This collection contains, The Ballad of the White Horse by Gilbert Keith Chesterton, Andromeda and Other Poems by Charles Kingsley, Ballads by William Makepeace Thackeray, Don Juan by Lord George Gordon Byron, Moments of Vision and Miscellaneous Verses by Thomas Hardy, Poems of Gerard Manley Hopkins by Gerard Manley Hopkins, Poetical Sketches by William Blake, Satires of Circumstance, Lyrics and Reveries, with Miscellaneous Pieces by Thomas Hardy, Selected Poems by William Blake, Selected Poems by Robert Browning, Selected Poems of Oscar Wilde by Oscar Wilde, The Four Zoas by William Blake, THE LEGEND OF GOOD WOMEN by Geoffrey Chaucer, The Poetical Works of John Dryden by John Dryden, Time's Laughingstocks and Other Verses by Thomas Hardy, Troilus and Criseyde by Geoffrey Chaucer, Wessex Poems and Other Verses by Thomas Hardy, Selected Prose of Oscar Wilde by Oscar Wilde, Eugene Onegin by Alexander Sergeevich Pushkin,

Excerpt from Wessex Poems and Other Verses: Poems of the Past and the Present The pieces are in a large degree dramatic or personative in conception; and this even where they are not obviously so. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

Excerpt from Wessex Poems and Other Verses, And, Poems of the Past and the Present OF the miscellaneous collection of verse that follows, only four pieces have been published, though many were written long ago, and others partly written. In some few cases the verses were turned into prose and printed as such in a novel, it not having been anticipated at that time that they might see the light in their original shape. Here and there, when an ancient and legitimate word still current in the district, for which there was no close equivalent in received English, suggested itself, it has been made use of, on what seemed good grounds. The pieces are in a large degree dramatic or personative in conception; and the dates attached to some of the poems do not apply to the rough sketches given in illustration, ' which have been recently made, and, as may be surmised, are inserted for personal and local reasons rather than for their intrinsic qualities. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In most college and university libraries, materials published before 1800 have been moved into special collections, while the post-1923 books remain in general circulation. But books published between these dates are vulnerable to deaccessioning, as libraries increasingly reconfigure access to public-domain texts via digital repositories such as Google Books. Even libraries with strong commitments to their print collections are clearing out the duplicates, assuming that circulating copies of any given nineteenth-century edition are essentially identical to one another. When you look closely, however, you see that they are not. Many nineteenth-century books were donated by alumni or their families decades ago, and many of them bear traces left behind by the people who first owned and used them. In Book Traces, Andrew M. Stauffer adopts what he calls "guided serendipity" as a tactic in pursuit of two goals: first, to read nineteenth-century poetry through the clues and objects earlier readers left in their books and, second, to defend the value of keeping the physical volumes on the shelves. Finding in such books of poetry the inscriptions, annotations, and insertions made by their original owners, and using them as exemplary case studies, Stauffer shows how the physical, historical book enables a modern reader to encounter poetry through the eyes of someone for whom it was personal.