| William Wordsworth.
1770–1850. |
Critical Introduction by Richard William Church |
| The Reverie of Poor Susan |
| Expostulation and Reply |
| The Tables Turned |
| Lines Composed near Tintern Abbey |
| Lines Written in Early Spring |
| A Poet’s Epitaph |
| Lucy Gray; or, Solitude |
| Lucy |
| The Two April Mornings |
| The Fountain. A Conversation |
| There Was a Boy |
| Influence of Natural Objects in Calling Forth and Strengthening the Imagination in Boyhood and Early Youth |
| The Green Linnet |
| Yew Trees |
| To a Highland Girl |
| The Solitary Reaper |
| Yarrow Unvisited |
| To the Cuckoo |
| At the Grave of Burns |
| Thoughts Suggested the Day Following |
| ‘She was a Phantom’ |
| ‘I wandered lonely’ |
| Ode to Duty |
| The Nightingale |
| The Mountain Echo |
| Ode. Intimations of Immortality from Recollections of Early Childhood |
| Laodamia |
| To ——— [Miss Blackett], on Her First Ascent to the Summit of Helvellyn |
| Evening Voluntary |
| Extracts from the Prelude: [Apparition on the Lake] |
| [Morning after the Ball] |
| [Defile of Gondo] |
| [Ascent of Snowdon] |
| Extracts from the Excursion: [Twin Peaks of the Valley] |
| [Mist Opening in the Hills] |
| [Among the Mountains] |
| [The Moon among Trees] |
| [The Sea Shell] |
| Sonnets: [The Gains of Restraint] |
| [On the Beach at Calais] |
| Composed upon Westminster Bridge |
| Thought of a Briton on the Subjugation of Switzerland |
| Milton |
| [The World’s Ravages] |
| [The Throne of Death] |
| [The Shock of Bereavement] |
| After-Thought |
| Mutability |
| To Lady Fitzgerald |
| On the Departure of Sir Walter Scott from Abbotsford, for Naples |
| [Past Years of Home] |
| Samuel Rogers.
1763–1855. |
Critical Introduction by Sir Henry Taylor |
| Extract from The Pleasures of Memory |
| Extract from Human Life |
| Extract from Italy |
| Ginevra |
| William Lisle Bowles.
1762–1850. |
Critical Introduction by Henry Austin Dobson |
| Sonnets: Written at Ostend |
| Influence of Time on Grief |
| November, 1793 |
| Bereavement |
| Samuel Taylor Coleridge.
1772–1834. |
Critical Introduction by Walter Pater |
| Time, Real and Imaginary |
| Love |
| Sonnet: ‘As when far off the warbled strains are heard’ |
| The Eolian Harp |
| Frost at Midnight |
| Dejection. An Ode |
| Sonnet. Composed on a Journey Homewards |
| First Part of Christabel |
| The Rime of the Ancient Mariner |
| Robert Southey.
1774–1843. |
Critical Introduction by Sir Henry Taylor |
| Extract from Roderick |
| Extract from Thalaba |
| Extract from Kehama |
| Ode, Written During the Negociations with Buonaparte |
| Funeral Ode on the Death of the Princess Charlotte |
| The Holly Tree |
| The Battle of Blenheim |
| Stanzas Written in His Library |
| Sir Walter Scott.
1771–1832. |
Critical Introduction by Goldwin Smith |
| The Last Minstrel (from The Lay of the Last Minstrel) |
| The Camp (from Marmion) |
| Battle of Beal’ an Duine (from The Lady of the Lake) |
| The Buccaneer (from Rokeby) |
| Lake Coriskin (from The Lord of the Isles) |
| The Eve of St. John |
| Edmund’s Song (from Rokeby) |
| County Guy (from Quentin Durward) |
| The Violet |
| Joanna Baillie.
1762–1851. |
Critical Introduction by Agnes Mary Frances Duclaux (Robinson-Darmesteter) |
| The Chough and Crow |
| Fisherman’s Song |
| Song: ‘They who may tell love’s wistful tale’ |
| Song: ‘The bride she is winsome and bonny’ |
| James Hogg.
1770–1835. |
Critical Introduction by William Minto |
| A Boy’s Song |
| Thomas Campbell.
1777–1844. |
Critical Introduction by Sir Henry Taylor |
| Hohenlinden |
| Ye Mariners of England |
| Battle of the Baltic |
| The Oneyda’s Death Song |
| John Hookham Frere.
1769–1846. |
Critical Introduction by Henry Austin Dobson |
| Extract from The Monks and the Giants |
| Lord Byron.
1788–1824. |
Critical Introduction by John Addington Symonds |
| When We Two Parted |
| And Thou Art Dead, As Young and Fair |
| Extract from The Bride of Abydos |
| Extracts from The Hebrew Melodies: She walks in beauty |
| Oh! snatch’d away in beauty’s bloom |
| Extract from Parisina |
| Stanzas for Music: ‘There be none of Beauty’s daughters’ |
| ‘There’s not a joy the world can give’ |
| Fare Thee Well |
| Stanzas to Augusta |
| Epistle to Augusta |
| The Dream |
| Extracts from Childe Harold’s Pilgrimage: Harold the Wanderer |
| Night and Tempest |
| Ocean |
| Prometheus |
| Sonnet on Chillon |
| Stanzas for Music: ‘They say that Hope is happiness’ |
| So, We ’ll Go No More a Roving |
| Stanzas Written on the Road between Florence and Pisa |
| Stanzas: ‘Could Love for ever’ |
| Extracts from Don Juan: Donna Julia’s Letter |
| First Love |
| The Isles of Greece |
| Haidée and Juan |
| Invocation to the Spirit of Achilles (from The Deformed Transformed) |
| On This Day I Complete My Thirty-sixth Year |
| William Tennant.
1784–1848. |
Critical Introduction by William Minto |
| Rab the Ranter’s Bag-pipe Playing (from Anster Fair) |
| Thomas Moore.
1779–1852. |
Critical Introduction by Edmund W. Gosse |
| Extracts from Lalla Rookh: The Light of the Haram |
| The Fire-Worshippers |
| When He, Who Adores Thee |
| Believe Me, If All Those Endearing Young Charms |
| By That Lake, Whose Gloomy Shore |
| Lesbia Hath a Beaming Eye |
| At the Mid Hour of Night |
| The Young May Moon |
| The Time I ’ve Lost in Wooing |
| Dear Harp of My Country |
| Echo |
| Oft in the Stilly Night (from National Airs) |
| Charles Wolfe.
1791–1823. |
Critical Introduction by Edmund W. Gosse |
| The Burial of Sir John Moore at Corunna |
| Song: ‘O say not that my heart is cold’ |
| Charles Lamb.
1775–1834. |
Critical Introduction by Edward Dowden |
| Hester |
| The Old Familiar Faces |
| The Grandame |
| On an Infant Dying As Soon As Born |
| Work |
| Parental Recollections |
| Felicia Dorothea Hemans.
1793–1835. |
Critical Introduction by Agnes Mary Frances Duclaux (Robinson-Darmesteter) |
| A Ballad of Roncesvalles |
| A Dirge |
| Casabianca |
| Leigh Hunt.
1784–1859. |
Critical Introduction by Edward Dowden |
| A Garden and Summer House (from The Story of Rimini) |
| Rondeau: ‘Jenny kissed me’ |
| To the Grasshopper and the Cricket |
| The Fish, the Man, and the Spirit |
| Percy Bysshe Shelley.
1792–1822. |
Critical Introduction by Frederic William Henry Myers |
| Stanzas—April 1814 |
| Extract from Alastor; or, The Spirit of Solitude |
| Stanzas Written in Dejection near Naples |
| Ode to the West Wind |
| Extracts from Prometheus Unbound: Semichorus I of Spirits |
| Semichorus II |
| Voice in the air, singing |
| Hymn of Pan |
| The Cloud |
| To a Skylark |
| Extract from Epipsychidion |
| Adonais; an Elegy on the Death of John Keats |
| To Night |
| To ——: ‘Music, when soft voices die’ |
| A Lament |
| To ——: ‘One word is too often profaned’ |
| Last Chorus of Hellas |
| Lines: ‘When the lamp is shattered’ |
| To Jane—The Recollection |
| Thomas Love Peacock.
1785–1866. |
Critical Introduction by Edmund W. Gosse |
| Extracts from Rhododaphne: The Spell of the Laurel-Rose |
| The Vengeance of Bacchus |
| The War-Song of Dinas Vawr (from The Misfortunes of Elphin) |
| The Men of Gotham (from Nightmare Abbey) |
| The Flower of Love (from Melincourt) |
| The Grave of Love |
| Mr. Cypress’s Song in Ridicule of Lord Byron (from Nightmare Abbey) |
| John Keats.
1795–1821. |
Critical Introduction by Matthew Arnold |
| Endymion (from Miscellaneous Poems) |
| Extracts from Endymion: Beauty |
| Hymn to Pan |
| Bacchus |
| Cynthia’s Bridal Evening (from Miscellaneous Poems) |
| Extracts from Hyperion: Saturn |
| Cœlus to Hyperion |
| Oceanus |
| Hyperion’s Arrival |
| The Flight (from The Eve of St. Agnes) |
| Ode to a Nightingale |
| Ode on a Grecian Urn |
| Ode: ‘Bards of Passion and of Mirth’ |
| To Autumn |
| Lines on the Mermaid Tavern |
| Sonnets: On First Looking into Chapman’s Homer |
| Written in January, 1817 |
| Written in January, 1818 |
| Addressed to Haydon |
| On the Grasshopper and the Cricket |
| The Human Seasons |
| On a Picture of Leander |
| Keats’s Last Sonnet |
| The Bard Speaks (from The Epistle to My Brother George) |
| Walter Savage Landor.
1775–1864. |
Critical Introduction by Lord Houghton |
| Extracts from Gebir: The Shell |
| Prayers |
| Tamar and the Nymph |
| To Tacæa |
| Fæsulan Idyl |
| Iphigeneia and Agamemnon |
| The Death of Artemidora |
| Corinna, from Athens, to Tanagra (from Pericles and Aspasia) |
| Cleone to Aspasia |
| The Maid’s Lament (from the Examination of Shakespeare) |
| ‘Ye who have toiled uphill’ |
| ‘Twenty years hence’ |
| ‘Lately our poets loitered’ |
| ‘When Helen first saw wrinkles’ |
| ‘Say ye, that years roll on’ |
| Friends |
| ‘You smiled, you spoke’ |
| ‘There are who say’ |
| ‘Why, why repine’ |
| Children Playing in a Churchyard |
| ‘Ah! what avails the sceptered race!’ |
| On Southey’s Death |
| ‘An aged man, who loved to doze away’ |
| For an Epitaph at Fiesole |
| Bryan Waller Procter (Barry Cornwall).
1787–1874. |
Critical Introduction by Edmund W. Gosse |
| For Music |
| The Sea |
| A Bacchanalian Song |
| A Repose |
| Inscription for a Fountain |
| A Petition to Time |
| Ebenezer Elliott.
1781–1849. |
Critical Introduction by Edward Dowden |
| An Excursion to the Mountains (from The Village Patriarch) |
| Song: ‘Child, is thy father dead?’ |
| Battle Song |
| A Poet’s Epitaph |
| The Three Marys at Castle Howard, in 1812 and 1837 |
| Plaint |
| John Keble.
1792–1866. |
Critical Introduction by Arthur Penrhyn Stanley |
| Extracts from The Christian Year: Third Sunday in Lent |
| Second Sunday after Easter |
| Fifteenth Sunday after Trinity |
| All Saints’ Day |
| United States (from Lyra Apostolica) |
| The Waterfall (from Lyra Innocentium) |
| Hartley Coleridge.
1796–1849. |
Critical Introduction by Edward Dowden |
| Sonnet: ‘Long time a child, and still a child, when years’ |
| To a Lofty Beauty, from Her Poor Kinsman |
| May, 1840 |
| To a Deaf and Dumb Little Girl |
| Stanzas: ‘She was a queen of noble Nature’s crowning’ |
| Song: ‘She is not fair to outward view’ |
| Summer Rain |
| William Motherwell.
1797–1835. |
Critical Introduction by William Minto |
| True Love’s Dirge |
| Jeanie Morrison |
| Thomas Hood.
1799–1845. |
Critical Introduction by Henry Austin Dobson |
| The Bridge of Sighs |
| A Parental Ode to My Son, Aged Three Years and Five Months |
| The Death-Bed |
| Thomas Babington, Lord Macaulay.
1800–1859. |
Critical Introduction by Thomas Humphry Ward |
| The Battle of Naseby |
| Epitaph on a Jacobite |
| Winthrop Mackworth Praed.
1802–1839. |
Critical Introduction by Henry Austin Dobson |
| A Letter of Advice |
| The Vicar |
| Thomas Lovell Beddoes.
1803–1849. |
Critical Introduction by Edmund W. Gosse |
| Dirge for Wolfram (from Death’s Jest Book, Act ii) |
| Song: ‘How many times do I love thee, dear?’ (from Torrismond, Sc. iii) |
| Amala’s Bridal Song (from Death’s Jest Book, Act iv) |
| Athulf’s Song (from Death’s Jest Book, Act iv) |
| Sailor’s Song (from Death’s Jest Book, Act i) |
| Hesperus’ Song (from The Bride’s Tragedy, Act i) |
| Song of the Stygian Naiades |
| Wolfram’s Song (from Death’s Jest Book, Act v) |
| Extract from Dream-Pedlary |
| Elizabeth Barrett Browning.
1806–1861. |
Critical Introduction by William Thomas Arnold |
| Irreparableness |
| Grief |
| Extracts from Sonnets from the Portuguese |
| Extract from Casa Guidi Windows |
| A Musical Instrument |
| The Forced Recruit. Solferino, 1859 |
| Extracts from Aurora Leigh: Aurora’s Home |
| The Beauty of England |
| A Simile |
| Marian’s Child |
| The Journey South |
| Emily Brontë.
1818–1848. |
Critical Introduction by Edmund W. Gosse |
| Last Lines |
| Stanzas |
| Remembrance |
| The Old Stoic |
| A Death-Scene |
| Arthur Hugh Clough.
1819–1861. |
Critical Introduction by Thomas Humphry Ward |
| Qua Cursum Ventus |
| Qui Laborat, Orat |
| The Hidden Love |
| ‘With whom is no variableness, neither shadow of turning’ |
| ‘Perchè Pensa? Pensando s’invecchia’ |
| The Shadow |
| Extracts from Dipsychus: Isolation |
| In Venice; Dipsychus Speaks |
| The Stream of Life (from Poems on Life and Duty) |
| Extracts from The Bothie of Tober-na-Vuolich: The Highland Stream |
| Elspie and Philip |
| Philip to Adam |
| Extracts from Songs in Absence: Come Back! |
| Where Lies the Land? |
| ‘Say not the struggle nought availeth’ (from Miscellaneous Poems) |
| Charles Kingsley.
1819–1875. |
Critical Introduction by William Ernest Henley |
| Pallas in Olympus (from Andromeda) |
| The Last Buccanier |
| The Sands of Dee (from Alton Locke) |
| A Farewell |
| Dolcino to Margaret |
| Airly Beacon |
| A Boat-Song (from Hypatia) |
| The Song of Madame Do-as-you-would-be-done-by |
| The ‘Old, old Song’ |
| Sydney Dobell.
1824–1874. |
Critical Introduction by John Nichol |
| Monk’s Song (from The Roman) |
| Sonnets: America |
| The Common Grave |
| England (from Balder) |
| Chamouni |
| James Thomson.
1834–1882. |
Critical Introduction by Philip Bourke Marston |
| Extracts from The City of Dreadful Night |
| Arthur William Edgar O’Shaughnessy.
1844–1881. |
Critical Introduction by Edmund W. Gosse |
| From ‘Bisclaveret’ (Epic of Women) |
| Song: ‘Has summer come without the rose’ (from Lays of France) |
| Song: ‘I made another garden, yea’ (from Music and Moonlight) |
| Dante Gabriel Rossetti.
1828–1882. |
Critical Introduction by Walter Pater |
| The Blessed Damozel |
| Love Enthroned |
| Love’s Nocturn |
| Love’s Lovers |
| Love-Lily |
| Parted Love |
| The Portrait |
| Sibylla Palmifera |
| Newborn Death |
| Soothsay |
| Hope overtaken |
| The Monochord |
| Ave |
