Document Type
Book
Subject Area(s)
Victorian literature, Victorian poetry
Abstract
A 365-page study of how the Victorian poet Arthur Hugh Clough (1819-1861) created the distinctive self-conscious voice and multiple ironies of his poetry, with eight chapters providing (1), p. 1, an introduction arguing that the apparent problem of unfinishedness in much of his best poetry is closely linked to his creativity, followed by detailed accounts of his writing process in (2), p. 26, his early poetry at Rugby school; (3), p. 49, his shorter poetry written as a student and teacher in Oxford, including the poems collected in the volume Ambarvalia [1849]; (4), p. 101, his unfinished poem on the fall, Adam and Eve; (5), p. 129, his first long published poem The Bothie of Toper-na-Fuosich [1848]; (6), p. 155, his second long poem, the epistolary verse-novel Amours de Voyage; (7), p. 198, his unfinished fragmentary but perhaps most innovative poem, the Faust-drama Dipsychus; and (8), p. 231, his later poems, including the series of verse tales Mari Magno. The main text is followed by a brief conclusion (pp. 260-262), and by 3 appendices, (I), p. 263, on the text of Clough's early poem "The Longest Day," (II), p. 268, the relation between the English and American editions of 1862, and (III), p. 285, the bibliography of his early printed editions. Notes and references to the chapters are given in endnotes on pp. 304-347, and a bibliography for sources used in the study on pp. 348-365. The original supporting volume listed on the contents page, the edition of Amours de Voyage published by the University of Queensland Press (1974), is not included in this digitization. This study was originally presented, examined, and accepted as a PhD thesis at the University of Edinburgh. It was accepted for publication by the University Press of Virginia/Bibliographical Society of Virginia in 1980, at a time when neither the author nor his university could provide the required subvention.
Publication Info
1976.
(c) Patrick Greig Scott, 1976
Rights
(c) Patrick Greig Scott, 1976