Chapter I. Victorian era. I. 1 Government and politics in the Victorian era

II.2 Victorian poetry
Victorian Poetry is a major re-evaluation of the genre by one of the foremost scholars of the period. In a work that is uniquely comprehensive and theoretically astute, Isobel Armstrong rescues Victorian poetry from its longstanding sepia image as a `a moralised form of romantic verse', and unearths its often subversive critique of nineteenthcentury culture and politics. For the first time, the aesthetics and politics of Victorian poetry are brought together in a sustained historical discussion. Isobel Armstrong examines its conservative and dissident traditions, and compares the work of familiar middle-class male poets to that of female and working-class poets. Victorian Poetry brilliantly demonstrates the extraordinary sophistication of the genre. At the same time it presents a vigorous challenge to some crucial issues in contemporary Marxist, post-structuralist and feminist criticism. The foremost poet of the Victorian period was Alfred, Lord Tennyson, who served as poet laureate of the United Kingdom from 1850 until his death in 1892. Much of Tennyson's poetry focused on the retellings of classical myths. He experimented with meter, but most of his poetry followed strict formatting—a reflection of the strict formality of the Victorian era. His work often focused on the conflict between allegiance to religion and the new discoveries being made in the field of science. 7 Husband and wife team Robert and Elizabeth Barrett Browning became famous for the love poems they wrote to each other. Elizabeth was already an accomplished poet when she met her future husband in 1845. He influenced her to publish her love poems, which significantly increased her popularity. Also worth mention in a discussion of the Victorian era is a collection of writers and artists called the PreRaphaelite Brotherhood of which Dante Gabriel Rossetti and his sister Christina were a part. In the late 1840s, a group of English artists organized the Pre-Raphaelite Brotherhood with the goal of replacing the popular academic approach to painting with the more natural approach taken by artists who worked before the Italian Renaissance. Several writers joined this movement, echoing a simpler, less formal approach to writing literature. In criticizing Victorian poetry it is necessary to keep this ambivalence in mind; and this is especially true for Tennyson, Browning, and Arnold, the poets who touched their period at the greatest number of points. The history of nineteenth century English poetry records a gradual, but radical shift in the relationship of the artist to his public with the three poets just mentioned occupying a position at dead center of the forces which were in opposition. A divorce between the artist and society first became conspicuous as an element of the Romantic movement; but even though they had to endure abuse or neglect, the Romantics did not in any sense think of themselves as abdicating the poet's traditional right to speak for his age. Blake, Coleridge,Wordsworth, Byron, Shelley, [xi/xii] Keats were all, it is true, keenly sensitive to their generation's reluctance to pay attention to what they were saying, but they accepted isolation as a necessary consequence of their revolutionary program. That they should confess defeat, with the alternatives either of self-withdrawal or compromise, never seriously occurred to them. On the contrary, they declared open 8 warfare on the prejudices which would dispossess them and continued to assert that the poet's vision is transcendently of intellectual and spiritual truth. Before the end of the century, however, the conflict thus resolutely engaged had been lost, and the artist had come to accept as a foregone conclusion his inefficacy as of his contemporaries. In compensation, he now espoused the aesthetic creed which goes by the name of art for art's sake, and withPater and then Wilde as his apologists and Rossetti and Swinburne as his models, embraced his alienation from all but a coterie of initiates persuaded like himself to value the forms of art above its message. Between the Romantics and the Pre-Raphaelites lie Tennyson, Browning, and Arnold, leading the poetic chorus of the great Victorian noonday. By virtue of this midway position between the two extremes represented by the schools of poetry which came before and after, their work brings into sharp focus the choice which has been forced on the modern artist. In the common view, these mid-Victorian poets, either unable or unwilling to maintain the spirit of bellicose self-sufficiency which sustained their Romantic forbears, achieved rapprochement with their audience by compromising with the middle-class morality of the time, and in so doing deliberately sacrificed artistic validity. So flagrant a betrayal of the creative impulse, the argument then continues, provoked a reaction in the following generation, whereby the pendulum swung back towards the belief that art is and must be its own justification irrespective of ulterior motive. But this version of the poetic situation in the nineteenth century gravely misrepresents the real meaning of an endeavor on which Tennyson, Browning, and Arnold were alike engaged. For each of them was ultimately seeking to define the sphere within which the modern poet may exercise his faculty, while holding in legitimate balance the rival claims of his private, aristocratic insights 9 and of the tendencies existing in a society progressively vulgarized by the materialism of both the nineteenth and twentieth century. Thus it came about that the double awareness, which so generally characterized the Victorian literary mind, grew almost into a perpetual state of consciousness in these poets through their efforts to work out a new aesthetic position for the artist. The literary careers of Tennyson, Browning, and Arnold present a number of striking parallels which, since their poetic endowments were so divergent, can only be explained in terms of influences impinging on them from the outside. In the early manner of each there is an introspective, even a cloistral element which was later subdued in an obvious attempt to connect with contemporary currents of thought. Of the three, Tennyson succeeded most quickly in conforming to the Victorian ideal of the poet as popular bard; his reward was the laureateship as Wordsworth's successor. Browning's progress in public favor was more gradual, but the formation of the Browning Society in 1881 signalized his eventual arrival within the select company of Victorian idols of the hearth. Less versatile in poetic range, Arnold became a full-fledged man of letters and won the prestige of the Oxford Professorship of Poetry only after turning to prose; and it is perhaps worth pondering whether his inability to bring his poetry into closer accord with the demands of the age does not account for the fact that he has attracted a greater amount of serious critical attention in recent years than either Tennyson or Browning. The Victorian writer, of course, had to acclimate himself to a reading public vastly bigger in size and more diverse and unpredictable in its literary requirements than any that had existed hitherto. There is something astonishing, even slightly appalling, in the unselective voracity with which the Victorians wolfed down In Memoriam and 10 Bailey's Festus, The Origin of Species, and Samuel Smiles' Self-help, the novels of Dickens and the tales of Harriet Martineau. The ill success of their first volumes early awakened Tennyson, Browning, and Arnold to a realization that under existing conditions originality was no passport to artistic acclaim. The critics were for the most part hostile; but it was the disapprobation of intimate friends which carried the greatest weight. For while the poets might turn a deaf ear to the voice of the age as it spoke through the weekly and monthly journals which had feebly replaced the Edinburgh and Quarterly Reviews as arbiters in literary matters, the well-intended strictures of a Hallam or Elizabeth Barrett or Clough were another matter. And friends and foes were at one in their insistence that the poets take a broader view of their responsibilities as men of letters. In general, their work drew reproof on three counts, one major and two incidental thereto. It was unduly introspective and selfobsessed and as a result it was too often obscure content and precious in manner. All three faults are chargeable to immaturity; but as attributed indiscriminately to Tennyson, Browning, and Arnold, thev carry additional implications suggestive of the tyranny which the age was to exercise over its artists. For the invariable in- ference in the attacks on these poets is that their faults could easily be remedied by more attention to normal human thoughts and activities, and correspondingly by less infatuation with their own private states of being. The experiments in the narrative and dramatic modes to which Tennyson, Browning, and Arnold turned so early in their careers were certainly undertaken out of a desire to counteract objections of this kind. Yet it is apparent from the vagaries of their critical reputations that they were never sure enough of their audience to be able to estimate its response with any degree of reliability. The appearance of a Maud orSordello or Empedocles 11 on Etna, interspersed among more admired efforts, is continuing evidence that the best will in the world could not compensate for temperamental variances with prevailing tastes which went much deeper than the authors themselves always recognized. That they should have professed impatience with the often obtuse and [xiv/xv] ill-considered estimates of their poetry is not in itself surprising; but it is to be noted that as time went on they tended increasingly to transfer this resentment to the reading public at large. In their later days Tennyson and Arnold would have agreed with Browning's statement in "Red Cotton NightCap Country" about "artistry being battle with the age/ It lives in!" There is, of course, an element of the disingenuous in such professions of disdain for popular favor; and their assumed indifference cannot disguise the fact that all three poets were keenly sensitive to the fluctuations of their literary stock. In this respect they were no more than exhibiting an awareness natural to men of letters possessed of an inherent belief in the instrumentality of literature as a social force. Yet again, the conventional explanation does not cover the facts; and we are brought back to the dichotomy which emerges from any close analysis of the relations between the artist and society in the Victorian period. The hallmark of the literary personalities of Tennyson, Browning, and Arnold alike is a certain aristocratic aloofness, a stubborn intractability which is likely to manifest itself at just those points where the contemporary social order assumed automatic conformity with its dictates. Thus, their refusal to be restricted by current suppositions is less often a subterfuge to cover a fear of failure than a forthright avowal of the artist's independence from societal pressures whenever these threaten to inhibit the free play of his imaginative powers. Tennyson, Browning, and Arnold never went to the lengths of the poets who came after in disassociating themselves from 12 their audience. On the other hand, there is a fundamental error in the prevalent notion that they uncritically shared most of the foibles that, rightly or wrongly, are attributed to the Victorians. Such an opinion overlooks that quality of double awareness which we are now to investigate as the crux of the Victorian literary consciousness. Victorian PoetsVictorian poets are also known as later nineteenth-century poets. Most of the writing of this period reflects current social, economic, and intellectual problems. The poetry of this period shows the crisis of religion and philosophy because of the development of science. early poems were not much accepted, but gradually he sharpened his skill.Tennyson's later poems are serious, thoughtful and musical. His poem The Idylls of the King is preferred by many people even today. In Morte D Arthur he turned Malory’s story into poetry. He did experiment with different meters. In his long poem In Memoriam he laments for the death of his friend Arthur Hallam. Tennyson’s shorter poems are generally better than longer ones. Ulysses is his most controlled and perfectly written poem which presents the heroic voice of the aged hero. The Princess is the collection of his fine lyric which shows his best mysterious and musical quality.Robert BrowningBrowning is a major Victorian poet who voiced the mood of optimism in his works. For Browning the intellect was more important than the music. His great knowledge was the result of his self-study and travels. His reputation is higher as the writer of dramatic monologue. One of his successful dramatic poems is Pippa Passes. We find many such poems in his dramas, but his natural gift was in poetry. Sometimes we notice his poetic style very difficult. It is because of his unusual knowledge of words and his strange sentence structure. Sordello is a good example of his difficult poem. The Ring and the Book is a poem based on a book that he found in Florence. Asolando is a collection of many fine poems which was published on the day of Browning death.Matthew ArnoldArnold was a great poet and critic of his time. He had been a professor of poetry in Oxford for ten years. His works truly represent his age. A sad undertone runs through nearly all his poetry. His views of modern life, of its complexity, its sick hurry and divided aims are present in his poetry.Arnold was also the headmaster of Rugby School. He wrote a poem entitled Rugby Chapel. Thyrsis is a poem of lament for his friend, Clough. In his poem The Scholar Gipsy the poet talks about an Oxford man who joins a band of gypsies and wanders with them. Memorial Verses is his sad poem in which the poet laments for the deaths of many poets at home and abroad. He also wrote a critical sonnet of Shakespeare, whom he praised too much. One of his other poems, Empedocles on Etna, has been highly praised, perhaps because it is not altogether sad.Dante Gabriel Rossetti
Rossetti was a poet as well as a noted painter. His sonnets are among the most musical in English. Many critics have accused him of writing a moral poems belonging to the Fleshy School of poetry. But he argued that poetry ought to be based on the senses. Many of his poetic lines are written in a way a painter’s eye captures the beauty of the thing. Rosseti wrote about nature with his eye on it, but did not feel it in his bones as Wordsworth does. Rossetti was too fond of alliteration.Elizabeth Barrett BrowningAnother great poetess of this time was Elizabeth Barrett, who, on her marriage, became Elizabeth Barrett Browning. Some of her poems are too long, but in a sonnet she could not write too much because the form is limited to fourteen lines. Thus much of her best work is contained in Sonnets from the Portuguese. She pretended at first that these sonnets were translated from the Portuguese; they were really an entirely original expression of her love for Robert Browning.Algernon Charles Swinburne Swinburne followed the poetic style of Rossetti, but could not use alliteration so much successfully in his poems as did Rossetti. Critics argue that his poetry does not contain much thought, though it can be sung well. When his work Poems and Ballads appeared in 1866, he was much blamed for moral reasons. A later book of Poems and Ballads is not so much offensive as the previous one. It shows his interest in French writers and includes the laments for them. Tristram of Lyonesse is usually considered to be his best work. It tells the undying story of Tristram and Iseult.Edward Fitzgerald One of the greatest poetic translators was Edward Fitzgerald. He translated six of Calderon’s plays the Agamemnon of Aeschylus and the Rubaiyat of the Persian poet Omar Khayyam. Most translations lose something and are not as good as the originals. But this book is considered by some Persian scholars to be better than Omar Khayyam’s work. In this translation of the Rubaiyat, he entirely omitted the hidden meanings of the original. The other poets of this age are Arthur Clough, and Christina Rossetti.Fleshly School of Poetry or the Pre-RaphaelitesThe Fleshly School Poets or the Pre-Raphaelites were inspired by the Italian painters before Raphael. In 1848, a group of three young painters, who were also poets, founded the Pre-Raphaelite brotherhood. They followed a medieval outlook, art for the sake of art, sensuous and clear word painting, and a poetry rich in music and melody. Due to their detailed description of scene and situation, and the frank and free dealing of sexual passion, they are also referred to as the ‘Fleshly School’.D. G. Rossetti was the chief among these young poets, as well as painters. He is sometimes criticized as a fleshly poet because his poems contain sensuous pictures of feminine beauty. But he combines the physical beauty with spiritual beauty in The Blessed Demozel. He also wrote about nature, but instead of feeling like Wordsworth, he studied it. He was also fond of alliteration, as in “flying hair and fluttering hem”.A. C. Swinburne was a follower of D. G. Rossetti, but he misused alliteration. He wrote much political verse, but he had a new rich music in his verse drama Atlanta in Calydon. Though his music is good, there is a lack of thought in his poetry. He was also criticized for moral reasons when his Poems and Ballads was published in 1866. His best work is considered to be Tristram of Lyonese.William Morris was also influenced by Rossetti. His early works The Defense of Guenevere and Other Poems (1858), The Life and Death of Jason (1867), and The Earthly Paradise (1870) are purely romantic in method and style, with an undertone of sadness.