Relevant bibliographies by topics / Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson

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Academic literature on the topic 'Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson'

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Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson"

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Carlyle, T. "TC TO ALFRED TENNYSON." Carlyle Letters Online 15, no. 1 (January 1, 1987): 216–17. http://dx.doi.org/10.1215/lt-18421207-tc-at-01.

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M. Hussein, M. A. Amani. "A Pragmatic Analysis of Oxymoron in Poetry: Tennyson’s “Lancelot and Elaine” as an Example." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 59, no. 4 (December 15, 2020): 1–16. http://dx.doi.org/10.36473/ujhss.v59i4.1202.

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This paper purports to explore aspects of implied meaning carried out through the vehicle of oxymoron, which is a figure of speech that juxtaposes two contradictory words (or strings of words) in order to point to a curious fact or a beguiling statement. The different types of oxymoron are studied in this paper in accordance with a pragmatic approach that, though taking into consideration the theoretical implications of oxymoron, is primarily interested in practical aspects of the investigation. Grice’s maxims are taken as a point of departure to guide the discussion of both generalized implicature and particularized implicature. The paper analyzes the different instances of oxymoron present in Alfred Tennyson's “Lancelot and Elaine.” After the meaning and significance of each instance are explored, the paper studies the ways in which Tennyson used oxymoron in order to create and maintain a figurative framework for his poem. The paper shows that Tennyson’s elaborate use of oxymoron allowed him to deploy further figures of speech in order to relay the dramatic atmosphere of the poem. Finally, the paper concludes that Tennyson’s disobeying of Grice’s maxims led to the production of new implicated meaning.
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Young-Zook, Monica M. "SONS AND LOVERS: TENNYSON'S FRATERNAL PATERNITY." Victorian Literature and Culture 33, no. 2 (August 9, 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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Whissell, Cynthia. "Emotion Conveyed by Sound in the Poetry of Alfred, Lord Tennyson." Empirical Studies of the Arts 20, no. 2 (July 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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Siegel, Jonah. "Beauty." Victorian Literature and Culture 48, no. 4 (2020): 745–71. http://dx.doi.org/10.1017/s1060150320000315.

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Alfred Tennyson's poem “The Palace of Art” (1832/1842) is liable to strike the modern reader as all too clear in its meanings. Yet the author evidently feels the need to gloss the theme of the work and to elaborately preview its narrative in a brief poem that he includes with the piece when he sends it to his friend Richard Trench. “I send you here a sort of allegory (For you will understand it),” Tennyson writes in a peculiar formulation that muddies several issues about the aspirations of the work even while expressing certainty about the poem's clarity. The suggestion is that Trench will have access to a particular insight (“you will understand” being something we say when others may not). Or does Tennyson mean that the allegory is so clear that its tendency is unmissable? That would certainly be a reasonable construal of the claim about a poem with few apparent mysteries.
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Batchelor, John. "Alfred Tennyson: Problems of Biography." Yearbook of English Studies 36, no. 2 (January 1, 2006): 78. http://dx.doi.org/10.2307/20479244.

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English, Mary P. "Alfred lord Tennyson as mycophagist." Mycologist 7, no. 2 (May 1993): 84. http://dx.doi.org/10.1016/s0269-915x(09)80652-6.

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Wandana Y, Mhd Ridho. "INTERPRETATION OF POETRY THE CHARGE OF THE LIGHT BRIGADE BY ALFRED, LORD TENNYSON." LINGUISTICA 9, no. 3 (October 5, 2020): 354. http://dx.doi.org/10.24114/jalu.v9i3.20138.

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This study discusses indirect descriptive expressions in the poem The Charge of the Light Brigade by Alfred, Lord Tennyson use semiotics theory of Riffaterre. This study aims to, (a) to describe the kinds of indirect descriptive expressions used in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (b) to explain the realization of indirect descriptive expressions realized in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (c) to explain the reasons of indirect descriptive expressions realized in the ways they are. This research is a qualitative descriptive study. The data source used in this study is in the form of words, phrases, clauses and sentences from the poem. The results of this study, namely there are 8 Metaphors and 7 Metonymy in displacing of meaning; 6 Ambiguous, 2 Contradictions, and 4 Nonsense in distorting of meaning; 16 rhymes, 12 enjambments, and 6 typography in creating of meaning. Keywords: Indirect descriptive expressions; Semiotic; Poetry
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Manor, Gal. "Victorian Mages: Robert Browning’s “Pietro of Abano” as a Critical Corollary to Alfred Tennyson’s Merlin." Anglia 137, no. 3 (September 13, 2019): 395–410. http://dx.doi.org/10.1515/ang-2019-0036.

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Abstract Against the backdrop of Victorian celebrity culture, Robert Browning and Alfred Tennyson conjure the literary trope of the magician in order to convey their poetic choices and to examine the relationship between the poet and his audience. Whereas Browning’s magician, “Pietro of Abano” of Dramatic Idyls (1880), is subversive, odd and persecuted, the Poet Laureate’s Merlin of the Idylls of the King (1859–1875) is acknowledged and well admired. This essay will explore Browning’s Pietro as a critical response to Tennyson’s Merlin, reflecting the complex personal relationship between the two poets, their stylistic differences and their dissimilar reception by their contemporaries.
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Wright, Jane. "Tennyson's Name: Identity and Responsibility in the Poetry of Alfred Lord Tennyson." English Studies 92, no. 1 (February 2011): 111–12. http://dx.doi.org/10.1080/0013838x.2010.518391.

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Dissertations / Theses on the topic "Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson"

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Silva, Vanessa da. "Alfred Tennyson e o ideal orgânico de civilização." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12649.

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Made available in DSpace on 2016-04-27T19:30:12Z (GMT). No. of bitstreams: 1 Vanessa da Silva.pdf: 651632 bytes, checksum: 59f39f336366d44a1d8bf1d23d1c102d (MD5) Previous issue date: 2010-10-19
The present research evidences how the poet Alfred Tennyson, developed the values of the courtesy, surrounded by a conservationist moral, in the constitution of the culture named national culture form the Victorian England. To achieve that, it became necessary for us to understand how Tennyson approached the social organic stage, opposite to the denominated Mechanical Age. The poet, who was laureate by the English royalty, is part of a movement, from England of the XIX century, which goes back to the Middle Ages to try to manipulate a national tradition. This movement, known as medieval revival, contributed to the values building, which resulted in the present society development. Added to this, Alfred Tennyson, was known as the voice of the Victorian England, who has really few historical studies of his poems, what makes him an author who still have a lot of things to be studied. In this essay, we have analyzed the poems The Coming of Arthur, Merlin and Vivien and Merlin and The Gleam, as the main historical documents. We have approached mainly the Merlin character. We have focused sometimes on the analyzing of the character body, and sometimes on the identification which the poet established with the wizard. Through Merlin´s positioning and voice , we have observed the organic society defended by the poet. This (organically) way of observing the society was related to the building of a national culture. This culture, according to Tennyson, should be built and consolidated by people education. The way of educating, to the author, happened through his poems, which carried morality and courtesy ideals
A presente pesquisa evidencia como o poeta Alfred Tennyson cultivou valores de civilidade, envoltos por uma moral conservadora, na formação da chamada cultura nacional da Inglaterra vitoriana. Para tanto, tornou-se necessário entendermos a maneira como Tennyson abordou a organicidade social, em oposição à denominada Era da mecanização . O poeta, que foi laureado pela realeza inglesa, é parte de um movimento, da Inglaterra do século XIX, que retoma a Idade Média para tentar forjar uma tradição nacional. Esse movimento, conhecido como renascimento medieval , contribuiu para a construção de valores, que resultaram na formação da sociedade atual. Somado a isso, Alfred Tennyson, que ficou conhecido como a voz da Inglaterra vitoriana, possui raríssimos estudos históricos sobre seus poemas, o que o torna um autor que ainda tem muito a ser estudado. Neste trabalho, analisamos os poemas The Coming of Arthur, Merlin and Vivien e Merlin and The Gleam, como principais documentos históricos. Abordamos principalmente o personagem Merlin. Algumas vezes focamos na análise do corpo do personagem, outras vezes na identificação que o poeta estabeleceu com o mago. Por meio dos posicionamentos e da voz de Merlin, observamos a sociedade orgânica defendida pelo poeta. Essa maneira (orgânica) de perceber a sociedade estava relacionada com a construção de uma cultura nacional. Cultura que, segundo Tennyson, deveria ser construída e consolidada por meio da educação da população. A maneira de educar, para o autor, dava-se por meio de seus poemas, que carregavam ideais de civilidade e moralidade
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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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Newton, Daniel W. "Death in the Royal Family: Victorian Funeral Sermon Techniques in Tennyson's National Poetry." Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2480.pdf.

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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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Picy, Jean-Baptiste. "L'imaginaire de Tennyson, 1820-1892." Paris 4, 1997. http://www.theses.fr/1997PA040087.

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Ces travaux de recherche concernent le domaine des études victoriennes, au travers d'un éminent victorien s'il en fut, le poète lauréat Alfred, Lord Tennyson (1809-1892). Ainsi que l'indique son titre, "l'imaginaire de Tennyson, 1820-1892" a pour objet précis un domaine de la poétique: l'imaginaire. Par une étude de l'œuvre en six parties chronologiques, la thèse analyse les images poétiques sous tous leurs aspects: la symbolique, la métaphore, la psychologie, la portée idéologique, la dimension picturale, l'insertion dans l'histoire littéraire. La thèse tend à démontrer: 1) que Tennyson révèle par le corps de son œuvre l'histoire des valeurs de la culture victorienne; 2) que Tennyson n'a cessé d'alimenter la culture de l’Angleterre victorienne minoritaire et constitue le chainon manquant reliant l'esthétisme de Keats à celui de Pater; 3) que Tennyson est le premier détenteur d'importance d'une poétique des compromis et des cohabitations paradoxales qu'imposent à la fois l'histoire britannique et l'ère marchande
This research production is directly relevant to victorian studies, as it deals with quite an 'eminent victorian': the poet laureate, Alfred, Lord Tennyson (1809-1892). As is suggested by its title, Tennyson's imagery, 1820-1892 is in fact concerned with a specific field of poetics: imagery. Through an exhaustive study of tennyson's works along six chronological parts, this thesis proceeds with the analysis of poetical imagery in every important respect: symbols, metaphors, psychology, ideology, pictorial meaning, contextual literary relevance. The demonstrative aim consists in bearing sufficient proof that: a) Tennyson revealed, through the imagery in his works, part of the history of values current in succession within mainstream victorian culture; b) Tennyson meanwhile kept on feeding the cultural material used by victorian dissidents and stood as the missing-link between keat's aestheticism and pater's; c) Tennyson was the first major upholder of contradictory poetics of compromise, on account of the general paradoxes imposed on the poet through both britain's historical position and its triumphant industrial era
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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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Baldazzi, Alice. "The Lady of Shalott di Alfred Tennyson: una proposta di traduzione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/13733/.

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Nel proporre una traduzione parziale del poema The Lady of Shalott, di Alfred Tennyson, questo elaborato offre anche una panoramica delle difficoltà traduttive insite nella versione di un testo poetico. Si propongono una breve introduzione del tema, che includerà qualche nozione storico-letteraria sull’autore e sul poema scelto, e un’analisi concentrata sull’individuare le peculiarità metrico-ritmiche, foniche, semantiche, retoriche e morfosintattiche del testo fonte. Si prosegue con una proposta di traduzione delle sezioni III e IV col testo originale a fronte, perché si possano osservare con più facilità i parallelismi presenti tra le due versioni. Viene infine presentato un commento alla traduzione, che in un primo momento si focalizza su premesse generali e che si concentra poi su un’analisi delle scelte effettuate stanza per stanza.
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Theoden, Haude. "Les cycles de l’écriture dans l’œuvre poétique d’Alfred Tennyson : répétitions et différences." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040246.

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L’œuvre poétique d’Alfred Tennyson est cyclique. La répétition des mots, des thèmes et des personnages lui confère une dimension autoréférentielle. Le retour des refrains crée un effet de ressassement formel. Cette œuvre se concentre sur elle-même au point de s’affranchir des formes et des genres poétiques existants, à la recherche d’un langage qui lui est propre. L’écriture se prend elle-même pour objet et pour fin. La mélancolie au cœur de bien des poèmes devient un prétexte à écrire toujours plus car la dynamique de la sublimation mélancolique s’apparente au fonctionnement même du langage poétique, déploiement de signes autour d’un centre absent. Derrière la magie de la griserie du verbe, point pourtant le regard critique du poète qui se pose sur la société de son temps et se cristallise autour de la figure de la femme. Le texte poétique se redéfinit finalement comme un espace de différence où se donne à voir et à entendre la capacité (pro)créatrice d’une écriture « au féminin »
Alfred Tennyson’s poetical work is cyclical. The recurrence of words, themes and characters confers a self-referential dimension on it. The return of refrains creates a sense of formal repetitiousness. As they concentrate on their own working, the texts free themselves from existing poetical forms and genres, looking for a language of their own. The recurring theme of melancholy becomes a pretext to keep writing: the sublimation of the impossible work of mourning reveals something of the essence of poetical language as the proliferation of signs around a void. The poet’s critical vision of his society nevertheless appears behind his delight in the resources of language as he focuses on feminine characters. The poetical text is finally redefined as a space of difference where the feminine (pro)creative power of Tennyson’s poetical language can be heard and seen
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Nickerson, Anna Jennifer. "Frontiers of consciousness : Tennyson, Hardy, Hopkins, Eliot." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/277879.

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‘The poet’, Eliot wrote, ‘is occupied with frontiers of consciousness beyond which words fail, though meanings still exist’. This dissertation is an investigation into the ways in which four poets – Alfred Tennyson, Thomas Hardy, Gerard Manley Hopkins, and T. S. Eliot – imagine what it might mean to labour in verse towards the ‘frontiers of consciousness’. This is an old question about the value of poetry, about the kinds of understanding, feeling, and participation that become uniquely available as we read (or write) verse. But it is also a question that becomes peculiarly pressing in the nineteenth- and early twentieth-centuries. In my introductory chapter, I sketch out some of the philosophical, theological, and aesthetic contexts in which this question about what poetry might do for us becomes particularly acute: each of these four poets, I suggest, invests in verse as a means of sustaining belief in those things that seem excluded, imperilled, or forfeited by what is felt to be a peculiarly modern or (to use a contested term) ‘secularized’ understanding of the world. To write poetry becomes a labour towards enabling or ratifying otherwise untenable experiences of belief. But while my broader concern is with what is at stake philosophically, theologically, and even aesthetically in this labour towards the frontiers of consciousness, my more particular concern is with the ways in which these poets think in verse about how the poetic organisation of language brings us to momentary consciousness of otherwise unavailable ‘meanings’. For each of these poets, it is as we begin to listen in to the paralinguistic sounds of verse that we become conscious of that which lies beyond the realms of the linguistic imagination. These poets develop figures within their verse in order to theorize the ways in which this peculiarly poetic ‘music’ brings us to consciousness of that which exceeds or transcends the limits of the world in which we think we live. These figures begin as images of the half-seen (glimmering, haunting, dappling, crossing) but become a way of imagining that which we might only half-hear or half-know. Chapter 2 deals with Tennyson’s figure of glimmering light that signals the presence, activity, or territory of the ‘higher poetic imagination’; In Memoriam, I argue, represents the development of this figure into a poetics of the ‘glimpse’, a poetry that repeatedly approaches the horizon of what might be seen or heard. Chapter 3 is concerned with Hardy’s figuring of the ‘hereto’ of verse as a haunted region, his ghostly figures and spectral presences becoming a way of thinking about the strange experiences of listening and encounter that verse affords. Chapter 4 attends to the dappled skins and skies of Hopkins’ verse and the ways in which ‘dapple’ becomes a theoretical framework for thinking about the nature and theological significance of prosodic experience. And Chapter 5 considers the visual and acoustic crossings of Eliot’s verse as a series of attempts to imagine and interrogate the proposition that the poetic organisation of language offers ‘hints and guesses’ of a reality that is both larger and more significant than our own.
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Bolen, Anne E. "From verse to visual : an analysis of Alfred Tennyson and William Holman Hunt's The lady of Shalott /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1087832766.

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Books on the topic "Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson"

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Jordan, Elaine. Alfred Tennyson. Cambridge: Cambridge University Press, 1988.

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Alfred Tennyson. Oxford, UK: B. Blackwell, 1986.

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Tennyson, Tennyson Alfred. Alfred Tennyson. Oxford: Oxford University Press, 2000.

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Ormond, Leonée. Alfred Tennyson. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7.

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Tennyson, Tennyson Alfred. Alfred, Lord Tennyson. London: J.M. Dent, 1996.

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Shaw, Marion. Alfred Lord Tennyson. Atlantic Highlands, NJ: Humanities Press International, 1988.

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Bloom, Harold. Alfred, Lord Tennyson. New York: Bloom's Literary Criticism, 2010.

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Tennyson, Tennyson Alfred. Alfred, Lord Tennyson. New York: Sterling Pub., 2003.

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Tennyson, Tennyson Alfred. Alfred, Lord Tennyson. London: Phoenix Poetry, 2002.

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Alfred, Lord Tennyson. London: Greenwich Exchange, 2001.

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Book chapters on the topic "Tennyson, Alfred Tennyson, Tennyson, Alfred Tennyson"

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Müller, Wolfgang G. "Alfred Tennyson." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 116–21. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_23.

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Blair, Kirstie. "Alfred Tennyson." In The Blackwell Companion to the Bible in English Literature, 496–511. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch35.

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Müller, Wolfgang G. "Tennyson, Alfred." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17220-1.

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Ormond, Leonée. "A Lincolnshire Boyhood." In Alfred Tennyson, 1–11. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_1.

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Ormond, Leonée. "History and Drama." In Alfred Tennyson, 175–85. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_10.

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Ormond, Leonée. "Turning Again Home." In Alfred Tennyson, 186–99. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_11.

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Ormond, Leonée. "Cambridge." In Alfred Tennyson, 12–27. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_2.

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Ormond, Leonée. "Arthur Hallam." In Alfred Tennyson, 28–56. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_3.

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Ormond, Leonée. "The Unsettled Years." In Alfred Tennyson, 57–80. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_4.

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Ormond, Leonée. "The Poet of the Age." In Alfred Tennyson, 81–105. London: Palgrave Macmillan UK, 1993. http://dx.doi.org/10.1007/978-1-349-22998-7_5.

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