Victorian Poetry 21: Later Victorian Forms: Stevenson, Guggenberger, MacDonald

We look at Yeats a little more, then "Michael Field," and then Housman's poem about Wilde and other poems about his own sexuality, and about the intense, Horatian ephemerality of life.  A class in part about why I hope poetry, or some poems, will matter to the students throughout their lives.

Wilde in prison, or in Dante's hell, and the differences and similarities between the grimness of "The Ballad of Reading Gaol" and the charming, dazzling self-delight of his earlier self-presentations, in a class guest-taught by Princeton's Professor Jeff Nunokawa.

Another Kipling poem -- "Danny Deaver" and the horror of hanging (in partial anticipation of Wilde's "Ballad of Reading Gaol"), and some discussion of Arnold, Pater, and Wilde as context for Lionel Johnson's "Dark Angel."  Then two versions of Yeats's "Cradle Song."

We discuss one poem of Amy Levy in the context of her short and painful life, then look at Robert Bridges's version of sprung rhythm -- how it differs from his friend Hopkins's and then after a brief and fractional defense of Kipling from the worst that could be said about him, we consider his poem "In the Neolithic Age."

The way metaphor works in one of Stevenson's songs of travel, a little attention to George R. Sim's punning in one of his "lunatic laureate" poems, and then close reading of the amazing Alice Meynell, in particular "Renouncement," "A Cradle Song," "The Modern Mother," and "Parentage," with some attention to the experience of Catholic guilt.

We look at an interesting poem by Louisa S. Guggenberger, a very short poem by George MacDonald, and a couple of formal experiments by Stevenson, which mean the explanation of pantoum-like poems and triolets or rondeaux more generally -- examples of triolets from Hopkins and Chesterton.  Then the sublime original envoy to A Child's Garden of Verses.

A lot of greats to do in a single day, and not wanting to miss Eliot we begin with a little contextualization of three of the sonnets from "Brother and Sister," then move on to a few grim Hardy poems, and then to Hopkins: "As kingfishers catch fire" compared with one of the "terrible sonnets," "I wake and feel the fell of dark, not day."

We discuss "The Garden of Proserpine" and the ways that it anticipates or instantiates Freud's idea of the death drive: all the repetitions in the poem. Then we turn to the poet most opposite in attitude: Hopkins, and talk briefly of "Pied Beauty" and "That Nature is a Heralcitean Fire." Discussion in Instress and the Duns-Scotian term haecicity that makes it possible, as opposed to Thomas Aquainas' universality. We'll finish considering Hopkins next class.

We have to abandon Fitzgerald because time is short, so mainly on to Modern Love, with some context, then Hopkins's "Binsey Poplars," Swinburne (and Buck Mulligan quoting The Triumph of Time in Ulysses), and an intro to "The Garden of Proserpine," via Spenser's "Garden of Adonis" in The Faerie Queene (which I discussed a little while ago here), and Milton's account of how Eden is even greater than the fair field of Enna where Persephone gathering flowers by gloomy Dis was gathered. 

We talk about George Meredith for a while -- "Lucifer in Starlight" (and the 1882 transit of Venus) and his relation to his wife, Mary Ellen Nicolls, and the relationship of both of them to Henry Wallis who'd painted Meredith as Chatterton.  We plan to return to Modern Love, but first we begin reading through Fitzgerald's Rubáiyát of Omar Khayyam, after quoting him on its form and its moral: "Drink--for the Moon will often come round to look for us in this Garden and find us not."