By the time William Wordsworth and Samuel TayÂlor Coleridge pubÂlished their LyriÂcal BalÂlads in 1798, poets in EngÂland had long been celebriÂties and arbiters of taste in matÂters politÂiÂcal and litÂerÂary. The sevÂenÂteenth cenÂtuÂry, for examÂple, became known as the “Age of DryÂden,” for poet and litÂerÂary critÂic John DryÂden’s tremenÂdous influÂence. John MilÂton, AlexanÂder Pope, Samuel JohnÂson… these were litÂerÂary men whose writÂing vied with the era’s philosoÂphers and advised its nobilÂiÂty and heads of state. By the RomanÂtic periÂod of Wordsworth and Coleridge, no poet held such a posiÂtion of authorÂiÂty and influÂence as had those of the preÂviÂous two cenÂturies.
And yet, we might argue that poetry—and the exaltÂed figÂure of the poet—became even more sacroÂsanct and indisÂpensÂable to British culÂture throughÂout the nineÂteenth cenÂtuÂry; that poets became, as PerÂcy ShelÂley wrote in 1821, the “unacÂknowlÂedged legÂisÂlaÂtors of the world.” Such a hyperÂbolÂic stateÂment may seem to conÂflict with the aims Wordsworth statÂed for RomanÂtic poetÂry in the LyriÂcal BalÂlads’ prefÂace: “fitÂting to metÂriÂcal arrangeÂment a selecÂtion of the real lanÂguage of men in a state of vivid senÂsaÂtion.” Yet when we think of RomanÂtic poetÂry, we rarely think of the “real lanÂguage of men.”
The nineÂteenth cenÂtuÂry saw the ascenÂdenÂcy of the British Empire to its height durÂing Victoria’s reign. Whether effect or cause of the hubris of the times, both RomanÂtic and VicÂtoÂriÂan poetry—all the way to the end of Alfred Tennyson’s 12-cycle series Idylls of the King in 1885—gave us mythÂiÂcal epics filled with grandeur of expresÂsion and image, and no small amount of bomÂbast. Coleridge’s The Rime of the Ancient Mariner (from the LyriÂcal BalÂlads) and strange “Kubla Khan” showed the way. Keats tells an outÂsized tale of the Titans’ fall from OlymÂpus in HypeÂrÂiÂon. ShelÂley gave us the bleak impeÂrÂiÂal relics of “OzyÂmanÂdias.”
There were also, of course, the quiÂet love and nature poems of Wordsworth, Keats, John Clare, and WalÂter De La Mare, all wonÂderÂfulÂly repÂreÂsenÂtaÂtive of a RomanÂtic pasÂtoral traÂdiÂtion reflectÂing a nosÂtalÂgia for a rapidÂly transÂformÂing EngÂlish counÂtryÂside. There were the OriÂenÂtalÂist poems of exotÂic wonÂder, and heroÂic poems of milÂiÂtary valÂor and revÂoÂluÂtion. The latÂer nineÂteenth cenÂtuÂry revealed even more variÂety as these strains yieldÂed to greater speÂcialÂizaÂtion, and to expandÂed roles for women poets.
Kipling’s coloÂnialÂist versÂes reasÂsured British subÂjects of their supeÂriÂor staÂtus in the scheme of things, and enterÂtained them with fables and moralÂiÂty plays. Oscar Wilde refined the aesÂthetiÂcism of Keats with a decaÂdent erotiÂcism. BrothÂer and sisÂter Dante Gabriel RosÂsetÂti and ChristiÂna RosÂsetÂti took the RomanÂtics’ antiÂquarÂiÂanÂism into the terÂriÂtoÂry of medieval and GothÂic revival. HusÂband and wife Robert and ElizÂaÂbeth BarÂrett BrownÂing looked also to the MidÂdle Ages, and to Italy. SwinÂburne and TenÂnyson upheld the traÂdiÂtion of the epic, imbuÂing it with their own strange preÂocÂcuÂpaÂtions. GerÂard ManÂley HopÂkins did things with lanÂguage nevÂer attemptÂed before.
All of these poets appear in the SpoÂtiÂfy playlists here, titled “The RomanÂtics” and “The VicÂtoÂriÂans,” though you’ll notice that these aren’t mutuÂalÂly excluÂsive catÂeÂgories. ElizÂaÂbeth BarÂrett BrownÂing appears in both lists. TenÂnyson, perÂhaps the longest-lived and most famous poet of the age, spans almost the entire cenÂtuÂry. Keats, whose earÂly tragÂic death conÂtributed to his rock star staÂtus with latÂer readÂers, died most assuredÂly a RomanÂtic. But the terms hardÂly tell us very much by themÂselves, markÂing conÂvenÂtionÂal ways of dividÂing up the litÂerÂaÂture of the nineÂteenth cenÂtuÂry.
What we might notice about the EngÂlish verse of these two periÂods on the whole is its tenÂdenÂcy toward exagÂgerÂatÂed, often florid and overÂly forÂmal dicÂtion and synÂtax, and its senÂtiÂmenÂtalÂism, high seriÂousÂness, and decoÂrum. These are qualÂiÂties we often learn to assoÂciate with all poetÂry, or learn to think of as insinÂcere and preÂtenÂtious. In the nearÂly 20 hours of skilled readÂings here—including some by famous names like James Mason, Dylan Thomas, John GielÂgud, Sir Ralph RichardÂson, Boris Karloff, and Ralph Fiennes—we hear a great deal of nuance, subÂtleÂty, irony, and beauÂty. LearnÂing to appreÂciÂate the poetÂic voicÂes of over a cenÂtuÂry past not only requires familÂiarÂiÂty with unusuÂal idioms and ideas; it also requires tunÂing our ears to very difÂferÂent kinds of EngÂlish than our own.
Both playlists will be added to our colÂlecÂtion, 1,000 Free Audio Books: DownÂload Great Books for Free.
RelatÂed ConÂtent:
Rare 1930s Audio: W.B. Yeats Reads Four of His Poems
Josh Jones is a writer and musiÂcian based in Durham, NC. FolÂlow him at @jdmagness
I’m enchantÂed by your audio colÂlecÂtion. Thank you so much.
What does the artiÂcle sugÂgest about the imporÂtance of learnÂing to appreÂciÂate the poetÂic voicÂes of past cenÂturies?
How do the playlists menÂtioned in the artiÂcle conÂtribute to makÂing these oldÂer poetÂic works accesÂsiÂble to modÂern audiÂences? we have a lot of poetÂry that’s writÂed by our stuÂdents in Tel U