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Books on the topic 'Victorian Poem'

Author: Grafiati
Published: 4 June 2021
Last updated: 8 February 2022

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1

Cunningham, Valentine. Victorian poetry now: Poets, poems, poetics. Wiley-Blackwell, 2011.

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2

Royal Historical Society (Great Britain), ed. Gladstone and Dante: Victorian statesman, medieval poet. Boydell Press, 2006.

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3

Adam, Roberts. Romantic and Victorian long poems: A guide. Ashgate, 1999.

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4

Victoria Terminus: Poems, selected and new. Authorspress, 2010.

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5

Victorian poets and romantic poems: Intertextuality and ideology. University Press of Virginia, 1990.

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6

A walk in Victoria's secret: Poems. Louisiana State University Press, 2010.

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7

Draper, David. Murder and madness: Five dramatic poems from the Victorian age. NATE, 1998.

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8

Secret city: The emotional life of Victorian poet James Thomson (B.V.). University Press of America, 2001.

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9

Scott, Walter. Scott's Lady of the Lake. Educational Pub. Co., 1986.

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10

Walter, Scott. The lady of the lake. Morang Educational Co., 1995.

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11

Scott, Walter. The lady of the lake. W.J. Gage, 1997.

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12

Walter, Scott. The lady of the lake. Copp, Clark, 1997.

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13

Walter, Scott. Scott's Lady of the lake. Canada Pub. Co., 1986.

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14

P, Jackson MacDonald, ed. Selected poems of Eugene Lee-Hamilton (1845-1907): A Victorian craftsman rediscovered. Edwin Mellen Press, 2002.

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15

Noel, Roden Berkeley Wriothesley. The Victorian poet Roden Noel: A wide angle--letters, pictures, poems : including correspondence with Tennyson, Browning, Hardy, J.A. Symonds & others, plus reminiscences of Noel's son, Conrad, and the "rebel priest" of Thaxted. Edwin Mellen Press, 1997.

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16

Lijn, Liliane. Liliane Lijn: Poem machines, 1962-1968 : National Art Library, Victoria & Albert Museum, South Kensington, London, 20th of April-31st of July 1993. The Library], 1993.

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17

Lijn, Liliane. Liliane Lijn: Poem machines, 1962-1968 : National Art Library, Victoria & Albert Museum, South Kensington, London, 20th of April-31st of July 1993. The Library, 1993.

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18

William Kennish: Manninagh Dooie ; Manx inventor, American pioneer, explorer, poet and forgotten genius : the life and career of a Victorian Royal Navy master carpenter. Lily, 2011.

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19

Victorian detective fiction and the nature of evidence: The scientific investigations of Poe, Dickens, and Doyle. Palgrave Macmillan, 2003.

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20

NINETEENTH CENTURY A POEM (Victorian Muse). Dissertations-G, 1986.

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21

Bailey, Philip James. Festus: A Poem. Kessinger Publishing, LLC, 2007.

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22

Geier, Ted. A Parliament of Monsters: Romantic Nonhumans and Victorian Erasure. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474424714.003.0002.

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Shows the robust nonhuman concern in Romantic works through new readings of Mary Shelley, Burns, Wordsworth, Clare, and Coleridge. The chapter traces these themes and forms of threatened, abject life as an expansive multispecies community of suffering. These works interrogate the weakness of expressive forms, performing the very captivity they lament. Wordsworth’s poem on the Bartholomew Fair is a fulcrum to the London studies in the book. These forms of expression are then examined in Dickens’s narratology and the narrator-object Esther in Bleak House.
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23

Williams, James. Edward Lear. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312216.001.0001.

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Edward Lear wrote a well-known autobiographical poem that begins “How pleasant to know Mr Lear!” But how well do we really know him? On the one hand he is, in John Ashbery’s words, “one of the most popular poets who ever lived”; on the other hand he has often been overlooked or marginalized by scholars and in literary histories. This book, the first full length critical study of the poet since the 1980s, sets out to re-introduce Lear and to accord him his proper place: as a major Victorian figure of continuing appeal and relevance, and especially as a poet of beauty, comedy, and profound ingenuity. It approaches Lear’s work thematically, tracing some of its most fundamental subjects and situations. Grounded in attentive close readings, it connects Lear’s nonsense poetry with his various other creative endeavours: as a zoological illustrator and landscape painter, a travel writer, and a prolific diarist and correspondent.
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24

Fiddian, Robin. Consolidating the Postcolonial Agenda. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794714.003.0005.

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This chapter complements preceding analyses with coverage of themes including language, River Plate identity, self and other, and the contribution of Borges’s family line to the literary tradition of Argentina and beyond. Poems studied include ‘Alexander Selkirk’, in which Borges rewrites the Robinson Crusoe narrative, and ‘El forastero’/‘The Stranger’ (also translatable as ‘The Outsider’), which is read in a geopolitical light. The chapter devotes attention to the poem, ‘España’/‘Spain’, which gives prominence to Iberian influences on Borges and his view of Argentina. Authors studied include Cervantes and Quevedo, and William (Guillermo) Hudson, who is an example of cultural ‘crossing-over’ much admired by Borges. An essay on Edward FitzGerald and Omar Khayyam is a rich source of observations on relations between East and West and a critique of the assumptions of the Victorian English establishment.
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25

Matthews, Leah S. Victorian Love Poems. Salem House Publishers, 1988.

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26

Victorian Love Poems. Piatkus Books, 1987.

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27

1920-, Jeffares A. Norman, ed. Victorian love poems. Kyle Cathie, 1997.

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28

Jeffares, A. Norman. Victorian Love Poems. Kyle Cathie, 1997.

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29

Anstey, Robert G. Victoria Poems. West Coast Paradise Publishing, 1997.

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30

Henderson, Andrea. Algebraic Art. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198809982.001.0001.

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Algebraic Art explores the invention of a peculiarly Victorian account of the nature and value of aesthetic form, and it traces that account to a surprising source: mathematics. The nineteenth century was a moment of extraordinary mathematical innovation, witnessing the development of non-Euclidean geometry, the revaluation of symbolic algebra, and the importation of mathematical language into philosophy. All these innovations sprang from a reconception of mathematics as a formal rather than a referential practice—as a means for describing relationships rather than quantities. For Victorian mathematicians, the value of a claim lay not in its capacity to describe the world but its internal coherence. This concern with formal structure produced a striking convergence between mathematics and aesthetics: geometers wrote fables, logicians reconceived symbolism, and physicists described reality as consisting of beautiful patterns. Artists, meanwhile, drawing upon the cultural prestige of mathematics, conceived their work as a “science” of form, whether as lines in a painting, twinned characters in a novel, or wave-like stress patterns in a poem. Avant-garde photographs and paintings, fantastical novels like Flatland and Lewis Carroll’s children’s books, and experimental poetry by Swinburne, Rossetti, and Patmore created worlds governed by a rigorous internal logic even as they were pointedly unconcerned with reference or realist protocols. Algebraic Art shows that works we tend to regard as outliers to mainstream Victorian culture were expressions of a mathematical formalism that was central to Victorian knowledge production and that continues to shape our understanding of the significance of form.
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31

Bristow, Joseph. Victorian Poet: Poetics and Persona. Taylor & Francis Group, 2015.

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32

Bristow, Joseph. Victorian Poet: Poetics and Persona. Taylor & Francis Group, 2013.

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33

Roberts, Adam. Romantic and Victorian Long Poems. Routledge, 2019. http://dx.doi.org/10.4324/9780429434860.

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34

Bristow, Joseph. The Victorian Poet (Routledge Revivals). Routledge, 2014. http://dx.doi.org/10.4324/9781315815480.

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35

Harrison, Antony H. Victorian Poets and Romantic Poems. Univ.P.of Virginia, 1992.

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36

Victorians (Hysterical Historical Poems). Macmillan Children's Books, 2000.

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37

Jones, Chris. The Constant Roots of English Song. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0003.

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This chapter documents a wide variety of nineteenth-century Anglo-Saxon poems, real, mediated, and imaginary, that both contributed and conformed to a pattern of understanding that insisted on English literary culture as essential and unchanging. The chapter begins with more examples of ‘Saxon’ poems from Scott’s Ivanhoe, examples which more conventionally typify the early nineteenth-century construction of Anglo-Saxon than Ulrica’s Hymn. The editorial and translational choices made by John and William Conybeare in Illustrations of Anglo-Saxon Poetry receive close scrutiny, and the invention of the ‘Anglo-Saxon ballad’ is charted across the course of the chapter. Milton is argued to have been a de facto Anglo-Saxonist poet to the Victorians, and close readings of Anglo-Saxon poems by Wordsworth and Longfellow are pursued, with an allusion to The Battle of Brunanburh being advanced for Wordsworth’s sonnet on the ‘Saxon Conquest’.
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38

Joseph, Bristow, ed. The Victorian poet: Poetics and persona. Croom Helm, 1987.

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39

Waring. POEMS INSPIRED BY CERTAINPICT (The Victorian Muse). Dissertations-G, 1986.

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40

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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41

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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42

Cunningham, Valentine. Victorian Poetry Now: Poets, Poems and Poetics. Wiley & Sons, Incorporated, John, 2011.

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43

Reeves, Marie-Louise. A Collection of Victorian Poems, 1894-95. Vantage Press, 1992.

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44

Nicholson, Catherine. Reading and Not Reading The Faerie Queene. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691198989.001.0001.

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“I am now in the country, and reading in Spencer's fairy-queen. Pray what is the matter with me?” The plaint of an anonymous reader in 1712 sounds with endearing frankness a note of consternation that resonates throughout The Faerie Queene's reception history, from its first known reader, Spenser's friend Gabriel Harvey, who urged him to write anything else instead, to Virginia Woolf, who insisted that if one wants to like the poem, “the first essential is, of course, not to read” it. For more than four centuries critics have sought to counter this strain of readerly resistance, but rather than trying to remedy the frustrations and failures of Spenser's readers, this book cherishes them as a sensitive barometer of shifts in the culture of reading itself. Indeed, tracking the poem's mixed fortunes in the hands of its bored, baffled, outraged, intoxicated, obsessive, and exhausted readers turns out to be an excellent way of rethinking the past and future prospects of literary study. By examining the responses of readers from Queen Elizabeth and the keepers of Renaissance commonplace books to nineteenth-century undergraduates, Victorian children, and modern scholars, this book offers a compelling new interpretation of the poem and an important new perspective on what it means to read, or not to read, a work of literature.
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45

Harrison, Antony H. Victorian Poets and Romantic Poems: Intertextuality and Ideology (Victorian Literature & Culture (Univ Va Paperback)). University of Virginia Press, 1992.

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46

Bristow, Joseph. The Victorian Poet: Poetics and Persona (World & Word). Routledge, 1986.

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47

Fay, Jessica. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198816201.003.0014.

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Drawing together themes from Chapters 1–5, the epilogue suggests that the poetry and prose Wordsworth produced between 1806 and 1822 might be seen, in retrospect, to anticipate the work of groups such as the Oxford Tract Movement and the Cambridge Camden Society. The widespread Victorian revival of enthusiasm for monasticism and ruined abbeys, antiquarianism, and ecclesiology makes sense of the Victorian ‘taste’ for poems such as The White Doe and The Excursion. And yet, as the book has shown, Wordsworth resists conventional medievalist and antiquarian activity in deference to the silence of the landscape.
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48

Tyler, Daniel, ed. Poetry in the Making. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784562.001.0001.

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Poetry in the Making investigates the compositional practices of Victorian poets, as made evident in the autograph manuscripts of their poems. Written in an accessible and stimulating style, the book offers careful readings of individual drafts, paying attention to the revisions, cancellations, interlineations, trials of rhyme and form, and sometimes the large structural changes that these documents reveal. The book shows how manuscript revisions offer insights into the creative priorities and decisions of major Victorian poets (Wordsworth, Tennyson, the Brownings, Clough, Hopkins, Christina Rossetti, Swinburne, and Yeats); and investigates ideas of composition in the period, particularly the uneasy balance between inspiration and labour. Collectively, the chapters develop a survey of how Victorian poets experienced and understood their own creativity, setting abstract claims about inspiration and craftsmanship against their own practical experiences. The book testifies to the value for criticism of poetic drafts, establishing the significance of revision and of manuscript studies for the field of Victorian poetry and for literary scholarship more generally.
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49

Gray, Erik. Marriage. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198752974.003.0006.

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Marital love is rarely represented by poets, at least in their lyric poetry. Lyric, with its brevity, its intensity, its ellipses, seems ideally suited to a particular type of passionate love typified by novelty, absence, uncertainty. Conjugal love, powerful though it may be, lacks these particular qualities. Yet if the pleasure and even purpose of marriage lies in discovering freedom and self-realization within strictly prescribed limits, then lyric could well be seen as the genre most suited to marital love. This chapter examines the tradition of marriage lyric that has developed, for the most part, in recent centuries, as the ideal of loving, companionate marriage has spread. Taking as its starting point the work of the Victorian poet and theorist Coventry Patmore, whose treatise on poetic meter illustrates the same ideals that mark his poems about marriage, the chapter ranges from Anne Bradstreet to Seamus Heaney and other contemporary poets of marital love.
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50

Maxwell, Catherine. Carnal Flowers, Charnel Flowers. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.003.0006.

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This chapter focuses on a single flower scent—the tuberose—strongly associated with the fragrance of Victorian decadence. Contrasting with the more delicate scent of the violet explored in Chapter 2 is the powerful perfume of the tuberose, an exotic hothouse flower, its fragrance evoking the body and decay. Starting with Shelley, this chapter tracks this heady fragrance through a range of texts to concentrate on three poems by late Victorian minor poets—Mark André Raffalovich, Mary Robinson, and Theodore Wratislaw—and shows how the scent of the tuberose is bound up with dangerous or voluptuous pleasures, with love, eroticism, criminality, and death.
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