By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly especially commissioned essays through uncommon overseas students that replicate either the range of Victorian poetry and the diversity of severe methods that remove darkness from it.
• methods Victorian poetry in terms of style, construction and cultural context, instead of via person poets or poems
• Demonstrates how a specific poet or poem emerges from a few overlapping cultural contexts.
• Explores the relationships among paintings by means of diverse poets
• recollects realization to a substantial physique of poetry that has fallen into overlook
• Essays are knowledgeable by way of fresh advancements in textual and cultural conception
• Considers Victorian girls poets in each chapter
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Extra resources for A Companion to Victorian Poetry
Tennyson, for example, most frequently represents the imagination as female, as in ‘The Lady of Shalott’ or ‘The Palace of Art’. By the 1860s the effeminization of literature had become a topic of critical debate. Alfred Austin, who was to succeed Tennyson as poet laureate, writes that in contemporary literature, ‘we have, as novelists and poets, only women, or men with womanly deﬁciencies, steeped in the feminine temper of the times’ (1869: 96). He is particularly critical of what he sees as a feminine mode of verse, characterized by lyrical ﬂuency, erotic ardour and circumlocution.
The artist creates a personal style that itself constitutes a criticism of society. The homosexual identity that both men and women writers of the 1890s embrace – among them Wilde, Michael Field, Vernon Lee – is the profoundest expression of the separate and subversive identity they create. Artists develop a subculture in which the aesthetic becomes the point from which society’s banality, hypocrisy and repression are revealed. It is one of the interesting ironies of the history of Victorian poetics that the embrace of art for art’s sake at the end of the century, which had developed from the poetics of late Romanticism as articulated by Hallam and practised by Tennyson, expresses a radical social criticism.
For Wilde, aestheticism is not the melancholy attenuation of Romanticism that it appears to be in Pater but a rebellion and liberation. The artist creates a personal style that itself constitutes a criticism of society. The homosexual identity that both men and women writers of the 1890s embrace – among them Wilde, Michael Field, Vernon Lee – is the profoundest expression of the separate and subversive identity they create. Artists develop a subculture in which the aesthetic becomes the point from which society’s banality, hypocrisy and repression are revealed.
A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison