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
Content:
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):
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Extra resources for Victorian Poetry Now: Poets, Poems, Poetics
Example text
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).