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

By Alison Chapman, Richard Cronin, Antony Harrison

This 'Companion' brings jointly specifically commissioned essays through extraordinary overseas students that mirror either the variety of Victorian poetry and the range of serious ways that light up it.

• techniques Victorian poetry when it comes to style, creation and cultural context, instead of via person poets or poems
• Demonstrates how a selected poet or poem emerges from a couple of overlapping cultural contexts.
• Explores the relationships among paintings by way of varied poets
• remembers consciousness to a substantial physique of poetry that has fallen into overlook
• Essays are trained via fresh advancements in textual and cultural concept
• Considers Victorian girls poets in each chapter

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Example text

Christ Wilde praises the effort ‘to see the object as in itself it really is not’. Art should not be held to any external standard; its only motive is the creation of beauty. Because such a definition of art ignores the utilitarian concerns of society, the artist is necessarily alienated. Life drives art into the wilderness, a situation that to Wilde is the true decadence. Wilde’s importance as a critic stems not only from his provocative formulation of Pater’s poetics but also from his use of them to define a pose and a culture.

Ed. Howard Foster Lowry. London: Oxford University Press. Arnold, Matthew (1960–77) Complete Prose Works. Ed. R. H. Super. Ann Arbor: University of Michigan Press. Arnold, Matthew (1965) The Complete Poems. Ed. Kenneth Allott. New York: Barnes & Noble. Austin, Alfred (1869) ‘Poetry of the Period: Mr. ’ Temple Bar, 26, 57–74. Bagehot, Walter (1898). Literary Studies. Ed. Richard Holt Hutton. London: Longmans, Greene. Browning, Elizabeth Barrett (1900) Complete Works. Eds Charlotte Porter and Helen A.

Like Bagehot, in his definition of the ornate style in poetry, Hopkins illustrates it with Enoch Arden. The language of inspiration for Hopkins requires a deformation of conventional syntax. It resembles Ruskin’s idea of the Gothic. Hopkins intensifies the sense of syntactic deformation under the pressure of inspiration by a unique system of poetic rhythm he calls sprung rhythm, which replaces a system of regular syllabic feet with a system of stresses governing irregular syllabic patterns. Like the use of sound in Tennyson, Browning and Swinburne, sprung rhythm results in a music that impresses itself on the reader as an independent element of the poem’s experience.

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