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By James Eli Adams

Incorporating a extensive diversity of latest scholarship, A historical past of Victorian Literature provides an summary of the literature produced in nice Britain among 1830 and 1900, with clean attention of either significant figures and a few of the era's much less everyday authors. a part of the Blackwell Histories of Literature sequence, the publication describes the advance of the Victorian literary circulate and locations it inside of its cultural, social and political context.A wide-ranging narrative evaluate of literature in nice Britain among 1830 and 1900, taking pictures the intense number of literary output produced in this eraAnalyzes the advance of all literary kinds in this interval - the radical, poetry, drama, autobiography and important prose - at the side of significant advancements in social and highbrow historyConsiders the ways that writers engaged with new different types of social accountability of their paintings, as Britain remodeled into the world's first commercial economyOffers a clean point of view at the paintings of either significant figures and a few of the era?s much less standard authors

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One of the rare women able to support a family through her writing, by 1831 Hemans was earning two guineas per page for her poetry from Blackwood’s Edinburgh Magazine, more than even Scott commanded (Feldman 1999: 72–4). The keynote of her lyrics – and of her popularity – is an outwardly unlikely conjunction of domestic affections and patriotic fervor. Hemans was the most prominent voice in the marked domestication of English verse that developed in the wake of Byron’s death in 1824. indd 34 12/29/2008 3:15:55 PM Literature in the Age of Machinery, 1830–1850 35 was at best a memory, at worst a delusion, Hemans’s poetry dwelt insistently on the spaces – physical and psychic – of home.

But it may also suggest that her poems found so large an audience through focusing on the sheer power of feeling – enacting the very response they aimed to arouse in their readers. Unrequited longing figured centrally in the reception of another poet a few years younger than Landon. When Poems, Chiefly Lyrical, by A. 1) – the young Tennyson evoked a world of haunting abandonment: With blackest moss the flower-pots Were thickly crusted, one and all; The rusted nails fell from the knots That held the pear to the gable-wall.

Rider Haggard and Bram Stoker. But British realism remained powerfully bound to domestic interests – so much so that the “New Woman” fiction that emerged in the 1890s could shock audiences simply by resisting the forms of closure typically provided by marriage. By mid-century the novel had become the dominant cultural form in Britain, and it retained that authority at the death of Victoria, just as the genre itself had become far more manifold, even protean, and its audiences far more fragmented.

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