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The Wordsworth Poetry Library comprises the works of the greatest English-speaking poets, as well as many lesser-known poets. Each collection has a specially commissioned introduction.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book explores Tennyson's poetic relationship with Wordsworth through a close analysis of Tennyson's borrowing of the earlier poet's words and phrases, an approach that positions Wordsworth in Tennyson's poetry in a more centralised way than previously recognised. Focusing on some of the most representative poems of Tennyson's career, including 'The Lady of Shalott', 'Ulysses' and In Memoriam, the study examines the echoes from Wordsworth that these poems contain and the transformative part they play in his poetry, moving beyond existing accounts of Wordsworthian influence in the selected texts to uncover new and revealing connections and interactions that shed a penetrating light on Tennyson's poetic relationship with his Romantic predecessor.

Thomas Brennan finds roots of the 'sensibility of trauma' by returning to the work of Wordsworth, Tennyson, and Eliot. By reading these poets of mourning through the framework of trauma, Brennan reflects on our traumatized moment and weighs two potential responses - the fantasy of transcendence and the ethic of trust.

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Text as Process is about the literary work before it becomes a completed work of art. It is concerned with draft materials, with the manuscripts that constitute text in a state of process. What is text as process? And what should we, as readers, try to do with it? Bushell's aim in Text as Process is to develop a research method for the study of compositional material. Although she draws on an international context--mainly French and German traditions--for current approaches to textual criticism, hers is the first book to apply a new form of critical analysis to authors in the Anglo-American tradition. Bushell revisits issues of intention within process and makes this the center of her new approach, employing "case studies" of the work of three major nineteenth-century poets: Wordsworth, Tennyson, and Dickinson. She applies her methodology to each writer in different ways, allowing for cross-comparison as well as the recognition of individual distinctiveness in creativity. In doing so, Bushell demonstrates the need for a unique hermeneutics in relation to the making of the literary work of art. The author concludes with a philosophical account of the status and meaning of the literary work as it comes into being.

Lord Alfred Tennyson was the major poet of his age. In 1850, he succeeded William Wordsworth as Queen Victoria's Poet Laurete, and this book begins and ends with Tennyson's direct contacts with the Queen, whom Tennyson had first came to know at audience at an Osborne House on the Isle of Wight in 1862. John Batchelor's enthralling new biography presents a Tennyson who is stronger, more self-reliant, and more business-like than previous biographies have displayed. Like many successful Victorians he was a provincial determined to make good in the capital while retaining his provincial strengths; in his particular case he never lost his Lincolnshire accent and in his relationships he remained close to his roots. At the same time and through his Laureteship, he determined the literary taste of the mid-to late Victorian period; and then, strategically, and with a secure instinct for the market, he fed that taste. The ascendancy of Tennyson was neither the irresistible triumph of pure genius nor an accident of history; he skilfully crafted his own career and his relationship with his audience.

The Princess (1847) is a poem by British poet Alfred, Lord Tennyson. Written before Tennyson was named Poet Laureate, the poem addresses accusations from critics that the poet refused to write on serious subjects, as well as the founding of Queen’s College, London, the first college for women in Britain. Despite its comedic tone and somewhat critical outlook, the poem is seen as an important early work dedicated to exploring the concerns of the burgeoning feminist movement. Unable to find the princess Ida, a young prince seeks the council of her father, King Gama, in order to locate his young fiancée. The king tells him that Ida has fled to a distant retreat, where she has founded a university for women and forsaken the ways of men. Joined by his friends Cyril and Florian, the prince disguises himself as a woman and journeys in search of Ida. The three enroll as students at her university, learning its lessons and absorbing its goals for equality between men and women. As the prince grows close to Ida, he struggles to hide his true identity from her, and is eventually forced to flee. Captured, he is held by the princess while King Gama and his father threaten to go to war over his release. As Ida prepares for battle, the prince and Florian manage to escape, returning home to prepare for conflict with Ida and her brothers. The Princess is a serio-comic poem which dramatizes the goals of the early feminist movement while examining the institution of marriage and the highly gendered nature of education and opportunity in Britain. With a beautifully designed cover and professionally typeset manuscript, this edition of Alfred, Lord Tennyson’s The Princess is a classic of English literature reimagined for modern readers.

Maud, and Other Poems (1850) is a collection of poems by British poet Alfred, Lord Tennyson. The first work Tennyson published after becoming Poet Laureate in 1850, Maud, and Other Poems contains several of the poet’s most celebrated works. “Maud,” the title poem, is a narrative that explores themes of forbidden romance, marriage, death, and mourning. “The Charge of the Light Brigade,” originally published in The Examiner in 1854, was written as a tribute to the British Light Cavalry Brigade, which led an ill-fated charge at the Battle of Balaclava during the Crimean War. “Maud” follows a young poet who, after the tragic loss of his father, falls in love with the beautiful Maud. Despite his honorable intentions, the narrator is thwarted by Maud’s brother, who wants his sister to marry a wealthy businessman. When the brother takes a brief trip to London, the young poet uses the opportunity to court Maud in earnest. But time is not on his side, and the brother returns to throw a ball in order to introduce the businessman to his sister. As his chance at love erodes, the poet makes a desperate choice and risks losing everything—love, home, and life itself. “The Charge of the Light Brigade” is a tribute to the British casualties at the Battle of Balaclava during the Crimean War. Tennyson’s patriotic narrative poem addresses the controversy surrounding the charge, which took place because of a mistaken order and sent hundreds of British cavalrymen in a doomed head-on assault on a well-fortified Russian line of defense. With a beautifully designed cover and professionally typeset manuscript, this edition of Alfred, Lord Tennyson’s Maud, and Other Poems is a classic of English literature reimagined for modern readers.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Tennyson s central poem is presented with an extensive introduction that provides background information on the poet and poem as well as an overview of In Memoriam s formal and thematic peculiarities, including Tennyson s use of the stanza and the poem s rhyme scheme."