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Full Description
This 1992 study of Tennyson evolves its themes from the weaving figure of The Lady of Shalott, which becomes a kind of parable for the author and his texts. Taking its derivation from the Latin texere, 'to weave', Professor Joseph's focus on poetic texture and a sense of textuality leads to a consciousness of his own critical and interpretative weaving, while revealing a pattern in the fabric of Tennyson's work. This procedure brings together a theory of perception, developed in the first part of this study, with an analysis of the gendering of Tennyson's characters in the second part, and engages with the methodologies of deconstruction, psychoanalysis, and gender theory. The weaving metaphor also opens up a key theoretical issue regarding Tennyson's poetics: is the textual shuttle managed by the controlling hand of a historically definable author, or is the poetic weaver 'cursed' like the Lady of Shalott to suffer a mystifying doom at the 'unseen hand' of an all-pervasive textuality that occludes authorial intention?
Contents
Preface: from strange diagonal to weaver's shuttle; Part I. Victorian Warp: Perception: 1. Tennyson's stupidity - and ours; 2. Dream houses of 'etherisity': Poe and Tennyson; 3. The aesthetic of particularity and the aesthetic of vagueness: the owl and the eagle; 4. The sharp and the blurred: Julia Margaret Cameron and Tennyson; 5. The mirror and the echo en abyme in Victorian poetry interweave - my lady('s) shuttle: the alienation of work into text; Part II. Victorian Woof: Representative Men and Mystified Women: 6. Homeric competition: mythic reflections of representative men; 7. From sensuous idea to mythic woman: knowledge, wisdom, and Pallas Athene; 8. Tennyson choosing: the three women; 9. Choosing Tennyson: the stranger's hovering sword; 10. Last words: Tennyson's Cymbeline; Bibliography.
