By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly especially commissioned essays by means of distinct foreign students that mirror either the range of Victorian poetry and the diversity of serious ways that light up it.
• methods Victorian poetry in terms of style, creation and cultural context, instead of via person poets or poems
• Demonstrates how a specific poet or poem emerges from a few overlapping cultural contexts.
• Explores the relationships among paintings by means of diverse poets
• remembers awareness to a substantial physique of poetry that has fallen into forget
• Essays are trained via fresh advancements in textual and cultural conception
• Considers Victorian girls poets in each chapter
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Extra resources for A Companion to Victorian Poetry
It is, accordingly, indifferent to subject matter and to fact. It keeps between itself and reality ‘the impenetrable barrier of beautiful style, of decorative or ideal treatment’. Thus, lying – the telling of beautiful untrue things – is the proper aim of art, for the liar tries simply ‘to charm, to delight, to give pleasure’. Revising both Arnold’s and Pater’s instructions to the critic, 18 Carol T. Christ Wilde praises the effort ‘to see the object as in itself it really is not’. Art should not be held to any external standard; its only motive is the creation of beauty.
As each succeeding generation of writers deﬁnes itself as modern in a never-ending regression towards the present, the challenge of writing an evolutionary literary history increases. How do we write a history of modern literature if each generation asserts its modernity by insisting on its difference from the past? Writing a history of the modern will require us to question its repeated sense of its own uniqueness. References and Further Reading Armstrong, Isobel (1972) Victorian Scrutinies: Reviews of Poetry, 1830–1870.
G. Rossetti. Elsewhere he expresses his debt to Pater. In describing the 1890s in his autobiography, he writes, ‘If Rossetti was a subconscious inﬂuence, and perhaps the most powerful of all, we looked consciously to Pater for our philosophy’ (1965: 201). When Yeats edits The Oxford Book of Modern Verse in 1936, he opens it with Pater’s description of da Vinci’s La Gioconda. These relationships are important because they demonstrate what modernist polemics often obscure: the roots that modernism has in the poetics at the end of the century, poetics that in turn developed from earlier strands in the century.
A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison