ABSTRACT This article reconsiders Robert Bloomfield as a writer of object poems. It focuses on the year 1806, when Bloomfield's third collection, Wild Flowers, was published. This contains the poem, “My Old Oak Table,” that rivals The Farmer's Boy in its widespread popular association with the poet. 1806 was also the year that James Sargant Storer and John Greig published their Views in Suffolk, Norfolk, and Northamptonshire; illustrative of the Works of Robert Bloomfield, with a life by Edward Wedlake Brayley. This volume uses the spatial medium of the picturesque to repackage the poet for polite consumption, in effect recasting Bloomfield topographically as Capel Lofft's editorship recast Bloomfield typographically. I argue that object poems such as “My Old Oak Table,” “To a Spindle,” and “The Broken Crutch”, by contrast, poetically ground the dignified independence that marked much of Bloomfield's work in tangible, time-worn, rugged, artisanal objects, which emerge as bulwarks or talismans of solidity and innate worth. Bloomfield should be taken seriously as an object poet, I argue, just as his poetics of the working-class object should be seen as a key to understanding his struggle for control over his creative project.

中文翻译：

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罗伯特·布卢姆菲尔德，对象诗人：布卢姆菲尔德作品中的地形和有形物

摘要 本文重新考虑罗伯特·布卢姆菲尔德作为对象诗作家的身份。它的重点是 1806 年，当时 Bloomfield 的第三个系列《野花》出版。其中包含一首诗“我的老橡木桌”，在与诗人的广泛流行联系中可以与农夫的男孩相媲美。1806 年也是 James Sargant Storer 和 John Greig 在萨福克、诺福克和北安普敦郡发表他们的观点的一年；罗伯特·布卢姆菲尔德作品的说明，爱德华·韦德莱克·布雷利的生平。本卷使用风景如画的空间媒介重新包装诗人以供礼貌消费，实际上是在地形上重新塑造了布卢姆菲尔德，就像卡佩尔·洛夫特的编辑在印刷上重新塑造了布卢姆菲尔德一样。我认为，相比之下，诸如“我的旧橡木桌”、“致纺锤”和“破碎的拐杖”之类的对象诗，布卢姆菲尔德的大部分作品都以诗意的方式将庄严的独立性建立在有形的、陈旧的、坚固的、手工艺的物品中，这些物品成为坚固和与生俱来的价值的堡垒或护身符。我认为，布卢姆菲尔德作为对象诗人应该被认真对待，正如他对工人阶级对象的诗学应该被视为理解他为控制自己的创作项目而斗争的关键。