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Other titles in the Longman Anthology of British Literature series:
The Longman Anthology of British Literature, Volume 1by David Damrosch
Synopses & Reviews
Key Benefit: The Fourth Edition builds upon the strengths of previous editions with its sustained attention to the context in which the literature was produced and its broadened scope of literature that includes the full cultural diversity of the British Isles. Key Topics: Includes canonical authors and newly visible authors. Extensive selections from previously underrepresented female writers are fully integrated. New “Responses” readings group works that were based on earlier writings to link works across time and place. “Perspectives” readings are broad groupings that illuminate underlying issues in a variety of the major works of a period. Market: For anyone wanting a fresh approach to the study and enjoyment of British literature.
The Fourth Edition of The Longman Anthology of British Literature continues its tradition of presenting works in the historical context in which they were written. This fresh approach includes writers from the British Isles, underrepresented female authors, “Perspectives” sectionsthatshed light on the period as a whole and link with immediately surrounding works to help illuminate a theme, “And Its Time” clusters that illuminate a specific cultural moment or a debate to which an author is responding, and “Responses” in which later authors respond to one or more texts from earlier works.
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 I are below. Volume 1A contains only the section entitled "Middle Ages." Volume 1B contains only the section entitled "The Early Modern Period." Volume 1C contains only the section entitled "The Restoration and the Eighteenth Century."
THE MIDDLE AGES.
Before the Norman Conquest.
* John Gardner, From Grendel.
* Early Irish Narrative.
* The Labour Pains of the Ulaid & The Twins of Macha.
* The Birth of Cú Chulaind.
* The Naming of Cú Chulaind.
Early Irish Verse.
Pangur the Cat.
Writing in the Wood.
The Viking Terror.
The Old Woman of Beare.
Findabair Remembers Fróech.
A Grave Marked with Ogam.
From The Voyage of Máel Dúin.
The Dream of the Rood.
Perspectives: Ethnic and Religious Encounters.
Bede. From An Ecclesiastical History of the English People.
Bishop Asser. From The Life of King Alfred.
King Alfred. Preface to St. Gregory's Pastoral Care.
The Anglo-Saxon Chronicle. Stamford Bridge and Hastings.
The Battle of Argoed Llwyfain.
The War-Band's Return.
Lament for Owain Son of Urien.
* The Tale of Taliesin.
Wulf and Eadwacer and the Wife's Lament.
Three Anglo-Latin Riddles by Aldhelm.
Five Old English Riddles.
After the Norman Conquest.
Perspectives: Arthurian Myth in the History of Britain.
Geoffrey of Monmouth. From History of the Kings of Britain.
Gerald of Wales. From The Instruction of Princes.
Edward I. Letter to the Papal Court of Rome.
A Report to Edward I.
Marie de France.
* Chevrefoil (The Honeysuckle).
* Sir Gawain and the Green Knight, Trans. by J.R.R. Tolkien.
Sir Thomas Malory.
From Caxton's Prologue.
The Poisoned Apple.
The Days of Destiny.
* Marion Zimmer Bradley, From The Mists of Avalon.
* John Cleese, Graham Chapman, Terry Gilliam, Eric Idle, Terry Jones, and Michael Palin, scene from Monty Python and the Holy Grail.
The Parliament of Fowls.
The CANTERBURY TALES.
The General Prologue, Middle English translation
* The General Prologue, Modern translation on facing pages, trans. by David Wright
The Miller's Tale.
The Wife of Bath's Prologue.
The Wife of Bath's Tale.
* William Dunbar, From The Treatise of the Two Married Women and the Widow.
The Franklin's Tale.
The Pardoner's Prologue.
The Pardoner's Tale.
The Nun's Priest's Tale.
The Parson's Tale.
(The Remedy for the Sin of Lechery.)
To His Scribe Adam.
Complaint to His Purse.
from Passus 5.
“Piers Plowman” and Its Time: The Rising of 1381.
From The Anonimalle Chronicle [Wat Tyler's Demands to Richard II and his death].
Three Poems on the Rising of 1381.
John Ball's First Letter.
John Ball's Second Letter.
The Course of Revolt.
John Gower. From The Voice of One Crying.
Julian of Norwich.
A Book of Showings.
(Three Graces. Illness. The First Revelation.)
(Laughing at the Devil.)
(Christ Draws Julian in Through His Wound.])
(The Necessity of Sin, and of Hating Sin.)
(God as Father, Mother, Husband.)
(The Soul as Christ's Citadel.)
(The Meaning of the Visions Is Love.)
Julian of Norwich and Her Time.
Richard Rolle. From The Fire of Love
From The Cloud of Unknowing.
* Rebecca Jackson, The Dream of Washing Quilts.
Medieval Biblical Dramas.
The Second Play of the Shepherds.
The York Play of the Crucifixion.
Vernacular Religion and Repression.
The Wycliffite Bible.
From A Wycliffite Sermon on John 10:11-18.
Preaching and Teaching in the Vernacular.
From The Mirror of the Blessed Life of Jesus.
From The Confession of Hawisia Moone of Loddon.
The Book of Margery Kempe.
(Early Life and Temptations, Revelation, Desire for Foreign Pilgrimage.)
(Meeting with Bishop of Lincoln and Archbishop of Canterbury.)
(Visit with Julian of Norwich.)
(Pilgrimage to Jerusalem.)
(Arrest by Duke of Bedford's Men; Meeting with Archbishop of York.)
Middle English Lyrics.
The Cuckoo Song (“Sumer is icumen in”).
Spring (“Lenten is come with love to toune”).
Alisoun (“Bitwene Mersh and Averil”).
I Have a Noble Cock.
My Lefe Is Faren in a Lond.
Fowles in the Frith.
Abuse of Women (“In every place ye may well see”).
The Irish Dancer (“Gode sire, pray ich thee”).
A Forsaken Maiden's Lament (“I lovede a child of this cuntree”).
The Wily Clerk (“This enther day I mete a clerke”).
Jolly Jankin (“As I went on Yol Day in our procession”).
Adam Lay Ibounden.
I Sing of a Maiden.
In Praise of Mary (“Edi be thu, Hevene Quene”).
Mary Is With Child (“Under a tree”).
Sweet Jesus, King of Bliss.
Now Goeth Sun under Wood.
Jesus, My Sweet Lover (“Jesu Christ, my lemmon swete”).
Contempt of the World (“Where beth they biforen us weren?”).
Dafydd Ap Gwilym.
One Saving Place.
The Girls of Llanbadarn.
Tale of a Wayside Inn.
The Hateful Husband.
Middle Scots Poets.
Lament for the Makars.
Done is a Battell.
In Secreit Place This Hyndir Nycht.
Robyne and Makyne.
Late Medieval Allegory.
* Charles of Orleans.
* Fortunes Stabilnes
* Ballade 26.
* Ballade 61.
* Roundel 94.
* Mankind, a modern acting edition, ed. by Peter Meredith.
* Christine de Pizan.
* From Book of the City of Ladies, translation by Earl Jeffrey Richards.
THE EARLY MODERN PERIOD.
Manerly Margery Mylk and Ale.
Garland of Laurel.
To Maystres Jane Blennerhasset.
To Maystres Isabell Pennell.
To Maystres Margaret Hussey.
Sir Thomas Wyatt.
The Long Love, That in My Thought Doth Harbor.
Petrarch, Sonnet 140.
Whoso List to Hunt.
Petrarch, Sonnet 190.
They Flee from Me.
Some Time I Fled the Fire.
My Lute, Awake!
Forget Not Yet.
Blame Not My Lute.
Lucks, My Fair Falcon, and Your Fellows All.
Stand Whoso List.
Mine Own John Poyns.
Henry Howard, Earl Of Surrey.
Love That Doth Reign and Live within My Thought.
Th'Assyrians' King, in Peace with Foul Desire.
Set Me Whereas the Sun Doth Parch the Green.
The Soote Season.
Alas, So All Things Now Do Hold Their Peace.
Petrarch, Sonnet 164.
So Cruel Prison.
London, Hast Thou Accused Me.
Wyatt Resteth Here.
My Radcliffe, When Thy Reckless Youth Offends.
Sir Thomas More.
* George Orwell, From 1984.
Perspectives: Government and Self-Government.
William Tyndale. From The Obedience of a Christian Man.
Juan Luis Vives. From Instruction of a Christian Woman.
Sir Thomas Elyot. From The Book Named the Governor.
From The Defence of Good Women.
John Ponet. From A Short Treatise of Political Power.
Baldassare Castiglione. From The Book of the Courtier.
John Foxe. From The Book of Martyrs.
Roger Ascham. From The Schoolmaster.
Richard Mulcaster. From The First Part of the Elementary
* Sir Thomas Smith, From De Republica Anglorum.
Richard Hooker. From The Laws of Ecclesiastical Polity.
James I (James VI of Scotland). From The True Law of Free Monarchies.
* Thomas Hobbes, From Leviathan.
Seven Sonnets to Alexander Neville.
The Shepheardes Calender.
The Faerie Queene.
A Letter of the Authors.
The First Booke of the Fairie Queene.
1(“Happy ye leaves when as those lilly hands.”)
4(“New yeare forth looking out of Janus gate.”)
13(“In that proud port, which her so goodly graceth.”)
22 (“This holy season fit to fast and pray.”)
62 (“The weary yeare his race now having run.”)
65 (“The doubt which ye misdeeme, fayre love, is vaine.”)
66 (“To all those happy belssings which ye have.”)
68 (“Most glorious Lord of lyfe that on this day.”)
68 (“One day I wrote her name upon the strand.”)
Sir Philip Sidney.
The Apology for Poetry.
“The Apology” and Its Time: The Art of Poetry.
Stephen Gosson. From The School of Abuse.
George Puttenham. From The Art of English Poesie.
George Gascoigne.From Certain Notes of Instruction.
Samuel Daniel. From A Defense of Rhyme.
Astrophil and Stella.
1 (“Loving in truth, and fain in verse my love to show.”)
* 3 (“Let dainty wits cry on the sisters nine.”)
7 (“When Nature made her chiefs worke, Stellas eyes.”)
9 (“Queene Vertues couyrt, which some call Stellas face.”)
* 10 (“Reason, in faith thou art well serv’d, that still.”)
* 14 (“Alas, have I not pain enough, my friend.”)
* 15 (“You that do search for every purling spring.”)
* 23 (“The curious wits, seeing dull pensiveness.”)
* 24 (“Rich fool there be whose base and filthy heart.”)
31 (“With how sad steps, O Moon, thou climb'st the skies.”)
* 37 (“My mouth doth water, and my breast doth swell.”)
39 (“Come sleep, O sleep, the certain knot of peace.”)
45 (“Stella oft sees the very face of woe.”)
* 47 (“What, have I thus betrayed my liberty?”)
* 52 (“A strife is grown between Virtue and Love.”)
60 (“When my good Angel guides me to the place.”)
* 63 (“O grammar-rules, O now your virtues show.”)
* 64 (“No more, my dear, no more these counsels try.”)
* 68 (“Stella, the only planet of my light.”)
71 (“Who will in fairest book of Nature know.”)
* 74 (“I never drank of Aganippe well.”)
Fourth song (“Only joy, now here you are.”)
* 86 (“Alas, whence came this change of looks? If I…”)
Eighth song (“In a grove most rich of shade.”)
* Ninth song (“Go my flock, go get you hence.”)
* 89 (“Now that, of absence, the most irksome night.”)
* 90 (“Stella, think not that I by verse seek fame.”)
* 91 (“Stella, while now by honor’s cruel might.”)
* 97 (“Dian, that fain would cheer her friend the night.”)
* 104 (“Envious wits, what hath been mind offense.”)
106 (“O absent presence, Stella is not here.”)
* 107 (“Stella, since thou so right a princess art.”)
108 (“When sorrow (using mine own fire's might.)
The Admonition by the Author.
A Careful Complaint by the Unfortunate Author.
The Manner of Her Will.
Mary Herbert, Countess of Pembroke.
Even Now That Care.
To Thee Pure Sprite.
Psalm 71: In Te Domini Speravi (“On thee my trust is grounded”).
Miles Coverdale: Psalm 71.
Psalm 121: Levavi Oculos (“Unto the hills, I now will bend”).
The Doleful Lay of Clorinda.
* Perspectives: The Rise of Print Culture.
* Ranulf Higden, From Polychronicon.
* Martin Marprelate, From Hay any Worke for Cooper.
* Thomas Nashe, From Pierce Pennilesse, his supplication to the Devile
* The Herball or Generall Historie of Plantes.
* Michel de Montaigne, From “Of Books,” in Essays, trans. by John Florio.
* Geoffrey Whitney. The Phoenix.
Francis Bacon. Of Truth.
Of Studies (version of 1597).
Of Studies (version of 1625).
* From The Advancement of Learning, The Second Book.
* The King James Bible, Genesis 3.
* Robert Burton. The Anatomy of Melancholy.
John Bunyan. From The Pilgrim's Progress.
Written with a Diamond on Her Window at Woodstock.
Written on a Wall at Woodstock.
The Doubt of Future Foes.
On Monsieur's Departure.
The Metres of Boethius’s Consolation of Philosophy.
Book 1, No. 2 (“O in how headlong depth the drowned mind is dim.”)
Book 1, No. 7, (“Dim clouds.”)
Book 2, No. 3 (“In pool when Phoebus with reddy wain.”)
On Mary, Queen of Scots.
On Mary's Execution.
To the English Troops at Tilbury, Facing the Spanish Armada.
The Golden Speech.
The Description of Cookham.
Salve Deus Rex Judaeorum.
To the Doubtful Reader.
To the Virtuous Reader.
(Against Beauty Without Virtue.)
(Pilate's Wife Apologizes for Eve.)
The Affectionate Shepherd.
Sonnets from Cynthia.
1 (“Sporting at fancy, setting light by love.”)
5 (“It is reported of fair Thetis' son.”)
9 (“Diana (on a time) walking the wood.”)
11 (“Sighing, and sadly sitting by my love.”)
13(“Speak, Echo, tell; how may I call my love?”)
19 (“Ah no; nor I myself: though my pure love.”)
The Passionate Shepherd to His Love.
Sir Walter Raleigh. The Nymph's Reply to the Shepherd.
* C.S. Lewis,From The Screwtape Letters.
Hero and Leander.
The Tragical History of Dr. Faustus.
Sir Walter Raleigh.
Nature That Washed Her Hands in Milk.
To the Queen.
On the Life of Man.
The Author's Epitaph, Made by Himself.
As You Came from the Holy Land.
From The 21st and Last Book of the Ocean to Cynthia.
The Discovery of the Large, Rich and Beautiful Empire of Guiana.
From Epistle Dedicatory.
To the Reader.
(The King of Aromaia.)
(The New World of Guiana.)
Perspectives: England in the New World.
Arthur Barlow. From The First Voyage Made to the Coasts of America.
Thomas Hariot. From A Brief and True Report of the Newfound Land of Virginia.
Michael Drayton. To the Virginian Voyage.
John Smith. From General History of Virginia and the Summer Isles.
John Donne. From A Sermon Preached to the Honorable Company of the Virginia Plantation.
1 (“From fairest creatures we desire increase”).
12 (“When I do count the clock that tells the time”).
15 (“When I consider every thing that grows”).
18 (“Shall I compare thee to a summer's day”).
20 (“A woman's face with Nature's own hand painted”).
29 (“When, in disgrace with fortune and men's eyes”).
30 (“When to the sessions of sweet, silent thought”).
31 (“Thy bosom is endearèd with all hearts”).
33 (“Full many a glorious morning have I seen”).
35 (“No more be grieved at that which thou hast done”).
55 (“Not marble nor the gilded monuments”).
60 (“Like as the waves make towards the pebbled shore”).
71 (“No longer mourn for me when I am dead”).
73 (“That time of year thou mayst in me behold”).
80 (“O, how I faint when I of you do write”).
86 (“Was it the proud full sail of his great verse”).
87 (“Farewell! Thou art too dear for my possessing”).
93 (“So shall I live, supposing thou art true”).
94 (“That they have pow'r to hurt, and will do none”).
104 (“To me, fair friend, you never can be old”).
106 (“When in the chronicle of wasted time”).
107 (“Not mine own fears nor the prophetic soul”).
116 (“Let me not to the marriage of true minds”).
123 (“No, Time, thou shalt not boast that I do change”).
124 (“If my dear love were but the child of state”).
126 (“O thou, my lovely boy, who in thy power”).
128 (“How oft, when thou my music play'st”).
129 (“The expense of spirit is a waste of shame.”)
130 (“My mistress' eyes are nothing like the sun”).
138 (“When my love swears that she is made of truth”).
144 (“Two loves I have, of comfort and despair”).
152 (“In loving thee thou know'st I am forsworn”).
Twelfth Night; or, What You Will.
William Strachey: From A True Reportory of the Wrack and Redemption of Sir Thomas Gates, Knight, upon and from the Islands of the Bermudas.
Michel de Montaigne, From Of Cannibals.
* Aimé Cesaire, From A Tempest.
Thomas Dekker and Thomas Middleton.
The Roaring Girl; or, Moll Cut-Purse.
“The Roaring Girl” and Its Time: City Life.
Barnabe Riche. From My Lady's Looking Glass.
Robert Greene. From A Notable Discovery of Cosenage.
Thomas Dekker. From Lantern and Candlelight.
Thomas Deloney. From Thomas of Reading.
Thomas Nashe. From Pierce Penniless.
King James I. From A Counterblast to Tobacco.
Perspectives: Tracts on Women and Gender.
Desiderius Erasmus. From In Laude and Praise of Matrimony.
Barnabe Riche. From My Lady's Looking Glass.
Margaret Tyler. From Preface to The First Part of the Mirror of Princely Deeds.
Joseph Swetnam. From The Arraignment of Lewd, Idle, Froward, and Unconstant Women.
Rachel Speght. From A Muzzle for Melastomus.
Esther Sowernam. From Ester Hath Hanged Haman.
Hic Mulier and Haec-Vir. From Hic-Mulier; or, The Man-Woman.
From Haec-Vir; or, The Womanish Man.
My sweetest Lesbia, let us live and love.
There is a garden in her face.
Rose-cheeked Laura come.
When thou must home to shades of underground.
Never weather-beaten sail more willing bent to shore.
To the Reader.
Sonnet 12. (“To nothing fitter can I thee compare.”)
Sonnet 16. (“Since there's no help, come let us kiss and part.”)
To His Coy Love, A Canzonet.
On Something, That Walks Somewhere.
On My First Daughter.
To John Donne.
On My First Son.
Inviting a Friend to Supper.
Song to Celia.
Queen and Huntress.
To the Memory of My Beloved, the Author, Mr. William Shakespeare, and What He Hath Left Us.
To the Immortal Memory, and Friendship of that Noble Pair, Sir Lucius Cary and Sir H. Morison.
Pleasure Reconciled to Virtue.
* Thom Gunn, “Ben Johnson,” from The Occasions of Poetry.
The Good Morrow.
Song (“Go, and catch a falling star”).
The Sun Rising.
Air and Angels.
Break of Day.
A Valediction: of Weeping.
A Valediction: Forbidding Mourning.
Elegy 19. To His Mistress Going to Bed.
1 (“As due by many titles I resign.”)
2 (“Oh my black soul! Now thou art summoned.”)
3 (“This is my play's last scene, here heavens appoint.”)
4 (“at the round earth's imagined corners, blow.”)
5 (“If poisonous minerals, and if that tree.”)
6 (“Death be not proud, though some have called thee.”)
7 (“Spit in my face ye Jews, and pierce my side.”)
8 (“Why are we by all creatures waited on?”)
9 (“What if this present were the world's last night?”)
10 (“Batter my heart, three-personed God; for, you.”)
11 (“Wilt thou love God, as he thee? Then digest.”)
12 (“Father, part of his double interest.”)
(Devotions upon Emergent Occasions.)
[For Whom the Bell Tolls.]
Lady Mary Wroth.
Pamphilia to Amphilanthus.
1 (“When night's black mantle could most darkness prove.”)
* 5 (“Can pleasing sight misfortune bring?”)
16 (“Am I thus conquered? Have I lost the powers.”)
17 (“Truly poor Night thou welcome art to me.”)
* 25 (“Like to the Indians scorched with the sun.”)
26 (“When everyone to pleasing pastime hies.”)
28 Song (“Sweetest love, return again.”)
39 (“Take heed mine eyes, how you your looks do cast.”)
40 (“False hope which feeds but to destroy, and spill.”)
48 (“If ever Love had force in human breast.”)
* 55 (“How like a fire doth love increase in me.”)
68 (“My pain, still smothered in my grieved breast?”)
74 Song (“Love a child is ever crying.”)
A Crown of Sonnets Dedicated to Love.
77 (“In this strange labyrinth how shall I turn?”)
* 82 (“He may our profit and our tutor prove.”)
83 (“How blessed be they then, who his favors prove.”)
* 84 (“ He that shuns love doth love himself the less.”)
103 (“My muse now happy, lay thyself to rest.”)
From The Countess of Mountgomery's Urania.
The Argument of His Book.
To His Book.
Another (“To read my book the virgin shy”).
Another (“Who with thy leaves shall wipe at need”).
To the Sour Reader.
When He Would Have His Verses Read.
Delight in Disorder.
Corinna's Going A-Maying.
To the Virgins, to Make Much of Time.
The Hock-Cart, or Harvest Home.
His Prayer to Ben Jonson.
Upon Julia's Clothes.
Upon His Spaniel Tracie.
The Dream. (“Me thought (last night) love in an anger came.”)
The Dream. (“By dream I saw one of the three.”)
Discontents in Devon.
To Dean-Bourne, a Rude River in Devon.
Upon Scobble: Epigram.
The Christian Militant.
To His Tomb-Maker.
Upon Himself Being Buried.
His Last Request to Julia.
The Pillar of Fame.
His Noble Numbers.
His Prayer for Absolution.
To His Sweet Saviour.
To God, on His Sickness.
To Lucasta, Going to the Wars.
To Althea, from Prison.
Love Made in the First
What Our Readers Are Saying
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