Bodies are everywhere in the poetry of Michael Field (Katharine Bradley and Edith Cooper). They dance in ecstasy, are wound about with snakes, doze in the grass, stomp grapes for wine, kneel before altars, and suffer decapitation. Throughout Field's oeuvre, the poets display an interest in the poetic representation of bodies, that is, how to translate the physicality of the body--its sensations, its lines, its place in space--into language. In the course of such translation, the body becomes a signifier for Bradley and Cooper and allows them to communicate a range of emotions and ideas. The nature and use of the body evolves over the course of Michael Field's career, becoming, in their final published volumes, inseparable from the religious fervor and spirituality that accompanied their 1907 conversion to Catholicism. Here, I begin with a discussion of bodies in Field's poetry, specifically Sight and Song (1892), and then move to an examination of the poetry written about and around their conversion to demonstrate how they depicted the act of participating in Catholicism as a fully physical, embodied experience. In doing so, Field uses the physical body to engage with spiritual questions prompted by their conversion. The experience of conversion both provided new, rich subject matter for Field and created the opportunity for the expansion of their artistic reach, from writing poems of eye and ear to writing poems that more fully embody a sensory aesthetic experience. Field's interest in depicting the physical body is perhaps felt most strongly in the 1892 volume Sight and Song--every poem in this volume depicts figures. (1) The poems in Sight and Song are each matched to a painting, an endeavor that was part of Field's emerging aesthetic theory, which, as Ana I. Parejo Vadillo explains, was to "develop an epistemology of sight intrinsically related to poetry." (2) Of the thirty-one paintings represented in the volume, only one, da Vinci's Drawing of Roses and Violets does not include human figures. Field puts the figure of da Vinci himself into the poem, however, as they meditate on the act of composition: Leonardo drew the blooms On an April day: How his subtle pencil loved its toil, Loved to draw!" (11. 12-15) The poem places the reader in the mind of Leonardo as he seeks to capture the spirit and the secrets of the flowers. The concluding stanza presents Leonardo's task as a fight against time, decay, and death: "Leonardo drew in spring, / Restless spring gone by, / Flowers he chose should never after fade" (11. 34-36). The flowers captured in his art, unlike those in nature, will not wither and die. The inclusion of the figure of da Vinci in this poem suggests a conscious effort on the part of Bradley and Cooper to include human figures in all the poems of Sight and Song. Moreover, the specific subject matter of this poem--the work of the artist and the sanctity of art--reminds readers of the place of the artist in relation to the work. Although da Vinci is not visible in the study of violets and roses, Bradley and Cooper make him visible in their poem. By embodying da Vinci in the poem and allowing their reader to see his pencil tracing the lines of the flowers, they express a commitment to the power of the body and its inseparability from the experience of art. I start with the da Vinci poem because this interest in the power of the body and physical presence runs throughout much of Field's work. In Sight and Song, bodies are part of the translation act, conveying emotion and sensation and connecting the poet, subject, and reader. In the later works, such emotions and sensations are complicated as Field attempts to embody the experience of spirituality and conversion in their poetry and uses the body to articulate the relationship between the human and the divine. Much of the critical work on Sight and Song has focused on the gaze and the way in which Field's ekphrastic poetry mediates that gaze. …

中文翻译：

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迈克尔菲尔德转换诗中的身体感觉

在迈克尔·菲尔德（凯瑟琳·布拉德利和伊迪丝·库珀）的诗歌中，身体无处不在。他们在狂喜中跳舞，被蛇缠绕，在草丛中打瞌睡，踩葡萄换酒，跪在祭坛前，被斩首。在菲尔德的全部作品中，诗人对身体的诗意表现表现出兴趣，即如何将身体的物理性——它的感觉、它的线条、它在空间中的位置——转化为语言。在这样的翻译过程中，身体成为布拉德利和库珀的能指，让他们能够交流一系列的情感和想法。身体的性质和用途在 Michael Field 的职业生涯中不断发展，在他们最终出版的书中变得与 1907 年皈依天主教所伴随的宗教热情和灵性密不可分。这里，我首先讨论菲尔德的诗歌中的身体，特别是《视觉与歌唱》（1892），然后转向检查围绕他们皈依和围绕他们的皈依而写的诗歌，以展示他们如何将参与天主教的行为描述为完全有形的，体现的经验。在这样做的过程中，菲尔德使用身体来解决由他们的皈依引发的精神问题。皈依的经历既为菲尔德提供了新的、丰富的题材，也为他们扩大艺术范围创造了机会，从写眼睛和耳朵的诗到写更充分体现感官审美体验的诗。菲尔德对描绘肉体的兴趣在 1892 年的《视与歌》中最为强烈——这本书中的每一首诗都描绘了人物。(1) 《视觉》和《宋》中的诗歌都与一幅画相匹配，这是菲尔德新兴美学理论的一部分，正如 Ana I. Parejo Vadillo 所解释的那样，这是“发展一种与诗歌内在相关的视觉认识论。 ” (2) 卷所代表的三十一幅画中，只有一幅，达芬奇的《玫瑰与紫罗兰》没有人物。菲尔德将达芬奇本人的形象放入诗中，然而，当他们沉思构图行为时：列奥纳多在四月的一天画了花朵：他的精巧的铅笔多么热爱它的辛劳，热爱绘画！”（11. 12- 15）这首诗将读者置于列奥纳多的脑海中，因为他试图捕捉花朵的精神和秘密。最后一节将列奥纳多的任务描述为与时间、腐朽和死亡作斗争：“ 它们表达了对身体力量及其与艺术体验密不可分的承诺。我从达芬奇的诗开始，因为这种对身体力量和物理存在的兴趣贯穿了菲尔德的大部分作品。在《视与歌》中，身体是翻译行为的一部分，传达情感和感觉，并将诗人、主题和读者联系起来。在后来的作品中，这种情感和感觉是复杂的，因为菲尔德试图在他们的诗歌中体现灵性和皈依的体验，并用身体来表达人与神的关系。许多关于《视觉与歌唱》的批判性工作都集中在凝视以及菲尔德的 ekphrastic 诗歌调解凝视的方式上。… 我从达芬奇的诗开始，因为这种对身体力量和物理存在的兴趣贯穿了菲尔德的大部分作品。在《视与歌》中，身体是翻译行为的一部分，传达情感和感觉，并将诗人、主题和读者联系起来。在后来的作品中，这种情感和感觉是复杂的，因为菲尔德试图在他们的诗歌中体现灵性和皈依的体验，并用身体来表达人与神的关系。许多关于《视觉与歌唱》的批判性工作都集中在凝视以及菲尔德的 ekphrastic 诗歌调解凝视的方式上。… 我从达芬奇的诗开始，因为这种对身体力量和物理存在的兴趣贯穿了菲尔德的大部分作品。在《视与歌》中，身体是翻译行为的一部分，传达情感和感觉，并将诗人、主题和读者联系起来。在后来的作品中，这种情感和感觉是复杂的，因为菲尔德试图在他们的诗歌中体现灵性和皈依的体验，并用身体来表达人与神的关系。许多关于《视觉与歌唱》的批判性工作都集中在凝视以及菲尔德的 ekphrastic 诗歌调解凝视的方式上。… 在后来的作品中，这种情感和感觉是复杂的，因为菲尔德试图在他们的诗歌中体现灵性和皈依的体验，并用身体来表达人与神的关系。许多关于《视觉与歌唱》的批判性工作都集中在凝视以及菲尔德的 ekphrastic 诗歌调解凝视的方式上。… 在后来的作品中，这种情感和感觉是复杂的，因为菲尔德试图在他们的诗歌中体现灵性和皈依的体验，并用身体来表达人与神的关系。许多关于《视觉与歌唱》的批判性工作都集中在凝视以及菲尔德的 ekphrastic 诗歌调解凝视的方式上。…