 |
List Alphabetically
A-C | D-I | J-R | S-Z
List Chronological
Middle Ages | 16th Century | 17th Century |
Restoration and the 18th Cenutry
Romantic Period | Victorian Age | 20th Century
Alphabetical Listing: D-I
*
indicates a selection that is not included in the online archive due to
copyright
| Author |
Title |
First Appeared |
Dropped
After |
Added
Again |
Last Appeared |
| Daniel,
Samuel |
Delia |
1 |
|
|
1 |
| 34 (“When winter
snows upon thy golden hairs”) |
4 |
|
|
4 |
| Musophilus: Imperial Eloquence |
7 |
|
|
7 |
| Darley,
George |
Over Hills and Uplands High |
1 |
|
|
1 |
| The Phoenix |
1 |
|
|
6 |
| It is not Beauty I demand |
2 |
|
|
6 |
| The Mermaidens’ Vesper Hymn |
1 |
|
|
6 |
| Davenant,
Sir William |
Song: “O thou that sleep’st like a pig in straw” |
3 |
|
|
3 |
| Davie,
Donald |
*For Doreen: A Voice from the Garden |
2 |
|
|
4 |
| *Across the Bay |
3 |
|
|
4 |
| *To Certain English Poets |
4 |
|
|
4 |
| *To Helen Keller |
4 |
|
|
4 |
| Davies,
Sir John |
Orchestra |
1 |
|
|
1 |
| Defoe,
Daniel |
The History and Remarkable Life of the Truly Honorable
Col. Jacque |
1 |
|
|
2 |
| A True Revelation of the Apparition of One Mrs. Veal |
3 |
|
|
4 |
| de la
Mare, Walter |
*The Listeners |
1 |
|
|
1 |
| *An Epitaph |
1 |
|
|
1 |
| *All That’s Past |
1 |
|
|
1 |
| De
Quincey, Thomas |
On Murder Considered as One of the Fine Arts. Second
Paper |
1 |
|
|
1 |
| The
English Mail Coach |
1 |
|
|
3 |
| II. The Vision of
Sudden Death |
1 |
|
|
3 |
| III. Dream-Fugue
Founded on the Preceding Theme of Sudden Death |
1 |
|
|
3 |
| The
Development of Prose Style [16th Century] |
Sir
John Cheke: Our Own Tongue Clean and Pure |
1 |
|
|
2 |
| The
Bible: Translations of the Twenty-Third Psalm |
1 |
|
|
2 |
| A Latin-English
Psalter |
1 |
|
|
2 |
| Thomas Sternhold
and John Hopkins’ Psalm-Box |
1 |
|
|
2 |
| The Bishop’s Bible |
1 |
|
|
2 |
| Philip
Stubbes: The Anatomy of Abuses |
1 |
|
|
2 |
| William
Bullein: A Dialogue Against Pestilence |
1 |
|
|
2 |
| Dickens,
Charles |
Martin
Chizzlewit |
3 |
|
|
3 |
| [Mrs. Gamp and Mr.
Mould] |
3 |
|
|
3 |
| David
Copperfield |
3 |
|
|
3 |
| [The Journey to
Salem House School] |
3 |
|
|
3 |
| [The Journey from
London to Dover] |
3 |
|
|
3 |
| Bleak
House |
3 |
|
|
3 |
| In Chancery |
3 |
|
|
3 |
| Hard
Times |
3 |
|
|
3 |
| The One Thing
Needful |
3 |
|
|
3 |
| Murdering the
Innocents |
3 |
|
|
3 |
| [Coketown] |
3 |
|
|
3 |
| Our
Mutual Friend |
3 |
|
|
3 |
| Podsnappery |
3 |
|
|
3 |
| Donne,
John |
Meditation
XI |
1 |
|
|
1 |
| Twicknam
Garden |
1 |
|
|
2 |
| To the
Countess of Bedford |
1 |
|
|
2 |
| The
Curse |
3 |
|
|
3 |
| Lover’s
Infiniteness |
1 |
|
|
4 |
| The
Storm |
5 |
|
|
7 |
| Elegy
I: Of Jealousy |
3 |
|
|
3 |
| Elegy
IV: The Perfume |
1 |
|
|
2 |
| Paradoxes
and Problems |
1 |
|
|
2 |
| Paradox VI: That it
is Possible to Find Some Virtue in Women |
1 |
|
|
2 |
| Problem II: Why
Puritans Make Long Sermons |
1 |
|
|
2 |
| Problem VI: Why
Hath Common Opinion Afforded Women’s Souls? |
1 |
|
|
2 |
| Sermon
LXVI: On the Weight of Eternal Glory |
3 |
|
|
4 |
| Sermon
LXXVI: On Falling Out of God’s Hand |
1 |
|
|
2 |
| The
Blossom |
5 |
|
|
6 |
| A
Lecture Upon the Shadow |
5 |
|
|
6 |
| Dowson,
Ernest |
To One in Bedlam |
1 |
|
|
3 |
| A Last Word |
2 |
|
|
3 |
| Spleen |
2 |
|
|
3 |
| Flos Lunae |
2 |
|
|
4 |
| Dregs |
2 |
|
|
4 |
| Exchanges |
2 |
|
|
4 |
| Carthusians |
4 |
|
|
7 |
| Drayton,
Michael |
Idea |
2 |
|
|
NA |
| 37 (“Dear, why
should you command me to my rest”) |
2 |
|
|
4 |
| 50 (“As in some
countries far removed from hence”) |
2 |
|
|
4 |
| Dryden,
John |
Epilogue to The Conquest of Granada, II |
1 |
|
|
2 |
| Prologue to The Tempest |
1 |
|
|
3 |
| Epilogue to Tyrannic Love |
1 |
|
|
3 |
| Song from The Indian Emperor |
1 |
|
|
2 |
| Song from An Evening’s Love |
1 |
|
|
2 |
| To the Pious Memory of the Accomplished Young Lady Mrs.
Anne Killigrew |
1 |
|
|
6 |
| The Secular Masque |
1 |
|
|
6 |
| The
Preface to Fables Ancient and Modern |
1 |
|
|
7 |
| [In Praise of
Chaucer] |
3 |
|
|
7 |
| Dyer,
Edward |
My Mind to Me a Kingdom Is |
1 |
|
|
3 |
| Earle,
John |
A Pretender to Learning |
1 |
|
|
1 |
| Edward
(Lord Herbert of Cherbury) |
Sonnet of Black Beauty |
1 |
|
|
1 |
| Edwards,
Richard |
Amantium Irae Amoris Redintegratio Est |
1 |
|
|
1 |
| Eliot,
George |
*The
Mill on the Floss: [The Childhood and Girlhood of Maggie Tulliver] |
3 |
3 |
6 |
7 |
| *Book First. Boy
and Girl |
6 |
|
|
7 |
| *Chapter
1. Outside Dorlcote Mill |
6 |
|
|
7 |
| *Chapter
2. Mr. Tulliver, of Dorlcote Mill, Declares His Resolution About Tom |
6 |
|
|
6 |
| *Chapter
3. Mr. Riley Gives his Advice Concerning a School for Tom |
6 |
|
|
6 |
| *Chapter
4. Tom Is Expected |
6 |
|
|
6 |
| *Chapter
5. Tom Comes Home |
6 |
|
|
6 |
| *[Dorlcote
Mill Revisited] |
3 |
|
|
3 |
| *[Maggie
Anticipates Her Brother's Return. Age Nine] |
3 |
|
|
3 |
| *[A Reunion
with Tom. Age Nine] |
3 |
|
|
3 |
| *[Maggie
Visits Tom’s Boarding School. Age 10] |
3 |
|
|
3 |
| *[Maggie’s
Discovery of Thomas a Kempis. Age 13] |
3 |
|
|
3 |
| *[A Meeting
with Philip Waken. Age 17] |
3 |
|
|
3 |
| *[Aftermath
of an Evening with Stephen Guest. Age 19] |
3 |
|
|
3 |
| *[An
After-Dinner Visit with Stephen Guest. Age 19] |
3 |
|
|
3 |
| *[An
Afternoon Visit with Stephen Guest at the Farm. Age 19] |
3 |
|
|
3 |
| Eliot,
T. S. |
*The Three Voices of Poetry |
1 |
|
|
1 |
| *Ulysses, Order, and Myth |
2 |
|
|
2 |
| *Yeats |
2 |
|
|
2 |
| Elizabeth
I, Queen of England |
*Letter to Henry III, king of France |
7 |
|
|
7 |
| Empson,
William |
*Seven
Types of Ambiguity |
2 |
|
|
3 |
| *[Wordsworth] |
2 |
|
|
3 |
| Feinstein,
Elaine |
Anniversary |
4 |
|
|
4 |
| Out |
4 |
|
|
4 |
| Waiting |
4 |
|
|
4 |
| Night Thoughts |
4 |
|
|
4 |
| November Songs |
4 |
|
|
4 |
| Finche,
Anne (Countess of Winchilsea) |
On Myself |
3 |
|
|
4 |
| Foxe,
John |
Acts
and Monuments |
3 |
|
|
4 |
| The Behavior of Dr.
Ridley and Master Latimer, at the Time of Their Death |
3 |
|
|
4 |
| Marie
de France |
*The Wolf and the Lamb |
7 |
|
|
7 |
| *The Wolf and the Sow |
7 |
|
|
7 |
| Gascoigne,
George |
Gascoigne’s Lullaby |
1 |
|
|
1 |
| Woodmanship |
7 |
|
|
7 |
| The Lullaby of a Lover |
5 |
|
|
6 |
| Farewell with a Mischief |
6 |
|
|
6 |
| Gay,
John |
The Birth of the Squire. An Eclogue |
3 |
|
|
6 |
| Recitativo and Air from Acis and Galatea |
5 |
|
|
6 |
|
The General and the Particular |
2 |
|
|
2 |
| Aristotle: Poetry and History
Contrasted |
2 |
|
|
2 |
| Horace: Character Types in
Comedy |
2 |
|
|
2 |
| Sir William Davenant: Poetry
and History Contrasted |
2 |
|
|
2 |
| Anthony Ashley Cooper, Third
Earl of Shaftesbury: The General and the Particular in Painting |
2 |
|
|
2 |
| Samuel Johnson: The Particular
in Biology |
2 |
|
|
2 |
| Samuel Johnson: The Simplicity
of Grandeur |
2 |
|
|
2 |
| Samuel Johnson: Hudibras and
the Particular |
2 |
|
|
2 |
| Samuel Johnson: The Grandeur of
Generality |
2 |
|
|
2 |
| Joseph Warton: On Thomson’s
Seasons |
2 |
|
|
2 |
| Hugh Blair: The Particular in
Descriptive Poetry |
2 |
|
|
2 |
| Sir Joshua Reynolds: The
General and Particular in Painting: The Grand Style |
2 |
|
|
2 |
| William Blake: The Aesthetic
Value of the General Denied |
2 |
|
|
2 |
|
Genius |
3 |
|
|
3 |
| Samuel Johnson: Definitions of
Genius |
3 |
|
|
3 |
| John Dryden: Genius is Above
Correctness |
3 |
|
|
3 |
| Joseph Addison: The Beauties of
Great Geniuses Independent of Rules |
3 |
|
|
3 |
| Samuel Johnson: Genius Requires
Invention |
3 |
|
|
3 |
| Edward Young: Imitation and
Genius |
3 |
|
|
3 |
| Samuel Johnson: Genius and
Knowledge |
3 |
|
|
3 |
| Alexander Gerard: The Origins
of Genius |
3 |
|
|
3 |
| John Moir: The Unique Vision of
Original Genius |
3 |
|
|
3 |
| Sir Joshua Reynolds: Genius the
Child of Imitation |
3 |
|
|
3 |
| William Blake: Genius Unbound |
3 |
|
|
3 |
| William Hazlitt: Reynold’s
Genius |
3 |
|
|
3 |
| Gilbert,
W. S. |
When Britain Really Ruled the Waves |
4 |
|
|
7 |
| Goldsmith,
Oliver |
Letters
from a Citizen of the World |
1 |
|
|
2 |
| Letter XXVI: “The
Character of the Man in Black; With Some Instances of His Inconsistent
Conduct” |
1 |
|
|
2 |
| Letter LXXI: “The
Shabby Beau, the Man in Black, the Chinese Philosopher, etc., at Vauxhall” |
1 |
|
|
2 |
|
A
Grace Beyond the Reach of Art |
1 |
|
|
2 |
| Longinus:
Genius and the Rules |
1 |
|
|
2 |
| Quintilian: When to Break the Rules |
1 |
|
|
2 |
| Réne
Rapin: Grace Beyond Rules |
1 |
|
|
2 |
| Sir
William Temple: The Inadequacy of the Rules |
1 |
|
|
2 |
| John
Hughes: Curiosa Felicitas |
1 |
|
|
2 |
| Roger
de Piles: Grace Gains the Heart |
1 |
|
|
2 |
| Leonard
Welsted: No Precepts Can Teach Grace |
1 |
|
|
3 |
| Graves,
Robert |
*Flying Crooked |
2 |
|
|
3 |
| *A Civil Servant |
2 |
|
|
3 |
| *The Naked and the Nude |
2 |
|
|
3 |
| *Gulls and Men |
2 |
|
|
4 |
| *The Straw |
2 |
|
|
4 |
| *Dialogue on the Headland |
2 |
|
|
4 |
| *Friday Night |
2 |
|
|
4 |
| *Down, Wanton, Down! |
2 |
|
|
7 |
| *Love Without Hope |
5 |
|
|
7 |
| *The Cool Web |
5 |
|
|
7 |
| *The Reader Over My Shoulder |
2 |
|
|
7 |
| *To Juan at the Winter Solstice |
5 |
|
|
7 |
| *The White Goddess |
2 |
|
|
7 |
| *The Blue-Fly |
2 |
|
|
7 |
| *A Slice of Wedding Cake |
2 |
|
|
7 |
| Gray,
Thomas |
Hymn to Adversity |
1 |
|
|
4 |
| Greville,
Fulke (Lord Brooke) |
Mustapha |
3 |
|
|
3 |
| Chorus Sacerdotum |
5 |
|
|
7 |
| Gunn,
Thomas |
*Human Condition |
2 |
|
|
4 |
| *Moly |
3 |
|
|
4 |
| *Hampstead: The Horse Chestnut Tree |
4 |
|
|
4 |
| Gurney,
Ivor |
Canadians |
4 |
|
|
4 |
| Crucifix Corner |
4 |
|
|
4 |
| Hakluyt’s
Voyages |
A Brief and True Report |
3 |
|
|
3 |
| The Course Which Sir Francis Drake Held |
3 |
|
|
3 |
| An Extract of Master Ralph Lane’s Letter |
5 |
|
|
5 |
| Hall,
Joseph |
The Malcontent |
1 |
|
|
3 |
| Hardy,
Thomas |
*Snow in the Suburbs |
1 |
|
|
1 |
| *Lausanne |
1 |
|
|
4 |
| *Let Me Enjoy |
2 |
|
|
4 |
| *The Rash Bride |
2 |
|
|
4 |
| *The Impercipient |
2 |
|
|
7 |
| Hayman,
Robert |
Of the Great and Famous Ever-To-Be-Honoured Knight, Sir
Francis Drake, and of My Little-Little Self |
3 |
|
|
3 |
| Hazlitt,
William |
On Shakespeare and Milton |
1 |
|
|
3 |
| The Fight |
1 |
|
|
3 |
| On Going a Journey |
4 |
|
|
4 |
| from Mr. Wordsworth |
4 |
|
|
6 |
| Heaney,
Seamus |
Churning Day |
3 |
|
|
4 |
| Poor Women in a City Church |
3 |
|
|
4 |
| Viking Dublin: Trial Pieces |
4 |
|
|
4 |
| Henley,
William Ernest |
Waiting |
1 |
|
|
7 |
| Madam Life’s a Piece in Bloom |
1 |
|
|
6 |
| Barmaid |
4 |
|
|
4 |
| Herbert,
George |
Temptation |
1 |
|
|
1 |
| Anagram |
1 |
|
|
2 |
| Hope |
3 |
|
|
3 |
| Sin’s Round |
1 |
|
|
3 |
| Love Unknown |
3 |
|
|
4 |
| Aaron |
1 |
|
|
4 |
| The Altar |
1 |
|
|
6 |
| Redemption |
4 |
|
|
6 |
| Jordan (1) |
1 |
|
|
6 |
| Herbert,
Mary (Sidney) |
Psalm 58 Si Vere Utique |
5 |
|
|
5 |
| To the Angel Spirit of Sir Philip Sidney |
7 |
|
|
7 |
| A Dialogue between two shepherds, Thenot and Piers |
6 |
|
|
6 |
| Herrick,
Robert |
An Ode for Him |
1 |
|
|
1 |
| Discontents in Devon |
1 |
|
|
2 |
| Upon a Child That Died |
1 |
|
|
2 |
| Oberon’s Feast |
1 |
|
|
2 |
| The Pillar of Fame |
1 |
|
|
2 |
| His Grange, or Private Wealth |
3 |
|
|
3 |
| Upon His Spaniel Tracy |
1 |
|
|
4 |
| To Lar |
3 |
|
|
4 |
| The Lily in a Crystal |
4 |
|
|
6 |
| To Blossoms |
4 |
|
|
6 |
| To the Water Nymphs Drinking at the
Fountain |
1 |
|
|
6 |
| Hill,
Geoffrey |
Funeral
Music |
3 |
|
|
4 |
| 3 (“They bespoke
doomsday and they meant it by”) |
3 |
|
|
4 |
| 7 (“Prowess,
vanity, mutual regard”) |
3 |
|
|
4 |
| Mercian
Hymns |
4 |
|
|
NA |
| VIII (“The mad are
predators. Too often lately they harbor”) |
4 |
|
|
4 |
| X (“He adored the
desk, its brown-oaked inlaid with ebony”) |
4 |
|
|
4 |
| XVI (“Clash of
salutation. As keels thrust into shingle”) |
4 |
|
|
4 |
| Hobbes,
Thomas |
Leviathan: Part I, Chapter 5: Of Reason and Science |
1 |
|
|
2 |
| Hooker,
Richard |
Of the
Laws of Ecclesiastical Polity |
3 |
|
|
NA |
| From The Preface: [On Moderation in
Controversy] |
3 |
|
|
6 |
| From Book 1,
Chapter 8 [On the Scope of the Several Laws] |
5 |
|
|
6 |
| Book 1, Chapter 10
[The Foundations of Society] |
3 |
|
|
7 |
|