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The Longman Compact Anthology of British Literature is a concise and thoughtfully arranged survey of British literature for the one semester course.
List of Illustrations.
THE ROMANTICS AND THEIR CONTEMPORARIES.
Anna Laetitia Barbauld.
The Mouse's Petition to Dr. Priestley.
On a Lady's Writing.
To a Little Invisible Being Who Is Expected Soon to Become Visible.
To the Poor.
The First Fire.
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.
From Reflections on the Revolution in France.
From A Vindication of the Rights of Men.
From The Rights of Man.
The Anti-Jacobin, or Weekly Examiner.
The Friend of Humanity and the Knife-Grinder.
All Religions Are One.
Songs of Innocence and of Experience.
From Songs of Innocence.
The Ecchoing Green.
The Little Black Boy.
The Chimney Sweeper.
The Divine Image.
Charles Lamb: From The Praise of Chimney Sweepers.
From Songs of Experience.
The CLOD and the PEBBLE.
The Chimney Sweeper.
The SICK ROSE.
The GARDEN of LOVE.
The Human Abstract.
A POISON TREE.
A DIVINE IMAGE.
The Marriage of Heaven and Hell.
Perspectives: The Abolition of Slavery and the Slave Trade.
From The Interesting Narrative of the Life of Olaudah Equiano.
From The History of Mary Prince, a West Indian Slave.
The Benevolent Planters.
Sweet Meat Has Sour Sauce.
From The Grasmere Journals.
To Toussaint L'Ouverture.
From The Prelude.
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.
Ode to Beauty.
Sappho and Phaon in a Series of Legitimate Sonnets.
4 (“Why, when I gaze on Phaon's beauteous eyes”).
7 (“Come Reason”).
11 (“O Reason”).
12 (“Now, o'er the tesselated pavement strew”).
18 (“Why art thou changed? O Phaon! tell me why?”).
30 (“O'er the tall cliff that bounds the billowy main”).
37 (“When, in the gloomy mansion of the dead”).
The Haunted Beach.
London's Summer Morning.
The Old Beggar.
To the Poet Coleridge.
A Vindication of the Rights of Woman.
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 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. A Vindication in Its Time: The Wollstonecraft Controversy and the Rights of Women.
From The Unsex'd Females.
From Strictures on the Modern System of Female Education.
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.
To a Mouse.
Comin' Thro' the Rye (1).
Comin' Thro' the Rye (2).
Scots, wha hae wi' Wallace bled.
A Red, Red Rose.
Auld Lang Syne.
The Fornicator. A New Song.
We Are Seven.
Lines Written in Early Spring.
Lines Written a Few Miles above Tintern Abbey.
Lyrical Ballads (1800,1802).
(The Principal Object of the Poems. Humble and Rustic Life).
(“The Spontaneous Overflow of Powerful Feelings”).
(The Language of Poetry).
(What is a Poet?)
(“Emotion Recollected in Tranquillity”).
There was a Boy.
Strange fits of passion have I known.
Song: (“She dwelt among th'undtrodden ways”).
Three years she grew in sun and shower.
Song (“A slumber did my spirit seal”).
Francis Jeffrey: (On “the new Poetry”).
Charles Lamb: from Letter to William Wordsworth.
Charles Lamb: from Letter to Thomas Manning.
Prefatory Sonnet (“Nuns fret not at their Convent's narrow room”).
The world is too much with us.
Composed upon Westminster Bridge, September 3, 1803.
It is a beauteous Evening.
I griev'd for Buonaparte.
Charlotte Smith: from Elegiac Sonnets.
Far on the Sands.
The Prelude, or Growth of a Poet's Mind (1805).
Book First. Introduction, Childhood, and School time.
Book Second. School time continued.
(Blessed Infant Babe).
Book Sixth. Cambridge, and the Alps.
(Travelling in the Alps. Simplon Pass).
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).
I wandered lonely as a cloud.
My heart leaps up.
Ode: Intimations of Immortality from Recollections of Early Childhood.
The Solitary Reaper.
Surprized by joy.
Address to a Child.
Thoughts on My Sick-bed.
When Shall I Tread Your Garden Path?.
The Grasmere Journals.
(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).
Perspectives: The Sublime, the Beautiful, and the Picturesque.
From A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and the Beautiful.
From Three Essays on Picturesque Beauty, on Picturesque Travel, and on Sketching Landscape.
From Pride and Prejudice.
From A Vindication of the Rights of Men.
From The Critique of Judgment.
From Modern Painters. Samuel Taylor Coleridge.
The Eolian Harp.
The Rime of the Ancient Mariner (1817).
Samuel Taylor Coleridge: From Table Talk.
Frost at Midnight.
Dejection: An Ode.
Work Without Hope.
Constancy to an Ideal Object.
(Imagination and Fancy).
(Occasion of the Lyrical Ballads—Preface to the Second Edition—The Ensuing Controversy).
(Philosophic Definitions of a Poem and Poetry).
George Gordon, Lord Byron.
She walks in beauty.
So, we'll go no more a-roving.
Childe Harold's Pilgrimage.
Canto the Third.
(Thunderstorm in the Alps).
(Byron's Strained Idealism. Apostrophe to His Daughter).
Canto the Fourth.
(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].
From Canto 1.
Stanzas (“When a man hath no freedom to fight for at home”).
On This Day I Complete My Thirty-Sixth Year.
Percy Bysshe Shelley.
Hymn to Intellectual Beauty.
Ode to the West Wind.
To a Sky-Lark.
Tales and Historic Scenes, in Verse.
The Wife of Asdrubal.
Records of Woman.
The Homes of England.
Corinne at the Capitol.
Woman and Fame.
Francis Jeffrey: From A Review of Felicia Hemans's Poetry.
Written in November (1).
Written in November (2).
Clock a Clay.
On First Looking into Chapman's Homer.
Alexander Pope: From Homer's Iliad.
George Chapman: From Homer's Iliad.
On Seeing the Elgin Marbles.
Sonnet: When I have fears.
The Eve of St. Agnes.
La Belle Dame sans Mercy.
Incipit Altera Sonneta (“If by dull rhymes”).
The Odes of 1819.
Ode to a Nightingale.
Ode on a Grecian Urn.
Ode on Melancholy.
To Autumn. This living hand.
To George and Thomas Keats (“intensity” and “Negative Capability”).
To Richard Woodhouse (The “camelion poet” vs. the “egotistical sublime”).
To Fanny Brawne (“You Take Possession of Me”).
To Percy Bysshe Shelley (“An Artist Must Serve Mammon”).
To Charles Brown (Keats's Last Letter).
THE VICTORIAN AGE.
Past and Present.
Midas (The Condition of England).
From Gospel of Mammonism (The Irish Widow).
From Labour (Know Thy Work).
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.
From Dombey and Son.
From Hard Times.
From The Condition of the Working Class in England in 1844.
From London Labour and the London Poor.
John Stuart Mill.
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.
Elizabeth Barrett Browning.
Sonnets from the Portuguese.
1 (“I thought once how Theocritus had sung”).
13 (“And wilt thou have me fashion into speech”).
21 (“Say over again, and yet once over again”).
22 (“When our two souls stand up erect and strong”).
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”).
(Her Mother's Portrait).
(Discovery of Poetry).
(Woman and Artist).
(No Female Christ).
(Aurora's Rejection of Romney).
(The Woman Writer in London).
(Epic Art and Modern Life).
Perspectives: Victorian Ladies and Gentlemen.
Sarah Stickney Ellis.
From The Women of England: Their Social Duties and Domestic Habits.
From Letter to Emily Brontë.
From Agnes Grey.
John Henry Cardinal Newman.
From The Idea of a University.
From A Letter to the Queen.
Margaret Fuller and Mary Wollstonecraft.
From Tom Brown's School Days.
From The Book of Household Management.
Letters and Journal Entries on the Position of Women.
From Letters and Memories.
Sir Henry Newbolt.
Alfred, Lord Tennyson.
The Lady of Shalott.
Break, Break, Break.
The Epic [Morte d'Arthur].
Tears, Idle Tears.
(The Woman's Cause is Man's). From In Memoriam A. H. H.
The Charge of the Light Brigade.
Crossing the Bar.
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.
Perspectives: Religion and Science.
Thomas Babington Macaulay.
From Lord Bacon.
From Sunday Under Three Heads.
David Friedrich Strauss.
From The Life of Jesus Critically Examined.
From Jane Eyre.
Arthur Hugh Clough.
The Latest Decalogue.
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.
My Last Duchess.
The Bishop Orders His Tomb at Saint Praxed's Church.
Love Among the Ruins.
“Childe Roland to the Dark Tower Came.”
Fra Lippo Lippi.
Andrea del Sarto.
Popular Short Fiction.
Our Society at Cranford.
Sir Arthur Conan Doyle.
A Scandal in Bohemia.
Without Benefit of Clergy.
From Definition of Greatness in Art.
The Stones of Venice.
From The Nature of Gothic.
Culture and Anarchy.
From Sweetness and Light.
From Hebraism and Hellenism.
Song (“When I am dead, my dearest”).
In an Artist's Studio.
“No, thank you, John.”
Promises Like Pie-Crust.
Sleeping at Last.
Gerard Manley Hopkins.
Spring and Fall: to a young child.
As Kingfishers Catch Fire.
No Worst, There Is None.
I Wake and Feel the Fell of Dark, Not Day.
Thou Art Indeed Just, Lord.
Alice's Adventures in Wonderland.
Chapter 1. Down the Rabbit Hole.
From Chapter 2. The Pool of Tears.
You are old, Father William.
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.
From A Biographical Sketch of an Infant.
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.
The Owl and the Pussy-Cat.
How pleasant to know Mr. Lear!
Robert Louis Stevenson.
From A Child's Garden of Verses.
From The Bad Child's Book of Beasts.
The Tale of Peter Rabbit.
From The Young Visiters; or, Mr. Salteena's Plan.
From What Maisie Knew.
Impression du Matin.
Symphony in Yellow.
From The Decay of Lying.
Preface to The Picture of Dorian Gray.
The Importance of Being Earnest.
Oscar Wilde and His Time: Aestheticism, Decadence, and the Fin de Siècle.
W. S. Gilbert.
If You're Anxious for to Shine in the High Aesthetic Line.
H. Montgomery Hyde: From The Trials of Oscar Wilde.
From De Profundis.
James McNeill Whistler.
From from Mr. Whistler's “Ten O'Clock.”
“Michael Field” (Katharine Bradley and Edith Cooper).
A Pen-Drawing of Leda.
The Destroyer of a Soul.
A Decadent's Lyric.
Lord Alfred Douglas.
Impression de Nuit.
Olive Custance (Lady Alfred Douglas).
The White Witch.
THE TWENTIETH CENTURY.
Preface to The Nigger of the “Narcissus”.
Heart of Darkness.
The Darkling Thrush.
On the Departure Platform.
The Convergence of the Twain.
In Time of “The Breaking of Nations”.
Logs on the Hearth.
Perspectives: The Great War: Confronting the Modern.
The Great Lover.
Glory of Women.
Anthem for Doomed Youth.
Dulce et Decorum Est.
Break of Day in the Trenches.
Dead Man's Dump.
From In Parenthesis.
William Butler Yeats.
The Lake Isle of Innisfree.
Who Goes with Fergus?
No Second Troy.
The Wild Swans at Coole.
Proclamation of the Irish Republic.
The Second Coming.
Prayer for My Daughter.
Sailing to Byzantium.
Leda and the Swan.
Among School Children.
Crazy Jane Talks with the Bishop.
(Chapter 13. Nausicaa).
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.
Journey of the Magi.
Tradition and the Individual Talent.
The Lady in the Looking-Glass: A Reflection.
From A Room of One's Own.
Perspectives: Regendering Modernism.
E. M. Forster.
The Life to Come.
The Daughters of the Late Colonel.
Penetrating to the Heart of the Forest.
D. H. Lawrence.
Odour of Chrysanthemums.
W. H. Auden.
Musée des Beaux Arts.
In Memory of W. B. Yeats.
September 1, 1939.
Perspectives: World War II and the End of Empire.
Sir Winston Churchill.
Two Speeches Before the House of Commons.
What I Expected.
Shooting an Elephant.
Christopher Columbus and Queen Isabella of Spain Consummate Their Relationship.
The Force That Through the Green Fuse Drives the Flower.
Do Not Go Gentle into That Good Night.
Krapp's Last Tape.
Texts for Nothing.
8 (“Only the words break the silence, all other sounds have ceased”).
Perspectives: Whose Language?
Talking in Bed.
The Toome Road.
A Postcard from North Antrium.
The Singer's House.
12 (“Like a convalescent, I took the hand”).
Nuala Ní Dhomhnaill.
Labasheedy (The Silken Bed).
Why I Choose to Write in Irish, The Corpse That Sits Up and Talks Back.
Ngugi Wa Thiong'o.
FromDecolonizing the Mind.
What Were you Dreaming?
A Woman Painted on a Leaf.
A Far Cry from Africa.
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”).
Political and Religious Orders.Money, Weights, and Measures.Bibliographies.Credits.Index.