The Longman Anthology of British Literature
Subtitle: Volume 2B, The Victorian Age
Edition: 3rd Edition, Longman's Student Edition
Series: Damrosch Series
Publisher: Pearson Education, Inc.
Published: December 28, 2005
Language: eng
Format: Paperback
Number of pages: 1038
ISBN-13: 9780321333957
Copyright date: 2006
Subjects: Collections & anthologies of various literary forms; Literary studies: general; Literary Criticism; Literature - Classics / Criticism; English; British Isles; English, Irish, Scottish, Welsh; English literature; Great Britain; Literary collections
Description: The Victorian Age: 1832-1901

Nothing characterizes Victorian society so much as its quest for self-definition. The sixty-three years of Victoria’s reign were marked by momentous and intimidating social changes, startling inventions, prodigious energies; the rapid succession of events produced wild prosperity and unthinkable poverty, humane reforms and flagrant exploitation, immense ambitions and devastating doubts. Between 1800 and 1850 the population doubled from nine to eighteen million, and Britain became the richest country on earth, the first urban industrial society in history. For some, it was a period of great achievement, deep faith, indisputable progress. For others, it was “an age of destruction,” religious collapse, vicious profiteering. To almost everyone it was apparent that, as Sir Henry Holland put it in 1858, “we are living in an age of transition.”

VICTORIA AND THE VICTORIANS
In an unpredictable, tumultuous era, the stern, staid figure of Queen Victoria came to represent stability and continuity. The adjective “Victorian” was first used in 1851 to celebrate the nation’s mounting pride in its institutions and commercial success. That year, the global predominance of British industry had emerged incontestably at the original “world’s fair” in London, the “Great Exhibition of the Works of Industry of All Nations,” which Prince Albert helped organize. Arrayed for the world to see in a vast “Crystal Palace” of iron and glass, the marvels of British manufacture achieved a regal stature of their own and cast their allure upon the monarchy in turn. In the congratulatory rhetoric that surrounded the event, the conservative, retiring queen  emerged as the durable symbol of her dynamic, aggressively businesslike realm.

In succeeding decades, the official portraits of Queen Victoria, gradually aging, reflected her country's sense of its own maturation as a society and world power. Represented as a fairy-tale teenaged queen at her coronation in 1837, reclusive after Albert died in 1861, as the aged, venerated Widow of Windsor, she became a universal icon, prompting spectacles of the Golden and Diamond Jubilees. Victoria died in 1901, after the longest reign in English history. 

The Victorians have left us a contradictory picture of themselves. On the one hand, they were phenomenally energetic, dedicated to the Gospel of Work and driven by a solemn sense of duty to the Public Good. In matters of character, Victorians prized respectability, earnestness, a sense of duty and public service, not only to material recompense, but to heavenly rewards as well. Much of the era's social conservatism, may be traced to the fear of change. They struggled to dominate the present moment in order to keep an uncertain future at bay. Few questioned that tremendous advances were taking place, but each new idea or discover seemed to have unexpected, distressing repercussions. 

The following pages introduce the Victorian period by looking at several key issues: the era's energy and invention, its doubts about religion and industrialism, its far-reaching social reforms, its conflicted fascination with Empire, the commercialization and expansion of the reading public, and the period's vigorous self-scrutiny in the mirror of literature.
Notes: "This item is out of print and has been replaced with Longman Anthology of British Literature, Volume 2B, The: The Victorian Age, 4th Edition" - https://www.pearson.com/us/higher-education/product/Damrosch-Longman-Anthology-of-British-Literature-Volume-2-B-The-Victorian-Age-The-3rd-Edition/9780321333957.html?tab=contents
Boxed review copy - ISBN 0321366115
Audio CD for British Literature, 3/E: ISBN-10: 0321364759 | ISBN-13: 9780321364753
Table of contents: title: List of Illustrations; title: Additional Audio and Online Resources; title: Preface; title: Acknowledgements; title: Political and Religious Orders; title: Credits; title: denotes selection is new to this edition.; title: THE VICTORIAN AGE.; title: Thomas Carlyle.; title: Past and Present.; title: Midas (The Condition of England).; title: From Gospel of Mammonism (The Irish Widow).; title: From Labour (Know Thy Work).; title: From Democracy (Liberty to Die by Starvation).; title: Captains of Industry.; title: Perspectives: The Industrial Landscape.; title: The Steam Loom Weaver.; title: Fanny Kemble. From Record of a Girlhood.; title: Thomas Babington Macaulay. From A Review of Southey's Colloquies.; title: Parliamentary Papers (“Blue Books”). Testimony of Hannah Goode, a Child Textile Worker.; title: Testimony of Ann and Elizabeth Eggley, Child Mineworkers.; title: Charles Dickens. From Dombey and Son.; title: From Hard Times.; title: Benjamin Disraeli. From Sybil.; title: Friedrich Engels. From The Condition of the Working Class in England in 1844.; title: Henry Mayhew. From London Labour and the London Poor.; title: John Stuart Mill.; title: On Liberty.; title: From Chapter 2. Of the Liberty of Thought and Discussion.; title: From Chapter 3. Of Individuality, as One of the Elements of Well-Being.; title: The Subjection of Women.; title: From Chapter 1.; title: Statement Repudiating the Rights of Husbands.; title: Autobiography.; title: From Chapter 1. Childhood, and Early Education.; title: From Chapter 5. A Crisis in My Mental History. One Stage Onward.; title: Elizabeth Barrett Browning.; title: To George Sand: A Desire.; title: To George Sand: A Recognition.; title: A Year's Spinning.; title: Sonnets from the Portuguese.; title: 1 (“I thought once how Theocritus had sung”).; title: 13 (“And wilt thou have me fashion into speech”).; title: 14 (“If thou must love me, let it be for nought”).; title: 21 (“Say over again, and yet once over again”).; title: 22 (“When our two souls stand up erect and strong”).; title: 24 (“Let the world's sharpness, like a clasping knife”).; title: 28 (“My letters! all dead paper, mute and white!”).; title: 32 (“The first time that the sun rose on thine oath”).; title: 38 (“First time he kissed me, he but only kissed”).; title: 43 (“How do I love thee? Let me count the ways”).; title: Aurora Leigh.; title: Book 1.; title: (Self-Portrait).; title: (Her Mother's Portrait).; title: (Aurora's Education).; title: (Discovery of Poetry).; title: Book 2.; title: (Woman and Artist).; title: (No Female Christ).; title: (Aurora's Rejection of Romney).; title: Book 3.; title: (The Woman Writer in London).; title: Book 5.; title: (Epic Art and Modern Life).; title: From A Curse for a Nation.; title: A Musical Instrument.; title: The Best Thing in the World.; title: Alfred, Lord Tennyson.; title: The Kraken.; title: Mariana.; title: The Lady of Shalott.; title: The Lotos-Eaters.; title: Ulysses.; title: Tithonus.; title: Break, Break, Break.; title: The Epic [Morte d'Arthur].; title: The Eagle: A Fragment.; title: Locksley Hall.; title: The Princess.; title: Sweet and Low.; title: The Splendour Falls.; title: Tears, Idle Tears.; title: Now Sleeps the Crimson Petal.; title: Come Down, O Maid.; title: (The Woman's Cause is Man's).; title: From In Memoriam A. H. H.; title: The Charge of the Light Brigade.; title: Idylls of the King.; title: The Coming of Arthur.; title: Pelleas and Ettarre.; title: The Passing of Arthur.; title: The Higher Pantheism.; title: Response.; title: Algernon Charles Swinburne, The Higher Pantheism in a Nutshell.; title: Flower in the Crannied Wall.; title: Crossing the Bar.; title: Edward Fitzgerald.; title: The Rubáiyát of Omar Khayyám of Naishápur.; title: Charles Darwin.; title: The Voyage of the Beagle.; title: From Chapter 10. Tierra Del Fuego.; title: From Chapter 17. Galapagos Archipelago.; title: On the Origin of Species by Means of Natural Selection.; title: From Chapter 3. Struggle for Existence.; title: The Descent of Man.; title: From Chapter 21. General Summary and Conclusion.; title: From Autobiography.; title: Perspectives: Religion and Science.; title: Thomas Babington Macaulay. From Lord Bacon.; title: Charles Dickens. From Sunday Under Three Heads.; title: David Friedrich Strauss. From The Life of Jesus Critically Examined.; title: Charlotte Brontë. From Jane Eyre.; title: Arthur Hugh Clough. Epi-strauss-ium.; title: The Latest Decalogue.; title: From Dipsychus.; title: John William Colenso. From The Pentateuch and Book of Joshua Critically Examined.; title: John Henry Cardinal Newman. From Apologia Pro Vita Sua.; title: Thomas Henry Huxley. From Evolution and Ethics.; title: Sir Edmund Gosse. From Father and Son.; title: Robert Browning.; title: Porphyria's Lover.; title: Soliloquy of the Spanish Cloister.; title: My Last Duchess.; title: How They Brought the Good News from Ghent to Aix.; title: Home-Thoughts, from Abroad.; title: Home-Thoughts, from the Sea.; title: The Bishop Orders His Tomb at Saint Praxed's Church.; title: Meeting at Night.; title: Parting at Morning.; title: A Toccata of Galuppi's.; title: Memorabilia.; title: Love Among the Ruins.; title: “Childe Roland to the Dark Tower Came.”; title: Response.; title: Stevie Smith, Childe Rolandine.; title: Fra Lippo Lippi.; title: The Last Ride Together.; title: Andrea del Sarto.; title: Two in the Campagna.; title: A Woman's Last Word.; title: Caliban upon Setebos.; title: Epilogue to Asolando.; title: Charles Dickens.; title: A Christmas Carol.; title: From A Walk in a Workhouse.; title: Dickens and His Time.; title: Dickens at Work: Recollections by His Children and Friends.; title: Kate Field: Dickens Giving a Reading of A Christmas Carol.; title: Popular Short Fiction.; title: Elizabeth Gaskell.; title: Our Society at Cranford.; title: Thomas Hardy.; title: The Withered Arm.; title: Sir Arthur Conan Doyle.; title: A Scandal in Bohemia.; title: Response.; title: Jamyang Norbu, A Pukka Villain, from Sherlock Holmes: The Missing Years.; title: John Ruskin.; title: Modern Painters.; title: From Definition of Greatness in Art.; title: From Of Water, As Painted by Turner.; title: The Stones of Venice.; title: From The Nature of Gothic.; title: From Modern Manufacture and Design.; title: The Storm-Cloud of the Nineteenth Century.; title: Praeterita.; title: Preface.; title: From The Springs of Wandel.; title: From Herne-Hill Almond Blossoms.; title: From Schaffhausen and Milan.; title: From The Grande Chartreuse.; title: From Joanna's Care.; title: Florence Nightingale.; title: Cassandra.; title: Perspectives: Victorian Ladies and Gentlemen.; title: Francis Power Cobbe. From Life of Frances Power Cobbe As Told by Herself.; title: Sarah Stickney Ellis. From The Women of England: Their Social Duties and Domestic Habits.; title: Charlotte Brontë. From Letter to Emily Brontë.; title: Anne Brontë. From Agnes Grey.; title: John Henry Cardinal Newman. From The Idea of a University.; title: Caroline Norton. From A Letter to the Queen.; title: George Eliot.  Margaret Fuller and Mary Wollstonecraft.; title: Thomas Hughes. From Tom Brown's School Days.; title: Isabella Beeton. From The Book of Household Management.; title: Queen Victoria. Letters and Journal Entries on the Position of Women.; title: Sir Henry Newbolt. Vitaï Lampada.; title: Matthew Arnold.; title: Isolation. To Marguerite.; title: To Marguerite-Continued.; title: Dover Beach.; title: Response.; title: Anthony Hecht, The Dover Bitch.; title: Lines Written in Kensington Gardens.; title: The Buried Life.; title: Stanzas from the Grande Chartreuse.; title: The Scholar Gipsy.; title: East London.; title: West London.; title: Thyrsis.; title: From The Function of Criticism at the Present Time.; title: Culture and Anarchy.; title: From Sweetness and Light.; title: From Doing as One Likes.; title: From Hebraism and Hellenism.; title: From Porro Unum Est Necessarium.; title: From Conclusion.; title: From The Study of Poetry.; title: Dante Gabriel Rossetti.; title: The Blessed Damozel.; title: The Woodspurge.; title: The House of Life.; title: The Sonnet.; title: 4. Lovesight.; title: 6. The Kiss.; title: Nuptial Sleep.; title: The Burden of Nineveh.; title: Christina Rossetti.; title: Song (“She sat and sang always”).; title: Song (“When I am dead, my dearest”).; title: Remember.; title: After Death.; title: A Pause.; title: Echo.; title: Dead Before Death.; title: Cobwebs.; title: A Triad.; title: In an Artist's Studio.; title: A Birthday.; title: An Apple-Gathering.; title: Winter: My Secret.; title: Up-Hill.; title: Goblin Market.; title: “No, thank you, John.”; title: Promises Like Pie-Crust.; title: In Progress.; title: What Would I Give?; title: A Life's Parallels.; title: Later Life.; title: 17 (“Something this Foggy day, a something which”).; title: Sleeping at Last.; title: William Morris.; title: The Defence of Guenevere.; title: The Haystack in the Floods.; title: From The Beauty of Life.; title: Algernon Charles Swinburne.; title: The Leper.; title: The Triumph of Time.; title: I Will Go Back to the Great Sweet Mother.; title: Hymn to Proserpine.; title: A Forsaken Garden.; title: Walter Pater.; title: The Renaissance.; title: Preface.; title: From Leonardo da Vinci.; title: Conclusion.; title: From The Child in the House.; title: Gerard Manley Hopkins.; title: God's Grandeur.; title: The Starlight Night.; title: Spring.; title: The Windhover.; title: Pied Beauty.; title: Hurrahing in Harvest.; title: Binsey Poplars.; title: Duns Scotus's Oxford.; title: Felix Randal.; title: Spring and Fall: to a young child.; title: As Kingfishers Catch Fire.; title: (Carrion Comfort).; title: No Worst, There Is None.; title: I Wake and Feel the Fell of Dark, Not Day.; title: That Nature Is a Heraclitean Fire and of the Comfort of the Resurrection.; title: Thou Art Indeed Just, Lord.; title: From Journal (On “Inscape” and “Instress”).; title: From Letter to R. W. Dixon (On Sprung Rhythm).; title: Lewis Carroll.; title: Alice's Adventures in Wonderland.; title: Chapter 1. Down the Rabbit Hole.; title: From Chapter 2. The Pool of Tears.; title: You are old, Father William.; title: The Lobster-Quadrille.; title: Through the Looking Glass.; title: Child of the pure unclouded brow.; title: Jabberwocky.; title: (Humpty Dumpty on Jabberwocky).; title: The Walrus and the Carpenter.; title: The White Knight's Song.; title: Perspectives: The Invention of Childhood.; title: Charles Darwin.  From A Biographical Sketch of an Infant.; title: Moral Verses. Table Rules for Little Folks.; title: Eliza Cool: The Mouse and the Cake.; title: Heinrich Hoffman: The Story of Augustus who would Not have any Soup.; title: Thomas Miller: The Watercress Seller.; title: William Miller: Willie Winkie.; title: Edward Lear. (Selected Limericks).; title: The Owl and the Pussy-Cat.; title: The Jumblies.; title: How pleasant to know Mr. Lear!; title: Christina Rossetti. From Sing-Song: A Nursery Rhyme Book.; title: Robert Louis Stevenson. From A Child's Garden of Verses.; title: Hilaire Belloc. From The Bad Child's Book of Beasts.; title: From Cautionary Tales for Children.; title: Beatrix Potter. The Tale of Peter Rabbit.; title: Daisy Ashford. From The Young Visiters; or, Mr. Salteena's Plan.; title: Rudyard Kipling.; title: Without Benefit of Clergy.; title: Just So Stories.; title: How the Whale Got His Throat.; title: How the Camel Got His Hump.; title: How the Leopard Got His Spots.; title: Gunga Din.; title: The Widow at Windsor.; title: Recessional.; title: If—.; title: Perspectives: Travel and Empire.; title: Frances Trollope. From Domestic Manners of the Americans.; title: Thomas Babington Macaulay. From The Minute on Indian Education.; title: Alexander Kinglake. From Eothen .; title: Sir Richard Francis Burton. From A Personal Narrative of a Pilgrimage to El-Medinah and Meccah.; title: Isabella Bird. From A Lady's Life in the Rocky Mountains.; title: Sir Henry Morton Stanley. From Through the Dark Continent.; title: Mary Kingsley. From Travels in West Africa.; title: Rudyard Kipling.  The White Man's Burden.; title: Robert Louis Stevenson.; title: The Strange Case of Dr. Jekyll and Mr. Hyde.; title: Oscar Wilde.; title: Impression du Matin.; title: Response.; title: Lord Alfred Douglas, Impression du Nuit.; title: The Harlot's House.; title: Symphony in Yellow.; title: From The Decay of Lying.; title: From The Soul of Man Under Socialism.; title: Preface to The Picture of Dorian Gray.; title: The Importance of Being Earnest.; title: Aphorisms.; title: From De Profundis.; title: Response.; title: H. Montgomery Hyde: From The Trials of Oscar Wilde.; title: Perspectives: Aestheticism, Decadence, and the Fin de Siècle.; title: W. S. Gilbert. If You're Anxious for to Shine in the High Aesthetic Line.; title: James McNeill Whistler. From from Mr. Whistler's “Ten O'Clock.”; title: “Michael Field” (Katharine Bradley and Edith Cooper). La Gioconda.; title: A Pen-Drawing of Leda.; title: “A Girl”.; title: Ada Leverson. Suggestion.; title: Arthur Symons. Pastel.; title: White Heliotrope.; title: From The Decadent Movement in Literature.; title: From Preface to Silhouettes.; title: Richard Le Gallienne. A Ballad of London.; title: Lionel Johnson. The Destroyer of a Soul.; title: The Dark Angel.; title: A Decadent's Lyric.; title: Lord Alfred Douglas. In Praise of Shame.; title: Two Loves.; title: Olive Custance (Lady Alfred Douglas). The Masquerade.; title: Statues.; title: The White Witch.; title: Max Beerbohm. Enoch Soames.