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Here are the best-loved poems from the final phase of Robert Browning's long and ever-productive career—sharp-eyed and quick-witted, brimming with zest and verve and sparkle, yet equally keen to probe the "bad dreams," the dim-seen, sinister crannies within the human soul.

Robert Browning was fascinated by people—not only people of his own day, but also people who had lived in the remote past. Five of his famous dramatic monologues are spoken by characters from the ancient Classical world: a Greek goddess (Artemis), a Roman senator (in “Imperante Augusto Natus Est—”), an Arab physician (Karshish), a Greek poet (Cleon), and the last surviving eyewitness of Jesus Christ (in “A Death in the Desert”). They probe many different questions, especially regarding the transition from paganism to Christianity.

This collection includes favorite English-language poems by 178 favorite authors, beginning with Sir Philip Sidney and the Countess of Pembroke in Elizabethan times, and ending with T. S. Eliot and Marianne Moore in the twentieth century. Cavaliers and Puritans, a famous king and a pilloried criminal, soulful lovers and sharp-witted satirists, Shakespeare and Jonson, Milton and Marvell, David Garrick and Rabindranath Tagore, Paul Laurence Dunbar and Christina Rossetti—all are here, in one constantly changing kaleidoscope of brilliant verse.

In this streamlined, lightly modernized version of an ancient legend, Cupid, the eternal God of Love, himself falls in love with the human Psyche. The tale can be enjoyed at many levels: as an exciting adventure, a romantic love story, a mystical parable of humanity’s quest for union with the divine, an expression of the troubled Irish political situation in the early nineteenth century, and for the unfailing beauty and musicality of its verse.

Sixty-nine poems by six of the most admired women Romantic writers—English, Scottish, Irish, and American: Dorothy Wordsworth (William Wordsworth’s sister), Joanna Baillie, Eliza Townsend, Mary Tighe, Sara Coleridge (Samuel Taylor Coleridge’s daughter), and Caroline Bowles Southey. Each in her own way, they all broke with the poetic conventions of the past, writing in ordinary language about ordinary people, and approaching the traditional subjects of poetry with fresh eyes. Comedy and tragedy, love and hatred, life and death, oppression and freedom—they’re all here.

L. E. L. was the pen-name of Letitia Elizabeth Landon (1802-1838), a “wild and wayward girl” whose outspoken poems about love, hypocrisy, social injustice, religions, and death were discussed and debated avidly during her short life, but lost favor afterwards as Victorian notions of propriety became dominant. This wide-ranging collection includes 60 of her most characteristic poems.

Lydia Huntley Sigourney (1791-1864) was perhaps the most popular and influential American poet of her time. Deeply concerned with social injustices of all kinds, she was already speaking out against such problems as slavery, war, and the persistent mistreatment of Native Americans as early as the 1820s. She was equally at home in comedy and tragedy, and continued to publish with unabated zest and incisiveness for half a century. In all, she is estimated to have written over 2,000 poems.

Who was the bestselling English poet of the nineteenth century? No, not Tennyson or Byron or Wordsworth—but Felicia Hemans (1793-1835), “the most considerable woman poet of the Romantic period” and “the most notable British poet flourishing between the death of Byron and the rise of Tennyson and the Brownings” (Oxford Dictionary of National Biography, 2008). With an unfailing and seemingly effortless command of language, she voiced the deepest concerns of ordinary people, especially women, to an extent that no other writer of her time could do.

Alexander Pope was the most influential and most admired writer of his time, famous for satirical and reflective poems such as The Rape of the Lock and the Essay on Man. His lyrical poems are tantalizingly few in number but predictably high in quality, with all the beauty of sound and incisiveness of sense familiar from his other works.