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36 Keble and the Christian Year
Get accessKirstie Blair is Chair in English Studies, University of Strathclyde, having previously worked at the University of Glasgow as a Lecturer and Senior Lecturer, and before that at St Peter’s College and Keble College, Oxford. Among her publications are: Victorian Poetry and Culture (2006) and, with M. Gorji, Class and the Canon: Constructing Labouring-Class Poetry and Poetics, 1780–1900 (2012).
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Published:02 September 2009
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Abstract
‘Either poetry is growing more religious, or religion more poetical’. The movements which ensued within the Church of England, in part at least inspired by John Keble's book, demonstrated that both these assertions were true. The Christian Year, one of the most influential works of poetry of the nineteenth century, is now seldom read or taught, and critical interest in it has generally centred upon its acknowledged effect on other writers of the Victorian period. Keble's aesthetic theories, of which The Christian Year is the fullest embodiment, have, however, maintained an implicit or explicit presence in critical readings of Victorian poetry and poetics, from M. H. Abrams's account of these theories in terms of Freudian repression and sublimation in the 1950s, to twenty-first century re-examinations of Keble in the light of renewed interest in literary affect and the significance of emotion.
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