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Thomas Love Peacock was a linguist, scholar and East India Company official. He had a wide circle of literary friends, including Coleridge and Shelley, and his early works were poems, some of a considerable length. In 1815 his first novel, Headlong Hall, was published, and between that year and 1831, he published a further five novels. His final completed novel, Gryll Grange, was written in 1860 and published the following year. Peacock also produced a number of articles on literary and historical subjects, and some other long poems, which have faded into obscurity.

"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.

Joseph McCabe (1867-1955) was a Catholic priest and scholar who abandoned his faith in the 1890s and later became a very prominent secular activist. He published over 250 books and pamphlets, covering a wide range of genres, including history, politics, biography, and popular science.

Although Edgar Allan Poe (1809-1849) is best known today as a master of macabre fiction, his writings cover a wide range of other forms, including poetry, drama, criticism, and historical commentary. The Raven Edition presents his complete literary output in five volumes, the first of which contains three tributes to Poe and eight of his stories.

This pacifist manifesto was published in 1917, as the First World War was dragging to a close. The resolution of this catastrophic conflict resulted in a reconstruction of Europe, the fallout from which led to an even more cataclysmic war. Russell delineates the problem as being due to the institutionalizing of national hostilities and the consequent apportioning of blame among the warring parties. In his exposition Russell considers the roles played by a number of institutions, social and political, reserving some his sharpest criticism for organized religion.

This collection arguably contains some of the most charming lyrics ever written in English. Blake’s poems can be enjoyed, not only for their historical importance in an age which was fiercely proud of its genius and its traditions, but also for their simple and beautiful expression of “two contrary states of the human soul.” Songs of Innocence was originally a complete collection of twenty-three poems, first printed in 1789. In 1794, a composite collection entitled Songs of Innocence and of Experience, containing forty-seven poems, was published.

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.

The selection of eighteen poems is taken from Tennyson's first collection, published in 1830. The most famous poem in the collection is Mariana, a dramatic narrative, which, like The Lady of Shalott, describes the tragic fate of an abandoned woman. All the poems feature the elegant euphony for which Tennyson's verse has become famous.

Carlo Collodi's whimsical recasting of the myth of Pygmalion and Galatea was first published in 1883 and has since become an established classic of children's literature. Geppetto, a poor wood carver, receives a piece of wood from which he carves a marionette. Much to his surprise, the puppet springs to life and embarks on a wild series of adventures.

A Doll's House, published in 1879, was the earliest of Ibsen's "social dramas", and the first of his works to attract attention outside of Scandinavia. The central theme of the play is a woman's right to individual self-development, and represents, as humourist Stephen Leacock observed of many Ibsen plays, "a profound problem stated but not solved".

Pinocchio is by all odds the best puppet-story to be found anywhere, and we sigh in sympathy with the funny little chap's scrapes and punishments, or chuckle at his pranks, while we feel like exclaiming, "Why, how much Pinocchio must have been like me!" The author of this captivating tale, Signor Lorenzini, or "Collodi" as he liked to call himself after his native town in Italy, lived during the 19th century (1826-90) and devoted himself to writing and education, believing that one pleasing way to teach was through puppet-plays.

The four canonical gospels contain little information about the childhood of Jesus. To provide details of this period, a number of infancy gospels were composed in the second century, the text of this recording being one of the most notable. In this book, the sketchy infancy narrative of the Gospels of Matthew and Luke is embellished in great detail. The events of Jesus’ boyhood days, richly garnished with tales of miraculous feats and the occasional visitation of punishment on unfortunate delinquents, are also described.

Keats commenced writing his epic poem, Hyperion, in 1818 and ceased working on it in the spring of 1819. He said that he gave the project up for having "too many Miltonic inversions." The unfinished poem, which ceases in the middle of the third canto, was published in 1820. The narrative is based on the Titanomachia, or War of the Titans, and describes the aftermath of their fall to the Olympian Gods.

Today Thomas Gray is remembered almost solely for this melancholy meditation on the inevitability of death and the insignificance of fame. The poem was originally thought to have been inspired by the death of Gray's close friend, Richard West, but modern critics think this to be unlikely. Retiring by nature, Gray did not want the elegy to be published, but his hand was forced by an unscrupulous editor who planned to publish the poem without permission. The polished elegance of the versification has ensured that the poem has retained its appeal over the centuries.

Together with "The Vicar of Wakefield" and "She Stoops to Conquer", these two poems are the best-known works of the Irish literary maverick Oliver Goldsmith.

Norman Lindsay’s classic tale about an anthropomorphic pudding and its band of protectors was written in 1917, in response to an argument between Lindsay and the critic and anthologist Bertram Stevens about the types of stories that would appeal most to children. In retrospect it appears that Lindsay clearly won the argument. The book has never been out of print in Australia and has been adapted for presentation as a film, a stage play, and an opera. It has been described by eminent children’s author Philip Pullman as "the funniest children's book ever written."

While he is most famous for his didactic fable, The Prophet, the works of Kahlil Gibran (1883-1931) address a wide range of philosophical and social issues. The overriding theme of his narratives is not the religious universalism that he is supposed to represent, but rather the inevitable conflict between human aspirations and the remorseless machinations of fate.

This collection of aphorisms, poems and parables has been described as the reflections of a philosopher watching from his window and commenting on the scenes passing before him.

Thomas Troward (1847 - 1916) was a divisional Judge in the British administration of India. In his later years, he developed a distinctive discipline of personal development which he called Mental Science. He had a particular reverence for Jesus. In the introduction, the author asserts that "we possess latent powers which a better knowledge of the truth regarding ourselves will enable us to develop, and that the purpose of the Bible is to lead us into this knowledge in a perfectly natural manner while guarding us against the dangers arising from misuse of it."

Andrea Del Sarto (1836 - 1530) was a Florentine painter whose career flourished during the High Renaissance. In this dramatic monologue, "the faultless painter" (Andrea Senza Errori, as he was surnamed by the Italians) is the speaker. He addresses his unsympathetic wife, Lucrezia, upon whom he dotes, and for whom he has broken faith with his royal patron, Francis I of France so that he can meet the expenses of her indulgent lifestyle. He laments that he has not realized the possibilities of his genius, partly blaming and partly excusing the woman who has failed to support his high ideals.