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James Elroy Flecker was born on 5th November 1884, in Lewisham, London. Flecker does not seem to have enjoyed academic study and achieved only a Third-Class Honours in Greats in 1906. This did not set him up for a job in either government service or the academic world. After some frustrating forays at school teaching he attempted to join the Levant Consular Service and entered Cambridge to study for two years. After a poor first year he pushed forward in the second and achieved First-Class honours. His reward was a posting to Constantinople at the British consulate.

Robert Southey was born on the 12th of August 1774 in Bristol. A poet of the Romantic school and one of the 'Lake Poets'. Although his fame has been eclipsed by that of his friends William Wordsworth and Samuel Taylor Coleridge, Southey's verse was highly influential and he wrote movingly against the horrors and injustice of the slave trade. Among his other classics are Inchcape Rock as well as a number of plays including Wat Tyler.

Night. The day has gone. Departed. And the dark embrace, the inky shadows of night descend. For many a time to unwind and slumber. For some a nagging doubt that all is not well. That some primeval and primordial happening may yet go bump in the night. But for our poets the night is a time of wonder and imagination as well as many other emotions and feelings. Among our ranks of gloried talents are Keats, Coleridge, William Morris, DH Lawrence, Whitman, Longfellow and many more besides. Their descriptions capture what they see and feel as perhaps only a poet can.

Marguerite Radclyffe-Hall was born on August 12th, 1880 to wealthy parents who separated while she was still an infant. Her parents thereafter paid little attention to her. Hall was educated privately, and then at King’s College London. Later she travelled to Europe, settling in Dresden, Germany. With the death of her paternal grandfather she inherited a large estate and was then able to live as she pleased. In Germany, Hall met Mabel Batten and fell in love despite the 23 year age difference.

Michael Drayton was born in 1563 at Hartshill, near Nuneaton, Warwickshire, England. The facts of his early life remain unknown. Drayton first published, in 1590, a volume of spiritual poems: The Harmony of the Church. Ironically the Archbishop of Canterbury seized almost the entire edition and had it destroyed. In 1593 he published Idea: The Shepherd's Garland, nine pastorals celebrating his own love-sorrows under the poetic name of Rowland. This was later expanded to a 64-sonnet cycle.

At some point in our lives we believe that creak, that low moan, that whisper is something unnatural, beyond our comprehension. And in these stories our instincts are right. We are afraid. And we should be. Perhaps even terrified. In this volume our classic authors take different approaches, but the result is inevitably the same. We are hooked by these unknowable forces, our emotions heightened and rattled by the expectation - or shock - of the next few words.

The human race prides itself on being the most organised of animals. We manage the fate of all other species. All other animals bow to our control or suffer. In diminishing numbers we allow some to live in the wild, but in increasing numbers we domesticate them, and whether they become part of the family, a best friend or wonderfully decorative accessory, we take their compliance for granted.

The human race prides itself on being the most organised of animals. We manage the fate of all other species. All other animals bow to our control or suffer. In diminishing numbers we allow some to live in the wild, but in increasing numbers we domesticate them, and whether they become part of the family, a best friend or a wonderfully decorative accessory, we take their compliance for granted.

We love control. The ability to predict and organise our lives as we want them. As we desire them. It’s quite a shock, then, when phantoms, ghouls and ghosts play their part, too. They don’t play by our rules. Our welfare is not their concern. They will do as they wish. And they have very vivid imaginations - way beyond the dictionary definition: Phantom. Noun. Something apparently seen, heard or sensed but having no physical reality. An image that appears only in the mind; an illusion. A model, especially a transparent one, of the human body or of any of its parts.

At some point in our lives we believe that creak, that low moan, that whisper is something unnatural, beyond our comprehension. And in these stories our instincts are right. We are afraid. And we should be. Perhaps even terrified. In this volume our classic authors take different approaches, but the result is inevitably the same. We are hooked by these unknowable forces, our emotions heightened and rattled by the expectation - or shock - of the next few words.

The Cockney Novelists flourished towards the end of the 19th century and spilled over into the next. They included Arthur Morrison, Edwin Pugh, William Pett Ridge and Clarence Rook. Authors being authors, they, of course, dealt with their subject matter in different ways. As a group they moved away from treating the London working classes as comedy cameos or social stereotypes.

The short story is often viewed as an inferior relation to the novel. But it is an art in itself. To take a story and distil its essence into fewer pages while keeping character and plot rounded and driven is not an easy task. Many try, and many fail. Blackmore was one to succeed, as this audiobook ably demonstrates.

The office of Poet Laureate is a high honour amongst poets. The ancient Greeks had the first idea, and their heroes and poets wore wreaths of laurel in honour of the god Apollo. Many countries now have a laureate, as do many societies and organisations. But perhaps ranked first among them all is that of our own Poet Laureate. Unfortunately no single authentic definitive record exists of the office of Poet Laureate of England. In some form it can be traced back to 1189 and Richard Canonicus, who was employed by Richard I with the title 'versificator Regis'.

It is often said that two things are unavoidable: death and taxes.Certainly the latter is a common thorn in adult life, but as to the former it seems that for many people it is merely a hiccup in life’s eternal journey. A journey they wish, if being of good deed and character, to share at the eternity of heaven’s largesse, a reward for faith and the obligations of religion. Of course for those not so fortunate an altogether different experience was prepared for them: hell.

Westminster Abbey has seen much during its long, rich history: the coronations of Kings and Queens, the burials of Prime Ministers. However, it is also a church that remembers the men and women of the arts. Dedicated writers and poets who spoke so eloquently that the nation wished to remember them with plaques upon its walls so that all who travelled here could remember, too. Their works are worth remembering, and here, in these volumes, their wise words speak, too, and for us all. In volume 3 we collect together Edward Lear to William Wordsworth.

Westminster Abbey has seen much during its long, rich history: the coronations of Kings and Queens, the burials of Prime Ministers. However, it is also a church that remembers the men and women of the arts. Dedicated writers and poets who spoke so eloquently that the nation wished to remember them with plaques upon its walls so that all who travelled here could remember, too. Their works are worth remembering, and here, in these volumes, their wise words speak, too, and for us all. In volume 2 we collect together John Clare to DH Lawrence.

Romanticism was a new movement in philosophy and the arts that began in the late 18th century when major political events shook the world, such as the French Revolution and American independence. It marked a distinct contrast to the prevailing Enlightenment ideals and in poetry represented a more personal intuitive, emotional and meditative expression with a back-to-nature imperative. It subsequently altered the way in which we perceive poetry and beyond as well as defining our own modern sensibilities to the arts.

Victoria’s reign was long and presided over the restless expansion of the British Empire and reams of creative genius. Within these volumes we can bring only a glimpse of the richness, beauty and words of the poets and their musings on this remarkable age. Many are world-renowned - Tennyson, Browning, Arnold, Kipling, Austin, Hopkins, Hardy and Swinburne. Some are almost forgotten - Patmore, Newbolt, Synge. And some are barely noted - Lyall, Meynell and Merdeith. But together they encompass a great poetical age.

With almost a million words at its command, it is not surprising that these Isles have produced some of the most beautiful, moving and descriptive verse through the centuries. In this series we look at individual poets who have shaped and influenced their craft and cement their place in our heritage. In this volume we look at the works of the Victorian Poet Laureate Alfred Austin.

With almost a million words at its command, it is not surprising that these Isles have produced some of the most beautiful, moving and descriptive verse through the centuries. In this series we look at individual poets who have shaped and influenced their craft and cement their place in our heritage. Matthew Arnold is rightly placed amongst the other greats of Victorian poetry: Browning and Tennyson. The son of the founder of Rugby School, he grew up to become a poet via a career as a school inspector.