{"title":"Poetry anthologies (various poets)","description":null,"products":[{"product_id":"nature-poems-9780008596026","title":"Nature Poems","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eMore than 100 poems about Britain''s nature in a beautifully illustrated bookSeven chapters touch on different aspects of the British countryside, including seasons, birds and wildlife, woods, water, moors and mountains. This carefully chosen collection will inspire you to explore nature through a poet's eye  the perfect antidote to times when the world is too much with us', as Wordsworth so beautifully put it.There are celebrated poems by the greats  Keats, Yeats, Tennyson, Robert Browning, Christina Rossetti, Philip Larkin, Sylvia Plath, John Masefield, Robert Burns, Dylan Thomas  as well as others by contemporary poets whose work you will want to seek out and explore further, including Carol Anne Duffy, Simon Armitage and Jean Sprackland. Where poems have links to National Trust sites, footnotes are included to explain the connections.","brand":"HarperCollins Publishers","offers":[{"title":"Default Title","offer_id":47832562401623,"sku":"9780008596026","price":9.49,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780008596026.jpg?v=1710335477"},{"product_id":"everything-is-going-to-be-all-right-9781398702554","title":"Everything is Going to be All Right","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003cb\u003eFrom grief to toothache, heartbreak to homesickness, the power of finding solace in the words of another cannot be overstated.\u003cbr\u003e\u003c\/b\u003e\u003cbr\u003eWhether it was written 300 years ago or in our present day, poetry provides a comforting light in the dark. 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Trees have sparked some of the biggest literary imaginations over the ages and - as the climate emergency escalates - it has never been more important to appreciate our vital connection to them.\u003cbr\u003e\u003cbr\u003e This beautifully illustrated anthology of sixty tree poems is a celebration of our love of trees. With poems by some of the world's best-loved poets including William Wordsworth, Thomas Hardy, William Meredith and W.H. 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The result is a book which opens doors, which bids us share with its author and the poems she has chosen a wealth of insight -- George Steiner\u003cbr\u003eShe argues away the idea that contemporary poetry is \"difficult\": all it needs is a little work and the rewards are great * Sunday Times *\u003cbr\u003eA brilliant snapshot of contemporary poetry. Padel writes with incisive intelligence, particularly in her lively and provocative introduction on gender-related power in the poetry world and why poetry has \"lost its audience -- Christina Patterson, Director of the Poetry Society * Independent *\u003cbr\u003eShe chooses her poems with impeccable taste, an anthologist of the very best contemporary poetry * The Times *\u003cbr\u003eA great gift for any student or poetry virgin who wonders what all the excitement is about * Glasgow Herald *","brand":"Vintage Publishing","offers":[{"title":"Default Title","offer_id":48732222652759,"sku":"9780099429159","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"english-romantic-verse-penguin-classics-9780140421026","title":"English Romantic Verse Penguin Classics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEnglish Romantic poetry from its beginnings and its flowering to the first signs of its decadence\u003cbr\u003e\u003cbr\u003e\u003c\/b\u003eNearly all the famous piéces de résistance will be found here—Intimations of Immortality, The Ancient Mariner, The Tyger, excerpts from \u003ci\u003eDon Juan—\u003c\/i\u003es well as some less familiar poems. As muchas possible, the poets are arranged in chronological order, and their poems in order of composition, beginning with eighteenth-century precursors such as Gray, Cowper, Burns, and Chatterton. Naturally, most space has been given over to the major Romantics—Blake, Wordsworth, Coleridge, Byron, Shelley, Clare, and Keats—although their successors, poets such as Beddoes and Poe, are included, too, as well as early poems by Tennyson and Browning. In an excellent introduction, David Wright discusses the Romantics as a historical phenomenon, and points out their central ideals and themes.\u003cbr\u003e\u003cbr\u003eFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732361097559,"sku":"9780140421026","price":11.69,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780140421026.jpg?v=1719996556"},{"product_id":"the-penguin-book-of-renaissance-verse-15091659-penguin-classics-9780140423464","title":"The Penguin Book of Renaissance Verse 15091659","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThe era between the accession of Henry VIII and the crisis of the English republic in 1659 formed one of the most fertile epochs in world literature. This anthology offers a broad selection of its poetry, and includes a wide range of works by the great poets of the age—notably Sir Philip Sidney, Edmund Sepnser, John Donne, William Shakespeare and John Milton. Poems by less well-known writers also feature prominently—among them significant female poets such as Lady Mary Wroth and Katherine Philips. Compelling and exhilarating, this landmark collection illuminates a time of astonishing innovation, imagination and diversity.\u003cbr\u003e\u003cbr\u003eFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by intr\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eSelected and with an Introduction by David Norbrook - Edited by H.R. Woudhuysen\u003c\/i\u003e \u003cp\u003eAbbreviations Used in the Text\u003cbr\u003ePreface\u003cbr\u003eAcknowledgments\u003cbr\u003eIntroduction\u003cbr\u003eNote on the Text and Annotation\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eI. The Public World\u003c\/b\u003e\u003cbr\u003e1. JOHN SKELTON: [from A Lawde and Prayse Made for Our Sovereigne Lord the Kyng]\u003cbr\u003e2. SIR THOMAS MORE: De Principe Bono Et Malo\u003cbr\u003e3. Quis Optimus Reipublicae Status\u003cbr\u003e4. SIR DAVID LINDSAY: [from The Dreme] The Complaynt of the Comoun weill of Scotland\u003cbr\u003e5. SIR THOMAS WYATT: [Who lyst his welth and eas Retayne]\u003cbr\u003e6. In Spayn\u003cbr\u003e7. [The piller pearisht is whearto I Lent]\u003cbr\u003e8. HENRY HOWARD, EARLY OF SURREY: [Thassyryans king in peas with fowle desyre]\u003cbr\u003e9. ANONYMOUS: John Arm-strongs last good night\u003cbr\u003e10. ROBERT CROWLEY: Of unsaciable purchasers\u003cbr\u003e11. JOHN HEYWOOD: [from A Ballad on the Marriage of Philip and Mary]\u003cbr\u003e12. WILLIAM BIRCH: [from A songe betwene the Quenes majestie and Englande]\u003cbr\u003e13. QUEEN ELIZABETH I: [The dowbt off future foes exiles my present joye]\u003cbr\u003e14. SIR PHILIP SIDNEY: [from The Countesse of Pembrokes Arcadia]\u003cbr\u003e15. ANONYMOUS: Of Sir Frauncis Walsingham Sir Phillipp Sydney, and Sir Christopher Hatton, Lord Chancelor\u003cbr\u003e16. GEORGE PUTTENHAM: Her Majestie resembled to the crowned piller\u003cbr\u003e17. ANNE DOWRICHE: [from The French Historie]\u003cbr\u003e18. SIR WALTER RALEGH: [Praisd be Dianas faire and harmles light]\u003cbr\u003e19. [from Fortune hath taken the away my love]\u003cbr\u003e20. QUEEN ELIZABETH I: [Ah silly pugge wert thou so sore afraid]\u003cbr\u003e21. SIR WALTER RALEGH: The 21th: and last booke of the Ocean to Scinthia\u003cbr\u003e22. The Lie\u003cbr\u003e23. ALEXANDER MONTGOMERIE: [Remembers thou in Aesope of a taill]\u003cbr\u003e24. SIR JOHN HARINGTON: A Tragicall Epigram\u003cbr\u003e25. Of Treason\u003cbr\u003e26. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 78\u003cbr\u003e27. GEORGE PEELE: [from Anglorum Feriae]\u003cbr\u003e28. JOHN DONNE: The Calme\u003cbr\u003e29. [from Satire 4]\u003cbr\u003e30. ROBERT DEVEREUX, EARL OF ESSEX: [Change thy minde since she doth change]\u003cbr\u003e31. MARY SIDNEY, COUNTESS OF PEMBROKE: [To Queen Elizabeth]\u003cbr\u003e32. EDMUND SPENSER: [from The Faerie Queene Book 5]\u003cbr\u003e33. EOCHAIDH Ó HEÓGHUSA: [On Maguire's Winter Campaign]\u003cbr\u003e34. BEN JONSON: On the Union\u003cbr\u003e35. SIR ARTHUR GORGES: Written upon the death of the most Noble Prince Henrie\u003cbr\u003e36. SIR HENRY WOTTON: Upon the sudden Restraint of the Earle of Somerset, then falling from favor\u003cbr\u003e37. WILLIAM BROWNE: [from Brittania's Pastorals Book 2]\u003cbr\u003e38. ANONYMOUS: Feltons Epitaph\u003cbr\u003e39. ANONYMOUS: [Epitaph on the Duke of Buckingham]\u003cbr\u003e40. SIR RICHARD FANSHAWE: [from An Ode Upon occasion of His Majesties Proclamation in the yeare 1630]\u003cbr\u003e41. JOHN CLEVELAND: Epitaph on the Earl of Strafford\u003cbr\u003e42. SIR JOHN DENHAM: Coopers Hill\u003cbr\u003e43. MARTIN PARKER: Upon defacing of White-hall\u003cbr\u003e44. ROBERT HERRICK: A King and no King\u003cbr\u003e45. ANDREW MARVELL: An Horatian Ode upon Cromwel's Return from Ireland\u003cbr\u003e46. SIR WILLIAM MURE: [from The Cry of Blood, and of a Broken Covenant]\u003cbr\u003e47. KATHERINE PHILIPS: On the 3. of September, 1651\u003cbr\u003e48. JOHN MILTON: To the Lord Generall Cromwell May 1652\u003cbr\u003e49. To Sir Henry Vane the younger\u003cbr\u003e50. ANDREW MARVELL: [from The First Anniversary of the Government under O.C.]\u003cbr\u003e51. ALEXANDER BROME: On Sir G.B. his defeat\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eII. Images of Love\u003c\/b\u003e\u003cbr\u003e52. ANONYMOUS: [Westron wynde when wylle thow blow]\u003cbr\u003e53. SIR THOMAS WYATT: [They fle from me that sometyme did me seke]\u003cbr\u003e54. [Who so list to hount I knowe where is an hynde]\u003cbr\u003e55. [It may be good like it who list]\u003cbr\u003e56. [My lute awake perfourme the last]\u003cbr\u003e57. HENRY HOWARD, EARL OF SURREY: [The soote season, that bud and blome furth bringes]\u003cbr\u003e58. ALEXANDER SCOTT: [To luve unluvit it is ane pane]\u003cbr\u003e59. GEORGE TURBERVILLE: To his Love that sent him a Ring wherein was gravde, Let Reason rule\u003cbr\u003e60. ISABELLA WHITNEY: I.W. To her unconstant Lover\u003cbr\u003e61. GEORGES GASCOIGNE: [A Sonet written in prayse of the brown beautie]\u003cbr\u003e62. ANONYMOUS: A new Courtly Sonet, of the Lady Greensleeves\u003cbr\u003e63. SIR PHILIP SIDNEY: [from Certain Sonnets: 4]\u003cbr\u003e64. [from The Countesse of Pembrokes Arcadia]\u003cbr\u003e65. [from Astrophil and Stella] 1\u003cbr\u003e66. [from Astrophil and Stella] 2\u003cbr\u003e67. [from Astrophil and Stella] 9\u003cbr\u003e68. [from Astrophil and Stella] 72\u003cbr\u003e69. [from Astrophil and Stella] 81\u003cbr\u003e70. [from Astrophil and Stella] 83\u003cbr\u003e71. [from Astrophil and Stella] Eight song\u003cbr\u003e72. [from Astrophil and Stella] Eleventh song\u003cbr\u003e73. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 22\u003cbr\u003e74. [from Caelica] Sonnet 27\u003cbr\u003e75. [from Caelica] Sonnet 39\u003cbr\u003e76. [from Caelica] Sonnet 44\u003cbr\u003e77. [from Caelica] Sonnet 84\u003cbr\u003e78. MARK ALEXANDER BOYD: Sonet\u003cbr\u003e79. ROBERT GREENE: Dorons description of Samela\u003cbr\u003e80. EDMUND SPENSER: [from The Faerie Queene Book 2]\u003cbr\u003e81. [from The Faerie Queene Book 3]\u003cbr\u003e82. [from The Faerie Queene Book 3]\u003cbr\u003e83. [from Amoretti] Sonnet 23\u003cbr\u003e84. [from Amoretti] Sonnet 64\u003cbr\u003e85. [from Amoretti] Sonnet 67\u003cbr\u003e86. [from Amoretti] Sonnet 70\u003cbr\u003e87. [from Amoretti] Sonnet 71\u003cbr\u003e88. Epithalamion\u003cbr\u003e89. SIR WALTER RALEGH: [As you came from the holy land]\u003cbr\u003e90. SAMUEL DANIEL: [from Delia] Sonnet 13\u003cbr\u003e91. [from Delia] Sonnet 39\u003cbr\u003e92. [from Delia] Sonnet 52\u003cbr\u003e93. SIR JOHN DAVIES: [from Gullinge Sonnets]\u003cbr\u003e94. [Faith (wench) I cannot court thy sprightly eyes]\u003cbr\u003e95. THOMAS NASHE: The choise of valentines\u003cbr\u003e96. JOHN DONNE: To his Mistress going to bed\u003cbr\u003e97. BARNABE BARNES: [from Parthenophil and Parthenophe] Sonnet 27\u003cbr\u003e99. CHRISTOPHER MARLOWE: The passionate Sheepheard to his love\u003cbr\u003e99. Hero and Leander\u003cbr\u003e100. WILLIAM SHAKESPEARE: [from Venus and Adonis]\u003cbr\u003e101. [from Lucrece]\u003cbr\u003e102. RICHARD BARNFIELD: [from Cynthia] Sonnet 8\u003cbr\u003e103. [from Cynthia] Sonnet 11\u003cbr\u003e104. WILLIAM SHAKESPEARE: [from Sonnets] 19\u003cbr\u003e105. [from Sonnets] 20\u003cbr\u003e106. [from Sonnets] 29\u003cbr\u003e107. [from Sonnets] 35\u003cbr\u003e108. [from Sonnets] 36\u003cbr\u003e109. [from Sonnets] 55\u003cbr\u003e110. [from Sonnets] 56\u003cbr\u003e111. [from Sonnets] 66\u003cbr\u003e112. [from Sonnets] 74\u003cbr\u003e113. [from Sonnets] 94\u003cbr\u003e114. [from Sonnets] 121\u003cbr\u003e115. [from Sonnets] 124\u003cbr\u003e116. [from Sonnets] 129\u003cbr\u003e117. [from Sonnets] 135\u003cbr\u003e118. [from Sonnets] 138\u003cbr\u003e119. [from Sonnets] 144\u003cbr\u003e120. ROBERT SIDNEY, EARL OF LEICESTER: Sonnet 21\u003cbr\u003e121. Sonnet 25\u003cbr\u003e122. Sonnet 31\u003cbr\u003e123. Songe 17\u003cbr\u003e124. GEORGE CHAPMAN: [from Hero and Leander Sestiad 3]\u003cbr\u003e125. JOHN MARSTON: [from The Metamorphosis of Pigmalions Image]\u003cbr\u003e126. THOMAS DELONEY: [Long have I lov'd this bonny Lasse]\u003cbr\u003e127. ANONYMOUS: [from The wanton Wife of Bath]\u003cbr\u003e128. [JOHN DOWLAND]: [Fine knacks for ladies, cheape choise brave and new]\u003cbr\u003e129. THOMAS CAMPION: [Followe thy faire sunne unhappy shaddowe]\u003cbr\u003e130. [Rose-cheekt Lawra come]\u003cbr\u003e131. [There is a Garden in her face]\u003cbr\u003e132. JOHN DONNE: His Picture\u003cbr\u003e133. The Sunne Rising\u003cbr\u003e134. The Canonization\u003cbr\u003e135. Loves growth\u003cbr\u003e136. A Valediction of weeping\u003cbr\u003e137. A Valediction forbidding mourning\u003cbr\u003e138. MICHAEL DRAYTON: [from Idea] 10\u003cbr\u003e139. [from Idea] 61\u003cbr\u003e140. To His Coy Love, A Canzonet\u003cbr\u003e141. BEN JONSON: Why I Write Not of Love\u003cbr\u003e142. My Picture left in Scotland\u003cbr\u003e143. LADY MARY WROTH: [from Pamphilia to Amphilanthus] 23\u003cbr\u003e144. [from Pamphilia to Amphilanthus] 34\u003cbr\u003e145. [from Pamphilia to Amphilanthus] A crowne of Sonetts dedicated to Love\u003cbr\u003e146. [from Pamphilia to Amphilanthus]\u003cbr\u003e147. [from The Countesse of Mountgomeries Urania] 7\u003cbr\u003e148. ROBERT HERRICK: Delight in Disorder\u003cbr\u003e149. The Vision\u003cbr\u003e150. The silken Snake\u003cbr\u003e151. Her Bed\u003cbr\u003e152. Upon Julia's haire fil'd with Dew\u003cbr\u003e153. Upon Sibilla\u003cbr\u003e154. THOMAS CAREW: The Spring\u003cbr\u003e155. Ingratefull beauty threatned\u003cbr\u003e156. [from A Rapture]\u003cbr\u003e157. MARTIN PARKER: [from Cupid's Wrongs Vindicated]\u003cbr\u003e158. [from Well met Neighbour]\u003cbr\u003e159. EDMUND WALLER: The story of Phoebus and Daphne appli'd\u003cbr\u003e160. Song\u003cbr\u003e161. The Budd\u003cbr\u003e162. SIR JOHN SUCKLING: [Out upon it, I have lov'd]\u003cbr\u003e163. JOHN CLEVELAND: The Antiplatonick\u003cbr\u003e164. RICHARD LOVELACE: Song. To Lucasta, Going to the Warres\u003cbr\u003e165. Gratiana dauncing and singing\u003cbr\u003e166. To Althea, From Prison\u003cbr\u003e167. Her Muffe\u003cbr\u003e168. [from On Sanazar's being honoured with six hundred Duckets by the Clarissimi of Venice, for composing an Elegiack Hexastick of the City. A Satyre]\u003cbr\u003e169. ANDREW MARVELL: To his Coy Mistress\u003cbr\u003e170. The Gallery\u003cbr\u003e171. The Definition of Love\u003cbr\u003e172. JAMES HARRINGTON: Inconstancy\u003cbr\u003e173. KATHERINE PHILIPS: An Answer to another perswading a Lady to Marriage\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eIII. Topographies\u003c\/b\u003e\u003cbr\u003e174. ALEXANDER BARCLAY: [from Certayne Egloges 5]\u003cbr\u003e175. GEORGE BUCHANAN: Calendae Maiae\u003cbr\u003e176. ANONYMOUS: [from Vox populi vox Dei]\u003cbr\u003e177. ANONYMOUS: [from Jack of the North]\u003cbr\u003e178. ANONYMOUS: The Jolly Pinder of Wakefield\u003cbr\u003e179. BARNABE GOOGE: Goyng towardes Spayne\u003cbr\u003e180. SIÔON PHYLIP: [from Yr Wylan]\u003cbr\u003e181. SIR PHILIP SIDNEY: [from The Countesse of Pembrokes Arcadia]\u003cbr\u003e182. EDMUND SPENSER: [from The Shepheardes Calender] Maye\u003cbr\u003e183. ALEXANDER HUME: [from Of the day Estivall]\u003cbr\u003e184. JOHN DAVIES: [from Epigrammes] In Cosmum 17\u003cbr\u003e185. JOSEPH HALL: [from Virgidemiarum Book 5]\u003cbr\u003e186. EVERARD GUILPIN: [from Skialetheia Satire 5]\u003cbr\u003e187. ANONYMOUS: A Songe bewailinge the tyme of Christmas, So much decayed in Englande\u003cbr\u003e188. JOHN DONNE: A nocturnall upon S. Lucies day, Being the shortest day\u003cbr\u003e189. AEMILIA LANYER: The Description of Cooke-ham\u003cbr\u003e190. BEN JONSON: To Penshurst\u003cbr\u003e191. MICHAEL DRAYTON: [from Pastorals] The Ninth Eglogue\u003cbr\u003e192. [from Poly-Olbion Song 6]\u003cbr\u003e193. To the Virginian Voyage\u003cbr\u003e194. SAMUEL DANIEL: [from Epistle. To Prince Henrie]\u003cbr\u003e195. ANONYMOUS: On Francis Drake\u003cbr\u003e196. W. TURNER: [from Turners dish of Lentten stuffe, or a Galymaufery]\u003cbr\u003e197. JOHN TAYLOR: [from The Sculler] Epigram 22\u003cbr\u003e198. WILLIAM BROWNE: [from Britannia's Pastorals Book 2]\u003cbr\u003e199. EDWARD HERBERT, LORD HERBERT OF CHERBURY: Sonnet\u003cbr\u003e200. RICHARD CORBETT: A Proper New Ballad Intituled the Faeryes Farewell: Or God-A-Mercy Will\u003cbr\u003e201. SIR WILLIAM DAVENANT: The Countess of Anglesey lead Captive by the Rebels, at the Disforresting of Pewsam\u003cbr\u003e202. GEORGE WITHER: [from Britain's Remembrancer Canto 4]\u003cbr\u003e203. JOHN MILTON: Song on May morning 204. L'Allegro\u003cbr\u003e205. ROBERT HERRICK: To Dean-bourn, a rude River in Devon, by which sometimes he lived\u003cbr\u003e206. Corinna's going a Maying\u003cbr\u003e207. To Meddowes\u003cbr\u003e208. The Wassaile\u003cbr\u003e209. RICHARD CRASHAW: [from Bulla]\u003cbr\u003e210. ABRAHAM COWLEY: The Wish\u003cbr\u003e211. ANONYMOUS: [The Diggers' Song]\u003cbr\u003e212. HENRY VAUGHAN: [from To his retired friend, an Invitation to Brecknock]\u003cbr\u003e213. RICHARD LOVELACE: The Snayl\u003cbr\u003e214. ANDREW MARVELL: Bermudas\u003cbr\u003e215. The Mower to the Glo-Worms\u003cbr\u003e216. The Mower against Gardens\u003cbr\u003e217. The Garden\u003cbr\u003e218. [from Upon Appleton House, to my Lord Fairfax]\u003cbr\u003e219. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE: Of many Worlds in this World\u003cbr\u003e220. A Dialogue betwixt Man, and Nature\u003cbr\u003e221. Similizing the Sea to Meadowes, and Pastures, the Marriners to Shepheards, the Mast to a May-pole, Fishes to Beasts\u003cbr\u003e222. KATHERINE PHILIPS: Upon the graving of her Name upon a Tree in Barnelmes Walks\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eIV. Friends, Patrons and the Good Life\u003c\/b\u003e\u003cbr\u003e223. SIR THOMAS WYATT: [Myn owne John poyntz sins ye delight to know]\u003cbr\u003e224. GEORGE GASCOIGNE: [Upon the theme: Magnum vectigal parcimonia]\u003cbr\u003e225. [Gascoignes wodmanship]\u003cbr\u003e226. EDWARD DE VERE, EARL OF OXFORD: [Weare I a Kinge I coulde commande content]\u003cbr\u003e227. THOMAS LODGE: [from Scillaes Metamorphosis]\u003cbr\u003e228. JOHN DONNE: To Sir Henry Wotton\u003cbr\u003e229. THOMAS DELONEY: The Weavers Song\u003cbr\u003e230. THOMAS DEKKER: [Art thou poore yet hast thou golden Slumbers]\u003cbr\u003e231. SAMUEL DANIEL: To Lucy, Countesse of Bedford, with Mr. Donnes Satyres\u003cbr\u003e233. Inviting a Friend to Supper\u003cbr\u003e234. [THOMAS RAVENSCROFT]: [Hey hoe what shall I say]\u003cbr\u003e235. [Sing we now merily]\u003cbr\u003e236. A Belmans song\u003cbr\u003e237. THOMAS CAMPION: [Now winter nights enlarge]\u003cbr\u003e238. ANONYMOUS: The Mode of France\u003cbr\u003e239. MICAHEL DRAYTON: These verses weare made By Michaell Drayton Esquier Poett Lawreatt the night before hee dyed\u003cbr\u003e240. EDMUND WALLER: At Pens-hurst\u003cbr\u003e241. RICHARD LOVELACE: The Grasse-hopper. To my Noble Friend, Mr. Charles Cotton. Ode\u003cbr\u003e242. ALEXANDER BROME: [from The Prisoners] Written when O.C. attempted to be King\u003cbr\u003e243. JOHN MILTON: [To Edward Lawrence]\u003cbr\u003e244. KATHERINE PHILIPS: Friendship's Mystery, To My Dearest Lucasia\u003cbr\u003e245. Friendship in Embleme, or the Seal. To my dearest Lucasia\u003cbr\u003e246. To my Excellent Lucasia, on our Friendship\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eV. Church, State and Belief\u003c\/b\u003e\u003cbr\u003e247. JOHN SKELTON: [from Collyn Clout]\u003cbr\u003e248. ANNE ASKEW: The Balade whych Anne Askewe made and sange whan she was in Newgate\u003cbr\u003e249. LUKE SHEPHERD: [from The Upcheringe of the Messe]\u003cbr\u003e250. ANONYMOUS: [A Lament for our Lady's Shrine at Walsingham]\u003cbr\u003e251. JOHN HEYWOOD: [from Epygrams] Of turnyng.\u003cbr\u003e252. GEORGE PUTTENHAM: [from Partheniades] Partheniad 11 Urania\u003cbr\u003e253. ROBERT SOUTHWELL: The burning Babe\u003cbr\u003e254. HENRY CONSTABLE: To St. Mary Magdalen\u003cbr\u003e255. SIR JOHN HARINGTON: A Groome of the Chambers religion in King Henry the eights time\u003cbr\u003e256. JOHN DONNE: Satyre 3\u003cbr\u003e257. Goodfriday, 1613. Riding Westward\u003cbr\u003e258. Hymne to God my God, in my sicknesse\u003cbr\u003e259. [from Holy Sonnets]\u003cbr\u003e260. [Since she whome I lovd, hath payd her last debt]\u003cbr\u003e261. [Show me deare Christ, thy spouse, so bright and cleare]\u003cbr\u003e262. FULKE GREVILLE, LORD BROOKE: [from Caelica] Sonnet 89\u003cbr\u003e263. [from Caelica] Sonnet 99\u003cbr\u003e264. [from Caelica] Sonnet 109\u003cbr\u003e265. GILES FLETCHER: [from Christs Victorie, and Triumph in Heaven, and Earth, over, and after death]\u003cbr\u003e266. AEMILIA LANYER: [from Salve Deus Rex Judaeorum]\u003cbr\u003e267. WILLIAM DRUMMOND: [For the Baptiste]\u003cbr\u003e268. [Content and Resolute]\u003cbr\u003e269. PHINEAS FLETCHER: [Vast Ocean of light, whose rayes surround]\u003cbr\u003e270. JOHN MILTON: On the morning of Christs Nativity\u003cbr\u003e271. FRANCIS QUARLES: [from Pentelogia] Fraud Mundi\u003cbr\u003e272. [from Divine Fancies] On the contingencie of Actions\u003cbr\u003e273. [from Divine Fancies] On the Needle of a Sun-diall\u003cbr\u003e274. [from Divine Fancies] On the Booke of Common Prayer\u003cbr\u003e275. [from Divine Fancies] On Christ and our selves\u003cbr\u003e276. GEORGE HERBERT: Perseverance\u003cbr\u003e277. Redemption\u003cbr\u003e278. Easter wings\u003cbr\u003e279. Prayer\u003cbr\u003e280. Deniall\u003cbr\u003e281. Jordan\u003cbr\u003e282. The Collar\u003cbr\u003e283. The Flower\u003cbr\u003e284. The Forerunners\u003cbr\u003e285. Love\u003cbr\u003e286. [from The Church Militant]\u003cbr\u003e287. ANONYMOUS: [Yet if his Majestie our Sovareigne lord]\u003cbr\u003e288. SIDNEY GODOLPHIN: [Lord when the wise men came from Farr]\u003cbr\u003e289. JOHN TAYLOR: [from Here followeth the unfashionable fashion, or the too too homely Worshipping of God]\u003cbr\u003e290. EDMUND WALLER: Upon His Majesties repairing of Pauls\u003cbr\u003e291. RICHARD CRASHAW: A Hymne of the Nativity, sung by the Shepheards\u003cbr\u003e292. To the Noblest and best of Ladyes, the Countesse of Denbigh\u003cbr\u003e293. [from The Flaming Heart]\u003cbr\u003e294. ANONYMOUS: Upon Arch-bishop Laud, Prisoner in the Tower. 1641\u003cbr\u003e295. ROBERT WILD: [from Alas poore Scholler, whither wilt thou goe]\u003cbr\u003e296. JOHN MILTON: On the new forcers of Conscience under the Long Parliament\u003cbr\u003e297. MORGAN LLWYD: [from The Summer]\u003cbr\u003e298. LAURENCE CLARKSON: [from A Single Eye All Light, no Darkness]\u003cbr\u003e299. HENRY VAUGHAN: The Retreate\u003cbr\u003e300. The World\u003cbr\u003e301. Cock-crowing\u003cbr\u003e302. The Water-fall\u003cbr\u003e303. SIR WILLIAM DAVENANT: [from Gondibert Book 2]\u003cbr\u003e304. ANNA TRAPNEL: [from The Cry of a Stone]\u003cbr\u003e305. AN COLLINS: Another Song exciting to spirituall Mirth\u003cbr\u003e306. ANDREW MARVELL: The Coronet\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVI. Elegy and Epitaph\u003c\/b\u003e\u003cbr\u003e307. JOHN SKELTON: [from Phyllyp Sparowe]\u003cbr\u003e308. HENRY HOWARD, EARL OF SURREY: [Norfolk sprang thee, Lambeth holds thee dead]\u003cbr\u003e309. [W. resteth here, that quick could never rest]\u003cbr\u003e310. NICHOLAS GRIMALD: [from A funerall song, upon the deceas of Annes his moother]\u003cbr\u003e311. CHIDIOCK TICHBORNE: [My prime of youth is but a froste of cares]\u003cbr\u003e312. WILLIAM SHAKESPEARE: [The Phoenix and Turtle]\u003cbr\u003e313. JOHN DONNE: [from The Second Anniversarie] Of the Progres of the Soule\u003cbr\u003e314. BEN JONSON: On My First Sonne\u003cbr\u003e315. To the immortalle memorie, and friendship of that noble paire, Sir Lucius Cary, and Sir H. Morison\u003cbr\u003e316. SIR WALTER RALEGH: [Even suche is tyme that takes in trust]\u003cbr\u003e317. WILLIAM BROWNE: On the Countesse Dowager of Pembrooke\u003cbr\u003e318. HENRY KING: An Exequy To his matchlesse never to be forgotten Freind\u003cbr\u003e318. GEORGE HERBERT: [from Memoriae Matris Sacrum]\u003cbr\u003e320. THOMAS CAREW: Epitaph on the Lady Mary Villers\u003cbr\u003e321. SIR HENRY WOTTON: Upon the death of Sir Albert Morton's Wife\u003cbr\u003e322. ROBERT HERRICK: To the reverend shade of his religious Father\u003cbr\u003e323. Upon himselfe being buried\u003cbr\u003e324. Upon a child\u003cbr\u003e325. JOHN MILTON: Lycidas\u003cbr\u003e326. [Methought I saw my late espoused Saint]\u003cbr\u003e327. 'ELIZA': To my Husband\u003cbr\u003e328. HENRY VAUGHAN: [They are all gone into the world of light]\u003cbr\u003e329. KATHERINE PHILIPS: Epitaph. On her Son H.P. at St. Syth's Church where her body also lies Interred\u003cbr\u003e330. Orinda upon little Hector Philips\u003cbr\u003e331. JAMES SHIRLEY: [The glories of our blood and state]\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVII. Translation\u003c\/b\u003e\u003cbr\u003e332. HENRY HOWARD, EARL OF SURREY: [from Virgil's Aeneid Book 4]\u003cbr\u003e333. RICHARD STANYHURST: [from Virgil's Aeneid Book 4]\u003cbr\u003e334. ARTHUR GOLDING: [from Ovid's Metamorphoses Book 6]\u003cbr\u003e335. EDMUND SPENSER: [from Ruines of Rome: by Bellay] 5\u003cbr\u003e336. MARY SIDNEY, COUNTESS OF PEMBROKE: Quid gloriaris? Psalm 52\u003cbr\u003e337. [from Psalm 89 Misericordias]\u003cbr\u003e338. Voce mea ad Dominum Psalm 142\u003cbr\u003e339. CHRISTOPHER MARLOWE: [from Ovides Elegies Book 1] Elegia. 13. Ad Auroram ne properet\u003cbr\u003e340. [from Lucan's Pharsalia Book 1]\u003cbr\u003e341. SIR JOHN HARINGTON: [from Ariosto's Orlando Furioso Book 34]\u003cbr\u003e342. EDWARD FAIRFAX: [from Tasso's Godfrey of Bulloigne Book 4]\u003cbr\u003e343. JOSUAH SYLVESTER: [from Saluste du Bartas' Devine Weekes]\u003cbr\u003e344. GEORGE CHAPMAN: [from Homer's Iliad Book 12]\u003cbr\u003e345. JOHN MILTON: The Fifth Ode of Horace. Lib. 1\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVIII. Writer, Language and Public\u003c\/b\u003e\u003cbr\u003e346. JOHN SKELTON: [from A Replycacion]\u003cbr\u003e347. THOMAS CHURCHYARD: [from A Musicall Consort]\u003cbr\u003e348. SIR JOHN HARINGTON: Of honest Theft. To my good friend Master Samuel Daniel\u003cbr\u003e350. JOHN DONNE: The triple Foole\u003cbr\u003e351. WILLIAM SHAKESPEARE: [from Sonnets]\u003cbr\u003e352. JOHN MARSTON: [from The Scourge of Villanie] In Lectores prorsus indignos\u003cbr\u003e353. SAMUEL DANIEL: [from Musophilus]\u003cbr\u003e354. BEN JONSON: A Fit of Rime against Rime\u003cbr\u003e355. An Ode. To himselfe\u003cbr\u003e356. GEORGE CHAPMAN: [from Homer's Iliad, To the Reader]\u003cbr\u003e357. SIR WALTER RALEGH: To the Translator\u003cbr\u003e358. WILLIAM BROWNE: [from Britannia's Pastorals Book 2]\u003cbr\u003e359. RACHEL SPEGHT: [from The Dreame]\u003cbr\u003e360. MICHAEL DRAYTON: [from Idea]\u003cbr\u003e361. To my most dearely-loved friend Henery Reynolds Esquire, of Poets and Poesie\u003cbr\u003e362. [from The Muses Elizium] The Description of Elizium\u003cbr\u003e363. JOHN MILTON: [from At a Vacation Exercise]\u003cbr\u003e364. JOHN TAYLOR: [from A comparison betwixt a Whore and a Booke]\u003cbr\u003e365. THOMAS CAREW: An Elegie upon the death of the Deane of Pauls, Dr. John Donne\u003cbr\u003e366. A Fancy\u003cbr\u003e367. ROBERT HERRICK: To the Detracter\u003cbr\u003e368. Posting to Printing\u003cbr\u003e369. GEORGE WITHER: [from Vox Pacifica]\u003cbr\u003e370. SIR WILLIAM DAVENANT: [from Gondibert Book 2]\u003cbr\u003e371. MARGARET CAVENDISH, DUCHESS OF NEWCASTLE: The Claspe\u003cbr\u003e372. [The Common Fate of Books]\u003cbr\u003e373. ABRAHAM COWLEY: The Muse\u003cbr\u003e374. HENRY VAUGHAN: The Book\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eNotes to the Text\u003cbr\u003eAppendix 1: Index of Genres\u003cbr\u003eAppendix 2: Index of Metrical and Stanzaic Forms\u003cbr\u003eAppendix 3: Glossary of Classical Names\u003cbr\u003eAppendix 4: Biographical Notes on Authors\u003cbr\u003eAppendix 5: Index of Authors\u003cbr\u003eIndex of First Lines\u003cbr\u003eIndex of Titles\u003cbr\u003e\u003c\/p\u003e","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732361523543,"sku":"9780140423464","price":17.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780140423464.jpg?v=1719996557"},{"product_id":"renaissance-women-poets-penguin-classics-9780140424096","title":"Renaissance Women Poets Penguin Classics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eSocial convention may have prevented Renaissance women writers from openly taking part in the political and religious debates of their day, but they found varied and innovative ways to intervene. Collecting the work of three great poets-Isabella Whitney, Mary Sidney, and Aemilia Lanyer-this volume repositions women writers of the Renaissance by presenting their poems in the context of their history and culture. \u003cbr\u003e\u003cbr\u003eWhitney's poems offer the only glimpse into her life, express a concern for women's lack of social and economic power, and powerfully evoke sixteenth-century London. Sidney produced potent translations of Petrarch's works and the Psalms, as well as original verse. Lanyer wrote poems that advocate and praise female virtue and Christian piety, but reflect a desire for an idealized, classless world. The strong and original voices of these three women-each from different social, cultural, and historical strata-demonstrate the emergence of a new female identity during the Ren\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003e\u003ci\u003eEdited by Danielle Clarke\u003c\/i\u003e\u003cp\u003eAcknowledgments\u003cbr\u003eIntroduction\u003cbr\u003eFurther Reading\u003cbr\u003eTable of Dates\u003cbr\u003eA Note on the Texts\u003cbr\u003e\u003cb\u003eIsabella Whitney\u003c\/b\u003e\u003cbr\u003efrom A SWEET NOSGAY\u003cbr\u003eTo the worshipfull and right vertuous yong Gentylman, George Mainwaring Esquier...\u003cbr\u003eThe Auctor to the Reader\u003cbr\u003eCertain familier Epistles and friendly Letters by the Auctor: with Replies\u003cbr\u003eTo her Brother. G.W.\u003cbr\u003eTo her Brother. B. W.\u003cbr\u003eA modest meane for Maides... to two of her yonger Sisters servinge in London\u003cbr\u003eTo her Sister Misteris. A.B.\u003cbr\u003eTo her Cosen\u003cbr\u003eA carefull complaynt by the unfortunate Auctor\u003cbr\u003eIS. W. to C.B. in bewalylynge her mishappes\u003cbr\u003eTo my Friend Master T.L. whose good nature I see abusde\u003cbr\u003eIS W. beyng wery of wrtyng, sendeth this for Answere\u003cbr\u003eThe Auchtour (though loth to leave the Citie) upon her Friendes procurement, is constrained to departe...and maketh her Wyll and Testament...\u003cbr\u003eA comunication which the Auctor had to London, before she made her Wyll\u003cbr\u003eThe maner of her Wyll, and what she left to London: and all those in it: at her departing\u003cbr\u003e***\u003cbr\u003eTHE COPY OF A LETTER, lately written in meeter, by a yonge Gentilwoman: to her unconstant Lover...\u003cbr\u003eI.W. To her unconstant Lover\u003cbr\u003eThe admonition by the Auctor, to all yong Gentilwomen: And to al other Maids being in Love\u003cbr\u003e***\u003cbr\u003eThe lamentation of a Gentilwoman upon the death of her late deceased frend William Gruffith Gent.\u003cbr\u003e\u003cb\u003eMary Sidney, Countess of Pembroke\u003c\/b\u003e\u003cbr\u003eTHE SIDNEY PSALTER\u003cbr\u003e\"Even now that Care\"\u003cbr\u003eTo the Angell spirit of the most excellent Sir Phillip Sidney\u003cbr\u003eThe Psalmes of Mary Sidney, Countess of Pembroke***\u003cbr\u003eA Dialogue betweene two shepheards, Thenot, and Piers, in praise of Astrea...\u003cbr\u003e***\u003cbr\u003eTHE TRIUMPH OF DEATH TRANSLATED OUT OF ITALIAN BY THE COUNTESS OF PEMBROOKE\u003cbr\u003eThe first chapter\u003cbr\u003eThe second chapter\u003cbr\u003e\u003cb\u003eAemilia Lanyer\u003c\/b\u003e\u003cbr\u003eSALVE DEUS REX JUDAEORUM\u003cbr\u003eTo the Queenes most Excellent Majestie\u003cbr\u003eTo all vertuous Ladies in generall\u003cbr\u003eThe Authors Dreame to the Ladie Marie, the Countesse Dowager of Pembrooke\u003cbr\u003eTo the Ladie Lucie, Countesse of Bedford\u003cbr\u003eTo the Ladie Margaret, Countesse Dowager of Cumberland\u003cbr\u003eTo the Ladie Anne, Countesse of Dorcet\u003cbr\u003eTo the Vertuous Reader\u003cbr\u003eSalve Deus Rex Judaeorum\u003cbr\u003eThe Description of Cooke-ham\u003cbr\u003eAbbreviations and Short Titles Used in the Notes and Textual Apparatus\u003cbr\u003eNotes\u003cbr\u003eTextual Apparatus\u003cbr\u003e\u003c\/p\u003e","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732361720151,"sku":"9780140424096","price":11.69,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780140424096.jpg?v=1719996558"},{"product_id":"the-penguin-book-of-french-poetry-9780140423853","title":"The Penguin Book of French Poetry","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis collection illuminates the uniquely fascinating era between 1820 and 1950 in French poetry - a time in which diverse aesthetic ideas conflicted and converged as poetic forms evolved at an astonishing pace. It includes generous selections from all the established giants - among them Baudelaire, Verlaine, Rimbaud and Breton - as well as works from a wide variety of less well-known poets such as Claudel and Cendrars, whose innovations proved vital to the progress of poetry in France. The significant literary schools of the time are also represented in sections focusing on such movements as Romanticism, Symbolism, Cubism and Surrealism. Eloquent and inspirational, this rich and exhilarating anthology reveals an era of exceptional vitality.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eAcknowledgments\u003cbr\u003eIntroduction\u003cbr\u003eTechnicalities\u003cbr\u003eSources and Acknowledgments\u003cbr\u003e\u003cp\u003e\u003cb\u003eRomanticism in France\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAlphonse de Lamartine (1790-1859)\u003c\/b\u003e\u003cbr\u003eLe Lac\u003cbr\u003eLe Vallon\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMarceline Desbordes-Valmore (1786-1859)\u003c\/b\u003e\u003cbr\u003eSouvenir\u003cbr\u003eLes Roses de Saadi\u003cbr\u003eLa Couronne effeuillée\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAlfred de Vigny (1797-1863)\u003c\/b\u003e\u003cbr\u003eLa Colère de Samson\u003cbr\u003eLe Mont des Oliviers\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVictor Hugo (1802-85)\u003c\/b\u003e\u003cbr\u003eExtase\u003cbr\u003ePuisque mai tout en fleur...\u003cbr\u003eSouvenir de la nuit du 4\u003cbr\u003eStella\u003cbr\u003eMes deux filles\u003cbr\u003eDemain, dès l'aube...\u003cbr\u003eA Villequier\u003cbr\u003eBooz endormi\u003cbr\u003eJe suis fait d'ombre\u003cbr\u003eFenêtres ouvertes\u003cbr\u003eBêtise de la guerre\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharles-Augustin Sainte-Beuve (1804-69)\u003c\/b\u003e\u003cbr\u003eMon âme est ce lac même...\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGerard de Nerval (1808-55)\u003c\/b\u003e\u003cbr\u003eFantaisie\u003cbr\u003eVers dorés\u003cbr\u003eEl Desdichado\u003cbr\u003eMyrtho\u003cbr\u003eAntéros\u003cbr\u003eDelfica\u003cbr\u003eArtémis\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAlfred de Musset (1810-57)\u003c\/b\u003e\u003cbr\u003eUne Soirée Perdue\u003cbr\u003eA Julie\u003cbr\u003eLa Nuit de mai\u003cbr\u003eRappelle-toi\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTheophile Gautier (1811-72)\u003c\/b\u003e\u003cbr\u003eNous n'irons plus au bois...\u003cbr\u003eSculpteur, cherche avec soin...\u003cbr\u003eLe Saut du tremplin\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharles Baudelaire (1821-67)\/b\u0026gt;\u003cbr\u003eCorrespondances\u003cbr\u003eL'Albatros\u003cbr\u003eLa Beauté\u003cbr\u003eLa Chevelure\u003cbr\u003eAvec ses vêtements...\u003cbr\u003eUne Charogne\u003cbr\u003eHarmonie du soir\u003cbr\u003eL'Invitation au voyage\u003cbr\u003eLa Musique\u003cbr\u003eSpleen (I)\u003cbr\u003eSpleen (III)\u003cbr\u003eLes Aveugles\u003cbr\u003eA une Passante\u003cbr\u003eLa Destruction\u003cbr\u003eLe Voyage\u003cbr\u003eRecueillement\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Parnassian Movement\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeconte de Lisle (1818-94)\u003c\/b\u003e\u003cbr\u003eLes Montreurs\u003cbr\u003eMidi\u003cbr\u003eLe Coeur de Hialmar\u003cbr\u003eLe Rêve de jaguar\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJose-Maria de Heredia (1842-1905)\u003c\/b\u003e\u003cbr\u003eSoir de bataille\u003cbr\u003eAriane\u003cbr\u003eSur le Pont-Vieux\u003cbr\u003eLes Conquérants\u003cbr\u003eLa Sieste\u003cbr\u003eSoleil couchant\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eStephane Mallarme (1842-98)\u003c\/b\u003e\u003cbr\u003eLes Fenêtres\u003cbr\u003eBrise marine\u003cbr\u003eL'Après-midi d'un faune\u003cbr\u003eSainte\u003cbr\u003ePetit Air I\u003cbr\u003eQuand l'ombre menaça...\u003cbr\u003eLe vierge, le vivace et le bel aujourd'hui...\u003cbr\u003eAutre Eventail\u003cbr\u003eLe Tombeau d'Edgar Poe\u003cbr\u003eSes purs ongles...\u003cbr\u003eLe Démon de l'analogie\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharles Cros (1842-88)\u003c\/b\u003e\u003cbr\u003eLendemain\u003cbr\u003eHiéroglyphe\u003cbr\u003eSonnet (A travers la forêt...)\u003cbr\u003ePhantasma\u003cbr\u003eSonnet (J'ai bâti dans ma fantaisie...)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Verlaine (1844-96)\u003c\/b\u003e\u003cbr\u003eMon Rêve familier\u003cbr\u003eEffet de nuit\u003cbr\u003eSoleils couchants\u003cbr\u003eClair de lune\u003cbr\u003eEn sourdine\u003cbr\u003eColloque sentimental\u003cbr\u003eIl pleure dans mon coeur...\u003cbr\u003eDans l'interminable...\u003cbr\u003eLes chères mains qui furent miennes...\u003cbr\u003eLe ciel est, par-dessus le toit...\u003cbr\u003eJe ne sais pourquoi...\u003cbr\u003eArt poétique\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTristan Corbiere (1845-75)\u003c\/b\u003e\u003cbr\u003eLe Crapaud\u003cbr\u003eA une Camarade\u003cbr\u003eSonnet de nuit\u003cbr\u003ePaysage mauvais\u003cbr\u003eLitanie du Sommeil\u003cbr\u003ePetite Mort pour rire\u003cbr\u003eEpitaphe\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eComte de Lautreamont (1846-70)\u003c\/b\u003e\u003cbr\u003eChants de Maldoror:\u003cbr\u003eChant II, strophe 13 (extract)\u003cbr\u003eChant IV, strophe 6 (extract)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGermain Noveau (1851-1920)\u003c\/b\u003e\u003cbr\u003ePoison perdu\u003cbr\u003eMendiants\u003cbr\u003ePourrières\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eArthur Rimbaud (1854-91)\u003c\/b\u003e\u003cbr\u003eA la Musique\u003cbr\u003eMa Bohème\u003cbr\u003eOraison du soir\u003cbr\u003eLe Coeur volé\u003cbr\u003eLes Chercheuses de poux\u003cbr\u003eVoyelles\u003cbr\u003eLe Bateau ivre\u003cbr\u003eMémoire\u003cbr\u003eO saisons, ô châteaux\u003cbr\u003eAprès le Déluge\u003cbr\u003eMatinée d'ivresse\u003cbr\u003eVille\u003cbr\u003eAube\u003cbr\u003eMarine\u003cbr\u003eNuit de l'Enfer\u003cbr\u003eAdieu\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJules Laforgue (1860-87) \u003c\/b\u003e\u003cbr\u003eComplainte des Pianos qu'on entend dans les quartiers aisés\u003cbr\u003eComplainte des Nostalgies préhistoriques\u003cbr\u003eComplainte du Roi de Thulé\u003cbr\u003eComplainte sur certains Temps déplacés\u003cbr\u003ePierrots\u003cbr\u003eLocutions des Pierrots\u003cbr\u003eL'Hiver qui vient\u003cbr\u003eDimanches\u003cbr\u003eSolo de lune\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eThe Symbolist Movement\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eEmile Verhaeren (1855-1916) \u003c\/b\u003e\u003cbr\u003eLe Moulin\u003cbr\u003eChanson de fou\u003cbr\u003eLes Usines\u003cbr\u003eLes Horloges\u003cbr\u003eLes Heures claires\u003cbr\u003eUn Soir\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMaurice Maeterlinck (1862-1949) \u003c\/b\u003e\u003cbr\u003eTentations\u003cbr\u003eHôpital\u003cbr\u003eTrois princesses m'ont embrassé...\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJean Moreas (1856-1936) \u003c\/b\u003e\u003cbr\u003eLe Socle\u003cbr\u003eLa Prisonnière\u003cbr\u003eJulie aux yeux d'enfant\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSaint-Pol Roux (1861-1940) \u003c\/b\u003e\u003cbr\u003eGolgotha\u003cbr\u003eAlouettes\u003cbr\u003eLa Carafe d'eau pure\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eA Renewal of Lyricism \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul-Jean Toulet (1867-1920) \u003c\/b\u003e\u003cbr\u003eContrerimes\u003cbr\u003eChanson: Le Temps d'Adonis\u003cbr\u003eCople CVII\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFrancis Jammes (1868-1938) \u003c\/b\u003e\u003cbr\u003eJ'aime dans les temps...\u003cbr\u003ePrière pour aller au Paradis avec les ânes\u003cbr\u003eLes cinq Mystères douloureux\u003cbr\u003eIl va neiger\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Fort (1872-1960) \u003c\/b\u003e\u003cbr\u003eComplainte du Roi et de la Reine\u003cbr\u003eLa grande Ivresse\u003cbr\u003eLa Grenouille bleue\u003cbr\u003eL'Ecureuil\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAnna, Comtesse de Noailles (1876-1933) \u003c\/b\u003e\u003cbr\u003eL'Empriente\u003cbr\u003eC'est après les moments...\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Claudel (1868-1955) \u003c\/b\u003e\u003cbr\u003eDeuxième Ode: L'Esprit et l'Eau (extract)\u003cbr\u003eQuatrième Ode: La Muse qui est la Grâce (first part)\u003cbr\u003eBallade\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCharles Peguy (1873-1914)\u003c\/b\u003e\u003cbr\u003eLa Nuit (extract)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eOscar Vladislas de Lubicz Milocz (1877-1939) \u003c\/b\u003e\u003cbr\u003eQuand elle viendra...\u003cbr\u003eAux sons d'une musique...\u003cbr\u003eCantique de la connaissance (opening and closing sections)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Valery (1871-1945) \u003c\/b\u003e\u003cbr\u003eLa Fileuse\u003cbr\u003eLe Bois amical\u003cbr\u003eAu platane\u003cbr\u003eL'Abeille\u003cbr\u003eLes Pas\u003cbr\u003eL'Insinuant\u003cbr\u003eLes Grenades\u003cbr\u003eLe Cimetière marin\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eVictor Segalen (1878-1919) \u003c\/b\u003e\u003cbr\u003eLes trois Hymnes primitifs\u003cbr\u003ePierre musicale\u003cbr\u003eOrdre au soleil\u003cbr\u003eEloge du jade\u003cbr\u003eNom caché\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCubism, cosmopolitanism and modernism \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeon-Paul Fargue (1876-1947)\u003c\/b\u003e\u003cbr\u003eSur le trottoir tout gras...\u003cbr\u003eLa rampe s'allume...\u003cbr\u003eLa Gare\u003cbr\u003ePostface\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eMax Jacob (1876-1944) \u003c\/b\u003e\u003cbr\u003eLa Guerre\u003cbr\u003eDans la forêt silencieuse\u003cbr\u003eRuses du Démon pour ravoir sa proie\u003cbr\u003eEtablissement d'une communauté au Brésil\u003cbr\u003eAoût 39\u003cbr\u003ePrésence de Dieu\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eGuillaume Apollinaire (1880-1918) \u003c\/b\u003e\u003cbr\u003eZone\u003cbr\u003eLe pont Mirabeau\u003cbr\u003eL'Emigrant de Landor Road\u003cbr\u003eLe brasier\u003cbr\u003eNuit rhénane\u003cbr\u003eLiens\u003cbr\u003eFête\u003cbr\u003eVisée\u003cbr\u003eLa jolie rousse\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eBlaise Cendrars (1887-1961) \u003c\/b\u003e\u003cbr\u003eProse du Transsibérien et la petite Jeanne de France (3 extracts)\u003cbr\u003eContrastes\u003cbr\u003eConstruction\u003cbr\u003eOrion\u003cbr\u003eMississippi\u003cbr\u003eAube\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePierre Reverdy (1889-1960)\u003c\/b\u003e\u003cbr\u003eAprès le Bal\u003cbr\u003eToujours lè\u003cbr\u003eAuberge\u003cbr\u003eNomade\u003cbr\u003eCouloir\u003cbr\u003eChauffage central\u003cbr\u003eDrame\u003cbr\u003eLes Mots qu'on échange\u003cbr\u003eX\u003cbr\u003eChair vive\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eCatherine Pozzi (1882-1934) \u003c\/b\u003e\u003cbr\u003eAve\u003cbr\u003eNyx\u003cbr\u003eScopolamine\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJules Supervielle (1884-1960) \u003c\/b\u003e\u003cbr\u003eMontévidéo\u003cbr\u003eHaute mer\u003cbr\u003eDans la forêt sans heures\u003cbr\u003eLes Poissons\u003cbr\u003eTristesse de Dieu\u003cbr\u003eNuit en moi...\u003cbr\u003ePlein Ciel\u003cbr\u003e1940\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSaint-John Perse (1887-1975) \u003c\/b\u003e\u003cbr\u003eEloges II \u0026amp; XIV\u003cbr\u003eAnabase VII\u003cbr\u003eExil II\u003cbr\u003eNeiges IV\u003cbr\u003eVents: Chant II, i\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePierre-Jean Jouve (1887-1976) \u003c\/b\u003e\u003cbr\u003eVallée de larmes\u003cbr\u003eVrai Corps\u003cbr\u003eL'Oeil et la chevelure\u003cbr\u003eLamentations au cerf\u003cbr\u003eLa Femme et la terre\u003cbr\u003eJe suis succession furieuse...\u003cbr\u003eAngles\u003cbr\u003eA soi-même\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eSurrealism \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAndre Breton (1896-1966) \u003c\/b\u003e\u003cbr\u003eTournesol\u003cbr\u003eVigilance\u003cbr\u003eL'Union libre\u003cbr\u003eSur la route de San Romano\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eTristan Tzara (1896-1963) \u003c\/b\u003e\u003cbr\u003eLa grande complainte de mon obscurité trois\u003cbr\u003eLe Mort de Guillaume Apollinaire\u003cbr\u003eSur une ride du soleil\u003cbr\u003eVolt\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePhilippe Soupault (1897- ) \u003c\/b\u003e\u003cbr\u003eDimance\u003cbr\u003eLa grande Mélancholie d'une avenue\u003cbr\u003eSay it with Music\u003cbr\u003eStumbling\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003ePaul Eluard (1895-1952) \u003c\/b\u003e\u003cbr\u003eL'Amoreuse\u003cbr\u003eLa courbe de tes yeux...\u003cbr\u003eLa terre est bleue...\u003cbr\u003eLe front aux vitres...\u003cbr\u003eA perte de vue dans le sens de mon corps\u003cbr\u003eTu te lèves\u003cbr\u003eLa victoire de Guernica\u003cbr\u003eFaire vivre\u003cbr\u003eLa Mort l'Amour la Vie\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLouis Aragon (1897-1982) \u003c\/b\u003e\u003cbr\u003ePoème è crier dans les ruines\u003cbr\u003eElsa au miroir\u003cbr\u003eLes lilas et les roses\u003cbr\u003eBallade de celui qui chanta dans les supplices\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRobert Desnos (1900-1945) \u003c\/b\u003e\u003cbr\u003eJ'ai tant rêvé de toi\u003cbr\u003eLa Voix de Robert Desnos\u003cbr\u003eDestinée arbitraire\u003cbr\u003eDésespoir du soleil\u003cbr\u003eMi-Route\u003cbr\u003eLe Zèbre\u003cbr\u003eLe Paysage\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eJacques Prevert (1900-1977) \u003c\/b\u003e\u003cbr\u003eLe Cancre\u003cbr\u003eFamiliale\u003cbr\u003eDéjeuner du matin\u003cbr\u003eSanguine\u003cbr\u003eL'Ordre nouveau\u003cbr\u003eBarbara\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eHenri Michaux (1899-1984) \u003c\/b\u003e\u003cbr\u003eMes Occupations\u003cbr\u003eCrier\u003cbr\u003eEmportez-moi\u003cbr\u003eLe grand Violon\u003cbr\u003eClown\u003cbr\u003eDragon\u003cbr\u003eAprès ma Mort\u003cbr\u003ePortraits des Meidosems (extracts)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eFrancis Ponge (1899-1988) \u003c\/b\u003e\u003cbr\u003eLes Mûres\u003cbr\u003eL'Orange\u003cbr\u003eVégétation\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\"Négritude\" \u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eLeopold Sedar Senghor (1906- ) \u003c\/b\u003e\u003cbr\u003eFemme noire\u003cbr\u003eCamp 1940\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAime Cesaire (1913- ) \u003c\/b\u003e\u003cbr\u003eN'ayez point pitié\u003cbr\u003eSoleil serpent\u003cbr\u003ePerdition\u003cbr\u003eProphétie\u003cbr\u003eTam-tam I\u003cbr\u003eOde á la Guinée\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eAndre Frenaud (1907- ) \u003c\/b\u003e\u003cbr\u003eNaissance\u003cbr\u003eMaison à vendre\u003cbr\u003eLes Rois Mages\u003cbr\u003ePrésence réelle\u003cbr\u003eAssèchement de la plaie\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003eRene Char (1907-1988) \u003c\/b\u003e\u003cbr\u003eArtine\u003cbr\u003eMigration\u003cbr\u003eCommune Présence II\u003cbr\u003eChant du refus\u003cbr\u003eLes premiers instants\u003cbr\u003eA ***\u003cbr\u003eL'inoffensif\u003cbr\u003eFront de la rose\u003cbr\u003e\u003c\/p\u003e\u003cp\u003eIndex of First Lines\u003cbr\u003e\u003c\/p\u003e","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732361752919,"sku":"9780140423853","price":17.09,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780140423853.jpg?v=1719996557"},{"product_id":"selected-poems-penguin-classics-9780140424508","title":"Selected Poems Penguin Classics","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe selected poems of a legendary romantic.\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003eDescribed as 'Mad, bad and dangerous to know' by one of his lovers, Lady Caroline Lamb, Lord Byron was the quintessential Romantic. Flamboyant, charismatic and brilliant, he remains almost as notorious for his life - as a political revolutionary, sexual adventurer and traveller - as he does for his literary work. Yet he produced some of the most daring and exuberant poetry of the Romantic age, from 'To Caroline' and 'To Woman' to the satirical English Bards and Scotch Reviewers, his exotic Eastern tales and the colourful narrative of Childe Harold's Pilgrimage, the work that made him famous overnight and gave birth to the idea of the brooding Byronic hero.\u003cbr\u003e\u003cbr\u003eFor more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. R\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eSelected Poems (Byron)Introduction\u003cbr\u003eTable of Dates\u003cbr\u003eFurther Reading\u003cbr\u003eA Note on This Edition\u003cbr\u003eA Fragment ('When, to their airy hall, my fathers' voice')\u003cbr\u003eTo Woman\u003cbr\u003eThe Cornelian\u003cbr\u003eTo Caroline ('You say you love, and yet your eye')\u003cbr\u003e\u003cb\u003eEnglish Bards And Scotch Reviewers: \u003ci\u003eA Satire\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eLines to Mr Hodgson (Written on Board the Lisbon Packet)\u003cbr\u003eMaid of Athens, ere we part\u003cbr\u003eWritten after Swimming from Sestos to Abydos\u003cbr\u003eTo Thyrza ('Without a stone to mark the spot')\u003cbr\u003e\u003cb\u003eChilde Harold's Pilgrimage: \u003ci\u003eA Romaunt, Cantos I-II\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003ePreface to the First and Second Cantos\u003cbr\u003eTo Ianthe\u003cbr\u003eCanto the First\u003cbr\u003eCanto the Second\u003cbr\u003eAppendix to Canto the Second\u003cbr\u003eAn Ode to the Framers of the Frame Bill\u003cbr\u003eLines to a Lady Weeping\u003cbr\u003e\u003cb\u003eThe Waltz: \u003ci\u003eAn Apostrophic Hymn\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eRemember Thee! Remember Thee!\u003cbr\u003e\u003cb\u003eThe Giaour: \u003ci\u003eA Fragment of a Turkish Tale\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Bride of Abydos: \u003ci\u003eA Turkish Tale\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Corsair: \u003ci\u003eA Tale\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eOde to Napoleon Buonaparte\u003cbr\u003eStanzas for Music\u003cbr\u003eShe walks in beauty\u003cbr\u003e\u003cb\u003eLara: \u003ci\u003eA Tale\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eThe Destruction of Sennacherib \u003cbr\u003eNapoleon's Farewell (From the French)\u003cbr\u003eFrom the French ('Must thou go, my glorious Chief')\u003cbr\u003e\u003cb\u003eThe Siege of Corinth\u003c\/b\u003e\u003cbr\u003eWhen we two parted\u003cbr\u003eFare thee well!\u003cbr\u003ePrometheus\u003cbr\u003e\u003cb\u003eThe Prisoner of Chillon: \u003ci\u003eA Fable\u003c\/i\u003e and \u003ci\u003eSonnet on Chillon\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eDarkness\u003cbr\u003e\u003cb\u003eChilde Harold's Pilgrimage: \u003ci\u003eA Romaunt, Canto III\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eEpistle to Augusta ('My sister! my sweet sister!' \u0026amp;c.)\u003cbr\u003eLines (On Hearing that Lady Byron was Ill)\u003cbr\u003e\u003cb\u003eManfred: \u003ci\u003eA Dramatic Poem\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eSo, we'll go no more a roving\u003cbr\u003e\u003cb\u003eChilde Harold's Pilgrimage: \u003ci\u003eA Romaunt, Canto IV\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eEpistle from Mr Murray to Dr Polidori ('Dear Doctor, I have read your play')\u003cbr\u003e\u003cb\u003eBeppo: \u003ci\u003eA Venetian Story\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eEpistle to Mr Murray ('My dear Mr Murray')\u003cbr\u003e\u003cb\u003eMazeppa\u003c\/b\u003e\u003cbr\u003eStanzas to the Po\u003cbr\u003eThe Isles of Greece\u003cbr\u003eFrancesca of Rimini. From the \u003ci\u003eInferno\u003c\/i\u003e of Dante, Canto the Fifth\u003cbr\u003eStanzas ('When a man hath no freedom')\u003cbr\u003e\u003cb\u003eSardanapalus: \u003ci\u003eA Tragedy\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003eWho kill'd John Keats?\u003cbr\u003e\u003cb\u003eThe Blues\" \u003ci\u003eA Literary Eclogue\u003c\/i\u003e\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThe Vision of Judgment\u003c\/b\u003e\u003cbr\u003eOn This Day I Complete My Thirty-Sixth Year\u003cbr\u003eNotes\u003cbr\u003eWorks Cited in the Notes\u003cbr\u003eIndex of Titles\u003cbr\u003eIndex of First Lines","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732362211671,"sku":"9780140424508","price":999.99,"currency_code":"GBP","in_stock":false}]},{"product_id":"the-penguin-book-of-english-verse-9780140424546","title":"The Penguin Book of English Verse","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eThis ambitious and revelatory collection turns the traditional chronology of anthologies on its head, listing poems according to their first individual appearance in the language rather than by poet.\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e'an exceptionally rich collection. Even the best-read will find poets in it who are new to them...' - John Carey, Sunday Times\u003cbr\u003e\u003cbr\u003e'... assiduously researched, deftly managed and exhilaratingly ramified, [this] is a landmark anthology, perhaps the last great one-volume work of its kind' - TLS\u003cbr\u003e\u003cbr\u003e'Keegan arranges the poems, rather than the authors, in chronological order; a radical manoeuvre with a startlingly vivifying effect' - John Lanchester, Daily Telegraph\u003cbr\u003e\u003cbr\u003e'this big book is welcome: serious, wide-ranging and sometimes surprising... a book you should buy, and read, and argue with' - Anthony Thwaite, Sunday Telegraph\u003cbr\u003e\u003cbr\u003e'Keegan's book is rich with discoveries and reclaimings... [a] very exciting, bold new book.' - James Wood, Guardian\u003cbr\u003e\u003cbr\u003e'This anthology is a huge joy.  [Keegan] shows the scholarship his system requires, and great taste besides.' - Tom Payne, Daily Telegraph\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTable of Contents\u003c\/b\u003e\u003cbr\u003eThe Penguin Book of English VersePreface\u003cbr\u003e\u003cp\u003e\u003cb\u003e1300-1350\u003c\/b\u003e\u003cbr\u003e(Rawlinson Lyrics)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003e'Ich am of Irlande'\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Maiden in the morë lay'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Al night by the rosë, rosë'\u003cbr\u003e(Harley Lyrics)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Bitwenë March and Avëril'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Erthë tok of erthe'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1350-1400\u003c\/b\u003e\u003cbr\u003e(Grimestone Lyrics)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Gold and al this worldës wyn'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003e'Gloria mundi est'\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Love me broughte'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (The Dragon Speaks)\u003cbr\u003e\u003cb\u003eGeoffrey Chaucer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Parliament of Fowls\u003cbr\u003e(Catalogue of the Birds)\u003cbr\u003e(Roundel)\u003cbr\u003e\u003cb\u003eGeoffrey Chaucer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Boke of Troilus\u003cbr\u003e(Envoi)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'When Adam dalf and Eve span'\u003cbr\u003e\u003cb\u003eWilliam Langland\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Vision of Piers Plowman\u003cbr\u003e(Prologue)\u003cbr\u003e(Gluttony in the Ale-house)\u003cbr\u003e\u003cb\u003eGeoffrey Chaucer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Canterbury Tales\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The General Prologue 'Whan that Aprill with his shoures soote'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The General Prologue (The Prioress)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Knight's Tale (The Temple of Mars)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Knight's Tale (Saturn)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Milleres Tale (Alysoun)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Wife of Bath's Prologue 'My fourthe housbonde was a revelour'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Pardoner's Tale 'Thise riotoures thre of whiche I telle'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Patience\u003cbr\u003e(Jonah and the Whale)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Sir Gawain and the Green Knight\u003cbr\u003e(Gawain Journeys North)\u003cbr\u003e\u003cb\u003eGeoffrey Chaucer\u003c\/b\u003e Envoy to Scogan\u003cbr\u003e\u003cb\u003eJohn Gower\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Confessio Amantis\u003cbr\u003e(Pygmaleon)\u003cbr\u003e(The Rape of Lucrece)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1430\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hoccleve\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Complaint of Hoccleve\u003cbr\u003e'Aftir that hervest inned had hise sheves'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1440\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles of Orleans\u003c\/b\u003e (Ballade) ('In the forest of Noyous Hevynes')\u003cbr\u003e\u003cb\u003eCharles of Orleans\u003c\/b\u003e (Roundel) ('Take, take this cosse, attonys, atonys, my hert!')\u003cbr\u003e\u003cb\u003eCharles of Orleans\u003c\/b\u003e (Roundel) ('Go forth myn hert wyth my lady')\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1450\u003c\/b\u003e\u003cbr\u003e(Sloane Lyrics)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Adam lay y-bownden'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'I syng of a mayden'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'The merthe of alle this londe'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Christ Triumphant)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Holly against Ivy)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003e'Ther is no rose of swych vertu'\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1500\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Skelton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Phyllyp Sparowe\u003cbr\u003e'Whan I remembre agayn'\u003cbr\u003e\u003cb\u003eRobert Henryson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Testament of Cresseid\u003cbr\u003e'O ladyis fair of Troy and Greece, attend'\u003cbr\u003e\u003cb\u003eWilliam Dunbar\u003c\/b\u003e Lament, When He Wes Seik\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1510\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Dunbar\u003c\/b\u003e 'Done is a battell on the dragon blak'\u003cbr\u003e\u003cb\u003eWilliam Dunbar\u003c\/b\u003e 'In to thir dirk and drublie dayis'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1515\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGavin Douglas\/Virgil\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Aeneid\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Book I (Aeolus Looses the Winds)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Proloug of the Sevynt Buik of Eneados\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (the Corupus Christi Carol)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Farewell, this world! I take my leve for evere'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003e'Draw me nere, draw me nere'\u003c\/i\u003e\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1520\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Westron wynde when wyll thow blow'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1523\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Skelton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Goodly Garlande or Chapelet of Laurell\u003cbr\u003e(The Garden of the Muses: Iopas' Song)\u003cbr\u003eTo Maystres Isabell Pennell\u003cbr\u003e\u003cb\u003eJohn Skelton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Speke Parott\u003cbr\u003e(Parrot's Complaint)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1530\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Cornish\u003c\/b\u003e 'Pleasure it is'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1535\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMyles Coverdale\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Bible\u003cbr\u003ePsalm 137: Super flumina\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1540\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\/Petrarch\u003c\/b\u003e 'The longe love that in my thought doeth harbar'\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\/Petrarch\u003c\/b\u003e 'Who so list to hount I knowe where is an hynde'\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\u003c\/b\u003e 'They fle from me that sometyme did me seke'\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\u003c\/b\u003e 'My lute awake! Perfourme the last'\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\u003c\/b\u003e 'Forget not yet the tryde entent'\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\/Alamanni\u003c\/b\u003e 'Myne owne John Poyntz, sins ye delight to know'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1542\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHenry Howard, Earl of Surrey\u003c\/b\u003e An Excellent Epitaffe of Syr Thomas Wyat\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1547\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnne Askew\u003c\/b\u003e The Balade whych Anne Askewe made and sange whan she was in Newgate\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1557\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Tottel's Songes and Sonettes\u003cbr\u003e\u003cb\u003eSir Thomas Wyatt\/Seneca\u003c\/b\u003e (\u003ci\u003eChorus from\u003c\/i\u003e Thyestes) ('Stond who so list upon the Slipper toppe')\u003cbr\u003e\u003cb\u003eHenry Howard, Earl of Surrey\u003c\/b\u003e 'O happy dames, that may embrace'\u003cbr\u003e\u003cb\u003eHenry Howard, Earl of Surrey\u003c\/b\u003e 'Alas, so all thinges nowe doe holde their peace'\u003cbr\u003e\u003cb\u003eHenry Howard, Earl of Surrey\/Virgil\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Certayn bokes of Virgiles Aenaeis\u003cbr\u003e(Aeneas searches for his wife)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1560\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Geneva Bible, Ecclesiastes 3:1-8 ('To all things there is an appointed time')\u003cbr\u003e\u003cb\u003eRobert Weever\u003c\/b\u003e 'Of Youth He Singeth'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1563\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBarnabe Googe\u003c\/b\u003e Commynge Home-warde out of Spayne\u003cbr\u003e\u003cb\u003eBarnabe Googe\u003c\/b\u003e An Epytaphe of the Death of Nicolas Grimoald\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1565\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArthur Golding\/Ovid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The First Four Books of Ovid\u003cbr\u003e(Proserpine and Dis)\u003cbr\u003e(Daphne and Apollo)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1567\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArthur Golding\/Ovid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Fifteen Books of Ovid\u003cbr\u003e(Medea's Incantation)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1568\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Scott\u003c\/b\u003e 'To luve unluvit it is ane pane'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Christ was the word that spake it'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1579\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Shepheardes Calender (Roundelay)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1580\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e Iambicum Trimetrum\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1581\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJasper Heywood\/Seneca\u003c\/b\u003e (\u003ci\u003eChorus from\u003c\/i\u003e Hercules Furens)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1582\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Watson\u003c\/b\u003e My Love is Past\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1584\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e A New Courtly Sonet, of the Lady Greensleeves\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1586\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChidiock Tichborne\u003c\/b\u003e 'My prime of youth is but a froste of cares'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1588\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Constant \u003ci\u003ePenelope\u003c\/i\u003e, sends to thee carelesse \u003ci\u003eUlisses\u003c\/i\u003e'\u003cbr\u003e\u003cb\u003eAnonymous\/Theocritus\u003c\/b\u003e \u003ci\u003efrom Sixe\u003c\/i\u003e Idillia . . . chosen out of . . . Theocritus\u003cbr\u003e(Adonis)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1589\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Philip Sidney\u003c\/b\u003e 'My true love hath my hart, and I have his'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1590\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Walter Raleigh\u003c\/b\u003e 'As you came from the holy land'\u003cbr\u003e\u003cb\u003eMark Alexander Boyd\u003c\/b\u003e Sonet ('Fra banc to banc fra wod to wod I rin')\u003cbr\u003e\u003cb\u003eSir Henry Lee\u003c\/b\u003e 'His Golden lockes, Time hath to Silver turn'd'\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Faerie Queene\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Book II, Canto XII (The Bower of Blisse Destroyed)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Book III, Canto VI (The Gardin of Adonis)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Book III, Canto XI (Britomart in the House of the Enchanter Busyrane)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1591\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Philip Sidney\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Astrophil and Stella\u003cbr\u003e1. 'Loving in truth, and faine in verse my love to show'\u003cbr\u003e31. 'With how sad steps, ô Moone, thou climb'st the skies'\u003cbr\u003e33. 'I might, unhappie word, ô me, I might'\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'Harke, al you ladies that do sleep'\u003cbr\u003e\u003cb\u003eSir John Harrington\/Ariosto\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Ariosto's Orlando Furioso (Astolfo flies by Chariot to the Moon)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1592\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Lyly\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Midas\u003cbr\u003e'\u003ci\u003ePan's Syrinx\u003c\/i\u003e was a Girle indeed'\u003cbr\u003e\u003cb\u003eSamuel Daniel\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Delia\u003cbr\u003e45. 'Care-charmer sleepe, sonne of the Sable night'\u003cbr\u003e\u003cb\u003eHenry Constable\u003c\/b\u003e 'Deere to my soule, then leave me not forsaken'\u003cbr\u003e\u003cb\u003eSir Walter Raleigh\u003c\/b\u003e The Lie\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1593\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Phoenix Nest\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Praisd be Dianas faire and harmles light'\u003cbr\u003e\u003cb\u003eThomas Lodge\u003c\/b\u003e The Sheepheards Sorrow, Being Disdained in Love\u003cbr\u003e\u003cb\u003eBarnabe Barnes\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Parthenophil and Parthenophe (Sestina)\u003cbr\u003e('Then, first with lockes disheveled, and bare')\u003cbr\u003e\u003cb\u003eSir Philip Sidney\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Countess of Pembroke's Arcadia\u003cbr\u003e'Yee Gote-heard Gods, that love the grassie mountaines'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1594\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Love's Labours Lost\u003cbr\u003e'\u003ci\u003eWhen Dasies pied, and Violets blew\u003c\/i\u003e'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Weare I a Kinge I coude commande content'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1595\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Amoretti\u003cbr\u003eSonnet LXVII. ('Lyke as a huntsman after weary chace')\u003cbr\u003eSonnet LXVIII. ('Most glorious Lord of lyfe that on this day')\u003cbr\u003e\u003cb\u003eRobert Southwell S. J.\u003c\/b\u003e Decease Release\u003cbr\u003e\u003cb\u003eRobert Southwell S.J.\u003c\/b\u003e New Heaven, New Warre\u003cbr\u003e\u003cb\u003eRobert Southwell S.J.\u003c\/b\u003e The Burning Babe\u003cbr\u003e\u003cb\u003eGeorge Peele\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Old Wives Tale\u003cbr\u003e'When as the Rie reach to the chin'\u003cbr\u003e'Gently dip: but not too deepe'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1596\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e Prothalamion\u003cbr\u003e\u003cb\u003eSir John Davies\u003c\/b\u003e In Cosmum\u003cbr\u003e\u003cb\u003eSir John Davies\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Orchestra, or a Poeme of Dauncing\u003cbr\u003e('The speach of Love persuading men to learn Dancing')\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1597\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Since Bonny-boots was dead, that so divinely'\u003cbr\u003e\u003cb\u003eWilliam Alabaster\u003c\/b\u003e Of the Reed That the Jews Set in Our Saviour's Hand\u003cbr\u003e\u003cb\u003eWilliam Alabaster\u003c\/b\u003e Of His Conversion\u003cbr\u003e\u003cb\u003eRobert Sidney, Earl of Leicester\u003c\/b\u003e 'Forsaken woods, trees with sharpe storms opprest'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1598\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Philip Sidney\u003c\/b\u003e 'When to my deadlie pleasure'\u003cbr\u003e\u003cb\u003eSir Philip Sidney\u003c\/b\u003e 'Leave me ô Love, which reachest but to dust'\u003cbr\u003e\u003cb\u003eMary Herbert, Countess of Pembroke\u003c\/b\u003e Psalm 58 ('And call yee this to utter what is just')\u003cbr\u003e\u003cb\u003eMary Herbert, Countess of Pembroke\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Psalm 139 ('Each inmost peece in me is thine')\u003cbr\u003e\u003cb\u003eChristopher Marlowe\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Hero and Leander\u003cbr\u003e'His bodie was as straight as \u003ci\u003eCirces\u003c\/i\u003e wand'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Hark, all ye lovely saints above'\u003cbr\u003e\u003cb\u003eChristopher Marlowe\/Ovid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e All Ovids Elegies\u003cbr\u003eBook I, Elegia 5 ('In summers heat and mid-time of the day')\u003cbr\u003eBook III, Elegia 13 ('Seeing thou art faire, I barre not thy false playing')\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e On His Mistris\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1599\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMichael Drayton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Idea\u003cbr\u003e5. 'Nothing but No and I, and I and No'\u003cbr\u003e\u003cb\u003eAlexander Hume\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Of the Day Estivall\u003cbr\u003e'O perfite light, quhik schaid away'\u003cbr\u003e\u003cb\u003eGeorge Peele\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e David and Fair Bethsabe\u003cbr\u003e'Hot sunne, coole fire, tempered with sweet aire'\u003cbr\u003e\u003cb\u003eSamuel Daniel\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Musophilus\u003cbr\u003e(Stonehenge)\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1600\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFulke Greville, Lord Brooke\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Caelica\u003cbr\u003eSonnet XLV. ('\u003ci\u003eAbsence,\u003c\/i\u003e the noble truce')\u003cbr\u003eSonnet LXXXIV. ('\u003ci\u003eFarewell\u003c\/i\u003e sweet boy, complaine not of my truth')\u003cbr\u003eSonnet LXXXV. ('\u003ci\u003eLove\u003c\/i\u003e is the Peace, whereto all thoughts doe strive')\u003cbr\u003eSonnet XCIX. ('Downe in the depth of  mine iniquity')\u003cbr\u003eSonnet C. ('In Night when colours all to blacke are cast')\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e \u003cb\u003eEnglands Helicon\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e The Sheepheeards Description of Love\u003cbr\u003e\u003cb\u003eChristopher Marlowe\u003c\/b\u003e The Passionate Sheepheard to his Love\u003cbr\u003e\u003cb\u003eSir Walter Ralegh\u003c\/b\u003e The Nimphs Reply to the Sheepheard\u003cbr\u003e\u003cb\u003eThomas Nashe\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Summers Last Will and Testament\u003cbr\u003e'Fayre Summer droops, droope men and beasts therefore'\u003cbr\u003e'Adieu, farewell earths blisse'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (A Lament for Our Lady's Shrine at Walsingham)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Fine knacks for ladies, cheape choise brave and new'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Thule, the period of cosmography'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1601\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Holmes\u003c\/b\u003e 'Thus Bonny-boots the birthday celebrated'\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Twelfth Night\u003cbr\u003e'When that I was and a little tiny boy'\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e (The Phoenix and Turtle)\u003cbr\u003e\u003cb\u003eThomas Campion\/Catulus\u003c\/b\u003e 'My sweetest Lesbia, let us live and love'\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'Followe thy faire sunne unhappy shaddowe'\u003cbr\u003e\u003cb\u003eThomas Campion\/Propertius\u003c\/b\u003e 'When thou must home to shades of under ground'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1602\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'The lowest trees have tops, the Ant her gall'\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'Rose-cheekt \u003ci\u003eLawra\u003c\/i\u003e come'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1603\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Weepe you no more sad fountaines'\u003cbr\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e1604\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e The Passionate Mans Pilgrimage\u003cbr\u003e\u003cb\u003eNicholas Breton \u003ci\u003efrom\u003c\/i\u003e A Solemne Long Enduring Passion\u003cbr\u003e'Wearie thoughts doe waite upon me'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1607\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBen Jonson\/Catullus\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Volpone\u003cbr\u003e'Come my \u003cb\u003eCelia\u003c\/b\u003e, let us prove'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1608\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Ay me, alas, heigh ho, heigh ho!'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1609\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Epicoene\u003cbr\u003e'Still to be neat, still to be dresst'\u003cbr\u003e\u003cb\u003eEdmund Spenser\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Two Cantos of Mutabilitie\u003cbr\u003e(Nature's Reply to Mutabilitie)\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Sonnets\u003cbr\u003e18. 'Shall I compare thee to a Summers day?'\u003cbr\u003e55. 'Not marble, nor the guilded monuments'\u003cbr\u003e60. 'Like as the waves make towards the pibled shore'\u003cbr\u003e66. 'Tyr'd with all these for restfull death I cry'\u003cbr\u003e73. 'That time of yeeare thou maist in me behold'\u003cbr\u003e94. 'They that have powre to hurt, and will doe none'\u003cbr\u003e107. 'Not mine owne feares, nor the prophetick soule'\u003cbr\u003e116. 'Let me not to the marriage of true mindes'\u003cbr\u003e124. 'Yf my deare love were but the childe of state'\u003cbr\u003e129. 'Th'expence of Spirit in a waste of shame'\u003cbr\u003e138. 'When my love sweares that she is made of truth'\u003cbr\u003e144. 'Two loves I have of comfort and dispaire'\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Cymbeline\u003cbr\u003e\u003ci\u003e'Feare no more the heate o'th'Sun'\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (\u003ci\u003eInscription in Osmington Church, Dorset\u003c\/i\u003e)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (\u003ci\u003eInscription in St. Mary Magdalene Church, Milk Street, London\u003c\/i\u003e)\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1610\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Davies of Hereford\u003c\/b\u003e The Author Loving These Homely Meats\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1611\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Authorized Version of the Bible\u003cbr\u003e2 Samuel 1:19-27 David lamenteth the death of Jonathan\u003cbr\u003eJob 3:3-26 Job curseth the day, and services of his birth\u003cbr\u003eEcclesiastes 12:1-8 The Creator is to be remembered in due time\u003cbr\u003e\u003cb\u003eGeorge Chapman\/Homer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Iliads of Homer\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Third Booke (Helen and the Elders on the Ramparts)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Twelfth Booke (Sarpedon's Speech to Glaucus)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e A Belmans Song\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Winter's Tale\u003cbr\u003e'\u003ci\u003eWhen Daffadils begin to peere\u003c\/i\u003e'\u003cbr\u003e'\u003ci\u003eLawne as white as driven Snow\u003c\/i\u003e'\u003cbr\u003e\u003cb\u003eWilliam Shakespeare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Tempest\u003cbr\u003e'\u003ci\u003eCome unto these yellow sands\u003c\/i\u003e'\u003cbr\u003e'\u003ci\u003eFull fadom five they Father lies\u003c\/i\u003e'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1612\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Webster\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The White Divel\u003cbr\u003e'\u003ci\u003eCall for the Robin-Red-brest and the wren\u003c\/i\u003e'\u003cbr\u003e\u003cb\u003eGeorge Chapman\/Epictetus\u003c\/b\u003e Pleasd with thy Place\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'Never weather-beaten Saile'\u003cbr\u003e\u003cb\u003eWilliam Fowler\u003c\/b\u003e 'Ship-broken men whom stormy seas sore toss'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1614\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Webster\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Dutchesse of Malfy\u003cbr\u003e'\u003ci\u003eHearke, now every thing is still\u003c\/i\u003e'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1615\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir John Harington\u003c\/b\u003e Of Treason\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Tom o' Bedlam's Song)\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1616\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Epigrammes\u003cbr\u003eXIV. To William Camden\u003cbr\u003eXLV. On My First Sonne\u003cbr\u003eLIX. On Spies\u003cbr\u003eCSVIII. Inviting a Friend to Supper\u003cbr\u003e CI. On Gut\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Forrest To Heaven\u003cbr\u003e\u003cb\u003eWilliam Drummond of Hawthornden\u003c\/b\u003e Sonnet ('How many times \u003ci\u003eNights silent Queene\u003c\/i\u003e her Face')\u003cbr\u003e\u003cb\u003eWilliam Browne\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Britannia's Pastorals\u003cbr\u003e(The Golden Age: Flower-weaving)\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'There is a Garden in her face'\u003cbr\u003e\u003cb\u003eThomas Campion\u003c\/b\u003e 'Now winter nights enlarge'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1618\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Walter Ralegh\u003c\/b\u003e (Sir Walter Ralegh to his Sonne)\u003cbr\u003e\u003cb\u003eSir Walter Ralegh\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Ocean to Scinthia\u003cbr\u003e'Butt stay my thoughts, make end, geve fortune way'\u003cbr\u003e\u003cb\u003eSir Walter Ralegh\u003c\/b\u003e 'Even suche is tyme that takes in trust'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1619\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMichael Drayton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Idea\u003cbr\u003e61. 'Since ther's no helpe, Come let us kisse and part'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'Sweet Suffolk owl, so trimly dight'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1620\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e The Canonization\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e A Nocturnall upon \u003ci\u003eS. Lucies\u003c\/i\u003e Day\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e Loves Growth\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e A Valediction: Forbidding Mourning\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e The Exstasie\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Holy Sonnets\u003cbr\u003eVII. 'At the round earths imagin'd corners'\u003cbr\u003eX. 'Death be not proud, though some have called thee'\u003cbr\u003eXIV. 'Batter my heart, three person'd God'\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e A Hymne to Christ, at the Authors last Going into Germany\u003cbr\u003e\u003cb\u003eJohn Donne\u003c\/b\u003e A Hymne to God the Father\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1621\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKatherine, Lady Dyer\u003c\/b\u003e (Epitaph on Sir William Dyer)\u003cbr\u003e\u003cb\u003eLady Mary Wroth\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Pamphilia to Amphilanthus\u003cbr\u003e77. 'In this strang labourinth how shall I turne?\u003cbr\u003e96. 'Late in the Forest I did Cupid see'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1623\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Drummond of Hawthornden\u003c\/b\u003e (For the Baptiste)\u003cbr\u003e\u003cb\u003eWilliam Drummond of Hawthornden\u003c\/b\u003e (Content and Resolute)\u003cbr\u003e\u003cb\u003eWilliam Browne\u003c\/b\u003e On the Countesse \u003ci\u003eDowager\u003c\/i\u003e of \u003ci\u003ePembroke\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1624\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Henry Wotton\u003c\/b\u003e On his Mistress, the Queen of Bohemia\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1626\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Sandys\/Ausonius\u003c\/b\u003e Echo\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1627\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e My Picture left in Scotland\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e An Ode. To Himselfe\u003cbr\u003e\u003cb\u003eMichael Drayton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Nimphidia, The Court of Fayrie\u003cbr\u003e(Queen Mab's Chariot)\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1631\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMichael Drayton\u003c\/b\u003e These Verses weare Made by Michaell Drayton\u003cbr\u003e('Soe well I love thee, as without thee I')\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Felton's Epitaph\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Epitaph on the Duke of Buckingham)\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1633\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Herbert\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Temple\u003cbr\u003eRedemption\u003cbr\u003ePrayer\u003cbr\u003eChurch-monuments\u003cbr\u003eDeniall\u003cbr\u003eHope\u003cbr\u003eThe Collar\u003cbr\u003eThe Flower\u003cbr\u003eThe Answer\u003cbr\u003eA Wreath\u003cbr\u003eLove\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1635\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFrancis Quarles\u003c\/b\u003e Embleme IV (Canticles 7.10 I am my Beloved's)\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1637\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward, Lord Herbert of Cherbury\u003c\/b\u003e Epitaph on Sir Philip Sidney\u003cbr\u003e\u003cb\u003eRobert Sempill of Beltrees\u003c\/b\u003e The Life and Death of Habbie Simson, the Piper of Kilbarchan\u003cbr\u003e\u003cb\u003eThomas Jordan\u003c\/b\u003e A Double Acrostich on Mrs Svsanna Blvnt\u003cbr\u003e\u003cb\u003eJohn Milton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Mask Presented at Ludlow-Castle, 1634\u003cbr\u003e(Comus)\u003cbr\u003e'The Star that bids the Shepherd fold'\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1638\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Randolph\u003c\/b\u003e A Gratulatory to Mr Ben. Johnson\u003cbr\u003e\u003cb\u003eSir John Suckling\u003c\/b\u003e Song ('Why so pale and wan fond Lover?')\u003cbr\u003e\u003cb\u003eJohn Milton\u003c\/b\u003e Lycidas\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1640\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Celebration of Charis, in Ten Lyrick Peeces (Her Triumph)\u003cbr\u003e\u003cb\u003eBen Jonson\u003c\/b\u003e (A Fragment of Petronius Arbiter)\u003cbr\u003e\u003cb\u003eSidney Godolphin\u003c\/b\u003e 'Faire Friend, 'tis true, your beauties move'\u003cbr\u003e\u003cb\u003eSidney Godolphin\u003c\/b\u003e 'Lord when the wise men came from Farr'\u003cbr\u003e\u003cb\u003eHenry King\u003c\/b\u003e An Exequy to His Matchlesse Never to be Forgotten Freind\u003cbr\u003e\u003cb\u003eThomas Carew\u003c\/b\u003e Song. Celia \u003ci\u003esinging\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eThomas Carew\u003c\/b\u003e Epitaph on the Lady \u003ci\u003eMary Villers\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eThomas Carew\u003c\/b\u003e Maria Wentworth\u003cbr\u003e\u003cb\u003eThomas Carew\u003c\/b\u003e A Song ('Aske me no more whither doe stray')\u003cbr\u003e\u003cb\u003eThomas Carew\u003c\/b\u003e Psalme 91\u003cbr\u003e\u003cb\u003eWilliam Habington\u003c\/b\u003e \u003ci\u003eNox nocti indicat Scientiam\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eWilliam Habington\u003c\/b\u003e To \u003ci\u003eCastara\u003c\/i\u003e, Upon an Embrace\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1641\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e On Francis Drake\u003cbr\u003e\u003cb\u003eSir Henry Wotton\/Martial\u003c\/b\u003e Upon the Death of Sir \u003ci\u003eAlbert Morton's\u003c\/i\u003e Wife\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e1642\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir John Denham \u003ci\u003efrom\u003c\/i\u003e Cooper's Hill\u003cbr\u003e'Here should my wonder dwell, and here my praise'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1645\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdmund Waller\u003c\/b\u003e Song ('Go lovely Rose')\u003cbr\u003e\u003cb\u003eEdmund Waller\u003c\/b\u003e Of the Marriage of the Dwarfs\u003cbr\u003e\u003cb\u003eEdmund Waller\u003c\/b\u003e To a Lady in a Garden\u003cbr\u003e\u003cb\u003eJohn Milton\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e On the Morning of Christs Nativity Compos'd 1629\u003cbr\u003e'It was the Winter wilde'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1646\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRichard Crashaw\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Divine Epigrams\u003cbr\u003eUpon Our Saviours Tombe Wherein Never Man was Laid\u003cbr\u003eUpon the Infant Martyrs\u003cbr\u003e\u003cb\u003eRichard Crashaw\u003c\/b\u003e Musicks Duell\u003cbr\u003e\u003cb\u003eSir John Suckling\u003c\/b\u003e (Loves Siege)\u003cbr\u003e\u003cb\u003eJohn Hall\u003c\/b\u003e An Epicurean Ode\u003cbr\u003e\u003cb\u003eJames Shirley\u003c\/b\u003e Epitaph on the Duke of \u003ci\u003eBuckingham\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eJames Shirley\u003c\/b\u003e 'The glories of our blood and state'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1647\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Cleveland\u003c\/b\u003e Epitaph on the Earl of \u003ci\u003eStrafford\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1648\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Richard Fanshawe\/Gongora\u003c\/b\u003e A Great Favorit Beheaded\u003cbr\u003e\u003cb\u003eRobert Herrick\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Hesperides\u003cbr\u003eThe Argument of His Book\u003cbr\u003eUpon \u003ci\u003eJulia's\u003c\/i\u003e Voice\u003cbr\u003eDelight in Disorder\u003cbr\u003eTo the Virgins, to Make Much of Time\u003cbr\u003eThe Comming of Good Luck\u003cbr\u003eTo Meddowes\u003cbr\u003eThe Departure of the Good \u003ci\u003eDaemon\u003c\/i\u003e\u003cbr\u003eUpon \u003ci\u003ePrew\u003c\/i\u003e His Maid\u003cbr\u003eOn Himselfe\u003cbr\u003e\u003cb\u003eRobert Herrick\u003c\/b\u003e The White Island: Or Place of the Blest\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1649\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRichard Lovelace\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Lucasta\u003cbr\u003e\u003ci\u003eSong\u003c\/i\u003e. To Lucasta, Going to the Warres\u003cbr\u003eTo Althea \u003ci\u003efrom Prison\u003c\/i\u003e\u003cbr\u003eThe Grasse-hopper\u003cbr\u003e\u003cb\u003eWilliam Drummond\/Passerat\u003c\/b\u003e Song\u003cbr\u003e\"Shephard loveth thow me vell?'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1650\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJames Graham, Marquis of Montrose\u003c\/b\u003e On Himself, upon Hearing What was His Sentence\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Second Scottish Psalter\u003cbr\u003ePsalm 124\u003cbr\u003e\u003cb\u003eHenry Vaughan\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Silex Scintillans, Or Sacred Poems\u003cbr\u003eThe Retreate\u003cbr\u003e'Silence, and stealth of dayes! 'tis now'\u003cbr\u003eThe World\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1651\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Cartwright\u003c\/b\u003e No Platonique Love\u003cbr\u003e\u003cb\u003eJohn Cleveland\u003c\/b\u003e The Antiplatonick\u003cbr\u003e\u003cb\u003eJohn Cleveland\u003c\/b\u003e A Song of Marke Anthony\u003cbr\u003e\u003cb\u003eThomas Stanley\u003c\/b\u003e The Snow-ball\u003cbr\u003e\u003cb\u003eThomas Stanley\u003c\/b\u003e The Grassehopper\u003cbr\u003e\u003cb\u003eSir Henry Wotton\u003c\/b\u003e Upon the Sudden Restraint of the \u003ci\u003eEarle\u003c\/i\u003e of \u003ci\u003eSomerset\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eSir Richard Fanshawe\/Horace\u003c\/b\u003e Odes. IV, 7 To L. Manlius Torquatus\u003cbr\u003e\u003cb\u003eRichard Crashaw\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Flaming Heart. Upon the Book and Picture of the Seraphicall Saint Teresa\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1653\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAurelian Townshend\u003c\/b\u003e A Dialogue betwixt Time and a Pilgrime\u003cbr\u003e\u003cb\u003eMargaret Cavendish, Duchess of Newcastle\u003c\/b\u003e Of Many \u003ci\u003eWorlds\u003c\/i\u003e in This \u003ci\u003eWorld\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1655\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHenry Vaughan\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Silex Scintillans II\u003cbr\u003e'They are all gone into the world of light!'\u003cbr\u003eCock-crowing\u003cbr\u003eThe Night\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1656\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAbraham Cowley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Anacreontiques Translated Paraphrastically from the Greek\u003cbr\u003eII. Drinking\u003cbr\u003eX. The Grashopper\u003cbr\u003e\u003cb\u003eAbraham Cowley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Davideis\u003cbr\u003e(Lot's Wife)\u003cbr\u003e\u003cb\u003eWilliam Strode\u003c\/b\u003e Song ('I saw faire Cloris walke alone')\u003cbr\u003e\u003cb\u003eWilliam Strode\u003c\/b\u003e On Westwell Downes\u003cbr\u003e\u003cb\u003eJohn Taylor\u003c\/b\u003e and \u003cb\u003eAnonymous\u003c\/b\u003e Non-sense\u003cbr\u003e\u003cb\u003eSir John Suckling\u003c\/b\u003e 'Out upon it, I have lov'd'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1657\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Daniel\u003c\/b\u003e Ode. The Robin\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1659\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRichard Lovelace\u003c\/b\u003e The Snayl\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1662\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Butler\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Hudibras\u003cbr\u003e(The Presbyterian Knight)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1663\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAbraham Cowley\u003c\/b\u003e Ode. \u003ci\u003eUpon\u003c\/i\u003e Dr. \u003ci\u003eHarvey\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eAbraham Cowley\/Horace\u003c\/b\u003e The Country Mouse. A Paraphrase upon Horace Book II, Satire 6\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1665\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward, Lord Herbert of Cherbury\u003c\/b\u003e Sonnet. Made upon the Groves near \u003ci\u003eMerlou\u003c\/i\u003e Castle\u003cbr\u003e\u003cb\u003eJohn Dryden\/Ovid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The First Book of \u003ci\u003eOvid's\u003c\/i\u003e Metamorphoses\u003cbr\u003e(Deucalion and Pyrrha)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1694\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Dryden\u003c\/b\u003e To My Dear Friend Mr. Congreve, on His Comedy, Call'd The Double-Dealer\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1697\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Dryden\/Virgil\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Virgil's Aeneis\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Second Book ('The Death of Priam)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Fourth Book (Fame)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e The Sixth Book (Charon)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1700\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Dryden\/Ovid\u003c\/b\u003e Of the Pythagorean Philosophy, from Ovid's Metamorphoses, Book Fifteen\u003cbr\u003e\u003cb\u003eJohn Dryden\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Secular Masque\u003cbr\u003e\u003cb\u003e'Chronos,\u003c\/b\u003e \u003ci\u003eChronos\u003c\/i\u003e, mend thy Pace'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1701\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Charles Sedley\u003c\/b\u003e Song ('\u003ci\u003ePhillis\u003c\/i\u003e, let's shun the common Fate')\u003cbr\u003e\u003cb\u003eAnne Finch, Countess of Winchilsea\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Spleen\u003cbr\u003e'O'er me, alas! thou dost too much prevail'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1704\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Congreve\u003c\/b\u003e Song ('Pious \u003ci\u003eCelinda\u003c\/i\u003e goes to Pray'rs')\u003cbr\u003e\u003cb\u003eWilliam Congreve\u003c\/b\u003e A Hue and Cry after Fair Amoret\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1706\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIsaac Watts\u003c\/b\u003e The Day of Judgement. An Ode. Attempted in English Sapphick\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1707\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIsaac Watts\u003c\/b\u003e Crucifixion to the World by the Cross of Christ \u003ci\u003eGal. vi.14\u003c\/i\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003e1709\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnne Finch, Countess of Winchilsea\u003c\/b\u003e Adam Pos'd\u003cbr\u003e\u003cb\u003eMatthew Prior\u003c\/b\u003e An Ode ('The Merchant, to secure his Treasure')\u003cbr\u003e\u003cb\u003eAmbrose Phillips\u003c\/b\u003e A Winter-Piece\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1710\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e A Description of a \u003ci\u003eCity Shower\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1712\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJoseph Addison\u003c\/b\u003e Ode ('The Spacious Firmament on high')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1713\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnne Finch, Countess of Winchilsea\u003c\/b\u003e A Nocturnal Reverie\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1714\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Jones\u003c\/b\u003e The Force of Love\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Rape of the Lock\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Canto I\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Canto V\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1716\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Gay\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Trivia: Or The Art of Walking the Streets of London\u003cbr\u003e(Of the Weather)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1717\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e Epistle to Miss Blount, on Her Leaving the Town, after the Coronation\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1718\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMatthew Prior\u003c\/b\u003e A Better Answer to Cloe Jealous\u003cbr\u003e\u003cb\u003eMatthew Prior\u003c\/b\u003e The Lady Who Offers Her Looking-Glass to Venus\u003cbr\u003e\u003cb\u003eMatthew Prior\u003c\/b\u003e A True Maid\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1719\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eIsaac Watts\u003c\/b\u003e Man Frail, and God Eternal\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1720\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAllan Ramsay\u003c\/b\u003e Polwart on the Green\u003cbr\u003e\u003cb\u003eJohn Gay\u003c\/b\u003e \u003ci\u003eMy Own \u003cb\u003eEpitaph\u003c\/b\u003e\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1722\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003eTo Mr. Gay\u003c\/i\u003e . . . on the Finishing His House\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e A Satirical Elegy. On the Death of a Late Famous General\u003cbr\u003e\u003cb\u003eWilliam Diaper\/Oppian\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Oppian's Halieuticks\u003cbr\u003e(The Loves of the Fishes)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1724\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLady Mary Wortley Montagu\u003c\/b\u003e Epistle from Mrs. Y(onge) to her Husband\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1725\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward Young\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Love of Fame. Satire V\u003cbr\u003e'The \u003ci\u003elanguid\u003c\/i\u003e lady next appears in state'\u003cbr\u003e\u003cb\u003eHenry Carey\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Namby-Pamby. \u003ci\u003eA Panegyric on the New Versification\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1726\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAbel Evans\u003c\/b\u003e On Sir John Vanbrugh (The Architect). An Epigrammatical Epitaph\u003cbr\u003e\u003cb\u003eJohn Dyer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Grongar Hill\u003cbr\u003e'Now, I gain the Mountain's Brow'\u003cbr\u003e\u003cb\u003eAllan Ramsay\/Horace\u003c\/b\u003e 'What young Raw Muisted Beau Bred at his Glass'\u003cbr\u003e\u003cb\u003eJames Thomson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Summer\u003cbr\u003e('Forenoon. Summer Insects Described')\u003cbr\u003e('Night. Summer Meteors. A Comet')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1727\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Gay\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Fables\u003cbr\u003eThe \u003ci\u003eWild Boar\u003c\/i\u003e and the \u003ci\u003eRam\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eThomas Sheridan\u003c\/b\u003e Tom Punsibi's Letter to \u003ci\u003eDean Swift\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eHenry Carey\u003c\/b\u003e A Lilliputian Ode on their Majesties' Accession\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1728\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Gay\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Beggar's Opera\u003cbr\u003e'Were I laid on \u003ci\u003eGrrenland's\u003c\/i\u003e Coast'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1731\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e An Epistle to Burlington\u003cbr\u003e'At Timon's Villa let us pass a day'\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e The Day of Judgement\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e An \u003ci\u003eEpigram\u003c\/i\u003e on \u003ci\u003eScolding\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1732\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e \u003ci\u003eMary\u003c\/i\u003e the Cook-Maid's Letter to Dr. \u003ci\u003eSheridan\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1733\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLady Mary Wortley Montagu\u003c\/b\u003e (A Summary of Lord Lyttleton's 'Advice to a lady')\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e An Epistle to Bathurst\u003cbr\u003e(Sir Balaam)\u003cbr\u003e\u003cb\u003eGeorge Farewell\u003c\/b\u003e Quaerè\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1734\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e A Beautiful Young Nymph Going to Bed\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1735\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Of the Characters of Women: An Epistle to a Lady\u003cbr\u003e'Nothing so true as what you once let fall'\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e An Epistle from Mr. Pope, to Dr. Arbuthnot\u003cbr\u003e'You think this cruel? take it for a rule'\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e Epitaph Intended for Sir Isaac Newton\u003cbr\u003e\u003cb\u003eJohn Dyer\u003c\/b\u003e My Ox Duke\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1737\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMatthew Green\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Spleen\u003cbr\u003e'To cure the mind's wrong biass, spleen'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1738\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Johnson\/Juvenal\u003c\/b\u003e \u003ci\u003efrom London\u003c\/i\u003e: A Poem in Imitation of the Third Satire of Juvenal\u003cbr\u003e'Tho' grief and fondness in my breast rebel'\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Epilogue to the Satires\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e Epitaph for One Who Would Not Be Buried in Westminster Abbey\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1739\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJonathan Swift\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Verses on the Death of Dr. Swift\u003cbr\u003e'The Time is not remote, when I'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1740\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e On Queen Caroline's Death-bed\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e An Epitaph on Claudy Phillips, a Musician\u003cbr\u003e\u003cb\u003eCharles Wesley\u003c\/b\u003e Morning Hymn\u003cbr\u003e\u003cb\u003eAlexander Pope\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Dunciad\u003cbr\u003e(The Tribe of Fanciers)\u003cbr\u003e(The Triumph of Dullness)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1744\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e On the Death of Mr. Pope\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Tommy Thumb's Pretty Song Book\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Cock Robbin\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e London Bridge\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1745\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Wesley\u003c\/b\u003e 'Let Earth and Heaven combine'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1746\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Collins\u003c\/b\u003e Ode, Written in the Beginning of the Year 1746\u003cbr\u003e\u003cb\u003eWilliam Collins\u003c\/b\u003e Ode to Evening\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1747\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Shenstone\u003c\/b\u003e Lines Written on a Window at the Leasowes at a Time of Very Deep Snow\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1748\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLady Mary Wortley Montagu\u003c\/b\u003e A Receipt to Cure the Vapours\u003cbr\u003e\u003cb\u003eMary Leapor\u003c\/b\u003e Mira's Will\u003cbr\u003e\u003cb\u003eChristopher Smart\u003c\/b\u003e A Morning-Piece, Or, An Hymn for the Hay-Makers\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1749\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Johnson\/Juvenal\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Vanity of Human Wishes\u003cbr\u003e'When first the College Rolls receive his Name'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1751\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Gray\u003c\/b\u003e Elegy Written in a Country Church Yard\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1755\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e This is the House That Jack Built\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1761\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChristopher Smart\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Jubilate Agno\u003cbr\u003e'For the doubling of flowers is the improvement of the gardners talent'\u003cbr\u003e'For I will consider my Cat Jeoffry'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1763\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChristopher Smart\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Song to David\u003cbr\u003e'\u003cb\u003eO David\u003c\/b\u003e, highest in the list'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1764\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOliver Goldsmith\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Traveller, Or a Prospect of Society (Britain)\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e (Lines contributed to Goldsmith's 'The Traveller')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1765\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Mother Goose's Melody, or Sonnets for the Cradle\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e 'High diddle diddle'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Thomas Percy's Reliques of Ancient English Poetry\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Sir Patrick Spence\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Edward, Edward\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Lord Thomas and Fair Annet\u003cbr\u003e\u003cb\u003eChristopher Smart Hymn.\u003c\/b\u003e The Nativity of Our Lord and Saviour Jesus Christ\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1766\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOliver Goldsmith\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Vicar of Wakefield\u003cbr\u003e'When lovely woman stoops to folly'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1769\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Gray\u003c\/b\u003e On L(or)d H(olland')s Seat near M(argat)e, K(en)t\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1770\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOliver Goldsmith\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Deserted Village\u003cbr\u003e'Sweet was the sound when oft at evening's close'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1772\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Byrom\u003c\/b\u003e On the Origin of Evil\u003cbr\u003e\u003cb\u003eRobert  Fergusson\u003c\/b\u003e The Daft-Days\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1774\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e Light Shining out of Darkness\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e 'Hatred and vengeance, my eternal portion'\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (Epitaph for Thomas Johnson, huntsman, Charlton, Sussex)\u003cbr\u003e\u003cb\u003eOliver Goldsmith\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Retaliation\u003cbr\u003e(Edmund Burke)\u003cbr\u003e(David Garrick)\u003cbr\u003e(Joshua Reynolds)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1777\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRichard Brinsley Sheridan\u003c\/b\u003e On Lady Anne Hamilton\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e Prologue to Hugh Kelly's 'A Word to the Wise'\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e (Lines Contributed to Hawkesworth's 'The Rival)\u003cbr\u003e\u003cb\u003eRichard Brinsley Sheridan\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The School for Scandal Song and Chorus ('Here's to the maiden of Bashful fifteen')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1779\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e The Contrite Heart. \u003ci\u003eIsaiah lvii. 15\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eRobert Fergusson\/Horace\u003c\/b\u003e Odes I. II\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1780\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e A Short Song of Congratulation\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1783\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Johnson\u003c\/b\u003e On the Death of \u003ci\u003eDr. Robert Levet\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e To the Evening Star\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1784\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Task\u003cbr\u003e(The Winter Evening)\u003cbr\u003e(The Winter Walk at Noon)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1786\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e To a Mouse, on Turning Her Up in Her Nest, with the Plough, November, 1785\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1787\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e Address to the Unco Guid, Or the Rigidly Righteous\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1789\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Songs of Innocence\u003cbr\u003eHoly Thursday\u003cbr\u003e\u003cb\u003eCharlotte Smith\u003c\/b\u003e Sonnet. Written in the Church-yard at Middleton in Sussex\u003cbr\u003e\u003cb\u003eElizabeth Hands\u003c\/b\u003e On an Unsociable Family\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1791\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e Tam o' Shanter. A Tale\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1792\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e Song ('Ae fond kiss, and then we sever')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1793\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Visions of the Daughters of Albion\u003cbr\u003e'Then Oothoon waited silent all the day'\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e 'Never seek to tell thy love'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1794\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Songs of Innocence and of Experience\u003cbr\u003eIntroduction ('Hear the voice of the Bard!')\u003cbr\u003eThe Clod and the Pebble\u003cbr\u003eThe Sick Rose\u003cbr\u003eThe Tyger\u003cbr\u003eAh! Sun-Flower\u003cbr\u003eThe Garden of Love\u003cbr\u003eLondon\u003cbr\u003eA Poison Tree\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1796\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e The Eolian Harp\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e A Red, Red Rose\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1797\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Canning\u003c\/b\u003e and \u003cb\u003eJohn Hookham Frere\u003c\/b\u003e Sapphics\u003cbr\u003e\u003cb\u003eCharlotte Smith\u003c\/b\u003e Sonnet. On being Cautioned against Walking on a Headland Overlooking the Sea\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1798\u003c\/b\u003e\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Lyrical Ballads\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Rime of the Ancyent Marinere, in Seven Parts\u003cbr\u003e'It is an ancyent Marinere'\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e Old Man Travelling\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e Lines Written a Few Miles above Tintern Abbey\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e Frost at Midnight\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1799\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Two-Part \u003ci\u003ePrelude\u003c\/i\u003e of 1799\u003cbr\u003e'Was it for this?'\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Love and Liberty. A Cantara\u003cbr\u003e'See the smoking bowl before us'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1800\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Lyrical Ballads\u003cbr\u003e'A slumber did my spirit seal'\u003cbr\u003eSong ('She dwelt among th' untrodden ways')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1801\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e 'Oh wert thou in the cauld blast'\u003cbr\u003e\u003cb\u003eRobert Burns\u003c\/b\u003e The Fornicator. A New Song\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1802\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e Dejection. An Ode, Written April 4, 1802\u003cbr\u003e\u003cb\u003eSir Walter Scott\u003c\/b\u003e (editor) \u003ci\u003efrom\u003c\/i\u003e Minstrelsy of the Scottish Border\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e The Wife of Usher's Well\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Thomas Rhymer\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Lord Randal\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e A Lyke-Wake Dirge\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1803\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e The Twa Corbies\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e The Snail\u003cbr\u003e\u003cb\u003eWilliam Cowper\u003c\/b\u003e The Cast-away\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1804\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Milton (Preface)\u003cbr\u003e'And did those feet in ancient time'\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e 'Mock on Mock on Voltaire Rousseau'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1805\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e The Crystal Cabinet\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Auguries of Innocence\u003cbr\u003e'To see a World in a Grain of Sand'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1806\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Lamkin\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1807\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e Composed upon Westminster Bridge\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e Elegaic Stanzas Suggested by a Picture of Peele Castle\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e The Small Celandine\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003e Ode (Intimations of Immortality)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1808\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Moore\u003c\/b\u003e 'Oh! blame not the bard, if he fly to the bowers'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1810\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Crabbe\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Borough\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Prisons (The Condemned Man)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Peter Grimes ('Alas! for \u003ci\u003ePeter\u003c\/i\u003e not an helping Hand')\u003cbr\u003e\u003cb\u003eSir Walter Scott\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Lady of the Lake\u003cbr\u003eCoronach\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1815\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e Stanzas for Music\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1816\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e Kubla Khan Or, A Vision in a Dream. A Fragment\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e On First Looking into Chapman's Homer\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e To Wordsworth\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1817\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Rime of the Ancient Mariner\u003cbr\u003e'I fear thee, ancient Mariner!\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e 'After dark vapours have oppress'd our plains'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1818\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Endymion\u003cbr\u003e'But there are Richer entanglements'\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e Ozymandias\u003cbr\u003e\u003cb\u003eSir Walter Scott\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Heart of Mid-Lothian\u003cbr\u003e'Proud Maisie is in the wood'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1819\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSir Walter Scott\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Bride of Lammermoor\u003cbr\u003e(Lucy Ashton's song)\u003cbr\u003e\u003cb\u003eGeorge Crabbe\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Tales of the Hall\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Delay has Danger ('Three weeks had past, and Richard rambles now')\u003cbr\u003e\u003cb\u003eWilliam Blake\u003c\/b\u003e To the Accuser Who is the God of This World\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Mask of Anarchy\u003cbr\u003e'As I lay asleep in Italy'\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Don Juan\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Canto I (Juan's Puberty)\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Canto II (The Shipwreck)\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e The Eve of St. Agnes\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e Ode to a Nightingale\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e Ode on a Grecian Urn\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e To Autumn\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e Ode on Melancholy\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e 'Bright star! would I were steadfast as thou art -'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1820\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Keats\u003c\/b\u003e La Belle Dame sans Merci. A Ballad\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e Ode to the West Wind\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Sensitive-Plant\u003cbr\u003e'Whether the Sensitive-plant, or that'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1821\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Adonais\u003cbr\u003e'The One remains, the many change and pass'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1822\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Vision of Judgment\u003cbr\u003e'Saint Peter sat by the celestial gate'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1823\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e Aristomenes. Canto First\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1824\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e January 22nd 1824. Messalonghi. On This Day I Complete My Thirty Sixth Year\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e 'Remember Thee, Remember Thee!'\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e To Jane. The Invitation\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Julian and Maddalo. A Conversation\u003cbr\u003e'I rode one evening with Count Maddalo'\u003cbr\u003e\u003cb\u003ePercy Bysshe Shelley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Triumph of Life\u003cbr\u003e'As in that trance of wondrous thought I lay'\u003cbr\u003e\u003cb\u003eCaroline Oliphant, Baroness Nairne\u003c\/b\u003e The Laird o' Cockpen\u003cbr\u003e\u003cb\u003eCaroline Oliphant, Baroness Nairne\u003c\/b\u003e The Land o' the Leal\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1826\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (A Metrical Adage)\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Tweed and Till\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e (A Rhyme from Lincolnshire)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1827\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWinthrop Mackworth Praed\u003c\/b\u003e Good-night to the Season\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1828\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hood\u003c\/b\u003e Death in the Kitchen\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e Duty Surviving Self-Love\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1829\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eFelicia Dorothea Hemans\u003c\/b\u003e Casabianca\u003cbr\u003e\u003cb\u003eDorothy Wordsworth\u003c\/b\u003e Floating Island\u003cbr\u003e\u003cb\u003eLaetitia Elizabeth Landon\u003c\/b\u003e Lines of Life\u003cbr\u003e\u003cb\u003eLaetitia Elizabeth Landon\u003c\/b\u003e Revenge\u003cbr\u003e\u003cb\u003eThomas Love Peacock\u003c\/b\u003e The War-Song of Dinas Vawr\u003cbr\u003e\u003cb\u003eWinthrop Mackworth Praed\u003c\/b\u003e Arrivals at a Watering Place\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1830\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e 'So, we'll go no more a roving'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1831\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e'Past ruin'd Ilion Helen lives'\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e Dirce\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e On Seeing a Hair of Lucrezia Borgia\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1832\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Gordon, Lord Byron\u003c\/b\u003e Lines on Hearing That Lady Byron was Ill\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1833\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHartley Coleridge\u003c\/b\u003e 'Long time a child, and still a child, when years'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1834\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Taylor Coleridge\u003c\/b\u003e The Knight's Tomb\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1835\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e The Nightingales Nest\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e The Sky Lark\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e Mist in the Meadows\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e Sand Martin\u003cbr\u003e\u003cb\u003eGeorge Darley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Nepenthe\u003cbr\u003e'Hurry me Nymphs!'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1836\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Henry Newman\u003c\/b\u003e The Pillar of the Cloud\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1837\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeorge Darley\u003c\/b\u003e The Mermaidens' Vesper-Hymn\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e 'I found a ball of grass among the hay'\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e 'The old pond full of flags and fenced around'\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Badger\u003cbr\u003e'When midnight comes a host of dogs and men'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1838\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLeigh Hunt\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Fish, the Man, and the Spirit\u003cbr\u003eTo Fish\u003cbr\u003eA Fish Answers\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1839\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hood\u003c\/b\u003e Sonnet to Vauxhall\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1842\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e My Last Duchess\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Waring\u003cbr\u003e'What's become of Waring'\u003cbr\u003e\u003cb\u003eAlfred, Lord Tennyson\u003c\/b\u003e Ulysses\u003cbr\u003e\u003cb\u003eElizabeth Barrett Browning\u003c\/b\u003e Grief\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1844\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Barnes\u003c\/b\u003e The Clote\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1845\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Wordsworth\u003c\/b\u003eThe Simplon Pass\u003cbr\u003e\u003cb\u003eThomas Hood\u003c\/b\u003e Stanzas ('Farewell, Life! My senses swim')\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e The Bishop Orders His Tomb at Saint Praxed's Church\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1846\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward Lear\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Book of Nonsense\u003cbr\u003e'There was an Old Man with a beard'\u003cbr\u003e'There was an Old Person of Basing'\u003cbr\u003e'There was an Old Man of Whitehaven'\u003cbr\u003e\u003cb\u003eEmily Jane Bronte\u003c\/b\u003e 'The night is darkening round me'\u003cbr\u003e\u003cb\u003eEmily Jane Bronte\u003c\/b\u003e 'Fall leaves fall die flowers away'\u003cbr\u003e\u003cb\u003eEmily Jane Bronte\u003c\/b\u003e 'All hushed and still within the house'\u003cbr\u003e\u003cb\u003eEmily Jane Bronte\u003c\/b\u003e Remembrance\u003cbr\u003e\u003cb\u003eJames Clarence Mangan\u003c\/b\u003e Siberia\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1847\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlred, Lord Tennyson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Princess\u003cbr\u003e\u003ci\u003e'Now sleeps the crimson petal, now the white'\u003cbr\u003e'Come down, O maid, from yonder mountain height'\u003c\/i\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1848\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e 'I am'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1849\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e 'I strove with none, for none was worth my strife'\u003cbr\u003e\u003cb\u003eMatthew Arnold\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Resignation. To Fausta\u003cbr\u003e('He sees the gentle stir of birth')\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1850\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEmily Jane Bronte\u003c\/b\u003e \u003ci\u003eand\u003c\/i\u003e \u003cb\u003eCharlotte Bronte\u003c\/b\u003e The Visionary\u003cbr\u003e\u003cb\u003eAlfred, Lord Tennyson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e In Memoriam A.H.H.\u003cbr\u003eII. 'Old Yew, which graspest at the stones'\u003cbr\u003eVII. 'Dark house, by which once more I stand'\u003cbr\u003eXI. 'Calm is the morn without a sound'\u003cbr\u003eLVI. '\"So careful of the type?\" but no'\u003cbr\u003eCXV. 'Now fades the last long streak of snow'\u003cbr\u003e\u003cb\u003eThomas Lovell Beddoes\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Death's Jest Book, or the Fool's Tragedy\u003cbr\u003e'And what's your tune?'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1851\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Lovell Beddoes\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Last Man\u003cbr\u003eA Crocodile\u003cbr\u003eA Lake\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1852\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMatthew Arnold\u003c\/b\u003e To Marguerite - Continued\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1853\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e 'Our youth was happy: why repine'\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e Separation\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1854\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJames Henry\u003c\/b\u003e 'Another and another and another'\u003cbr\u003e\u003cb\u003eJames Henry\u003c\/b\u003e 'The son's a poor, wretched, unfortunate creature'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1855\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e Love in a Life\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e How It Strikes a Contemporary\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e Memorabilia\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e Two in the Campagna\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1856\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCoventry Patmore\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Victories of Love, Book 1, 2\u003cbr\u003e'He that but once too nearly hears'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1858\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArthur Hugh Clough\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Amours de Voyage (Canto II)\u003cbr\u003eV. 'Yes, we are fighting at last, it appears'\u003cbr\u003eVII. 'So, I have seen a man killed!'\u003cbr\u003eVIII. 'Only think, dearest Louisa'\u003cbr\u003eIX. 'It is most curious to see what a power'\u003cbr\u003eX. 'I am in love, meantime, you think'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1859\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward Fitzgerald\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Rubáiyát of Omar Khayyám\u003cbr\u003e'Awake! for Morning in the Bowl of Night'\u003cbr\u003e\u003cb\u003eWilliam Barnes\u003c\/b\u003e My Orcha'd in Linden Lea\u003cbr\u003e\u003cb\u003eWilliam Barnes\u003c\/b\u003e False Friends-like\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1860\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlfred, Lord Tennyson\u003c\/b\u003e Tithonus\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1861\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDante Gabriel Rossetti\/Dante\u003c\/b\u003e Sestina: of the Lady Pietra degli Scrovigni\u003cbr\u003e\u003cb\u003eAdelaide Anne Procter\u003c\/b\u003e Envy\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1862\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e May\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e Song ('When I am dead, my dearest')\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e Winter: My Secret\u003cbr\u003e\u003cb\u003eElizabeth Barrett Browning\u003c\/b\u003e Lord Walter's Wife\u003cbr\u003e\u003cb\u003eElizabeth Barrett Browning\u003c\/b\u003e A Musical Instrument\u003cbr\u003e\u003cb\u003eGeorge Meredith\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Modern Love\u003cbr\u003eI. 'By this he knew she wept with waking eyes'\u003cbr\u003eXVII. 'At dinner she is hostess, I am host'\u003cbr\u003eXXXIV. 'Madam would speak with me. So now it comes'\u003cbr\u003eL. 'Thus piteously Love closed what he begat'\u003cbr\u003e\u003cb\u003eArthur Hugh Clough\u003c\/b\u003e The Latest Decalogue\u003cbr\u003e\u003cb\u003eAlgernon Charles Swinburne\u003c\/b\u003e Free Thought\u003cbr\u003e\u003cb\u003eWilliam Barnes\u003c\/b\u003e Leaves-a-Vallèn\u003cbr\u003e\u003cb\u003eWilliam Barnes\u003c\/b\u003e The Turnstile\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1863\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter Savage Landor\u003c\/b\u003e Memory\u003cbr\u003e\u003cb\u003eDante Gabriel Rossetti\u003c\/b\u003e Sudden Light\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1864\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e Youth and Art\u003cbr\u003e\u003cb\u003eJohn Clare\u003c\/b\u003e 'The thunder mutters louder and more loud'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1865\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLewis Carroll\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Alice's Adventures in Wonderland\u003cbr\u003e\u003ci\u003e'\"You are old, Father William,\" the young man said'\u003c\/i\u003e\u003cbr\u003e\u003ci\u003e'They told me you had been to her'\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGeorge Eliot\u003c\/b\u003e In a London Drawingroom\u003cbr\u003e\u003cb\u003eArthur Hugh Clough\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Dipsychus\u003cbr\u003e'\"There is no God,\" the wicked saith'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1866\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlgernon Charles Swinburne\u003c\/b\u003e Itylus\u003cbr\u003e\u003cb\u003eAlgernon Charles Swinburne\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Sapphics\u003cbr\u003e'All the  night sleep came not upon my eyelids'\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e The Queen of Hearts\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e 'What Would I Give'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1867\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMatthew Arnold\u003c\/b\u003e Dover Beach\u003cbr\u003e\u003cb\u003eMatthew Arnold\u003c\/b\u003e Growing Old\u003cbr\u003e\u003cb\u003eDora Greenwell\u003c\/b\u003e A Scherzo. (\u003ci\u003eA Shy Person's Wishes\u003c\/i\u003e)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1868\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Turner\u003c\/b\u003e On a Vase of Gold-Fish\u003cbr\u003e\u003cb\u003eMortimer Collins\u003c\/b\u003e Winter in Brighton\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1869\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMatthew Arnold\u003c\/b\u003e 'Below the surface-stream, shallow and light'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1870\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAugusta Webster\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Castaway\u003cbr\u003e'Poor little diary, with its simple thoughts'\u003cbr\u003e\u003cb\u003eDante Gabriel Rossetti\u003c\/b\u003e A Match with the Moon\u003cbr\u003e\u003cb\u003eDante Gabriel Rossetti\u003c\/b\u003e The Woodspurge\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1871\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdward Lear\u003c\/b\u003e 'There was an old man who screamed out'\u003cbr\u003e\u003cb\u003eEdward Lear\u003c\/b\u003e The Owl and the Pussy-Cat\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1872\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLewis Carroll\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Through the Looking-Glass\u003cbr\u003e'\u003ci\u003eIn winter, when the fields are white\u003c\/i\u003e'\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Sing-Song: A Nursery Rhyme Book\u003cbr\u003e'Dead in the cold, a song-singing thrush'\u003cbr\u003e'A city plum is not a plum'\u003cbr\u003e'If a pig wore a wig'\u003cbr\u003e'I caught a little ladybird'\u003cbr\u003e\u003cb\u003eRobert Browning\u003c\/b\u003e (Rhyme for a Child Viewing a Naked Venus)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1875\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e By the Sea\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1877\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCoventry Patmore\u003c\/b\u003e Magna est Veritas\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e The Windhover: \u003ci\u003eTo Christ our Lord\u003c\/i\u003e\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e Pied Beauty\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Wreck of the Deutschland\u003cbr\u003e'Thou mastering me'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1878\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlgernon Charles Swinburne\u003c\/b\u003e A Forsaken Garden\u003cbr\u003e\u003cb\u003eAlgernon Charles Swinburne\u003c\/b\u003e A Vision of Spring in Winter\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1880\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlfred, Lord Tennyson\u003c\/b\u003e Rizpah\u003cbr\u003e\u003cb\u003eCharles Turner\u003c\/b\u003e Letty's Globe\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1881\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJoseph Skipsey\u003c\/b\u003e 'Get Up!'\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e 'Summer is Ended'\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e Inversnaid\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e 'As kingfishers catch fire, dragonflies draw flame'\u003cbr\u003e\u003cb\u003eRobert Louis Stevenson\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Treasure Island\u003cbr\u003ePirate Ditty\u003cbr\u003e\u003cb\u003eRobert Louis Stevenson\u003c\/b\u003e 'Last night we had a thunderstorm in style'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1882\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Allingham\u003c\/b\u003e 'Everything passes and vanishes'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1884\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAmy Levy\u003c\/b\u003e Epitaph (On a Commonplace Person Who Died in Bed)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1885\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAlfred, Lord Tennyson\u003c\/b\u003e To E. FitzGerald\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e Spelt from Sibyl's Leaves\u003cbr\u003e\u003cb\u003eGerard Manley Hopkins\u003c\/b\u003e 'I wake and feel the fell of dark, not day'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1886\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDante Gabriel Rossetti\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Trip to Paris and Belgium\u003cbr\u003eI. \u003ci\u003efrom\u003c\/i\u003e \u003cb\u003eLondon to Folkestone\u003c\/b\u003e\u003cbr\u003eXVI. Antwerp to Ghent\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1887\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAnonymous\u003c\/b\u003e Johnny, I Hardly Knew Ye\u003cbr\u003e\u003cb\u003eRobert Louis Stevenson\u003c\/b\u003e To Mrs Will H. Low\u003cbr\u003e\u003cb\u003eRobert Louis Stevenson\u003c\/b\u003e '\u003ci\u003eMy house\u003c\/i\u003e, I say. But hark to the sunny doves'\u003cbr\u003e\u003cb\u003eMay Kendall\u003c\/b\u003e Lay of the Trilobite\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1888\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA. Mary F. Robinson\u003c\/b\u003e Neurasthenia\u003cbr\u003e\u003cb\u003eW. E. Henley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e In Hospital\u003cbr\u003eII. Waiting\u003cbr\u003eIII. Interior\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1889\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAmy Levy\u003c\/b\u003e A Ballade of Religion and Marriage\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Down by the Salley Gardens\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1891\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Morris\u003c\/b\u003e Pomona\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1892\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e Danny Deever\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e Mandalay\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e The Sorrow of Love\u003cbr\u003e\u003cb\u003eArthur Symons\u003c\/b\u003e At the Cavour\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1894\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Davidson\u003c\/b\u003e Thirty Bob a Week\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1895\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Louis Stevenson\u003c\/b\u003e To S. R. Crockett\u003cbr\u003e\u003cb\u003eAlice Meynell\u003c\/b\u003e Cradle-Song at Twilight\u003cbr\u003e\u003cb\u003eAlice Meynell\u003c\/b\u003e Parentage\u003cbr\u003e\u003cb\u003eMay Probyn\u003c\/b\u003e Triolets\u003cbr\u003eTête-à-Tête\u003cbr\u003eMasquerading\u003cbr\u003eA Mésalliance\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1895\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMary E. Coleridge\u003c\/b\u003e An Insincere Wish Addressed to a Beggar\u003cbr\u003e\u003cb\u003eChristina Rossetti\u003c\/b\u003e Promises like Pie-crust\u003cbr\u003e\u003cb\u003eErnest Dowson\u003c\/b\u003e Vitae summa brevis spem nos vetat incohare longam\u003cbr\u003e\u003cb\u003eA. E. Housman\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Shropshire Lad\u003cbr\u003eXII. 'When I watch the living meet'\u003cbr\u003eXL. 'Into my heart an air that kills'\u003cbr\u003eLII. 'Far in a western brookland'\u003cbr\u003e\u003cb\u003eJohn Davidson\u003c\/b\u003e A Northern Suburb\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1897\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eArthur Symons\u003c\/b\u003e White Heliotrope\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e Recessional\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1898\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eOscar Wilde\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Ballad of Reading Gaol\u003cbr\u003e'He did not wear his scarlet coat'\u003cbr\u003e\u003cb\u003eW. E. Henley\u003c\/b\u003e To W. R.\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e Neutral Tones\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e Thoughts of Phena\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1900\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e The Darkling Thrush\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1906\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWalter De La Mare\u003c\/b\u003e The Birthnight\u003cbr\u003e\u003cb\u003eWalter De La Mare\u003c\/b\u003e Autumn\u003cbr\u003e\u003cb\u003eWalter De La Mare\u003c\/b\u003e Napoleon\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1908\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMary E. Coleridge\u003c\/b\u003e No Newspapers\u003cbr\u003e\u003cb\u003eMichael Field (Katherine Bradley\u003c\/b\u003e \u003ci\u003eand\u003c\/i\u003e \u003cb\u003eEdith Cooper)\u003c\/b\u003e The Mummy Invokes His Soul\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1909\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Davidson\u003c\/b\u003e Snow\u003cbr\u003e\u003cb\u003eJ. M. Synge\u003c\/b\u003e On an Island\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1910\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJ. M. Synge\u003c\/b\u003e The 'Mergency Man\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1911\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. H. Davies\u003c\/b\u003e Sheep\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1912\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e The Convergence of the Twain\u003cbr\u003e\u003cb\u003eT. E. Hulme\u003c\/b\u003e Autumn\u003cbr\u003e\u003cb\u003eT. E. Hulme\u003c\/b\u003e Image\u003cbr\u003e\u003cb\u003eEzra Pound\u003c\/b\u003e The Return\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1913\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEzra Pound\u003c\/b\u003e In a Station of the Metro\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1914\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eH. D. (Hilda Doolittle)\u003c\/b\u003e Oread\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Poems of 1912-13\u003cbr\u003eThe Walk\u003cbr\u003eThe Voice\u003cbr\u003eAfter a Journey\u003cbr\u003eAt Castle Boterel\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e The Cold Heaven\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e The Magi\u003cbr\u003e\u003cb\u003eCharlotte Mew\u003c\/b\u003e Fame\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1915\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEzra Pound\u003c\/b\u003e The Gypsy\u003cbr\u003e\u003cb\u003eEzra Pound\/Rihaku\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Cathay\u003cbr\u003eThe River-Merchant's Wife: A Letter\u003cbr\u003eLament of the Frontier Guard\u003cbr\u003e\u003cb\u003eRupert Brooke\u003c\/b\u003e Peace\u003cbr\u003e\u003cb\u003eRupert Brooke\u003c\/b\u003e Heaven\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1916\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e Sorrow\u003cbr\u003e\u003cb\u003eCharles Hamilton Sorley\u003c\/b\u003e 'When you see millions of the mouthless dead'\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Cock-Crow\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Aspens\u003cbr\u003e\u003cb\u003eAnna Wickham\u003c\/b\u003e The Fired Pot\u003cbr\u003e\u003cb\u003eCharlotte Mew\u003c\/b\u003e A quoi bon dire\u003cbr\u003e\u003cb\u003eCharlotte Mew\u003c\/b\u003e The Quiet House\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1917\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e The Love Song of J. Alfred Prufrock\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e Aunt Helen\u003cbr\u003e\u003cb\u003eIsaac Rosenberg\u003c\/b\u003e Break of Day in the Trenches\u003cbr\u003e\u003cb\u003eIsaac Rosenberg\u003c\/b\u003e August 1914\u003cbr\u003e\u003cb\u003eIsaac Rosenberg\u003c\/b\u003e 'A worm fed on the heart of Corinth'\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e During Wind and Rain\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Old Man\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Tall Nettles\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Blenheim Oranges\u003cbr\u003e\u003cb\u003eEdward Thomas\u003c\/b\u003e Rain\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1918\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilfred Owen\u003c\/b\u003e Futility\u003cbr\u003e\u003cb\u003eWilfred Owen\u003c\/b\u003e Anthem for Doomed Youth\u003cbr\u003e\u003cb\u003eWilfred Owen\u003c\/b\u003e The Send-Off\u003cbr\u003e\u003cb\u003eWilfed Owen\u003c\/b\u003e Maundy Thursday\u003cbr\u003e\u003cb\u003eSiegfried Sassoon\u003c\/b\u003e Base Details\u003cbr\u003e\u003cb\u003eSiegfried Sassoon\u003c\/b\u003e The General\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1919\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSiegfried Sassoon\u003c\/b\u003e Everyone Sang\u003cbr\u003e\u003cb\u003eIvor Gurney\u003c\/b\u003e To His Love\u003cbr\u003e\u003cb\u003eIvor Gurney\u003c\/b\u003e The Silent One\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Epitaphs of War, 1914-18\u003cbr\u003eA Servant\u003cbr\u003eA Son\u003cbr\u003eThe Coward\u003cbr\u003eThe Refined Man\u003cbr\u003eCommon Form\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e Gethsemane\u003cbr\u003e\u003cb\u003eLaurence Binyon\u003c\/b\u003e For the Fallen (September 1914)\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e The Wild Swans at Coole\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e Sweeney Among the Nightingales\u003cbr\u003e\u003cb\u003eEzra Pound\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Homage to Sextus Propertius\u003cbr\u003eVI. 'When, when, and whenever death closes our eyelids'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1920\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEzra Pound\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Hugh Selwyn Mauberley\u003cbr\u003eII. 'The age demanded an image'\u003cbr\u003eIV. 'These fought in any case'\u003cbr\u003eV. 'There died a myriad'\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Easter, 1916\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e Gerontion\u003cbr\u003e\u003cb\u003eA. E. Housman\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Last Poems\u003cbr\u003eXII. 'The laws of God, the laws of man'\u003cbr\u003eXXXIII. 'When the eye of day is shut'\u003cbr\u003eXXXVII. Epitaph on an Army of Mercenaries\u003cbr\u003eXL. 'Tell me not here, it needs not saying'\u003cbr\u003e\u003cb\u003eA. E. Housman\u003c\/b\u003e 'It is a fearful thing to be'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1922\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Waste Land\u003cbr\u003eI. The Burial of the Dead\u003cbr\u003eIV. Death by Water\u003cbr\u003e\u003cb\u003eIvor Gurney\u003c\/b\u003e Possessions\u003cbr\u003e\u003cb\u003eIvor Gurney\u003c\/b\u003e The High Hills\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1923\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e Medlars and Sorb-Apples\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e The Mosquito\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e The Blue Jay\u003cbr\u003e\u003cb\u003eHilaire Belloc\u003c\/b\u003e On a General Election\u003cbr\u003e\u003cb\u003eHilaire Belloc\u003c\/b\u003e Ballade of Hell and of Mrs Roebeck\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Leda and the Swan\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1925\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e Love Without Hope\u003cbr\u003e\u003cb\u003eRobert Bridges\u003c\/b\u003e To Francis Jammes\u003cbr\u003e\u003cb\u003eEdmund Blunden\u003c\/b\u003e The Midnight Skaters\u003cbr\u003e\u003cb\u003eBasil Bunting\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Villon\u003cbr\u003e'Remember, imbeciles and wits'\u003cbr\u003e\u003cb\u003eEdwin Muir\u003c\/b\u003e Childhood\u003cbr\u003e\u003cb\u003eHugh Macdiarmid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Sangschaw\u003cbr\u003eThe Watergaw\u003cbr\u003eThe Eemis Stane\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1926\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHugh Macdiarmid\u003c\/b\u003e Empty Vessel\u003cbr\u003e\u003cb\u003eHugh Macdiarmid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Drunk Man Looks at the Thistle\u003cbr\u003e'O wha's the bride that carries the bunch?'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1927\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJames Joyce\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Pomes Penyeach\u003cbr\u003eBahnhofstrasse\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1928\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Hardy\u003c\/b\u003e Lying Awake\u003cbr\u003e\u003cb\u003eAustin Clarke\u003c\/b\u003e The Planter's Daughter\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Sailing to Byzantium\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Meditations in Time of Civil War\u003cbr\u003eV. The Road at My Door\u003cbr\u003eVI. The State's Nest by My Window\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Among School Children\u003cbr\u003e\u003cb\u003eW.H. Auden\u003c\/b\u003e 'Taller to-day, we remember similar evenings'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1929\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e The Mosquito Knows\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e To Women,  As Far As I'm Concerned\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e Innocent England\u003cbr\u003e\u003cb\u003eE. C. Bentley\u003c\/b\u003e (Clerihews)\u003cbr\u003e'George the Third'\u003cbr\u003e'Nell'\u003cbr\u003e\u003cb\u003eEdmund Blunden\u003c\/b\u003e Report on Experience\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e Sick Love\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e Warning to Children\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e It Was All Very Tidy\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1930\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e 'This lunar beauty'\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e Marina\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1932\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBasil Bunting\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Chomei at Toyama\u003cbr\u003e'I have been noting events forty years'\u003cbr\u003e\u003cb\u003eD. H. Lawrence\u003c\/b\u003e Bavarian Gentians\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1933\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRudyard Kipling\u003c\/b\u003e The Bonfires\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e In Memory of Eva Gore-Booth and Con Markievicz\u003cbr\u003e\u003cb\u003eDylan Thomas\u003c\/b\u003e The force that through the green fuse\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1934\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHugh Macdiarmid\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e On a Raised Beach\u003cbr\u003e'All is lithogenesis - or lochia'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1935\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eWilliam Empson\u003c\/b\u003e This Last Pain\u003cbr\u003e\u003cb\u003eWilliam Empson\u003c\/b\u003e Homage to the British Museum\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e Snow\u003cbr\u003e\u003cb\u003eWilliam Soutar\u003c\/b\u003e The Tryst\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1936\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e 'Out on the lawn I lie in bed'\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e 'Now the leaves are falling fast'\u003cbr\u003e\u003cb\u003eElizabeth  Daryush\u003c\/b\u003e Still-Life\u003cbr\u003e\u003cb\u003eLaura Riding\u003c\/b\u003e The Wind Suffers\u003cbr\u003e\u003cb\u003ePatrick Kavanagh\u003c\/b\u003e Inniskeen Road: July Evening\u003cbr\u003e\u003cb\u003eA. E. Housman\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e More Poems\u003cbr\u003eXXIII. 'Crossing alone the nighted ferry'\u003cbr\u003eXXXI. 'Because I liked you better'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1937\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eA. E. Housman\u003c\/b\u003e 'Oh who is that young sinner with the handcuffs on his wrists?'\u003cbr\u003e\u003cb\u003eJohn Betjeman\u003c\/b\u003e The Arrest of Oscar Wilde at the Cadogan Hotel\u003cbr\u003e\u003cb\u003eDavid Jones\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e In Parenthesis\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Part 3 'And the deepened stillness'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e Part 7 'But sweet sister death'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1938\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eAustin Clarke\u003c\/b\u003e The Straying Student\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e To Evoke Posterity\u003cbr\u003e\u003cb\u003eElizabeth Daryush\u003c\/b\u003e 'Children of wealth in your warm nursery'\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e The Sunlight on the Garden\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1939\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. B. Yeats\u003c\/b\u003e Long-legged Fly\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e In Memory of W. B. Yeats\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Autumn Journal\u003cbr\u003eI. 'Close and slow, summer is ending in Hampshire'\u003cbr\u003eXV. 'Shelley and jazz and lieder and love and hymn-tunes'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1940\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e Musée des Beaux Arts\u003cbr\u003e\u003cb\u003eJohn Betjeman\u003c\/b\u003e Pot-Pourri from a Surrey Garden\u003cbr\u003e\u003cb\u003eWilliam Empson\u003c\/b\u003e Missing Dates\u003cbr\u003e\u003cb\u003eWilliam Empson\u003c\/b\u003e Aubade\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1941\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e Meeting Point\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e Autobiography\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1942\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eT. S. Eliot\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Little Gidding\u003cbr\u003eII. 'Ash on an old man's sleeve'\u003cbr\u003e\u003cb\u003eAlun Lewis\u003c\/b\u003e Raiders' Dawn\u003cbr\u003e\u003cb\u003eNorman Cameron\u003c\/b\u003e Green, Green is El Aghir\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Bog-Face\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Dirge\u003cbr\u003e\u003cb\u003ePatrick Kavanagh\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Great Hunger\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e I. 'Clay is the word and clay is the flesh'\u003cbr\u003eIII. 'Poor Paddy Maquire, a fourteen-hour day'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e XI. 'The cards are shuffled and the deck'\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e XII. 'The fields were bleached white'\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1943\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eHenry Reed\u003c\/b\u003e Judging Distances\u003cbr\u003e\u003cb\u003eDavid Gascoyne\u003c\/b\u003e Snow in Europe\u003cbr\u003e\u003cb\u003eDavid Gascoyne\u003c\/b\u003e A Wartime Dawn\u003cbr\u003e\u003cb\u003eKeith Douglas\u003c\/b\u003e Desert Flowers\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1944\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eH. D. (Hilda Doolittle)\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Walls Do Not Fall\u003cbr\u003eI. 'An incident here and there'\u003cbr\u003e\u003cb\u003eSorley Maclean\u003c\/b\u003e Hallaig\u003cbr\u003e\u003cb\u003eLaurence Binyon\u003c\/b\u003e Winter Sunrise\u003cbr\u003e\u003cb\u003eLaurence Binyon\u003c\/b\u003e The Burning of the Leaves\u003cbr\u003e\u003cb\u003eKeith Douglas\u003c\/b\u003e Vergissmeinnicht\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1945\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eRobert Graves\u003c\/b\u003e To Juan at the Winter Solstice\u003cbr\u003e\u003cb\u003eDylan Thomas\u003c\/b\u003e Poem in October\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e The Sea and the Mirror\u003cbr\u003eMiranda\u003cbr\u003e\u003cb\u003eRuth Pitter\u003c\/b\u003e But for Lust\u003cbr\u003e\u003cb\u003eWilliam Empson\u003c\/b\u003e Let It Go\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1946\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSamuel Beckett\u003c\/b\u003e Saint-Lô\u003cbr\u003e\u003cb\u003eKeith Douglas\u003c\/b\u003e How to Kill\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1949\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdwin Muir\u003c\/b\u003e the Interrogation\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1950\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMarion Angus\u003c\/b\u003e Alas! Poor Queen\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Pad, Pad\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1951\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDylan Thomas\u003c\/b\u003e Over Sir John's Hill\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1952\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDylan Thomas\u003c\/b\u003e Do not go gentle into that good night\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e The Fall of Rome\u003cbr\u003e\u003cb\u003eW. H. Auden\u003c\/b\u003e The Shield of Achilles\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1954\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJohn Betjeman\u003c\/b\u003e Devonshire Street W.1\u003cbr\u003e\u003cb\u003eRobert Garioch\u003c\/b\u003e Elegy\u003cbr\u003e\u003cb\u003eThom Gunn\u003c\/b\u003e The Wound\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e At Grass\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1955\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eNorman Maccaig\u003c\/b\u003e Summer Farm\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1956\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eEdwin Muir\u003c\/b\u003e The Horses\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1957\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e The Thought-Fox\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e House on a Cliff\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Not Waving But Drowning\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Magna est Veritas\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1959\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeoffrey Hill\u003c\/b\u003e A Pastoral\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1960\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e Pike\u003cbr\u003e\u003cb\u003ePatrick Kavanagh\u003c\/b\u003e Epic\u003cbr\u003e\u003cb\u003ePatrick Kavanagh\u003c\/b\u003e Come Dance with Kitty Stobling\u003cbr\u003e\u003cb\u003ePatrick Kavanagh\u003c\/b\u003e The Hospital\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1961\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eR. S. Thomas\u003c\/b\u003e Here\u003cbr\u003e\u003cb\u003eRoy Fisher\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e City\u003cbr\u003e\u003ci\u003efrom\u003c\/i\u003e By the Pond\u003cbr\u003eToyland\u003cbr\u003e\u003cb\u003eThom Gunn\u003c\/b\u003e In Santa Maria del Popolo\u003cbr\u003e\u003cb\u003eThom Gunn\u003c\/b\u003e My Sad Captains\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1962\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMalcolm Lowry\u003c\/b\u003e (Strange Type)\u003cbr\u003e\u003cb\u003eChristopher Logue\/Homer\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Patrocleia\u003cbr\u003e(Apollo Strikes Patroclus)\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1963\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Tomlinson\u003c\/b\u003e The Picture of J. T. in a Prospect of Stone\u003cbr\u003e\u003cb\u003eR. S. Thomas\u003c\/b\u003e On the Farm\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e Soap Suds\u003cbr\u003e\u003cb\u003eLouis Macneice\u003c\/b\u003e The Taxis\u003cbr\u003e\u003cb\u003eAustin Clarke\u003c\/b\u003e Martha Blake at Fifty-One\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1964\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e Mr Bleaney\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e Here\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e Days\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e Afternoons\u003cbr\u003e\u003cb\u003eDonald Davie\u003c\/b\u003e The Hill Field\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1965\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSylvia Plath\u003c\/b\u003e Sheep in Fog\u003cbr\u003e\u003cb\u003eSylvia Plath\u003c\/b\u003e The Arrival of the Bee Box\u003cbr\u003e\u003cb\u003eSylvia Plath\u003c\/b\u003e Edge\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1966\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eBasil Bunting\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Briggflatts\u003cbr\u003eI. 'Brag, sweet tenor bull'\u003cbr\u003e\u003cb\u003eR. S. Thomas\u003c\/b\u003e Pietà\u003cbr\u003e\u003cb\u003eR. S. Thomas\u003c\/b\u003e Gifts\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e Personal Helicon\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1967\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e Thistles\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e Full Moon and Little Frieda\u003cbr\u003e\u003cb\u003eJohn Montague\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e A Chosen Light\u003cbr\u003eII. rue Daguerre\u003cbr\u003e\u003cb\u003eGeorge Theiner\/Miroslav Holub\u003c\/b\u003e The Fly\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1968\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeoffrey Hill\u003c\/b\u003e Ovid in the Third Reich\u003cbr\u003e\u003cb\u003eGeoffrey Hill\u003c\/b\u003e September Song\u003cbr\u003e\u003cb\u003eRoy Fisher\u003c\/b\u003e As He Came Near Death\u003cbr\u003e\u003cb\u003eRoy Fisher\u003c\/b\u003e The Memorial Fountain\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1969\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMichael Longley\u003c\/b\u003e Persephone\u003cbr\u003e\u003cb\u003eDouglas Dunn\u003c\/b\u003e A Removal from Terry Street\u003cbr\u003e\u003cb\u003eDouglas Dunn\u003c\/b\u003e On Roofs of Terry Street\u003cbr\u003e\u003cb\u003eNorman Maccaig\u003c\/b\u003e Wild Oats\u003cbr\u003e\u003cb\u003eIain Crichton Smith\u003c\/b\u003e Shall Gaelic Die?\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1970\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eW. S. Graham\u003c\/b\u003e Malcolm Mooney's Land\u003cbr\u003e\u003cb\u003eIan Hamilton\u003c\/b\u003e The Visit\u003cbr\u003e\u003cb\u003eIan Hamilton\u003c\/b\u003e Newscast\u003cbr\u003e\u003cb\u003eTom Leonard\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Unrelated Incidents\u003cbr\u003e3. 'this is thi'\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Crow\u003cbr\u003eA Childish Prank\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1971\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThom Gunn\u003c\/b\u003e Moly\u003cbr\u003e\u003cb\u003eGeoffrey Hill\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Mercian Hymns\u003cbr\u003eI. 'King of the perennial holly-graves'\u003cbr\u003eVI. 'The princes of Mercia were badger and raven'\u003cbr\u003eVII. 'Gasholders, russet among fields'\u003cbr\u003eXXVII. 'Now when King Offa was alive and dead'\u003cbr\u003e\u003cb\u003eGeorge Mackay Brown\u003c\/b\u003e Kirkyard\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1972\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eStevie Smith\u003c\/b\u003e Scorpion\u003cbr\u003e\u003cb\u003eCharles Tomlinson\u003c\/b\u003e Stone Speech\u003cbr\u003e\u003cb\u003eDerek Mahon\u003c\/b\u003e An Image from Beckett\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e The Tollund Man\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e Broagh\u003cbr\u003e\u003cb\u003eDouglas  Dunn\u003c\/b\u003e Modern Love\u003cbr\u003e\u003cb\u003eÉilean Ní Chuilleanáin\u003c\/b\u003e Swineherd\u003cbr\u003e\u003cb\u003eÉilean Ní Chuilleanáin\u003c\/b\u003e The Second Voyage\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1973\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eThomas Kinsella\u003c\/b\u003e Hen Woman\u003cbr\u003e\u003cb\u003eThomas Kinsella\u003c\/b\u003e Ancestor\u003cbr\u003e\u003cb\u003eMichael Longley\u003c\/b\u003e Wounds\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e Wind and Tree\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1974\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e This Be the Verse\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e Money\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Livings\u003cbr\u003eII. 'Seventy feet down'\u003cbr\u003e\u003cb\u003ePhilip Larkin\u003c\/b\u003e The Explosion\u003cbr\u003e\u003cb\u003ePadraic Fallon\u003c\/b\u003e A Bit of Brass\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1975\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Singing School\u003cbr\u003e6. Exposure\u003cbr\u003e\u003cb\u003eDerek Mahon\u003c\/b\u003e The Snow Party\u003cbr\u003e\u003cb\u003eDerek Mahon\u003c\/b\u003e A Disused Shed in Co. Wexford\u003cbr\u003e\u003cb\u003eD. J. Enright\u003c\/b\u003e Remembrance Sunday\u003cbr\u003e\u003cb\u003eJohn Fuller\u003c\/b\u003e Wild Raspberries\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1976\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eMichael Longley\u003c\/b\u003e Man Lying on a Wall\u003cbr\u003e\u003cb\u003eElma Mitchell\u003c\/b\u003e Thoughts after Ruskin\u003cbr\u003e\u003cb\u003eThom Gunn\u003c\/b\u003e The Idea of Trust\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1977\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eDonald Davie\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e In the Stopping Train\u003cbr\u003e'I have got into the slow train'\u003cbr\u003e\u003cb\u003eNorman Maccaig\u003c\/b\u003e Notations of Ten Summer Minutes\u003cbr\u003e\u003cb\u003eW. S. Graham\u003c\/b\u003e Lines on Roger Hilton's Watch\u003cbr\u003e\u003cb\u003eRobert Garioch\u003c\/b\u003e The Maple and the Pine\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1978\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eGeoffrey Hill\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e An Apology for the Revival of Christian Architecture in England\u003cbr\u003e9. The Laurel Axe\u003cbr\u003e12. The Eve of St Mark\u003cbr\u003e\u003cb\u003eThomas Kinsella\u003c\/b\u003e Tao and Unfitness at Inistiogue on the River Nore\u003cbr\u003e\u003cb\u003eJames Fenton\u003c\/b\u003e In a Notebook\u003cbr\u003e\u003cb\u003eJeffrey Wainwright\u003c\/b\u003e 1815\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1979\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCraig Raine\u003c\/b\u003e A Martian Sends a Postcard Home\u003cbr\u003e\u003cb\u003eChristopher Reid\u003c\/b\u003e Baldanders\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e February 17th\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e The Strand at Lough Beg\u003cbr\u003e\u003cb\u003eMichael Longley\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Wreaths\u003cbr\u003eThe Linen Workers\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1980\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTom Paulin\u003c\/b\u003e Where Art is a Midwife\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e Why Brownlee Left\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e Anseo\u003cbr\u003e\u003cb\u003ePaul Durcan\u003c\/b\u003e Tullynoe: Tête-à-Tête in the Parish Priest's Parlour\u003cbr\u003e\u003cb\u003ePaul Durcan\u003c\/b\u003e The Death by Heroin of Sid Vicious\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1981\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eJames Fenton\u003c\/b\u003e A German Requiem\u003cbr\u003e\u003cb\u003eTony Harrison\u003c\/b\u003e The Earthen Lot\u003cbr\u003e\u003cb\u003eDerek Mahon\u003c\/b\u003e Courtyards in Delft\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1983\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e Quoof\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e The Frog\u003cbr\u003e\u003cb\u003eTom Paulin\u003c\/b\u003e Desertmartin\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1984\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e Widgeon\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Station Island\u003cbr\u003eVII. 'I had come to the edge of the water'\u003cbr\u003e\u003cb\u003eDouglas Dunn\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Elegies\u003cbr\u003eThe Sundial\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1985Derek Mahon\u003c\/b\u003e Antarctica\u003cbr\u003e\u003cb\u003eJohn Agard\u003c\/b\u003e Listen to Mr Oxford don\u003cbr\u003e\u003cbr\u003e\u003cb\u003e1987\u003c\/b\u003e\u003cbr\u003e\u003cb\u003ePeter Didsbury\u003c\/b\u003e The Hailstone\u003cbr\u003e\u003cb\u003ePaul Muldoon\u003c\/b\u003e Something Else\u003cbr\u003e\u003cb\u003eCiaran Carson\u003c\/b\u003e Dresden\u003cbr\u003e\u003cb\u003eEavan Boland\u003c\/b\u003e Self-Portrait on a Summer Evening\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1988\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eCharles Causley\u003c\/b\u003e Eden Rock\u003cbr\u003e\u003cb\u003eEdwin Morgan\u003c\/b\u003e The Dowser\u003cbr\u003e\u003cb\u003eNorman Maccaig\u003c\/b\u003e Chauvinist\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1989\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eTed Hughes\u003c\/b\u003e Telegraph Wires\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1990\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eKen Smith\u003c\/b\u003e Writing in Prison\u003cbr\u003e\u003cb\u003eCiaran Carson\u003c\/b\u003e Belfast Confetti\u003cbr\u003e\u003cb\u003eNuala Níi Dhomhnaill\u003c\/b\u003e (trans. \u003cb\u003ePaul Muldoon\u003c\/b\u003e) The Language Issue\u003cbr\u003e\u003cb\u003eEavan Boland\u003c\/b\u003e The Black Lace Fan My Mother Gave Me\u003cbr\u003e\u003c\/b\u003e\u003c\/b\u003e\u003c\/p\u003e\u003cp\u003e\u003cb\u003e\u003cb\u003e\u003cb\u003e1991\u003c\/b\u003e\u003cbr\u003e\u003cb\u003eSeamus Heaney\u003c\/b\u003e \u003ci\u003efrom\u003c\/i\u003e Lightenings\u003cbr\u003eVIII. 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The Satires of Persius (AD 34-62) are highly idiosyncratic, containing a courageous attack on the poetry and morals of his wealthy contemporaries - even the ruling emperor, Nero.","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732381938007,"sku":"9780140455083","price":10.44,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780140455083.jpg?v=1719996634"},{"product_id":"the-new-penguin-book-of-love-poetry-9780141010977","title":"The New Penguin Book of Love Poetry","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003eLove itself might be blind, but over millennia it has inspired some of the most perceptive and visionary poetry ever written. 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Whether it''s the burning passion of two young lovers, the steady companionship of a married couple, the unconditional love of a parent for a child or the enduring affection of lifelong friendship, this is Penguin''s definitive collection of the most treasured writing on the most universal of themes.","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732387934551,"sku":"9780141010977","price":11.69,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780141010977.jpg?v=1719996662"},{"product_id":"collected-poems-9780141014555","title":"Collected Poems","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003eRoger McGough is one of Britain''s best loved poets and this collection ''charts [his] passage from youthful exuberance to the wry reflection of his later years. 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Patrick Crotty, the editor and a professor of Irish literature at Aberdeen University, should be congratulated for the precise, considerate and independent thinking he has brought to his selections.\" * Irish Times *\u003cbr\u003eThis is a magnificent anthology...The Penguin Book of Irish Poetry is so rich in its inclusions, so superbly organised, showing such breadth of scholarship and (in general) felicity of judgement...applause for a great achievement... -- Patricia Craig * Independent *\u003cbr\u003e'The great length of the anthology allows brave decisions...the discrimination, imagination, deftness and heft of the whole is masterful. 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Dating back to the seventh century, these elegant, precisely observed \u003ci\u003ewaka\u003c\/i\u003e poems (the precursor of haiku) express deep emotion through visual images based on a penetrating observation of the natural  world. Peter MacMillan''s new translation of his prize-winning original  conveys even more effectively the beauty and subtlety of this magical collection.\u003cbr\u003e\u003cbr\u003eTranslated with an introduction and commentary by Peter MacMillan.\u003c\/p\u003e\u003cbr\u003e\u003cbr\u003e\u003cb\u003eTrade Review\u003c\/b\u003e\u003cbr\u003eBy far the best translation to date -- Donald Keene\u003cbr\u003eFor more than seven centuries, these poems have resonated with countless readers ... [Peter Macmillan's] excellent new translation of these poems makes clear why they have mattered so much for so long ... [revealing] the vivid emotions that have kept the heart of the collection beating all this time * TIME *","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732484665687,"sku":"9780141395937","price":10.44,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780141395937.jpg?v=1719997085"},{"product_id":"paterson-d-penguin-modern-poets-4-9780141984032","title":"Paterson D Penguin Modern Poets 4","description":"\u003cb\u003eBook Synopsis\u003c\/b\u003e\u003cbr\u003e\u003cp\u003e\u003ci\u003eOther Ways to Leave the Room\u003c\/i\u003e features the work of three of the most beloved and lauded poets currently at large. Between them, Kathleen Jamie, Don Paterson and Nick Laird write lyrical, luminous and often darkly witty poems about the rugged wildness of the Scottish landscape; about fatherhood; about whisky-drinking, alcohol abuse and tenement life; about sex, love and the pursuit of the spiritual; about childhood in the Ireland of the Troubles, and about the strange possibilities of the technological future. What all three have in common is an ability to combine observations of gritty real life with a sense of the mythical proportions always lurking just under the surface of the everyday.\u003cbr\u003e\u003cbr\u003eThe Penguin Modern Poets are succinct guides to the richness and diversity of contemporary poetry. Every volume brings together representative selections from the work of three poets now writing, allowing the curious reader and the seasoned lover of poetry to encounter the most exciting voices of our moment.\u003c\/p\u003e","brand":"Penguin Books Ltd","offers":[{"title":"Default Title","offer_id":48732503277911,"sku":"9780141984032","price":7.59,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0817\/1739\/5799\/files\/9780141984032.jpg?v=1719997168"}],"url":"https:\/\/bookcurl.com\/collections\/poetry-anthologies-various-poets.oembed?page=86","provider":"Book Curl","version":"1.0","type":"link"}