Tennyson, Malory and the Ossianic Mode: The Poems of Ossian and ‘The Death of Arthur’
Identifieur interne : 000571 ( Main/Exploration ); précédent : 000570; suivant : 000572Tennyson, Malory and the Ossianic Mode: The Poems of Ossian and ‘The Death of Arthur’
Auteurs : Dafydd MooreSource :
- The Review of English Studies [ 0034-6551 ] ; 2006-06.
Descripteurs français
- Wicri :
- topic : Identité nationale.
English descriptors
- KwdEn :
- Alfred tennyson, Anglo, Arthurian, Bardic nationalism, Bedivere, British image, Celt, Celtic, Celtic culture, Celtic identity, Celtic literature, Celtic voice, Century english epic, Charles tennyson, Christian providentialism, Christopher ricks, Complete works, Conditional hybridity, Cultural deracination, Cultural politics, Dafydd, Dafydd moore, David staines, Dramatic method, Early ossianics, Eighteenth century, Faint homeric echoes, Fingal, Fragment, Fragment viii, Full implications, Gaelic, Hallam tennyson, Henry mackenzie, Heroic poetry, Horace walpole, Howard gaskill, Idyll, James macpherson, King arthur, Macpherson, Malory, Matthew arnold, Mighty connal, Murray pittock, National identity, Nineteenth century, Northrop frye, Ossian, Ossianic, Ossianic fragment, Ossianic mode, Ossianic sensibility, Ossianic situation, Ossianic translations, Ossianic vision, Ossianic voice, Other minds, Other poems, Recent years, Robert crawford, Roger simpson, Tennyson.
- Teeft :
- Alfred tennyson, Anglo, Arthurian, Bardic nationalism, Bedivere, British image, Celt, Celtic, Celtic culture, Celtic identity, Celtic literature, Celtic voice, Century english epic, Charles tennyson, Christian providentialism, Christopher ricks, Complete works, Conditional hybridity, Cultural deracination, Cultural politics, Dafydd, Dafydd moore, David staines, Dramatic method, Early ossianics, Eighteenth century, Faint homeric echoes, Fingal, Fragment, Fragment viii, Full implications, Gaelic, Hallam tennyson, Henry mackenzie, Heroic poetry, Horace walpole, Howard gaskill, Idyll, James macpherson, King arthur, Macpherson, Malory, Matthew arnold, Mighty connal, Murray pittock, National identity, Nineteenth century, Northrop frye, Ossian, Ossianic, Ossianic fragment, Ossianic mode, Ossianic sensibility, Ossianic situation, Ossianic translations, Ossianic vision, Ossianic voice, Other minds, Other poems, Recent years, Robert crawford, Roger simpson, Tennyson.
Abstract
This article discusses Alfred Tennyson's deployment of the vocabulary of Ossianic poetry in his depictions of the death of King Arthur (1842 and 1869). The article establishes two areas in which the Ossianic mode operates in Tennyson's poems. The first is the mediation of the story of Arthur's passing as a framed narrative. In 1842 this frame is provided by the poem ‘The Epic’, and in 1869 by the figure of the last survivor poet Sir Bedivere. In each case, the article reads these framing devices Ossianically, and suggests ways in which recent commentary on Ossian can illuminate the Tennysonian method. The second area concerns Tennyson's rendering of Malory, and the article argues that the vocabulary and methods of Ossianism represent a vital filter through which Malory is passed in Tennyson's poems. The article suggests that in these two ways Ossian provides Tennyson with a way of writing heroic poetry in a modern age. The article concludes by considering some of the implications for the study of both Tennyson and Macpherson, and of the presence of a Celtic Ossianic voice at crucial moments in what is rightly seen as the epitome of Anglo-Saxon Arthurianism.
Url:
DOI: 10.1093/res/hgl043
Affiliations:
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<front><div type="abstract" xml:lang="en">This article discusses Alfred Tennyson's deployment of the vocabulary of Ossianic poetry in his depictions of the death of King Arthur (1842 and 1869). The article establishes two areas in which the Ossianic mode operates in Tennyson's poems. The first is the mediation of the story of Arthur's passing as a framed narrative. In 1842 this frame is provided by the poem ‘The Epic’, and in 1869 by the figure of the last survivor poet Sir Bedivere. In each case, the article reads these framing devices Ossianically, and suggests ways in which recent commentary on Ossian can illuminate the Tennysonian method. The second area concerns Tennyson's rendering of Malory, and the article argues that the vocabulary and methods of Ossianism represent a vital filter through which Malory is passed in Tennyson's poems. The article suggests that in these two ways Ossian provides Tennyson with a way of writing heroic poetry in a modern age. The article concludes by considering some of the implications for the study of both Tennyson and Macpherson, and of the presence of a Celtic Ossianic voice at crucial moments in what is rightly seen as the epitome of Anglo-Saxon Arthurianism.</div>
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