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Daniel Karlin has selected poetry written and published during the reign of Queen Victoria, (1837-1901). Giving pride of place to Tennyson, Robert Browning, and Christina Rossetti, the volume offers generous selections from other major poets such asArnold, Emily Bronte, Hardy and Hopkins, and makes room for several poem-sequences in their entirety. It is wonderful, too, in its discovery and inclusion of eccentric, dissenting, un-Victorian voices, poets who squarely refuse to 'represent' their period. It also includes the work of Elizabeth Barrett Browning, George Meredith, James Thomson and Augusta Webster.
In a work that is uniquely comprehensive and theoretically astute, Isobel Armstrong rescues Victorian poetry from its longstanding sepia image as `a moralised form of romantic verse', and unearths its often subversive critique of nineteenth-century culture and politics.
Christopher Ricks's celebrated anthology presents a wonderfully varied collection of Victorian poetry, with 560 poems by 115 authors. The great figures of the period - Tennyson, Browning, Swinburne, and Hopkins - are strongly represented, but light verse and nonsense poetry have not been neglected. With most poems given in their entirety, this is a lively and exciting anthology of Victorian verse selected by an expert in the field.
Victorian Verse: The Poetics of Everyday Life casts new light on nineteenth-century poetry by examining the period through its popular verse forms and their surrounding social and media landscape. The volume offers insight into two central concepts of both the Victorian era and our own—status and taste—and how cultural hierarchies then and now were and are constructed and broken. By recovering the lost diversity of Victorian verse, the book maps the breadth of Victorian writing and reading practices, illustrating how these seemingly minor verse genres actually possessed crucial social functions for Victorians, particularly in education, leisure practices, the cultural production of class, and the formation of individual and communal identities. The essays consider how “major” Victorian poets, such as the Pre-Raphaelites, were also committed to writing and reading “minor” verse, further troubling the clear-cut notions of canonicity by examining the contradictions of value.
The Victorian Verse-Novel: Aspiring to Life considers the rise of a hybrid generic form, the verse-novel, in the second half of the nineteenth century. Such poems combined epic length with novelistic plots in the attempt to capture not a heroic past but the quotidian present. Victorian verse-novels also tended to be rough-mixed, their narrative sections interspersed with shorter, lyrical verses in varied measures. In flouting the rules of contemporary genre theory, which saw poetry as the purview of the eternal and ideal and relegated the everyday to the domain of novelistic prose, verse-novels proved well suited to upsetting other hierarchies, as well, including those of gender and class. The genre's radical energies often emerge from the competition between lyric and narrative drives, between the desire for transcendence and the quest to find meaning in what happens next; the unusual marriage plots that structure such poems prove crucibles of these rival forces. Generic tensions also yield complex attitudes towards time and space: the book's first half considers the temporality of love, while its second looks at generic geography through the engagement of novels in verse with Europe and the form's transatlantic travels. Both well-known verse-novels (Elizabeth Barrett Browning's Aurora Leigh, Arthur Hugh Clough's Amours de Voyage, Coventry Patmore's The Angel in the House) and lesser-known examples are read closely alongside a few nearly related works (Tennyson's Idylls of the King, Robert Browning's The Ring and the Book). An Afterword traces the verse-novel's substantial influence on the modernist novel.
Over 100 poems from the Victorian era on the virtues of home and family, the seasons, proper behavior, animal friends, patriotism, and silliness.
An overview of British poetry from 1830 to 1901, with a glossary of literary terms and guide to further reading.
Over the last few decades, Victorian scholars have produced many nuanced studies connecting the politics of crime to the generic developments of the novel--and vice versa. Ellen L. O'Brien's Crime in Verse grants the same attention and status to poetic representations of crime. Considering the literary achievements and cultural engagements of poetry while historicizing murder's entanglement in legal fictions, punitive practices, medical theories, class conflicts, and gender codes, O'Brien argues that shifting approaches to poetry and conflicted understandings of murder allowed poets to align problems of legal and literary interpretation in provocative, disruptive, and innovative ways. Developing focused analyses of generic and discursive meanings, individual chapters examine the classed politics of crime and punishment in the broadside ballad, the epistemological tensions of homicidal lunacy and criminal responsibility in the dramatic monologue, and the legal and ideological frictions of domestic violence in the verse novel and verse drama. Their juxtaposition of the rhymes of anonymous street balladeers, the underexamined verse of "minor" poets, and the familiar poems of canonical figures suggests the interactive and intertextual relationships informing poetic agendas and political arguments. As it simultaneously reconsiders the institutional and ideological status of murder and the aesthetic and political interests of poetry, Crime in Verse offers new ways of thinking about Victorian poetry's contents and contexts.
This Companion brings together specially commissioned essays by distinguished international scholars that reflect both the diversity of Victorian poetry and the variety of critical approaches that illuminate it. Approaches Victorian poetry by way of genre, production and cultural context, rather than through individual poets or poems Demonstrates how a particular poet or poem emerges from a number of overlapping cultural contexts. Explores the relationships between work by different poets Recalls attention to a considerable body of poetry that has fallen into neglect Essays are informed by recent developments in textual and cultural theory Considers Victorian women poets in every chapter