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Thomas Love Peacock is today remembered as the author of seven satirical novels which many regard merely as literary curiosities. However, he was also a man of considerable learning, a skilled poet, and an astute literary critic. This collection includes Recollections of Thomas Love Peacock, an affectionate reminiscence by Sir Edward Strachey; Some Recollections of Childhood, a window into Peacock's early youth; "Four Ages of Poetry", in which he pokes fun at his contemporaries; and "The Last Day of Windsor Forest", an old man's recollection of a memorable episode.

This poem, rich in its palette of human emotions, is couched in simple narrative language. Some critics have sought to interpret the poem as an allegory and find a specific meaning for every phrase and picture, but the richness of its symbolism is not favorable to this kind of treatment. In some ways, it resembles a piece of music. Each mind can draw from it a personal, and, to the individual, satisfactory interpretation.

This collection of 35 poems is a sequel to a volume of lyrical ballads first published in 1798. While the first volume was a collaboration between Wordsworth and Samuel Taylor Coleridge, this anthology contains verses by Wordsworth only. Generally, the poems are less well-known than those of the earlier volume but do include major narrative pieces, like "The Pastoral Epics", "The Brothers", and "Michael".

This anthology of twenty poems was Yeats's first major collection after he received the Nobel Prize for literature in 1923.

First published in 1874, "The City of Dreadful Night" is an extended poetic meditation on melancholy, or what is generally termed today as depression. Thomson's "city" is the "città dolente" of Dante, the domain of souls trapped in a round of ceaseless misery. However, the inhabitants of Thomson's world endure a torment more subtle and more devastating than the acute and picturesque tortures of Dante's Inferno - a complete loss of purpose and a relentless draining of energy, a desperate and ever wakeful ennui.

Antonio, a wealthy and popular merchant, is in financial difficulty. He approaches a Jewish money lender, Shylock, who agrees to provide 3000 ducats, with a very curious bond – a pound of the merchant’s flesh, to be levied if Antonio fails to make a timely repayment. Feeling confident that his argosies will arrive in time to cover the debt, Antonio agrees to this bizarre transaction.

The turn of the 20th century saw radical developments in all art forms and particularly in poetry. The first volume of this series features the work of nine significant poets whose careers cover the period from the late 19th century to the early 20th century.

Shakespeare’s history plays fall into two categories: political dramas and propagandistic pageants. The second category is comprised of the two plays in this presentation, Henry V and Henry VIII.

The Wonderful Visit tells the story of an angel who finds himself unexpectedly marooned on Earth. Wells used John Ruskin's remark that an angel appearing on earth in Victorian England would be shot on sight as the inspiration for this tale of a celestial being who is completely out of place in human society. Ironically, the angel's first confidant and protector is a clergyman, who never recovers from the eventual and inevitable disappearance of the angel. Wells dwells in detail on the contrast between the idealism of the celestial visitor and the discourtesy of his hosts.

The Rubaiyat of Omar Khayyam is a poetic marvel, a work that has survived translation into many languages, while losing little of its force and its wry character. As a source of literary imagery and memorable quotations it ranks with the Bible and the works of Shakespeare. While Edward Fitzgerald was neither the first nor the most scholarly of the English translators of the Rubaiyat, his translation has been largely responsible for the world-wide popularity of this monument of classic Persian poetry.

In Oedipus at Colonus, the banished king, after years of wandering, accompanied by his faithful daughter Antigone, finds himself in Athens. Receiving a warm if guarded welcome from Theseus, King of Athens, he prepares to settle himself to spend his last days in peace. However, unwelcome visitors from his tortured past continue to haunt him until the very end.

In the early twentieth century, it was often said that “Australia rides on the sheep’s back”—a reflection of the nation’s dependence on the wool trade. Accordingly, a vast itinerant army of labourers was required to shear the sheep and prepare fleeces for market. In this essay, Rolf Boldrewood provides a vivid picture of the shearing season on a large property.

Making his way to a tryst with his "dark lady" near the royal palace the young playwright William Shakespeare encounters a mysterious woman in a cloak. Mistaking her for his lady friend, he accosts her in a familiar fashion, only to discover, to his dismay, that she is in fact the queen. He overcomes his initial discomfort, and takes advantage of the situation to make a petition for royal support to establish a national theatre.

The plot follows the usual trajectory of a young girl falling in love and the relationship becoming compromised by unforeseen circumstances. In this case, Austen’s heroine is a naïve country girl, Catherine Morland, who has an addiction to reading the Gothic horror novels which were so popular in the Regency period. When she is invited to stay at the family seat of her love interest and discovers it to be a vast and ancient castle, her romantic imagination runs riot. What secrets lie hidden in this vast pile over which the widowed head of the house exercises an iron control?

Accusation is the unperceived catalyst for this dramatic narrative; Job is framed by the accusation that his self-invested allegiance to God will evaporate if he is exposed to adversity. Job is unaware that this wager against his integrity has taken place. The drama that ensues on an epic scale resonates with universal experiences of human suffering - from Job's searching questions, to the grating interventions of Job's friends, and the sense that human misfortune can seem contingent on the whim of unseen powers.

Thomas Troward (1847-1916) was the founder of a syncretic metaphysical system, which he called Mental Science. He claimed that his philosophy was supported by the Bible, which he quoted copiously in his various books. In this pamphlet, published while the First World War was raging, Troward sought to demonstrate that the prophetic utterances in the Bible indicated that his readers were living in the End Times. However, Troward claimed that this apocalyptic period was not the end of the world, but the end of an age.

Thomas Troward (1847-1916) was a divisional Judge in British-administered India. In his retirement, he became well known as a lecturer on metaphysical subjects and developed a unique New Thought philosophy, which he discussed in a number of books. The Law and the Word was published posthumously in 1917. The book explores the power of the word as the fundamental element in manifestation. Troward held the word to be the expression of the immutable law of creation and supports his claim with extensive citations from the Bible.

This poetic exploration of the subject of love was composed in Italy 1821, and published anonymously, as the poet wished its circulation to be restricted to the "esoteric few." The title means "concerning or about a little soul", the subject, in this case, being Shelley's inamorata of the time, Countess Teresa (designated "Emily" in the poem) Viviani, a young woman who was immured in the Convent of Saint Anna by her father. Shelley had had a number of contacts with her by letter and in person.

"Enoch Arden" is a long narrative poem that is built on a theme that has been widely explored in literature and on film. A man is separated from his family due to shipwreck and marooned on an island. After several years of absence from his home, it is assumed that he has died, and his wife remarries and starts a new family. After 10 years, the man finally makes his way home and has to deal with the trauma of discovering his wife and family happily established in a new relationship.

This classic farce was first performed in 1892. Since the record-breaking initial run in London, it has been revived many times around the world in a variety of languages, and has also been adapted for a number of presentations on film. The play incorporates many of the features which have become standard in romantic comedies: a cross dressing central character, identity confusion, young lovers kept apart by parental influence and older lovers unexpectedly reunited.