Tennysonian Aestheticism: A Sublimation of Sadness
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This essay deals with Tennyson’s lyricism, which is in line with the tenets of aestheticism. Tennyson’s poetry is a “palace of art” in which his tragic emotions―sadness, sorrow, despair, and melancholic sensibility―were built into beauty. It is my intention to give him a new significance in the history of literature by putting him in the line of aesthetes. His poetry expresses subjective states of feeling, and serves an aesthetic purpose. He accomplished this private purpose of poetry through the medium of a lyricism which is characterized by sorrow and melancholy. I support my argument by examining the three representatives of Tennysonian lyrics, “Break, Break, Break,” “Tears, Idle Tears,” and “Crossing the Bar.” The three poems touch on the highly emotional and personal feelings which have power to capture an ideal beauty and demonstrate his tendency to retreat into beauty and aesthetic. Tennyson was, indeed, a poet who transformed and elevated his personal sorrow into art.
Abstract
This essay deals with Tennyson’s lyricism, which is in line with the tenets of aestheticism. Tennyson’s poetry is a “palace of art” in which his tragic emotions―sadness, sorrow, despair, and melancholic sensibility―were built into beauty. It is my intention to give him a new significance in the history of literature by putting him in the line of aesthetes. His poetry expresses subjective states of feeling, and serves an aesthetic purpose. He accomplished this private purpose of poetry through the medium of a lyricism which is characterized by sorrow and melancholy. I support my argument by examining the three representatives of Tennysonian lyrics, “Break, Break, Break,” “Tears, Idle Tears,” and “Crossing the Bar.” The three poems touch on the highly emotional and personal feelings which have power to capture an ideal beauty and demonstrate his tendency to retreat into beauty and aesthetic. Tennyson was, indeed, a poet who transformed and elevated his personal sorrow into art.
참고문헌 (17)
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