By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly especially commissioned essays through unique overseas students that mirror either the variety of Victorian poetry and the diversity of severe methods 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 specific poet or poem emerges from a couple of overlapping cultural contexts.
• Explores the relationships among paintings through varied poets
• remembers recognition to a substantial physique of poetry that has fallen into forget
• Essays are educated by way of contemporary advancements in textual and cultural thought
• Considers Victorian girls poets in each chapter
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Extra resources for A Companion to Victorian Poetry
New Haven: Yale University Press. ’ Contemporary Review, 18, 334–50. Carlyle, Thomas (1896–1901) Works. Ed. H. D. Traill. London: Macmillan. Christ, Carol T. (1975) The Finer Optic: The Aesthetic of Particularity in Victorian Poetry. New Haven: Yale University Press. Christ, Carol T. (1984) Victorian and Modern Poetics. Chicago: Chicago University Press. Cunningham, Valentine (2000) The Victorians: An Anthology of Poetry and Poetics. Oxford: Blackwell. Eliot, T. S. (1964) Selected Essays. New York: Harcourt, Brace & World.
London: Routledge. Arnold, Matthew (1932) The Letters of Matthew Arnold to Arthur Hugh Clough. 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.
He shares the dilemmas of his contemporaries and their interest in exploring the expressive possibilities of what Ruskin calls the Gothic style. However, Hopkins’s ability to comprehend the universal in the particular depends upon his belief in the Word, both as founding divine principle and as the organic relationship of language to the universe. This belief allows his poetry a cognitive density unique among his contemporaries. The balance that Hopkins’s theology enabled him to maintain between what he calls mortal beauty and God’s better beauty, grace, is a fragile one.
A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison