Titlebook: Influence and Resistance in Nineteenth-Century English Poetry; G. Kim Blank,Margot K. Louis Book 1993 Palgrave Macmillan, a division of Ma

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textile

Romantic to Victorian Iconography of Nature,intimations of spiritual realities that transcend picturesque or sublime dispositions of rocks, and grass and trees. By denaturalising nature, the Romantic poets managed to revivify it. By making . nature less significant, diminishing its picturesque and ornamental role, and by emphasising a signatu

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,Shelley’s , and Arnold’s ,: Words of Power in Pastoral Elegy,s . and Arnold’s .. As pastoral elegies, both poems try to emulate Milton’s . by recreating quasi-imperative words capable of expressing through verbal magic, as Orpheus expressed through music, an energy common to art and nature. In Shelley, as in Milton, such an energy or force is best expressed a

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,Swinburne’s , as Assimilationist Epic,ouble with Swinburne: too much rhetoric. Must he be so redundantly figurative? Critics bent on writing off freakish ingenuity used to put the question of Swinburne’s rhetorical excess rhetorically and leave it that way. Lately the question has received more serious answers, but these are sometimes f

Cardiac

,Hardy’s Poetic Antecedents,entury poet. But he may equally well be considered the last major English poet of the nineteenth century. Born in 1840, three years after Victoria became queen, Hardy had begun his seventh decade when her long reign ended in 1901. The thematic content of his verse was largely determined by the intel

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,The Return of a Native Singer: Keats in Hardy’s Dorset,on was Hardy’s eighty-first birthday. As Michael Millgate wryly notes in his biography of Hardy, the gift seemed ‘more obviously appropriate’ than the model of a full-rigged ship which John Masefield, another younger ‘comrade,’ presented to an octogenarian no longer interested in the vessel he had c

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Christina Rossetti and the Romantics: Influence and Ideology,cs in Italian, her adult reading was largely in the religious literature of her day (W. Rossetti 1904, pp. lxix–lxx).. She appears uninfluenced by a number of authors and works we would expect her to have appropriated. References to Shakespeare and Milton are, for instance, extremely unusual in her

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,‘Verses with a Good Deal about Sucking’: Percy Bysshe Shelley and Christina Rossetti,.. The passage in . is an important one, its significance highlighted by D. G. Rossetti’s design that served as title-page to the volume. The lines appear after the first turn or complication of plot in the story — that is, after Laura, refusing to follow her sister Lizzie’s warning, has succumbed t

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