Best Poems by English Romantic Poets

English Romanticism tends to be dominated by a few names: Wordsworth, Coleridge, Byron, Shelley, Keats. Here, we’ve tried to strike a balance and offer ten of the very best Romantic poems from English literature, which ensures that these canonical figures are well-represented, while also broadening that canon to include some important but slightly less famous voices.

1. William Wordsworth, ‘My heart leaps up’.

My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die …

This simple nine-line poem describes how the poet is filled with joy when he sees a rainbow, and how he hopes he will always keep that sense of enchantment with the natural world. Wordsworth observes a rainbow in the sky and is filled with joy at the sight of a rainbow: a joy that was there when the poet was very young, is still there now he has attained adulthood, and – he trusts – will be with him until the end of his days. The poem contains Wordsworth’s famous declaration, ‘The Child is father of the Man’, highlighting how important childhood experience was to the Romantics in helping to shape the human beings they became in adult life. ‘My heart leaps up’ is a small slice of Romanticism which says more about that movement than many longer poems do.

2. Samuel Taylor Coleridge, ‘Frost at Midnight’.

The Frost performs its secret ministry,
Unhelped by any wind. The owlet’s cry
Came loud—and hark, again! loud as before.
The inmates of my cottage, all at rest,
Have left me to that solitude, which suits
Abstruser musings: save that at my side
My cradled infant slumbers peacefully …

Lyrical Ballads (co-authored with Wordsworth), appeared, ‘Frost at Midnight’ is a night-time meditation on childhood and raising children, offered in a conversational manner and focusing on several key themes of Romantic poetry: the formative importance of childhood and the way it shapes who we become, and the role nature can play in our lives.

3. Percy Shelley, ‘Mont Blanc’.

The everlasting universe of things
Flows through the mind, and rolls its rapid waves,
Now dark—now glittering—now reflecting gloom—
Now lending splendour, where from secret springs
The source of human thought its tribute brings
Of waters …

The Romantics were greatly interested in a quality that Edmund Burke called ‘the Sublime’: that peculiar mixture of awe and terror we feel when confronted with great forces of nature. Percy Shelley’s poem about Mont Blanc, the highest mountain in the Alps, is a classic example of Romantic poetry about the Sublime – an ode to nature as a powerful and beautiful force.

Immediately in the first two lines of ‘Mont Blanc’, Shelley foregrounds the key thrust of the poem: the relationship between the natural world and the human imagination. The ‘everlasting universe of things’, which recalls Wordsworth’s talk of the ‘immortality’ of the earth in his ‘Ode: Intimations of Immortality’; Shelley notes that this ‘universe of things’ flows through the (mortal) mind. These external influences are variously light and dark, vivid and obscure.

4. John Keats, ‘Ode to a Nightingale’.

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 …

Keats’s ‘Ode to a Nightingale’ is one of the most drink-sodden poems produced by the entire Romantic period. The poem describes a series of conflicts between reality and the Romantic ideal of uniting with nature. In the words of Richard Fogle, "The principal stress of the poem is a struggle between ideal and actual: inclusive terms which, however, contain more particular antitheses of pleasure and pain, of imagination and common sense reason, of fullness and privation, of permanence and change, of nature and the human, of art and life, freedom and bondage, waking and dream."

5. Lord Byron, ‘Darkness’.

This poem was inspired by a curious incident: the eruption of Mount Tambora in Indonesia, which drastically altered the weather conditions across the world and led to 1816 being branded ‘the Year without a Summer’. The same event also led to Byron’s trip to Lake Geneva and his ghost-story writing competition, which produced Mary Shelley’s masterpiece Frankenstein.

For Byron, the extermination of the sun seemed like a dream, yet it was ‘no dream’ but a strange and almost sublimely terrifying reality. Another example of the Romantic concept of the Sublime, brought to us by one of English Romanticism’s best-known figures. It begins:

I had a dream, which was not all a dream.
The bright sun was extinguish’d, and the stars
Did wander darkling in the eternal space,
Rayless, and pathless, and the icy earth
Swung blind and blackening in the moonless air;
Morn came and went—and came, and brought no day …