Saturday, October 30, 2010

The Unseen World

Here is my secret. It is very simple. It is only with the heart that one can see rightly; What is essential is invisible to the eye. -Antoine de Saint Exupéry

Earth crack in Michigan is getting bigger!

http://www.godlikeproductions.com/forum1/message1237405/pg1

Wednesday, October 27, 2010

Dark Matter

I have seen the none place.
I have been outside the world.
Outside the walls and occupied the
impossible position, the view from nowhere.

Saturday, October 23, 2010

Po~Et~Tree--PO~IT~THREE

Po.et.ry comes from the Greek word poico, "to make" or "to create". A complete definition of poetry is impossible, its higher qualities defying analysis and description. According the etymology of the word it signifies a production or creation of any kind; but in actual use it app.lies to the products of the imagination and to the form or language in which they are expressed. Here the critics differ as to whether any composition should be called poetry unless it is constructed in regular measure or matter - that is, whether it must be poetic in form as well as in essence. Certain it is that our literature as well as the literature of other nations abounds in works highly imaginative and composed in truly poetic language, but which are generally called prose works because of their form has not been reduced to meter or rhyme. The book of Ruth in the Old Testament is decidedly poetical in its substance, but prosaic in form, and the same may be said of the book of Job and the writings of the prophets. But whether we consider rhyme and meter essential to poetry or not, they greatly increase not only its beauty but its effect.

The reason of this is that the music of the words so arranged heightens the emotion produced by their meaning, and thus furthers the end that the poet has in view; and so the poet is ever a "maker" as well as a singer. But, on the other hand, neither meter alone nor meter combined will constitute poetry, unless there be truly poetic thought clothed in poetic language. The three principal kinds of poetry are the epic, the lyric and the dramatic. The first of these refers in general to poems that are to be read or recited, not sung. It included matters of narration, real or fictitious, philosophical reflections, etc. Lyric poetry includes the song in all its varieties, the hymn, the ode, the anthem, the sonnet, etc. Dramatic poetry embraces tragedy and comedy. In actual poetic compositions the distinction between these divisions of poetry is not always clear, as each one of them frequently contains elements belonging to the others.


In a Dark Time

by Theodore Roethke


In a dark time, the eye begins to see,
I meet my shadow in the deepening shade;
I hear my echo in the echoing wood—
A lord of nature weeping to a tree.
I live between the heron and the wren,
Beasts of the hill and serpents of the den.

What’s madness but nobility of soul
At odds with circumstance? The day’s on fire!
I know the purity of pure despair,
My shadow pinned against a sweating wall.
That place among the rocks—is it a cave,
Or winding path? The edge is what I have.

A steady storm of correspondences!
A night flowing with birds, a ragged moon,
And in broad day the midnight come again!
A man goes far to find out what he is—
Death of the self in a long, tearless night,
All natural shapes blazing unnatural light.

Dark, dark my light, and darker my desire.
My soul, like some heat-maddened summer fly,
Keeps buzzing at the sill. Which I is I?
A fallen man, I climb out of my fear.
The mind enters itself, and God the mind,
And one is One, free in the tearing wind.



Hidden in Plain View

video



Observe in the third scene closely, what is being said and what you're witnessing transpire. This female with her hair which is constantly changing colors(formlessness-wisdom-intuition) manages to slip into this well guarded fortress(the mind). We must never assume that intellection is the substitute for the internal experience of the individual. The mind is the instrument of recollection and also enables us to take a particular experience and expand it or extend it over a larger area of circumstances. The mind can take the key achieved by intuition and place it in many locks giving us broader insight then we previously possessed. But the mind unless it is moved by the spine, itself it is merely an intellectual tyrant. Therefore you have the Mahayana Buddhist text, The Voice of the Silence, says: "Mind is the great Slayer of the Real. Let the Disciple slay the Slayer." The "Real" is beyond mind. But only the mind of the disciple slays the Real. It becomes the slayer. That is just the philosophical standpoint, that scene is something which can be considered literally as well, since women have been genetically altered and used as spies. [see Samson and Delilah]

Do not give dogs what is holy; and do not throw your pearls before swine, lest they trample them underfoot and turn to attack you. (Jesus Christ, Matthew 7:6) As Christ himself understood, talking in parables is often the best way to teach a lesson, for it allows people to realize the truth on their own. Communication depends on metaphors and symbols, which are the basis of language itself. A metaphor is a kind of mirror to the concrete and real, which it often expresses more clearly and deeply than a literal description does.

At the heart of Freemasonry is allegory and symbolism.The moment we lock our thoughts in words we restrict our meanings and hand our will to the creator of those words. Dogmatism has been imposed on symbols and concepts which grow by peoples lack of understanding. There could be a thousand interpretations already known for a certain symbol but if we are content to accept any or all of them we shall shall someway deprive ourselves of the greatest adventure of all and that is personal exploration of the idea, the search within ourselves for meaning. The language of symbolism invites us all to search for meaning. Symbolism is a language in itself, it relates to things about which there is no common knowledge.

In Symbolic languaging you have statements used to conceal tremendous truths. The most powerful symbol goes beyond action into symbol. The power of a symbol - a flag, a mythic story, a monument to some emotional event - is that everyone understands without anything being said. Never neglect the way they arrange things visually. Factors like color, for example, have enormous symbolic resonance.

A symbol can contain dozens of meanings in one simple phrase or object. The Ruse of the Stars (Zoroaster) is a trick that has been used for thousands of years. Symbols can be used as an instrument that strikes with an emotional power and immediacy that leaves no gaps for reflection and doubt. Imagine the Moon Doctor trying to make a case for his medical practice, trying to convince the unconverted by telling them about the healing powers of the moon, and about his own special connection to a distant object in the sky.

Fortunately for him, he was able to make a compelling spectacle that made words unnecessary. The moment his patients entered the beer hall, the image of the moon spoke eloquently enough. The use of scapegoats is as old as civilization itself, and examples of it can be found in cultures around the world. The main idea behind these sacrifices is the shifting of guilt and sin to an outside figure - object, animal, or man - which is then banished or destroyed. The Hebrews used to take a live goat(hence the term "scapegoat") upon whose head the priest would lay both hands while confessing the sins of the Children of Israel.

Having thus had those sins transferred to it, the beast would be led away and abandoned in the wilderness. With the Athenians and Aztecs, the scapegoat was human, often a person fed and raised for the purpose. Since famine and plague were thought to be visited on the humans by the gods, (also known as - NEANDERTHALS) in punishment for wrongdoing, the people suffered not only from the famine and plague(science) themselves but from blame and guilt. They freed themselves of guilt by transferring it to an innocent person, whose death was intended to satisfy the divine powers and banish the evil from their midst.

It is an extremely human response to not look inward after a mistake or crime, but rather to look outward and to affix blame and guilt on a convenient object. When the plague was ravaging Thebes, Oedipus looked everywhere for its cause, everywhere except inside himself and his own sin of incest, which had so offended the gods and occasioned the plague. This profound need to exteriorize one's guilt, to project it on another person or object, has an immense power, which the clever know how to harness. Sacrifice is a ritual, perhaps the most ancient ritual of all; ritual too is a wellspring of power. In the killing of de Orco, note Cesare's symbolic and ritualistic display of his body.

By framing it in this dramatic way he focused guilt outward. The citizens of Romagna responded instantly. Because it comes almost naturally to us to look outward rather than inward, we readily accept the scapegoat's guilt. The bloody sacrifice of the scapegoat seems a barbaric relic of the past, but the practice lives on to this day, if indirectly and symbolically; since power depends on appearances, and those in power must never seem to make mistakes, the use of scapegoats is as popular as ever. What modern leader will take responsibility for his blunders? He searches out for others to blame, a scapegoat to sacrifice. Is it any wonder why they call children KIDS (baby goats) who seem to be the excuse for these charity Masonic scam organizations to promulgate their agenda?

Wednesday, October 20, 2010

They come and GO like a Hot gust of wind

Simoom or SIMOON is a hot suffocating wind, common in the deserts of Africa and Arabia. It is very much like a cyclONE, with a calm center surrounded by whirling blasts of very hot air, the whole moving slowly from south to north, or east to west. It often carries along columns of sand, and is indicated by a purple atmosphere. It is very injurious to both humans and animals, causing severe pain and a feeling of suffocation. It lasts only for a few minutes, not more than twenty at the most, and occurs in spring and summer.

Simonians were an ancient sect founded by a sorcerer of Samaria mentioned in the book of Acts named Simon Magus or the magician. Simon Magus claimed to be the great power of God, thinking that the gifts of the Holy Ghost were venal, and to be purchased with money. He is said to have invented the Aeons, which were so many persons of whom the Godhead was composed. His concubine Helen, he called the first intelligence, and mother of all things; and sometimes called her Minerva, and himself Jupiter. Simon Magus gained a great many proselytes, who paid himself and his concubine divine worship. Justin Martyr says that he went to Rome, where a statue was erected to him with the inscription "To Simon the Holy God." Hippolytus records that he met Peter at Rome and that he ordered his followers to bury him, promising to rise on the third day. But these stories rest on very uncertain foundations and leave only as certainty the existence of a great con man skilled in the arts of Magism.

Simon says is a game for three or more players (most often children). One of the people is "it" – i.e., Simon. The others must do what Simon tells them to do when asked with a phrase beginning with "Simon says". If Simon says "Simon says jump", the players must jump (players that do not jump are out). However, if Simon says simply "jump", without first saying "Simon says", players do not jump; those that do jump are out. In general, it is the spirit of the command, not the actions that matters; if Simon says "Simon says touch your toes", players only have to show that they are trying to touch their toes. It is the ability to distinguish between valid and invalid commands, rather than physical ability, that matters here.

It is Simon's task to try to get everyone out as quickly as possible, and it is every one else's job to stay "in" for as long as possible. The last of Simon's followers to stay in wins (although the game is not always played all the way through).

It is considered cheating to give impossible commands ("Simon says 'lift both of your legs up and keep them there!'.") or phrase the commands in such a way that the other player has no option but to 'go out' ("Simon says 'jump up'. Come down."). However, at least in some versions, it is allowed for Simon to eliminate players by asking them to do something seemingly unrelated to the game (example: "Anyone remaining join me up here.")


LIAR LYRE!


What is this place? It all depends on how much you want to know! Our lives are ruled by the C(L)OCK. The NEWS on the HOUR every HOUR so the Masses RELY on the LIARS to tell the LIES and keep them in ILLUSION. The Turkey Vulture Media! Observe and Analyze(anna lies) the symbolic significance of the Turkey Vulture; the RED head represents PERsia at the head of it all, leading the way for the rest of the BLACK BODY which are the (ignite)IGNorANT masses lost in darkness and the VULTURE part, we all know that by now. Turkey is what used to be known as the (automan~boeing) Ottoman empire. They speak with forked tongues(boasting they have the wisdom), the WORDS they use to persuade us which virtually invite us to reflect on them with the PROGRAM they have given us and we often end up believing the OPPOSITE of what they say. The power of the WRITTEN and SPOKEN WORD stirs up arguments and makes divisions.

The Lyre is one of the oldest forms of stringed instruments. The Greeks had a tradition that Mercury formed the lyre out of the shell of a tortoise(links to the OLD ONES); but as a matter of fact, we must seek for its birthplace in Asia, and to infer its introduction into Greece through Thrace or Lydia. The Egyptians also had a tradition that the lyre was first invented in their country, but they seem to have adopted it from Assyria or Babylonia. The Egyptian lyre is unmistakably SEMITIC. The lyre, unlike the lute, cannot be stopped by the fingers and its sounds be thereby multiplied; and as the numbers of its sounds can be no greater than the number of the strings, since the introduction of the modern musical scale it has fallen into disuse.


THE BIRDMEN GOT IT FROM OBSERVING NATURE!

The Lyre bird is a kind of bird of which the best known species is a native of New South Wales, where it is generally called the lyre pheasant. A bird about the size of a pheasant, it frequents the sparsely wooded country in New South Wales, but retreats from the more inhabited districts, being extremely shy and hard to approach. It is the largest of all song birds and has the rare power of imitating the songs of other birds and the sounds of other animals. The tail of the male bird has twelve long, splendid feathers and two exterior feathers curved like the sides of an ancient lyre.

The winged messenger, god of commerce, patron SAINT OF THIEVES, gamblers, and those who DECEIVE through SWIFTNESS. The day Mercury was born he invented the LIE...er....I mean lyre/liar; by that evening he had stolen the cattle of Apollo. He would scour the world, assuming whatever form he desired. Like the liquid metal named after him, he embodies the elusive, the UNGRASPABLE - the power of FORMLESSNESS.




F.Y.I.
Plato mentioned in his "Republic"(The BEE-HIVE hand-guide) that music had to be controlled by the system because it had a strong influence on the minds of the youth. Just look at the music industry today. Listen to the LYRICS (Liar I See)to all the popular songs and see for yourself. The Pythagoreans likened a just and well-ordered society to a well-tuned lyre. While each note retains its individuality, all are proportionally linked together in a larger whole to form a musical scale, and all are interdependent in terms of their reliance on one another. (See Plato, Republic 443 D–444). Justice is present in any well-functioning organism, society—and also the soul.

Monday, October 18, 2010

The Abbyrinth


And you ask, what is this place? It all depends how much you want to know! Figuratively the word denotes anything extremely intricate, as the labyrinth of the human heart.

Parse

Father Robert PARSONS, the head of the English Jesuits, was born in 1546 in Somer.set.shire and went from Oxford to Baliol College, where he took his degrees and became a tutor, twice taking the oath abjuring the pope but never taking orders in the English church. He was forced to retire from Oxford and shortly afterwards, becoming a Roman Catholic, he went to Padua to study medicine , but changed his mind and went to Rome, where he offered himself to the Jesuit society in 1575 and became a Jesuit priest in 1578. In 1580 he was selected with Campion to Jesuit missionary work in England and landed there in disguise on June 11, immediately beginning vigorous, secret and highly successful work. For a year he continued but when Campion was taken, Parsons escaped to the continent and never returned to England. Although cautioned not to interfere in matters of state, he began to formulate the plans for a Catholic invasion of England which terminated in the unsuccessful Armada, after which he organized theological seminaries in Valladolid, St. Lucas, Seville, Lisbon and St. Omer. He died at Rome on April 15, 1610. Some of his best known writings are, The Conference on the Succession to the Crown, in which he advocated the right of the people to dispose the natural heir for religious reasons, and the possession of a copy of which parliament made treason; Reply to the Edict of Elizabeth; Memorial for the Reformation; His Apology and Manifestation of the Great Folly and Bad Spirit of Certain in England Calling Themselves Secular Priests.

Saturday, October 16, 2010

Purse Parse Perceive

Parsees is the name of the few remaining followers of the Persian religion of ZOROASTER. That which remains of the teachings show that at first the belief centered in a single Moho god, but that the god had two(Polarizing Polaris People! ) spirits, a reality and a non-reality, which soon led to the worship of two gods, a god of good and a god of evil. The religion flourished up to the time of Alexander the Great,(The Great Work) but after his death it declined until 212 A.D., when Artaxesrxes caused the book (Zend) to be restored, and spread it throughout the land. The priest of whom there were 40,000, became very powerful and the religion flourished again until the defeat of the Persians in the battle of NahaVAND by Omar in 651 A.D. Thereupon the greater portion became Muslims, but many fled, some going to India where they lived under English rule and are much respected. In 1881 there were 73,760 Parsees in British India. They eat nothing cooked by a person of another religion and no beef or pork; prohibit polygamy, and do not bury their dead, but expose the bodies upon an iron grating. the symbol of their god is the sun and the worship is by perpetual fire(see Vestal Virgins) upon the altars.


Parse[Lat. pars] a part (of speech). To analyze and describe grammatically, as a sentence. ie CASTING A SPELL

Parson[Lat. persona] 1. Priest of a parish 2. A clergyman

Perceive[Lat. percipere] [French. per and capere , to take , receive] 1. to obtain knowledge of through the senses. 2. To see to be true synonymous with Discern

Precipitant[Lat. praecipitare, tatum,] [French praeceps, headlong] a substance which having been dissolved, is again separated from its solvent, and thrown to the bottom of the vessel, by pouring another liquor upon it.

Precept [Lat. praeceptum, from praecipere, to take before hand, to instruct] Any commandment intended as a rule of action, especially as to moral conduct 2. a species of writ.
Synonymous with Doctrine

Persecute~Persevere~Person

Purse[Greek] 1. A small bag of money. 2. A treasury. 3. A sum of money as a prize or present.
To contract into folds or wrinkles

See Greek Mythology: Persephone [phony] the BAG LADY

Wednesday, October 13, 2010

Swede-Medes(media) making Original Bees

BLAKE, William (1757-1827). "I do not behold the outward creation. . . . it is a hindrance and not action." Thus William Blake--painter, engraver, and poet--explained why his work was filled with religious visions rather than with subjects from everyday life. Few people in his time realized that Blake expressed these visions with a talent that approached genius. He lived in near poverty and died unrecognized. Today, however, Blake is acclaimed one of England's great figures of art and literature and one of the most inspired and original painters of his time.

Blake was born on Nov. 28, 1757, in London. His father ran a hosiery shop. William, the third of five children, went to school only long enough to learn to read and write, and then he worked in the shop until he was 14. When he saw the boy's talent for drawing, Blake's father apprenticed him to an engraver.

At 25 Blake married Catherine Boucher. He taught her to read and write and to help him in his work. They had no children. They worked together to produce an edition of Blake's poems and drawings, called 'Songs of Innocence'. Blake engraved both words and pictures on copper printing plates. Catherine made the printing impressions, hand-colored the pictures, and bound the books. The books sold slowly, for a few shillings each. Today a single copy is worth many thousands of dollars.

Blake's fame as an artist and engraver rests largely on a set of 21 copperplate etchings to illustrate the Book of Job in the Old Testament. However, he did much work for which other artists and engravers got the credit. Blake was a poor businessman, and he preferred to work on subjects of his own choice rather than on those that publishers assigned him. In the Old Testament, Job is an upright man whose faith in God survived the test of repeated calamities.

The Echoing Green
The sun does arise,
And make happy the skies;
The merry bells ring
To welcome the spring;
The skylark and thrush,
The birds of the bush,
Sing louder around
To the bell's cheerful sound,
While our sports shall be seen
On the Echoing Green.

Old John with white hair,
Does laugh away care,
Sitting under the oak,
Among the old folk.
They laugh at our play,
And soon they all say:
"Such, such were the joys
When we all, girls and boys,
In our youth time were seen
On the Echoing Green."

Till the little ones, weary,
No more can be merry;
The sun does descend,
And our sports have an end.
Round the laps of their mothers
Many sisters and brother,
Like birds in their nest,
Are ready for rest,
And sport no more seen
On the darkening Green.

A follower of Emanuel Swedenborg, who offered a gentle and mystic interpretation of Christianity, Blake wrote poetry that largely reflects Swedenborgian views (see Swedenborg). 'Songs of Innocence' (1789) shows life as it seems to innocent children. 'Songs of Experience' (1794) tells of a mature person's realization of pain and terror in the universe. This book contains his famous 'Tiger! Tiger! Burning Bright'. 'Milton' (1804-08) and 'Jerusalem' (1804-20) are longer and more obscure works. Blake died on Aug. 12, 1827.

Swede-Medes(media) making Original Bees

Emmanuel Swedenborg was born in Stockholm, Sweden, Jan 29, 1688, the son of a bishop, and of a noble family. He was graduated at the University of Upsala, and after four years of travel, was given a position in the College of Mines by Charles XII., who became his friend. For some years he busied himself in writing a host of scientific works, mainly practical, on bridges, air guns, docks, blood circulation, copper manufacturing, etc. Suddenly his scientific work stopped, and in 1749-'56 appeared in twelve volumes a Latin work which he called Heavenly Secrets. He announced that the Lord had appeared to him, and sent him to be the herald of a new church, and that his office was to interpret the Word of God according to its true meaning. The New Jerusalem and its Heavenly Doctrine, and many other theological works followed. Swedenborg made no effort to found a church, but confined himself to the work of announcing the new doctrines which were to be it basis. He died in London, March 29, 1772. Since his death religious societies have been founded on Swedenborg's teachings, and are banded together in America as the general convention, and in England as the general conference of the new church. See his Life by Wil.kin.son

UK IQ MEN (ENOCH's IGUMEN)

Freemasonry's Universal Language Booklist


OLD ENGLISH PERIOD
Aelfric (955?-1020?), ecclesiastical biographer--'Lives of the Saints'. Alfred the Great (848?-899), translator--Boethius' 'Consolation of Philosophy'. Bede (673?-735), historian--'Ecclesiastical History of the English Nation'. Caedmon (7th century), poet--'Paraphrases'. Cynewulf (8th century), poet--'Christ'; 'Juliana'.

MIDDLE ENGLISH PERIOD
Chaucer, Geoffrey (1340?-1400), poet--'Canterbury Tales'. Geoffrey of Monmouth (1100?-54), historian--'Historia Regum Britanniae'. Langland, William (1330?-1400?), poet--'The Vision of Justify FullWilliam Concerning Piers the Plowman'. Layamon (about 1200), metrical historian--'Brut'. Lydgate, John (1370?-1451?), poet--'Troy Book'. Malory, Sir Thomas (died 1470?), translator--'Morte d'Arthur'. "Pearl Poet" (14th century), poet--'Sir Gawain and the Green Knight'.

THE RENAISSANCE
Bacon, Sir Francis (1561-1626), philosopher, essayist--'New Atlantis'; 'The Advancement of Learning'; 'Essays'. Beaumont, Francis (1584-1616), dramatist--with John Fletcher, 'The Knight of the Burning Pestle'. Chapman, George (1559?-1634), poet, dramatist, translator--Homer's 'Iliad' and 'Odyssey' (trans.). Coverdale, Miles (1488?-1569), translator--Bible. Daniel, Samuel (1562-1619), poet--'Defence of Ryme'. Dekker, Thomas (1570?-1641), dramatist--'The Shoemaker's Holiday'. Fletcher, John (1579-1625), dramatist--with Francis Beaumont, 'The Maid's Tragedy'. Ford, John (1586-1640?), dramatist--'The Broken Heart'. Heywood, Thomas (died 1641?), dramatist--'A Woman Killed with Kindness'. Jonson, Ben (1573?-1637), poet, dramatist--'Song to Celia'. Kyd, Thomas (1558-94), dramatist--'The Spanish Tragedy'. Lodge, Thomas (1558?-1625), poet--'Rosalynde'. Lyly, John (1554?-1606), novelist, dramatist--'Euphues: the Anatomy of Wit'; 'Euphues and His England'. Marlowe, Christopher (1564-93), dramatist--'Doctor Faustus'; 'The Jew of Malta'; 'Tamburlaine'. Massinger, Philip (1583-1640), dramatist--'A New Way to Pay Old Debts'. Middleton, Thomas (1570?-1627), dramatist--'Michaelmas Terne'. More, Sir Thomas (1478-1535), prose writer--'Utopia'. Shakespeare, William (1564-1616), dramatist, poet--'As You Like It'; 'Hamlet'; 'Macbeth'; 'King Lear' 'The Tempest'; 'Sonnets'. Sidney, Sir Philip (1554-86), poet, novelist--'Astrophel and Stella'; 'Arcadia'. Skelton, John (1460?-1529), poet--'Colyn Clout'. Spenser, Edmund (1552?-99), poet--'The Faerie Queene'. Tyndale, William (1492?-1536), translator, tract writer--New Testament (trans.). Webster, John (1580?-1625?), dramatist--'The Duchess of Malfi'. Wyatt, Sir Thomas (1503-42), poet--'Certayne Psalmes'.

THE 17TH CENTURY
Browne, Sir Thomas (1605-82), prose writer--'Religio Medici'; 'Pseudodoxia Epidemica'. Bunyan, John (1628-88), prose writer--'The Pilgrim's Progress'. Burton, Robert (1577-1640), prose writer--'The Anatomy of Melancholy'. Butler, Samuel (1612-80), satirist, poet--'Hudibras'. Carew, Thomas (1595?-1639), poet--'Poems'. Donne, John (1573-1631), poet, preacher--'Poems'. Dryden, John (1631-1700), poet, dramatist--'All for Love'; 'Alex ander's Feast'; 'The Hind and the Panther'. Herbert, George (1593-1633), poet--'The Temple'. Herrick, Robert (1591-1674), poet--'Hesperides'. Hobbes, Thomas (1588-1679), philosopher--'Leviathan'. Locke, John (1632-1704), philosopher--'An Essay Concerning Human Understanding'. Lovelace, Richard (1618-58), poet--'To Althea'. Marvell, Andrew (1621-78), poet--'To His Coy Mistress'; 'Last Instructions to a Painter'. Milton, John (1608-74), poet--'Paradise Lost'; 'L'Allegro'; 'Il Penseroso'; 'Lycidas'; 'Samson Agonistes'. Pepys, Samuel (1633-1703), diarist--'Diary'. Suckling, Sir John (1609-42), poet--'Ballad upon a Wedding'. Taylor, Jeremy (1613-67), theological writer--'Holy Living'; 'Holy Dying'. Vaughan, Henry (1622-95), poet--'The Retreat'. Walton, Izaak (1593-1683), essayist, biographer--'The Compleat Angler'.

THE 18TH CENTURY
Addison, Joseph (1672-1719), poet, essayist--Sir Roger de Coverley papers in The Spectator. Blair, Robert (1699-1746), poet--'The Grave'. Boswell, James (1740-95), biographer--'The Life of Samuel Johnson, LL.D.'. Collins, William (1721-59), poet--'The Passions'; 'Ode to Liberty'; 'Ode to Evening'. Cowper, William (1731-1800), poet--'The Task'. Crabbe, George (1754-1832), poet--'The Village'. Defoe, Daniel (1661?-1731), novelist, journalist--'Robinson Crusoe'; 'Moll Flanders'. Fielding, Henry (1707-54), novelist--'Joseph Andrews'; 'Tom Jones'. Gay, John (1685-1732), poet, dramatist--'The Shepherd's Week'; 'Fables'; 'The Beggar's Opera'. Gibbon, Edward (1737-94), historian--'The Decline and Fall of the Roman Empire'. Goldsmith, Olive r (1728-74), novelist, poet, dramatist--'The Vicar of Wakefield'; 'The Deserted Village'; 'She Stoops to Conquer'. Gray, Thomas (1716-71), poet, critic--'Elegy Written in a Country Churchyard'; 'The Progress of Poesy'. Hume, David (1711-76), philosopher, historian--'An Enquiry Concerning Human Understanding'. Johnson, Samuel (1709-84), lexicographer, novelist--'A Dictionary of the English Language'; 'Rasselas'. Pope, Alexander (1688-1744), poet, critic--'The Rape of the Lock'; 'An Essay on Criticism'; 'An Essay on Man'; 'The Dunciad'. Richardson, Samuel (1689-1761), novelist--'Pamela'; 'Clarissa'. Sheridan, Richard Brinsley (1751-1816), dramatist--'The School for Scandal'; 'The Rivals'. Smollett, Tobias (1721-71), novelist--'Roderick Random'. Steele, Sir Richard (1672-1729), essayist, dramatist--essays in The Spectator and The Tatler. Sterne, Laurence (1713-68), novelist--'Tristram Shandy'; 'A Sentimental Journey'. Swift, Jonathan (1667-1745), satirist--'Gulliver's Travels'; 'A Tale of a Tub'; 'Journal to Stella'. Thomson, James (1700-48), poet--'The Seasons'. Young, Edward (1683-1765), poet--'The Complaint: or, Night Thoughts on Life, Death, and Immortality'.

THE ROMANTIC MOVEMENT
Austen, Jane (1775-1817), novelist--'Pride and Prejudice'; 'Mansfield Park'; 'Sense and Sensibility'. Blake, William (1757-1827), poet--'Songs of Innocence'; 'Songs of Experience'. Burns, Robert (1759-96), poet--'The Cotter's Saturday Night'; 'Tam o' Shanter'. Byron, George Gordon (1788-1824), poet--'Childe Harold's Pilgrimage'; 'Don Juan'; 'Manfred'. Coleridge, Samuel Taylor (1772-1834), poet, critic--'The Rime of the Ancient Mariner'; 'Kubla Khan'. De Quincey, Thomas (1785-1859), essayist--'Confessions of an English Opium Eater'. Godwin, Mary Wollstonecraft (1759-97), essayist--'Vindication of the Rights of Women'. Godwin, William (1756-1836), political writer, novelist--'Political Justice'. Hazlitt, William (1778-1830), essayist, critic--'Table Talk'; 'Characters of Shakespeare's Plays'. Hunt, Leigh (1784-1859), essayist, poet--'Abou Ben Adhem'; 'The Story of Rimini'; 'Autobiography'. Keats, John (1795-1821), poet--'The Eve of St. Agnes'; 'Ode on a Grecian Urn'; 'Endymion'. Lamb, Charles (1775-1834), poet, essayist--'Essays of Elia'; 'Tales from Shakespear' (with Mary Lamb). Landor, Walter Savage (1775-1864), poet, prose writer--'Imaginary Conversations'; 'Hellenics'. Lewis, Matthew Gregory (1775-1818), novelist, dramatist, poet--'The Monk'; 'Romantic Tales'. Macpherson, James (1736-96), poet--'Temora'. Moore, Thomas (1779-1852), poet, novelist, historian, biographer--'Irish Melodies'. Percy, Thomas (1729-1811), anthologist--'Reliques of Ancient English Poetry'. Radcliffe, Ann (1764-1823), novelist--'The Romance of the Forest'; 'The Mysteries of Udolpho'. Scott, Sir Walter (1771-1832), poet, novelist--'The Lady of the Lake'; 'Waverley'; 'Ivanhoe'; 'Kenilworth'. Shelley, Mary Wollstonecraft (1797-1851), novelist--'Frankenstein'. Shelley, Percy Bysshe (1792-1822), poet--'Ode to the West Wind'; 'Prometheus Unbound'; 'To a Skylark'; 'Adonais'. Southey, Robert (1774-1843), poet, historian--'The Battle of Blenheim'; 'Life of Nelson'. Walpole, Hora ce (1717-97), novelist, letter writer--'The Castle of Otranto'; 'Letters'; 'Memoirs'. Wordsworth, William (1770-1850), poet--'Tintern Abbey'; 'Intimations of Immortality'; 'The Prelude'.

THE VICTORIAN AGE
Arnold, Matthew (1822-88), poet, essayist--'The Scholar-Gypsy'; 'Sohrab and Rustum'; 'Essays in Criticism'. Bronte, Anne (1820-49), novelist--'Agnes Grey'. Bronte, Charlotte (1816-55), novelist--'Jane Eyre'. Bronte, Emily (1818-48), novelist--'Wuthering Heights'. Browning, Elizabeth Barrett (1806-61), poet--'Sonnets from the Portuguese'; 'Aurora Leigh'. Browning, Robert (1812-89), poet--'The Ring and the Book'; 'Pippa Passes'; 'Rabbi Ben Ezra'; 'My Last Duchess'. Bulwer-Lytton, Edward (1803-73), novelist--'The Last Days of Pompeii'; 'Harold'. Butler, Samuel (1835-1902), novelist, critic--'The Way of All Flesh'; 'Erewhon'; 'Notebooks'. Carlyle, Thomas (1795-1881), historian, essayist--'Sartor Resartus'; 'French Revolution'; 'On Heroes, Hero-Worship, and the Heroic in History'. Carroll, Lewis (Charles Lutwidge Dodgson) (1832-98), children's writer--'Alice's Adventures in Wonderland'; 'Through the Looking Glass'. Collins, Wilkie (1824-89), novelist--'The Woman in White'; 'The Moonstone'. Davidson, John (1857-1909), poet--'Fleet Street Eclogues'. Dickens, Charles (1812-70), novelist--'David Copperfield'; 'The Pickwick Papers'; 'Oliver Twist'. Disraeli, Benjamin (1804-81), novelist, statesman--'Vivian Grey'; 'Coningsby'. Dowson, Ernest (1867-1900), poet--'Cynara'. Doyle, Sir Arthur Conan (1859-1930), novelist--'The Adventures of Sherlock Holmes'; 'Sir Nigel'; 'A Study in Scarlet'. Eliot, George (Mary Ann Evans) (1819-80), novelist--'Middlemarch'; 'The Mill on the Floss'; 'Silas Marner'. Fitzgerald, Edward (1809-83), poet--'Rubaiyat of Omar Khayyam'. Gilbert, Sir William (1836-1911), librettist--'The Mikado'; 'The Yeoman of the Guard'. Gissing, George (1857-1903), novelist--'The Private Papers of Henry Ryecroft'; 'The Whirlpool'; 'New Grub Street'. Hardy, Thomas (1840-1928), novelist, poet--'Far from the Madding Crowd'; 'The Return of the Native'; 'Tess of the D'Urbervilles'; 'The Mayor of Casterbridge'; 'Jude the Obscure'; 'Wessex Poems'; 'The Dynasts'. Henley, William Ernest (1849-1903), poet, critic, dramatist--'London Voluntaries'; 'Invictus'. Hopkins, Gerard Manley (1844-89), poet--'Wreck of the Deutschland'; 'Pied Beauty'. Jones, Henry Arthur (1851-1929), dramatist--'Michael and His Lost Angel'; 'Mrs. Dane's Defence'. Kingsley, Charles (1819-75), novelist--'Westward Ho!'; 'Alton Locke'; 'Hereward the Wake'. Kipling, Rudyard (1865-1936), novelist, poet, short-story writer--'Kim'; 'Barrack Room Ballads'; 'Plain Tales from the Hills'; 'Just So Stories'; 'The Jungle Books'. Macaulay, Thomas Babington (1800-59), historian, poet--'History of England'; 'Lays of Ancient Rome'. Meredith, George (1828-1909), novelist, poet--'The Egoist'; 'The Ordeal of Richard Feverel'; 'Diana of the Crossways'; 'Evan Harrington'; 'Modern Love'. Mill, John Stuart (1806-73), philosopher, economist--'Principles of Political Economy'; 'Autobiography'; 'Considerations on Representative Government'; 'On the Subjugation of Women'. Moore, George (1852-1933) , novelist--'Esther Waters'; 'Heloise and Abelard'; 'Confessions of a Young Man'. Morris, William (1834-96), poet--'The Defence of Guenevere'; 'The Earthly Paradise'. Newman, John Henry (1801-90), theologian, essayist--'Idea of a University'; 'Apologia pro Vita Sua'. Pater, Walter (1839-94), essayist, novelist--'Imaginary Portraits'; 'Studies in the History of the Renaissance'; 'Marius the Epicurean'. Pinero, Arthur Wing (1855-1934), dramatist--'The Second Mrs. Tanqueray'; 'Mid-Channel'. Quiller-Couch, Arthur Thomas (Q) (1863-1944), poet, critic, novelist--'On the Art of Reading'; 'On the Art of Writing'. Reade, Charles (1814-84), novelist--'The Cloister and the Hearth'; 'It Is Never Too Late to Mend'. Rossetti, Christina Georgina (1830-94), poet--'Sing-Song'; 'Goblin Market'. Rossetti, Dante Gabriel (1828-82), poet--'The Blessed Damozel'; 'The House of Life'. Ruskin, John (1819-1900), art critic, essayist--'Modern Painters'; 'The Seven Lamps of Architecture'; 'Sesame and Lilies'. Saki (Hector Hugh Munro) (1870-1916), novelist, short-story writer--'Reginald'; 'The Unbearable Basington'. Shaw, George Bernard (1856-1950), dramatist, essayist--'Saint Joan'; 'Pygmalion'; 'Major Barbara'; 'Man and Superman'; 'The Devil's Disciple'; 'The Intelligent Woman's Guide to Socialism and Capitalism'. Stevenson, Robert Louis (1850-94), novelist, essayist, poet--'Treasure Island'; 'Kidnapped'; 'The Strange Case of Dr. Jekyll and Mr. Hyde'; 'Travels with a Donkey'; 'A Child's Garden of Verses'. Swinburne, Algernon Charles (1837-1909), poet--'Atalanta in Calydon'; 'Songs Before Sunrise'; 'Po ems and Ballads'. Tennyson, Alfred, Lord (1809-92), poet--'Idylls of the King'; 'In Memoriam'; 'Locksley Hall'; 'The Death of Oenone'; 'The Lotos-Eaters'. Thackeray, William Makepeace (1811-63), novelist--'Vanity Fair'; 'Henry Esmond'; 'The Newcomes'. Thompson, Francis (1859-1907), poet--'The Hound of Heaven'. Trollope, Anthony (1815-82), novelist--'Barchester Towers'; 'Framley Parsonage'; 'Doctor Thorne'. Wilde, Oscar (1854-1900), poet, novelist, dramatist--'The Ballad of Reading Gaol'; 'The Picture of Dorian Gray'; 'Lady Windermere's Fan'; 'The Importance of Being Earnest'.

MODERN ENGLISH LITERATURE
Amis, Kingsley (1922-95), novelist, poet--'Lucky Jim'; 'That Uncertain Feeling'; 'Girl, 20'; 'Stanley and the Women'; 'The Old Devils'. Amis, Martin (born 1949), novelist--'Success'; 'Other People'; 'Money'; 'London Fields'; 'Time's Arrow'. Auden, W(ystan) H(ugh) (1907-73), poet--'The Age of Anxiety'; 'Nones'; 'The Shield of Achilles'. Barrie, James M(atthew) (1860-1937), novelist, dramatist--'The Little Minister'; 'Peter Pan'. Beckett, Samuel (1906-89), dramatist--'Waiting for Godot'; 'Endgame'. Beerbohm, Max (1872-1956), essayist, novelist--'More'; 'Zuleika Dobson'; 'A Christmas Garland'. Belloc, Hilaire (1870-1953), essayist, historian, biographer--'On Nothing'; 'Danton'; 'Richelieu'; 'Towns of Destiny'; 'Cautionary Tales'. Bennett, Arnold (1867-1931), novelist, dramatist--'The Old Wives' Tale'; 'Clayhanger'; 'Riceyman Steps'; 'Imperial Palace'. Bowen, Elizabeth (1899-1973), novelist, short-story writer--'The House in Paris'; 'The Death of the Heart'. Brai ne, John (1922-86), novelist--'Room at the Top'; 'Life at the Top'; 'The Queen of a Distant Country'. Brooke, Rupert (1887-1915), poet--'Collected Poems'. Brookner, Anita (born 1928), novelist--'A Start in Life'; 'Hotel du Lac'. Buchan, John (1875-1940), novelist--'The Thirty-Nine Steps'. Burgess, Anthony (1917-93), novelist, critic--'The Wanting Seed'; 'A Clockwork Orange'; 'Earthly Powers'; 'Kingdom of the Wicked'. Cary, Joyce (1888-1957), novelist, poet--'Herself Surprised'; 'To Be a Pilgrim'; 'The Horse's Mouth'. Chesterton, G(ilbert) K(eith) (1874-1936), poet, essayist, novelist, critic--'The Man Who Was Thursday'; 'Heretics'; 'The Everlasting Man'. Colum, Padraic (1881-1972), poet, writer of children's stories--'Wild Earth'; 'The Adventures of Odysseus and the Tale of Troy'. Compton-Burnett, Ivy (1892-1969), novelist--'The Present and the Past'; 'Mother and Son'. Conrad, Joseph (1857-1924), novelist, short-story writer--'The Nigger of the Narcissus'; 'Lord Jim'; 'Youth'; 'Victory'; 'Heart of Darkness'. Coward, Noel (1899-1973), dramatist--'Private Lives'; 'Blithe Spirit'; 'Brief Encounter'. Cronin, A(rchibald) J(oseph) (1896-1981), novelist--'The Green Years'; 'The Citadel'; 'The Keys of the Kingdom'. Davie, Donald (1922-95), poet, critic--'Brides of Reason'; 'A Winter Talent and Other Poems'; 'In the Stopping Train'. Day-Lewis, C(ecil) (1904-72), poet--'Short Is the Time'. De la Mare, Walter (1873-1956), poet, novelist--'Memoirs of a Midget'; 'The Listeners'; 'Peacock Pie'. Drinkwater, John (1882-1937), poet, dramatist, critic, biographer--'Collected Poems'; 'The Lyr ic'; 'Pepys'. Durrell, Lawrence (1912-90), poet, novelist--'Justine'; 'Balthazar'; 'Mountolive'; 'Clea'. Empson, William (1906-84), poet, critic--'Collected Poems'; 'Some Versions of Pastoral'. Feinstein, Elaine (born 1930), poet, novelist--'In a Green Eye'; 'The Circle'; 'Some Unease and Angels'. Ford, Ford Madox (1873-1939), novelist, critic--'The Good Soldier'; 'Parade's End'. Forster, E(dward) M(organ) (1879-1970), novelist--'Howards End'; 'A Passage to India'. Fry, Christopher (born 1907), dramatist--'A Phoenix Too Frequent'; 'The Lady's Not for Burning'; 'Venus Observed'; 'The Dark Is Light Enough'. Galsworthy, John (1867-1933), novelist, short-story writer, dramatist--'The Forsyte Saga'; 'Caravan'; 'Justice'; 'Strife'; 'The Skin Game'; 'Loyalties'. Godden, Rumer (born 1907), novelist, dramatist, poet--'Black Narcissus'; 'An Episode of Sparrows'; 'The River'. Golding, William (1911-93), novelist--'Lord of the Flies'; 'Pincher Martin'. Grahame, Kenneth (1859-1932), children's writer--'The Golden Age'; 'The Wind in the Willows'. Graves, Robert (1895-1985), novelist, poet, critic--'Goodbye to All That'; 'Fairies and Fusiliers'; 'I, Claudius'; 'Claudius the God'. Greene, Graham (1904-91), novelist, dramatist--'The Power and the Glory'; 'The Quiet American'; 'The Heart of the Matter'; 'The End of the Affair'; 'A Burnt-Out Case'; 'The Potting Shed'; 'The Human Factor'; 'Travels with My Aunt'; 'The Honorary Consul'. Gunn, Thom (born 1929), poet--'Sense of Movement'; 'Garden of the Gods'; 'Passages of Joy'. Heaney, Seamus (born 1939), poet--'Room to Rhyme'; 'Night Drive'; 'Se lected Poems'. Hilton, James (1900-54), novelist--'Good-bye, Mr. Chips'; 'Lost Horizon'; 'Random Harvest'. Holden, Molly (born 1927), poet--'Bright Cloud'; 'Air and Chill Earth'; 'The Country Over'. Housman, A(lfred) E(dward) (1859-1936), poet--'A Shropshire Lad'; 'Last Poems'; 'More Poems'. Hudson, W(illiam) H(enry) (1841-1922), novelist, essayist--'The Purple Land'; 'Green Mansions'; 'Far Away and Long Ago'. Hughes, Richard (1900-76), novelist--'A High Wind in Jamaica'; 'The Fox in the Attic'. Hughes, Ted (born 1930), poet--'Hawk in the Rain'; 'Burning of the Brothel'; 'Crow Wakes: Poems'. Huxley, Aldous (1894-1963), poet, novelist--'Antic Hay'; 'Point Counter Point'; 'Brave New World'. Isherwood, Christopher (1904-86), novelist, dramatist--'Prater Violet'; 'The Dog Beneath the Skin' (with W.H. Auden); 'The World in the Evening'. Ishiguro, Kazuo (born 1954), novelist--'A Pale View of Hills'; 'The Remains of the Day'. Joyce, James (1882-1941), poet, novelist--'A Portrait of the Artist as a Young Man'; 'Dubliners'; 'Ulysses'; 'Finnegans Wake'. Kennedy, Margaret (1896-1967), novelist--'The Constant Nymph'; The Ladies of Lyndon'; 'Return I Dare Not'. Kops, Bernard (born 1926), novelist, poet--'The Hamlet of Stepney Green'; 'Yes from No Man's Land'; 'On Margate Sands'. Larkin, Philip (1922-85), novelist, poet--'The North Ship: Poems'; 'The Whitsun Weddings'; 'The Explosion'. Lawrence, D(avid) H(erbert) (1885-1930), poet, novelist, essayist--'Sons and Lovers'; 'Sea and Sardinia'; 'The Plumed Serpent'; 'Birds, Beasts and Flowers'. Lawrence, T(homas) E(dward) (1888-1935), travel writer--'Seven Pillars of Wisdom'. Lessing, Doris (born 1919), novelist, poet--'A Proper Marriage'; 'Fourteen Poems'; 'The Golden Notebook'; 'Canopus in Argos: Archives' series. Lewis, C(live) S(taples) (1898-1963), essayist, novelist--'The Screwtape Letters'; 'That Hideous Strength'; 'Chronicles of Narnia'; 'Mere Christianity'; 'Allegory of Love'. Llewellyn, Richard (1907?-83), novelist--'How Green Was My Valley'; 'None but the Lonely Heart'. Lowry, Malcolm (1909-57), novelist--'Under the Volcano'; 'Dark as the Grave Wherein My Friend Is Laid'. MacNeice, Louis (1907-63), poet--'Springboard'; 'Holes in the Sky'. Mansfield, Katherine (1888-1923), short-story writer--'The Garden Party'; 'Bliss'; 'The Doves' Nest'. Masefield, John (1878-1967), poet, novelist, dramatist--'Salt-Water Ballads'; 'The Daffodil Fields'; 'Sard Harker'; 'Reynard the Fox'; 'So Long to Learn'. Maugham, W(illiam) Somerset (1874-1965), novelist, short-story writer, dramatist--'Of Human Bondage'; 'The Moon and Sixpence'; 'Cakes and Ale'; 'Our Betters'; 'The Constant Wife'; 'The Razor's Edge'. Milne, A(lan) A(lexander) (1882-1956), essayist, children's writer--'When We Were Very Young'. Mitford, Nancy (1904-73), novelist, biographer--'The Pursuit of Love'; 'Love in a Cold Climate'; 'Don't Tell Alfred'; 'The Sun King'. Muir, Edwin (1887-1959), poet--'The Voyage'; 'One Foot in Eden'; 'The Labyrinth'. Murdoch, Iris (born 1919), novelist--'Under the Net'; 'The Red and the Green'; 'The Sea, the Sea'; 'Nuns and Soldiers'. Noyes, Alfred (1880-1958), poet--'Tales of the Mermaid Tavern'; 'The Wine-Press'; 'Drake: A n English Epic'. O'Casey, Sean (1880-1964), dramatist--'Juno and the Paycock'; 'The Plough and the Stars'. O'Flaherty, Liam (1896-1984), novelist, short-story writer--'The Informer'; 'Two Lovely Beasts'. Orwell, George (Eric Hugh Blair) (1903-50), novelist, essayist--'Nineteen Eighty-Four'; 'Animal Farm'; 'Homage to Catalonia'. Osborne, John (1929-94), dramatist--'Look Back in Anger'; 'Luther'; 'Epitaph for George Dillon'. Powell, Anthony (born 1905), novelist--'A Dance to the Music of Time' series. Powys, John Cowper (1872-1963), poet, novelist, critic--'Visions and Revisions'; 'The Meaning of Culture'; 'Wolf Solent'. Priestley, J(ohn) B(oynton) (1894-1984), novelist, dramatist--'The Good Companions'; 'Dangerous Corner'. Rattigan, Terence (1911-77), dramatist--'O Mistress Mine'; 'The Winslow Boy'; 'Separate Tables'. Richardson, Dorothy M. (1882-1957), novelist--'Pilgrimage' (12 novels). Rushdie, Salman (born 1947), novelist--'Grimus'; 'Midnight's Children'; 'The Satanic Verses'. Russell, Bertrand (1872-1970), mathematician, philosopher--'Human Knowledge'; 'New Hopes for a Changing World'; 'Satan in the Suburbs'. Russell, George William (AE) (1867-1935), poet, essayist--'Gods of War'; 'The Interpreters'. Sansom, William (1912-76), novelist, short-story writer--'A Bed of Roses'; 'Something Terrible, Something Lovely'. Sassoon, Siegfried (1886-1967), poet, novelist--'Counter-Attack'; 'Memoirs of a Fox-Hunting Man'. Silkin, Jon (born 1930), poet--'The Peaceable Kingdom'; 'Flower Poems'; 'The Lapidary Poems'. Sillitoe, Alan (born 1928), novelist, poet--'Without Beer or Bread' ; 'Loneliness of the Long Distance Runner'; 'A Tree on Fire'; 'Travels in Nihilon'; 'The Victory'. Sitwell, Edith (1887-1964), poet, critic--'The Mother'; 'Street Songs'; 'Green Song'; 'Facade'; 'Victoria of England'; 'Poetry and Criticism'. Sitwell, Osbert (1892-1969), poet, critic--'The Winstonburg Line'; 'Left Hand, Right Hand'. Snow, C(harles) P(ercy) (1905-80), novelist--'Strangers and Brothers'; 'The Masters'. Spark, Muriel (born 1918), novelist--'The Ballad of Peckham Rye'; 'The Girls of Slender Means'; 'Memento Mori'; 'The Prime of Miss Jean Brodie'; 'The Only Problem'. Spender, Stephen (1909-95), poet, critic--'Ruins and Visions'; 'The Destructive Element'. Stoppard, Tom (born 1937), dramatist--'Rosencrantz and Guildenstern Are Dead'; 'Jumpers'; 'The Real Thing'. Strachey, Lytton (1880-1932), biographer--'Eminent Victorians'; 'Queen Victoria'; 'Elizabeth and Essex'. Synge, John Millington (1871-1909), dramatist--'Riders to the Sea'; 'The Playboy of the Western World'; 'The Arran Islands'; 'The Well of the Saints'. Thomas, D.M. (born 1935), novelist, poet--'The Granite Kingdom'; 'Love and Other Deaths'; 'Birthstone'; 'Dreaming in Bronze'. Thomas, Dylan (1914-53), poet--'Collected Poems'; 'Under Milk Wood' (radio play). Thomas, R.S. (born 1913), poet--'Stones of the Field'; 'Frequencies'; 'Between Here and Now'. Tolkien, J.R.R. (1892-1973), novelist--'Lord of the Rings' trilogy. Tomlinson, Charles (born 1927), poet--'A Peopled Landscape'; 'Written on Water'; 'The Flood'. Toynbee, Arnold (1889-1975), historian--'A Study of History'; 'Civilization on Trial'. Wain, Jo hn (born 1925), novelist--'Living in the Present'; 'The Smaller Sky'; 'Young Shoulders'. Walpole, Sir Hugh (1884-1941), novelist--'Fortitude'; 'Jeremy'; 'The Cathedral'; 'Rogue Herries'. Waugh, Evelyn (1903-66), novelist--'Decline and Fall'; 'A Handful of Dust'; 'Brideshead Revisited'. Wells, H(erbert) G(eorge) (1866-1946), novelist, historian--'Tono-Bungay'; 'The Time Machine'; 'The War of the Worlds'; 'The Outline of History'. Wesker, Arnold (born 1932), dramatist--'Chicken Soup with Barley'; 'Their Very Own Golden City'; 'The Old Ones'; 'The Journalists'. West, Dame Rebecca (Cicily Fairfield) (1892-1983), novelist, journalist--'The Judge'; 'Harriet Hume'; 'The Meaning of Treason'. Wilson, Angus (1913-91), novelist--'Hemlock and After'; 'The Old Men at the Zoo'; 'Late Call'; 'No Laughing Matter'; 'Setting the World on Fire'. Woolf, Virginia (1882-1941), novelist, critic--'Mrs. Dalloway'; 'The Voyage Out'; 'Night and Day'; 'To the Lighthouse'; 'The Waves'; 'The Common Reader'. Yeats, William Butler (1865-1939), poet, essayist, dramatist--'The Wild Swans at Coole'; 'Ideas of Good and Evil'; 'Cathleen ni Houlihan'; 'Deirdre'.

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