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Journal articles on the topic 'Tennyson'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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1

Kim, Jeongsuk. "Unveiling Mariana’s Inner Mind: Alfred Lord Tennyson and Julia Margaret Cameron." British and American Language and Literature Association of Korea 146 (September 30, 2022): 271–89. http://dx.doi.org/10.21297/ballak.2022.146.271.

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This essay examines the psychological state of Mariana that was displayed in Tennyson’s pictorial poetry ”Mariana” and Cameron’s photographic illustration Mariana in order to reconsider the Victorian women’s position in the conventions of femininity. Owing to the vivid pictorial descriptions, Tennyson’s “Mariana” has been examined in terms of its aesthetic value. However, this essay argues that Tennyson’s interested in mental science boomed in the mid-nineteenth century is reflected in “Mariana.” By analyzing “Mariana,” this essay first examines how Tennyson conveyed the abandoned Mariana’s mental breakdown through the medium of landscape. Playing a role as the true interpreter of his age, a poet laureate Tennyson reflected the Victorian women’s position in the patriarchal society. This essay subsequently explores how Cameron reproduced Tennyson’s psychological portrait of Mariana’s mental disintegration in her unfocused photographic space. Unlike Tennyson’s Mariana, Cameron rather radically visualized her version of Mariana by utilizing her unique out-of-focus technique. Although Tennyson and Cameron used their own artistic methods to unveil the Victorian Mariana’s inner mind, both provide a chance to reconsider the conventions of femininity in arts and literature.

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Lahiani, Raja. "Unlocking the Secret of ‘Locksley Hall’." Comparative Critical Studies 17, no. 1 (February 2020): 25–46. http://dx.doi.org/10.3366/ccs.2020.0342.

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Despite its originality, Tennyson's poem ‘Locksley Hall’ (1842) shares considerable characteristics with the pre-Islamic Arabic poems the Mu‘allaqāt, namely those composed by Imru’ al-Qays and ‘Antara. The similarities include length, rhyme, metre, genre, themes and appeal, which this article compares in order to show that Tennyson adapts these source text resources to the concerns and subject matter of his own poem, and not for the purpose of translating the Mu‘allaqāt. It follows that ‘Locksley Hall’ needs to be studied in modern scholarship not only as a poem that reflects some aspects of Tennyson's biography and poetic craft, but also as an imitation of other poetry. This article analyses the details that unveil the imitative strategy Tennyson adopts in ‘Locksley Hall’. In so doing, it posits that ‘imitation’ is better suited than ‘intertextuality’ as a conceptual tool for articulating the links between ‘Locksley Hall’ and the Mu‘allaqāt. Furthermore, in contrast to previous critical studies that refer to the influence on Tennyson of the Mu‘allaqa of Imru’ al-Qays, this article argues that Tennyson combines two Mu‘allaqāt as source materials for his own poem.

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Colón, Christine A. "Defending Tennyson." Christianity & Literature 66, no. 2 (March 2017): 274–92. http://dx.doi.org/10.1177/0148333116645610.

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Dorothy L. Sayers’s interactions with Tennyson’s poetry provide a powerful example of her theology of charitable reading. Unlike many of her contemporaries, Sayers refused to oversimplify Tennyson’s works. She defended him from his critics and used some of his ideas to inform Gaudy Night, crafting an insightful critique of The Princess that acknowledges the poem’s problems but also emphasizes its underlying truths. Sayers never completely articulated her theology of charitable reading, but with her approach to Tennyson, she enacts the theology that is implicit in her reflections on the artist in The Mind of the Maker.

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4

Hughes, John. "‘The Exile's Harp’: Tennyson's Lost World of Music." Nineteenth-Century Music Review 3, no. 2 (November 2006): 113–35. http://dx.doi.org/10.1017/s1479409800000628.

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From the earliest reviews, the trope of music has shaped the image of Tennyson for critics and readers. Tennyson's talent is one that joins voice and ear:Nature […] has taught Mr. Tennyson to sing as a poet should sing, – she has taught him to throw his whole soul into his harmonies.He has a fine ear for melody and harmony too – and rare and rich glimpses of imagination. He has – genius.

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5

Dever, Carolyn. "Introduction: “Modern” Love and the Proto-Post-Victorian." PMLA/Publications of the Modern Language Association of America 124, no. 2 (March 2009): 370–74. http://dx.doi.org/10.1632/pmla.2009.124.2.370.

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One early thursday evening in 1892, Katharine Bradley returned to her suburban home and recorded the following entry in the diary she shared with Edith Cooper, her niece, lover, and literary collaborator:Thursday evening Oct 6th 1892.∗Tennyson is dead. We saw it in the Underground this morning—Death of Lord Tennyson Illustrated biography a penny.The news of Tennyson's death affected Bradley profoundly, propelling her back to a pastoral, “Victorian” past that seems remote from her urban fin de siècle world of the Underground and rapid-cycle tabloid news. Bradley is returned, she writes, to “days when ‘The Miller's Daughter’ bounded my horizons.—My way of looking at the universe was unquestionably determined by Tennyson” (Field, Works 5: 5).

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6

Dr. Upendra Kumar. "Reinterpretation of Alfred Lord Tennyson’s Selected Poetry: A Thematic Analysis." Creative Launcher 5, no. 3 (August 30, 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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7

Geric, Michelle. "READING MAUD'S REMAINS: TENNYSON, GEOLOGICAL PROCESSES, AND PALAEONTOLOGICAL RECONSTRUCTIONS." Victorian Literature and Culture 42, no. 1 (February 19, 2014): 59–79. http://dx.doi.org/10.1017/s1060150313000260.

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As Tennyson's “little Hamlet,”Maud (1855) posits a speaker who, like Hamlet, confronts the ignominious fate of dead remains. Maud's speaker contemplates such remains as bone, hair, shell, and he experiences his world as one composed of hard inorganic matter, such things as rocks, gems, flint, stone, coal, and gold. While Maud's imagery of “stones, and hard substances” has been read as signifying the speaker's desire “unnaturally to harden himself into insensibility” (Killham 231, 235), I argue that these substances benefit from being read in the context of Tennyson's wider understanding of geological processes. Along with highlighting these materials, the text's imagery focuses on processes of fossilisation, while Maud's characters appear to be in the grip of an insidious petrification. Despite the preoccupation with geological materials and processes, the poem has received little critical attention in these terms. Dennis R. Dean, for example, whose Tennyson and Geology (1985) is still the most rigorous study of the sources of Tennyson's knowledge of geology, does not detect a geological register in the poem, arguing that by the time Tennyson began to write Maud, he was “relatively at ease with the geological world” (Dean 21). I argue, however, that Maud reveals that Tennyson was anything but “at ease” with geology. While In Memoriam (1851) wrestles with religious doubt that is both initiated, and, to some extent, alleviated by geological theories, it finally affirms the transcendence of spirit over matter. Maud, conversely, gravitates towards the ground, concerning itself with the corporal remains of life and with the agents of change that operate on all matter. Influenced by his reading of geology, and particularly Charles Lyell's provocative writings on the embedding and fossilisation of organic material in strata in his Principles of Geology (1830–33) volume 2, Tennyson's poem probes the taphonomic processes that result in the incorporation of dead remains and even living flesh into the geological system.

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8

Rejano, Rocío Moyano. "“Her tears fell with the dews at even”: The Ekphrastic and Intertextual Dialogue between Victorian Poetry and Pre-Raphaelite Painting." Prague Journal of English Studies 11, no. 1 (July 1, 2022): 29–50. http://dx.doi.org/10.2478/pjes-2022-0002.

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Abstract This paper seeks to carry out an analysis of the ekphrastic and intertextual dialogue in the character of Mariana in both Alfred Lord Tennyson’s homonymous poem and its subsequent pictorial representation in a painting by John Everett Millais. The character of Mariana is taken from Shakespeare’s comedy, Measure for Measure, which was published in the First Folio in 1623. By contrast, in 1832, Lord Tennyson introduces the character in his homonymous poem, “Mariana”, as a woman who continuously laments her lack of connection to society. Through interfigurality, Tennyson opts to present her as a “tragic” heroine and she is depicted from a pessimistic perspective. The process of interfigurality entails a conversion stage of reverse ekphrasis through which Shakespeare’s source text is turned into another text, Tennyson’s poem. This interaction between both texts is later turned into two visual expressions. In doing so, both texts are later transferred into John Everett Millais’s painting. Millais’s intertextual dialogue with Tennyson’s poem and Shakespeare’s play involves a process of reverse ekphrasis. Taking this approach, this paper will analyse the ekphrastic and intertextual dialogue between the poem “Mariana” and its visual representation in Millais’s artistic manifestations.

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9

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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10

Gold, Barri J. "The Consolation of Physics: Tennyson's Thermodynamic Solution." PMLA/Publications of the Modern Language Association of America 117, no. 3 (May 2002): 449–64. http://dx.doi.org/10.1632/003081202x60404.

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Tennyson's In Memoriam suggests that poetic knowledge may precede and shape scientific knowledge. Struggling with the implications and possibilities of Victorian energy physics even as that science came into being, Tennyson anticipates not only the laws of thermodynamics but also many of the ways these ideas suffuse Victorian thought, from widespread anxieties regarding the death of the sun through religious invocations of the conservation of energy. In Memoriam at once evokes the roots of physical theory in Romantic elegy and suggests the elegiac structure and function of Victorian physical discourse; like In Memoriam, the laws of thermodynamics effect a reconciliation between the dissipation we observe and the conservation we crave. Moreover, as Tennyson reconceives waste as transformation in the natural world, In Memoriam also reveals a surprising relation between energy physics and another emergent science, evolutionary biology.

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11

Percesepe, Gary, and Peter Levi. "Tennyson." Antioch Review 53, no. 1 (1995): 117. http://dx.doi.org/10.2307/4613101.

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Hughes, Linda K. "Tennyson." Victorian Poetry 58, no. 3 (2020): 378–90. http://dx.doi.org/10.1353/vp.2020.0025.

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13

Chesterton, G. K. "Tennyson." Chesterton Review 23, no. 3 (1997): 259–63. http://dx.doi.org/10.5840/chesterton199723343.

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Hughes, Linda K. "Tennyson." Victorian Poetry 59, no. 3 (September 2021): 372–81. http://dx.doi.org/10.1353/vp.2021.0015.

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15

Linda K. Hughes. "Tennyson." Victorian Poetry 46, no. 3 (2008): 366–72. http://dx.doi.org/10.1353/vp.0.0015.

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Linda K. Hughes. "Tennyson." Victorian Poetry 47, no. 3 (2009): 599–607. http://dx.doi.org/10.1353/vp.0.0074.

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Hughes, Linda K. "Tennyson." Victorian Poetry 38, no. 3 (2000): 456–64. http://dx.doi.org/10.1353/vp.2000.0030.

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Hughes, Linda K. "Tennyson." Victorian Poetry 39, no. 3 (2001): 496–506. http://dx.doi.org/10.1353/vp.2001.0027.

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Hughes, Linda K. "Tennyson." Victorian Poetry 40, no. 3 (2002): 346–55. http://dx.doi.org/10.1353/vp.2002.0022.

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Hughes, Linda K. "Tennyson." Victorian Poetry 41, no. 3 (2003): 439–49. http://dx.doi.org/10.1353/vp.2003.0032.

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21

Hughes, Linda K. "Tennyson." Victorian Poetry 42, no. 3 (2004): 409–18. http://dx.doi.org/10.1353/vp.2004.0052.

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Hughes, Linda K. "Tennyson." Victorian Poetry 43, no. 3 (2005): 389–97. http://dx.doi.org/10.1353/vp.2005.0035.

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Hughes, Linda K. "Tennyson." Victorian Poetry 44, no. 3 (2006): 381–87. http://dx.doi.org/10.1353/vp.2006.0032.

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Hughes, Linda K. "Tennyson." Victorian Poetry 45, no. 3 (2007): 336–42. http://dx.doi.org/10.1353/vp.2007.0031.

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Hughes, Linda K. "Tennyson." Victorian Poetry 49, no. 3 (2011): 415–23. http://dx.doi.org/10.1353/vp.2011.0030.

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Hughes, Linda K. "Tennyson." Victorian Poetry 50, no. 3 (2012): 394–402. http://dx.doi.org/10.1353/vp.2012.0026.

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Hughes, Linda K. "Tennyson." Victorian Poetry 51, no. 3 (2013): 422–31. http://dx.doi.org/10.1353/vp.2013.0026.

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Hughes, Linda K. "Tennyson." Victorian Poetry 52, no. 3 (2014): 580–88. http://dx.doi.org/10.1353/vp.2014.0027.

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Hughes, Linda K. "Tennyson." Victorian Poetry 53, no. 3 (2015): 339–47. http://dx.doi.org/10.1353/vp.2015.0013.

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Hughes, Linda K. "Tennyson." Victorian Poetry 55, no. 3 (2017): 401–14. http://dx.doi.org/10.1353/vp.2017.0024.

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Hughes, Linda K. "Tennyson." Victorian Poetry 56, no. 3 (2018): 359–69. http://dx.doi.org/10.1353/vp.2018.0024.

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Hughes, Linda K. "Tennyson." Victorian Poetry 57, no. 3 (2019): 440–49. http://dx.doi.org/10.1353/vp.2019.0024.

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Hughes, Linda K. "Tennyson." Victorian Poetry 48, no. 3 (September 2010): 419–31. http://dx.doi.org/10.1353/vp.2010.a405458.

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Hughes, Linda K. "Tennyson." Victorian Poetry 60, no. 3 (September 2022): 407–17. http://dx.doi.org/10.1353/vp.2022.0025.

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Hughes, Linda K. "Tennyson." Victorian Poetry 61, no. 3 (September 2023): 407–17. http://dx.doi.org/10.1353/vp.2023.a915661.

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36

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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37

M. Fahmi, Assist Prof Dr Ismael, and Dr Lanja A. Dabbagh. "“I Have Killed My Son”: Delving into Key- Utterances in Tennyson’s Dora (1842)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 61–74. http://dx.doi.org/10.36473/ujhss.v226i1.174.

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Dora (Composed in 1835. Published in 1842) is one of Tennyson’s least anthologized poems, even though it incorporates a number of distinctive utterances scarcely found elsewhere in his oeuvre. Apart from the original collection of 1842, and the poet’s Complete Works, the poem is absent from the anthologies. This poem has received minimum attention from the critics. There are expressions in this dramatic poem unique to it only. It is intriguing that this work has attracted only a few passing remarks from the specialists, even though it was found good enough to put on the stage in the United States of America during the 1870s, according to Peter Hall’s Theatrical Anecdotes (P.32). It is different from the rest of the poet’s creative works because it is his only poem that treats filicide. The research questions focus on the following: Why did Tennyson write such a poem in the first place? Why did he borrow the plot from a prose narrative? What are the consequences of a Tennysonian character willing to venture outdoors? Are some of Tennyson’s characters in the poem simply corpses, like the walking dead in Gothic narratives? The utterances selected for the analysis are few and short but are key statements that highlight what Tennyson needed to articulate.

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M. Fahmi, Assist Prof Dr Ismael, and Dr Lanja A. Dabbagh. "“I Have Killed My Son”: Delving into Key- Utterances in Tennyson’s Dora (1842)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 61–74. http://dx.doi.org/10.36473/ujhss.v0i226(1).174.

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Dora (Composed in 1835. Published in 1842) is one of Tennyson’s least anthologized poems, even though it incorporates a number of distinctive utterances scarcely found elsewhere in his oeuvre. Apart from the original collection of 1842, and the poet’s Complete Works, the poem is absent from the anthologies. This poem has received minimum attention from the critics. There are expressions in this dramatic poem unique to it only. It is intriguing that this work has attracted only a few passing remarks from the specialists, even though it was found good enough to put on the stage in the United States of America during the 1870s, according to Peter Hall’s Theatrical Anecdotes (P.32). It is different from the rest of the poet’s creative works because it is his only poem that treats filicide. The research questions focus on the following: Why did Tennyson write such a poem in the first place? Why did he borrow the plot from a prose narrative? What are the consequences of a Tennysonian character willing to venture outdoors? Are some of Tennyson’s characters in the poem simply corpses, like the walking dead in Gothic narratives? The utterances selected for the analysis are few and short but are key statements that highlight what Tennyson needed to articulate.

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39

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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Barton, Anna Jane. "NURSERY POETICS: AN EXAMINATION OF LYRIC REPRESENTATIONS OF THE CHILD IN TENNYSON'S “THE PRINCESS”." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 489–500. http://dx.doi.org/10.1017/s1060150307051595.

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“THE PRINCESS,”TENNYSON's narrative poem about a radically feminist princess and a cross-dressing prince, framed by an imagined argument between Victorian men and women concerning the role of women in modern society, has, understandably, formed the central text in a number of articles about nineteenth-century gender poetics. Critics have been eager to engage with the fictional authors of the narrative, casting Tennyson as, on the one hand, a bastion of Victorian patriarchy, and on the other a subversive feminist. Donald E. Hall, in an essay, published in his collectionFixing Patriarchy, is the most persuasive advocate for a masculinist Tennyson, presenting “The Princess” as undertaking a project of “subsumption,” in which the words and demands of the women are “ingested, modified and incorporated by the patriarch” (46). In an article entitled: “Marginalized Musical Interludes: Tennyson's Critiques of Conventionality in ‘The Princess,’“ Alisa Clapp-Itnyre provides a representative case for the defence, presenting the lyrics as “pivotal feminist commentaries” that work to interrupt and deconstruct the male narrative (229). Herbert Tucker locates a third way, identifying the poem as a “textbook Victorian compromise” (Tennyson352). He argues that it “avoids taking a position on a hotly debated issue by taking up any number of positions” and characterizes this compromise, not as a commitment to portraying a complex contemporary issue with integrity, but as the result of Tennyson's not caring particularly either way: “neither the rallying of Victorian feminism” he writes, “nor the patriarchal status quo was sufficient stimulus to commitment” (352). In order to open up a new line of enquiry into “The Princess” I would like to look beyond the gender questions that continue to be batted back and forth amongst Tennyson's critics and to offer the figure of the child as an alternative and more powerful cultural, aesthetic and professional stimulus to Tennyson's poem.

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41

Talib Ashour, Mohammed. "The negative psychological effects of waiting in Tennyson’s Mariana." International Journal for Humanities & Social Sciences (IJHS), no. 1 (June 30, 2023): 37–43. http://dx.doi.org/10.69792/ijhs.23.1.6.

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The obvious definition of waiting is staying for a particular time, for a specific reason, and in anticipation of something. But the character of Mariana in Tennyson’s poem represents a novel form of waiting in poetry; she awaited something unexpected. The Victorians were very interested in studying the mind, and this interest was shown by the rise of the “Psychological School of Poetry” in the 1800s. Alfred Lord Tennyson is one of the essential poets in that school, interested in mental disorders. This study is going to examine how hard it is to wait in Tennyson’s Mariana, how Mariana’s sense is deteriorating by using different modes of representation such as temporal, auditory, and visual, and how she had a degradation in her psyche. This study also aims to demonstrate that the external portrayal of the landscape around Mariana reveals her inner mental state; in other words, the correlation between Mariana’s psychological condition and her surroundings in the poem by means of Mariana’s subjective perception. This paper concludes that the visual of rot and blight symbolizes the progressive psychological decline of Mariana’s character; the immediate shock and disgust in creating a sense of melancholy may slowly kill her. In addition, by this poem, Tennyson attempts to show that Mariana’s misery and suffering are connected to the Victorian era; as a woman in the Victorian age, she had limited options

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42

SAAD, HAIDER LUAIBI. "SUFFERING OF WOMAN IN THE POETRY OF ALFRED TENNYSON." Journal of Education College Wasit University 2, no. 25 (December 5, 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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43

Haddad, Emily A. "TENNYSON, ARNOLD, AND THE WEALTH OF THE EAST." Victorian Literature and Culture 32, no. 2 (September 2004): 373–91. http://dx.doi.org/10.1017/s1060150304000543.

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It is not indeed necessary to own a country in order to do trade with it or invest capital in it.—J. A. Hobson, 1902 WHEN WE EXAMINEAlfred Tennyson's and Matthew Arnold's poetic depictions of the wealth of the East, we find that most poems respond to one of two impulses. Some poems seem motivated mainly by the same classic orientalism that is exemplified by those poems of the Romantic period that represent the East as a world apart, untouched by time. But Arnold and Tennyson also wrote poems driven more by the imperialist currents that strengthened throughout the Victorian period; these poems show the East becoming increasingly assimilated into the very modern world of commerce within the British imperial system. In their poems on Eastern wealth, then, Arnold and Tennyson seem not only to be working through their inheritance from Romanticism (specifically, Romantic orientalism), but also to be negotiating between more traditional notions of value and those specific to the developing political and economic systems of the Victorian age. Ultimately, these poems' conception of the wealth of the East is at least consistent with, if not also implicated in, the conflicted evolution of imperialist ideology.

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44

Banfield, Stephen, and Joan Hoiness Bouchelle. "Tennyson Settings." Musical Times 127, no. 1723 (October 1986): 562. http://dx.doi.org/10.2307/964394.

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Coats, Karen,. "Tennyson (review)." Bulletin of the Center for Children's Books 61, no. 8 (2008): 326–27. http://dx.doi.org/10.1353/bcc.2008.0222.

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46

Taylor, Beverly. "Tennyson Ludens." Victorians Institute Journal 14 (April 1, 1986): 99–112. http://dx.doi.org/10.5325/victinstj.14.1986.0099.

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Shirkhani, Mohammad Amin. "Lady Shallot and Her Nature in the Men's Fence; An Interdisciplinary Approach to Tennyson’s Poetry and Waterhouse Paintings." World Journal of English Language 13, no. 6 (July 31, 2023): 567. http://dx.doi.org/10.5430/wjel.v13n6p567.

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Alfred Lord Tennyson’s “The Lady of Shallot” is the portrayal of a woman’s active confrontation with the patriarchal society. By the woman’s seclusion from the social interactions, Tennyson debunks the bitter reality embedded within the social structure and by the lady’s manifestation of bravery in her social activism so as to prove her individuality, he depicts the annihilation of the woman in revolting against patriarchy. Parallel to the subjugation of femininity in the poem, ecology shows a pattern of tranquility and chaos through which masculine cultural codes reveal themselves. John William Waterhouse, a contemporary painter with Tennyson, has portrayed three suggestive scenes of the poem; how he portrays femininity and nature is the manifestation of patriarchal manipulation of the two aforementioned concepts. In congruence with the mentioned analysis, ecofeminism, by attributing resemblances to femininity and ecology, aims to divulge the patriarchal injustice inflicted upon them; by giving awareness about the rights of women and nature, it tries to rehabilitate their genuine identity. With the application of ecofeminism on Tennyson’s poem and Waterhouse’s paintings, with an interdisciplinary approach, the author discloses the patriarchal subordination of women and nature. I do hope that by the ecofeminist reading of “The Lady of Shallot” and its projected paintings, the authentic rights of femininity and ecology are defended, the importance of interdisciplinary studies is highlighted and the awareness about the original identity of these concepts is created.

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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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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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Shatto, Susan, and Ann C. Colley. "Tennyson and Madness." Yearbook of English Studies 17 (1987): 323. http://dx.doi.org/10.2307/3507728.

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