By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly in particular commissioned essays through unusual overseas students that replicate either the range of Victorian poetry and the diversity of serious methods that remove darkness from it.
• ways Victorian poetry when it comes to style, construction 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 assorted poets
• remembers cognizance to a substantial physique of poetry that has fallen into forget
• Essays are expert through contemporary advancements in textual and cultural thought
• Considers Victorian girls poets in each chapter
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Additional info for A Companion to Victorian Poetry
It reﬂects his effort to distance himself from a subjectivist epistemology that he associates with Romanticism. As an alternative to the poetics that he criticizes, Arnold advocates a poetry which focuses on the representation of excellent human actions. Such actions ‘most powerfully appeal to the great primary human affections: to those elementary feelings which subsist permanently in the race, and which are independent of time’ (1965: 593–4). Such an art escapes the predicament of the modern: the alienation of artists from his society, their Introduction: Victorian Poetics 7 conﬁnement to subjectivity as the material of art, and their location in a mundane contemporaneity.
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. Christ tive, according as the thoughts which arise in it seem generated by a stress and action of the brain, or to strike into it unasked’ (Hopkins 1956: 215).
In many ways the best guide is Arthur Symons, whose critical prose acutely describes the poetry of the end of the century in ways that anticipate the development of modernism. Symons was the most important connection between French and British writers of the 1890s. He introduced the work of Verlaine, Mallarmé and Huysmans to his British contemporaries, and provided a name for a literary movement that could encompass poetry on both sides of the Channel in his book, The Symbolist Movement in Literature.
A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison