First published in 1969, this edition collection brings together a series of essays offering a re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet’s work where critical discussion seems most necessary.

Over 170 beloved poems by the major poets of the 19th century, including works by Tennyson, Browning, Arnold, Rossetti, Meredith, Swinburne, Hopkins, Kipling, and others. An introduction and biographical notes on the poets are included.

Edited with an Introduction and Notes by William E. Buckler.

An overview of British poetry from 1830 to 1901, with a glossary of literary terms and guide to further reading.

This Companion to Victorian Poetry provides an introduction to many of the pressing issues that absorbed the attention of poets from the 1830s to the 1890s. It introduces readers to a range of topics - including historicism, patriotism, prosody, and religious belief. The thirteen specially-commissioned chapters offer insights into the works of well-known figures such as Matthew Arnold, Robert Browning and Alfred Tennyson, and the writings of women poets - like Michael Field, Amy Levy and Augusta Webster - whose contribution to Victorian culture has in more recent years been acknowledged by modern scholars. Revealing the breadth of the Victorians' experiments with poetic form, this Companion also discloses the extent to which their writings addressed the prominent intellectual and social questions of the day. The volume, which will be of interest to scholars and students alike, features a detailed chronology of the Victorian period and a comprehensive guide to further reading.

Perhaps because major Victorians like Thomas Carlyle and Matthew Arnold proscribed Romantic melancholy as morbidly diseased and unsuitable for poetic expression, critics have neglected or understated the central importance of melancholy in Victorian poetry. Allegories of One's Own Mind re-directs our attention to a mode that Arnold was rejecting as morbid but also acknowledging when he disparaged the widely current idea that the highest ambition of poetry should be to present an allegory of the poet's own mind. This book shows how early Victorian poets suffered from and railed against what they perceived to be a "disabling post-Wordsworthian melancholy"-we might refer to it as depression-and yet benefited from this self-absorbed or love-obsessed state, which ironically made them more productive. David G. Riede argues that the dominant thematic and formal concerns of the age, in fact, are embodied in the ambivalence of Carlyle, Arnold, and others, who pitted a Victorian ideology of duty, rationality, and high moral character against a still compelling Romantic cultivation of the deep self intuited as melancholy. Such ambivalence, in fact, is in itself constitutive of melancholy, long understood as the product of conscience raging against inchoate desire, and it constitutes the mood of the age's most important poetry, represented here in the major works of Alfred Tennyson, Elizabeth Barrett Browning, and even in the notoriously "optimistic" Robert Browning. David G. Riede is professor of English at The Ohio State University.

First published in 1969, this edition collection brings together a series of essays offering a re-evaluation of Victorian poetry in the light of early 20th Century criticism. The essays in this collection concentrate upon the poets whose reputations suffered from the great redirection of energy in English criticism initiated in this century by Eliot, Richards and Leavis. What theses poets wrote about, the values they expressed, the form of the poems, the language they used, all these were examined and found wanting in some radical way. One of the results of this criticism was the renewal of interest in metaphysical and eighteenth-century poetry and corresponding ebb of enthusiasm for Romantic poetry and for Victorian poetry in particular. Most of the essays in this book take as their starting point questions raised by the debate on Victorian poetry, both earlier in this century and in the more recent past. There are essays on the poetry of Tennyson, Browning and Arnold, on that of Clough, who until recently has been neglected, and Hopkins, because of, rather than in spite of, the fact that he is usually considered to be a modern poet. The volume is especially valuable in that it will give a clearer understanding of the nature of Victorian poetry, concentrating as it does on those areas of a poet's work where critical discussion seems most necessary.

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.