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Original Essays | June 20, 2014

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Longman Anthology of British Literature, Volume 2 (3RD 06 - Old Edition)

by and and and and and

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Synopses & Reviews

Please note that used books may not include additional media (study guides, CDs, DVDs, solutions manuals, etc.) as described in the publisher comments.

Publisher Comments:

The Longman Anthology of British Literature was the first collection to pay sustained attention to the contexts within which literature was produced.  Canonical authors are presented alongside newly visible authors.  New to this edition, informative fact sheets open each volume providing an easily digestible glimpse of life during each period.  The up-to-date introductions and notes are written by an editorial team whose members are all actively engaged in teaching and in current scholarship. 

About the Author

David Damrosch is Professor of Comparative Literature at Harvard University. He is a past president of the American Comparative Literature Association, and has written widely on world literature from antiquity to the present. His books include What Is World Literature? (2003), The Buried Book: The Loss and Rediscovery of the Great Epic of Gilgamesh (2007), and How to Read World Literature (2009). He is the founding general editor of the six-volume Longman Anthology of World Literature, 2/e (2009) and the editor of Teaching World Literature (2009).


Kevin J. H. Dettmar is W. M. Keck Professor and Chair, Department of English, at Pomona College, and Past President of the Modernist Studies Association.  He is the author of The Illicit Joyce of Postmodernism and Is Rock Dead?, and the editor of Rereading the New: A Backward Glance at Modernism; Marketing Modernisms: Self-Promotion, Canonization, and Rereading; Reading Rock & Roll: Authenticity, Appropriation, Aesthetics; the Barnes & Noble Classics edition of James Joyce’s A Portrait of the Artist as a Young Man and Dubliners; and The Blackwell Companion to Modernist Literature and Culture, and co-general editor of The Longman Anthology of British Literature.  


Christopher Baswell is A. W. Olin Chair of English at Barnard College, and Professor of English and Comparative Literature at Columbia University.  His interests include classical literature and culture, medieval literature and culture, and contemporary poetry.  He is author of Virgil in Medieval England: Figuring the "Aeneid" from the Twelfth Century to Chaucer, which won the 1998 Beatrice White Prize of the English Association.  He has held fellowships from the NEH, the National Humanities Center, and the Institute for Advanced Study, Princeton.


Clare Carroll is Director of Renaissance Studies at The Graduate Center, City University of New York and Professor of Comparative Literature at Queens College and at The Graduate Center, CUNY.  Her research is in Renaissance Studies, with particular interests in early modern colonialism, epic poetry, historiography, and translation. She is the author of The Orlando Furioso: A Stoic Comedy, and editor of Richard Beacon's humanist dialogue on the colonization of Ireland, Solon His Follie. Her most recent book is Circe's Cup: Cultural Transformations in Early Modern Ireland. She has received Fulbright Fellowships for her research and the Queens College President's Award for Excellence in Teaching.


Andrew Hadfield is Professor of English at The University of Sussex. He is the author of a number of books, including Shakespeare and Republicanism (2005), which was awarded the 2006 Sixteenth-Century Society Conference Roland H. Bainton Prize for Literature; Literature, Travel and Colonialism in the English Renaissance, 1540-1625 (1998); and Spenser's Irish Experience: Wilde Fruyt and Salvage Soyl (1997). He has also edited a number, most recently, with Matthew Dimmock, Religions of the Book: Co-existence and Conflict, 1400-1660 (2008), and with Raymond Gillespie, The Oxford History of the Irish Book, Vol. III: The Irish Book in English, 1550-1800 (2006). He is a regular reviewer for the TLS.


Heather Henderson is a freelance writer and former Associate Professor of English Literature at Mount Holyoke College.  A specialist in Victorian literature, she is the recipient of a fellowship from the National Endowment for the Humanities.  She is the author of The Victorian Self: Autobiography and Biblical Narrative.  Her current interests include home-schooling, travel literature, and autobiography. 


Peter J. Manning is Professor at Stony Brook University. He is the author of Byron and His Fictions and Reading Romantics, and of numerous essays on the British Romantic poets and prose writers. With Susan J. Wolfson, he has co-edited Selected Poems of Byron, and Selected Poems of Beddoes, Hood, and Praed. He has received fellowships from the National Endowment for the Humanities and the John Simon Guggenheim Memorial Foundation, and the Distinguished Scholar Award of the Keats-Shelley Association.


Anne Howland Schotter is Professor and Chair of English and Associate Dean of the Faculty at Wagner College.  She is the co-editor of Ineffability: Naming the Unnamable from Dante to Beckett and author of articles on Middle English poetry, Dante, and Medieval Latin poetry.  Her current interests include the medieval reception of classical literature, particularly the work of Ovid.  She has held fellowships from the Woodrow Wilson and Andrew W. Mellon foundations.


William Sharpe is Professor of English Literature at Barnard College.  A specialist in Victorian poetry and the literature of the city, he is the author of Unreal Cities: Urban Figuration in Wordsworth, Baudelaire, Whitman, Eliot, and Williams.  He is also co-editor of The Passing of Arthur and Visions of the Modern City.  He is the recipient of Guggenheim, National Endowment of the Humanities, Fulbright, and Mellon fellowships, and recently published New York Nocturne: The City After Dark in Literature, Painting, and Photography.


Stuart Sherman is Associate Professor of English at Fordham University. He received the Gottschalk Prize from the American Society for Eighteenth-Century Studies for his book Telling Time: Clocks, Diaries, and English Diurnal Form, 1660-1775, and is currently at work on a study called “News and Plays: Evanescences of Page and Stage, 1620-1779.” He has received the Quantrell Award for Undergraduate Teaching, as well as fellowships from the American Council of Learned Societies, the Chicago Humanities Institute, and Princeton University.


Susan J. Wolfson is Professor of English at Princeton University and is general editor of Longman Cultural Editions. A specialist in Romanticism, her critical studies include The Questioning Presence:  Wordsworth, Keats, and the Interrogative Mode in Romantic Poetry, Formal Charges: The Shaping of Poetry in British Romanticism, and Borderlines: The Shiftings of Gender in British Romanticism. She has also produced editions of Felicia Hemans, Lord Byron, Thomas L. Beddoes, William M. Praed, Thomas Hood, as well as the Longman Cultural Edition of Shelley’s Frankenstein. She received Distinguished Scholar Award from Keats-Shelley Association, and grants and fellowships from American Council of Learned Societies, National Endowment for the Humanities, J. S. Guggenheim Foundation, and Andrew W. Mellon Foundation.  She is President (2009-2010) of the Association of Literary Scholars, Critics, and Writers.






Table of Contents

* denotes selection is new to this edition. Complete contents for Volume II are below. Volume 2A contains only the section entitled "The Romantics and Their Contemporaries." Volume 2B contains only the section entitled "The Victorian Age." Volume 2C contains only the section entitled "The 20th Century."



Perspectives: The Sublime, the Beautiful, and the Picturesque.

Edmund Burke. From A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and the Beautiful.

William Gilpin.  From Three Essays on Picturesque Beauty, on Picturesque Travel, and on Sketching Landscape.

Mary Wollstonecraft.  From A Vindication of the Rights of Men.

Jane Austen.  From Pride and Prejudice.

            * From Northhanger Abbey.       

Immanuel Kant.  From The Critique of Judgment.

John Ruskin. From Modern Painters.

Anna Laetitia Barbauld.

The Mouse's Petition to Dr. Priestley.

On a Lady's Writing.

Inscription for an Ice-House.

To a Little Invisible Being Who Is Expected Soon to Become Visible.

To the Poor.


Eighteen Hundred and Eleven.

* Response.

  John Wilson Croker: From A Review of Eighteen Hundred and Eleven.

The First Fire.

On the Death of the Princess Charlotte.

Charlotte Smith.

Elegiac Sonnets and Other Poems.

* To the Moon.

* “Sighing I see yon little troop at play.”

To melancholy. Written on the banks of the Arun October, 1785.

Far on the Sands.

To tranquillity.

Written in the church-yard at Middleton in Sussex.

On being cautioned against walking on an headland overloooking the sea.

The sea view.

The Dead Beggar.

* From Beachy Head.

Perspectives: The Rights of Man and the Revolution Controversy.

Helen Maria Williams. From Letters Written in France, in the Summer of 1790.

From Letters from France.

Edmund Burke. From Reflections on the Revolution in France.

Mary Wollstonecraft. From A Vindication of the Rights of Men.

            * Letter to Joseph Johnson, from Paris, December 27, 1792.

Thomas Paine.  From The Rights of Man.

William Godwin.  From An Enquiry Concerning Political Justice and Its Influence on General Virtue and Happiness.

The Anti-Jacobin, or Weekly Examiner. The Friend of Humanity and the Knife-Grinder.

Hannah More. Village Politics.

Arthur Young. From Travels in France During the Years 1787-1788, and 1789.

From The Example of France, A Warning to Britain.

William Blake.

All Religions Are One.

There is No Natural Religion (a).

There is No Natural Religion (b).

Songs of Innocence and of Experience.

From Songs of Innocence.


* The Shepherd.

The Ecchoing Green.

The Lamb.

The Little Black Boy.

* The Blossom.

The Chimney Sweeper.

* The Little Boy lost.

* The Little Boy found.

The Divine Image.


Nurse's Song.

Infant Joy.

* A Dream.

* On Anothers Sorrow.

Companion Reading.

Charles Lamb: From The Praise of Chimney Sweepers.

From Songs of Experience.


EARTH'S Answer.

The CLOD and the PEBBLE.


* The Little Girl lost.

* The Little Girl found.

The Chimney Sweeper.

* NURSES Song.



* The Angel.

The Tyger

* My Pretty ROSE TREE.




The Human Abstract.



* A Little BOY Lost.

* A Little GIRL Lost.

The School-Boy.


The Marriage of Heaven and Hell.

Visions of the Daughters of Albion.


To Dr. John Trusler (23 August 1799).

To Thomas Butts (22 November 1802).

Perspectives: The Abolition of Slavery and the Slave Trade.

Olaudah Equiano. From The Interesting Narrative of the Life of Olaudah Equiano.

Mary Prince. From The History of Mary Prince, a West Indian Slave.

Thomas Bellamy. The Benevolent Planters.

John Newton. Amazing Grace.

Ann Cromartie Yearsley. From A Poem on the Inhumanity of the Slave-Trade.

William Cowper. Sweet Meat Has Sour Sauce.

The Negro's Complaint.

Hannah More and Eaglesfield Smith. The Sorrows of Yamba; or, The Negro Woman’s Lamentation.

Robert Southey. From Poems Concerning the Slave Trade.

Dorothy Wordworth. From The Grasmere Journals.

Thomas Clarkson. From The History of the Rise, Progress, & Accomplishment of the Abolition of the African Slave-Trade by the British Parliament.

William Wordsworth. To Toussaint L'Ouverture.

To Thomas Clarkson.

From The Prelude.

From Humanity.

Letter to Mary Ann Rawson (May 1833).

The Edinburgh Review. From Abstract of the Information laid on the Table of the House of Commons, on the Subject of the Slave Trade.

George Gordon, Lord Byron. From Detached Thoughts.

Mary Robinson.

 Ode to Beauty.

January, 1795.

Sappho and Phaon in a Series of Legitimate Sonnets.

* III. The Bowers of Pleasure

IV. Sappho discover her passion.

VII. Invokes Reason.

XI  Rejects the Influence of Reason.

XII. Previous to her Interview with Phaon

XVIII. To Phaon.

XXX. Bids farewell to Lesbos.

XXXVII. Foresees her Death.

The Camp.

Lyrical Tales.

The Haunted Beach.

London's Summer Morning.

The Old Beggar.

Mary Wollstonecraft.

A Vindication of the Rights of Woman.

From To M. Talleyrand-Perigord, Late Bishop of Autun.


From Chapter 1. The Rights and Involved Duties of Mankind Considered.

From Chapter 2. The Prevailing Opinion of a Sexual Character Discussed.

From Chapter 3. The Same Subject Continued.

From Chapter 5. Animadversions on Some of the Writers Who Have Rendered Women Objects of Pity, Bordering on Contempt.

From Chapter 13. Some Instances of the Folly Which the Ignorance of Women Generates; with Concluding Reflections on the Moral Improvement That a Revolution in Female Manners Might Naturally Be Expected to Produce.

From Maria; or, The Wrongs of Women.

* Responses.

                  Anna Laetitia Barbauld, The Rights of Women.

* Ann Yearsley, The Indifferent Shepherdess to Colin.

   Robert Southey, To Mary Wollstonecraft.

   William Blake, From Mary.

Perspectives: The Wollstonecraft Controversy and the Rights of Women.

Catherine Macaulay. From Letters on Education.

Richard Polwhele. From The Unsex'd Females.

Priscilla Wakefield. From Reflections on the Present Condition of the Female Sex.

Mary Anne Radcliffe. From The Female Advocate.

Hannah More. From Strictures on the Modern System of Female Education.

Mary Lamb. Letter to The British Lady's Magazine.

William Thompson and Anna Wheeler. From Appeal of One Half the Human Race, Women, Against the Pretensions of the Other Half, Men, to Retain Them in Political, and Thence in Civil and Domestic Slavery.

Joanna Baillie.

Plays on the Passions.

From Introductory Discourse.


A Mother to Her Waking Infant.

A Child to His Sick Grandfather.


Song: Woo'd and Married and A'. 

Literary Ballads.

Reliques of Ancient English Poetry.

Sir Patrick Spence.

Robert Burns.

To a Mouse.

 To a Louse.

Flow gently, sweet Afton.

Ae fond kiss.

Comin' Thro' the Rye (1).

Comin' Thro' the Rye (2).

Scots, wha hae wi' Wallace bled.

Is there for honest poverty.

A Red, Red Rose.

          * Response.

          * Charlotte Smith,To the shade of Burns.

Auld Lang Syne.

The Fornicator. A New Song.  

Sir Walter Scott.

Lord Randal.

Thomas Moore.

The harp that once through Tara's halls.

Believe me, if all those endearing young charms.

The time I've lost in wooing.

William Wordsworth.

Lyrical Ballads.

Simon Lee.

* Anecdote for Fathers.

We are seven.

Lines written in early spring.

The Thorn.

Note to The Thorn (1800).

Expostulation and Reply.

The Tables Turned.

Old Man Travelling.

Lines written a few miles above Tintern Abbey.

Lyrical Ballads (1800,1802).

* Preface.

* (The Principal Object of the Poems. Humble and Rustic Life).

* (“The Spontaneous Overflow of Powerful Feelings”).

* (The Language of Poetry).

* (What is a Poet?)

* (The Function of Metre).

* (“Emotion Recollected in Tranquillity”).

“There was a Boy.”

“Strange fits of passion have I known.”

Song: (“She dwelt among th'undtrodden ways”).

“A slumber did my spirit seal.”

Lucy Gray.

Poor Susan.


“Three years she grew in sun and shower.”

* The Cumberland Beggar.


* Responses.

Francis Jeffrey: (On “the new Poetry”).

Charles Lamb: from Letter to William Wordsworth.

Charles Lamb: from Letter to Thomas Manning.

Sonnets, 1802-1807.

Prefatory Sonnet (“Nuns fret not at their Convent's narrow room”).

Composed upon Westminster Bridge, September 3, 1803.

“The world is too much with us.”

“It is a beauteous Evening.”

“I griev'd for Buonaparte.”

London, 1802.

The Prelude, or Growth of a Poet's Mind (1805).

Book First. Introduction, Childhood, and School time.

Book Second. School time continued.

(Two Consciousnesses).

(Blessed Infant Babe).

Book Fourth. Summer Vacation.

(A Smile for Autobiography).

(Encounter with a “Dismissed” Soldier).

Book Fifth. Books.

(Meditation on Books. The Dream of the Arab).

(A Drowning in Esthwaite's Lake).

(“The Mystery of Words”).

Book Sixth. Cambridge, and the Alps.

(The Pleasure of Geometric Science).

(Arrival in France).

(Travelling in the Alps. Simplon Pass).

Book Seventh. Residence in London.

(A Blind Beggar. Bartholomew Fair).

Book Ninth. Residence in France.


(Revolution, Royalists, and Patriots).

Book Tenth. Residence in France and French Revolution.

(The Reign of Terror. Confusion. Return to England).

(Further Events in France).

(The Death of Robespierre and Renewed Optimism).

(Britain Declares War on France. The Rise of Napoleon and Imperialist France).


William Wordsworth: from The Prelude (1850).

Book Eleventh. Imagination, How Impaired and Restored.

(Imagination Restored by Nature).

(“Spots of Time.” Two Memories from Childhood and Later Reflections).

Book Thirteenth. Conclusion.

(Climbing Mount Snowdon. Moonlit Vista. Meditation on “Mind,” “Self,” “Imagination,” “Fear,” and “Love”).

(Concluding Retrospect and Prophecy).

* Response.

* Samuel Taylor Coleridge: To a Gentleman.

I travell'd among unknown Men.

Resolution and Independence.

I wandered lonely as a cloud.

My heart leaps up.

Ode: Intimations of Immortality from Recollections of Early Childhood.

The Solitary Reaper.

Elegiac Stanzas (“Peele Castle”).


            Mary Shelley: On Reading Wordsworth's Lines on Peele Castle.

Surprized by joy.

Scorn not the sonnet.

Extempore Effusion upon the Death of James Hogg.

Dorothy Wordsworth.

Grasmere—A Fragment.

Address to a Child.

Irregular Verses.

Floating Island.

Lines Intended for My Niece's Album.

Thoughts on My Sick-bed.

When Shall I Tread Your Garden Path?.

Lines Written (Rather say Begun) on the Morning of Sunday April 6th.

The Grasmere Journals.

(Home Alone).

(A Leech Gatherer).

(A Woman Beggar).

(An Old Soldier).

(The Grasmere Mailman).

(A Vision of the Moon).

(A Field of Daffodils).

(A Beggar Woman from Cockermouth).

(The Circumstances of “Composed upon Westminster Bridge”).

(The Circumstances of “It is a beauteous Evening”).

(The Household in Winter, with William's New Wife, Gingerbread).


To Jane Pollard (A Scheme of Happiness).

To Lady Beaumont (A Gloomy Christmas).

To Lady Beaumont (Her Poetry, William's Poetry).

To Mrs. Thomas Clarkson (Household Labors).

To Mrs. Thomas Clarkson (A Prospect of Publishing).

To William Johnson (Mountain-Climbing with a Woman).


 Samuel Taylor Coleridge: from Letter to Joseph Cottle.

 Thomas DeQuincey: from Recollections of the Lake Poets.

Samuel Taylor Coleridge.

Sonnet to the River Otter.

“Sonnet to the River Otter” and Its Time.

William Lisle Bowles: To the River Itchin, near Winton.

The Eolian Harp.

This Lime-Tree Bower My Prison.

Frost at Midnight.

The Rime of the Ancyent Marinere (1798).

Part 1.

The Rime of the Ancient Mariner (1817).

“The Rime of the Ancient Mariner” and Its Time.

William Cowper: The Castaway.

Samuel Taylor Coleridge: From Table Talk.


Kubla Khan.

* Response.

* Mary Robinson, To the Poet Coleridge.

* The Pains of Sleep.

Dejection: An Ode.

* From a Letter to William Godwin.

* From a Letter to Thomas Poole.

On Donne's Poetry.

Work Without Hope.

Constancy to an Ideal Object.


From The Statesman's Manual (Symbol and Allegory).

 From The Friend (Reflections of Fire).

Biographia Literaria.

Chapter 4.

(Wordsworth's Earlier Poetry).

Chapter 11.

(The Profession of Literature).

Chapter 13.

(Imagination and Fancy).

Chapter 14.

(Occasion of the Lyrical Ballads--Preface to the Second Edition--The Ensuing Controversy).

(Philosophic Definitions of a Poem and Poetry).

Chapter 17.

(Examination of the Tenets Peculiar to Mr. Wordsworth. Rustic Life and Poetic Language).

* Chapter 22.

* (Defects of Wordsworth’s Poetry).

Lectures on Shakespeare.

(Mechanic vs. Organic Form).

(The Character of Hamlet).

* (Stage Illusion and the Willing Suspension of Disbelief).

(Shakespeare's Images).


Coleridge's Lectures and Their Time: Shakespeare in the Nineteenth Century.

Charles Lamb and Mary Lamb. Preface to Tales from Shakespeare.

Charles Lamb. From On the Tragedies of Shakespeare.

William Hazlitt. From Lectures on the English Poets.

From The Characters of Shakespeare's Plays.

Thomas De Quincey. On the Knocking at the Gate in Macbeth.

George Gordon, Lord Byron.

She walks in beauty.

So, we'll go no more a-roving.


 “Manfred” and Its Time: The Byronic Hero.

Byron's Earlier Heroes. From The Giaour. From The Corsair. From Lara. Prometheus. From Childe Harold's Pilgrimage, Canto the Third (Napoleon Buonoparte).

 Samuel Taylor Coleridge. From The Statesman's Manual (“Satanic Pride and Rebellious Self-Idolatry”).

 Caroline Lamb. From Glenarvon.

 Mary Wollstonecraft Shelley.  From Frankenstein, or, The Modern Prometheus.

 Felicia Hemans. From The Widow of Crescentius.

 Percy Bysshe Shelley. From Preface to Prometheus Unbound.

 Robert Southey. From Preface to A Vision of Judgement.

 George Gordon, Lord Byron. From The Vision of Judgment.

Childe Harold's Pilgrimage.

 Canto the Third.

(Waterloo Fields).

(Thunderstorm in the Alps).

(Byron's Strained Idealism. Apostrophe to His Daughter).

 Canto the Fourth.

(Rome, Political Hopes).

(The Coliseum. The Dying Gladiator).

(Apostrophe to the Ocean. Conclusion).


John Wilson: From A Review of Childe Harold's Pilgrimage.

John Scott: [Lord Byron's Creations].

Don Juan.


Canto 1.

From Canto 2 (Shipwreck. Juan and Haidée).

From Canto 3 (Juan and Haidée. The Poet for Hire).

From Canto 7 (Critique of Military “Glory”).

From Canto 11 (Juan in England).

Stanzas (“When a man hath no freedom to fight for at home”).

On This Day I Complete My Thirty-Sixth Year.


To Thomas Moore (On Childe Harold) (28 January 1817).

To John Murray (On Don Juan) (6 April 1819).

To John Murray (On Don Juan) (12 August 1819).

To Douglas Kinnaird (On Don Juan) (26 October 1819).

To John Murray (On Don Juan) (16 February 1821).

Percy Bysshe Shelley.

To Wordsworth.

Mont Blanc.

Hymn to Intellectual Beauty.


Sonnet: Lift not the painted veil.

Sonnet: England in 1819.

The Mask of Anarchy.

Ode to the West Wind.

To a Sky-Lark.

          * Response.

          * Thomas Hardy, Shelley’s Sky-Lark.

To—(“Music, when soft voices die”).


“Adonais” and Its Time.

George Gordon, Lord Byron: From Don Juan.

George Gordon, Lord Byron: Letter to Percy Bysshe Shelley (26 April 1821).

George Gordon, Lord Byron: Letter to John Murray (30 July 1821).

 The Cloud.


Chorus (“Worlds on worlds are rolling ever”).

Chorus (“The world's great age begins anew”).

With a Guitar, to Jane.

 To Jane (“The Keen Stars”).

From A Defence of Poetry.

Felicia Hemans.

Tales and Historic Scenes, in Verse.

The Wife of Asdrubal.

The Last Banquet of Antony and Cleopatra.

Evening Prayer, at a Girls' School.


Records of Woman.

The Bride of the Greek Isles.

Properzia Rossi.

Indian Woman's Death Song.

Joan of Arc, in Rheims.

The Homes of England.

The Graves of a Household.

Corinne at the Capitol.

Woman and Fame.


Francis Jeffrey: From A Review of Felicia Hemans's Poetry.

William Wordsworth: From Prefatory Note to Extempore Effusion on the Death of James Hogg.

John Clare.

Written in November (1).

Written in November (2).

Songs Eternity.

(The Lament of Swordy Well).

(The Mouse's Nest).

Clock a Clay.

“I Am”.

The Mores.

John Keats.

Leigh Hunt, Young Poets

On First Looking into Chapman's Homer.

Chapman's and Pope's Translations of Homer.

Alexander Pope: From Homer's Iliad.

George Chapman: From Homer's Iliad.

Alexander Pope: From Homer's Odyssey.

George Chapman: From Homer's Odyssey.

To one who has been long in city pent.

On the Grasshopper and Cricket.

From Sleep and Poetry.

“Sleep and Poetry” and Its Time.

John Gibson Lockhart: From On the Cockney School of Poetry (No. 1, October 1817).

John Gibson Lockhart: From The Cockney School of Poetry (No. 2, August 1818).

On Seeing the Elgin Marbles.

On sitting down to read King Lear once again.

Sonnet: When I have fears.

The Eve of St. Agnes.

La Belle Dame sans Mercy.

* Letter text: La Belle Dame Sans Merci.

*Indicator preface

Incipit Altera Sonneta (“If by dull rhymes”).

The Odes of 1819.

Ode to Psyche.

Ode to a Nightingale.

Ode on a Grecian Urn.

Ode on Indolence.

Ode on Melancholy.

To Autumn.


The Fall of Hyperion: A Dream.

This living hand.

Bright Star.


To Benjamin Bailey (“The Truth of Imagination”).

To George and Thomas Keats (“intensity” and “Negative Capability”).

To John Hamilton Reynolds (Wordsworth and “The whims of an Egotist”).

To John Taylor (“a few axioms”).

To Benjamin Bailey (“ardent pursuit”).

To John Hamilton Reynolds (Wordsworth, Milton, and “dark Passages”).

To Benjamin Bailey (“I have not a right feeling towards Women”).

To Richard Woodhouse (The “camelion poet” vs. the “egotistical sublime”).

To George and Georgiana Keats (“indolence,” “poetry” vs. “philosophy,” the “vale of Soul-making”).

To Fanny Brawne (“You Take Possession of Me”).

To Percy Bysshe Shelley (“An Artist Must Serve Mammon”).

To Charles Brown (Keats's Last Letter).

Perspectives: Popular Prose and the Problems of Authorship.

Sir Walter Scott. Introduction to Tales of My Landlord.

Charles Lamb.  Oxford in the Vacation.

Dream Children.

Old China.

William Hazlitt. On Gusto.

My First Acquaintance with Poets.

Thomas De Quincey. From Confessions of an English Opium-Eater.

(What Do We Mean by Literature?).

* Jane Austen. From Northanger Abbey: Chapter 1.

* M.J. Jewsbury. The Young Author.

William Cobbett. From Rural Rides.

 Mary Wollstonecraft Shelley.  The Swiss Peasant.


Thomas Carlyle.

Past and Present.

Midas (The Condition of England).

From Gospel of Mammonism (The Irish Widow).

From Labour (Know Thy Work).

From Democracy (Liberty to Die by Starvation).

Captains of Industry.


Perspectives: The Industrial Landscape.

The Steam Loom Weaver.

Fanny Kemble. From Record of a Girlhood.

Thomas Babington Macaulay. From A Review of Southey's Colloquies.

Parliamentary Papers (“Blue Books”). Testimony of Hannah Goode, a Child Textile Worker.

Testimony of Ann and Elizabeth Eggley, Child Mineworkers.

Charles Dickens. From Dombey and Son.

From Hard Times.

Benjamin Disraeli. From Sybil.

Friedrich Engels. From The Condition of the Working Class in England in 1844.

Henry Mayhew. From London Labour and the London Poor.

John Stuart Mill.

On Liberty.

From Chapter 2. Of the Liberty of Thought and Discussion.

From Chapter 3. Of Individuality, as One of the Elements of Well-Being.

The Subjection of Women.

From Chapter 1.

Statement Repudiating the Rights of Husbands.


From Chapter 1. Childhood, and Early Education.

From Chapter 5. A Crisis in My Mental History. One Stage Onward.

Elizabeth Barrett Browning.

To George Sand: A Desire.

To George Sand: A Recognition.

A Year's Spinning.

Sonnets from the Portuguese.

1 (“I thought once how Theocritus had sung”).

13 (“And wilt thou have me fashion into speech”).

14 (“If thou must love me, let it be for nought”).

21 (“Say over again, and yet once over again”).

22 (“When our two souls stand up erect and strong”).

24 (“Let the world's sharpness, like a clasping knife”).

28 (“My letters! all dead paper, mute and white!”).

32 (“The first time that the sun rose on thine oath”).

38 (“First time he kissed me, he but only kissed”).

43 (“How do I love thee? Let me count the ways”).

Aurora Leigh.

Book 1.


(Her Mother's Portrait).

(Aurora's Education).

(Discovery of Poetry).

Book 2.

(Woman and Artist).

(No Female Christ).

(Aurora's Rejection of Romney).

Book 3.

(The Woman Writer in London).

Book 5.

(Epic Art and Modern Life).

From A Curse for a Nation.

A Musical Instrument.

The Best Thing in the World.

Alfred, Lord Tennyson.

The Kraken.


The Lady of Shalott.

The Lotos-Eaters.



Break, Break, Break.

The Epic [Morte d'Arthur].

The Eagle: A Fragment.

Locksley Hall.

The Princess.

Sweet and Low.

The Splendour Falls.

Tears, Idle Tears.

Now Sleeps the Crimson Petal.

Come Down, O Maid.

(The Woman's Cause is Man's).

From In Memoriam A. H. H.

The Charge of the Light Brigade.

Idylls of the King.

The Coming of Arthur.

Pelleas and Ettarre.

The Passing of Arthur.

The Higher Pantheism.

       * Response.

       * Algernon Charles Swinburne, The Higher Pantheism in a Nutshell.

Flower in the Crannied Wall.

Crossing the Bar.

 Edward Fitzgerald.

 The Rubáiyát of Omar Khayyám of Naishápur.

Charles Darwin.

The Voyage of the Beagle.

From Chapter 10. Tierra Del Fuego.

From Chapter 17. Galapagos Archipelago.

On the Origin of Species by Means of Natural Selection.

From Chapter 3. Struggle for Existence.

The Descent of Man.

From Chapter 21. General Summary and Conclusion.

From Autobiography.

Perspectives: Religion and Science.

Thomas Babington Macaulay. From Lord Bacon.

Charles Dickens. From Sunday Under Three Heads.

David Friedrich Strauss. From The Life of Jesus Critically Examined.

Charlotte Brontë. From Jane Eyre.

Arthur Hugh Clough. Epi-strauss-ium.

The Latest Decalogue.

From Dipsychus.

John William Colenso. From The Pentateuch and Book of Joshua Critically Examined.

John Henry Cardinal Newman. From Apologia Pro Vita Sua.

Thomas Henry Huxley. From Evolution and Ethics.

Sir Edmund Gosse. From Father and Son.

Robert Browning.

Porphyria's Lover.

Soliloquy of the Spanish Cloister.

My Last Duchess.

How They Brought the Good News from Ghent to Aix.

Home-Thoughts, from Abroad.

Home-Thoughts, from the Sea.

The Bishop Orders His Tomb at Saint Praxed's Church.

Meeting at Night.

Parting at Morning.

A Toccata of Galuppi's.


Love Among the Ruins.

“Childe Roland to the Dark Tower Came.”

          * Response.

* Stevie Smith, Childe Rolandine.

Fra Lippo Lippi.

The Last Ride Together.

Andrea del Sarto.

Two in the Campagna.

A Woman's Last Word.

Caliban upon Setebos.

Epilogue to Asolando. 

Charles Dickens.

A Christmas Carol.

From A Walk in a Workhouse.

Dickens and His Time.

Dickens at Work: Recollections by His Children and Friends.

Kate Field: Dickens Giving a Reading of A Christmas Carol.

Popular Short Fiction.

Elizabeth Gaskell.

Our Society at Cranford.

Thomas Hardy.

The Withered Arm.

Sir Arthur Conan Doyle.

A Scandal in Bohemia.

          * Response.

* Jamyang Norbu, A Pukka Villain, from Sherlock Holmes: The Missing Years. 

John Ruskin.

Modern Painters.

From Definition of Greatness in Art.

From Of Water, As Painted by Turner.

The Stones of Venice.

From The Nature of Gothic.

From Modern Manufacture and Design.

* The Storm-Cloud of the Nineteenth Century.



From The Springs of Wandel.

From Herne-Hill Almond Blossoms.

From Schaffhausen and Milan.

From The Grande Chartreuse.

From Joanna's Care. 

Florence Nightingale.


Perspectives: Victorian Ladies and Gentlemen.

Francis Power Cobbe. From Life of Frances Power Cobbe As Told by Herself.

Sarah Stickney Ellis. From The Women of England: Their Social Duties and Domestic Habits.

Charlotte Brontë. From Letter to Emily Brontë.

Anne Brontë. From Agnes Grey.

John Henry Cardinal Newman. From The Idea of a University.

Caroline Norton. From A Letter to the Queen.

George Eliot.  Margaret Fuller and Mary Wollstonecraft.

Thomas Hughes. From Tom Brown's School Days.

Isabella Beeton. From The Book of Household Management.

Queen Victoria. Letters and Journal Entries on the Position of Women.

Sir Henry Newbolt. Vitaï Lampada.

Matthew Arnold.

Isolation. To Marguerite.

To Marguerite-Continued.

Dover Beach.

          * Response.

          * Anthony Hecht, The Dover Bitch.

Lines Written in Kensington Gardens.

The Buried Life.

Stanzas from the Grande Chartreuse.

The Scholar Gipsy.

East London.

West London.


From The Function of Criticism at the Present Time.

Culture and Anarchy.

From Sweetness and Light.

From Doing as One Likes.

From Hebraism and Hellenism.

From Porro Unum Est Necessarium.

From Conclusion.

From The Study of Poetry. 

Dante Gabriel Rossetti.

The Blessed Damozel.

The Woodspurge.

The House of Life.

The Sonnet.

4. Lovesight.

6. The Kiss.

Nuptial Sleep.

The Burden of Nineveh.

Christina Rossetti.

Song (“She sat and sang always”).

Song (“When I am dead, my dearest”).


After Death.

A Pause.


Dead Before Death.


A Triad.

In an Artist's Studio.

A Birthday.

An Apple-Gathering.

Winter: My Secret.


Goblin Market.

“No, thank you, John.”

Promises Like Pie-Crust.

In Progress.

What Would I Give?

A Life's Parallels.

Later Life.

17 (“Something this Foggy day, a something which”).

Sleeping at Last.

William Morris.

The Defence of Guenevere.

The Haystack in the Floods.

From The Beauty of Life.

Algernon Charles Swinburne.

The Leper.

The Triumph of Time.

I Will Go Back to the Great Sweet Mother.

Hymn to Proserpine.

A Forsaken Garden.

Walter Pater.

The Renaissance.


From Leonardo da Vinci.


From The Child in the House.

Gerard Manley Hopkins.

God's Grandeur.

The Starlight Night.


The Windhover.

Pied Beauty.

Hurrahing in Harvest.

Binsey Poplars.

Duns Scotus's Oxford.

Felix Randal.

Spring and Fall: to a young child.

As Kingfishers Catch Fire.

(Carrion Comfort).

No Worst, There Is None.

I Wake and Feel the Fell of Dark, Not Day.

That Nature Is a Heraclitean Fire and of the Comfort of the Resurrection.

Thou Art Indeed Just, Lord.

From Journal (On “Inscape” and “Instress”).

From Letter to R. W. Dixon (On Sprung Rhythm).

Lewis Carroll.

 Alice's Adventures in Wonderland.

Chapter 1. Down the Rabbit Hole.

From Chapter 2. The Pool of Tears.

You are old, Father William.

The Lobster-Quadrille.

 Through the Looking Glass.

Child of the pure unclouded brow.


(Humpty Dumpty on Jabberwocky).

The Walrus and the Carpenter.

The White Knight's Song.

 Perspectives: The Invention of Childhood.

 Charles Darwin.  From A Biographical Sketch of an Infant.

 Moral Verses. Table Rules for Little Folks.

Eliza Cool: The Mouse and the Cake.

Heinrich Hoffman: The Story of Augustus who would Not have any Soup.

Thomas Miller: The Watercress Seller.

William Miller: Willie Winkie.

Edward Lear. (Selected Limericks).

The Owl and the Pussy-Cat.

The Jumblies.

How pleasant to know Mr. Lear!

Christina Rossetti. From Sing-Song: A Nursery Rhyme Book.

Robert Louis Stevenson. From A Child's Garden of Verses.

Hilaire Belloc. From The Bad Child's Book of Beasts.

From Cautionary Tales for Children.

Beatrix Potter. The Tale of Peter Rabbit.

Daisy Ashford. From The Young Visiters; or, Mr. Salteena's Plan.

Rudyard Kipling.

Without Benefit of Clergy.

Just So Stories.

How the Whale Got His Throat.

How the Camel Got His Hump.

* How the Leopard Got His Spots.

Gunga Din.

The Widow at Windsor.



Perspectives: Travel and Empire.

Frances Trollope. From Domestic Manners of the Americans.

Thomas Babington Macaulay. From The Minute on Indian Education.

Alexander Kinglake. From Eothen .

Sir Richard Francis Burton. From A Personal Narrative of a Pilgrimage to El-Medinah and Meccah.

Isabella Bird. From A Lady's Life in the Rocky Mountains.

Sir Henry Morton Stanley. From Through the Dark Continent.

Mary Kingsley. From Travels in West Africa.

 Rudyard Kipling.  The White Man's Burden.

Robert Louis Stevenson.

 The Strange Case of Dr. Jekyll and Mr. Hyde.

Oscar Wilde.

Impression du Matin.

* Response.

          * Lord Alfred Douglas, Impression du Nuit.

The Harlot's House.

Symphony in Yellow.

From The Decay of Lying.

From The Soul of Man Under Socialism.

Peface to The Picture of Dorian Gray.

The Importance of Being Earnest.


From De Profundis.

* Response.

H. Montgomery Hyde: From The Trials of Oscar Wilde.

Perspectives: Aestheticism, Decadence, and the Fin de Siècle.

W. S. Gilbert. If You're Anxious for to Shine in the High Aesthetic Line.

James McNeill Whistler. From from Mr. Whistler's “Ten O'Clock.”

“Michael Field” (Katharine Bradley and Edith Cooper). La Gioconda.

A Pen-Drawing of Leda.

“A Girl”.

Ada Leverson. Suggestion.

Arthur Symons. Pastel.

White Heliotrope.

From The Decadent Movement in Literature.

From Preface to Silhouettes.

Richard Le Gallienne. A Ballad of London.

Lionel Johnson. The Destroyer of a Soul.

The Dark Angel.

A Decadent's Lyric.

Lord Alfred Douglas. In Praise of Shame.

Two Loves.

Olive Custance (Lady Alfred Douglas). The Masquerade.


The White Witch.

Max Beerbohm. Enoch Soames.


Joseph Conrad.

Preface to The Nigger of the “Narcissus”.

Heart of Darkness.

“Heart of Darkness” and Its Time.

Joseph Conrad: From The Congo Diary.

Sir Henry Morton Stanley: From Address to the Manchester Chamber of Commerce.


* Responses.

* Chinua Achebe: An Image of Africa.

   Gang of Four: We Live As We Dream, Alone.

Bernard Shaw.

Preface: A Professor of Phonetics.


* Response.

   * Alan Jay Lerner and Frederick Lowe: Scene from My Fair Lady.


To Francis Collison (20 August 1903).

To The Times (30 October 1906).

Thomas Hardy.


Neutral Tones.

Wessex Heights.

The Darkling Thrush.

On the Departure Platform.

The Convergence of the Twain.

At Castle Boterel.

Channel Firing.

In Time of “The Breaking of Nations”.

I Looked Up from My Writing.

“And There Was a Great Calm”.

Logs on the Hearth.

The Photograph.

The Fallow Deer at the Lonely House.



Perspectives: The Great War: Confronting the Modern.

Blast. Vorticist Manifesto.

Rebecca West.  Indissoluble Matrimony.

Rupert Brooke. The Great Lover.

The Soldier.

Sigfried Sassoon. Glory of Women.


 The Rear-Guard.

Everyone Sang.

Wilfred Owen. Anthem for Doomed Youth.

Strange Meeting.


Dulce et Decorum Est.

Isaac Rosenberg. Break of Day in the Trenches.

Dead Man's Dump.

David Jones. From In Parenthesis.

* Cicely Hamilton. Non-Combatant.

* May Wedderburn Cannan. Lamplight.

                        * Rouen.

* Pauline Barrington. ‘Education.’

* Helen Dircks. After Bourlon Wood.

* Alys Fane Trotter. The Hospital Visitor.

* Teresa Hooley. A War Film.

Speeches on Irish Independence.

Charles Stuart Parnell.

At Limerick.

Before the House of Commons.

At Portsmouth, After the Defeat of Mr. Gladstone's Home Rule Bill.

In Committee Room No. 15.

 Proclamation of the Irish Republic.

Padraic Pearse.

Kilmainham Prison.

Michael Collins.

The Substance of Freedom.

William Butler Yeats.

The Lake Isle of Innisfree.

Who Goes with Fergus?

No Second Troy.

The Fascination of What's Difficult.

September 1913.

The Wild Swans at Coole.

An Irish Airman Foresees His Death.

Easter 1916.

The Second Coming.

Prayer for My Daughter.

Sailing to Byzantium.

Meditations in Time of Civil War.

Nineteen Hundred and Nineteen.

Leda and the Swan.

Among School Children.


Crazy Jane Talks with the Bishop.

Lapis Lazuli.

The Circus Animals' Desertion.

Under Ben Bulben.

E. M. Forster.  

The Life to Come.

James Joyce.





The Dead.


 (Chapter 13. Nausicaa).

* Responses.

* John M. Woolsey: Woolsey Decision Lifting the Ban on Ulysses.

* Seamus Heaney: Station Island.

Finnegans Wake, and a First Draft Version of Finnegan's Wake.

Shem the Penman.

T. S. Eliot.

The Love Song of J. Alfred Prufrock.


Arthur Waugh: [Cleverness and the New Poetry].

Ezra Pound: Drunken Helots and Mr. Eliot.


The Waste Land.

          * Responses.

          * Fadwa Tuqan: In A Dead City.

          * Martin Rowson: From The Waste-Land.

Journey of the Magi.

Four Quartets.

Burnt Norton.

Tradition and the Individual Talent.

Virginia Woolf.

The Lady in the Looking-Glass: A Reflection.

 Mrs. Dalloway.

From A Room of One's Own.

From Three Guineas.

From The Diaries.

 From Letter to Gerald Brenan (25 December 1922).

* Response.

* Sigrid Nunez: On rereading Mrs. Dalloway.

 Katherine Mansfield.

The Daughters of the Late Colonel.

D. H. Lawrence.


Song of a Man Who Has Come Through.

Tortoise Shout.


Bavarian Gentians.


 Odour of Chrysanthemums.

 The Horse Dealer's Daughter.

Surgery for the Novel—or a Bomb.

* P.G. Wodehouse.

* The Clicking of Cuthbert.

Graham Greene.

A Chance for Mr. Lever.  

Perspectives: World War II and the End of Empire.

Sir Winston Churchill. Two Speeches Before the House of Commons.

Stephen Spender. Icarus.

What I Expected.

The Express.

The Pylons.

Elizabeth Bowen. Mysterious Kôr.

Evelyn Waugh.  The Man Who Liked Dickens.



Monty Python. Travel Agent.

George Orwell.  Politics and the English Language.

Shooting an Elephant.

Dylan Thomas. The Force That Through the Green Fuse Drives the Flower.

 Fern Hill.

 Poem in October.

Do Not Go Gentle into That Good Night.

Return Journey.

* Samuel Beckett.

* Endgame.

Texts for Nothing.

4 (“Where would I go, if I could go, who would I be, if I could be?”).

8 (“Only the words break the silence, all other sounds have ceased”).

The Expelled.


Postwar Poets: English Voices.

W. H. Auden.

Musée des Beaux Arts.

In Memory of W. B. Yeats.

Spain 1937.


September 1, 1939.

In Praise of Limestone.


Stevie Smith.

Not Waving but Drowning.


How Cruel Is the Story of Eve.

The New Age.


Philip Larkin.

Church Going.

High Windows.

Talking in Bed.


Sylvia Plath.

The Colossus.


Lady Lazarus.


Ted Hughes.




Dust as We Are.

Leaf Mould.

Telegraph Wires.

V. S. Naipaul.

In a Free State.

Prologue, from a Journal: The Tramp at Piraeus.

Epilogue, from a Journal: The Circus at Luxor.

 Caryl Churchill.

 Cloud Nine.

* Salman Rushdie.  

            * Chekhov and Zulu.

            * The Courter.

            * Out of Kansas.

Perspectives: Whose Language?

* Louise Bennett. Back to Africa.

             * Colonization in Reverse.

             * Independence.

Ngugi Wa Thiong'o.  Decolonizing the Mind.

 The Language of African Literature.

Nadine Gordimer. What Were you Dreaming?

Derek Walcott. A Far Cry from Africa.


The Fortunate Traveller.


50 (“I once gave my daughters, separately, two conch shells”).

52 (“I heard them marching the leaf-wet roads of my head”).

54 (“The midsummer sea, the hot pitch road, this grass, these shacks that made me”).

Seamus Heaney.  The Toome Road.

The Singer's House.

 The Skunk.


12 (“Like a convalescent, I took the hand”).

 In Memoriam Francis Ledwidge.

* A Call.

* The Errand.


James Kelman. Home for a Couple of Days.

 Eavan Boland.  Anorexic.

 The Journey.

 The Pomegranate.

 A Woman Painted on a Leaf.

 Mise Eire.

* Lorna Goodison. The Mulatta as Penelope.

            * On Becoming a Mermaid.

            * Annie Pengelly.

* Agha Shahid Ali. Beyond English.

            * In Arabic.

            * Tonight.

Paul Muldoon.  Cuba.


 Meeting the British.

 Sleeve Notes.

Nuala Ní Dhomhnaill. Feeding a Child.


Labasheedy (The Silken Bed).

As for the Quince.

Why I Choose to Write in Irish, The Corpse That Sits Up and Talks Back.

* Gwyneth Lewis. Therapy.

* Mother Tongue.

* Robert Crawford. The Saltcoats Structuralists.

            *Alba Einstein.

* W.N. Herbert. Cabaret McGonagall.

            * Smirr.


Political and Religious Orders.

Money, Weights, and Measures.

Literary and Cultural Terms.




Product Details

Damrosch And Baswell / Carroll / Dettmar / Henderson / Jordan
Dettmar, Kevin J. H.
Damrosch, David
Hadfield, Andrew David
Henderson, Heather
Damrosch, David
Sherman, Stuart
Schotter, Anne Howland
Carroll, Clare
Sharpe, William Chapman
Dettmar, Kevin J. H.
Wolfson, Susan J.
Baswell, Christopher
Wicke, Jennifer
Manning, Peter J.
Jordan, Constance
Great britain
English, Irish, Scottish, Welsh
English literature
General Literary Criticism & Collections
Edition Number:
Edition Description:
Trade paper
Damrosch Series
Publication Date:
December 2005
Grade Level:
College/higher education:
9.13x6.46x2.64 in. 4.93 lbs.

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