THAIS E. MORGAN14 Cited in Edgar F. Shannon, Jr., Tennyson and the Reviewers: A Study of His
Literary Reputation and of the Influence of the Critics upon His Poetry,
1827-1851 (Cambridge, MA: Harvard University Press, 1952), 88.
15 [G.D. Boyle,] "Review of Empedocles on Etna, and Other Poems," North
British Review 9 (1853), 209-14, reprinted in Matthew Arnold: The Poetry:
The Critical Heritage, ed. Carl Dawson (London: Routledge and Kegan Paul,
1973), 6% further page references in parentheses.
16 Arnold's "Preface to the First Edition of Poems (1853)," Arnold, On the
Classical Tradition, ed. R.H. Super, The Complete Works of Matthew Arnold,
11 vols. (Ann Arbor, MI: University of Michigan Press, 1960-77), I, 1; further
page references appear in parentheses.
17 Arnold is taking his distance from the Spasmodic School which, during the late
1840s and 1850s, divided critics between those who admired this kind of
poetry's extremes of passion, as in "Empedocles on Etna," and those, like
Charles Kingsley, who called the "spasmodic vogue" dangerously "effeminate":
"Thoughts on Shelley and Byron," Eraser's Magazine 48 (1853), 568-76,
reprinted in Miscellanies (London: John W. Parker, 1859), 318.
18 "Intertextuality" refers to the network of past and contemporaneous texts to
which a given text may be related in several ways, including allusion, quotation,
paraphrase, and revision. "Intratextuality" focuses on the relations among the
texts of one single author's oeuvre, as Thai's E. Morgan explains in "The Space
of Intertextuality" in Intertextuality and Contemporary American Fiction, ed.
Patrick O'Donnell and Robert Con Davis (Baltimore, MD: Johns Hopkins
University Press, 1989), 239-79.
19 Anonymous, "Review of Tennyson, In Memoriam," Tait's Magazine n.s. 17
(1850), 499.
20 [Manley Hopkins?,] "The Poetry of Sorrow," Times [London] (November
1851), 8.
21 Christopher Ricks, Tennyson (London: Macmillan, 1972), 215, 217.
22 Christopher Craft, "'Descend, and Touch, and Enter': Tennyson's Strange
Manner of Address," Genders 1 (1988), 88, 92.
23 The 1850 version of In Memoriam reads "His'V'his"; the 1872 revision, made in
the homophobic context of the Fleshly School Controversy, reads "The'V'this."
24 [Hopkins?,] "The Poetry of Sorrow," 8.
25 [Charles Kingsley,] "Tennyson," Eraser's Magazine 42 (1850), 255. "Muscular
Christianity" was an influential movement begun in the late 1850s by Charles
Kingsley and others who advocated a remasculinization of religion, associating
physical strength, Christian faith, and imperial supremacy.
26 Terry Eagleton, "Tennyson: Politics and Sexuality in The Princess and In
Memoriam," in 1848: The Sociology of Literature, ed. Francis Barker et al.
(Colchester: Essex University Press, 1978), 85, 86; Alan Sinfield, Alfred
Tennyson (Oxford: Basil Blackwell, 1986), 136.
27 Norman N. Holland presupposes an Oedipal situation behind "Dover Beach" in
The Dynamics of Literary Response (New York: W.W. Norton, 1975), 119.
28 Joseph Bristow considers "the pronounced antagonism between same-sex affec-
tions and other-sex desires" in "'Love, let us be true to one another': Matthew
Arnold, Arthur Hugh Clough, and 'our Aqueous Ages,'" Literature and History
4 (3rd series) (1995), 31.
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