Tennyson's Rapture: Transformation in the Victorian Dramatic MonologueOxford University Press, 29. 1. 2008 - Počet stran: 408 In the wake of the death of his friend Arthur Henry Hallam, the subject of In Memoriam, Alfred Tennyson wrote a range of intricately connected poems, many of which feature pivotal scenes of rapture, or being carried away. This book explores Tennyson's representation of rapture as a radical mechanism of transformation-theological, social, political, or personal-and as a figure for critical processes in his own poetics. The poet's fascination with transformation is figured formally in the genre he is credited with inventing, the dramatic monologue. Tennyson's Rapture investigates the poet's previously unrecognized intimacy with the theological movements in early Victorian Britain that are the acknowledged roots of contemporary Pentacostalism, with its belief in the oncoming Rapture, and its formative relation to his poetic innovation. Tennyson's work recurs persistently as well to classical instances of rapture, of mortals being borne away by immortals. Pearsall develops original readings of Tennyson's major classical poems through concentrated attention to his profound intellectual investments in advances in philological scholarship and archeological exploration, including pressing Victorian debates over whether Homer's raptured Troy was a verifiable site, or the province of the poet's imagination. Tennyson's attraction to processes of personal and social change is bound to his significant but generally overlooked Whig ideological commitments, which are illuminated by Hallam's political and philosophical writings, and a half-century of interaction with William Gladstone. Pearsall shows the comprehensive engagement of seemingly apolitical monologues with the rise of democracy over the course of Tennyson's long career. Offering a new approach to reading all Victorian dramatic monologues, this book argues against a critical tradition that sees speakers as unintentionally self-revealing and ignorant of the implications of their speech. Tennyson's Rapture probes the complex aims of these discursive performances, and shows how the ambitions of speakers for vital transformations in themselves and their circumstances are not only articulated in, but attained through, the medium of their monologues. |
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Strana 15
... poetry and suasive speech, or eloquence. Mill's well-known 1833 essay, “What Is Poetry?” forwards this claim: Poetry and eloquence are both alike the expression or utterance 15 PART I: THE PERFORMANCE OF THE DRAMATIC MONOLOGUE.
... poetry and suasive speech, or eloquence. Mill's well-known 1833 essay, “What Is Poetry?” forwards this claim: Poetry and eloquence are both alike the expression or utterance 15 PART I: THE PERFORMANCE OF THE DRAMATIC MONOLOGUE.
Strana 16
... utterance of feeling. But if we may be excused the antithesis, we should say that eloquence is heard, poetry is overheard. Eloquence supposes an audience; the peculiarity of poetry appears to us to lie in the poet's utter ...
... utterance of feeling. But if we may be excused the antithesis, we should say that eloquence is heard, poetry is overheard. Eloquence supposes an audience; the peculiarity of poetry appears to us to lie in the poet's utter ...
Strana 20
... utterances, which accomplish an act by their enunciation. The marriage vow “I do,” a statement that is a description but ... utterance is the performing of an action.”2 My readings of Tennyson's major dramatic monologues argue that these ...
... utterances, which accomplish an act by their enunciation. The marriage vow “I do,” a statement that is a description but ... utterance is the performing of an action.”2 My readings of Tennyson's major dramatic monologues argue that these ...
Strana 22
... utterance, and seem to know from the start that they will not.”15 Critics have long joined him in his claim; Adena Rosmarin also remarks the tendency of each speaker to have “more traits than he needs,” writing of each dramatic ...
... utterance, and seem to know from the start that they will not.”15 Critics have long joined him in his claim; Adena Rosmarin also remarks the tendency of each speaker to have “more traits than he needs,” writing of each dramatic ...
Strana 23
... utterances that perform acts either in the course of the utterance itself or as a later consequence of the utterance, stress the idea of efficacious language. Acts represented in dramatic monologues, as we shall see, tend to be ...
... utterances that perform acts either in the course of the utterance itself or as a later consequence of the utterance, stress the idea of efficacious language. Acts represented in dramatic monologues, as we shall see, tend to be ...
Obsah
3 | |
15 | |
UNREAL CITY VICTORIANS IN TROY | 121 |
THE RAPTURE OF THE SONGBUILT CITY | 205 |
Tennysons Apotheosis | 339 |
Notes | 351 |
Index | 385 |
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Achilles Aeneas aesthetic Alfred Tennyson ambition Apollo appears argues aristocratic Arthur Hallam Arthur Henry Hallam articulation attain audience auditors Aurora beauty become blank verse calls Cambridge Apostles Carlyle Christ claims classical critical death debate describes desire discursive divine dramatic monologists dramatic monologue early essay example father figure Fredeman genre Gladstone Gladstone’s God’s gods grasshopper Greek hear Homer Iliad Ilion imagines immortality Irving letter lines literary Lotos-Eaters lyric Memnon Memoir Menœceus monologist monologue’s notes nyson Oenone orator oratorical Paris performance pillar poem’s poet poet’s poetic poetry political Priam Quintilian rapture readers Reform resemblance rhetorical saints Schliemann seeks seems sense Simeon Stylites simile similitude song song-built sound speaker speaking speech suasive Tennyson Tennyson’s dramatic Tennyson’s poems Tennyson’s Ulysses Thirlwall thou tion Tiresias Tiresias’s Tithonus Tithonus’s trans transformation translation Trench Trojan Troy Troy’s Ulysses University Press utterance Victorian voice walls Whig words writes wrote