{"product_id":"victorian-poetry-isbn-9780631234357","title":"Victorian Poetry","description":"\u003ci\u003eVictorian Poetry: An Annotated Anthology\u003c\/i\u003e is a fully annotated and illustrated collection of Victorian poetry.\u003cbr\u003e \u003cbr\u003e   \u003cul\u003e \u003cli\u003eFeatures a generous selection of work by all the major figures of the age, including Matthew Arnold, Elizabeth Barrett Browning, Robert Browning, Alfred Tennyson, and Oscar Wilde\u003c\/li\u003e \u003cli\u003ePresents several long poems in their entirety, such as Arnold’s ‘Empedocles on Etna’, Clough’s \u003ci\u003eAmours de Voyage\u003c\/i\u003e, Meredith’s \u003ci\u003eModern Love\u003c\/i\u003e and Tennyson’s \u003ci\u003eIn Memoriam AHH\u003c\/i\u003e\n\u003c\/li\u003e \u003cli\u003eEach poet is introduced by a biographical headnote\u003c\/li\u003e \u003cli\u003eEach poem is introduced by a headnote giving publication details, biographical facts, contextual material, and other information\u003c\/li\u003e \u003cli\u003eThe poems themselves are all fully annotated\u003c\/li\u003e \u003cli\u003eExtensive introductory material enables readers to read across the volume chronologically, thematically, or by individual author\u003c\/li\u003e \u003cli\u003eFeatures twelve black and white illustrations of images referred to in or relevant to the poetry\u003c\/li\u003e \u003c\/ul\u003e Suggested Contents by Theme and Genre. \u003cp\u003eAlphabetical List of Authors.\u003c\/p\u003e \u003cp\u003eList of Plates.\u003c\/p\u003e \u003cp\u003eAbbreviations.\u003c\/p\u003e \u003cp\u003eChronology.\u003c\/p\u003e \u003cp\u003eAcknowledgements.\u003c\/p\u003e \u003cp\u003eIntroduction.\u003c\/p\u003e \u003cp\u003ePoetry included (short titles).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThomas Macaulay (1800-59)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Horatius: A Lay made about the Year of the City CCCLX’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eElizabeth Barrett Browning (1806-61)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Bertha in the Lane’.\u003c\/p\u003e \u003cp\u003e‘The Cry of the Children’.\u003c\/p\u003e \u003cp\u003e‘Rime of the Duchess May’.\u003c\/p\u003e \u003cp\u003e‘The Runaway Slave at Pilgrim’s Point’.\u003c\/p\u003e \u003cp\u003e‘Hiram Powers’ Greek Slave’.\u003c\/p\u003e \u003cp\u003eSonnets from the Portuguese (selection):.\u003c\/p\u003e \u003cp\u003e‘I thought once how Theocritus had sung’.\u003c\/p\u003e \u003cp\u003e‘I never gave a lock of hair away’.\u003c\/p\u003e \u003cp\u003e‘If I leave all for thee’.\u003c\/p\u003e \u003cp\u003e‘How do I love thee? Let me count the ways’.\u003c\/p\u003e \u003cp\u003e‘Beloved, thou has brought me many flowers’.\u003c\/p\u003e \u003cp\u003e‘Lord Walter’s Wife’.\u003c\/p\u003e \u003cp\u003e‘A Musical Instrument’.\u003c\/p\u003e \u003cp\u003e‘Amy’s Cruelty’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAlfred Tennyson (1809-92).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘The Dying Swan’.\u003c\/p\u003e \u003cp\u003e‘Mariana’.\u003c\/p\u003e \u003cp\u003e‘The Lotos-Eaters’.\u003c\/p\u003e \u003cp\u003e‘The Lady of Shalott’.\u003c\/p\u003e \u003cp\u003e‘The Epic\/Morte d’Arthur’.\u003c\/p\u003e \u003cp\u003e‘Ulysses’.\u003c\/p\u003e \u003cp\u003e‘Now sleeps the crimson petal’.\u003c\/p\u003e \u003cp\u003eIn Memoriam A.H.H. OBIIT MDCCCXXXIII.\u003c\/p\u003e \u003cp\u003e‘The Charge of the Light Brigade’.\u003c\/p\u003e \u003cp\u003e‘To the Marquis of Dufferin and Ava’.\u003c\/p\u003e \u003cp\u003e‘Crossing the Bar’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eRobert Browning (1812-89).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Porphyria’s Lover’.\u003c\/p\u003e \u003cp\u003e‘My Last Duchess’.\u003c\/p\u003e \u003cp\u003e‘The Bishop Orders his Tomb at Saint Praxed’s Church’.\u003c\/p\u003e \u003cp\u003e‘Fra Lippo Lippi’.\u003c\/p\u003e \u003cp\u003e‘Andrea del Sarto’.\u003c\/p\u003e \u003cp\u003e‘“Childe Roland to the Dark Tower Came”’.\u003c\/p\u003e \u003cp\u003e‘A Toccata of Galuppi’s’.\u003c\/p\u003e \u003cp\u003e‘Two in the Campagna’.\u003c\/p\u003e \u003cp\u003e‘Caliban upon Setebos’.\u003c\/p\u003e \u003cp\u003e‘Eurydice to Orpheus: A Picture by Leighton’.\u003c\/p\u003e \u003cp\u003e‘Inapprehensiveness’.\u003c\/p\u003e \u003cp\u003eEmily Brontë (1818-48).\u003c\/p\u003e \u003cp\u003e‘High waving heather’.\u003c\/p\u003e \u003cp\u003e‘The Night-Wind.\u003c\/p\u003e \u003cp\u003e‘Shall earth no more inspire thee[?]’.\u003c\/p\u003e \u003cp\u003e‘To Imagination’.\u003c\/p\u003e \u003cp\u003e‘Remembrance’.\u003c\/p\u003e \u003cp\u003e‘The Prisoner: A Fragment’.\u003c\/p\u003e \u003cp\u003e‘No coward soul is mine’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArthur Hugh Clough (1819-61).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Say not the struggle nought availeth’.\u003c\/p\u003e \u003cp\u003eAmours de Voyage.\u003c\/p\u003e \u003cp\u003e‘The Latest Decalogue’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMatthew Arnold (1822-88)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘A Summer Night’.\u003c\/p\u003e \u003cp\u003e‘To Marguerite – Continued’.\u003c\/p\u003e \u003cp\u003e‘Empedocles on Etna’.\u003c\/p\u003e \u003cp\u003e‘The Buried Life’.\u003c\/p\u003e \u003cp\u003e‘The Scholar-Gipsy’.\u003c\/p\u003e \u003cp\u003e‘Stanzas from the Grande Chartreuse’.\u003c\/p\u003e \u003cp\u003e‘Dover Beach’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAdelaide Anne Procter (1825-64).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Philip and Mildred’.\u003c\/p\u003e \u003cp\u003e‘A Legend of Provence’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGeorge Meredith (1828-1909)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eModern Love.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eDante Gabriel Rossetti (1828-82)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘The Burden of Nineveh’.\u003c\/p\u003e \u003cp\u003e‘Sestina. Of the Lady Pietra degli Scrovigni’.\u003c\/p\u003e \u003cp\u003e‘Jenny’.\u003c\/p\u003e \u003cp\u003e‘Nuptial Sleep’.\u003c\/p\u003e \u003cp\u003e‘Song 8: The Woodspurge’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eChristina G. Rossetti (1830-94)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘In an Artist’s Studio’.\u003c\/p\u003e \u003cp\u003e‘An Apple-Gathering’.\u003c\/p\u003e \u003cp\u003e‘A Birthday’.\u003c\/p\u003e \u003cp\u003e‘Goblin Market’.\u003c\/p\u003e \u003cp\u003e‘Song: When I am dead, my dearest’.\u003c\/p\u003e \u003cp\u003e‘Winter: My Secret’.\u003c\/p\u003e \u003cp\u003e‘The Lambs of Grasmere, 1860’.\u003c\/p\u003e \u003cp\u003e‘Shut Out’.\u003c\/p\u003e \u003cp\u003e‘The World’.\u003c\/p\u003e \u003cp\u003e‘A Christmas Carol: In the bleak mid-winter’.\u003c\/p\u003e \u003cp\u003e‘In life our absent friend’.\u003c\/p\u003e \u003cp\u003e‘Resurgam’.\u003c\/p\u003e \u003cp\u003e‘Babylon the Great’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJames Thomson, ‘B. V.’ (1834-82)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eThe City of Dreadful Night.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eWilliam Morris (1834-96)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘The Haystack in the Floods’.\u003c\/p\u003e \u003cp\u003e‘The Defence of Guenevere’.\u003c\/p\u003e \u003cp\u003e‘Concerning Geffray Teste Noire’.\u003c\/p\u003e \u003cp\u003e‘Iceland First Seen’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAlfred Austin (1835-1913).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Henry Bartle Edward Frere’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAugusta Webster (1837-94).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Circe’.\u003c\/p\u003e \u003cp\u003e‘A Castaway’.\u003c\/p\u003e \u003cp\u003e‘Faded’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAlgernon Charles Swinburne (1837-1909).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Hymn to Proserpine’.\u003c\/p\u003e \u003cp\u003e‘Anactoria’.\u003c\/p\u003e \u003cp\u003e‘Laus Veneris’.\u003c\/p\u003e \u003cp\u003e‘Ave Atque Vale: In Memory of Charles Baudelaire’.\u003c\/p\u003e \u003cp\u003e‘A Forsaken Garden’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eThomas Hardy (1840-1928).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Hap’.\u003c\/p\u003e \u003cp\u003e‘Drummer Hodge’.\u003c\/p\u003e \u003cp\u003e‘The Darkling Thrush’.\u003c\/p\u003e \u003cp\u003e‘In the Old Theatre, Fiesole’.\u003c\/p\u003e \u003cp\u003e‘The Ruined Maid’.\u003c\/p\u003e \u003cp\u003e‘The Self-Unseeing’.\u003c\/p\u003e \u003cp\u003e‘In Tenebris I’.\u003c\/p\u003e \u003cp\u003e‘Shelley’s Skylark’.\u003c\/p\u003e \u003cp\u003e‘Lausanne: In Gibbon’s Old Garden’.\u003c\/p\u003e \u003cp\u003e‘The Revisitation’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eGerard M[anley] Hopkins (1844-89).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Spring and Fall’.\u003c\/p\u003e \u003cp\u003e‘The Wreck of the Deutschland’.\u003c\/p\u003e \u003cp\u003e‘As kingfishers catch fire’.\u003c\/p\u003e \u003cp\u003e‘God’s Grandeur’.\u003c\/p\u003e \u003cp\u003e‘Pied Beauty’.\u003c\/p\u003e \u003cp\u003e‘The Windhover’.\u003c\/p\u003e \u003cp\u003e‘Inversnaid’.\u003c\/p\u003e \u003cp\u003e‘That Nature is a Heraclitean Fire and of the Comfort of the Resurrection’.\u003c\/p\u003e \u003cp\u003e‘Harry Ploughman’.\u003c\/p\u003e \u003cp\u003e‘Binsey Poplars’.\u003c\/p\u003e \u003cp\u003e‘No worst, there is none’.\u003c\/p\u003e \u003cp\u003e‘My own heart let me more have pity on’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eEugene Lee-Hamilton (1845-1907).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘The New Medusa’.\u003c\/p\u003e \u003cp\u003eImaginary Sonnets: ‘Laura to Petrarch’.\u003c\/p\u003e \u003cp\u003e‘Carmagnola to the Republic of Venice’.\u003c\/p\u003e \u003cp\u003e‘Fallopius to his Dissecting Knife’.\u003c\/p\u003e \u003cp\u003e‘Charles Edward to his Last Friend’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMichael Field (Katherine Bradley [1846-1914] and Edith Cooper [1862-1913]).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Maids, not to you my mind doth change’.\u003c\/p\u003e \u003cp\u003e‘La Gioconda’.\u003c\/p\u003e \u003cp\u003e‘A Portrait: Bartolommeo Veneto’.\u003c\/p\u003e \u003cp\u003e‘A Girl’.\u003c\/p\u003e \u003cp\u003e‘Cyclamens’.\u003c\/p\u003e \u003cp\u003e‘Sometimes I do despatch my heart’.\u003c\/p\u003e \u003cp\u003e‘It was deep April’.\u003c\/p\u003e \u003cp\u003e‘Nests in Elms’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eFour Victorian Hymns.\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘The day thou gavest’ (Ellerton).\u003c\/p\u003e \u003cp\u003e‘Take my life and let it be’ (Havergal).\u003c\/p\u003e \u003cp\u003e‘Onward Christian soldiers’ (Baring-Gould).\u003c\/p\u003e \u003cp\u003e‘My God how wonderful thou art’ (Faber).\u003c\/p\u003e \u003cp\u003e\u003cb\u003eW[illiam] E[rnest] Henley (1849-1903)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003eIn Hospital.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eOscar Wilde (1854-1900).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Fantaisies Décoratives: II. Les Ballons’.\u003c\/p\u003e \u003cp\u003e‘Symphony in Yellow’.\u003c\/p\u003e \u003cp\u003eThe Ballad of Reading Gaol.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eJohn Davidson (1857-1909).\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e‘Thirty Bob a Week’.\u003c\/p\u003e \u003cp\u003e‘A Woman and her Son’.\u003c\/p\u003e \u003cp\u003e‘Snow’.\u003c\/p\u003e \u003cp\u003e‘The Crystal Palace’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eMay Kendall (1861-?1943)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Lay of the Trilobite’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eAmy Levy (1861-89)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Xantippe: A Fragment’.\u003c\/p\u003e \u003cp\u003e‘A Minor Poet’.\u003c\/p\u003e \u003cp\u003e‘A Ballad of Religion and Marriage’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eRudyard Kipling (1865-1936)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Fuzzy Wuzzy’.\u003c\/p\u003e \u003cp\u003e‘Gunga Din’.\u003c\/p\u003e \u003cp\u003e‘Tommy’.\u003c\/p\u003e \u003cp\u003e‘Recessional, A Victorian Ode’.\u003c\/p\u003e \u003cp\u003e‘The White Man’s Burden’.\u003c\/p\u003e \u003cp\u003e‘If – ’.\u003c\/p\u003e \u003cp\u003e‘The Way through the Woods’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eArthur Symons (1865-1945)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘From Théophile Gautier: Posthumous Coquetry’.\u003c\/p\u003e \u003cp\u003e‘The Absinthe Drinker’.\u003c\/p\u003e \u003cp\u003e‘Javanese Dancers’.\u003c\/p\u003e \u003cp\u003e‘Prologue’.\u003c\/p\u003e \u003cp\u003e‘Paris’.\u003c\/p\u003e \u003cp\u003e‘Hands’.\u003c\/p\u003e \u003cp\u003e‘White Heliotrope’.\u003c\/p\u003e \u003cp\u003e‘Stella Maris’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eErnest Dowson (1867-1900)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Nuns of the Perpetual Adoration’.\u003c\/p\u003e \u003cp\u003e‘Extreme Unction’.\u003c\/p\u003e \u003cp\u003e‘Nun Sum Qualis Eram Bonae Sub Regno Cynarae’.\u003c\/p\u003e \u003cp\u003e‘Vitae summa brevis spem nos vetat incohare longam’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eLionel Johnson (1867-1902)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘Oxford’.\u003c\/p\u003e \u003cp\u003e‘By the Statue of King Charles at Charing Cross’.\u003c\/p\u003e \u003cp\u003e‘The Dark Angel’.\u003c\/p\u003e \u003cp\u003e\u003cb\u003eCharlotte Mew (1869-1928)\u003c\/b\u003e.\u003c\/p\u003e \u003cp\u003e‘The Forest Road’.\u003c\/p\u003e \u003cp\u003e‘Madeleine in Church’.\u003c\/p\u003e \u003cp\u003e‘The Trees are Down’.\u003c\/p\u003e \u003cp\u003eSelect Bibliography.\u003c\/p\u003e \u003cp\u003eIndex of titles.\u003c\/p\u003e \u003cp\u003eIndex of First Lines\u003c\/p\u003e \"This is an excellent guide to the poetry of the period, and a teaching tool of obvious integrity, offering both help where it is needed and the kind of challenges that are essential to a meaningful learning experience.\" \u003ci\u003eModern Language Review\u003c\/i\u003e  \u003cb\u003eFrancis O’Gorman\u003c\/b\u003e is Senior Lecturer in Victorian Literature at the University of Leeds, a Fellow of the Royal Historical Society, and a Companion of the Guild of St George. He has written widely on the Victorian period, including the books \u003ci\u003eJohn Ruskin\u003c\/i\u003e (1999) and \u003ci\u003eLate Ruskin: New Contexts\u003c\/i\u003e (2001) and is the editor of \u003ci\u003eThe Victorian Novel\u003c\/i\u003e (Blackwell Publishing, 2002).  \u003ci\u003eVictorian Poetry: An Annotated Anthology\u003c\/i\u003e is a fully annotated and illustrated collection of Victorian poetry.\u003cbr\u003e \u003cbr\u003e   \u003cp\u003eThe anthology features a generous selection of work by all the major figures of the age, including Matthew Arnold, Elizabeth Barrett Browning, Robert Browning, Alfred Tennyson and Oscar Wilde, as well as many less well-known writers. Several long poems are presented in their entirety, such as Arnold’s ‘Empedocles on Etna’, Clough’s \u003ci\u003eAmours de Voyage\u003c\/i\u003e, Meredith’s \u003ci\u003eModern Love\u003c\/i\u003e and Tennyson’s \u003ci\u003eIn Memoriam AHH\u003c\/i\u003e. All the major genres of the period are represented, including dramatic monologue, dramatic lyric, lyric, sonnet, elegy, ballad, philosophical drama, and the epistolary poem.\u003c\/p\u003e \u003cp\u003eEach poet is introduced by a biographical headnote, and each poem is prefaced by a note giving publication details, biographical facts, contextual material, and other information. The poems themselves are also fully annotated. Extensive introductory material enables readers to read across the volume chronologically, thematically, or by individual author.\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47990452945125,"sku":"NP9780631234357","price":144.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9780631234357.jpg?v=1761787890","url":"https:\/\/k12savings.com\/es\/products\/victorian-poetry-isbn-9780631234357","provider":"K12savings","version":"1.0","type":"link"}