Tennyson and Aestheticism
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“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. -
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. -
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. -
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. -
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". -
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 -
Studies in Tennyson Poems of Tennyson
1920. COPTBIGHT, 1889. 1891. 1892. 1897, 1898. BY CHARLES SCRIBNEB's SONS Published February, 1920 PR. 558% V4 THE 8CRBNER PRESS BY HENRY VAN DYKE The Valley of Vision Fighting for Peace The Unknown Quantity The Ruling Passion The Blue Flower Out-of-Doors in the Holy Land Days Off Little Rivers Fisherman's Luck Poems, Collection in one volume Golden Stars The Red Flower The Grand Canyon, and Other Poems The White Bees, and Other Poems The Builders, and Other Poems Music, and Other Poems The Toiling of Felix, and Other Poems The House of Rimmon Studies in Tennyson Poems of Tennyson CHARLES SCRIBNER'S SONS STUDIES IN TENNYSON <J / A YOUNG WOMAN OF AN OLD FASHION WHO LOVES ABT NOT ONLY FOE ITS OWN SAKE BUT BECAUSE IT ENNOBLES LIFE WHO READS POETRY NOT TO KILL TIME BUT TO FILL IT WITH BEAUTIFUL THOUGHTS AND WHO STILL BELIEVES IN GOD AND DUTY AND IMMORTAL LOVE I DEDICATE THIS BOOK PREFACE 1 HIS volume is intended to be a companion to my Select Poems of Tennyson. I have put it second in the pair because that is its right place. Criticisms, com^ ments, interpretations, are of comparatively little use until you have read the poetry of which they treat. Like photographs of places that one has not seen, they lack the reviving, realizing touch of remembrance. The book contains a series of essays, written at dif- ferent times, printed separately in different places, and collected, substantially, in a book called The Poetry of Tennyson, which was fortunate enough to find many friends, and has now, I believe, gone out of print. -
Introduction: the Victorian Poetry Palace
1 Introduction: The Victorian Poetry Palace There is no style that Victorian poets share, one reason for which is that they had too many to choose from. They had available to them, as their predecessors did not, the full history of English poetry. They were the heirs, as George Saintsbury puts it, of materials that had been ‘furnished by the thought and work of a score of generations of English poets, by the growth and development of seven centuries of English language and English literature’. 1 Saintsbury’s claim might be extended. The fi rst schol- arly edition of Beowulf which probably dates from the ninth century was published by Tennyson’s friend, J.M. Kemble, in 1833, and Victorian poets were not familiar only with English literature. Shelley had to teach himself Greek after some lessons from his friend, Thomas Love Peacock, but his successors were, many of them, classically educated at their public schools to a level that neither earlier nor later poets could reach, and some of their female contemporaries such as Elizabeth Barrett and Augusta Webster matched their achievements. Many were also widely read in the poetry of continental Europe and beyond. D.G. Rossetti translated the early Italian poets, Swinburne translated from the medieval French of François Villon, and introduced his countrymen to the contemporary French of Charles Baudelaire. Edward FitzGerald’s translation from the eleventh‐century Persian of Omar Khayyam became, after initial neglect, one of the century’s more unlikely best‐sellers. Tennyson’s ‘Locksley Hall’ (1842) with itsCOPYRIGHTED vision of ‘the great world’ spinning MATERIAL ‘for ever down the ringing grooves of change’ (The short‐sighted Tennyson explained, ‘When I went by the fi rst train from Liverpool to Manchester I thought that the wheels ran in a groove’) is properly recognized as a quintessentially Reading Victorian Poetry, First Edition. -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
'A Flute of Arcady': Autograph Poems of Tennyson's Friend, Arthur Henry Hallam
'A FLUTE OF ARCADY': AUTOGRAPH POEMS OF TENNYSON'S FRIEND, ARTHUR HENRY HALLAM ROGER EVANS And all we met was fair and good, And all was good that Time could bring. And all the secret of the Spring Moved in the chambers of the blood: And many an old philosophy On Argive heights divinely sang. And round us all the thicket rang To many a flute of Arcady. Tennyson, In Memoriam A.H.H., Section 23 ALTHOUGH Arthur Henry Hallam (fig. i) is granted a column and a half in the pages of the Dictionary of National Biography, he remains a tenuous shade in the national memory. He achieved no conventional academic distinction or position of political or social prominence, he left little that may be called ground-breaking and he fathered no progeny, worthy or otherwise. This said, his early death at the age of twenty-two so profoundly shook the greatest poet of the Victorian age, Alfred Lord Tennyson, and its greatest prime minister, W. E. Gladstone, he was a living presence in their memory to the end of their long lives. More importantly for us, he is a presence in the canon of English literature to be equated with Lycidas and Adonais, for he was the subject of one of the most sustainedly moving elegies in our language, Tennyson's In Memoriam A.H.H. In March 1998 the British Library acquired one of Hallam's notebooks, the most extensive collection of his poetry in his hand to survive and by far the most personal.^ It is a slim volume of some seventy folios, bound in now fragile calf boards, much of the spine gone but with the stitching intact and showing no evidence of having lost any folios except for one which is a mere stub. -
Introduction the Edition and the Critics
Introduction The Edition and the Critics s generations of critics have observed, Victorian illustration had a long Aand complicated history. More illustrated material was published than ever before, and the “bitextual” or “bimodal” text became the dominant publishing idiom.1 In an age before television and film and with limited access to photogra- phy, the most convenient way to see visual information was in the pages of comic magazines such as Punch (1841), in the leaves of literary periodicals of the 1860s, in the serial parts of fiction by Dickens and Thackeray and their contemporaries, and in editions of illustrated poetry. Transmitted through the technologies of copper and steel-plate etching, wood engraving, and occasionally lithography, a wide-ranging imagery was made available to diverse audiences. Indeed, the conjunction of literature and visual art became the norm, converting readers into reader/viewers engaged in an intricate, intimate transaction with the printed page; the talents of a wide variety of artists were employed and intermedial texts underwent a series of changes while still contributing to a recognizable canon.2 Mapping this tradition is problematic, and several alternative pathways have been traced through a corpus of work that includes the luxury imprints of Morris and Company at the Kelmscott Press, wood engravings of the “Golden Age” of the 1860s drawn by Millais and Sandys, the satires of Cruikshank and Phiz, and the bleak realism of Herkomer and Holl in The Graphic. Taken as whole, with all of its multitudinous turns, the discourse labeled “Victorian illustration,” essentially an updating of the eighteenth-century tradi- tions of the “Sister Arts,” is rich, complex, and contradictory. -
Alfred Lord Tennyson the Eartly Poems of Alfred
ALFRED LORD TENNYSON THE EARTLY POEMS OF ALFRED LORD TENNYSON 2008 – All rights reserved Non commercial use permitted THE EARLY POEMS OF ALFRED LORD TENNYSON EDITED WITH A CRITICAL INTRODUCTION. COMMENTARIES AND NOTES, TOGETHER WITH THE VARIOUS READINGS, A TRANSCRIPT OF THE POEMS TEMPORARILY AND FINALLY SUPPRESSED AND A BIBLIOGRAPHY BY JOHN CHURTON COLLINS PREFACE A Critical edition of Tennyson's poems has long been an acknowledged want. He has taken his place among the English Classics, and as a Classic he is, and will be, studied, seriously and minutely, by many thousands of his countrymen, both in the present generation as well as in future ages. As in the works of his more illustrious brethren, so in his trifles will become subjects of curious interest, and assume an importance of which we have no conception now. Here he will engage the attention of the antiquary, there of the social historian. Long after his politics, his ethics, his theology have ceased to be immediately influential, they will be of immense historical significance. A consummate artist and a consummate master of our language, the process by which he achieved results so memorable can never fail to be of interest, and of absorbing interest, to critical students. I must, I fear, claim the indulgence due to one who attempts, for the first time, a critical edition of a text so perplexingly voluminous in variants as Tennyson's. I can only say that I have spared neither time nor labour to be accurate and exhaustive. I have myself collated, or have had collated for me, every edition recorded in the British Museum Catalogue, and where that has been deficient I have had recourse to other public libraries, and to the libraries of private friends.