Academic literature on the topic 'Poems (Tennyson, Alfred Tennyson, Baron)'
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Journal articles on the topic "Poems (Tennyson, Alfred Tennyson, Baron)"
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Dr. Upendra Kumar. "Reinterpretation of Alfred Lord Tennyson’s Selected Poetry: A Thematic Analysis." Creative Launcher 5, no. 3 (2020): 124–29. http://dx.doi.org/10.53032/tcl.2020.5.3.17.
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Alfred Lord Tennyson was the most loved and acclaimed poet of the Victorian Era. He was born on 06 August 1809 in Somersby, Lincolnshire, England. He belonged to an influential family as his father was a clergyman having a large family. Alfred Lord Tennyson had 11 siblings and he showed his interest for writing in his early age. When he was merely thirteen years old, he wrote a 6000-line poem in epic style. His father was suffering from mental breakdowns and had an addiction for alcoholism. One of Tennyson’s brothers would quarrel with his father and another was sent to mental asylum. One more brother had opium addiction like T.S. Eliot. Tennyson entered Trinity College, Cambridge in 1827 and he wrote Poems by Two Brothers in collaboration with his brother there. Tennyson had close friendship with Arthur Henry Hallam and both of them went to Europe tour in 1830 and 1832. Tennyson wrote an elegy In memoriam on Hallam’s death. He dedicated some of his poem to Hallam. He published Poems Chiefly Lyrical in 1830 and then Poems in 1832. People criticized these books and consequently he did not write for nine years. He got emotionally attached with Emily Sellwood. He rose to fame in 1942 and when his elegy published in 1850, he became the most popular poet of England. He became the Poet Laureate of England after the death of William Wordsworth and when Samuel Rogers refused this offer. He got married with Emily Sellwood. He died on October 6, 1892 and was buried in Westminster Abbey. Present paper is an attempt to analyse Tennyson’s selected poems from multiple angles.
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Tawfiq, Hatim Hassan. "A Study of the Phonological Poetic Devices of Selected Poems of Robert Browning and Alfred Tennyson." English Language and Literature Studies 10, no. 4 (2020): 16. http://dx.doi.org/10.5539/ells.v10n4p16.
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This paper focuses on the phonological poetic devices found in the poetry of Robert Browning and Alfred Tennyson. It investigates five patterns of phonological poetic devices. The study is based on randomly selected poems from each poet to obtain a representative sample of the particular poetic devices and tabulates the frequency their usage. The poetic devices under investigation are onomatopoeia, assonance, consonance, alliteration, and rhyme. The paper quantitatively analyzes the occurrence of these phonological poetic devices in randomly selected poems from the works of the two poets to a clear picture of the sound patterns found in the poetry of Robert Browning and Alfred Tennyson.
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SAAD, HAIDER LUAIBI. "SUFFERING OF WOMAN IN THE POETRY OF ALFRED TENNYSON." Journal of Education College Wasit University 2, no. 25 (2021): 1687–706. http://dx.doi.org/10.31185/eduj.vol2.iss25.2758.
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Woman was and stills the center of any family; consequently she is the center of the whole society. The social suffering of women was of different forms which varied from suppression in education to isolation, deprivation of love and market-marriage. Woman in all societies lived in hard circumstances and was yoked to enslavement to man's prejudice and proud feeling of superiority. Alfred Tennyson highlighted woman's torture and problems trying to get his people acquainted with such suffering and open his people's eyes and minds to the tragedy of woman's maltreatment. He used his poetry to exhibit his beliefs in such plights. This paper deals mainly with Tennyson's treatment of woman's issues. First, it gives a biographical sketch of Tennyson's life, emphasizing those incidents and situations that affected his outlook towards woman which he depicts in his poems that defend her issues in society. Of those poems are “The Princess”, “, “Mariana” and “The Lady of Shalott”. The paper casts a light on one of these poems which is "The Princess" and ends with a conclusion that brings the final findings of the study out where the reader can make use of Tennyson's ways of understanding and presenting woman's problems.
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Whissell, Cynthia. "Emotion Conveyed by Sound in the Poetry of Alfred, Lord Tennyson." Empirical Studies of the Arts 20, no. 2 (2002): 137–55. http://dx.doi.org/10.2190/6k4g-lwpq-ray8-67qg.
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The use of sound was studied in several of Tennyson's shorter and better-known poems (e.g., Break, Break, Break and Ulysses) and in In Memoriam A. H. H. Poems were broken down into their component phonemes which were then classified in terms of their emotional character. The emotional character of sounds preferentially employed in each of the shorter poems matched the emotional theme of the poem (e.g., sounds employed in Airy Fairy Lilian and Lady of Shallot were most pleasant, those in Crossing the Bar were least pleasant). The emotional character of sounds preferentially employed in the final segments of In Memoriam revealed an underlying sadness to the poem's close belied by Tennyson's own interpretation of it. Analyses of In Memoriam also highlighted the elegy's frequent transitions from grief to hope and back again. It is concluded that Tennyson used sound (both consciously and unconsciously) to amplify the effects of his poetry.
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Mashao, Elizabeth Thadeus. "The Cutting Age Literature, from Romanticism to Victorian Age: A Study on Victor Hugo and Alfred Tennyson." Indonesian Journal of English Language Studies (IJELS) 4, no. 1 (2018): 31–38. http://dx.doi.org/10.24071/ijels.v4i1.1632.
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This study compares the features of poetry works of Victor Hugo from the Romantic Movement to those of Alfred Lord Tennyson from the Victorian Age of literature who lived in cutting age of the two periods of literature. These two ages experienced great expansion of industrial and agricultural revolutions, expansion of British as a super power nation with many colonies and the French revolution which to a great extent influenced the writings of these authors. Romanticism style of portraying themes of imagination, natural beauty and individual emotions over reasoning and sense of intellect influenced the poets of the age of Victorian literature though they still addressed the problems of the Victorian age. Both poets composed short and long poems, used description and sentimental styles, used nature metaphorically to create imagery and describe the emotions of appreciating beauty of the nature and reflecting peoples struggle in different situations of life.Key words: Literature of the Romantic period, literature of the Victorian Age, Victor Hugo,Alfred Tennyson.
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Young-Zook, Monica M. "SONS AND LOVERS: TENNYSON'S FRATERNAL PATERNITY." Victorian Literature and Culture 33, no. 2 (2005): 451–66. http://dx.doi.org/10.1017/s106015030505093x.
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TERRY EAGLETONhas suggested that “the mid-nineteenth century bourgeois state had problems in resolving its Oedipus complex” (76). Eagleton's semi-serious remark certainly holds true for nineteenth-century British culture, which, while supposedly patriarchal in its political structures, features a great number of significant literary narratives in which the paternal parent is either missing, dead, or never mentioned. The poems of Alfred, Lord Tennyson, are no exception. Gerhard Joseph, Christopher Ricks, and Linda Shires, among others, turn to Freudian psychoanalysis, the Oedipal complex, and Freud's seminal essay “Mourning and Melancholia” for insight into why so many father figures are absent from Tennyson's work. Yet neither the Oedipus complex nor “melancholia” accounts for how these father figures, while literally absent, are nevertheless present and influential. Another model is needed to describe the relationship between Tennyson, the missing paternal figures of his narratives, and the age that he has come to represent.
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Anna Jane Barton. "Letters, Scraps of Manuscript, and Printed Poems: The Correspondence of Edward FitzGerald and Alfred Tennyson." Victorian Poetry 46, no. 1 (2008): 19–35. http://dx.doi.org/10.1353/vp.0.0006.
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Phelan, Joseph. "“Bloomluxuriance”." Nineteenth-Century Literature 75, no. 1 (2020): 1–23. http://dx.doi.org/10.1525/ncl.2020.75.1.1.
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Joseph Phelan, “‘Bloomluxuriance’: Compound Words in the Poetry of the 1830s and 1840s” (pp. 1–23) The brief interregnum between Romanticism and Victorianism saw the emergence of and retreat from a number of formal and linguistic experiments in poetry. One of the most striking of these is the ostentatious employment of compound words; the early verse of Alfred Tennyson and some of his less-illustrious contemporaries is littered with coinages such as “tendriltwine,” “mellowmature,” and “bloomluxuriance.” The impetus behind this phenomenon came from developments in philology that emphasized the affinities between English and German and from the attempt to broaden the range of English verse by naturalizing metrical forms such as the hexameter, and was often associated with an impassioned if politically unfocused radicalism. In revising “Œnone” for republication in his 1842 Poems, Tennyson excised almost all of these compound words, a gesture of linguistic conformity that is the stylistic counterpart to what Isobel Armstrong calls the “loss of nerve” apparent in his work during this decade, and one that is paralleled in the work of some of his contemporaries. This experimental impulse did not disappear from Victorian poetry completely, however, and its survival helps to explain some of the quainter and more ungainly phenomena of later nineteenth-century verse.
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Sultan, Dr Muthanna Mohammed. "Colonialism Revisited: Reading in Selected Poems of the Nineteenth Century." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (2018): 165–78. http://dx.doi.org/10.36473/ujhss.v224i1.253.
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This paper will try to discover and discuss the colonial contentsof some of the nineteenth-century British poets. At that time, the colonial ideology and impetus were increasingly elevated and demanded as the British Empire notably expanded and significantly flourished. Colonialism was among the main aspects in the British political and social life. Literary figures and scholars dealt with thisnewly-born phenomenon differently; some welcomed and adhered it, while others showed some doubts and suspicion. There was no unified thread about the colonial project the Europeans held. Did exist there a kind of consensus? Or was there a sense of ambivalence about it? This paper is going to address these issues and attempt to reach at some plausible answers and results. To do this, the paper will analyze a group of poems by William Blake, Samuel Taylor Coleridge, Alfred, Lord Tennyson, and Rudyard Kipling.
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Buda, Agata. "In the postmodern mirror: intertextuality in Angels and Insects by Antonia Susan Byatt." Journal of Language and Cultural Education 3, no. 2 (2015): 66–70. http://dx.doi.org/10.1515/jolace-2015-0015.
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Abstract The aim of the paper is to analyse the novel Angels and Insects by Antonia Susan Byatt in terms of intertextual references. The author’s assumptions are based on the categorisation by Ryszard Nycz, who distinguishes three major types of intertexts: text versus text, text versus literary genre and text versus mimesis. Byatt uses intertextuality mainly to comment on the role of nature in the world, as well as to enhance the importance of human relationship with nature. Moreover, the writer moves towards literary criticism, discussing poems by famous artists, such as Alfred Tennyson or John Milton. In this way, the novel by Byatt is also an example of metafiction. All the narration techniques used by the English writer make the novel a typically postmodern work of art.
Dissertations / Theses on the topic "Poems (Tennyson, Alfred Tennyson, Baron)"
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Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.
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At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon.
A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal.
A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption.
The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work.
The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel.
While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."<br>Arts, Faculty of<br>English, Department of<br>Graduate
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Kang, Sang Deok. "Tennyson's Lyricism: The Aesthetic of Sorrow." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278413/.
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The primary purpose of this study is to show that anticipations of the "art for art's sake" theory can be found in Tennyson's poetry which is in line with the tenets of aestheticism and symbolism, and to show that Tennyson's lyricism is a "Palace of Art" in which his tragic emotions-- sadness, sorrow, despair, and melancholic sensibility--were built into beauty.
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Guidici, Cynthia (Cynthia Dianne). "Iconic Ida: Tennyson's The Princess and Her Uses." Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc277631/.
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Alfred Lord Tennyson's The Princess: A Medley has posed interpretative difficulties for readers since its 1847 debut. Critics, editors, and artists contemporary with Tennyson as well as in this century have puzzled over the poem's stance on the issue of the so-called Woman Question. Treating Tennyson as the first reader of the poem yields an understanding of the title character, Princess Ida, as an ambassador of Tennyson's optimistic and evolutionary views of human development and links his work to that of visionary educators of nineteenth-century England. Later artists, however, produced adaptations of the poem that twisted its hopefulness into satirical commentary, reduced its complexities to ease the task of reading, and put it to work in various causes, many ranged against the improvement of women's condition. In particular, a series of editions carried The Princess into various nations, classrooms, and homes, promoting interpretations that often obscure Tennyson's cautious optimism.
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Sullivan, Michael Joseph Plygawko. "Tennyson and the revision of song." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/271748.
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Writing in the 1890s, in an early account of Tennyson’s poetry, the Victorian anthologist F. T. Palgrave was keen to maintain the myth of the spontaneous singer. ‘More than once’, he recorded, Tennyson’s ‘poems sprang’ from a ‘nucleus’, ‘a brief melodious phrase’ or ‘song’, which, if not transcribed immediately, ‘fled from him irrecoverably’. It has long been the case with poets of ‘lyrics’ and ‘songs’ that their skills have been depicted as improvisatory, fleeting, or inspired. Their skills have been understood, variously, as indicative either of the most dexterous of intellects, or of brilliant but uncontrolled visions, a ‘flash’ of prophetic insight or revelation – a feel of what Shelley likens to ‘the interpenetration of a diviner nature through our own’. For many poets, however, the reality is one of inspiration that gives birth to intense manuscript activity and revision. It is now well known that Tennyson revised and re-revised, even after publication, until only weeks before his death; and yet no book-length study has pursued the significance of his manuscript revisions for the development of his style. This thesis traces the poet’s stylistic evolution through his notebooks, drafts, and printed volumes. Uncovering new literary manuscripts from Harvard, Lincoln, Cambridge, and New York, the study offers a more comprehensive picture of the poet’s craft: one alert to his evolving ambitions, and to the immense shifts that he effected in the landscape of English verse. The thesis begins by excavating how the notion of poetic ‘song’ fuelled a creative process at the heart of Tennyson’s revisions. In tracing the diverging fates of ‘lyric’ and ‘song’ across his notebooks, the opening chapter restores an important discourse for Tennysonian sonority that has comparatively declined in recent years. Chapter II examines Tennyson’s aesthetic control over the Victorian lyrical canon, drawing on a new manuscript of ‘The Golden Treasury’, the most significant anthology of the nineteenth century. Chapter III studies the notebook containing Tennyson’s first collection of verse, ‘Poems, by Two Brothers’. It reveals how much of the poor punctuation that sparked vehement attacks – and which is reproduced in modern editions – was not, in fact, inserted by the poet. Chapter IV explores how Tennyson’s most famous early songs and lyrics, published in ‘Poems, Chiefly Lyrical’, developed in tandem with his blank verse style. Chapters V and VI illuminate Tennyson’s ‘ten year silence’, which witnessed profound innovations in form, the revision of his 1832 Poems into his celebrated collection of 1842, and the creation of ‘In Memoriam’. Chapters VII and VIII piece together the notebooks, proofs, drafts, and revision copies of ‘The Princess’, Tennyson’s medley of songs and voices, lyrics and blank verse. By its end, the study reveals how the ringing qualities of his works emerged through manuscript revision: in the interplay between sonorous forms and narratives that came, over decades of change, to shape the distinctive drama of Tennyson’s style.
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Abaurre, Maria Luiza Marques. "A materia de Bretanha no seculo XIX : Alfred Tennyson e Mack Twain na corte do rei Arthur." [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270000.
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Orientador: Yara Frateschi Vieira<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-07-18T07:12:55Z (GMT). No. of bitstreams: 1
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Base IEL resumo: Leitura comparativa de duas refacções da matéria de Bretanha produzidas no século XIX: Idylls of the King, de Alfred Tennyson, e A Connecticut Yankec in King Arthur's Court, de Samuel Langhorne Clemens (Mark Twain). O interesse em um estudo comparativo das duas obras é grande, uma vez que, tendo utilizado o mesmo texto como fonte básica para suas refacções - Le Morte D'Arthur (Thomas Malory) -, Tennyson e Clemens produziram obras profundamente diferentes, tanto na abordagem quanto no tratamento da matéria de Bretanha. Da comparação feita entre as alterações promovidas por um e outro autor, ao trabalharem com o texto de Malory, é delineado um interessante quadro histórico-social, bem como são levantadas algumas hipóteses relativas à manutenção do interesse literário por histórias de natureza arturiana<br>Abstract: Not informed.<br>Mestrado<br>Teoria Literaria<br>Mestre em Letras
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Louw, Denise Elizabeth Laurence. "A study of the numinous presence in Tennyson's poetry." Thesis, Rhodes University, 1985. http://hdl.handle.net/10962/d1005891.
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From Preface: A reader looking to this study for a charting of the diverse religious views held by Tennyson at different periods in his life may be disappointed. My primary concern has been not with religious forms, but with the numinous impulse. However, though I approached the topic with a completely open mind, I find my own Christian convictions have been strengthened through the study of Tennyson's poetry. As the title indicates, I have not attempted to deal with the plays. To explore both the poetry and the plays in a study of this length would have been impossible. I have perhaps been somewhat unorthodox in attempting to combine several disciplines, especially since I cannot claim to be a specialist in the areas concerned. However, I felt it necessary to approach the subject from a number of points of view, and to see to what extent the results could be said to converge on some sort of central "truth". When I have despaired of being able to do justice to a particular aspect within the imposed limits, I have sometimes found comfort in the words of Alan Sinfield (The Language of Tennyson's "In Memoriam", p.211): "We can only endeavour continually to approach a little closer to the central mystery; the ma j or advances will be infrequent, but most attempts should furnish one or two hints which others will develop. "
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Falconer, Marc Stuart. "A study of Tennyson's Idylls of the King." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002280.
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This thesis is a study of themes and genre in Tennyson's Idylls of the King. I have not attempted to present a survey of the body of critisicm on the cycle, nor have I attempted a comprehensive comparison of the poem with any of Tennyson's sources. The first chapter is based on A. Fowler's study of genres and I follow the implications of his work in my reading of the Idylls. Tennyson blends various generic strands in his cycle, in particular allegory, epic, dramatic monologue and the Alexandrian idyll, to create a complex psychological allegory of epic scope which both draws on traditional genres and extends them. I believe the Idylls should be read as a cycle and in the order in which Tennyson finally presented them; the ordering process is as much part of the creative process as the actual act of composition. I have adopted Priestley's sensible division of the twelve poems which he says "falls naturally into three groups of four, corresponding closely to the three acts of modern drama" (1960, p.252-254)" The second chapter begins the sequential examination of the first four "spring" and "summer" poems beginning with the symbolic The Coming of Arthur. This idyll begins Tennyson's Arthurian mythopoeia, creating a poetic kingdom of the mind. The "act" closes with the Geraint and Enid idylls, all four works in this section ending happily. The third chapter deals with the idylls which plot the corrupting and ever-widening influence of the adulterous relationship of Lancelot and Guinevere, one cause of the destruction of the institution of the Round Table. Other causes of the demise of Arthur's order are the pernicious influences of the evil Vivien and Modred and the meaningless and sterile spirituality that prompts the quest of The Holy Grail. The last four idylls chart the final collapse of Arthur's realm, the utter disillusionment of individual idealism - personified by Pelleas, an anachronistic spring figure who appears in Camelot's bleak and hostile winter - and the complete social decay which is demonstrated by the fiasco of The Last Tournament. The tragic denouement of the cycle, on both individual and social levels, is evident in Guinevere, in which Arthur's wretched and traitorous queen understands Arthur's vision, but too late to save Camelot from ruin. In the final framing idyll, The Passing of Arthur, Tennyson's myth is elevated to the level of universal significance, the Idylls of the King becoming "not the history of one man or one generation but of a whole cycle of generations" (Memoir, ii, p.127).
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Holloway, Tamara C. ""All Is Well": Victorian Mourning Aesthetics and the Poetics of Consolation." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12141.
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viii, 214 p.<br>In this study, I examine the various techniques used by poets to provide consolation. With Tennyson's In Memoriam, I explore the relationship between formal and thematic consolation, i.e., the ways in which the use of formal elements of the poem, particularly rhyme scheme, is an attempt by the poet to attain and offer consolation. Early in his laureateship after the Duke of Wellington's funeral, Tennyson wrote "Ode on the Death of the Duke of Wellington," but this poem failed to meet his reading audience`s needs, as did the first major work published after Tennyson was named Poet Laureate: Maud. I argue that form and theme are as inextricably linked in Maud as they are in In Memoriam, and in many ways, Maud revises the type of mourning exhibited in In Memoriam. Later, I examine in greater detail the hallmarks of Victorian mourning. Although most Victorians did not mourn for as long or as excessively as Queen Victoria, the form her mourning took certainly is worth discussion. I argue that we can read Tennyson's "Dedication" to Idylls of the King and his "To the Mourners" as Victorian funeral sermons, each of which offers explicit (and at times, contradictory) advice to the Queen on how to mourn. Finally, I discuss the reactions to Tennyson's death in the popular press. Analyzing biographical accounts, letters, and memorial poems, I argue that Tennyson and his family were invested in the idea of "the good death"; Tennyson needed to die as he had lived--as the great Laureate.<br>Committee in charge: Richard Stein, Chair;
Tres Pyle, Member;
Deborah Shapple, Member;
Raymond Birn, Outside Member
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Louw, Denise Elizabeth Laurence. "A literary study of paranormal experience in Tennyson's poetry." Thesis, Rhodes University, 1991. http://hdl.handle.net/10962/d1002292.
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My thesis is that many of Tennyson's apparently paranormal experiences are explicable in terms of temporal lobe epilepsy; and that a study of the occurrence, in the work of art, of phenomena associated with these experiences, may be useful in elucidating the workings of the aesthetic imagination. A body of knowledge relevant to paranormal experience in Tennyson's life and work, assembled from both literary and biographical sources, is applied to a Subjective Paranormal Experience Questionnaire, compiled by Professor V.M. Neppe, in order to establish the range of the poet's apparently "psychic" experiences. The information is then analysed in terms of the symptomatology of temporal lobe epilepsy (TLE), and the problems of differential diagnosis are considered. It is shown, by means of close and comparative analyses of a number of poems, that recurring clusters of images in Tennyson's poetry may have their genesis in TLE. These images are investigated in terms of modern research into altered states of consciousness. They are found to be consistent with a "model" of the three stages of trance experience constructed by Professor A.D. Lewis-Williams to account for shamanistic rock art in the San, Coso and Upper Paleolithic contexts. My study of the relevant phenomena in the work of a nineteenth century English poet would seem to offer cross-cultural verification of the applicability of the model to a range of altered-state contexts. This study goes on to investigate some of the psychological processes which may influence the way in which pathology is manifested in the poetry of Alfred Tennyson. But, throughout the investigation, the possible effects of literary precursors and of other art forms are acknowledged. The subjective paranormal phenomena in Tennyson's poems are compared not only with some modern neuropsychiatric cases, but also with those of several nineteenth-century writers who seem to have had similar experiences . These include Dostoevsky and Edward Lear, who are known to have been epileptics, and Edgar Allan Poe. Similarity between some aspects of Tennyson's work and that of various Romantic poets, notably Shelley, is stressed; and it is tentatively suggested that it might be possible to extrapolate from my findings in this study to a more general theory of the "Romantic" imagination.
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Wilsey, Shannon K. "Interpretations of Medievalism in the 19th Century: Keats, Tennyson and the Pre-Raphaelites." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/20.
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This thesis describes how different 19th century poets and artists depicted elements of the medieval in their artwork as a means to contradict the rapid progress and metropolitan build-up of the Industrial Revolution. The poets discussed are John Keats and Alfred, Lord Tennyson; the painters include William Holman Hunt and John William Waterhouse. Examples of the poems and corresponding Pre-Raphaelite depictions include The Eve of Saint Agnes, La Belle Dame Sans Merci and The Lady of Shalott.
Books on the topic "Poems (Tennyson, Alfred Tennyson, Baron)"
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Tennyson, Tennyson Alfred. Alfred Lord Tennyson: Selected poems. Penguin Books, 2003.
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Tennyson, Tennyson Alfred. Alfred Lord Tennyson: Selected poems. Penguin Books, 1991.
Find full textBook chapters on the topic "Poems (Tennyson, Alfred Tennyson, Baron)"
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"Alfred Tennyson (1809-92)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0068.
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Abstract Alfred Tennyson succeeded William Wordsworth as poet laureate in 1850. Early in his career, during a period of lyrical experimentation, he wrote son nets; most were published in his 1833 volume Poems. He would go on to write the poems for which he is most admired, including the elegy In Memoriam (1850), which expresses his grief over the early death of his friend Arthur Henry Hallam (1811-33), and the Arthurian poems Idylls ef the King (1859-91).
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"Frederick Tennyson (1807-98)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0070.
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Abstract Frederick Tennyson assisted his brothers, Charles and Alfred, with the publication of their Poems by Two Brothers by silently contributing three or four poems. He wrote in both Greek and English, and his poetry reveals an interest in classical subjects. Days and Hours (1854) was well received by some, but others unfairly compared his work to that of his more famous brother. He had an interest in spiritualism and the paranormal and was a friend of Robert and Elizabeth Barrett Browning.
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Thomas, Jayne. "‘“She has a lovely face”’:1 Tennyson and ‘The Lady of Shalott’." In Tennyson Echoing Wordsworth. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474436878.003.0002.
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This chapter examines Tennyson’s ‘The Lady of Shalott’, a poem that met with intense criticism from its reviewers when it was first published in 1832, arguing that the poem prefigures the movement Tennyson is to make in the English ‘Idyls’ of 1842 toward a simplicity of diction and gaining the sympathies of a wide audience. The poem absorbs a Wordsworthian language and poetics from which Arthur Henry Hallam somewhat artificially separates it in his 1831 review of Tennyson’s Poems, Chiefly Lyrical, ‘On Some of the Characteristics of Modern Poetry, And on the Lyrical Poems of Alfred Tennyson’. Wordsworth’s presence is clearly felt in the 1832 version of ‘The Lady of Shalott’, feeding Tennyson’s discussion of some of the poem’s major themes, although the level of borrowing from Wordsworth increases in the 1842 version of the poem, suggesting that Tennyson draws even more deeply from Wordsworth in 1842, both to assuage the critics and to search for a new poetic. The second part of the chapter briefly explores the linguistic and thematic connections between ‘The Lady of Shalott’ and Tennyson’s English ‘Idyls’, specifically ‘Dora’ and ‘The Gardener’s Daughter, Or, The Pictures’.
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Thomas, Jayne. "Introduction." In Tennyson Echoing Wordsworth. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474436878.003.0001.
Full textAbstract:
This chapter sets out the scope and methodology of the book, revealing how it moves beyond existing accounts of Wordsworthian influence in Tennyson to uncover new and revealing connections and interactions in some of the most emblematic poems of Tennyson’s career – ‘The Lady of Shalott’, ‘Ulysses’, In Memoriam, Maud, and ‘Tithonus’. It explains the book’s use of the term ‘echo’ to track the sometimes loud, sometimes faint, yet always audible Wordsworthian resonances within Tennyson’s poetry, as well setting its analysis of Tennyson’s poetry in relation to the intertextual and allusive process in general and Harold Bloom’s theory of intra-poetic rivalry in particular. It gives an overview of Tennyson’s recorded relationship with Wordsworth, as set out in Alfred Lord Tennyson: A Memoir, I and II, edited by Hallam Tennyson, Tennyson’s son. It gives an overview of relevant critical work in the field, and chapter summaries of the five chapters to follow, including a brief acknowledgement of how the book will conclude with an analysis of Tennyson’s valedictory lyric, ‘Crossing the Bar’.
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"Charles Tennyson Turner (1808-79)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0067.
Full textAbstract:
Abstract Charles Tennyson Turner, with his brother Alfred, contributed to the volume Poems by Two Brothers (1827) and went on to have a long literary career that included the publication of hundreds of sonnets. His first book, Sonnets and Fugitive Pieces, published as “Charles Tennyson,” established his reputation as an accomplished sonneteer. In 1835, he inherited from his great-uncle Samuel Turner his surname as well as a considerable fortune. Later volumes, including Sonnets (1864), Small Tableux (1868), and Sonnets, Lyrics and Translations (1873), bear the name “Charles Turner.”
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Ehnes, Caley. "The New Shilling Monthlies: Macmillan’s Magazine and The Cornhill." In Victorian Poetry and the Poetics of the Literary Periodical. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474418348.003.0003.
Full textAbstract:
This chapter turns its attention to the shilling monthly as represented by the originators of the genre: Macmillan’s Magazine and the Cornhill. These periodicals represent a particular moment in literary history in which the shilling monthly explicitly functioned to reinforce and define middle-class cultural tastes and traditions. This chapter thus considers how the editors of Macmillan’s and the Cornhill used poetry to support the cultural and literary aims of their respective periodicals, shaping the poetic landscape of the 1860s through their editorial decisions (e.g. each periodical took a side in the era’s debate over hexameters). The first third of the chapter traces Alexander Macmillan’s influence on the poetry of Macmillan’s through the work of Alfred Tennyson, Dinah Mulock Craik, and Christina Rossetti. The remainder of the chapter focuses on William Thackeray’s role as paterfamilias of the Cornhill through an examination of poems by Matthew Arnold, Adelaide Anne Procter, Owen Meredith, and Elizabeth Barrett Browning (among others).
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Dawson, Clara. "Butterfly Books and Gilded Flies: Poetry and the Annual." In Remediating the 1820s. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493277.003.0019.
Full textAbstract:
This chapter compares the characteristics and properties of poetry published in gift annuals and poetry published in single-author volumes, demonstrating how gift annuals shaped the poetry of the 1820s and influenced the Victorian poetics of the 1830s. The gift annuals were collaborative, multi-generic, expensive, decorative and hugely successful, particularly with women readers. Poems were subordinated to the exigencies of the publishers: they were often commissioned after the engraved illustrations and therefore were perceived to be written on demand rather than emerging from original inspiration. They operated in large part through women’s literary networks and the editors and writers were often female. By contrast, the single-authored volume sought to radiate the aura of the isolated male genius of Romanticism. Mass print culture brought about an intense conflict between marketplace values and the poetic principles associated with Romantic writing – genius, originality, inspiration, autonomy from the market and an intimate relation with a few refined readers. The chapter considers these vexed sets of relations by analysing poems by Letitia Elizabeth Landon and Alfred Tennyson, exploring differences and similarities between gift-annual poetry and single-authored book poetry in order to trace the increasing tension between the materiality of books and the literature they contained.