Author | Alfred Tennyson |
---|---|
Country | United Kingdom |
Language | English |
Genre | Poetry |
Publication date | 1842 |
Text | Poems at Wikisource |
Poems, by Alfred Tennyson, was a two-volume 1842 collection in which new poems and reworked older ones were printed in separate volumes. It includes some of Tennyson's finest and best-loved poems, [1] [2] such as Mariana , The Lady of Shalott , The Palace of Art , The Lotos Eaters , Ulysses , Locksley Hall , The Two Voices , Sir Galahad , and Break, Break, Break . It helped to establish his reputation as one of the greatest poets of his time.
The first volume of the book consists of poems taken from his 1830 Poems, Chiefly Lyrical and 1832 (the imprint reads 1833) Poems, and the second consists of new work. [4] [5] Tennyson had been severely stung by the more hostile reviews of the 1832 book, which had found some of his poems silly, affected and obscure. He meant to reinstate himself in critical esteem, and to this end he very heavily revised the best of his earlier work, often following the reviewers’ detailed criticisms. This in many cases, such as Œnone and The Lady of Shalott , resulted in greatly improved versions. In the new poems contained in the second volume he also took to heart the general tenor of the advice his critics had given. [6] [2] By 1840 the work of revision and composition was complete, or virtually so. The increasing danger of his earlier poems being pirated in their unrevised forms in America impelled him to forestall that threat by finding a publisher, and in March 1842, partly at his friend Edward FitzGerald's insistence, a contract was signed with Edward Moxon. [7]
A first edition of 800 copies was published by Moxon on 14 May, of which 500 copies had been sold by September. An edition was published in Boston the same year by the firm of W. D. Ticknor, who sent Tennyson one of the first copyright payments made by any American publisher to a British writer. [8] [9] Home sales were from the start highly encouraging, and his two-thirds profit agreement with Moxon earned Tennyson more than £600 during the first four years, alleviating his serious financial difficulties. As succeeding editions came out Tennyson began to add more poems, such as Come Not When I Am Dead and The Eagle . [10] [11] The 10th edition, in 1857, was illustrated by Rossetti, Millais, Holman Hunt and others, [12] and by 1868 a 19th edition had appeared. [13]
Tennyson's friends were enthusiastic about the new poems included in the second volume. Thomas Carlyle found it "infinitely gratifying to find one true soul more, a great melodious Poet-soul, breathing the vital air along with us. Such I discover, to my own satisfaction, is this Book of Alfred's." [14] Edward FitzGerald thought it "such a volume as has not been published since the time of Keats: and which…will never be suffered to die", but when it came to the old poems in the first volume he deplored the inclusion of "the Merman, the Mermaid, and those everlasting Eleanores, Isabels, – which always were, and are, and must be, a nuisance". [15] Robert Browning deplored the revisions there, privately writing that "The alterations are insane. Whatever is touched is spoiled." The reviewers differed from him on this point; [16] indeed their reaction to the whole book was generally favourable, and not only because several of them were personal friends of Tennyson. [17] [18] Leigh Hunt, in the Church of England Quarterly Review , praised the book and called Tennyson "a kind of philosophical Keats". [19] James Spedding wanted to see a long poem from him; [20] he also, along with John Sterling and the anonymous reviewer in the Atlas, thought that human sympathy was the strong point of the volume. [21] On the other hand the Christian Remembrancer believed Tennyson "had not yet become human enough", and similarly the Westminster Review , the London University Magazine and Hogg's Weekly Instructor urged him to draw on the sympathies of his own personal experiences. [22] Many reviewers encouraged him to introduce more contemporary relevance and didacticism into his poems, rather than indulging his Romantic temperament. [23] [24] There was widespread agreement that the best poems were those dealing with domestic life, even when they were somewhat trite. [25] The overall outcome of the publication of Poems was that Tennyson began to be taken much more seriously than he had previously been, with many seeing him as the leading poet of the younger generation, worthy of one day being made Poet Laureate. [26] [27]
Alfred Tennyson, 1st Baron Tennyson was an English poet. He was the Poet Laureate during much of Queen Victoria's reign. In 1829, Tennyson was awarded the Chancellor's Gold Medal at Cambridge for one of his first pieces, "Timbuktu". He published his first solo collection of poems, Poems Chiefly Lyrical, in 1830. "Claribel" and "Mariana", which remain some of Tennyson's most celebrated poems, were included in this volume. Although described by some critics as overly sentimental, his verse soon proved popular and brought Tennyson to the attention of well-known writers of the day, including Samuel Taylor Coleridge. Tennyson's early poetry, with its medievalism and powerful visual imagery, was a major influence on the Pre-Raphaelite Brotherhood.
This article contains information about the literary events and publications of 1850.
Edward Moxon was a British poet and publisher, significant in Victorian literature.
Arthur Henry Hallam was an English poet, best known as the subject of a major work, In Memoriam, by his close friend and fellow poet Alfred Tennyson. Hallam has been described as the jeune homme fatal of his generation.
"The Lady of Shalott" is a lyrical ballad by the 19th-century English poet Alfred Tennyson. Inspired by the 13th-century short prose text Donna di Scalotta, it tells the tragic story of Elaine of Astolat, a young noblewoman stranded in a tower up the river from Camelot. One of the poet's best-known works, its vivid medieval romanticism and enigmatic symbolism inspired many painters, especially the Pre-Raphaelites and their followers, and other artists and authors.
"In Memoriam A.H.H." is a poem by the British poet Alfred, Lord Tennyson, published in 1850. It is a requiem for the poet's beloved Cambridge friend Arthur Henry Hallam, who died suddenly of a cerebral haemorrhage in Vienna in 1833, aged 22. It contains some of Tennyson's most accomplished lyrical work, and is an unusually sustained exercise in lyric verse. It is widely considered to be one of the greatest poems of the 19th century.
Mary Elizabeth Coleridge was a British novelist and poet who also wrote essays and reviews. She wrote poetry under the pseudonym Anodos. Other influences on her were Richard Watson Dixon and Christina Rossetti. Robert Bridges, the Poet Laureate, described her poems as 'wonderously beautiful… but mystical rather and enigmatic'.
Sir Christopher Bruce Ricks is a British literary critic and scholar. He is the William M. and Sara B. Warren Professor of the Humanities at Boston University (US), co-director of the Editorial Institute at Boston University, and was Professor of Poetry at the University of Oxford (UK) from 2004 to 2009. In 2008, he served as president of the Association of Literary Scholars and Critics. He is known as a champion of Victorian poetry; an enthusiast of Bob Dylan, whose lyrics he has analysed at book length; a trenchant reviewer of writers he considers pretentious ; and a warm reviewer of those he thinks humane or humorous. Hugh Kenner praised his "intent eloquence", and Geoffrey Hill his "unrivalled critical intelligence". W. H. Auden described Ricks as "exactly the kind of critic every poet dreams of finding". John Carey calls him the "greatest living critic".
Elaine of Astolat, also known as Elayne of Ascolat and other variants of the name, is a figure in Arthurian legend. She is a lady from the castle of Astolat who dies of her unrequited love for Sir Lancelot. Well-known versions of her story appear in Sir Thomas Malory's 1485 book Le Morte d'Arthur, Alfred, Lord Tennyson's mid-19th-century Idylls of the King, and Tennyson's poem "The Lady of Shalott". She should not be confused with Elaine of Corbenic, the mother of Galahad by Lancelot.
"The Charge of the Light Brigade" is an 1854 narrative poem by Alfred, Lord Tennyson about the Charge of the Light Brigade at the Battle of Balaclava during the Crimean War. He wrote it on 2 December 1854, and it was published on 9 December 1854 in The Examiner. He was the Poet Laureate of the United Kingdom at the time.
"The Last of the Light Brigade" is a poem written in 1890 by Rudyard Kipling echoing – thirty-six years after the event – Alfred Tennyson's famous poem The Charge of the Light Brigade. Employing synecdoche, Kipling uses his poem to expose the terrible hardship faced in old age by veterans of the Crimean War, as exemplified by the cavalry men of the light brigade who charged at the Battle of Balaclava. It describes a visit by the last twenty survivors of the charge to Tennyson to reproach him gently for not writing a sequel about the way in which England was treating its old soldiers. Some sources treat the poem as an account of a real event, but other commentators class the destitute old soldiers as allegorical, with the visit invented by Kipling to draw attention to the poverty in which the real survivors were living, in the same way that he evoked Tommy Atkins in "The Absent Minded Beggar".
Maud, and Other Poems (1855) was Alfred Tennyson's first published collection after becoming poet laureate in 1850.
Nationality words link to articles with information on the nation's poetry or literature.
— From Cantos 27 and 56, In Memoriam A.H.H., by Alfred Tennyson, published this year
The Lady of Shalott is a painting of 1888 by the English painter John William Waterhouse. It is a representation of the ending of Alfred, Lord Tennyson's 1832 poem of the same name. Waterhouse painted three versions of this character, in 1888, 1894 and 1915. It is one of his most famous works, which adopted much of the style of the Pre-Raphaelite Brotherhood, though Waterhouse was painting several decades after the Brotherhood split up during his early childhood. The Lady of Shalott was donated to the public by Sir Henry Tate in 1894 and is usually on display in Tate Britain, London, in room 1840.
"Mariana" is a poem by Alfred, Lord Tennyson, published in 1830. The poem follows a common theme in much of Tennyson's work—that of despondent isolation. The subject of "Mariana" is a woman who continuously laments her lack of connection with society. The isolation defines her existence, and her longing for a connection leaves her wishing for death at the end of every stanza. The premise of "Mariana" originates in William Shakespeare's Measure for Measure, but the poem ends before Mariana's lover returns. Tennyson's version was adapted by others, including John Everett Millais and Elizabeth Gaskell, for use in their own works. The poem was well received by critics, and it is described by critics as an example of Tennyson's skill at poetry.
"The Deserted House" is a poem written by Alfred Lord Tennyson in 1830, as part of his collection Poems, Chiefly Lyrical. The poem is characterised by its reliance on short lines which alternate in rhyme and meter to prevent a felicitous feel. In the poem, Tennyson uses the image of a dark house as a metaphor for a dead body
William Edward Frank Britten was a British painter and illustrator. It is known that he worked in London, England starting in 1873 and that he stayed in the city until at least 1890. Britten's work ranged in style from to traditional Victorian to Pre-Raphaelite, and his artistic medium ranged from paintings to book illustrations. His paintings have mostly been praised by critics with his illustrations having been treated as either neutral or favourable by reviewers.
I Am Half-Sick of Shadows, Said the Lady of Shalott is a painting by John William Waterhouse completed in 1915. It is the third painting by Waterhouse that depicts a scene from the Tennyson poem, "The Lady of Shalott". The title of the painting is a quotation from the last two lines in the fourth and final verse of the second part of Tennyson's poem:
The Lady of Shalott is an oil painting by William Holman Hunt, made c. 1888-1905, and depicting a scene from Tennyson's 1833 poem, "The Lady of Shalott". The painting is held by the Wadsworth Atheneum, in Hartford, Connecticut. A smaller version is held by the Manchester Art Gallery.