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This collection of lectures, broadcasts, reviews, and articles (several of which have not previously been published) embraces many aspects of the English literary scene in the middle of the nineteenth century. Though various in origin the collection has this unity: it has been the constant concern of its authors for many years that the great and lasting contribution of the mid-Victorian period to our literature should be fully vindicated, and its appraisal based upon secure foundations of critical scholarship. The book has moreover an obvious connection with the volume on the...

This volume makes conveniently available to students and others the group of chapters in Professor Geoffrey Tillotson's Augustan Studies in which he deals with the poetic theory and practice of the Augustan age as a whole, rather than with particular works. Augustan poetry as defined by Professor Tillotson is the 'poetry written by most poets from Elizabethan times into the nineteenth century' and though this may appear at first sight an inconveniently wide definition it enables the author to show that the great eighteenth-century masters who are his chief concern here are in the main...

The re-emergence into critical esteem of the literature of the English mid-nineteenth century has been one of the post-war excitements for students and general readers. Mid-nineteenth century literature is not simply the best body of literature the English have produced. It happens also to be literature that has a practical interest for ourselves. We live so plainly in its wake. The problems being faced a hundred years ago are the problems still facing ourselves, such as the continued supremacy of science and its methods and the consequently progressive disappearance of what was called the...

It is still true that most readers of eighteenth-century poetry approach it by way of nineteenth-century poetry; they know what Wordsworth said about Pope before they read Pope. This means that when they read Pope and other eighteenth-century poets, they apply the wrong criteria. An eighteenth-century poet did not have to create the taste by which he was enjoyed to the same extent as a nineteenth-century poet was conscious of having to. The kinds were ready waiting for him, and, if the rules of poetic diction for the kinds of which he elected to write were properly complied with, the...