By Laurence W. Mazzeno
Alfred Tennyson: The serious Legacy explores the critics' response to the paintings of the nineteenth-century English poet such a lot heavily linked to the Victorian period. might be greater than the other Victorian poet, Tennyson's popularity has waxed and waned within the century due to the fact that his demise. He has been however sanctified and vilified for his selection of subject material, social outlook, morality, or ideas of versification. His attractiveness has weathered even the main vitriolic makes an attempt to discredit either the fellow and his writings; and as feedback of the overdue 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 was once appeared by means 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 demise, whilst a iteration 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. targeted consciousness is given to significant biographers and critics equivalent to Harold Nicolson, the poet's grandson Sir Charles Tennyson, Jerome Buckley, R. B. Martin, Michael Thorn, and Peter Levi. a last bankruptcy specializes in the methods Tennyson and his paintings were addressed via poststructuralist critics. through 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 concerning the Victorian Laureate and his poetry.
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Additional resources for Alfred Tennyson: The Critical Legacy (Literary Criticism in Perspective)
42 ♦ A MIXED LEGACY: 1892–1916 Unfortunately, the most distinguished critic of the late nineteenth century, George Saintsbury, may have unintentionally contributed to the diminution of the poet’s stature in three important works published between 1895 and 1910. Two short chapters in Corrected Impressions (1895) record Saintsbury’s lifelong love of Tennyson’s poetry; but Saintsbury insists that Tennyson “does his best in lyric” (35), and that his special faculty as an artist lies in his ability to combine “poetical music” with “poetical picture drawing” (38).
Shannon, Edgar F. ” PMLA 68 (June 1953): 397–417. ———. Tennyson and the Reviewers; A Study of His Literary Reputation and of the Influence of the Critics upon His Poetry, 1827–1851. Cambridge, MA: Harvard UP, 1952. Shatto, Susan, and Marion Shaw, eds. In Memoriam. Oxford: Oxford UP, 1982. Stedman, E. C. Victorian Poets. Boston: Osgood, 1875; Boston: Houghton Mifflin, 1887. 150–233. Swinburne, Algernon Charles. Miscellanies. London: Chatto & Windus, 1886. Reprint, 1895. ———. Under the Microscope.
In Maud,” Walters says, “Tennyson showed that the temper of men unfitted them for peace,” and though the poet himself was “an advocate for peace,” he “demonstrated that war was unavoidable while every instinct of mankind drove them to rapacity” (131). He seems to have a sound grasp of the strengths and weaknesses of “Enoch Arden,” Tennyson’s most popular poem among Victorians, but agrees with conventional opinion 34 ♦ A MIXED LEGACY: 1892–1916 that Idylls of the King ranks as Tennyson’s greatest achievement because of the poet’s ability to present King Arthur as “epochal,” the model of human behavior whose career stands as “a path towards that fair ideal we strive to attain” (165).
Alfred Tennyson: The Critical Legacy (Literary Criticism in Perspective) by Laurence W. Mazzeno