| Robert Browning.
1812–1889. |
Critical Introduction by Margaret L. Woods |
| How They Brought the Good News from Ghent to Aix |
| Pippa’s Song |
| The Bishop Orders His Tomb at Saint Praxed’s Church |
| The Lost Leader |
| David Singing before Saul |
| Home Thoughts, from Abroad |
| Love among the Ruins |
| Incident of the French Camp |
| Two in the Campagna |
| Up at a Villa—Down in the City |
| May and Death |
| Prospice |
| Rabbi Ben Ezra |
| Confessions |
| The Ring and the Book (Dedication) |
| The Householder |
| Epilogue to Asolando |
| Matthew Arnold.
1822–1888. |
Critical Introduction by Thomas Humphry Ward |
| To a Friend |
| Shakespeare |
| Requiescat |
| Human Life |
| ‘The poet, to whose mighty heart’ (from Resignation) |
| ‘He spoke; and as he ceased, he wept aloud’ (from Sohrab and Rustum) |
| The Forsaken Merman |
| Austerity of Poetry |
| To Marguerite |
| The Strayed Reveller (from Empedocles on Etna) |
| Callicles’ Song (from Empedocles on Etna, Act ii) |
| Dover Beach |
| Palladium |
| Morality |
| Memorial Verses (April, 1850) |
| Rugby Chapel (November, 1857) |
| Thyrsis |
| Alfred, Lord Tennyson.
1809–1892. |
Critical Introduction by Sir Richard Claverhouse Jebb |
| Claribel |
| A Dirge |
| The Lady of Shalott |
| Eleänore |
| ‘Of old sat Freedom on the Heights’ |
| ‘Love thou thy Land’ |
| ‘You ask me, why, tho’ ill at ease’ |
| Morte d’Arthur |
| Ulysses |
| St. Agnes’ Eve |
| ‘Break, break, break’ |
| Extracts from The Princess: ‘The splendour falls on castle walls’ |
| ‘Tears, idle tears’ |
| Extracts from In Memoriam: ‘The Danube to the Severn gave’ |
| ‘Yet if some voice that man could trust’ |
| ‘Oh yet we trust that somehow good’ |
| ‘Heart-affluence in discursive talk’ |
| ‘There rolls the deep where grew the tree’ |
| Extract from Maud: ‘I have led her home, my love, my only friend’ |
| The Brook |
| Ode on the Death of the Duke of Wellington |
| The Charge of the Light Brigade |
| Northern Farmer, Old Style |
| Tithonus |
| Milton |
| The Sailor Boy |
| Arthur’s Farewell (from The Idylls of the King: Guinevere) |
| The Revenge |
| To Virgil |
| Hymn: ‘Once again thou flamest heavenward’ (from Akbar’s Dream) |
| God and the Universe |
| Crossing the Bar |
| Richard Henry Hengist Horne.
1802–1884. |
Critical Introduction by John Drinkwater |
| ‘One day, at noontide, when the chase was done’ (from Orion) |
| The Plough |
| John Henry Newman.
1801–1890. |
Critical Introduction by Josephine Ward |
| Memory |
| The Pillar of the Cloud |
| Extracts from The Dream of Gerontius |
| William Barnes.
1801–1886. |
Critical Introduction by Thomas Hardy |
| In the Spring |
| Jenny out vrom Hwome |
| The Wife a-lost |
| Woak Hill |
| The Widow’s House |
| The Water Crowvoot |
| Blackmwore Maïdens |
| The Morning Moon |
| White and Blue |
| The Wind at the Door |
| Aubrey Thomas de Vere.
1814–1902. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from The Search after Proserpine: Fountain Nymphs |
| Coleridge |
| Extracts from May Carols: ‘Stronger and steadier every hour’ |
| ‘A sweet exhaustion seems to hold’ |
| ‘A sudden sun-burst in the woods’ |
| Extracts from Mediæval Records and Sonnets: Browning |
| Tennyson |
| Sir Francis Hastings Doyle.
1810–1888. |
Critical Introduction by Thomas Humphry Ward |
| Extract from The Doncaster St. Leger |
| The Private of the Buffs |
| Richard Monckton Milnes, Lord Houghton.
1809–1885. |
Critical Introduction by Robert Offley Ashburton Crewe-Milnes, Marquess of Crewe |
| Mohammedanism |
| The Flight of Youth |
| Moments |
| Half-Truth |
| Shadows |
| Mrs. Denison |
| The Brownie |
| Alexander Smith.
1830–1867. |
Critical Introduction by John Drinkwater |
| Extract from A Life Drama |
| Sonnet: ‘Like clouds or streams we wandered on at will’ |
| Extract from Edwin of Deira |
| Extract from Horton |
| Extract from Squire Maurice |
| Jean Ingelow.
1820–1897. |
Critical Introduction by Thomas Humphry Ward |
| The High Tide on the Coast of Lincolnshire |
| When Sparrows Build |
| Coventry Patmore.
1823–1896. |
Critical Introduction by Edmund W. Gosse |
| Eros |
| Night and Sleep |
| Extract from Tamerton Church-Tower |
| Extracts from The Angel in the House: The Poet’s Confidence |
| Love at Large |
| The Lover |
| The Revelation |
| The Amaranth |
| Love’s Perversity |
| Extract from Amelia |
| Extracts from The Unknown Eros: Winter |
| The Azalea |
| Departure |
| The Toys |
| To the Body |
| Edward Fitzgerald.
1809–1883. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from the Rubáiyát |
| William Johnson Cory.
1823–1892. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from Ionica: Mimnermus in Church |
| Amaturus |
| A Queen’s Visit (1851) |
| A Study of Boyhood |
| Deteriora |
| Parting |
| To the Muse |
| Richard Watson Dixon.
1833–1900. |
Critical Introduction by Henry Charles Beeching |
| Song: ‘The feathers of the willow’ |
| The Fall of the Leaf |
| Ode on Conflicting Claims |
| Ode: The Spirit Wooed |
| Ode on Advancing Age |
| Thomas Gordon Hake.
1809–1895. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from New Symbols: The Snake-charmer |
| The Painter (1876) |
| Extracts from The New Day (1890): Sonnet X: ‘Genius and Poetry should still advance’ |
| Sonnet XXXII: ‘The thousand volumes of poetic lore’ |
| Christina Georgina Rossetti.
1830–1894. |
Critical Introduction by Percy Lubbock |
| Noble Sisters |
| Dream Land |
| Bride-song (from The Prince’s Progress) |
| Song: ‘When I am dead, my dearest’ |
| A Birthday |
| At Home |
| Up-hill |
| Shut Out |
| Echo |
| A Christmas Carol |
| Passing Away |
| George Meredith.
1828–1909. |
Critical Introduction by John Bailey |
| The Spirit of Shakespeare |
| Winter Heavens |
| Dirge in Woods |
| The Year’s Sheddings |
| Song in the Songless |
| Youth in Age |
| France, December, 1870 |
| E. Robert Bulwer, Lord Lytton (Owen Meredith).
1831–1891. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from The Wanderer: The Portrait |
| Spring and Winter |
| Athens (from After Paradise) |
| Andromeda |
| William Morris.
1834–1896. |
Critical Introduction by John William Mackail |
| Extracts from The Oxford and Cambridge Magazine: The Hollow Land |
| Summer Dawn |
| Extracts from The Defence of Guenevere: Launcelot and Guenevere (from King Arthur’s Tomb) |
| Ladies’ Gard (from Golden Wings) |
| Extracts from The Life and Death of Jason: A Sweet Song Sung Not Yet to Any Man |
| Orpheus Sings to the Argonauts |
| The Song of the Hesperides |
| Medea at Corinth |
| Extracts from The Earthly Paradise: Apology |
| Michael’s Ride (from The Man born to be King) |
| The Castle on the Island (from The Lady of the Land) |
| The Hosting of the Fiends (from The Ring given to Venus) |
| February |
| The Book Speaks to Chaucer |
| Extracts from Love Is Enough: The Land of the Dream |
| The Music |
| The Return Home |
| Extracts from Sigurd the Volsung: Sigurd on Hindfell |
| The Wisdom of Brynhild |
| Gunnar’s Death Song |
| Extracts from Poems by the Way: Mother and Son |
| Young Love |
| The Day Is Coming |
| Thunder in the Garden |
| The Flowering Orchard |
| Algernon Charles Swinburne.
1837–1909. |
Critical Introduction by Edmund W. Gosse |
| Extracts from Atalanta in Calydon: Chorus: ‘When the hounds of spring are on winter’s traces’ |
| Chorus: ‘Before the beginning of years’ |
| Itylus |
| A Match |
| From The Triumph of Time |
| Rococo |
| In Memory of Walter Savage Landor |
| The Garden of Prosperine |
| Love at Sea |
| Hendecasyllabics |
| Extracts from Songs before Sunrise: From Hertha |
| The Oblation |
| From Mater Triumphalis |
| Cor Cordium |
| From the Epilogue to Songs before Sunrise |
| Extract from Erechtheus: Chthonia to Athens |
| Extract from Poems and Ballads, Second Series: A Forsaken Garden |
| Extracts from Poems and Ballads, Third Series: From Pan and Thalassius |
| A Reiver’s Neck-Verse |
| Extracts from Tristram of Lyonesse: Prelude: Tristram and Iseult |
| A Child’s Laughter |
| Thomas Edward Brown.
1830–1897. |
Critical Introduction by George A. Macmillan |
| Braddan Vicarage |
| Scarlett Rocks |
| Clifton |
| The Intercepted Salute |
| Bach’s Fugues (from Tommy Big-Eyes) |
| Extracts from Clevedon Verses: Norton Wood (Dora’s Birthday) |
| [Poihmation]: For J. P. |
| Boccaccio |
| ‘O God, to Thee I yield’ |
| My Garden |
| Specula |
| Lord de Tabley (John Byrne Leicester Warren).
1835–1895. |
Critical Introduction by John Drinkwater |
| Sonnet: ‘Rosy delight that changest day by day’ |
| Sonnet: ‘My heart is vext with this fantastic fear’ |
| Autumn Love |
| The Study of a Spider |
| A Leave-taking |
| Misrepresentation |
| George Eliot (Mary Ann Cross).
1819–1880. |
Critical Introduction by Thomas Humphry Ward |
| Extracts from The Legend of Jubal: The Thought of Death |
| The Effect of Music |
| ‘O may I join the choir invisible’ |
| Sir Alfred Comyn Lyall.
1835–1911. |
Critical Introduction by Thomas Humphry Ward |
| Theology in Extremis |
| Meditations of a Hindu Prince |
| John Addington Symonds.
1840–1893. |
Critical Introduction by John Drinkwater |
| The Shepherd to the Evening Star |
| Le Jeune Homme Caressant sa Chimère |
| In the Inn at Berchtesgaden |
| [Friends] |
| Harvest |
| Extracts from Stella Maris: Three Sonnets: I. ‘Rebuke me not! I have nor wish nor skill’ |
| II. ‘Silvery mosquito-curtains draped the bed’ |
| III. ‘And then she rose; and rising, then she knelt’ |
| Je suis trop jeune |
| Adam Lindsay Gordon.
1833–1870. |
Critical Introduction by Thomas Humphry Ward |
| The Sick Stockrider |
| How We Beat the Favourite |
| Whisperings in Wattle-boughs |
| Frederic William Henry Myers.
1843–1901. |
Critical Introduction by John Drinkwater |
| From ‘Saint Paul’ |
| Simmenthal |
| Arethusa |
| Hesione |
| Gabrielle |
| Philip Bourke Marston.
1850–1887. |
Critical Introduction by John Drinkwater |
| Inseparable |
| Persistent Music |
| The First Kiss |
| Bridal Eve |
| The Old Churchyard of Bonchurch |
| From Far |
| Robert Louis Stevenson.
1850–1894. |
Critical Introduction by Sidney Calvin |
| Windy Nights |
| Singing |
| The Lamplighter |
| North-west Passage: 1. Good Night |
| 2. Shadow March |
| 3. In Port |
| A Visit from the Sea |
| The House Beautiful |
| To K. de M. |
| In Memoriam F. A. S. |
| To F. J. S. |
| ‘Say not of Me’ |
| Requiem |
| A Mile an’ a Bittock |
| The Counterblast Ironical |
| Christmas at Sea |
| ‘I will make You Brooches’ |
| ‘Bright is the Ring of Words’ |
| My Wife |
| If This Were Faith |
| (To the Tune of Wandering Willie) |
| To S. C. |
| ‘The Tropics vanish’ |
| Tropic Rain |
| To S. R. Crockett |
| Evensong |
| William Ernest Henley.
1849–1903. |
Critical Introduction by Charles Whibley |
| From In Hospital: Staff-nurse: Old Style |
| Staff-nurse: New Style |
| Lady-probationer |
| ‘The Chief’ |
| Apparition |
| Discharged |
| I. M.—R. T. Hamilton Bruce |
| To W. A. |
| To A. C. |
| Pro Rege Nostro |
| Andrew Lang.
1844–1912. |
Critical Introduction by Thomas Humphry Ward |
| The Odyssey |
| Herodotus in Egypt |
| Colinette |
| Pen and Ink |
| The White Pacha |
| Advance, Australia |
| Ballade of the Book-hunter |
| The Old Love and the New |
| The Last Chance |
| Humorous Verse. |
Critical Introduction by Charles L. Graves |
| William Makepeace Thackeray.
1811–1863. |
Critical Introduction by Charles L. Graves |
| From Vanitas Vanitatum |
| The Age of Wisdom (from Rebecca and Rowena) |
| Sorrows of Werther |
| Frederick Locker-Lampson.
1821–1895. |
Critical Introduction by Charles L. Graves |
| My Mistress’s Boots |
| The Rose and the Ring |
| A Reminiscence of Infancy |
| Charles Stuart Calverley.
1831–1884. |
Critical Introduction by Charles L. Graves |
| Gemini and Virgo |
| Wanderers |
| James Kenneth Stephen.
1859–1892. |
Critical Introduction by Charles L. Graves |
| A Parodist’s Apology |
| Parker’s Piece, May 19, 1891 |
| Arthur Clement Hilton.
1851–1877. |
Critical Introduction by Charles L. Graves |
| Octopus |
| William Schwenck Gilbert.
1836–1911. |
Critical Introduction by Charles L. Graves |
| Ellen M’Jones Aberdeen (from the Bab Ballads) |
| The Judge’s Song (from Trial by Jury) |
| The Policeman’s Lot (from The Pirates of Penzance) |
| Stephen Phillips.
1868–1915. |
Critical Introduction by Sidney Calvin |
| Marpessa |
| A Poet’s Prayer |
| The Fireman |
| Penelope to Ulysses |
| Beatrice Cenci |
| The Parting of Launcelot and Guinevere |
| A Gleam! |
| The Revealed Madonna |
| Emily Lawless.
1845–1913. |
Critical Introduction by Mary Augusta Ward |
| After Aughrim |
| Dirge of the Munster Forest, 1581 |
| Fontenoy, 1745: I. Before the Battle; night |
| II. After the Battle; early dawn, Clare coast |
| Francis Thompson.
1859–1907. |
Critical Introduction by Thomas Humphry Ward |
| The Hound of Heaven |
| From Sister Songs |
| The End of It (from New Poems) |
| John Davidson.
1857–1909. |
Critical Introduction by Aldous Huxley |
| Piper, Play! |
| A Ballad of Heaven |
| Canadian Poetry. |
Critical Introduction by Pelham Edgar |
| Isabella Valancy Crawford.
1850–1887. |
Critical Introduction by Pelham Edgar |
| La Blanchisseuse |
| Said the Daisy |
| The Rose |
| O Love |
| William Henry Drummond.
1854–1907. |
Critical Introduction by Pelham Edgar |
| The Wreck of the ‘Julie Plante’ |
| Johnnie’s First Moose |
| Dreams |
| Archibald Lampman.
1861–1899. |
Critical Introduction by Pelham Edgar |
| Heat |
| Outlook |
| The Woodcutter’s Hut |
| Temagami |
| Wayagamack |
| Harold Verschoyle Wrong.
1891–1916. |
Death |
| The Great Adventure |
| Ernest Dowson.
1867–1900. |
Critical Introduction by Aldous Huxley |
| Nuns of the Perpetual Adoration |
| ‘Non sum qualis eram bonæ sub regno Cynaræ’ |
| Vain Hope |
| Villanelle of Marguerites |
| A Last Word |
| Richard Middleton.
1882–1911. |
Critical Introduction by Aldous Huxley |
| The Carol of the Poor Children |
| Any Lover, Any Lass |
| Autumnal |
| Pagan Epitaph |
| Mary Elizabeth Coleridge.
1861–1907. |
Critical Introduction by Laurence Binyon |
| Sonnet: ‘True to myself am I, and false to all’ |
| Our Lady |
| Unwelcome |
| Jealousy |
| A Moment |
| L’Oiseau Bleu |
| Shadow |
| The Shield |
| A Mother to Her Baby |
| Christ’s Friends |
| Friends—with a Difference |
| ‘Whether I live, or whether I die’ |
| Lionel Johnson.
1867–1902. |
Critical Introduction by Laurence Binyon |
| By the Statue of King Charles at Charing Cross |
| The Church of a Dream |
| The End |
| Walter Pater |
| Rupert Brooke.
1887–1915. |
Critical Introduction by Sir Henry Newbolt |
| Dust |
| The Fish |
| Dining-room Tea |
| Tiare Tahiti |
| The Great Lover |
| Sonnet (Suggested by some of the Proceedings of the Society for Psychical Research) |
| Waikiki |
| Beauty and Beauty |
| The Dead |
| The Soldier |
