W. E. Aytoun's satirical verse drama, Firmilian (1854), an anti-radical, scattershot missive meant to re-align British poetic tastes by reversing the aesthetic gains made by Romanticism in the decades prior to its publication, has been called “one of the most successful pieces of literary criticism ever written” (Morton 849). Despite its broad ambitions, however, it has often been read as a narrow attack on the individual poets popular during the summer of its appearance, creating a school where one had not existed before, turning the poets Philip James Bailey, Alexander Smith, Sydney Dobell and others into “the Spasmodic School.” But, as Charles LaPorte and Jason Rudy suggest, despite a myth that grew up later in the century about Firmilian's mighty power and the Spasmodic stars’ demise, the label hardly destroyed the poets associated therewith. So did Firmilian accomplish its purposes? In what ways can we consider it successful if not?

中文翻译：

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“乌鸦的可恨叫声”：文化战争中的附带损害

WE Aytoun 的讽刺诗剧,菲尔米利安（1854 年），一篇反激进、漫不经心的信件，旨在通过扭转浪漫主义在其出版前几十年取得的审美成果来重新调整英国的诗歌品味，被称为“有史以来最成功的文学批评作品之一”（莫顿 849）。然而，尽管雄心勃勃，但它经常被解读为对在夏季流行的个别诗人的狭隘攻击，创造了一所以前从未存在过的学校，使诗人菲利普·詹姆斯·贝利、亚历山大·史密斯、悉尼·多贝尔和其他人进入“痉挛学校”。但是，正如查尔斯·拉波特和杰森·鲁迪所建议的那样，尽管在本世纪后期出现了一个关于菲尔米利安的强大的力量和痉挛明星的消亡，这个标签几乎没有摧毁与之相关的诗人。也是如此菲尔米利安达到目的？如果没有，我们在哪些方面可以认为它是成功的？