• Swinburne
• Adam Mazel (bio)

Swinburne scholarship was relatively quiet this past year; only four essay-length studies will be reviewed in this article. These studies form two themes. Three of the four consider Swinburne’s poetry comparatively, using his verse as a foil to highlight the works of contemporaries and successors who were influenced by but also diverged from Swinburne. The other focus is on examining Swinburne’s ekphrastic poetry in relation to gender norms.

Howard J. Booth examines D. H. Lawrence’s derivation and deviation from Swinburne in “‘The Woodland Whose Depths and Whose Heights Were Pan’s’: Swinburne and Lawrence, Decadence and Modernism,” in Decadence in the Age of Modernism, edited by Kate Hext and Alex Murray (Baltimore: Johns Hopkins Univ. Press, 2019). This essay shows that Lawrence’s well-known desire to suture Cartesian dichotomies, such as humanity and nature, emerged from Swinburne’s similar goal, particularly as expressed in such later poems as his 1894 “A Nympholept” and its classical motifs of Pan and nympholepsy, among other mythological tropes. But while Swinburne influenced and was greatly admired by Lawrence, an esteem that was rare among Modernist writers, Lawrence also transcended Swinburne in order to advance his anti-Cartesian aspirations further. Lawrence extends and goes beyond Swinburne’s classical images, loosens his tightly wrought forms, and rethinks his traditional gender relations, making Lawrence, for Booth, the more forward thinking of the two authors.

Swinburne’s poetry is also treated comparatively in Julie Casanova’s “Gender and Chronotopes of Revolution in the Border Ballads of Swinburne and Marriott Watson” (VP 57, no. 2 [2019]: 177–199), which argues that the two titular poets have an overlooked poetic relationship. Specifically, Casanova claims Swinburne’s border ballad, “A Song in Time of Revolution, 1860,” from Poems and Ballads, First Series (1866), is critically revised by Rosamund Marriott Watson’s border ballad, “The Quern of the Giants,” from Vespertilia and Other Verses (1895). Marriott Watson’s representation of time and space, for Casanova, is a radical feminist corrective of Swinburne’s representation, which theorizes time and space in a patriarchal and conservative manner, an [End Page 376] argument that Casanova makes via the lens of Mikhail Bakhtin’s chronotope. The poetic form of “A Song in Time of Revolution, 1860,” like many of Swinburne’s poems, is regular and repetitive, and thus it characteristically envisions time as circular, a temporality that Casanova claims is masculinist. “The Quern of the Giants,” on the other hand, employs more metrical variation, which enacts time as more disturbed and disruptive and which, for Casanova, evokes not only revolution but also what she calls the “uncanny feminine” (p. 179). Likewise, Swinburne’s border ballad progressively omits persons to focus on nature, disempowering human agency, whereas Marriott Watson’s ever more focuses on female forces of disruption, a way of undoing masculinist hegemony. Ultimately, then, Swinburne’s ballad is adjudged by Casanova to be conservative and patriarchal; Marriott Watson’s radical and feminist, marking her, for Casanova, as the greater poet. The strength of this essay is its analyses of the form and content of the two poems, but its argument would benefit from further evidence that Marriott Watson’s border ballad is actually a response to Swinburne’s.

The final comparative study is Dominique Gracia’s “‘The one question is not what you mean but what you do’: Michael Field’s Ekphrastic Verse” (VP 57, no. 3 [2019]: 345–364). This essay contrasts each of Swinburne’s ekphrastic poems, “A Cameo,” “Hermaphroditus,” and “Before the Mirror,” from Poems and Ballads, First Series, against Michael Field’s ekphrastic “Saint Katharine of Alexandria, by Bartolommeo Veneto,” “Giorgione’s Sleeping Venus,” and “A Portrait, by Bartolommeo Veneto,” from Sight and Song (1892), respectively. Swinburne’s ekphrastic verse, Gracia shows, emphasizes song over sight, suggestion over description, subjectivity over objectivity. Thus, it proves an apt foil for Sight and Song, which Gracia shows does just the opposite, more often prioritizing sight over song by conventionally providing an accurate, detailed description of the art object. Only in “A Portrait” did Michael Field diverge from the artwork being described and thus approach Swinburne’s more experimental, transformative style of ekphrasis. This is...

• 斯威本
• 亚当·马泽尔（生物）

去年，斯威本的奖学金相对平静。本文将只审查四篇论文长度的研究。这些研究形成两个主题。四位中的三位相对地考虑了斯威本的诗歌，以他的诗作作为衬托，突出了受斯威本影响但又背离斯本本的同时代和继任者的作品。另一个重点是研究斯威本关于性别规范的狂热诗歌。

霍华德·布斯（Howard J. Booth）在“现代主义时代的衰落”一书中，探讨了DH劳伦斯对斯温伯恩的推导和偏离。，由Kate Hext和Alex Murray编辑（巴尔的摩：约翰·霍普金斯大学出版社，2019年）。这篇文章表明，劳伦斯对于缝制笛卡尔二分法（例如人性和自然）的着名愿望源于斯温伯恩的类似目标，特别是在他后来的诗作中表达的，例如他的1894年的《 A Nympholept》及其经典的潘（Pan）和夜视（Nympholepsy）图案其他神话的比喻。但是，尽管斯文本受到劳伦斯的影响并受到劳伦斯的钦佩，劳伦斯在现代主义作家中很少见到这种尊敬，但劳伦斯也超越了斯文本，以进一步推进他对反笛卡尔主义的追求。劳伦斯超越并超越了斯温本的经典形象，放松了他紧紧的变形形式，并重新考虑了他的传统性别关系，这使劳斯对于布斯来说，是两位作者的前瞻性思维。

茱莉·卡萨诺瓦（Julie Casanova）的《斯温本和沃森万豪民谣的革命的性别和年代记》（VP 57，No. 2 [2019]：177-199）中也对斯威本的诗作了比较，该论点认为这两位名义上的诗人都有自己的一面。被忽视的诗意关系。特别是，卡萨诺瓦声称，斯温本恩的边境民谣《革命之歌，1860年》摘自第一辑《诗歌与民谣》（1866年），由罗莎蒙德·沃森（Rosamund Marriott Watson）的边境民谣《巨人的奎恩》（Ques of the Giants）进行了严格修订，由维斯珀蒂莉亚（Vespertilia）和其他诗歌（1895）。对于卡萨诺瓦（Casanova），沃森万豪酒店（Marriott Watson）的时间和空间表示形式是对斯威本（Swinburne）表示形式的激进女权主义修正，它以父权制和保守主义的方式对时间和空间进行了理论化处理，[尾页376]的论点，即经由卡萨诺瓦巴赫金的的透镜使得时空体。像斯威本的许多诗一样，“革命时期的一首歌，1860年”的诗意形式是规律性和重复性的，因此它特有地将时间设想为循环的，卡萨诺瓦认为时间是男性主义的。另一方面，《巨人的奎恩》则采用了更多的度量变化，使时间变得更加不安和破坏性，而对于卡萨诺瓦来说，它不仅引发了革命，而且还唤起了她所谓的“怪异女性”（p。179）。 ）。同样，斯温本的边境民谣逐渐使人们忽略了对自然的关注，从而削弱了人类的能力，而沃森万豪酒店则更加关注破坏女性的力量，这是一种消除男性主义霸权的方式。最终，卡萨诺瓦将斯威本的民谣裁定为保守和父权制。沃森万豪酒店的激进和女权主义者，为卡萨诺瓦（Casanova）标志着她，作为伟大的诗人。这篇文章的优势在于对这两首诗的形式和内容的分析，但是其论点将得益于进一步的证据，即沃森万豪酒店的边境民谣实际上是对斯威本的回应。

最终的比较研究是多米尼克·格拉西亚（Dominique Gracia）的“'一个问题不是你的意思，而是你要做的事：迈克尔·菲尔德的（Ekphrastic Verse）”（VP 57，no。3 [2019]：345-364）。本文将斯威本的狂热诗歌，《第一辑》的诗集和民谣中的每首狂热诗《阿卡梅奥》，《赫玛弗洛迪托斯》和《镜子之前》进行了对比，与迈克尔·菲尔德的狂热诗歌《亚历山大·圣凯瑟琳》，作者巴托洛梅奥·威尼托（Bartolommeo Veneto），视线和歌曲中的“沉睡的金星”和“巴托洛梅欧·威尼托的肖像”（1892）。斯拉本的疯狂诗句，格拉西亚（Gracia）强调，歌胜视力，暗示胜于描述，主观胜于客观。因此，它证明了视线和歌曲的贴切性，而格拉西亚（Gracia）所展示的恰恰相反，通常通过提供对艺术品的准确，详细的描述，视线优先于歌曲。只有在《肖像》中，迈克尔·菲尔德（Michael Field）才与所描述的艺术品背道而驰，从而接近了斯威本（Swinburne）更具实验性，变革性的内卡弗拉西斯风格。这是...