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1
Farhana, Jannatul. "Revolutionary Poetic Voices of Victorian Period: A Comparative Study between Elizabeth Barrette Browning and Christina Rossetti." English Language and Literature Studies 6, no. 1 (2016): 69. http://dx.doi.org/10.5539/ells.v6n1p69.
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<p>This article is an attempt to provide a comparative study between Elizabeth Barrette Browning and Christina Rossetti, two famous authors in the Victorian period. As the first female poet Browning throws a challenge by dismantling and mingling the form of epic and novel in her famous creation <em>Aurora Leigh. </em>This epic structurally and thematically offers a new form that questions the contemporary prejudices about women. Being influenced and inspired by Browning, Rossetti shows her mastery on sonnets in <em>Monna Innominata: A Sonnet of Sonnets</em>. Diversity in the themes of her poem allows Rossetti to demonstrate her intellect and independent thinking, which represents the cultural dilemma of Victorian women. Though Browning is addressed as the ‘first female poet’ and the pioneer of revolutionary female poets, her <em>Aurora Leigh </em>recognizes and celebrates the success of a female poet in that period but at the same time acknowledges the importance of traditional romance as well as marriage union at the end of the poem. On the other hand, in <em>Mona Innominata, </em>Rossetti mingles the traditional idea of romance with High Anglican belief to establish and uphold the position of women in the society as an individual and self sufficient one. She is the first poet in Victorian period who boldly denies the dominance of men in a woman’s life by celebrating sisterhood in her another famous work <em>Goblin Market</em>. Though Browning and Rossetti belong to the same period, Rossetti is quite advanced than Browning in terms of experimenting with forms, themes and breaking the conventions of Victorian era.</p>
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Menke, Richard. "CULTURAL CAPITAL AND THE SCENE OF RIOTING: MALE WORKING-CLASS AUTHORSHIP IN ALTON LOCKE." Victorian Literature and Culture 28, no. 1 (2000): 87–108. http://dx.doi.org/10.1017/s1060150300281060.
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IN ITS VERY TITLE, Charles Kingsley’s 1850 novel Alton Locke, Tailor and Poet: An Autobiography hints at a set of questions that the novel itself never manages to answer in a very clear or convincing way: what is the relationship between manual and intellectual labor, between industrial and poetic production, between making a coat and writing a poem? How might the early Victorian imagination conceive of a working tailor who is also a working poet — especially in light of the various actual working-class poets who appeared on the literary scene in the first half of the nineteenth-century, complete with occupational epithets, such as Thomas Cooper, the “shoe-maker poet” (a figure who in many ways provided a model for Kingsley’s fictional protagonist)? And what if, like a fair number of urban artisans, including Cooper himself, the tailor-poet is also a Chartist — as Alton Locke indeed turns out to be? What is the relationship between the Chartist call for reform and for representation of disenfranchised men in the political realm, and the attempts of a fictional working-class man (since the novel’s treatment of gender, as I will argue, is crucial to its treatment of politics and culture) to enter the early Victorian field of literary production? Or why, in the first place, should a novel that treats the “social problem” of class in the hungry forties and the appalling working conditions of the clothes trade do so by way of the literary aspirations of its title character, that is, through a fictional construction of working-class authorship?
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Dwoskin, Beth. "‘Dos Lid funem Hemd’: A Yiddish Translation of a Classic Victorian Poem." Zutot 12, no. 1 (2015): 79–94. http://dx.doi.org/10.1163/18750214-12341273.
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Yiddish proletarian poet Morris Winchevsky translated ‘Song of the Shirt,’ a classic Victorian poem by Thomas Hood. This article examines Winchevsky’s Yiddish translation verse by verse, looking at Winchevsky’s choice of Yiddish words that convey, enhance, or alter Hood’s meaning. The article demonstrates Winchevsky’s facility in language and translation, and his ability to create a distinctly Yiddish version of a classic English poem.
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Windscheffel, R. C. "Gladstone and Dante: Victorian Statesman, Medieval Poet." English Historical Review CXXII, no. 498 (2007): 1101–3. http://dx.doi.org/10.1093/ehr/cem189.
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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 (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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Armstrong, Isobel. "When Is a Victorian Poet Not a Victorian Poet? Poetry and the Politics of Subjectivity in the Long Nineteenth Century." Victorian Studies 43, no. 2 (2001): 279–92. http://dx.doi.org/10.1353/vic.2001.0001.
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Armstrong, Isobel. "When Is a Victorian Poet Not a Victorian Poet? Poetry and the Politics of Subjectivity in the Long Nineteenth Century." Victorian Studies 43, no. 2 (2001): 279–92. http://dx.doi.org/10.2979/vic.2001.43.2.279.
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David, Deirdre. "“Art's a Service”: Social Wound, Sexual Politics, and Aurora Leigh." Browning Institute Studies 13 (1985): 113–36. http://dx.doi.org/10.1017/s0092472500005393.
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Elizabeth Barrett Browning's Aurora Leigh has become a key text for feminist critics concerned with nineteenth-century women writers. For some, Aurora Leigh is a revolutionary poem, a passionate indictment of patriarchy that speaks the resentment of the Victorian woman poet through a language of eroticized female imagery. For others, the poem is less explosive, and Barrett Browning's liberal feminism is seen as compromised by Aurora Leigh's eventual dedication to a life governed by traditionally male directives. In my view, however, Aurora Leigh is neither revolutionary nor compromised: rather, it is a coherent expression of Barrett Browning's conservative sexual politics, and I shall argue that female imagery is employed to show that the “art” of the woman poet performs a “service” for a patriarchal vision of the apocalypse. In Aurora Leigh woman's art is made the servitor of male ideal.
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CRONIN, RICHARD. "Byron, Clough, and the Grounding of Victorian Poetry." Romanticism 14, no. 1 (2008): 13–24. http://dx.doi.org/10.3366/e1354991x08000068.
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In Scene VI of Dipsychus, the Spirit wonders, as people on holiday often do, what he should do next: What now? The Lido shall it be? That none may say we didn't see The ground which Byron used to ride on, And do I don't know what beside on. (VI. 1–4)1 When Byron was living in Venice or nearby, for two years from 1817 to 1819, he had already, as he frequently complained, become one of the objects that English visitors to Venice liked to inspect. But he had only himself to blame, because it was Byron, even more powerfully than Scott, who had established the fashion for literary tourism. The thousands of British visitors who took a boat on Lake Leman or a guided tour of the dungeons of the castle of Chillon did so to honour Rousseau and the Swiss patriot Bonnivard, but also and more directly as witnesses to the fame of the poet of Childe Harold and The Prisoner of Chillon. It is no wonder that they were drawn in such numbers to the Lido when the poet himself rode on it, and continued to visit it when it summoned into presence not the poet himself but, perhaps still more potently, his memory. ‘Murray's faithful guide / Informs us’ (Dipsychus, V. 190–1) that the ‘shore of the Littorale, towards the Adriatic’ which ‘constitutes the Lido,’ is ‘now associated with the name of Byron, as the spot where he used to take his rides, and where he designed to have been buried.’2 There is then a double appropriateness in Clough's reference to Byron. Byron himself was, both in his own lifetime and after it, one of the prime tourist sites of Venice, and it was Byron who, more than any other poet, had set the fashion for tourist poetry of the kind that Clough himself wrote,3 not just in Dipsychus, but in The Bothie of Tober-na-Vuolich in which an Oxford reading party spends the long vacation in the Scottish Highlands, and in Amours de Voyage, in which an Oxford intellectual visits Rome in the Spring of 1849. Clough is, of course, a very different poet from Byron, but I want to begin by suggesting that one clue to their differences may be found in the different ways in which they thought about tourism and tourist poetry.
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Mitchell, Rebecca N. "Robert Herrick, Victorian Poet: Christina Rossetti, George Meredith, and the Victorian Recovery of Hesperides." Modern Philology 113, no. 1 (2015): 88–115. http://dx.doi.org/10.1086/681024.
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Mermin, Dorothy. "The Damsel, the Knight, and the Victorian Woman Poet." Critical Inquiry 13, no. 1 (1986): 64–80. http://dx.doi.org/10.1086/448373.
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Sokolova, Natalia I. "The ancient poet and philosopher in M. Arnold’s dramatic poem “Empedocles on Etna”." Science and School, no. 4, 2020 (2020): 18–25. http://dx.doi.org/10.31862/1819-463x-2020-4-18-25.
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„Empedocles on Etna”, called by Arnold „dramatic poem”, was not meant to be staged. In a work with three actors (Empedocles, his pupil Pausanias and the poet Callicles) there is almost no action, the predominant role is given to the monologues of the famous philosopher. The article analyzes the image of the main character of the poem. The state of the man of transition era in Ancient Greece, suffering from disappointments, doubts, loneliness, Arnold considered consonant with modernity. Lonely, disillusioned in the world Empedocles is contrasted in the poem with Callicles, who joyfully accepts life. Episodes of Ancient Greece mythology are interwoven into the text of the poem, contributing to the understanding of the image of Empedocles, the nature of the relationship between the characters. Empedocles’ monologues touch upon the problems relevant to the Victorian era, connected with the new attitude to the universe, to nature, to the problems of faith. Empedocles with his “congestion of the brain” is close to the author (according to Arnold himself). Thus, without deviating from the facts of the biography of the ancient poet and philosopher, Arnold, in essence, creates a portrait of his contemporary.
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BROWN, DAVID. "Gladstone and Dante: Victorian Statesman, Medieval Poet - By Anne Isba." History 92, no. 308 (2007): 589–90. http://dx.doi.org/10.1111/j.1468-229x.2007.410_58.x.
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Blair, Kirstie. "“HE SINGS ALONE”: HYBRID FORMS AND THE VICTORIAN WORKING-CLASS POET." Victorian Literature and Culture 37, no. 2 (2009): 523–41. http://dx.doi.org/10.1017/s1060150309090329.
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In 1868, Alexander Wallace paused in his introduction to the life and works of Janet Hamilton, a respected Scottish working-class poet, to note his subject's interest in literary parlour games: “Janet asked us if we had ever tried the writing of Cento verses, which she characterized as a pleasant literary amusement for a meeting of young friends in a winter's night.”
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Blair, Kirstie. "Advertising Poetry, the Working-Class Poet and the Victorian Newspaper Press." Journal of Victorian Culture 23, no. 1 (2018): 103–18. http://dx.doi.org/10.1093/jvc/vcx003.
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Stanca, Nicoleta. "Revisiting a Victorian Poet: Gerard Manley Hopkins. Ecocritical and Religious Echoes." DIALOGO 7, no. 2 (2021): 178–88. http://dx.doi.org/10.51917/dialogo.2021.7.2.15.
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The article starts from the claims of some ecocritical theoreticians that Christianity may be considered among the roots of the belief that man masters the earth (at least in the West) and thus justifies the current environmental crisis. But even these critics feel the need to provide role models of environmental concern from the list of saintly figures of the Christian tradition. In an age completely enthusiastic about the union between science and technology, the Victorian Age, the Jesuit priest Gerard Manley Hopkins wrote sonnets that may be read through the ecocritical lens at a time when the concept had not been invented. The conclusions of the essay point out the relevance of the emergence of ecococritical studies in the 1980s, showing thus how literary studies, religion and spirituality join environmental concerns and contribute to man’s fair appreciation and treatment of nature.
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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.
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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the traditions of scholarship and the figure in the popular imagination. My account of the impact of both text and myth shows a development through the mid-twentieth century and into the twenty-first, in the work of poets writing in both Irish and English. In recent decades the work of women poets has engaged with the myths of the Cailleach as Goddess, and they have thus confronted questions of the legitimacy of treating the past, and especially mythology and folk beliefs, as a source for poetry. I believe it would be foolish for a poet who has the knowledge and critical intelligence to do it properly to ignore such a resource.
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Heera B, Balu Das P S, and Dr Shibani Chakraverty Aich. "‘A Musical Instrument’ as an Autobiographical Poem of Elizabeth Barrett Browning." GIS Business 15, no. 1 (2020): 142–48. http://dx.doi.org/10.26643/gis.v15i1.17960.
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The poem “A Musical Instrument” written by Elizabeth Barrett Browning is being discussed in the paper. The poem is viewed as it contains autobiographical elements. The poet indirectly describes how she fights against the conventional society of Victorian period. She reveals how she disturbed the river of rules with her pen. The poem represents the mythical story of god Pan and the syrinx. She compares herself with the Pan who created music out of reed. She struggled against societal themes just like Pan tore out reeds from the river. She made the best art like Pan made beautiful music from with the instrument. Like Pan modified reed into a musical instrument she reshape the modern thinking and attitudes. She fought for literary freedom in her poetic battle against a society that denied women all freedoms. Victorian society never accepted any art form from women rather they only considered for being a mother. Sufferings of Victorian women can be seen in Thomas Hardy’s Tess of the D’Urbervilles. Art was hidden from women by the Victorian society like Syrinx was hidden from Pan by the water nymphs.
 The poem portrays the story that Pan once tried to chase the nymph Syrinx. She ran away from him and went near a river then she asked the water nymphs to save her. They turned her into a reed so as to hide her in the river. Pan never found her. So, in a rage, he jumped into the water and walked briskly, thus disturbing the calmness of the river. By the end, he made a musical instrument out of the reed, and its music was haunting and mind-blowing. . Just as Pan did, she worked hard to polish her art to bring the best poetry to the literary world .The poem describes the power and control over women in the society but we are giving a new notion that it contains autobiographical elements.
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하명자. "Christina Rossetti's Maude : Self-Abnegation and Self-Expression of a Victorian Poet." Cross-Cultural Studies 25, no. ll (2011): 391–420. http://dx.doi.org/10.21049/ccs.2011.25..391.
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Alexander, Caroline. "On Translating Homer's Iliad." Daedalus 145, no. 2 (2016): 50–58. http://dx.doi.org/10.1162/daed_a_00375.
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This reflective essay explores the considerations facing a translator of Homer's work; in particular, the considerations famously detailed by the Victorian poet and critic Matthew Arnold, which remain the gold standard by which any Homeric translation is measured today. I attempt to walk the reader through the process of rendering a modern translation in accordance with Arnold's principles.
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Jenkyns, Richard. "Pathos, Tragedy and Hope in the Aeneid." Journal of Roman Studies 75 (November 1985): 60–77. http://dx.doi.org/10.2307/300653.
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In the course of this century fashions in classical scholarship have come and gone; out in the wider world the Victorians have fallen from grace and been restored to it again; but throughout this time there seems to have endured a picture of Virgil as a Victorian poet avant la lettre, a Tennysonian aesthete, languidly and compassionately melancholic, shedding warm soft tears as he contemplates the perennial sorrows of humanity. ‘Sunt lacrimae rerum’—we are wary of that phrase now, conscious that it cannot bear the significance traditionally attributed to it; but the idea persists that Virgil views the world as a vale of tears. The modern critics do not put it quite that way—they prefer longer and less perspicuous words–but that is none the less, I think, what many of them are really saying.
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Stafford, Jane, and Mark Williams. "Victorian Poetry and the Indigenous Poet: Apirana Ngata’s “A Scene from the Past”." Journal of Commonwealth Literature 39, no. 1 (2004): 29–41. http://dx.doi.org/10.1177/002198904043291.
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Blair, Kirstie. "Excelsior! Inspirational Verse, the Victorian Working-Class Poet, and the Case of Longfellow." Victorian Poetry 59, no. 1 (2021): 1–21. http://dx.doi.org/10.1353/vp.2021.0000.
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Tucker, Herbert F. "Rossetti's Goblin Marketing: Sweet to Tongue and Sound to Eye." Representations 82, no. 1 (2003): 117–33. http://dx.doi.org/10.1525/rep.2003.82.1.117.
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Recent criticism putting the market back in Christina Rossetti's ''Goblin Market'' (1862) makes, and leaves, space for consideration of the poem's relation to marketing-as-advertising. Written to be read by adults in silence as if out loud to children, the poem trades in the mystique of a virtual orality that is structurally analogous to its goblin merchants' mystification, through promotional language, of both the nature of their retail business and the origins of the produce they sell. The virtual-oral mode of the poem creates rich opportunities for local wordplay to highlight that mystification at a juncture in economic history when with new subtlety and aggressiveness a burgeoning advertising business was transforming Victorian consumerism. The miracle of a sister's redemption from goblin taste stakes on Rossetti's Christian belief her congruent faith as a poet: that a modern tongue may be redeemed by art, in spite of art's collusion with the forces by which it must circulate to earn a hearing.
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Babamiri, Navid Salehi. "The Struggle for Confiscation: An Imperialistic Look at Alfred Lord Tennyson’s Poem “Ulysses”." English Language and Literature Studies 7, no. 1 (2017): 9. http://dx.doi.org/10.5539/ells.v7n1p9.
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The power of imperialism ascended during the Victorian age, when both the sense of nationalism and industrial revolution concurrently took place. Imperialism in its kind is the sense of domination of one group of people over another, or to a great point, it’s the domination of one country to other countries to confiscate its properties and belongings. Here in the poem written by Alfred Lord Tennyson, the poet tries to ironize the situation by showing and focusing on such an old king (may be the king of England), who has recently come back home from his travels and has complained about his “idleness.” This “idleness” for the king is equal to ceasing the kind of power, namely, if he does not move and battle, he has nothing for his country, and even he does not record a name for himself in the history of England. Thus the aim of the present paper is not only limitedto the relation between power and the sense of imperialism, a relation that leads to malicious and destructive behavior but it also condemns that kind of relation. However, it is done implicitly, as once the poet did in his poem, by showing the negative use of power in hands of some, like the king of England, who has done his best even at his death’s door to continue again and conquer wherever he sees that brings benefits to him. Not surprisingly; the poem also implies to the battle of Troy in the sense of imperial actions.
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Hamm, M. Dennis. "Reading Hopkins after Hubble: The Durability of Ignatian Creation Spirituality." Horizons 41, no. 2 (2014): 275–95. http://dx.doi.org/10.1017/hor.2014.72.
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The Victorian poet Gerard Manley Hopkins already demonstrated a special sensitivity to nature as a young Anglican. But his conversion to Catholicism, followed by his formation as a Jesuit, nurtured a creation spirituality that moved him from the rather cold view of the cosmos typical of his Victorian era to a vibrant sense of God intimately revealed in nature. This new sense of being a creature involved in an intimate personal relationship with the Creator comes from Hopkins' appropriation of the creation spirituality of Ignatius of Loyola. After reviewing the evolution of worldviews from the medieval synthesis melded with the Newtonian mechanical model (the Victorian picture) to our contemporary cosmic “story,” this article then samples poems that illustrate the creation spirituality that Hopkins absorbed from Ignatius' vision. This vision is remarkably in tune with the new sense of the place of the human creature in the cosmic story that the sciences now tell regarding the emergence of matter, life, and persons.
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Arafat, Faisal. "Robert Browning’s Poem Porphyria’s Lover: Viewed from the Perspective of a Short Story." International Journal of Language and Literary Studies 3, no. 1 (2021): 170–76. http://dx.doi.org/10.36892/ijlls.v3i1.521.
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Robert Browning quite as an exception to his contemporary Victorian poets opted for the psychoanalysis of his characters in his poems. His obsession of delving deeper into the psyche of his characters most often lent his poems with the essence and atmosphere of a story, to be more accurate – a short story. Browning’s readers still today hovers in the labyrinth created in his poetic world. He leaves his readers in such a juncture from where the readers time and again look back into the plot of his poems to find answers of the mysteries invested by the poet. Stylistically being much ahead of the contemporary trend of poetry, Browning’s poems could be labeled as futuristic. His artistic faculty in his poems can only be somewhat explained and understood if analyzed from the perspectives of a short story. Only then the crossroads where Browning leaves his readers in his poems can find a destination and provide a literary solution. One of the most extraordinary poems of Robert Browning is ‘Porphyria’s Lover’. This paper is an analysis of the poem from the perspective of the features of a short story. The plot and theme of the poem is quite obscure especially the ending of the poem leaves the readers with a feeling of puzzle and incompleteness. In order to explain this puzzle and incompleteness this study presents an elaborate discussion of the characteristics of short story. Then it discusses the storytelling ability of Browning in his poems and finally based on the findings presents an analysis of the poem to determine the matching characteristics of a short story in the poem. The study is completely based on a qualitative analysis.
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Hobbs, Andrew. "The Poet, the Newspaper Editor, and Working-class Local Literary Culture in Victorian Blackburn." Transactions of the Historic Society of Lancashire and Cheshire 168 (January 2019): 93–116. http://dx.doi.org/10.3828/transactions.168.8.
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Blair, Kirstie. "“A Very Poetical Town”: Newspaper Poetry and the Working-Class Poet in Victorian Dundee." Victorian Poetry 52, no. 1 (2014): 89–109. http://dx.doi.org/10.1353/vp.2014.0009.
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Kidd, Monica. "“If We Can Make a Cure of Him”: Lyrical Grenfell in the St. Anthony Casebooks, 1906." Canadian Bulletin of Medical History 38, no. 2 (2021): 423–34. http://dx.doi.org/10.3138/cbmh.520-032021.
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Narrative-based physician records contain much more than observerless data and diagnoses. Indeed, a “case,” the basic currency of medical communication, can be seen as a literary genre, much like a novel or a poem, and given close readings for author voice, tradition, and influences. In this article, I describe my initial encounter with Dr. Wilfred Grenfell’s casebooks in a hospital basement in St. Anthony, Newfoundland and Labrador, and my subsequent engagement with them as both a physician and a poet. Adopting Bleakley and Marshall’s definition of medical lyricism as the impulse that “draws our attention to delicacy, tenderness and the joyous, and to verve, desire, eroticism, the fecund, abundance and generation,” I argue that Grenfell’s approach to medicine in early 20th-century Newfoundland and Labrador was both a product of his scientific training and his enculturation at the end of the Victorian period.
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Abdi, Marwan M., and Dara Mohammed Salih Tayib. "The Epical Worlds of Myth and Reality in Matthew Arnold's Poetry." Academic Journal of Nawroz University 9, no. 4 (2020): 99. http://dx.doi.org/10.25007/ajnu.v9n4a895.
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The Victorian poet and critic, Matthew Arnold was a Christian humanist, strived to tackle with the ailments and aches of Modernity which had afflicted the Late Victorian Communities. His works which are tinted with romantic elements are modern works which communicate the unspeakable, i.e., and resonate his universal message in the most effective way. Arnold’s poems represent two contrasted epical worlds; one mythological and a realistic one which are populated by heroic character. However, in spite of their different natures these two worlds always create a unified platform for its inhabitants. Due to this quality Arnold's stories become more universalized and this realm portrays heroes who take part in the epical struggle against evil in order to save the 'Humane Values'. This research sheds light on some of his poems which depict such themes and techniques.
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Howard, Danielle A. D. "The (Afro) Future of Henry Box Brown." TDR: The Drama Review 65, no. 3 (2021): 125–42. http://dx.doi.org/10.1017/s1054204321000356.
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Henry Box Brown, a Black man born into slavery in the American South, devised an unforeseen yet ingenious plan to achieve emancipation: he was shipped to the North in a cramped, wooden box. The first testament of Brown’s escape was not his emergence from his box, but instead his voice responding to the box’s addressee. Later, Brown reenacts his original escape in Victorian England and becomes “The King of All Mesmerizers” by envisioning an alien future for himself, much like musician and philosopher-poet Sun Ra.
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Mermin, Dorothy. "Barrett Browning's Stories." Browning Institute Studies 13 (1985): 99–112. http://dx.doi.org/10.1017/s0092472500005381.
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Reviewing her career as a professional poet, Aurora Leigh describes her dubiously successful beginnings:My ballads prospered; but the ballad's raceIs rapid for a poet who bears weightsOf thought and golden image ….Barrett Browning's ballads had prospered too, and like Aurora she did not find their success particularly creditable, a judgment that has been emphatically shared by twentieth-century critics. But when Robert Browning told her in his first letter that he loved her poems, these were the ones he meant. The ballads are almost the only works of hers that he mentions in their correspondence, and he mentions them often. Gracious Lady Geraldine, bold and selfimmolating Duchess May, the lady disguised as a page who dies defending her husband from the Saracens - such heroines charmed a large and diverse company of Victorian admirers, including Mary Russell Mitford, Edgar Allan Poe, Harriet Martineau, Thomas Carlyle, and most of Elizabeth Barrett's friends and reviewers, in the years before her marriage when her reputation was made.
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Moulavi Nafchi, Asghar, Mitra Mirzayee, and Morteza Sobhani Zadeh. "Robert Browning: A Dramatic Monologue Marvel." International Letters of Social and Humanistic Sciences 63 (November 2015): 225–32. http://dx.doi.org/10.18052/www.scipress.com/ilshs.63.225.
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One of the most effective literary devices within different didactic and aesthetic forms is the dramatic monologue. The dramatic monologue distinguishes the speaker’s character from that of the poet’s. The double meaning that lies at the heart of the dramatic monologue, conveys the speaker’s version or variety of meaning and intentions. The Dramatic monologue has been practiced for a very long time, but it was Robert browning who invested it with a deeper level of meaning giving it frequency in an attempt to support preexisting aesthetic values in favor of a poem that valued form over content. Although such a dialogue is called dramatic, it is not a theatrical device, proper. The speaker of the poem delivers such comments on the slice of life at disposal that would leave us with a deep emotional experience. By listening to the words pouring out of the speaker’s mind, the reader/listener obtains a psychoanalytic view of the speaker. The current article aims to study Robert browning, the prominent Victorian poet, by putting on the pedestal his essential role in investing the dramatic monologue in English literature with an essential poetic significance and role by reviewing a number of his major poems.
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Beller, Anne-Marie. "“THE FASHIONS OF THE CURRENT SEASON”: RECENT CRITICAL WORK ON VICTORIAN SENSATION FICTION." Victorian Literature and Culture 45, no. 2 (2017): 461–73. http://dx.doi.org/10.1017/s1060150316000723.
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Henry Mansel, writing in 1863, was confident in his prediction that the current popular vogue for sensation novels was an ephemeral phase, soon to pass into a deserved oblivion. Yet by the end of a decade marked by extensive and frequently hysterical debates over the genre, the future Poet Laureate, Alfred Austin, was still bemoaning the ubiquity of sensation fiction: “the world may congratulate itself when the last sensational novel has been written and forgotten” (424). Mansel and Austin would doubtless have been astounded (and appalled) at the current status of mid-Victorian sensation fiction in the realm of academic scholarship. Far from being a long-forgotten, inconsequential moment in literary history, the sensation novels of authors such as Wilkie Collins, Mary Elizabeth Braddon, Ellen Wood, and Ouida have prompted a plethora of critical studies, which have impacted on our wider understanding of the dynamics and influences of mid-Victorian literary and publishing practices.
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Díaz Morillo, Ester. "The Pre-Raphaelites and their Keatsian Romanticism: An Analysis of the Renderings of 'The Eve of St Agnes and Isabella'." Complutense Journal of English Studies 28 (November 24, 2020): 11–21. http://dx.doi.org/10.5209/cjes.66142.
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This research examines the influence of Romantic poet John Keats on the Pre-Raphaelite Brotherhood, a Victorian artistic and literary movement. The aim of this paper is to prove how Keats became, moreover, a major connecting link between Romanticism and the Victorian era, thus enabling the continued existence of certain Romantic aesthetic features until the beginning of the twentieth century. In that sense, we will explore how this influence took shape and we will analyse Pre-Raphaelite works of art which have as source of inspiration some of Keats’s well-known poems (“Isabella; or, The Pot of Basil” and “The Eve of St. Agnes”). This examination will allow us to perceive the manner in which these artists devised their pictorial style based on Keatsian pictorialism in poetry, with a special emphasis on the significance of medievalism, and the beauty and sensuousness of his verses, and how they were transferred into their canvases.
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Morlier, Margaret M. "The Death of Pan: Elizabeth Barrett Browning and the Romantic Ego." Browning Institute Studies 18 (1990): 131–55. http://dx.doi.org/10.1017/s009247250000290x.
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During the past two decades Elizabeth Barrett Browning has become most appreciated for her 1856 feminist epic Aurora Leigh, a poem in which she asserted her “highest convictions upon Life and Art.” Before publishing Aurora Leigh, however, she said that one of her most important poems was “The Dead Pan.” When she published her two-volume collection of Poems in 1844, she insisted that “The Dead Pan” be placed last for emphasis. This poem of thirty-nine stanzas, each ending with some variation of the phrase “Pan is dead,” is often overlooked today in discussions of Barrett Browning's development probably because its theme appears outdated to modern readers. Beginning with a catalogue of classical deities—such as Juno, Apollo, and Cybele—shocked by the crucifixion of Christ, the poem depicts the death of these classical gods along with their representative, Pan. In the final third of the poem they are replaced by the Christian god and his martyred son. Then the refrain “Pan is dead” changes in meaning: no longer the lament of the classical gods, the refrain becomes a joyful proclamation of the Christian poet. On a first reading, “The Dead Pan” seems simply to celebrate orthodox Christianity; it is still generally remembered as a Victorian expression of pietism or, in Douglas Bush's facetious words of 1937, a poem in which the “Greek gods are brought face to face with Christian truth and put to rout” (268).
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Voakes, Lucy Turner. "The Risorgimento and English literary history, 1867–1911: the liberal heroism of Trevelyan's Garibaldi." Modern Italy 15, no. 4 (2010): 433–50. http://dx.doi.org/10.1080/13532944.2010.506294.
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This article explores the relationship between Italian heroism and literary history in relation to G.M. Trevelyan's Garibaldi trilogy. It firstly summarises some important features of the Victorian culture of public moralism that shaped Trevelyan's early work. It then discusses the influence of the poet, novelist and man-of-letters, George Meredith, on Trevelyan's Garibaldi books and historical practice. The comparison of Meredith and Trevelyan suggests that Trevelyan's Garibaldi trilogy should be understood as part of a project self-consciously undertaken by Victorian literary and political elites to consolidate, celebrate and, less frequently, to critique British liberal culture and politics. The article concludes that while a Mazzinian notion of dolcezza may have influenced Trevelyan's notion of the hero, his interest in the Risorgimento was ultimately motivated by the usefulness of Italy and Garibaldi in promoting what he considered to be a distinctly ‘English’1 form of ethical patriotism, whose intellectual antecedents – Whig gradualism, constitutional compromise in the form of parliamentary monarchy and a hierarchy-inflected anti-Republicanism – stood in ambivalent relation to the concept of democratic nationality.
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Felluga, Dino Franco. "The Fetish-Logic of Bourgeois Subjectivity, or, The Truth the Romantic Poet Reveals about the Victorian Novel." European Romantic Review 14, no. 2 (2003): 251–60. http://dx.doi.org/10.1080/10509580303682.
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Scott, Heather. "‘And writing […] will preserve his memory’: Laman Blanchard’s Afterlife in Letters and Ledgers." European Journal of Life Writing 9 (July 6, 2020): LW&D.CM50—LW&D.CM59. http://dx.doi.org/10.21827/ejlw.9.36918.
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This article examines the historical fragments of cemetery records and monumental masonry for the poet and journalist Laman Blanchard, who was interred in West Norwood Cemetery, London, in 1845, and whose monument was cleared a century later by Lambeth Council. It focuses on Blanchard’s role in the Dickens literary circle and his relation to mid-Victorian writers, situating his untimely death in light of changing legislation on suicide. His lost grave marker is recovered by scrutinising his burial record, obituary, epitaph, and periodicals to ferret out connections amongst the archival sources of his death. The nebulous association, between what is written-by a person in life and what is written-about that person after death, is contemplated throughout.
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Elia, Anthony. "An Unknown Exegete: Uncovering the Biblical Scholarship of Elizabeth Barrett Browning." Theological Librarianship 7, no. 1 (2013): 8–20. http://dx.doi.org/10.31046/tl.v7i1.266.
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The present essay provides a survey of a previously unexplored, formative period in the life of the famed Victorian English poet, Elizabeth Barrett Browning (EBB). Her personal Bibles (Hebrew, LXX, and Greek New Testament), held in the Burke Library at Union Theological Seminary/Columbia University, have been discovered to contain Barrett’s own extensive handwritten notes. These notes demonstrate that EBB read extensively among the biblical exegetes and scholars of the day, many of whom influenced her reading of the text. This essay considers the life circumstances in which she devoted herself to these studies, an overview of her marginalia in these volumes, and some suggestions on how Browning’s biblical studies may have influenced her later poetic works.
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Faulk, Barry. "CAMP EXPERTISE: ARTHUR SYMONS, MUSIC-HALL, AND THE DEFENSE OF THEORY." Victorian Literature and Culture 28, no. 1 (2000): 171–93. http://dx.doi.org/10.1017/s1060150300281102.
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BY THE CLOSE OF THE PREVIOUS CENTURY, English music-hall or variety, an entertainment form that incorporated comic acts, sketch comedy, dance, even animal acts, was drawing a broad base of middle-class patrons, and losing its exclusive character as working-class entertainment. “Variety” halls like the Alhambra or the Empire now claimed the attention and lucre of a new mass audience. Music-hall was also, I would argue, a proving ground where enterprising intellectuals could flex their evaluative muscle. Perhaps more than any other Late Victorian man of letters, critic and poet Arthur Symons frequented the music-hall with an eye toward representing it, a service that he regularly performed for The Star newspaper and elite cultural venues such as The Fortnightly Review.
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Hacke, Melanie. "“The flaming ramparts of the world”." English Text Construction 9, no. 2 (2016): 221–43. http://dx.doi.org/10.1075/etc.9.2.01hac.
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The present article analyses Walter Pater’s novel Marius the Epicurean (1885), focusing particularly on the nexus between the story’s setting in Ancient Rome and its treatment of religion. Even though the abrupt ending of Marius’s Bildung suggests that Pater had not yet succeeded in reconciling his aesthetic philosophy with a religious life in community, the novel encourages its readers to adopt an eclectic religious consciousness. By examining Pater’s references to Lucretius’s De Rerum Natura, the article investigates how Pater used the Roman poet to reinforce this message, and to react against the materialism of post-Darwinian Britain. Moreover, it shows how Marius the Epicurean incorporates and subverts some of the motifs that can be found in popular Victorian novels set in Rome.
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Paul, Alison. "Fact and Fiction in Community Health." Australian Journal of Primary Health 3, no. 3 (1997): 110. http://dx.doi.org/10.1071/py97031.
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In July 1996, La Trobe University's Schools of English, Nursing and Public Health joined forces to produce a unique program for three Writers-in-Residence. For six weeks the writers spent one day a week teaching writing techniques to clients from two Community Health Centres. In response, the clients and staff drew on their experiences of illness and health, producing autobiographical and fictional works. The Writers-in-Residence Program was funded by the Literature Board of the Australia Council. Financial support was also provided by the Public Health Branch of the Victorian Department of Health and Community Services. The writers involved were author Andrea Goldsmith, playwright Ray Mooney and poet Earl Livings. Projects involving two of these authors are described here.
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Morlier, Margaret M. "SONNETS FROM THE PORTUGUESE AND THE POLITICS OF RHYME." Victorian Literature and Culture 27, no. 1 (1999): 97–112. http://dx.doi.org/10.1017/s1060150399271057.
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ALTHOUGH VICTORIAN REVIEWERS uniformly praised Elizabeth Barrett Browning for the “sincere” poetic voice of Sonnets from the Portuguese, they often blamed her for faulty craft. In structure and rhyme scheme the poems in the sequence recall the Petrarchan tradition, suggesting the idealized love that accompanies it, yet their varied syntax and diction seem more conversational than ideal. Enjambment usually destroys the integrity of octave and sestet. Then in the Sonnets Barrett Browning continued her use of odd rhymes, which had been raising critical eyebrows since earlier poems. For example, in the most famous sonnet — XLIII, “How do I love thee?” — Barrett Browning rhymed the noun phrase “put to use” (9) with the infinitive “to lose” (11) and rhymed “faith” (10) with “breath” (12). Victorian reviewers, somewhat disoriented, offered a variety of explanations for these apparent technical lapses. Some attributed them to a defective ear for music (“Review of Poems” 278; [Massey] 517).1 George Saintsbury — taking the lead from the controversy over the “cockney school” of poetry — reproved Barrett Browning, born to the educated classes, for relying out of laziness on vulgar pronunciation to force rhymes instead of taking the time to discover correct ones (280–81). Even her poet-friend and correspondent, Mary Russell Mitford, wondered if isolation at Wimpole Street had led to an overly narrow experience with proper pronunciation of English (reported in Horne 458; see also Hayter 38–39). Victorian reproofs and anecdotes like these followed Barrett Browning’s work into the formalist twentieth century.
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Stauffer, Andrew M. "“THE KING IS COLD,” BY STODDARD, NOT BROWNING." Victorian Literature and Culture 36, no. 2 (2008): 361–62. http://dx.doi.org/10.1017/s1060150308080224.
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About a decade ago, I discovered an unknown poem attributed to Robert Browning in two New York abolitionist periodicals, and published an article about it here in Victorian Literature and Culture. I made the case that the poem, a dramatic monologue entitled “The King is Cold,” sounds like Browning in ways that suggest either its authenticity or the early familiarity of an American audience with Browning's style; and I closed the article with the statement, “By bringing ‘The King is Cold’ to light, I hope to encourage further speculation and inquiry as to its place either among Browning's collected works, or within the larger field of Browning scholarship that includes the study of his American reputation” (469). Since then, electronic databases have automated broad, sweeping searches of periodicals, and now the relevant information is easily discovered: the poem was in fact written by Richard Henry Stoddard, the American poet and man of letters. It was first published under Browning's name in the New York News sometime late in 1857, and was correctly ascribed to Stoddard in Russell's Magazine in December of that year; I found this information by searching in the American Periodicals Series Online, 1740–1900. The abolitionist reprintings (in the National Anti-Slavery Standard and the Liberator) apparently followed the version in the New York News, and the misattribution was perpetuated. Indeed, the poem reappeared in another New York periodical, Munsey's Scrap Book, in 1909, where it was still being given out as Robert Browning's. “The King is Cold” was also included as Browning's in William Cullen Bryant's oft-reprinted New Library of Poetry and Song.
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Fischler, Alan. "“It Proves that Aestheticism Ought to Be Discarded”." Nineteenth-Century Literature 66, no. 3 (2011): 355–82. http://dx.doi.org/10.1525/ncl.2011.66.3.355.
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Abstract Since the 1881 premiere of Patience, the sixth Gilbert and Sullivan opera, there has been abundant speculation about the real-life models on whom Gilbert based his rival poets, the “Fleshy” Reginald Bunthorne and the “Idyllic” Archibald Grosvenor. But all conjectures have failed to take account of the fact that, in Bunthorne, Gilbert conflates the beliefs and practices of Pre-Raphaelitism with those of Aestheticism—two artistic movements that were diametric opposites. Gilbert himself certainly knew the difference between them, but the reasons for his conflation may lie in his and his public’s perception that both movements were rooted in rebelliousness against prevailing bourgeois norms. Inasmuch as Bunthorne represents both, Dante Gabriel Rossetti would be his most likely antecedent, but Gilbert’s poet is probably an amalgamation of many of the major figures associated with each of these movements. Grosvenor, meanwhile, becomes the conqueror of Bunthorne by throwing off aestheticism and adopting bourgeois norms himself—and therefore he ought ultimately to be identified with another writer whose poetic practices and championship of middle-class values much resemble Grosvenor’s. That writer is W. S. Gilbert himself, who made a very lucrative career out of flattering the prejudices of respectable Victorian society.
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Arseneau, Mary, and Emery Terrell. "“Our Self-Undoing”: Christina Rossetti’s Literary and Somatic Expressions of Graves’ Disease." Humanities 8, no. 1 (2019): 57. http://dx.doi.org/10.3390/h8010057.
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Victorian poet Christina Rossetti (1830–1894) was frequently troubled by poor health, and her mid-life episode of life-threatening illness (1870–1872) when she suffered from Graves’ disease provides an illuminating case study of the ways that illness can be reflected in poetry and prose. Rossetti, her family, and her doctors understood Graves’ disease as a heart condition; however, Rossetti’s writing reflects a different paradigm, presenting themes of self-attack and a divided self that uncannily parallel the modern understanding of Graves’ disease as autoimmune in nature. Interestingly, these creative representations reflect an understanding of this disease process that Rossetti family documents and the history of Victorian medicine demonstrate Rossetti could not have been aware of. When the crisis had passed, Rossetti’s writing began to include new rhetoric and imagery of self-acceptance and of suffering as a means of spiritual improvement. This essay explores the parallels between literary and somatic metaphors: Rossetti’s body and art are often simultaneously “saying” the same thing, the physical symptoms expressing somatically the same dynamic that is expressed in metaphor and narrative in Rossetti’s creative writing. Such a well-documented case history raises questions about how writing may be shaped by paradigms of illness that are not accessible to the conscious mind.
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Boos, Florence. "“Ne’er Were Heroines More Strong, More Brave”: Victorian Factory Women Writers and the Role of the Working-Class Poet." Women's Writing 27, no. 4 (2020): 428–47. http://dx.doi.org/10.1080/09699082.2020.1775765.
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Chapman, Alison. "INTERNATIONALISING THE SONNET: TORU DUTT'S “SONNET – BAUGMAREE”." Victorian Literature and Culture 42, no. 3 (2014): 595–608. http://dx.doi.org/10.1017/s1060150314000163.
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“When the history of theliterature of our country comes to be written, there is sure to be a page in it dedicated to this fragile exotic blossom of song” (Dutt xxvii). This sentence is Edmund Gosse's famous final flourish to his memoir of Toru Dutt, which introduced her posthumous volumeAncient Ballads and Legends of Hindustan, published in 1882, five years after her death from tuberculosis at the age of twenty-one. But what would Dutt's page look like in the history of “our country,” by which Gosse means of course England? This question is a tricky one, because placing a late nineteenth-century Bengali who was a Europhile, a Christian convert, and an English-language woman poet within a British Victorian tradition is a simplistic, if not a problematic appropriation of a colonial subject into the centre of the British Empire. Where Dutt belongs has long preoccupied critics who try to recuperate her poetry for an Indian national poetic tradition, or for a transnational, cosmopolitan poetics. The issue of placing Dutt allows us also to press questions about the conception of Victorian poetry studies, its geographical, cultural, and national boundaries, not just in the nineteenth-century creation of a canon but in our current conception of the symbolic map of Victorian poetry. But, while recent critics have celebrated her poetry's embrace of global poetry as a challenge to the parochialism of national literary boundaries, Dutt's original English-language poetry also suggests an uneven, uncomfortable hybridity, and a wry, ironic interplay between distance and proximity that unfolds through her use of poetic form. This essay investigates what it means to “make something” of Toru Dutt, in the nineteenth century and in the twenty-first century, what is at stake for Victorian poetry studies in privileging Dutt and her multi-lingual writing, and whether her celebrated transnationalism might not also include a discomfort with hybridity that reveals itself through the relation between space and literary form in her poetry.