- Introduction: At Work with Victorian Poetry
- Rhyme, Rhythm, Violence: Elizabeth Barrett Browning on Slavery
- Tennyson: Echo and Harmony, Music and Thought
- Browning’s Balancing Acts
- Edward Lear and ‘The Fiddlediddlety of Representation’
- Crime and Conjecture: Emily Brontë’s Poems
- Arthur Hugh Clough: The Reception and Conception of Amours de Voyage
- Matthew Arnold, Out of Time
- Modern Men and Women: Meredith’s Challenge to Browning
- Raising the Dead: Dante Gabriel Rossetti’s ‘Willowwood’ Sonnets
- Christina Rossetti: Ravens, Cockatoos, and Range
- William Barnes: Views of Field Labour in Poems of Rural Life
- Dreaming Reality: The Poetry of William Morris
- City of Pain: The Poetry of James Thomson
- Augusta Webster: Time and the Lyric Ideal
- Swinburne: The Insuperable Sea
- Hardy’s Imperfections
- Hopkins’s Beauty
- Michael Field (Katharine Bradley and Edith Cooper): Sight and Song and Significant Form
- Alice Meynell, Again and Again
- Housman’s Difficulty
- Rudyard Kipling Plays the Empire
- Victorian Yeats
- The Passion of Charlotte Mew
Abstract and Keywords
This article examines the poetry and essays of Alice Meynell. It first considers the poem, ‘A Modern Poet’ (1875), which illustrates both her ambivalence about women’s poetry and her own reception as a nineteenth- or twentieth-century poet. It then turns to ‘The Laws of Verse’ and ‘The English Metres,’ where she addresses poetic form.
Meredith Martin is an Associate Professor in the English Department at Princeton University. She works in historical poetics and prosody, poetry in English from 1830-1930, and the literature or war. Her book, The Rise and Fall of Meter: Poetry and English National Culture, 1860-1930, was published by Princeton University Press in 2012.
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