A Companion to Victorian Poetry (Blackwell Companions to by Ciaran Cronin

By Ciaran Cronin

This spouse brings jointly particularly commissioned essays through extraordinary overseas students that replicate either the variety of Victorian poetry and the range of severe techniques that light up it.Approaches Victorian poetry in terms of 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 diversified poets remembers consciousness to a substantial physique of poetry that has fallen into overlook Essays are trained via contemporary advancements in textual and cultural idea Considers Victorian ladies poets in each bankruptcy

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Extra info for A Companion to Victorian Poetry (Blackwell Companions to Literature and Culture)

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The dramatic monologue is the single most important formal development in Victorian poetry. It ultimately shapes modernist assumptions about poetic personae. In ‘The Obscurity of the Poet’, the modern poet and critic Randall Jarrell identifies both the innovation and the debt: ‘The dramatic monologue, which once had depended for its effect upon being a departure from the norm of poetry, now became in one form or another the norm’ (1953: 13). The form is so important an achievement in the history of modern poetics because it enables the poet to move beyond the dilemmas that Romantic assumptions about poetic subjectivity had seemed increasingly to pose.

Christ tive, according as the thoughts which arise in it seem generated by a stress and action of the brain, or to strike into it unasked’ (Hopkins 1956: 215). Parnassian does not require this mood; it is the grand style adopted as a conventional mannerism. 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.

It is ironic that the elevation to which Arnold raises aesthetic experience, his insistence upon its separation from the world of practice, contributes ultimately to aestheticism, a view that would have been abhorrent to Arnold. The Victorian debate about the proper role and value of aesthetic experience takes on even greater complexity in relationship to gender. The emphasis, in one strand of Victorian aesthetics, on sensibility as the most important element of the poetical character led to an identification of poetry as feminine.

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