Natural Supernaturalism: Tradition and Revolution in Romantic Literature

Romantic Ecology. Wordsworth and the Environmental Tradition

\"Lyric Time\" offers a detailed critical reading of a particularly difficult poet, an analysis of the dominance of temporal structures and concerns in the body of her poetry, and finally, an important original contribution to a theory of the lyric. Poised between analysis of Emily Dickinson's poetic texts and theoretical inquiry, \"Lyric Time\" suggests that the temporal problems of Dickinson's poems are frequently exaggerations of the features that distinguish the lyric as a genre. \"It is precisely the distance some of Dickinson's poems go toward the far end of coherence, precisely the outlandishness of their extremity, that allows us to see, magnified, the fine workings of more conventional lyrics,\" writes Sharon Cameron. \"Lyric Time\" is written for the literary audience at large-- Dickinsonians, romanticists, theorists, anyone interested in American poetry, or in poetry at all, and especially anyone who admires a risky book that succeeds.

Lyric Time: Dickinson and the Limits of Genre.

The Prelude, Wordsworth's great autobiographical poem, is crucial to our understanding of his life and poetry. This epic work covers the experiences of Wordsworth's boyhood and his poetic development; his debt to literature; the awakening of his passionate interest in man; his hopes and despair for the French Revolution; his life in London and in the country, the highs and lows of his career; his relationship with his sister Dorothy and his friendship with Coleridge. Through The Prelude Wordsworth was at last free to devote his life to its true vocation and to record his gratitude for the gift which brought him that freedom. Written between 1798 and 1805, it was first published posthumously in 1850 after intensive revision in Wordsworth's later years. This volume contains the original 1805 text edited from manuscripts with a comprehensive introduction and notes.

The prelude;: Or, Growth of a poet's mind, Books I-IV;

Victorian Devotional Poetry: The Tractarian Mode

Critics have long acknowledged the allusive effect of William Wordsworth’s language in the poetry of Alfred, Lord Tennyson, Robert Browning and Gerard Manley Hopkins. This thesis abjures allusive influence to focus on the intertextual presence of Wordsworth in poems by each of these authors. Its methodology hinges on a separation between an intentional authorial allusivity and an involuntary, or unbidden, intertextuality. As a result of this heuristic, the poets are seen to be caught within a Wordsworthian web, which complicates the way in which their poetry functions. The authorial entrapment that results is anxiety-generating, but the thesis does not place this anxiety within a Bloomian paradigm. Its concentration on male, canonical authors is Bloomian, however, as is its acceptance that the meaning of the texts by Tennyson, Browning and Hopkins discussed is a Wordsworthian poem.

Chapter One investigates the intertextual strategies of Tennyson’s ‘Ulysses’ (1842), which work to expose the loss attendant upon the Wordsworthian transcendent moment. The poem’s recasting of Arthur Henry Hallam’s own unconscious Wordsworthian allegiance in ‘Timbuctoo’ (1829) leads into the analysis, in Chapter Two, of Tennyson’s In Memoriam (1850) and its implicit reliance on the language of Wordsworthian transcendence as a means by which both to assuage the poet’s grief at the death of Hallam and his dissatisfaction with contemporary scientific and theological discourse. Chapter Three develops the previous chapters’ findings by tracing how Tennyson’s ‘Tithonus’ (1860) rewrites Wordsworth’s ‘Tintern Abbey’ (1798). Chapter Four examines Wordsworth’s presence in two Browning monologues, ‘Saul’ (1855) and ‘A Death in the Desert’ (1864), demonstrating how the poems find a new use for the language of lyrical interiority. Chapter Five considers Hopkins’ unconscious inscription of Wordsworth’s poetry and the threat it poses to his Incarnationalism and linguistic practice alike. The thesis finds its conclusion in the literary-historical effects that the after-presence of Wordsworth’s language engenders, which become an embodiment of legacy. The depth of each poet’s literary dependency on Wordsworth is also brought into focus, allowing the thesis to claim the earlier poet as a primary influence upon the trinity of later figures it addresses.

From allusion to intertext: reading Wordsworth in Tennyson, Browning and Hopkins

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From allusion to intertext: reading Wordsworth in Tennyson, Browning and Hopkins