In his 1830 Poems, Chiefly Lyrical and 1832 Poems, published more than a dozen lyrics now designated poems--taking his titles heroines of Shakespeare and Spenser, modern and classical authors, and letting them evolve, as he put it, camel, my own consciousness. (1) For much of his career and century after, critics tended to dismiss these poems, his friend Edward FitzGerald who thought them a tiresome Gallery to late A. Dwight Culler who quipped that poems began, very suddenly, with onset of puberty and stopped, very suddenly, with access of judgment. (2) We can understand Culler's impatience with airy, fairy Lilian, ever varying Madeline, or faintly smiling Adeline as exhibitions of an adolescent's erotic fantasies. Yet recent scholars have countered Culler's critique, pointing out that continued to place Claribel at head of his collections, including Poems, in Two Volumes (1842) and Moxon (1857), and arguing that lady poems embed his enduring concerns: freedoms and constrictions of human condition (James Hood), feminization of lyric and literary culture (Richard Cronin, Carol Christ, Catherine Maxwell, Herbert Tucker), and an anxiety over status of in modern England (Linda Hughes, Gerhard Joseph, Joseph Chadwick, et al.). (3) Even Culler acknowledged this last concern as it pertained to Tennyson's development: Tennyson stopped painting them and allowed them to speak.... In so doing he transformed them an art object into a symbol of artist (p. 40). While acknowledging developmental function of lady poems in Tennyson's oeuvre, I want to explore instead their participation in a contemporary debate over of phrase I take Anna Jameson's Characteristics of Women: Moral, Poetical, and Historical (1832). Published in same year as Poems, this text was not directly influential on Tennyson's work; rather, Jameson's study, like Tennyson's poems, represents an engagement with public debates about woman's character and her newly emerging cultural role by means of analyzing female of Shakespeare. Jameson's alternate title, Shakespeare's Heroines, (4) makes this link dear, as do articles about Shakespeare's heroines in periodicals of 1820s and reviews of Fanny Kemble's acting in period 1829-1832. Tennyson's lady poems reflect poet's interest in of women, including his recognition of what a masculine perspective might offer to questions about women's nature, roles, influence, and mission. The poems are not just adolescent fantasies, then, soon to disappear with the access of judgment, nor are they primarily vehicles for expressing artistic anxiety in a post-Romantic climate (though they may be both). Rather, as I read them, they are explorations of a pressing Victorian concern with social roles and contributions of women--a concern that emerged prominently in era of first Reform Bill and that would engage throughout his career. As I shall suggest, began his analysis of women's by meditating on Shakespeare's heroines, but by 1832, likely under Arthur Hallam's influence, he expanded his range to include female characters classical lyric and epic texts-an expansion that also deepened his thinking about women's roles in public sphere. Shakespeare's Heroines, Tennyson's Ladies, and Victorian Women What are characteristics of women? Jameson raises this question in response to a conventional eighteenth-century view, expressed succinctly by Alexander Pope, that most women have no characters at all and to a specific strand of literary criticism that considered Shakespeare's heroines to be inferior to his heroes because less carefully delineated and virtually undifferentiated as characters. As Julie Hankey observes, Shakespeare critics from Restoration onward had generally assumed that, compared with his men, his women were on whole slight. …