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| Romantic Poetry | |
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| William Blake | |
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| Poetical Sketches | |
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| To Spring | |
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| To the Evening Star | |
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| Song | |
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| Mad Song | |
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| To the Muses | |
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| Songs of Innocence and of Experience | |
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| Songs of Innocence | |
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| Introduction | |
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| The Lamb | |
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| The Little Black Boy | |
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| The Chimney Sweeper | |
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| The Divine Image | |
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| Holy Thursday | |
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| Songs of Experience | |
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| Introduction | |
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| Earth's Answer | |
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| Holy Thursday | |
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| The Chimney Sweeper | |
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| The Sick Rose | |
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| The Tyger | |
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| Ah! Sun-flower | |
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| London | |
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| The Human Abstract | |
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| To Tirzah | |
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| The Book of Thel | |
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| The Marriage of Heaven and Hell | |
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| Visions of the Daughters of Albion | |
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| America a Prophecy | |
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| Blake's Notebook | |
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| Never Pain To Tell Thy Love | |
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| To Nobodaddy | |
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| What Is It Men in Women Do Require? | |
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| My Spectre Around Me Night & Day | |
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| Mock on Mock on Voltaire Rousseau | |
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| Morning | |
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| When Klopstock England Defied | |
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| Epigrams | |
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| The Mental Traveller | |
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| The Crystal Cabinet | |
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| Auguries of Innocence | |
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| The Four Zoas | |
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| [Song of Enitharmon] | |
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| [Song of Enion] | |
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| Night the Ninth Being The Last Judgment | |
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| Milton | |
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| Preface | |
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| [Milton's Descent] | |
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| [The World of Los] | |
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| [The Vision of Beulah] | |
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| [Milton's Declaration] | |
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| Jerusalem The Emanation of the Giant Albion | |
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| [The Spectre of Urthona] | |
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| [The Minute Particulars] | |
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| [The Declaration of Los] | |
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| Epilogue from The Gates of Paradise | |
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| [A Vision of the Last Judgment] | |
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| The Letters | |
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| To Dr. Trusler 23 August 1799 | |
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| To George Cumberland 12 April 1827 | |
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| William Wordsworth | |
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| Lines Written in Early Spring | |
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| Expostulation and Reply | |
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| The Tables Turned | |
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| To My Sister | |
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| The Ruined Cottage | |
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| Home at Grasmere | |
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| "Prospectus" to The Excursion | |
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| Lines Composed a Few Miles Above Tintern Abbey | |
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| Nutting | |
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| [The Lucy Poems] | |
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| Strange Fits of Passion | |
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| She Dwelt Among the Untrodden Ways | |
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| Three Years She Grew in Sun and Shower | |
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| A Slumber Did My Spirit Seal | |
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| I Travelled Among Unknown Men | |
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| Lucy Gray; Or, Solitude | |
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| Michael, A Pastoral Poem | |
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| My Heart Leaps Up | |
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| Resolution and Independence | |
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| Composed upon Westminster Bridge, September 3, 1802 | |
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| It Is a Beauteous Evening | |
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| I Wandered Lonely as a Cloud | |
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| The World Is Too Much with Us | |
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| Ode: Intimations of Immortality from Recollections of Early Childhood | |
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| She Was a Phantom of Delight | |
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| Ode to Duty | |
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| The Solitary Reaper | |
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| Elegiac Stanzas | |
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| The Prelude | |
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| Introduction-Childhood and School-Time | |
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| School-Time | |
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| Summer Vacation | |
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| Books | |
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| Cambridge and the Alps | |
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| Residence in London | |
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| Retrospect | |
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| Residence in France | |
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| France | |
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| Imagination and Taste, How Impaired and Restored | |
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| Conclusion | |
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| Surprised by Joy | |
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| Composed upon an Evening of Extraordinary Splendour and Beauty | |
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| Mutability | |
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| Extempore Effusion upon the Death of James Hogg | |
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| Samuel Taylor Coleridge | |
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| Sonnet: To the River Otter | |
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| The Eolian Harp | |
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| The Rime of the Ancient Mariner | |
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| Kubla Khan | |
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| Christabel | |
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| Frost at Midnight | |
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| Dejection: An Ode | |
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| Phantom | |
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| To William Wordsworth | |
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| On Donne's Poetry | |
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| Limbo | |
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| Ne Plus Ultra | |
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| To Nature | |
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| Epitaph | |
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| George Gordon, Lord Byron | |
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| English Bards and Scotch Reviewers | |
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| Lara | |
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| Stanzas for Music | |
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| Childe Harold's Pilgrimage, A Romaunt | |
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| Canto the Third | |
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| Canto the Fourth | |
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| Prometheus | |
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| Darkness | |
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| Manfred | |
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| 'So We'll Go No More A-Roving' | |
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| Don Juan | |
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| Dedication | |
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| Selections from Canto I | |
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| Canto III | |
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| Canto IV | |
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| Canto V | |
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| Canto VII | |
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| Canto IX | |
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| Canto XI | |
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| Stanzas to the Po | |
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| The Vision of Judgment | |
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| On This Day I Complete My Thirty-sixth Year | |
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| Percy Bysshe Shelley | |
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| Alastor, or The Spirit of Solitude | |
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| Hymn to Intellectual Beauty | |
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| Mont Blanc | |
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| Ozymandias | |
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| Julian and Maddalo | |
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| Prometheus Unbound | |
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| Preface | |
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| Selections from Act I | |
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| Act II: scene iv | |
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| Scene v | |
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| Act III: scene i | |
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| Scene ii | |
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| Scene iii | |
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| Act IV | |
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| England in 1819 | |
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| Ode to the West Wind | |
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| To a Skylark | |
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| The Sensitive Plant | |
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| Hymn of Apollo | |
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| The Two Spirits: An Allegory | |
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| Epipsychidion | |
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| [Three Sermons on Free Love] | |
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| [The Annihilation of Love] | |
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| Adonais | |
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| To Night | |
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| Hellas | |
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| With a Guitar, To Jane | |
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| Lines Written in the Bay of Lerici | |
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| The Triumph of Life | |
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| John Keats | |
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| On First Looking into Chapman's Homer | |
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| On the Grasshopper and Cricket | |
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| Sleep and Poetry | |
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| On the Sea | |
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| In Drear-Nighted December | |
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| Epistle to John Hamilton Reynolds | |
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| When I Have Fears | |
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| Fragment of an Ode to Maia | |
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| Hyperion. A Fragment | |
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| The Eve of St. Agnes | |
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| La Belle Dame Sans Merci | |
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| On the Sonnet | |
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| Ode to Psyche | |
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| Ode to a Nightingale | |
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| Ode on a Grecian Urn | |
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| Ode on Melancholy | |
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| The Fall of Hyperion. A Dream | |
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| To Autumn | |
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| To-[Fanny Brawne] | |
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| Bright Star | |
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| This Living Hand | |
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| Other Romantic Poets | |
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| William Lisle Bowles | |
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| To the River Itchin, Near Winton | |
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| Sir Walter Scott | |
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| The Dreary Change | |
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| 'Proud Maisie' | |
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| The Song of the Reim-kennar | |
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| Walter Savage Landor | |
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| 'Lately Our Poets' | |
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| [Rose Alymer, 1779-1800] | |
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| Dirce | |
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| On His Seventy-fifth Birthday | |
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| Death Stands Above Me | |
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| Poem | |
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| Autumnal Song | |
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| Memory | |
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| To Wordsworth | |
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| To George and Georgiana Keats (Feb. 14-May 3, 1819) | |
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| To George and Georgiana Keats (Sept. 21, 1819) | |
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| To Percy Bysshe Shelley (Aug. 16, 1820) | |
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| To Charles Brown (Nov. 30, 1820) | |
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| Victorian Prose | |
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| Thomas Carlyle | |
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| Sartor Resartus | |
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| The Everlasting No | |
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| The Everlasting Yea | |
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| Natural Supernaturalism | |
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| On Heroes, Hero-Worship, and the Heroic in History | |
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| The Hero as Poet [Shakespeare] | |
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| Past and Present | |
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| Labour | |
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| Reward | |
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| Democracy | |
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| John Stuart Mill | |
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| What Is Poetry? | |
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| On Liberty | |
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| Of Individuality | |
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| On the Subjection of Women | |
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| On the Equality of the Sexes | |
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| Autobiography | |
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| A Crisis in My Mental History | |
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| John Henry Cardinal Newman | |
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| The Tamworth Reading Room | |
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| Secular Knowledge Not a Principle of Action | |
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| Discourses to Mixed Congregations | |
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| Faith and Private Judgment | |
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| The Idea of a University | |
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| Knowledge Viewed in Relation to Professional Skill | |
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| Apologia Pro Vita Sua | |
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| Position of My Mind Since 1845 | |
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| Liberalism | |
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| John Ruskin | |
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| Modern Painters | |
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| Of the Real Nature of Greatness of Style | |
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| The Stones of Venice | |
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| The Nature of Gothic | |
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| Unto This Last | |
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| The Roots of Honour | |
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| Matthew Arnold | |
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| First Edition of Poems, Preface | |
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| The Function of Criticism at the Present Time | |
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| The Study of Poetry | |
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| Literature and Science | |
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| T. H. Huxley | |
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| On the Physical Basis of Life | |
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| William Morris | |
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| The Beauty of Life | |
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| Walter Pater | |
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| The Renaissance | |
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| Romanticism | |
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| Samuel Butler | |
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| Erewhon | |
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| Birth Formulae | |
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| The World of the Unborn | |
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| Oscar Wilde | |
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| The Importance of Being Earnest | |
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| Victorian Poetry | |
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| Alfred, Lord Tennyson | |
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| Mariana | |
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| The Kraken | |
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| The Lady of Shalott | |
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| The Hesperides | |
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| The Lotos-Eaters | |
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| The Eagle | |
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| St. Simeon Stylites | |
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| Ulysses | |
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| Tithonus | |
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| Morte d'Arthur | |
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| Locksley Hall | |
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| The Vision of Sin | |
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| Songs from The Princess | |
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| The Splendour Falls | |
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| Tears, Idle Tears | |
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| Come Down, O Maid | |
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| In Memoriam A.H.H. | |
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| Prologue | |
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| Epilogue | |
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| Maud: A Monodrama | |
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| Come into the Garden, Maud | |
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| O that 'twere possible | |
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| Dead, long dead | |
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| My life has crept so long on a broken wing | |
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| Idylls of the King | |
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| [Vivien's Song] | |
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| [Percivale's Quest] | |
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| Lucretius | |
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| To Virgil | |
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| Merlin and The Gleam | |
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| Crossing the Bar | |
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| Robert Browning | |
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| Pauline | |
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| A Fragment of a Confession | |
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| Johannes Agricola in Meditation | |
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| Soliloquy of the Spanish Cloister | |
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| My Last Duchess | |
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| The Bishop Orders His Tomb at Saint Praxed's Church | |
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| Love Among the Ruins | |
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| Fra Lippo Lippi | |
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| A Toccata of Galuppi's | |
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| By the Fire-side | |
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| 'Childe Roland to the Dark Tower Came' | |
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| How It Strikes a Contemporary | |
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| Master Hugues of Saxe-Gotha | |
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| Memorabilia | |
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| Andrea del Sarto | |
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| Cleon | |
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| Popularity | |
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| The Heretic's Tragedy | |
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| Two in the Campagna | |
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| Abt Vogler | |
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| Caliban upon Setebos | |
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| Thamuris Marching | |
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| Asolando: Prologue | |
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| Bad Dreams III | |
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| Matthew Arnold | |
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| The Strayed Reveller | |
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| To Marguerite-Continued | |
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| Courage | |
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| Empedocles on Etna [Song of Callicles] | |
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| Memorial Verses | |
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| Dover Beach | |
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| The Buried Life | |
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| Stanzas from the Grande Chartreuse | |
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| The Scholar-Gipsy | |
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| Philomela | |
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| Palladium | |
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| Growing Old | |
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| The Last Word | |
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| Bacchanalia; or, The New Age | |
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| The Pre-Raphaelite Poets | |
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| Dante Gabriel Rossetti | |
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| The Blessed Damozel | |
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| The Woodspurge | |
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| Sestina (after Dante) | |
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| Sudden Light | |
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| The Sea-Limits | |
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| The House of Life: A Sonnet Sequence | |
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| Willowwood (Sonnets XLIX-LII) | |
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| Ardour and Memory | |
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| Autumn Idleness | |
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| Body's Beauty | |
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| Barren Spring | |
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| A Superscription | |
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| The One Hope | |
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| The Orchard-Pit | |
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| George Meredith | |
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| Love in the Valley | |
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| Modern Love | |
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| I (By this he knew she wept with waking eyes) | |
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| XLVII (We saw the swallows gathering in the sky) | |
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| XLVIII (Their sense is with their senses all mixed in) | |
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| XLIX (He found her by the Ocean's moaning verge) | |
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| L (Thus piteously Love closed what he begat) | |
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| A Ballad of Past Meridian | |
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| Lucifer in Starlight | |
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| Christina Rossetti | |
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| Song (When I am dead, my dearest) | |
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| Rest | |
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| Modern British Literature | |
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| Thomas Hardy | |
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| Hap | |
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| Neutral Tones | |
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| The Subalterns | |
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| The Darkling Thrush | |
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| In Tenebris (I) | |
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| In Tenebris (III) | |
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| The Schreckhorn | |
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| The Dynasts [Chorus on the Eve of Waterloo] | |
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| The Convergence of the Twain | |
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| Wessex Heights | |
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| 'I Found Her Out There' | |
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| The Voice | |
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| Channel Firing | |
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| The Oxen | |
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| During Wind and Rain | |
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| In Time of 'The Breaking of Nations' | |
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| Moments of Vision | |
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| Afterwards | |
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| 'And There Was a Great Calm' | |
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| Snow in the Suburbs | |
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| Bernard Shaw | |
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| Saint Joan | |
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| Joseph Conrad | |
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| Heart of Darkness | |
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| William Butler Yeats | |
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| The Sorrow of Love (1892) | |
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| The Sorrow of Love (1927) | |
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| The Two Trees | |
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| Adam's Curse | |
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| No Second Troy | |
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| A Drinking Song | |
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| To a Friend Whose Work Has Come to Nothing | |
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| The Cold Heaven | |
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| The Magi | |
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| In Memory of Major Robert Gregory | |
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| The Scholars | |
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| A Thought from Propertius | |
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| A Deep-Sworn Vow | |
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| Michael Robartes and the Dancer | |
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| Easter 1916 | |
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| On a Political Prisoner | |
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| The Second Coming | |
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| Sailing to Byzantium | |
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| Ancestral Houses | |
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| Two Songs from a Play | |
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| Leda and the Swan | |
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| Among School Children | |
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| In Memory of Eva Gore-Booth and Con Markiewicz | |
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| Coole Park, 1929 | |
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| Byzantium | |
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| Crazy Jane Talks with the Bishop | |
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| After Long Silence | |
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| A Last Confession | |
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| Meru | |
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| Lapis Lazuli | |
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| The Statues | |
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| John Kinsella's Lament for Mrs. Mary Moore | |
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| The Circus Animals' Desertion | |
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| Cuchulain Comforted | |
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| Autobiographies | |
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| The Trembling of the Veil: III | |
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| Hodos Chameliontos | |
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| The Trembling of the Veil: IV | |
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| The Tragic Generation | |
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| James Joyce | |
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| Dubliners | |
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| The Dead | |
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| A Portrait of the Artist as a Young Man | |
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| [Stephen's Epiphany] | |
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| [Stephen's Poem] | |
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| Ulysses | |
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| [Nausicaa] | |
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| Finnegans Wake | |
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| D. H. Lawrence | |
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| The Prussian Officer | |
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| St. Mawr | |
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| Poems | |
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| Piano | |
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| River Roses | |
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| Medlars and Sorb-Apples | |
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| Bat | |
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| Snake | |
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| Tortoise Shell | |
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| Figs | |
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| Letter to a Wound | |
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| Paysage Moralise | |
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| Lullaby | |
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| Song (As I walked out one evening) | |
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| In Memory of Sigmund Freud | |
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| In Memory of W. B. Yeats | |
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| For the Time Being | |
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| In Praise of Limestone | |
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| The Fall of Rome | |
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| The Proof | |
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| Marginalia | |
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| Louis Macneice | |
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| Bagpipe Music | |
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| Whit Monday | |
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| Stephen Spender | |
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| I Think Continually of Those Who Were Truly Great | |
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| Ultima Ratio Regum | |
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| Edith Sitwell | |
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| Hornpipe | |
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| William Empson | |
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| This Last Pain | |
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| Villanelle | |
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| Missing Dates | |
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| Dylan Thomas | |
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| When, Like a Running Grave | |
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| Sonnet | |
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| After the Funeral | |
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| A Refusal To Mourn the Death, by Fire, of a Child in London | |
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| Fern Hill | |
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| 'Do Not Go Gentle into That Good Night' | |
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| E. M. Forster | |
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| What I Believe | |
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| John Betjeman | |
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| In Westminster Abbey | |
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| George Orwell | |
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| England Your England | |
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| Samuel Beckett | |
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| Watt [The Incident of the Galls, Father and Son] | |
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| English Literary History in Process | |
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| Basil Bunting | |
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| Briggsflatts (Part V) | |
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| Coda | |
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| Stevie Smith | |
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| Not Waving but Drowning | |
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| John Heath-Stubbs | |
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| The Dark Planet | |
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| Philip Larkin | |
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| Church Going | |
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| Lines on a Young Lady's Photograph Album | |
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| Donald Davie | |
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| A Winter Talent | |
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| Gardens No Emblems | |
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| Kingsley Amis | |
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| A Dream of Fair Women | |
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| Thom Gunn | |
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| On the Move | |
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| Charles Tomlinson | |
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| Through Binoculars | |
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| Ted Hughes | |
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| Pibroch | |
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| A Childish Prank | |
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| Geoffrey Hill | |
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| Genesis | |
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| Glossary | |
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| Suggestions for Further Reading | |
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| Romantic | |
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| Victorian | |
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| Modern | |
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| Indexes | |
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| Authors and Titles | |
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| First Lines of Poems | |