English poetry has a long history dating back to the medieval period, with important works such as ‘Beowulf’ and ‘Sir Gawain and the Green Knight.’ However, it was during the Renaissance period that English poetry truly flourished, with the works of William Shakespeare, John Donne, and Ben Jonson, among others.
In the 18th century, the Romantic movement emerged, with poets such as William Wordsworth, Samuel Taylor Coleridge, and Lord Byron pushing the boundaries of poetic expression with their emotive and personal works. This era also saw the rise of female poets such as Mary Shelley and Charlotte Smith, who challenged societal norms with their feminist and revolutionary ideas.
The Victorian period saw the rise of poets such as Alfred Lord Tennyson, Robert Browning, and Elizabeth Barrett Browning, who explored themes of love, death, and morality. The 20th century brought about the modernist movement, with poets such as T.S. Eliot, W.H. Auden, and Dylan Thomas experimenting with language and form to create works that were both intellectually challenging and emotionally resonant.
Shakespeare’s ‘Sonnet 18’ praises timeless beauty, rooted in virtues that endure beyond the fleeting beauty of the youth.
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
‘Caedmon’s Hymn’ was sung by a lay worker, Caedmon, from the estate of the monastery of Whitby when the voice of God came to him.
Now we must praise heaven-kingdom's Guardian,
The Measurer’s might and his mind-plans,
The work of the Glory-Father, when he of wonders of every one
Eternal Lord, the beginning established
William Wordsworth’s literary classic, ‘Daffodils,’ also known as ‘I Wandered Lonely as a Cloud,’ is one of the most popular poems in the English language. It is a quintessential poem of the Romantic movement.
I wandered lonely as a cloud
That floats on high o'er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
‘The Canterbury Tales: General Prologue’ by Geoffrey Chaucer expresses the poem’s satirical view on the society of its time.
Whan that Aprille with his shoures soote,
The droghte of March hath perced to the roote,
And bathed every veyne in swich licóur
Of which vertú engendred is the flour;
Coleridge’s ‘Kubla Khan’ describes the poet’s dream of visiting the palace of a Mongol emperor who ruled the ancient Chinese Yuan Dynasty.
In Xanadu did Kubla Khan
A stately pleasure-dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Sonnet 73, ‘That time of year thou mayst in me behold’, explores love’s resilience in the face of human transience.
That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruined choirs, where late the sweet birds sang.
Wordsworth’s ‘Lines Composed a Few Miles above Tintern Abbey’ tells of the power and influence of nature in guiding life and morality.
Five years have past; five summers, with the length
Of five long winters! and again I hear
These waters, rolling from their mountain-springs
With a soft inland murmur.—Once again
Sonnet 29, ‘When, in disgrace with fortune and men’s eyes’ by William Shakespeare explores emotions of self-doubt, envy, despair, and the power of love.
When, in disgrace with fortune and men’s eyes,
I all alone beweep my outcast state,
And trouble deaf heaven with my bootless cries,
And look upon myself and curse my fate,
The Thirty Pilgrims in ‘The Canterbury Tales’ and the host belong to diverse ranks and professions representing the contemporaneous society.
ONCE ON A TIME, as old tales tell to us,
There was a duke whose name was Theseus;
Of Athens he was lord and governor,
And in his time was such a conqueror
‘Ode to a Nightingale,’ written in 1819, is one of John Keats’ six famous odes. It’s the longest, with eight 10-line stanzas, and showcases Keats’ signature style of vivid imagery and emotional depth, exploring themes like beauty and mortality.
My heart aches, and a drowsy numbness pains
My sense, as though of hemlock I had drunk,
Or emptied some dull opiate to the drains
One minute past, and Lethe-wards had sunk:
‘Ozymandias’ is about the nature of power. It is an important piece that features how a great ruler like Ozymandias, and his legacy, was prone to impermanence and decay.
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
‘Bards of Passion and of Mirth’ by John Keats is one of the poet’s early odes. In it, Keats confirms that bards, or authors, have two souls, with one rising to heaven, and the other staying on earth.
Bards of Passion and of Mirth,
Ye have left your souls on earth!
Have ye souls in heaven too,
Doubled-lived in regions new?
A nonsense poem filled with wordplay, ‘Jabberwocky’ by Lewis Carroll tells the story of the hero’s quest to slay the Jabberwock.
’Twas brillig, and the slithy toves
Did gyre and gimble in the wabe:
All mimsy were the borogoves,
And the mome raths outgrabe.
Shakespeare’s Sonnet 1, ‘From fairest creatures we desire increase,’ appeals to the Fair Youth to procreate and preserve his beauty.
From fairest creatures we desire increase,
That thereby beauty’s rose might never die,
But as the riper should by time decease,
His tender heir might bear his memory;
Sonnet 130, ‘My mistress’ eyes are nothing like the sun,’ satirizes and subverts traditional love poetry, presenting a new perspective.
My mistress' eyes are nothing like the sun;
Coral is far more red, than her lips red:
If snow be white, why then her breasts are dun;
If hairs be wires, black wires grow on her head.