By Valentine Cunningham
This booklet is the definitive consultant to Victorian poetry, which its writer methods within the mild of contemporary severe matters and modern contexts.
- Valentine Cunningham indicates encyclopedic wisdom of the poetry produced during this interval and provides unbelievable shut readings of a couple of recognized poems
- Draws at the paintings of significant Victorian poets and their works in addition to a number of the much less famous poets and poems
- Reads poems and poets within the mild of either Victorian and glossy serious matters
- Places poetry in its own, aesthetic, ancient, and ideological context
- Organized when it comes to the Victorian anxieties of self, physique, and depression
- Argues that rhyming/repetition is the most important formal function of Victorian poetry
- Highlights the Victorian obsession with small matters in small poems
- Shows how Victorian poetry makes an attempt to have interaction with the fashionable topic and the way its modernity segues into modernism and postmodernism
Chapter 1 phrases, phrases, phrases and extra phrases (pages 1–54):
Chapter 2 Rhyming/Repeating (pages 55–72):
Chapter three Making Noise/Noising Truths (pages 73–107):
Chapter four those Rhyming/Repeating video games are severe (pages 108–148):
Chapter five Down?Sizing (pages 149–188):
Chapter 6 Selving (pages 189–258):
Chapter 7 Fleshly emotions (pages 259–322):
Chapter eight Mourning and Melancholia (pages 323–408):
Chapter nine Modernizing the topic (pages 409–462):
Chapter 10 Victorian Modernismus (pages 463–503):
Read or Download Victorian Poetry Now: Poets, Poems, Poetics PDF
Similar poetry books
Dante’s Inferno: The Indiana Critical Edition
This new severe version, together with Mark Musa’s vintage translation, offers scholars with a transparent, readable verse translation observed through ten leading edge interpretations of Dante’s masterpiece.
Itself (Wesleyan Poetry Series)
What do "self" and "it" have in universal? In Rae Armantrout's new poems, there isn't any inert substance. Self and it (word and particle) are ritual and rigmarole, song-and-dance and lengthy distance name into no matter what darkish topic could exist. How may well a self no longer be egocentric? Armantrout accesses the strangeness of daily incidence with wit, sensuality, and a watch alert to underlying trauma, as within the poem "Price Points" the place a guy conducts an imaginary orchestra yet "gets no issues for originality.
The Nibelungenlied: The Lay of the Nibelungs (Oxford World's Classics)
The best of the heroic epics to emerge from medieval Germany, the Nibelungenlied is a revenge saga of sweeping dimensions. It tells of the dragon-slayer Sivrit, and the mysterious nation of the Nibelungs with its valuable treasure-hoard guarded by means of dwarves and giants, of Prünhilt the Amazonian queen, fortune-telling water-sprites and a cloak of invisibility.
Arthurian Chronicles: Roman de Brut
(Robert John) Wace (c. 1100 - c. 1174) used to be an Anglo-Norman poet, who used to be born in Jersey and taken up in mainland Normandy. Roman de Brut (c. 1155) used to be according to the Historia Regum Britanniae of Geoffrey of Monmouth. Its recognition is defined through the recent accessibility to a much broader public of the Arthur legend in a vernacular language.
- Music, Poetry, Propaganda: Constructing French Cultural Soundscapes at the BBC during the Second World War (Modern French Identities)
- The Homeric Hymns: A Translation, with Introduction and Notes (Updated Edition)
- Watermelon Kindness: Poetry
- My Favorite Warlord
- Oranges and Snow: Selected Poems of Milan Djordjević
Extra resources for Victorian Poetry Now: Poets, Poems, Poetics
Victorian poetry can be weak and strong just as the poetry of other ages is both bad and good; it can be extraordinarily strong, both verbally and formally, whether the poet spent his youth translating from the Classics (as Tennyson, and Matthew Arnold, and Clough, and Housman did), or did not (like Browning, and Christina G. Rossetti, and Emily Brontë, and Hardy). The good Victorian poets are highly alert to their verbal doings, as all good poets have been. Wilde, the author of that double sneer at Meredith and Browning, was, of course, himself a Victorian.
47 Swinburne is the Victorian master of form, the Victorian expert in varieties of poetic shape, because he’s a product of the Eton system. Brought up on daily translation from Latin and Greek, on regular imitation of the ancient masters, he sports a metrical expertise that was beaten into him daily, bloodily, on the Eton flogging-horse. 48) No wonder he’s so good at poetic beat, at poetic din: the regular din of verse was so regularly dinned in. I’ll give you more to cry for, you young dog, you!
Clough weeps ‘like a child’ whilst reading ‘Mari Magno’ to Tennyson in 1861. ) And mutual eating and drinking were as common as mutual reading. The widowed Browning dined out with everybody. Meanwhile, the London Celts and ‘decadent’ Francophiles – Yeats, Lionel Johnson, Victor Plarr, AE Dowson, Richard LeGallienne, John Davidson, Arthur Symons – clubbed together in the Rhymers’ Club. And the women had their groups too, like the allied Portfolio Society and Langham Place Group (Barbara Leigh Smith, Bessie Rayner Parkes, Jean Ingelow, Isa Knox, Adelaide Anne Procter).