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Victorian Poetry
Journal Prestige (SJR): 0.166

Number of Followers: 11

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ISSN (Print) 0042-5206 - ISSN (Online) 1530-7190
Published by Project MUSE

[305 journals]

Going Back and Going On: The Uses of Re-encounter
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  Abstract: The world,” wrote Robert Browning, “is not to be learned and thrown aside, but reverted to and relearned.”1 Browning’s words insist on the enduring interest of the disowned objects of our encounters, but they also hint at the value of re- encounter itself: in his “Essay on Shelley” (1852), he urges his readers to repeated engagement with a world which— forlornly, conceitedly, at any rate unimaginatively— they think they know all too well. Browning’s point has lost nothing of its force to the passage of time, but it is still worth wondering why a Victorian audience in particular needed to hear it, and why it should have been a poet that made it. One of the things that distinguishes re- encounter from other varieties ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
Christ Among the Decadents: Re-encountering Religion in Edwin
Arnold’s The Light of the World
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  Abstract: In 1879, Edwin Arnold completed the poem that would make him famous, his epic life of Gau ta ma Bud dha, The Light of Asia. Published in over thirty editions in the first six years of its existence, Arnold’s bestseller constitutes a model entry in two related Victorian genres: the orientalist free translation and the comparative religious primer.1 The former genre has as its most well-known representative The Book of the Thousand Nights and a Night (1888) by Richard Francis Burton, while the latter reached its apogee with F. Max Müller’s Sacred Books of the East (1879–1910). Both genres represent a re-encounter on the part of the author with an extant text in a foreign language, but for the audience they were often ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
“Having dared to touch with bloody hands the verses”: Elizabeth
Barrett Browning’s Embodied Approach to the Homeric Corpus
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  Abstract: In an 1845 letter to Anne Thomson, Elizabeth Barrett Browning (hereafter EBB) expresses serious reservations about the value of classical learning, particularly for women:the Greek language [. . .] swallows up year after year of studious life. Now I have a “doxy” . . . that there is no exercise of the mind so little profitable to the mind, as the study of languages. It is the nearest thing to a passive recipiency . . is it not' . . as a mental action— though it leaves one as weary as ennui itself.1EBB worries that popularizing “the mere fashion of scholarship among women” would be “disagreeable” and “worse than vain,” and wishes that English women would read and appreciate con temporary poets. Yet in the year she ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
Ghostly Selves in Augusta Webster’s Poetry
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  Abstract: And now it seems a jest to talk of me / as if I could be one with her.”1 Thus Eulalie, the high-end prostitute featured in Augusta Webster’s most famous poem, “A Castaway,” thinking about herself as she was as a young girl. Eulalie has stumbled on a philosophical and existential problem that emerges time and again in the history of thought and literature alike: where does the thing I call me begin and end' Over the course of a life, is there a point beyond which the continuity of the particular arrangement of molecules and memories and relations I happen to inhabit is just not enough to feel that the same person is being thought about' And what happens when such a “me-but-no-longer-really-me” barges into my ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
Hopkins Unselved
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  Abstract: In a well-known note, Hopkins identifies a characteristic he terms “Parnas-sian.” This “language of verse,” he says, “can only be written spoken by poets”; it is “wrspoken on and from the level of a poet’s mind.” Resisting the fickleness of “inspiration,” this “Parnassian” way of composing relies on a kind of certainty:Great men, poets I mean, have each their own dialect as it were of Parnassian, formed generally as they go on writing, and at last, ^– ^ this point is to be marked,–they can see things and describe them in this Parnassian way and describe them in this Parnassian tongue, without further effort of inspiration. In a poet’s particular kind of Parnassian lies most of his style, of his manner, of his ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
On Peacocks: Feathered Re-encounters in the 1890s
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  Abstract: In January 1914, a group of modernists, including William Butler Yeats and Ezra Pound, ate a peacock at an honorary dinner for the Victorian poet Wilfred Scawen Blunt. As recounted in Lucy McDiarmid’s Poets & the Peacock Dinner (2014), this feast represented an important moment in poetic history on the cusp of the First World War, although, as McDiarmid explores, there was some confusion and miscommunication between the generations of poets at the feast.1 The peacock as an influence in need of killing off, either via eating or other forms of cultural consumption, also inflects a novel almost contemporaneous with the peacock dinner: D. H. Lawrence’s The White Peacock (1911). More explicitly than the dinner for ... Read More
  PubDate: 2023-09-30T00:00:00-05:00
Understanding Media with L.E.L.: Women Poets, New Media, and the
Petrarchan Gaze
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  Abstract: At the beginning of Letitia Elizabeth Landon’s “The Improvisatrice” (1824), the poem’s titular speaker— a talented painter and poet-performer— sings of her first painting, a representation of the meeting between the Italian poet Petrarch and the beautiful, yet often silent, Laura.1 As she does so, she engages in a complex act of what media scholars call remediation, transposing one medium into another: employing her own assortment of artistic talents, the Improvisatrice transforms Petrarch’s poetry into painting and then back into poetry again when she ekphrastically describes her own work.2 By recounting her re-encounter with Petrarch, Landon’s speaker inserts herself into an established artistic tradition wherein ... Read More
  PubDate: 2023-09-30T00:00:00-05:00

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