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A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison

By Alison Chapman, Richard Cronin, Antony Harrison

This 'Companion' brings jointly especially commissioned essays by means of unusual foreign students that mirror either the range of Victorian poetry and the range of serious methods that light up it.

• techniques Victorian poetry in terms of style, creation and cultural context, instead of via person poets or poems
• Demonstrates how a selected poet or poem emerges from a few overlapping cultural contexts.
• Explores the relationships among paintings via varied poets
• recollects cognizance to a substantial physique of poetry that has fallen into overlook
• Essays are proficient via fresh advancements in textual and cultural conception
• Considers Victorian girls poets in each chapter

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Additional resources for A Companion to Victorian Poetry

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The tone becomes the sign of the feeling; and they reciprocally suggest each other. (1943: 194–5) Hallam here articulates the principle that gains increasing prominence as the century advances, that poetry aspires to the condition of music. He provides a theoretical basis for the characteristic of Victorian poetry many have remarked upon – its pursuit of what seems like pure sound, as in these lines from Tennyson’s ‘The Ballad of Oriana’: My heart is wasted with my woe, Oriana. There is no rest for me below, Oriana.

As each succeeding generation of writers defines itself as modern in a never-ending regression towards the present, the challenge of writing an evolutionary literary history increases. How do we write a history of modern literature if each generation asserts its modernity by insisting on its difference from the past? Writing a history of the modern will require us to question its repeated sense of its own uniqueness. References and Further Reading Armstrong, Isobel (1972) Victorian Scrutinies: Reviews of Poetry, 1830–1870.

In his play with language, the poet must not fall into the ease of convention. Like Swinburne, Hopkins feels that the writing of the highest kind of poetry requires a mood of intense passion. In a letter to his friend A. W. M. Baillie, in which he confesses that he has begun ‘to doubt Tennyson’, Hopkins differentiates the language of inspiration from what he calls ‘Parnassian’. Hopkins argues that the poetry of inspiration can only be written in ‘a mood of great, abnormal in fact, mental acuteness, either energetic or recep- 16 Carol T.

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