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1 a Lincolnshire Boyhood 2 Cambridge
Notes 1 A LINCOLNSHIRE BOYHOOD 1. J. 0. Hoge, ed., 'Emily Tennyson's Narrative for her Sons', Texas Studies in Literature and Language XIV (1972), 96. 2. H. D. Rawnsley, Memories of the Tennysons (1900), p. 225. 3. See C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', Tennyson Research Bulletin II, iii (1974), 121-3 [hereafter TRB]. 4. A. Pollard, 'Three Horace Translations by Tennyson', TRB IV, i (1982), 16. 5. H. D. Paden, Tennyson in Egypt (1942), p. 103. 6. C. Tennyson and C. Ricks, 'Tennyson's "Mablethorpe"', p. 121. 7. This painting is still at Farringford. I am grateful to Dr Christopher Brown, Chief Curator of the National Gallery, for the attribution. 8. A. G. Weld, Glimpses of Tennyson (1903), p. 12. 9. J. Kolb, ed., The Letters of A. H. Hallam (1981), p. 457. 10. R. B. Martin, Tennyson: The Unquiet Heart (1980), p. 48. 11. E. A. Knies, ed., Tennyson at Aldworth: The Diary off. H. Mangles, (1984), p. 122. 2 CAMBRIDGE 1. C. Tennyson, Alfred Tennyson (1949), p. 55. 2. E. A. Knies, ed., Tennyson at Aldworth: The Diary of f. H. Mangles, p. 97. 3. S. T. Coleridge, Aids to Reflection, ed. D. Coleridge (7th edn, London, 1854), p. 155. 4. Arthur Hallam visited Coleridge at Highgate, but Tennyson, although invited, never went. Coleridge's rude remarks on Tennyson's han dling of metre would not have encouraged him. 5. Shelley's Adonais: A Critical Edition, ed. A. D. Knerr (New York, 1984), pp. 445-6. 6. H. B. Bryant, 'The African Genesis of Tennyson's "Timbuctoo"', TRB, III v (1981), 200. -
Tennyson: 'The Lady of Shalott', 'Mariana', 'The Palace of Art'
Tennyson: 'The Lady of Shalott', 'Mariana', 'The Palace of Art'. T.S.Eliot began his essay on ‘In Memoriam’ with one of the least intelligent of his critical pronouncements: Tennyson is a great poet for reasons that are perfectly clear. He has three qualities which are seldom found together except in the greatest poets: abundance, variety, and complete competence. [Selected Essays 328] Surely one expects from ‘the greatest poets’ something more than competence, however abundant and varied. Nor does Eliot in the rest of the essay make any attempt to demonstrate this complete competence. The only clue he gives us is the phrase ‘his unique and unerring feeling for the sounds of words’. Tennyson was certainly capable of writing very beautiful verse, lyrics which demand to be set to music; but that is a capacity he shares with more minor than major poets. The major poet cannot allow himself to be seduced by the beautiful sounds of words for their own sake. Tennyson certainly erred when he allowed himself to turn his feeling for the sounds of words into what amounts to little more than a party trick – his ‘murmur of bees in immemorial elms’ and so on are mere showing off. At his worst his feeling for the sounds of words supplants all the other components of poetry. Content, if any, exists only that the style might have something to play upon. And what is competence in a poet if not the perfect fitting of style and content (as in Eliot’s own verse)? What use is style if it is not wholly at the service of content? To be aware during a play that one is hearing and watching great acting is in fact to be watching incompetent acting – acting for the greater glory of the actor at the expense of the play. -
The Visual Interpretation of Tennyson's Poetry in Two Manuscript Albums
Amateur hours: the visual interpretation of Tennyson's poetry in two manuscript albums Article (Accepted Version) Field, Hannah (2016) Amateur hours: the visual interpretation of Tennyson’s poetry in two manuscript albums. Journal of Victorian Culture, 21 (4). pp. 471-499. ISSN 1355-5502 This version is available from Sussex Research Online: http://sro.sussex.ac.uk/id/eprint/59628/ This document is made available in accordance with publisher policies and may differ from the published version or from the version of record. If you wish to cite this item you are advised to consult the publisher’s version. Please see the URL above for details on accessing the published version. Copyright and reuse: Sussex Research Online is a digital repository of the research output of the University. Copyright and all moral rights to the version of the paper presented here belong to the individual author(s) and/or other copyright owners. To the extent reasonable and practicable, the material made available in SRO has been checked for eligibility before being made available. Copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. http://sro.sussex.ac.uk Amateur Hours: The Visual Interpretation of Tennyson’s Poetry in Two Manuscript Albums Hannah Field (University of Sussex) Abstract: This article seeks to gauge Victorian readers’ responses by looking not at how readers wrote about their experience of texts, but at how they responded to their reading visually. -
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. -
ALFRED, LORD TENNYSON the Lady of Shalott (1842)
ALFRED, LORD TENNYSON The Lady of Shalott (1842) And moving thro' a mirror clear Part I That hangs before her all the year, On either side the river lie Shadows of the world appear. Long fields of barley and of rye, There she sees the highway near That clothe the wold and meet the sky; Winding down to Camelot: And thro' the field the road runs by There the river eddy whirls, To many-tower'd Camelot; And there the surly village-churls, And up and down the people go, And the red cloaks of market girls, Gazing where the lilies blow Pass onward from Shalott. Round an island there below, The island of Shalott. Sometimes a troop of damsels glad, An abbot on an ambling pad, Willows whiten, aspens quiver, Sometimes a curly shepherd-lad, Little breezes dusk and shiver Or long-hair'd page in crimson clad, Thro' the wave that runs for ever Goes by to tower'd Camelot; By the island in the river And sometimes thro' the mirror blue Flowing down to Camelot. The knights come riding two and two: Four gray walls, and four gray towers, She hath no loyal knight and true, Overlook a space of flowers, The Lady of Shalott. And the silent isle imbowers The Lady of Shalott. But in her web she still delights To weave the mirror's magic sights, By the margin, willow veil'd, For often thro' the silent nights Slide the heavy barges trail'd A funeral, with plumes and lights By slow horses; and unhail'd And music, went to Camelot: The shallop flitteth silken-sail'd Or when the moon was overhead, Skimming down to Camelot: Came two young lovers lately wed: But who hath seen her wave her hand? "I am half sick of shadows," said Or at the casement seen her stand? The Lady of Shalott. -
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. -
Three Modern Views of Merlin
Volume 16 Number 4 Article 3 Summer 7-15-1990 Three Modern Views of Merlin Gwyneth Evans Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Evans, Gwyneth (1990) "Three Modern Views of Merlin," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 16 : No. 4 , Article 3. Available at: https://dc.swosu.edu/mythlore/vol16/iss4/3 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Examines the use of Merlin as a character in Tennyson’s Idylls of the King, two novels by J.C. Powys, and Susan Cooper’s The Dark is Rising series. Notes parallels and differences in Merlin’s power, role, prophetic ability, link with the divine, and vulnerability. Additional Keywords Cooper, Susan. The Dark is Rising (series)—Characters—Merlin; Merlin; Powys, J.C. -
Study Material on the Poem "Ulysses" by Alfred Tennyson , CC-5, 3Rd Semester, English Honours
Study Material on the poem "Ulysses" by Alfred Tennyson , CC-5, 3rd Semester, English Honours Alfred Tennyson: Alfred Tennyson (6 August 1809 – 6 October 1892) was a British poet. He was the Poet Laureate during much of Queen Victoria's reign and remains one of the most popular British poets. In 1829, Tennyson was awarded the Chancellor's Gold Medal at Cambridge for one of his first pieces, "Timbuktu". He published his first solo collection of poems, Poems Chiefly Lyrical in 1830. "Claribel" and "Mariana", which remain some of Tennyson's most celebrated poems, were included in this volume. Although decried by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge. Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood. Tennyson also excelled at penning short lyrics, such as "Break, Break, Break", "The Charge of the Light Brigade", "Tears, Idle Tears", and "Crossing the Bar". Much of his verse was based on classical mythological themes, such as "Ulysses", although "In Memoriam A.H.H." was written to commemorate his friend Arthur Hallam, a fellow poet and student at Trinity College, Cambridge, after he died of a stroke at the age of 22. Tennyson also wrote some notable blank verse including Idylls of the King, "Ulysses", and "Tithonus". During his career, Tennyson attempted drama, but his plays enjoyed little success. A number of phrases from Tennyson's work have become commonplaces of the English language, including "Nature, red in tooth and claw" (In Memoriam A.H.H.), "'Tis better to have loved and lost / Than never to have loved at all", "Theirs not to reason why, / Theirs but to do and die", "My strength is as the strength of ten, / Because my heart is pure", "To strive, to seek, to find, and not to yield", "Knowledge comes, but Wisdom lingers", and "The old order changeth, yielding place to new". -
Edward Lear's Lines of Flight
Journal of the British Academy, 1, 31–69. DOI 10.5871/jba/001.031 Posted 18 July 2013. © The British Academy 2013 Edward Lear’s lines of flight Chatterton Lecture on Poetry read 1 November 2012 by MATTHEW BEVIS Abstract: ‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paint ings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. I suggest that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention. Keywords: Edward Lear, poetry, painting, flight, birds, Charles Darwin, nonsense, evolution, Alfred Tennyson. until now I never knew That fluttering things have so distinct a shade. Wallace Stevens, ‘Le Monocle de Mon Oncle’ (1918) ‘If you cannot tell me how the shadows of the blessed jackdaws will fall I don’t know what I shall do’, wrote Edward Lear to William Holman Hunt in 1852.1 The poet’s feeling for the life of things was often enhanced by his regard for their fleeting effects. ‘Myriads of pigeons!’, he later exclaimed, ‘And when they fly, their shadows on the ground!’2 Notwithstanding the lessons of Plato’s cave, shadows, for Lear, inhabit the realm of the knowable; they are not simply a mistake, or a deception, or a diversion from the real. At once copies and reanimations, shadows may also stand as an analogue for art. -
Abstract Alfred, Lord Tennyson's Poem “The Lady of Shallot”
Abstract Alfred, Lord Tennyson’s poem “The Lady of Shallot” contains an enigmatic tale which can be interpreted as very relevant to society, most specifically for women who have been subordinated to patriarchy. The poem conveys in an elusive way the imbalanced gender ideology of Victorian Britain, using a metaphor entailing social and cultural contexts. Furthermore, it highly emphasizes the representations of both genders as either belonging to public and private spheres, or who are domineering and submissive, respectively. Like the Lady of Shalott, women were victims of social marginalisation, no matter how vital their roles were in a community. In his poem, Tennyson delineates gender roles and conditions from previous periods in British history, such as the Middle Ages, and the Renaissance and Victorian eras, in which women were considered less by society because of the limitation of their bodies. Likewise, it also presents their subjection as “redundancy”, in which a woman was bound only to marriage and to whatever her husband would provide. One of the activities that Victorian women were comfortable with was needlecraft, and this is Tennyson’s inspiration behind the Lady’s creativity in weaving. This also serves as their defence mechanism, or self-suppression, as to how they could control the thoughts of their oppressive circumstances, which are surfacing in their consciousness, by diverting their frustrations into something valuable while they build their aspirations on fulfilling their potential in society. Feminism has evolved because of women meeting to engage in needlework behind closed doors. The professions such as that of governess, nurse and midwife were entitled for women because these occupations are what they normally do in their private sphere. -
A History of English Literature MICHAEL ALEXANDER
A History of English Literature MICHAEL ALEXANDER [p. iv] © Michael Alexander 2000 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W 1 P 0LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2000 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 6XS and London Companies and representatives throughout the world ISBN 0-333-91397-3 hardcover ISBN 0-333-67226-7 paperback A catalogue record for this book is available from the British Library. This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. 10 9 8 7 6 5 4 3 2 1 09 08 07 06 05 04 03 02 O1 00 Typeset by Footnote Graphics, Warminster, Wilts Printed in Great Britain by Antony Rowe Ltd, Chippenham, Wilts [p. v] Contents Acknowledgements The harvest of literacy Preface Further reading Abbreviations 2 Middle English Literature: 1066-1500 Introduction The new writing Literary history Handwriting -
Poetry2poem1.Pdf
The POETRY of the Victorian Era (1837-1901) Victorian literature is the literature produced during the reign of Queen Victoria (1837 – 1901). England, during this time, was undergoing a tremendous cultural upheaval; the accepted forms of literature, art and music had undergone a radical change. The Romantic Movement, which preceded the Victorian Renaissance, had often portrayed the human pursuit of knowledge and power as a beautiful thing, for example in works of Wordsworth. Poetry written during the reign of Queen Victoria from 1837 to 1901 is defined as Victorian poetry. The defining characteristics of Victorian poetry are its focus on sensory elements, its recurring themes of the religion/science conflict, and its interest in medieval fables and legends. Salient features of Victorian poetry During the Victorian era, however, there was a lot of radical social change and as such, many poets of this time did not like the romanticized version of society. The Victorian poetry is, thus, divided into two main groups of poetry: The High Victorian Poetry and The Pre-Raphaelite Poetry. The most important and obvious characteristic of Victorian Poetry was the use of sensory elements. Most of the Victorian Poets used imagery and the senses to convey the scenes of struggles between Religion and Science, and ideas about Nature and Romance, which transport the readers into the minds and hearts of the people of the Victorian age, even today. Lord Alfred Tennyson lives up to this expected characteristic in most of his works. Another characteristic of Victorian poetry was the sentimentality. Victorian Poets wrote about Bohemian ideas and furthered the imaginings of the Romantic Poets.