In the wake of the death of his friend Arthur Henry Hallam, the subject of In Memoriam, Alfred Tennyson wrote a range of intricately connected poems, many of which feature pivotal scenes of rapture, or being carried away. This book explores Tennyson's representation of rapture as a radical mechanism of transformation-theological, social, political, or personal-and as a figure for critical processes in his own poetics. The poet's fascination with transformation is figured formally in the genre he is credited with inventing, the dramatic monologue. Tennyson's Rapture investigates the poet's previously unrecognized intimacy with the theological movements in early Victorian Britain that are the acknowledged roots of contemporary Pentacostalism, with its belief in the oncoming Rapture, and its formative relation to his poetic innovation. Tennyson's work recurs persistently as well to classical instances of rapture, of mortals being borne away by immortals. Pearsall develops original readings of Tennyson's major classical poems through concentrated attention to his profound intellectual investments in advances in philological scholarship and archeological exploration, including pressing Victorian debates over whether Homer's raptured Troy was a verifiable site, or the province of the poet's imagination. Tennyson's attraction to processes of personal and social change is bound to his significant but generally overlooked Whig ideological commitments, which are illuminated by Hallam's political and philosophical writings, and a half-century of interaction with William Gladstone. Pearsall shows the comprehensive engagement of seemingly apolitical monologues with the rise of democracy over the course of Tennyson's long career. Offering a new approach to reading all Victorian dramatic monologues, this book argues against a critical tradition that sees speakers as unintentionally self-revealing and ignorant of the implications of their speech. Tennyson's Rapture probes the complex aims of these discursive performances, and shows how the ambitions of speakers for vital transformations in themselves and their circumstances are not only articulated in, but attained through, the medium of their monologues.

Popular anthologies hold that the Romantic Era in Great Britain ended promptly in 1832 and that the early Twentieth Century was the time of Modernism and the rejection of the Romantic in British letters. However, in Wales, just the opposite was true. This study traces the work of poets and novelists in Wales in the early- to mid-Twentieth Century who all found their poetic master to be William Wordsworth. In the early part of the century, W. H. Davies, John Cowper Powys and Huw Menai – a tramp, a mystic novelist and a coal miner – produce novels and poetry with Wordsworth as their acknowledged master. By mid-century, Idris Davies, a coal miner turned teacher, R. S. Thomas, an Anglican priest, and Leslie Norris, another teacher, are writing in the “mountainous shadow of William Wordsworth.” While the literary lights of London are leading the Modernist revolution, in Wales, the inspiration is still the English poet, Wordsworth. This study will illuminate this flare up of Romanticism, and show the way in which Romanticism re-emerges from unexpected quarters.

"This book offers a fresh look at fame and a fresh way of thinking about both literary fame and literary history" --

Since the late twentieth century, there has been a strategic campaign to recover the impact of Victorian women writers in the field of English literature. However, with the increased understanding of the importance of interdisciplinarity in the twenty-first century, there is a need to extend this campaign beyond literary studies in order to recognise the role of women writers across the nineteenth century, a time that was intrinsically interdisciplinary in approach to scholarly writing and public intellectual engagement.

Despite recent research, the 19th-century history of domestic service in empire and its wider implications is underexplored. This book sheds new light on servants and their masters in the British Empire, and in doing so offers new discourses on the colonial home, imperial society identities and colonial culture. Using a wide range of source material, from private papers to newspaper articles, official papers and court records, Dussart explores the strategic nature of the relationship, the connection between imperialism, domesticity and a master/servant paradigm that was deployed in different ways by varied actors often neglected in the historical record. Positioned outside the family but inside the private place of the home, 'the domestic servant' was often the foil against which 19th-century contemporaries worked out class, race and gender identities across metropole and colony, creating those places in the process. The role of domestic servants in empire thus lay not only in the labour they undertook, but also in the way the servant-master relationship constituted ground that helped other power relations to be imagined and contested. Dussart explores the domestic service relationship in 19th-century Britain and India, considering how ideas about servants and their masters and/or mistresses spanned imperial space, and shaped peoples and places within it.