Tennyson A Collection Of Critical Essays

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His poems are renowned for, among other things, their bold...

This content was uploaded by our users and we assume good faith they have the permission to share this book. Literary criticism in perspective) Includes bibliographical references and index. James Hood of Guilford College, who read the draft of this volume with critical acumen, has helped me immensely, though he is certainly not responsible for any errors or faulty judgments that remain. Having put Croker in his place, Mill enumerates the good qualities he finds in Tennyson’s poems, claiming they display beyond question that Tennyson has a “poetic temperament”; the volumes of 18 show that he is mastering his craft (92).

This volume contains variant readings, extensive textual notes, brief critical commentaries, and sound background on the poet and his times. Writing in the Leader, philosopher and editor George Henry Lewes called the poem superior to Milton’s Lycidas, and predicted it would become “the solace and delight of every house where poetry is loved” (Shannon, Tennyson, 142).

Ricks was limited in his work by the prohibition the Tennyson family had placed on using the poet’s manuscripts deposited at Trinity College, Cambridge. Oxford: Clarendon Press; Cambridge, MA: Harvard UP, 1981– 1990. The reviewer for the Guardian thought that “judged even by the standard of Shakespeare and Spenser, Mr. Its appeal to the idealism and faith Victorians sought in literature was a special strength, according to J. Marston of the Athenaeum, who claimed that “in its moral scope the book will endear itself to all who suffer” (143). “Tennyson and the Measure of Doom.” PMLA 98 (1983): 8–20. Tennysonian Lyric: “Songs of the Deeper Kind” and “In Memoriam.” New Orleans, LA: Tulane UP, 1984.

One of the primary purposes of the series is to illuminate the nature of literary criticism itself, to gauge the influence of social and historic currents on aesthetic judgments once thought objective and normative. Throughout most of his life he had become accustomed to treating the family of his Uncle George with open disdain. “What a discredit it is that British taste and Poetry should have such a representative before the Nations of the Earth and Posterity! Posterity will, it is hoped, have a sound judgment on such matters, and if so what an age this must appear when such trash can be tolerated and not only tolerated but enthusiastically admired! Posterity has not come to share Uncle Charles’s judgment. A Catalogue of the Tennyson Collection in the Library of University College, Cardiff. The early volumes were reviewed favorably in several journals, including the Western Messenger in Louisville, Kentucky.

— (Studies in English and American literature and culture. Tennyson, Alfred Tennyson, Baron, 1809–1892—Criticism and interpretation—History. Roberta Rohrbach of the Franco Library at Alvernia, a librarian and researcher extraordinaire when it comes to locating copies of long-out-of-print volumes and journals. Meeting the work of emerging writers “with a curl of the lip,” the critic for the Quarterly gains pleasure not from the work being reviewed, but from “his own cleverness in making it contemptible” (Jump 85). Among the many people who assisted me, I feel an obligation to single out Ms. In the view of many early reviewers, Shannon says, Tennyson was part of the radical crowd that was thought to be headquartered at Cambridge (Tennyson, 25, 22). The young John Stuart Mill, writing in an early issue of the London Review (July 1835), accuses the Quarterly Review of practicing needless antagonism toward new voices. Series: Studies in English and American literature, linguistics, and culture (Unnumbered). M39 2004 821'.8—dc22 2004012946 A catalogue record for this title is available from the British Library. Alfred Tennyson: The Critical Legacy was a project that competed for attention with the students, faculty, and staff of Alvernia College, whose friendships I value and to whom I owe much both professionally and personally. Twentieth-century scholar Edgar Shannon believes that “nothing more than the association of Tennyson with radicalism and the Cockney poets was needed to incite Croker” to write severely. in 1907–8 under the supervision of the poet’s elder son, Hallam. “The State of Tennyson Criticism.” Papers on Language and Literature 10 (1974): 433–46. “Alfred, Lord Tennyson.” The Library of Literary Criticism of English and American Authors. Edgar Allan Poe, long a champion of Tennyson, delivered a lecture in 1848 that was subsequently printed in Home Journal and Sartain’s Union Magazine in 1850. Because Hallam Tennyson had access to his father’s notes and private papers, and because his father had reviewed and revised many of these poems before he died, these volumes were considered definitive. In what is certainly Poe’s most influential critical statement, “The Poetic Principle,” the American poet offered his British counterpart the highest praise to date: “I call him, and think him the noblest of poets — not because the impressions he produces are at all times, the most profound — not because the poetical excitement which he induces is at all times the most intense — but because it is, at all times, the most ethereal — in other words, the most elevating and most pure. As Gerhard Joseph demonstrates in “Poe and Tennyson” (1973), the admiration was mutual. As the century closed, a new generation was finding fault not only with his artistry but also with what they considered his priggish morality, while those who were growing old with him continued to treat him with the reverence accorded to sages and saints. Having expressed confidence in Tennyson’s poetic powers more than a decade earlier (Tatler, February 1831), he encourages Tennyson to outgrow his boyish desire for unqualified praise (128). Horne acknowledges this explicitly in A New Spirit of the Age (1844) when he awards Tennyson “the title of a true poet of the highest class of genius” (153). Fox, Mill, Hunt, Sterling, and certainly Hallam and Spedding all express their belief that Tennyson’s early efforts would not be his best. For a half-century after his death, his reputation suffered the same fate as other Victorians at the hands of their children and grandchildren who found the promises of optimism and belief in progress demolished and dispelled by the tragedy of world war and the emergence of modernism. Hunt’s balanced critique indicates that the tide was turning in the poet’s favor. Horne is among the earliest to notice a characteristic that later critics, including T. Eliot, would highlight in describing Tennyson’s limitations: while he can be “intensely tragic” and display “great power of concentration,” he “is not at all dramatic” (Jump 160). They predicted that, once he turned to loftier subjects, he would produce works that 4 would rank with the greatest in the language. “Tennyson’s Parable of Soul Making: A Jungian Reading of The Princess.” In CUNY English Forum. If you own the copyright to this book and it is wrongfully on our website, we offer a simple DMCA procedure to remove your content from our site. Report copyright / DMCA form Alfred Tennyson: The Critical Legacy Studies in English and American Literature and Culture: Literary Criticism in Perspective Literary Criticism in Perspective About Literary Criticism in Perspective Books in the series Literary Criticism in Perspective trace literary scholarship and criticism on major and neglected writers alike, or on a single major work, a group of writers, a literary school or movement. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. Finally, I would also like to thank James Walker and James Hardin of Camden House for their willingness to let someone — whose duties as a college president must take precedence over his scholarly pursuits — have the time necessary to work on this project. He is not without faults, Mill says, but his natural gift for versification indicates that, if he works diligently, these can be turned to strengths and future poems may indeed be great. Largely due to the influence of Ralph Waldo Emerson and James Russell Lowell, a coterie at Harvard and throughout the Boston area read Tennyson’s works enthusiastically. “Insights Ad nauseum.” Times Literary Supplement (14 November 1986): 1274. “Tennyson’s Faith: A Re-Examination.” University of Toronto Quarterly 55 (Winter 1985–1986): 185–203. In so doing the authors — authorities on the topic in question who are also well-versed in the principles and history of literary criticism — address a readership consisting of scholars, students of literature at the graduate and undergraduate level, and the general reader. First published 2004 by Camden House Camden House is an imprint of Boydell & Brewer Inc. Hope Avenue, Rochester, NY 14620, USA of Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK ISBN: 1–57113–262–7 Library of Congress Cataloging-in-Publication Data Mazzeno, Laurence W. Introduction I N 1855, CHARLES TENNYSON, Baron d’Eyncourt of Bayons Manor, found himself once more embarrassed by one of his unsuitable relatives. By 1840, he was being linked with Spenser as “the greatest of poets” (Eidson 9). 222 ♦ WORKS CITED Ricks, Christopher, and Aidan Day, eds. The rise in the Victorians’ reputation during the middle of the twentieth century saw a concurrent rise in Tennyson’s stature, though the hostile trends latecentury critics displayed toward more politically conservative Victorian writers has had an effect on the Victorian laureate’s reputation. Horne is perceptive, too, in recognizing that, although little acknowledged in earlier reviews, “Ulysses” is “one of the most exquisite . In fact, many of these reviewers challenged the poet to become more of a teacher and less a melancholy lyricist. At the same time, some of his poems have risen or fallen in stature — a trend reflecting as much on the tastes of the twentieth century as it does on Tennyson. John Forster, writing in the Examiner in 1842, expresses these TENNYSON AMONG HIS CONTEMPORARIES: 1827–1892 ♦ 15 thoughts succinctly: “we think that he would find himself able to fly a higher flight than lyric, idyl, or eclogue, and we counsel him to try it” (Shannon, Tennyson, 62).


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