Abstract
On the cover of Anna Barton’s Tennyson’s Name: Identity and Responsibility in the Poetry of Alfred Lord Tennyson we find a photograph of the sculptor G.F. Watts working on a statue of Tennyson with a bust by Thomas Woolner in the foreground. This photo intelligently comments on the contents of the book, notably in that Watts, who looks not unlike Tennyson, is working not from the model but from another sculpture, another work of art and, more fundamentally, that the theme of the sculpting—in ...
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