (II.i.69-72); JACK TIER 2 (III.iii.54-60).
Othello: SPY 15 (III.iii.322-324), 16 (II.iii.69-73); LAST OF THE MOHICANS 18 (V.ii.293-294); WATER-WITCH 31 (I.iii.13 “Now; the business”); WING-AND-WING 4 (II.i.25-28), 5 (II.i.92-93); OAK OPENINGS 5 (II.iii.93-96).
Pericles: PIONEERS 23 (II.i.116-117).
Rape of Lucrece: DEERSLAYER 24 (890-894).
Richard II: PIONEERS 2 (I.iii.275-276,279-280); LAST OF THE MOHICANS 1 (III.ii.93-95); PRAIRIE 33 (I.iii.251-252); BRAVO 4 (III.iv.4-5); HOMEWARD BOUND 33 (I.iii.148-149 ” ... a heavier doom ... “); Wyandotté 19 (III.ii.73-74) [misattributed to “Richard III”], 22 (IV.i.167-171); WAYS OF THE HOUR 1 (I.iii.1-2).
Richard III: PRAIRIE 2 (V.iii.7,9); HEIDENMAUER 30 (V.iii.216-218); HEADSMAN 6 (I.iv.24-28); HOMEWARD BOUND 7 (II.iii.32-37); DEERSLAYER 11 (I.iv.195-197,199-200); TWO ADMIRALS 7 (III.i.193-196); MILES WALLINGFORD 27 (V.iii.19-21).
Romeo and Juliet: SPY 11 (IV.v.49-54); PIONEERS 6 (V.i.44-48); LIONEL LINCOLN 17 (II.ii.12-13), 31 (I.v.117-118); PRAIRIE 3 (III.i.12-14), 15 (II.vi.1-2); RED ROVER 7 (V.i.73-75), 8 (I.v.128-129,132-133), 9 (II.i.5); WATER-WITCH 1 (I.iv.1-2), 7 (II.ii.82-84); HOME AS FOUND 20 (II.ii.33), 23 (II.ii.165-166), 29 (II.iii.57-61); TWO ADMIRALS 8 (III.v.189-192); CRATER 2 (I.iii.11-15).
The Taming of the Shrew: PIONEERS 5 (IV.i.132-136); PILOT 11 (V.i.61-62); PRAIRIE 21 (IV.iv.68); WATER-WITCH 15 (IV.ii.72-73); HOME AS FOUND 8 (IV.ii.93); WING-AND-WING 16 (IV.ii.77-79); CRATER 1 (II.i.330-331); SEA LIONS 12 (IV.ii.72-74); WAYS OF THE HOUR 7 (IV.iv.1).
The Tempest: SPY 13 (III.iii.49-50), 31 (III.i.81-83); PILOT 24 (I.i.10-12); PRAIRIE Title page (I.ii.16-17); RED ROVER 3 (I.i.9), 12 (I.i.3-4), 13 (II.ii.24-25), 16 (I.i.38-39), 17 (I.ii.170), 18 (II.i.4-6), 24 (II.i.6-8); WEPT OF WISH-TON-WISH 3 (IV.i.143-144), 4 (III.iii.94-95); WATER-WITCH 3 (I.i.28-30), 4 (IV.i.205-206), 16 (III.ii.144-145), 28 (I.i.16-17); HEIDENMAUER 7 (V.i.296-297); HEADSMAN 20 (II.ii.160); HOMEWARD BOUND 6 (II.ii.96-97), 14 (I.i.9), 15 (II.ii.90-92), 17 (I.ii.196-198); MERCEDES OF CASTILE 15 (II.i.300-305); AFLOAT AND ASHORE 5 (I.ii.144-148), 11 (I.i.1-4); REDSKINS 1 (I.ii.56-59); CRATER 5 (I.ii.221-224), 12 (II.i.159-164); JACK TIER 1 (I.ii.215-217); SEA LIONS 1 (III.ii.65-66), 13 (I.ii.226-229).
Timon of Athens: PIONEERS 29 (IV.iii.402); RED ROVER 21 (IV.iii.452-453); HOMEWARD BOUND 3 (V.iii.1-2).
Troilus and Cressida: PRAIRIE 7 (V.iv.1-5); WEPT OF WISH-TON-WISH 23 (IV.v.233-235); BRAVO 9 (IV.v.1-2).
Twelfth Night (or What You Will): PILOT 15 (II.iii.145-146); LAST OF THE MOHICANS 12 (IV.ii.120-122); RED ROVER 2 (II.iii.162), 22 (II.ii.19-21); WATER-WITCH 5 (V.i.312-313), 17 (I.ii.15-17) [misattributed to “Tempest”]; 21 (IV.ii.120-122), 22 (I.ii.1-2), 32 (V.i.51-53); HEIDENMAUER 18 (III.ii.2); HOMEWARD BOUND 5 (I.ii.1-2),19 (II.iii.81-83); HOME AS FOUND 11 (II.v.2-3), 12 (II.iii.22-25); SATANSTOE 27 (II.iv.107-109); CHAINBEARER 13 (I.v.222-223); SEA LIONS 2 (III.ii.5-7).
Two Gentlemen of Verona: SPY 20 (III.i.102-105); LIONEL LINCOLN 28 (III.i.1-2); PRAIRIE 16 (V.ii.43-45); WATER-WITCH 2 (II.vii.75-76), 25 (I.i.66-68); DEERSLAYER 8 (II.vii.75-78); AFLOAT AND ASHORE Title page (I.i.2), 2 (I.i.1-2,5-6 “Two Gentlemen of — Clawbonny”); SATANSTOE 7 (V.iv.132-135).
Venus and Adonis: CHAINBEARER 15 (1021-1024).
The Winter’s Tale: PRAIRIE 26 (II.i.108-09,110-12), 29 (IV.iv.795-798); RED ROVER 10 (IV.iv.213); WEPT OF WISH-TON-WISH 7 (IV.iv.244-246), 19 (II.i.108-109,110-112), 21 (II.i.127-128); WATER-WITCH 34 (V.ii.1-2); WING-AND-WING 7 (IV.iv.253-258); MILES WALLINGFORD 23 (V.ii.13-19); SATANSTOE 2 (III.iii.59-61), 3 (IV.iv.202-203,211-212); CHAINBEARER 3 (IV.iv.159-161); REDSKINS 10 (IV.iv.315-316,321-323).

SHAW, Cuthbert (1739-1771) [1845]

“Monody, To the Memory of Emma”: CHAINBEARER 21 (19-26).

SHELLEY, Percy Bysshe (1792-1822) [1833-1845]

“Death” (1824): PATHFINDER 5 (1-2).
“Mutability” (1824): HEADSMAN 30 (9-12); DEERSLAYER 31 (1-7); SATANSTOE 19 (8-14).
“Ozymandias” (1818): HOMEWARD BOUND 21 (12-14)
“Prometheus Unbound”: HEADSMAN 29 (IV.548).

SHENSTONE, William (1714-1763) [1845]

Elegies in Memory of a Private Family, in Worcestershire, “He Suggests the Advantages of Birth to a Person of Merit, and the Folly of a Superciliousness that is Built upon that Sole Foundation”: CHAINBEARER 24 (xii.1-4).

SHERIDAN, Richard (1751-1816) [1841-1850]

The Duenna: WAYS OF THE HOUR 16 (II.i.40-44).
“A True and Faithful Inventory of the Goods belonging to Dr. Swift”: DEERSLAYER 13 (1-6,13-14).

SUTERMEISTER, John Rudolph (1803-1826) [1840]

“To a Humming Bird” (1824?): MERCEDES 23 (ii.1-4). In, among others, A.B. Cleveland, ed., Poetry and Prose: Consisting of Selections Principally from American Authors ... “ (Baltimore: William and Joseph Neal, 1832) pp. 360; and John Keese, ed., The Poets of America: Illustrated by one of her Painters (New York: S. Colman, 1840), pp. 124-125. Information from Steven Harthorn and Hugh C. McDougall. See Cooper Society Newsletter, No. 45 (Nov. 2005).

SIGOURNEY, Mrs. Lydia H. (1791-1865) [1846-1849]

“The Indian Girl’s Burial”: SEA LIONS 20 (1-4).
“Indian Names”: REDSKINS 23 (1-8).

SIMMS, William Gilmore (1806-1870) [1846-1848]

“The Edge of the Swamp”: OAK OPENINGS 4 (40-44).
“Changes of Home”: REDSKINS 24 (1-4,17-20).

SMITH, Elizabeth Oakes (Amer.) [1843]

“The Acorn”: Wyandotté 1 (1-8), 20 (81-88).

SMITH, Horatio (Horace) (1779-1849) [1847]

“Moral Alchemy”: CRATER 20 (73-78).

SOMERVILLE, William (1675-1742)

The Chace (1735): PIONEERS 22 (197-199)

SOUTHEY, Mrs. Caroline Anne (nee Bowles) (1786-1854) [1849-1850]

“The Mariner”: SEA LIONS 6 (1-8).
“The Pauper’s Death Bed”: WAYS OF THE HOUR 2 (vii.1-5).

SOUTHEY, Robert (1774-1843) [1821-1850]

“The Battle of Blenheim” (1798): SPY 8 (43-48); WAYS OF THE HOUR 5 (30-36).
“Remembrance”: JACK TIER 16 (1-8).
“Lord William”: SATANSTOE 15 (73-76), 16 (69-72).
“The Lover’s Rock”: MILES WALLINGFORD 4 (5-8)
Roderick, the Last of the Goths (1814): DEERSLAYER 27 (xxiv.1-6).
“St. Juan Gualberto”: HEADSMAN 11 (187-190).

SPENSER, Edmund (1552?-1599) [1840]

The Faerie Queene (1590): PATHFINDER 4 (II.v.29.1-4), 23 (III.iv.56.1-9).
“The Ruines of Time” (1596): MERCEDES OF CASTILE 6 (57-63)
The Shepheardes Calender, “Januarye” (1579): PATHFINDER 28 (19-24).

SPRAGUE, Charles (1791-1875) [1843-1849]

“The Brothers”: Wyandotté 26 (5-8).
“Centennial Ode”: Wyandotté Title page (xv.1-4); CRATER 27 (xxiv.1-4); OAK OPENINGS 7 (xiv.1-4); SEA LIONS 14 (xxiv.1-4).
“The Family Meeting”: Wyandotté 7 (1-13).
“I See Thee Still”: REDSKINS 8 (8-17).
“Lines on the Death of M.S.C.”: MILES WALLINGFORD 9 (9-16).

STEVENS, George Alexander [1824] “The Storm”: PILOT Title page (2), 5 (64)..

[T]

TATHAM, John (Engl., fl. 1660) [1842]

The Distracted State (1651): WING-AND-WING 21 (III.i.51-52).

THOMSON, James (1700-1748) [1823-1845]

The Castle of Indolence (1749): TWO ADMIRALS 15 (I.xii.1-5).
Coriolanus (1748): PILOT-31 (V.iv.30-31 ” ... plot”).
“A Hymn on the Seasons”: PATHFINDER 6 (1-2).
The Seasons (1726-30): — “Spring”: HEADSMAN 21 (18-21) — “Summer”: HEADSMAN 23 (318-320); CHAINBEARER 23 (1188-1191) — “Autumn”: PIONEERS 27 (445-446). — “Winter”: PIONEERS 1 (1-3).

TOMKIS, Thomas (Engl. fl.1607) [1845]

Albumazar: SATANSTOE 30 (II.vi.10-14).

TOWNSHEND, JOHN (1757-1833) [1840]

“A New Scheme to Raise a New Corps, and Supply the Want of a Scotch Militia” MERCEDES 27 (x.1-6) Poem printed in Bell’s Classical Arrangement of Fugitive Poetry, London: John Bell, 1794), Vol. XVI. pp. 99-103. Information from Steven Harthorn. See “Cooper Society Newsletter” No. 41 (April 2004).

[W]

WARE, Henry, Jr. (1794-1843) [1842-1849]

“Lines to W.R.G. Bates” (1818): WING-AND-WING 10 (8-13).
“Seasons of Prayer” (1826): SEA LIONS 23 (7-12).

WARTON, Thomas (1728-1790) [1845]

“The Suicide”: CHAINBEARER 20 (iii.1-6).

WATTS, Isaac (1674-1748) [1848]

“Against Idleness and Mischief” (1715): OAK OPENINGS 1 (1-4), 2 (5-8).

WHITTIER, John Greenleaf (1807-1892) [1848]

Mogg Megone (1835): OAK OPENINGS 19 (II.11-15), 22 (III.91-96), 25 (III.129-133).

WILCOX, Carlos (1794-1827) [1849]

“Spring in New England”: SEA LIONS 28 (1-4).

WILLIS, Nathaniel Parker (1806-1867) [1843-1845]

“Lines on Leaving Europe”: MILES WALLINGFORD 12 (7-10).
“Melanie” (1835): Wyandotté 23 (197-200); REDSKINS 11 (197-200).

WILSON, John (aka Christopher NORTH) (1785-1854) [1821-1848]

“Epistle to Mr. Andrew Clark”: SPY 3 (47-52)
“Isle of Palms”: WING-AND-WING 26 (I.605-608); OAK OPENINGS 29 (I.139-144).
“Lines Sacred to the Memory of the Rev. James Grahame”: MERCEDES OF CASTILE 9 (126-131).
“Lines Written in a Highland Glen”: PATHFINDER 2 (31-36); CRATER 10 (31-36), 18 (1-6).

WOLFE, Charles (1791-1823) [1841-1848]

“The Burial of Sir John Moore at Corunna”: DEERSLAYER 21 (21-24) (“Disputed”).
“Oh, My Love has an Eye of the Softest Blue”: JACK TIER 11 (5-8,21-24).

WORDSWORTH, William (1770-1850) [1828-1846]

Laodamia (1815): PATHFINDER 22 (38-40).
“Louisa”: REDSKINS 5 (7-12).
“My Heart Leaps Up When I Behold” (1807): SATANSTOE 17 (1-9)
“Resolution and Independence” (1807): PATHFINDER 25 (1-4).
“Rob Roy’s Grave”: RED ROVER 6 (37,39-40).
“She Was a Phantom of Delight” (1807): MERCEDES OF CASTILE 31 (27-30).
“To a Sky-Lark: (1827): MERCEDES OF CASTILE 2 (7-12).
“To the Cuckoo” (1807): DEERSLAYER 16 (9-12).
“Yarrow Visited” (1835): PATHFINDER 7 (1-8).

[Y]

YOUNG, Edward (1683-1765) [1833-1847]

The Complaint: or Night Thoughts: PRECAUTION Title page (I.390-391 “Be wise to-day, ‘tis madness to defer — / To-morrow’s caution may arrive too late.”); TWO ADMIRALS 5 (VI.291-292) [Cooper ed. citation differs]; WING-AND-WING Title (IX.1856-1858); 14 (V.764-766); 19 (VIII.333-335); CRATER 11 (IX.95-98).
Love of Fame: Wyandotté 18 (iv.87-90).
“Ocean: An Ode”: CHAINBEARER 19 (xlv.1-6)
The Revenge (1721): HEADSMAN 31 (III.1.80-81); TWO ADMIRALS 10 (I.ii.105-107); SATANSTOE 11 (I.i.86-88).
The Universal Passion (1728): CRATER 9 (V.167-170).

Part III — Unidentified Epigraphs

For texts, see below under Missing Epigraphs; help us find them! (a) attribution; (b) novel; (c) chapter

ANON. BALLAD: TALES FOR FIFTEEN Heart.
ANONYMOUS: ; CRATER 15.
COASTING SONG: WATER-WITCH 19.
DUO: [1821-1844] [probably by James Fenimore Cooper]
“Song in Duo”: SPY 28.
“Duo”: SPY 12,17,26; PIONEERS 3,12,25; PILOT 6; MILES WALLINGFORD 21,24.
HELIOGABALIAD: PIONEERS 9.
IRISH SONG: MILES WALLINGFORD 20.
POLITICAL ESSAY: REDSKINS 26.
[NO ATTRIBUTION]: PILOT 16;

B. Susan Fenimore Cooper

Elinor Wyllys

Elinor Wyllys; or, The Young Folk of Longbridge, by Amabel Penfeather (Philadelphia: Carey and Hart, 2 vols., 1846)

By Chapter

Title pages. WORDSWORTH: “Solitary Reaper” (22-24)

Volume I

1. ROGERS: Italy: Ginevra (19)
2. [no attribution]: WS Romeo and Juliet (I.iv.10)
3. ROGERS: Italy: Ginevra (55)
4. HENRY VI: WS Pt. 1 (V.iii.173-174)
5. CORREGGIO: On seeing Raphael’s “St. Cecelia”
6. HENRY VI: WS Pt. 3 (IV.v.25)
7. HENRY VI: WS Pt. 1 (V.ii.10)
8. CRABBE: Posthumous Tales XV “Belinda Waters” (II.31)
9. CRABBE: Posthumous Tales VI “The Farewell and Return” (I.62)
10. COWPER: “Conversation” (457)
11. COWPER: “Hope” (209-210) CRABBE: Posthumous Tales VIII “Barnaby; The Shopman” (II.3-4)
12. HAMLET: WS (II.ii.275-176) ROMEO AND JULIET: WS (I.iii.100-102)
13. SHAKSPEARE: Much Ado About Nothing (II.i.289)
14. COLERIDGE: Ancient Mariner (592)
15. ROGERS: Italy: “A Character” (39-40)
16. COWPER: “Human Frailty” (1-4)
17. SHAKSPEARE: Much Ado About Nothing (III.ii.117)
18. HENRY VI: WS Pt. 2 (II.iv.26)
19. SHAKSPEARE: All’s Well That Ends Well (I.iii.218-219)
20. ROGERS: Italy: “The Nun” (71-73)
21. NEWSPAPER VERSES: [not located]
22. [no attribution]: “Happy New Year!”
23. COLERIDGE: Ancient Mariner (5-8)

Volume II

1. WORDSWORTH: Poems of the Imagination “Hart-Leap Well” (95-96) COWPER: “The Yearly Distress ... “: (33-36)
2. AS YOU LIKE IT: WS (I.ii.147)
3. AS YOU LIKE IT: WS (II.vii.87 or III.iv.46)
4. COWPER: Translations of Greek Verses “On A Miser”: (1)
5. HENRY VIII: WS (II.i.79-81)
6. COWPER: “Truth” (43)
7. TAMING THE SHREW: WS (V.ii.102)
8. WINTER’S TALE: WS (I.ii.50-51)
9. WORDSWORTH: “Yarrow Visited” (11-12)
10. SHAKSPEARE: Twelfth Night (V.i.221,235-236)
11. ROGERS: Italy “A Funeral” (1-2)
12. HENRY IV: WS Pt. 1 (II.iv.375-376, 420-421)
13. TAMING THE SHREW: WS (III.ii.240)
14. HENRY VI: WS Pt. 3 (IV.i.1-2)
15. HABINGTON: Castara (I.20-21)
16. WINTER’S TALE: WS (V.ii.31-32)
17. ROMEO AND JULIET: WS (I.iii.79)
18. MERCHANT OF VENICE: WS (IV.i.171-172)
19. FRANÇOIS I: Letter to his mother
20. RICHARD III: WS (IV.iv.180)
21. HENRY IV [sic]: WS Richard III (II.iv.39)
22. COLERIDGE [sic]: Reginald Heber, “Morte d’Arthur” (II.534-535)
23. COLERIDGE: “Separation” (9-10)

By Author

ANONYMOUS

Newspaper Verses: I-21 [not located]
[No attribution]: I-22 [“Happy New Year!”]

COLERIDGE, Samuel Taylor (1772-1834)

“Separation”: II-23 (9-10).
The Rime of the Ancient Mariner: I-14 (592); I-23 (5-8).

CORREGGIO, Antonio Allegri (1494-1534)

On seeing Raphael’s “St. Cecelia” (1525): I-5.

COWPER, William (1731-1800)

“Conversation”: I-10 (457).
“Hope”: I-11 (209-210).
“Human Frailty”: I-16 (1-4).
Translations of Greek Verses: “On A Miser”: II-4 (1)
“Truth”: II-6 (43)
“The Yearly Distress, or, Tithing Time at Stock in Essex”: II-1 (33-36

CRABBE, George (1754-1832)

Posthumous Tales (1834) ------ VI “The Farewell and Return”: I-9 (I.62). ------ VIII “Barnaby; The Shopman”: I-11 (II.3-4). ------ XV “Belinda Waters”: I-8 (II.31).

FRANCIS I (King of France): (1495-1547)

Letter to his Mother (1525): II-19.

HABINGTON, William (1605-1664)

Castara: II-15 (I.20-21)

HEBER, Reginald (1783-1826)

“Morte d’Arthur: A Fragment”: II-22 (II.534-535) [misattributed to Coleridge]

ROGERS, Samuel (1763-1855)

Italy (1822-1828) ------ “A Character”: I-15 (39-40). ------ “Ginevra”: I-1 (19); I-3 (55). ------ “The Nun”: I-20 (71-73).

SHAKESPEARE, William (1564-1616)

All’s Well That Ends Well: I-18 (I.iii.218-219)
As You Like It: II-2 (I.ii.147); II-3 (II.vii.87 or III.iv.46).
Hamlet: I-12 (II.ii.275-276).
1 Henry IV: (II.iv.375-376, 420-421).
1 Henry VI: I-4 (V.iii.173-174); I-7 (V.ii.10).
2 Henry VI: I-18 (II.iv.26).
3 Henry VI: I-6 (IV.v.25); II-14 (IV.i.1-2).
Henry VIII: II-5 (II.i.79-81)
The Merchant of Venice: II-18 (IV.i.171-172).
Much Ado About Nothing: I-13 (II.i.289); I-17 (III.ii.117).
Richard III: II-20 (IV.iv.180); II-21 (IV.iv.39) [misattributed to Henry IV].
Romeo and Juliet: I-2 (I.iv.10); I-12 (I.iii.100-102); II-17 (I.iii.79).
The Taming of the Shrew: II-7 (V.ii.102); II-13 (III.ii.240).
Twelfth Night: II-10 (V.i.221, 235-236).
A Winter’s Tale: II-8 (I.ii.50-51); II-16 (V.ii.31-32)

WORDSWORTH, William (1770-1850)

Poems of the Imagination “Hart-Leap Well”: II-1 (95-96)
“The Solitary Reaper”: Title pages (22-24)
“Yarrow Visited, September 1814”: II-9 (11-12)

ural Hours

Rural Hours, by A Lady (New York: George P. Putnam, 1850)

Title page: MARLOWE: “The Passionate Shepherd to his Love” (1599) 2-4

Appendix: hakespeare quotations in The Water Witch (1830)

In Chapters 14-16 of Cooper’s The Water-Witch (1830), the figure-head of the eponymous brigantine writes cryptic messages in the form of Shakespearean quotations; there is also a quotation from Shakespeare in the Preface.

Preface: 2 Henry VI, IV.ii.68-69.
Chapter 14: ------ The Merchant of Venice, I.iii.61-64. ------ Macbeth, I.iii.33-36.
Chapter 15: ------ The Tempest, I.ii.46-49. ------ The Tempest, I.ii.252-254. ------ [Song: My Brigantine, apparently by Cooper]
Chapter 16: ------ Measure for Measure, V.i.525-527. ------ Measure for Measure, V.i.535-539. ------ Measure for Measure, V.i.508.

Texts of Missing Epigraphs

The following epigraphs have not been located. Please help us find them, and report any suggestions to: The James Fenimore Cooper Society, 8 Lake Street, Cooperstown, NY 13326. email: jfcooper@stny.rr.com