1. Victorian culture and art Victorian literature and poetry

Content
Introduction…………………………………………………………2

1. Victorian culture and art………………………………………...6

2. Victorian literature and poetry …………………………………7

3. The Victorian Novel and Novelists ……………………………..20

Conclusion…………………………………………………………..30

Glossary…………………………………………………………….31

References…………………………………………………………..35

Introduction
IN the word "Victorian" and the concept of Victorianism conjure up a rich and contradictory complex of images for us: a time of strict rules, formal manners, rigidly defined roles, sexual prudery, propriety, respectability, earnestness, duty, pious conventionality, overdecoration, elaborate houses and furniture, and people who were, as the period introduction in the Longman Anthology notes, "as well-upholstered as their furniture." This was the age of muttonchop whiskers and crocheted stockings to cover the piano "limbs" (we're too polite to say "legs" in public, gasp!). It was also the period of Jack the Ripper, of Dr. Jekyll and Mister Hyde, of the penny-dreadful novel and Sherlock Holmes, of great men keeping mistresses in bordellos, of women going off to missionary society meetings to improve the lives of the ignorant while child chimneysweeps suffocated in their chimneys. The Victorian era, spanning from 1832–1901, was a period of dramatic change the world over, and especially in England, with the rapid extension of colonialism through large portions of Africa, Asia, and the West Indies, making England a preeminent center of world power and relocating the perceived center of Western Civilization from Paris to London. The rapid growth of London, with a population of 6.5 million by the time of Victoria's death, evidenced a marked change due to industrialization away from a way of life based on the ownership of land to a modern urban economy based on trade and manufacturing. Dramatic changes in manufacturing, rapid growth of the British economy, and seemingly continual expansion of England's colonized territories resulted in mixed sentiments, with some writers such as Thomas Babbington Macauley applauding change and the superior civilization of England and other writers such as Mathew Arnold and Thomas Carlyle expressing more trepidation and concern about this era of change. It was true that the "sun never set on the British Empire," but the cost of obtaining and maintaining that empire on human lives and on ethical practices was high indeed. The development of railroads made it possible to journey from London to Glasgow in a day, to have the morning's newspapers in Scotland by midnight. Macadam's paving system and a well-developed stagecoach system made travel across the length and breadth of Britain easily possible--and reformist efforts to make it illegal to travel or work on the Sabbath were shot down by the efforts of writers like Dickens, who pointed out that such Evangelical attempts to legislate morality were in fact further ways of discriminating against the poor.By this point, however, the Church of England had evolved into three major divisions, with conflicting beliefs about religious practice, and faith and doubt became the central religious question of the age. The "High Church" wanted to return to ceremony and trappings in the Church of England; the "Low Church" Methodists and Evangelicals located in the cities preached Biblical inerrancy, and sought to promote enthusiasm in religious works. Meanwhile the Broad Church, the mainstream Church of England, tried to soldier on in the face of the greatest challenges to established faith the world had ever seen. Empiricism and the work of Hume led to rationalist challenges to religion, including Utilitarianism, developed by Jeremy Bentham and James Mill, which argued that the greatest good is that which gives the greatest happiness to the greatest number of people (no matter what the consequences to the minority). Science in the work of the geologist Lyell and the writers Thomas Henry Huxley and Charles Darwin, laid open the historical workings of Nature over eons, making it less possible to believe in the neoclassical concept of a Divine Architect in the face of mutability, natural selection, geology, competition, and the unquestionable evidence of the evolution of species. (Remember that many of these discoveries were made by clergymen; the term "scientist" did not occur until 1840!) "Higher Criticism" had a similar effect in its perception of the Bible as a historical text subject to human interpolation and error, and George Eliot's translation of Strauss' Life of Jesus and Bishop Colenso's work on the Pentateuch lay bare the undeniable evidence for errancy in scriptural transmission, to the dismay of many complacent readers.The later period (1870–1901) was a time of changing attitudes about colonialism, industrialization, and scientific advancement. Rebellions and war in the colonial territories made the public increasingly more aware of the costs of empire. Various events challenged the sense of England's endless prosperity as a world power, such as the emergence of Bismarck's Germany and its threats to English naval and military positions and the expansion of the American grain industry, driving down the price of English grain. Socialist movements grew out of this discontentment, as well as a melancholy spirit in the writing of the end of the century. Even as John Stuart Mill and other Evangelicals encouraged the beginnings of suffrage for women, through the reform of marital laws and child custody, the Queen was opposing it as disgusting and suggesting that its supporters should be whipped. Oscar Wilde's making a pun of "earnest," a typical and sincerely used mid-Victorian word, is typical of a dying Victorianism. At the same time, the new technologies of photography and sound recording mean that for the first time, we can see and hear what our forebears sounded like--perhaps one of the reasons why we have a better sense of the Victorian period than of many of its predecessors.Three genres dominate the Victorian period, as the conditions of publishing, including the prominence of the periodical press, dramatically shaped the form of literature. Serialization of novels, for example, allowed for an author to alter the shape of his narrative based on public response to earlier installments. In the later years of the era, authors started to position themselves in opposition to this broad reading public and serialization gave way to three-volume editions. The Victorian novel was primarily concerned with representing a social reality and the way a protagonist sought and defined a place within this reality and fiction came to be the dominant genre. The increased popularity of periodicals also allowed the nonfiction essay to become a widespread and popular literary genre. Works such as Darwin's On the Origin of Species and Ruskin's Stones of Venice sold as well as Dickens did. Victorian narrative poetry dominated the era, with Victorian poets seeking to represent psychology in new ways through the use of self-scrutiny and the dramatic monologue. As one wit put it, the speakers in Victorian poetry are not so much heard as overheard. Tennyson in In Memoriam  expressed a typical Victorian ambivalence about revealing so much private feeling: "I sometimes hold it half a sin / To put in words the grief I feel."¹