By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly especially commissioned essays by means of wonderful overseas students that mirror either the range of Victorian poetry and the diversity of severe methods that light up it.
• methods Victorian poetry when it comes to style, construction and cultural context, instead of via person poets or poems
• Demonstrates how a specific poet or poem emerges from a couple of overlapping cultural contexts.
• Explores the relationships among paintings by means of varied poets
• remembers realization to a substantial physique of poetry that has fallen into forget
• Essays are knowledgeable by way of fresh advancements in textual and cultural concept
• Considers Victorian ladies poets in each chapter
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Extra resources for A Companion to Victorian Poetry
Symons dedicated The Symbolist Movement in Literature, which he originally wanted to entitle ‘The Decadent Movement in Literature’, to Yeats. Yeats’s own essay, ‘The Symbolism of Poetry’, begins with a tribute to Symons’s book and then proceeds to deﬁne symbolism in a way remarkably similar to Hallam’s poetry of sensation: All sounds, all colours, all forms, either because of their preordained energies or because of long association, evoke indeﬁnable and yet precise emotions, or, as I prefer to think, call down among us certain disembodied powers, whose footsteps over our hearts we call emotions; and when sound, and colour, and form are in a musical relation, a beautiful relation to one another, they become, as it were, one sound, one colour, one form, and evoke an emotion that is made out of their distinct evocations and yet is one emotion.
Ruskin feels that both Keats and Tennyson display this weakness. He thus faults the very state that Hallam claims for the highest species of poetry – emotion so powerfully felt that it imbues all impressions of sense. For Hallam such poetry is self-sufﬁcient; its only motive and standard is beauty. He claims that the delicate sense of ﬁtness from which the poetry of sensation springs ‘acquires a celerity and weight of decision hardly inferior to the correspondent judgments of conscience’. It is weakened by ‘every indulgence of heterogeneous aspirations, however pure they may be, however lofty, however suitable to human nature’ (1943: 187) .
Eliot’s words, ‘made by putting together lyrics’ (1964: 291). Tennyson calls Maud a monodrama in which ‘different phases of passion in one person take the place of different characters’. The Idylls of the King is the most conventional of Tennyson’s long poems, a set of twelve narrative romances, each of which focuses upon a character who offers a perspective upon the Arthurian ideal. As diverse as these poems are, however, each places a poetry of sensibility in a larger framework that is not articulated in a unifying and authoritative manner by the poet himself but is implied by the juxtaposition of parts.