By Laurence W. Mazzeno
Alfred Tennyson: The serious Legacy explores the critics' response to the paintings of the nineteenth-century English poet so much heavily linked to the Victorian period. probably greater than the other Victorian poet, Tennyson's acceptance has waxed and waned within the century considering his dying. He has been however sanctified and vilified for his selection of subject material, social outlook, morality, or innovations of versification. His popularity has weathered even the main vitriolic makes an attempt to discredit either the guy and his writings; and as feedback of the past due 20th century demonstrates, Tennyson's declare to pre-eminence one of the Victorians is now unchallenged. Laurence Mazzeno starts this narrative research of Tennyson feedback with an examine how Tennyson used to be looked by way of his contemporaries, sooner than launching an in depth exam of twentieth-century feedback. A bankruptcy is dedicated to the interval instantly following Tennyson's loss of life, while a new release of post-Victorians reacted violently opposed to what they thought of his sappy sentimentalism, cloying moralism, and insensitive jingoism. next chapters describe how critics resurrected Tennyson, highlighting either his technical mastery and his social feedback. precise cognizance is given to significant biographers and critics comparable to Harold Nicolson, the poet's grandson Sir Charles Tennyson, Jerome Buckley, R. B. Martin, Michael Thorn, and Peter Levi. a last bankruptcy makes a speciality of the methods Tennyson and his paintings were addressed by way of poststructuralist critics. in the course of the learn, Mazzeno demonstrates that the critics' response to Tennyson unearths as a lot approximately themselves and the severe prejudices in their personal occasions because it does in regards to the Victorian Laureate and his poetry.
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Extra resources for Alfred Tennyson: The Critical Legacy (Literary Criticism in Perspective)
For Yeats and the new generation of poets, the poetry of symbolism was superior to the poetry of statement. Notes 1 The citations from many of the reviews quoted in this chapter are taken from John D. Jump’s excellent collection, Tennyson: The Critical Heritage (1967). Although Jump is highly selective, the reviews he includes give a remarkably accurate portrait of 28 ♦ TENNYSON AMONG HIS CONTEMPORARIES: 1827–1892 the reaction of Tennyson’s contemporaries to his work. For a detailed analysis of Hallam’s review, see Eileen T.
Nicolson, Sir Harold. Tennyson: Aspects of His Life, Character and Poetry. , 1925. Reprint, London: Arrow Books, 1960; Garden City, NY: Anchor Books, 1962. Parsons, Eugene. Tennyson’s Life and Poetry: And Mistakes Concerning Tennyson. Chicago: Craig, 1892. Ricks, Christopher, ed. The Poems of Tennyson. London: Longmans, 1969; 2nd rev. , 3 vols. Berkeley: U of California P, 1987. Royce, Josiah. ” Studies of Good and Evil. New York: Appleton, 1898. Reprint, Hamden, CT: Archon Books, 1964. 76–88. Salt, Henry S.
Such was the state of Tennyson’s reputation at the time. Other studies of Idylls of the King were more supportive. Mungo MacCallum’s Tennyson’s “Idylls” and Arthurian Story from the XVIth Century (1894) begins with the premise that Tennyson’s story is a misunderstood epic. Attacking contemporaries who had disparaged the poem, MacCallum asserts that most readers have misunderstood its “allegoric character” or adopted “a false allegoric clue” (viii). His detailed and somewhat derivative history of the Arthurian legend precedes four substantial chapters on Idylls of the King in which he demonstrates how Tennyson vivifies the age-old conflict of sense at war with soul (phrases actually found in the poem’s “envoy” to the Queen).