By Alison Chapman, Richard Cronin, Antony Harrison
This 'Companion' brings jointly specifically commissioned essays through extraordinary overseas students that replicate either the range of Victorian poetry and the range of severe methods that remove darkness from it.
• ways Victorian poetry in terms of style, construction 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 via assorted poets
• remembers realization to a substantial physique of poetry that has fallen into forget
• Essays are proficient through fresh advancements in textual and cultural conception
• Considers Victorian girls poets in each chapter
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Extra info for A Companion to Victorian Poetry
Here is a characteristic stanza from the poem ‘Three Stages’: I looked for that which is not, nor can be, And hope deferred made my heart sick in truth; But years must pass before a hope of youth Is resigned utterly. (ll. 1–4) The idiom that Christina Rossetti develops allows her to represent the constraints on women’s emotional lives with particular power. She often places herself in the position of woman as men regard her and explores the constrictions of that position. She also uses the idiom of negativity that she creates to write powerful religious poetry.
Hopkins avoids the dilemma of solipsism and non-communicability that would seem implicit in this poetics by understanding identities as unique intersections of characteristics. Metaphor thus becomes critical to his poetics, as it is to Swinburne’s, for it is by the piling up of metaphor that Hopkins portrays both the effort of instress and the unique mapping of inscape, as in the opening lines of the sonnet, ‘The Starlight Night’: Look at the stars! look, look up at the skies! O look at all the ﬁre-folk sitting in the air!
A passage from an early diary gives a sense of how Hopkins understands language to work. A horn, he states: may be regarded as a projection, a climax, a badge of strength, . . a tapering body, a spiral, a wavy object, a bow, a vessel to hold withal or to drink from, a smooth hard material . . , something sprouting up, something to thrust or push with, a sign of honour or pride, an instrument of music, etc. From the shape, kernel and granum, grain, corn. (Hopkins 1959: 4) Ultimately Hopkins’s poetics derives from the identity of Christ with the Word.
A Companion to Victorian Poetry by Alison Chapman, Richard Cronin, Antony Harrison