Alfred Lord Tennyson - Poems
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Princess, a Medley
THE CAMBRIPQE UTeRfiTURE «««SER1ES«*« ^-'^^ No. 3. Qt'"'^^ TENNYSON'S PRINCESS Published Monthly at 1 10 Boylston Street. Subscription Price, 50 Cents. June, 1899. Entered at Post Office as second-class matter. BEHJ. H. SAHBORN & CO. BOSTON, U.S.A. SECONH COPY, 1899. ZU ggmbridfle Citerature $erie$> EDITED BY THOMAS HALL, JR., A.B., INSTRUCTOR IN ENGLISH IN HARVARD UNIVERSITY. ; The Cambridge Literature Series. "THE series is issued with the conviction that it will immediately recommend itself to teachers in our best secondary schools by reason of the follow- ing characteristic features : I. A carefully selected text supplied with necessary annotation. II. Uniformity secured by the supervision of the general editor, III. Attractive and durable binding both in paper and in cloth, IV. Low prices. The paper edition will be the best inexpensive edition ever offered to the educational public. The bool<s will be issued at stated times, and the following are now ready or under way ADDISON, — Sir Roger de Coverley Papers. BURKE. — Speech on Conciliation with America. COLERIDGE. — Ancient Mariner. GOLDSMITH. — Vicar of Wakefield. LONGFELLOW. — Evangeline. LOWELL. — Vision of Sir Lattnfal. MACAULAY. — Essays on Milton and Addison. MILTON. — L'Allegro, II Penseroso, Comus^ and Lycidas. POPE. —Translation of the Iliadt Books I., VI., XXII., and XXIV. SHAKESPEARE. — The Merchant of Venice. TENNYSON. — The Princess. Correspondence regarding books announced or recommended for addi- tion to the series is solicited. BENJ. H, SANBORN & CO.. PUBLISHERS. BOSTON. ALFRED, LOUD TENNYSON. Number 3 THE PRINCESS A MEDLEY BY ALFRED, LORD TENNYSON EDITED BY * LEWIS WORTHINGTON SMITH, Ph.B. ASSOCIATE PKOFESSOK OF ENGLISH, COTNER UNIVERSITY, NEBRASKA ov noXX alXa noXv BENJ. -
Download Articles and Reviews for Their Own Scholarly Use
Volume 7, Number 2 (2014) ISSN 1754-646X Journal of Literature and Science i Volume 7, Number 2 (2014) ISSN 1754-646X Contents 1 Gregory Lynall Scriblerian Projections of Longitude: Arbuthnot, Swift, and the Agency of Satire in a Culture of Invention 19 Bernard Lightman Conan Doyle’s Ideal Reasoner: The Case of the Reluctant Scientific Naturalist 37 Steven McLean Revolution as an Angel from the Sky: George Griffith’s Aeronautical Speculation 62 Emilie Taylor-Brown (Re)Constructing the Knights of Science: Parasitologists and their Literary Imaginations Article Reviews 80 Emily Bowles Review of Cheryl Blake Price’s “Vegetable Monsters: Man-Eating Trees in Fin-de-Siècle Fiction.” 82 Greg Garrard Review of Emily Horton’s “Reassessing the Two- Culture Debate: Popular Science in Ian McEwan’s The Child in Time and Enduring Love.” 84 Peter Johnston Review of Robert Nathan’s “Why It Matters: The Value of Literature as Object of Inquiry in Qualitative Research.” 86 Anne M. Thell Review of Mary Fairclough’s “The Telegraph: Radical Transmission in the 1790s.” 88 K. S. Whetter Review of Janine Rogers’s “A Compaignye of Sondry Folk: Mereology, Medieval Poetics and Contemporary Evolutionary Narrative in Richard Dawkins’ The Ancestor’s Tale.” 90 Carmel Raz Review of John Savarese’s “Ossian’s Folk Psychology.” 92 Notes on Contributors The Journal of Literature and Science is produced by the Centre for the Study of Science and Imagination (SCIMAG), 309 Regent Street, London, W1B 2HW Journal of Literature and Science iii Volume 7, Number 2 (2014) ISSN 1754-646X About the JLS The Journal of Literature and Science (JLS) is a peer-reviewed academic journal published twice annually in Summer and Winter . -
ENOCH JOHN - Poems
Poetry Series ENOCH JOHN - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive ENOCH JOHN(30/07/1958) Teacher/Poet, holds a teacher's diploma /Valsayn Teachers' College A degree in English from THE UNIVERSITY OF THE WEST INDIES Working on a postgraduate to become one of the greatest poets of the modern read Shakespeare, Dante and Walcott. A writer in exile at home. Has a passion for poetry. Presently working on another anthology. Born to Kenneth and Sylvia John at Enterprise, Trinidad almost fifty years up in Pentecostal Church. This background influences his john wants to start a literary fire that will burn collection is entitled; SELECTIVE WORKS and I dedicate it to all poets, small and great; past and present. www.PoemHunter.com - The World's Poetry Archive 1 22 In Manchester Hey, we 22 just came to hear Arianne Grande's great music, We 22 just came to hear the songs of freedom, in a free world, Instead now there are the songs of melancholy, We 22 are a mix of young people and more mature adults, But now we must speak with one voice. Hey Manchester, weep for us and the whole world, For what kind of dark, deeply delusional, demonic person would perpetuate such slaughter? We can well imagine the trauma, hysteria and utter trepidation that saturated the atmosphere in Manchester that night. We came to hear the songs of freedom now the songs of melancholy are playing everywhere, We 22 looked at the beauty of mother earth and now we are gone, We 22 saw the pretty bougainvillae and the red roses in the field -
“Our Little Systems Have Their Day”: Tennyson's Poetic
“OUR LITTLE SYSTEMS HAVE THEIR DAY”: TENNYSON’S POETIC TREATMENT OF SCIENCE by Emily Carroll Shearer A Dissertation Submitted in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy in English Middle Tennessee State University 2014 Dissertation Committee: Dr. Rebecca King, Department of English, Chair Dr. Larry Gentry, Department of English Dr. Tammy Melton, Department of Chemistry © 2014 Emily Carroll Shearer ii For Mom and Dad – I’ve spent almost two years writing this “damn dissertation.” It’s around 38,000 words, so you’d think that a few extra for the dedication wouldn’t be that much more. It amazes me how words fail me when I want them the most. I don’t have the words to thank you for homeschooling me or for raising me to be a stubborn mule when it comes to achieving something (trust me, that’s an asset in graduate school) or for teaching me not to put up with crap from anyone. I don’t know how to say thank you for showing me how to listen or be kind to others, to take other people into heart as family, and to keep laughter as a constant companion. I don’t know how to say thank you for teaching me not to give up—and for not giving up on me when I felt like giving up on myself. Then again, maybe I do have the words. I love you so much. iii ACKNOWLEDGEMENTS First and foremost, I would like to thank Dr. Rebecca King for all her work in helping me prepare this dissertation. -
A Critical Analysis of the Sonnets of Charles Tenyson-Turner
RICE UNIVERSITY A CRITICAL ANALYSIS OF THE SONNETS OF CHARLES TENNYSON-TURNER by Wilkes Berry A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Houston, Texas May 1962 TABLE OF CONTENTS Chapter Page 1. Introduction ..... 1 2. Versification 4 3. Themes and Topics 7 I. Poetry 8 II. Pessimism 11 III. Home and Patriotism 13 IV. Technological Progress 17 V. War 19 VI. Lovers ...... 23 VII. Death 27 VIII. The Passing of Time 32 IX. Birds, Beaits, and Insects 33 X. Land, Sea, and Sky 45 XI. History 5 2 4. Religion 58 5. Structure and Imagery 82 6. Conclusion 106 7. Appendix ..... 110 8. Footnotes 115 9. Bibliography . 118 INTRODUCTION Charles Tennyson-Turner was born in 1808 at Somersby, Lincolnshire. He was the second of the two older brothers of Alfred Tennyson, with whom he matriculated at Cambridge in 1828. Charles was graduated in 1832, and after his ordination in 1835 he was appointed curate of Tealby. Later the same year he became vicar of Grasby; then in 1836 he married Louisa Sellwood, sister to Emily Sellwood, who later married Alfred Tennyson. The next year he inherited several hundred acres of land from his great-uncle Samuel Turner of Caistor. At this time he assumed the additional surname of Turner which he used the rest of his life.* Shortly before his marriage Turner had overcome an addiction to opium which resulted from his using the drug to relieve neuralgic pain; however, he soon resumed the use of opium. His wife helped to free him of the habit once more, but, in so doing, she lost her own health and had to be placed under medical care. -
Tennyson: Mood and Myth SIMON S
SYDNEY STUDIES Tennyson: Mood and Myth SIMON S. PETCH The Symbolist critical tradition has established Tennyson so firmly in literary history as a "poet of mood" that the phrase has become an uncritical orthodoxy. Radically unhelpful in itself, and reaching back as it does to the early reviews of Tennyson's work by Arthur Hallam and John Stuart Mill, it has paved the way for those such as F. R. Leavis, who see many of Tennyson's poems as a kind of unhealthy indulgence, as well as for those such as Harold Nicolson who see Tennyson's poetry as a literary substitute for valium, and who read it in a kind of "sad mechanic exercise,/Like dull narcotics". Tennyson's poems are undeniably at their most characteristic when they concern themselves with states of consciousness. But it is part of Tennyson's distinction that he was capable of fashioning these states into structures of more than purely subjective reference, that he made persistent efforts to develop his poetic moods into a social philosophy. He did this primarily through his use of myth. Writing of Joyce's Ulysses, T. S. Eliot said of myth: "It is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history."l This is worth quoting with reference to Tennyson because Eliot's words can, with very little modification, be applied to Tennyson's use of myth. In Tenny son's case, however, the impetus is more subjective than Eliot's comment suggests, for Tennyson used myth to control, order and shape his own feelings; but his attempts to use myth as a web into which his feelings could be woven led him to evolve, out of the very depths of his subjective experience, images of enor mously and increasingly suggestive social significance. -
In Memoriam: an Ode to Melancholy and Religion in Tennyson's
IN MEMORIAM: AN ODE TO MELANCHOLY AND RELIGION IN TENNYSON’S MAGNUM OPUS A Thesis submitted to the faculty of San Francisco State University In partial fulfillment of the requirements for the Degree Master’s Degree In English Literature by Melissa Thea Valk San Francisco, California Fall 2020 Copyright by Melissa Thea Valk 2020 CERTIFICATION OF APPROVAL I certify that I have read I certify that I have read “In Memoriam:” An Ode to Melancholy and Religion in Tennyson’s Magnum Opus” by Melissa Thea Valk, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts in English Literature at San Francisco State University. Summer Star , Ph.D. Assistant Professor Sara Hackenberg, Ph.D. Associate Professor IN MEMORIAM: AN ODE TO MELANCHOLY AND RELIGION IN TENNYSON’S MAGNUM OPUS Melissa Thea Valk San Francisco, California 2020 This thesis dissects the role of melancholic imagery and religion in Alfred Tennyson’s poetry, with a special focus on his magnum opus, In Memoriam A.H.H (1850) and how the use of melancholy and religion act as rhetorical tropes in conveying the depths of his grief after losing his dear friend, Arthur Hallam. Furthermore, I analyzed particular cantos adjacent to a few of his other poems such as “The Lady of Shalott” (1833 and 1842), “Mariana” (1830), and “The Sleeping Beauty” (1830). The use of melancholic imagery is abundant in Tennyson’s work, but this thesis argues that upon the death of Arthur Hallam, Tennyson reconfigured his melancholic aesthetic that we see in his older poems to fit the melancholic tone in his elegy. -
Arts, Literary & History Trail
Arts, Literary & History Trail - FRESHWATER - KS4 Alfred, Lord Tennyson Poet Laureate Resident at Farringford House, Freshwater Tennyson was born in Lincolnshire in 1809 and attended Trinity College, Cambridge in 1827 where he received The Chancellor’s Gold Medal (a prestigious award given for poetry) in 1829. His frst solo collection of poems were published soon after. Poetry wriritng was important to Victorians as there was no recorded music at this time. When Tennyson’s poem ‘Maud’ (written in 1854-55) became a frm favourite with British Society, Alfred Lord Tennyson was able to buy Farringford House (now a hotel), on the Isle of Wight, which he initially rented with his wife from 1853. In 1850, he was made Poet Laureate and he held this post for forty years. Heralded as one of the greatest poets in British History, he died, at the age of 83, in 1892. The monument which stands at the top of Tennyson Down (renamed in his honour) was erected after his death. Before your visit... 1. Look at a couple of poems by Tennyson e.g. Crossing the Bar and Break, Break, Break. There are online analysis notes for both poems. Do a comparison with a poem from the GCSE Syllabus. 2. Can you identify which phrases in Tennyson’s poems can be linked to the place he lived - e.g. the sea on a stormy day, the downs in summer? 3. Investigate the frustrations of being in the public eye. Compare Tennyson with JK Rowling, both driven to move house as a result of media attention. -
STONEFLY NAMES from CLASSICAL TIMES W. E. Ricker
ZOBODAT - www.zobodat.at Zoologisch-Botanische Datenbank/Zoological-Botanical Database Digitale Literatur/Digital Literature Zeitschrift/Journal: Perla Jahr/Year: 1996 Band/Volume: 14 Autor(en)/Author(s): Ricker William E. Artikel/Article: Stonefly names from classical times 37-43 STONEFLY NAMES FROM CLASSICAL TIMES W. E. Ricker Recently I amused myself by checking the stonefly names that seem to be based on the names of real or mythological persons or localities of ancient Greece and Rome. I had copies of Bulfinch’s "Age of Fable," Graves; "Greek Myths," and an "Atlas of the Ancient World," all of which have excellent indexes; also Brown’s "Composition of Scientific Words," And I have had assistance from several colleagues. It turned out that among the stonefly names in lilies’ 1966 Katalog there are not very many that appear to be classical, although I may have failed to recognize a few. There were only 25 in all, and to get even that many I had to fudge a bit. Eleven of the names had been proposed by Edward Newman, an English student of neuropteroids who published around 1840. What follows is a list of these names and associated events or legends, giving them an entomological slant whenever possible. Greek names are given in the latinized form used by Graves, for example Lycus rather than Lykos. I have not listed descriptive words like Phasganophora (sword-bearer) unless they are also proper names. Also omitted are geographical names, no matter how ancient, if they are easily recognizable today — for example caucasica or helenica. alexanderi Hanson 1941, Leuctra. -
Aurora (Mythology)
Aurora (mythology) 2 Usage in literature and music Aurora, by Guercino, 1621-23: the ceiling fresco in the Casino Ludovisi, Rome, is a classic example of Baroque illusionistic painting Aurora (Latin: [awˈroːra]) is the Latin word for dawn, and the goddess of dawn in Roman mythology and Latin poetry. Like Greek Eos and Rigvedic Ushas (and possi- bly Germanic Ostara), Aurora continues the name of an earlier Indo-European dawn goddess, Hausos. Aurora Taking Leave of Tithonus 1 Roman mythology 1704, by Francesco Solimena From Homer's Iliad: In Roman mythology, Aurora, goddess of the dawn, re- news herself every morning and flies across the sky, an- Now when Dawn in robe of saffron was has- nouncing the arrival of the sun. Her parentage was flex- tening from the streams of Okeanos, to bring ible: for Ovid, she could equally be Pallantis, signifying light to mortals and immortals, Thetis reached the daughter of Pallas,[1] or the daughter of Hyperion.[2] the ships with the armor that the god had given She has two siblings, a brother (Sol, the sun) and a sis- her. (19.1) ter (Luna, the moon). Rarely Roman writers[3] imitated Hesiod and later Greek poets and named Aurora as the mother of the Anemoi (the Winds), who were the off- But soon as early Dawn appeared, the rosy- spring of Astraeus, the father of the stars. fingered, then gathered the folk about the pyre of glorious Hector. (24.776) Aurora appears most often in sexual poetry with one of her mortal lovers. A myth taken from the Greek by Ro- man poets tells that one of her lovers was the prince of From Virgil's Aeneid: Troy, Tithonus. -
Symbol and Mood in Tennyson's Nature Poetry Margery Moore Taylor
University of Richmond UR Scholarship Repository Master's Theses Student Research 1971 Symbol and mood in Tennyson's nature poetry Margery Moore Taylor Follow this and additional works at: https://scholarship.richmond.edu/masters-theses Part of the English Language and Literature Commons Recommended Citation Taylor, Margery Moore, "Symbol and mood in Tennyson's nature poetry" (1971). Master's Theses. 1335. https://scholarship.richmond.edu/masters-theses/1335 This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. SYJYIBOL AND MOOD IN TENNYSON•S NATURE POETRY BY MA1"1GERY MOORE TAYLOR A THESIS SUBI.'IITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS JUNE, 1971 Approved for the Department of English and the Graduate School by: Cha rman of the Department of English c:;Dean ofJ'.� the (JG�e . � School CONTENTS INTRODUCTION CHAPTER I: NATURE AND SYMBOLISM CHAPTER II: NATURE AND MOOD CONCLUSION BIBLIOGRAPHY INTRODUCTION The purpose of this paper is to show Tennyson's preoccupation with nature in his poetry, his use of her as a projector of moods and s.ymbolism, the interrelation of landscape with depth of feeling and narrative or even simple picturesqueness. Widely celebrated as the supreme English poet and often called the Victorian Oracle,1 Tenny son may well be considered the best exemplar of the nine teenth century. -
The Scientific Age As Reflected in Tennyson
Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1945 The Scientific Age as Reflected inennyson T Rose Francis Joyce Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation Joyce, Rose Francis, "The Scientific Age as Reflected inennyson T " (1945). Master's Theses. 232. https://ecommons.luc.edu/luc_theses/232 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1945 Rose Francis Joyce THE SCIENTIFIC AGE AS REFLECTED IN TENNYSON BY SISTER ROSE FRANCIS JOYCE 0. P. A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS F'OR THE DEGREE OF MASTER OF' ARTS IN LOYOLA UNIVERSITY JUNE 1945 TABLE OF CONTENTS CHAPTER PAGE I. TENNYSON REFLECTS HIS AGE •••••••• • • • • • 1 II. TEJ:rnYSON AND THE NEW SCIENTIF'IC MOVE:MENT • • • • • 15 III. THE SPIRIT OF MODERN SCIENCE IN TENNYSON • • • • • 43 IV. CONFJ.. ICT OF FAITH AND DOUBT IN TENNYSON • • • • • 65 v. TENNYSON THE MAN • • • • • • • • • • • • • • • • • 93 CF...APTER I TENNYSON REFLECTS HIS AGE This poet of beauty and of a certain magnificent idleness, lived at a time when all men had to wrestle and to decide. Tennyson walked through the lowlands of life, and in them met the common man, took.him by the hand, and showed him the unsuspected loveliness of many a common thing.