• Michael Field's Wordsworth
• Alex Murray (bio)

In 1894 Edith Wingate Rinder's anthology Poems and Lyrics of Nature was published as part of the Canterbury Poets series edited by William Sharp. Rinder, now most often remembered as an English translator of Maeterlinck, muse of Sharp, and member of Patrick Geddes's Edinburgh circle, had collected verse by a wide-ranging and surprising group of contemporary poets; while many were recognized nature writers, such as Roden Noel, William Canton, Charles Armstrong Fox, and Norman Gale, the volume is more noteworthy for collecting the urbane, cosmopolitan poets of Decadence and Aestheticism, including lyrics by John Davidson, Lionel Johnson, John Gray, Richard Le Gallienne, Arthur Symons, Oscar Wilde, John Addington Symonds, Ernest Rhys, and W. B. Yeats. Just as, if not more, significant was the prominent place accorded to female writers in the anthology. As Rinder explained in her introduction, "[n]ot the least remarkable feature of the evolution of Victorian poetry is the high place occupied by women, from Mrs. Browning onwards; and by women, let me add, not the least noteworthy nature poetry of our time is written."¹ The female aesthetes and Decadents whose poetry featured in the anthology included Mathilde Blind, Edith Nesbit, Graham R. Tomson (Rosamund Marriott Watson), Alice Meynell, Katharine Tynan, and A. Mary F. Robinson. While Rinder had assembled a motley crew of poets, she claimed that they all shared an important context that shaped their nature lyrics in significant ways:

It is from Wordsworth that our later poets accepted the suggestion to throw away the note-book and to trust to the impression; he has taught us that it is better to record a true impression of a transient aspect or a commonplace detail keenly observed and emotionally recollected, than to describe categorically a whole landscape. It is in this sense that Wordsworth is called the father of modern poetry. He taught us to feel with nature as well as to observe her, and thus helped to free us from the lingering conventions of the academic school.

(p. xxxvii)

Rinder's version of Wordsworth here is clearly inspired by Walter Pater's two essays (1874 and 1889) on the Lake Poet, but her attempts to frame him as a nascent impressionist are somewhat questionable (since impressionism is [End Page 427] predicated on trying to capture sensory experience), as is her suggestion that Wordsworth taught his reader to "feel" nature (philosophical reflection being a peculiar mode of feeling).² Rinder's celebration of the post-Wordsworthian nature writing fell on hollow ears when Katharine Bradley and Edith Cooper (who wrote as Michael Field) received their copy of Rinder's anthology on June 1st. The two women were dissatisfied with the six Michael Field poems chosen by Rinder from the first edition of Underneath the Bough (1893), and in their journal Cooper declared that "we don't touch nature yet in a truly personal way." Those poems—" Winds To-day," "Noon," "O Wind," "Great Violets," "I will Sing," and "Sunshine"—are hardly uniform, yet there is a sense in them all of a disconnect between the speaker and the natural world. Take, for instance, "Noon" in which the speaker laments that "Of all that beauty by the light defined / None shares my vision! Sharply on my mind / Presses the sorrow: fern and flower are blind" (Rinder, p. 98). The irreconcilable difference between speaker and nature is repeated in "Great Violets" where a bee is "thwarted" by a flower in "early youth / Shut still from desire" (Rinder, p. 101). In "Sunshine," the sun's significance is solely related to its role in providing Bacchus with the liquor necessary for his intoxication: "we can only be drunk with that / Kindling the wine that brims the autumn vat!" (Rinder, p. 103). The lack of harmony with nature in these poems and their reliance on stock pastoral motifs led Cooper to declare, on receipt of Rinder's anthology, that their poetry was "a little stiff before the world—not as yet warm and atmospheric as it should be." While Cooper conceded that Bradley had "done much better in the genre," she thought it was her own prose "Croquis" that had...

• 迈克尔·菲尔德的华兹华斯
• 亚历克斯·穆雷（生物）

1894年，伊迪丝·温盖特·林德（Edith Wingate Rinder）的自然诗集与抒情诗该书是威廉·夏普（William Sharp）编辑的《坎特伯雷诗人》系列的一部分。瑞德（Rinder）现在经常被人记得是梅特林克（Maeterlinck）的英语翻译，夏普（Sharp）的缪斯女神，帕特里克·吉德斯（Patrick Geddes）的爱丁堡圈子的成员。尽管许多著名的自然作家，例如罗登·诺埃尔（Roden Noel），威廉·坎顿（William Canton），查尔斯·阿姆斯特朗·福克斯（Charles Armstrong Fox）和诺曼·加尔（Norman Gale），但本书的收录更吸引了都市人、,废和唯美主义的国际化诗人，包括约翰·戴维森，莱昂内尔·约翰逊，约翰·约翰逊的歌词。 Gray，Richard Le Gallienne，Arthur Symons，Oscar Wilde，John Addington Symonds，Ernest Rhys和WB Yeats。正如选集中女性作家所享有的突出地位一样，即使不是更多，也很重要。正如林德（Rinder）在介绍中所述：从勃朗宁夫人开始，维多利亚时代诗歌发展的最显着特征是妇女所占的地位很高；由女性代表，我要补充的是，没有写我们那个时代最不值得一提的自然诗。”¹选集上有诗作的女性美学和Dec废诗包括玛蒂尔德·布莱恩德（Mathilde Blind），伊迪丝·内斯比（Edith Nesbit），格雷厄姆·R·汤姆森（Graham R.Tomson）（沃森罗莎蒙德万豪酒店），爱丽丝·梅奈尔（Alice Meynell），凯瑟琳·泰南（Katharine Tynan）和玛丽·罗宾逊（A.Mary F.Robinson）。尽管林德（Rinder）聚集了一群杂乱无章的诗人，但她声称他们都拥有一个重要的背景，从而以重要的方式塑造了他们的自然歌词：

正是从华兹华斯那里，我们后来的诗人接受了扔掉笔记本并信任印象的建议。他告诉我们，最好是记录一个瞬态方面的真实印象或敏锐观察和情感回忆中一个平凡的细节，而不是对整个景观进行分类描述。从这个意义上说，华兹华斯被称为现代诗歌之父。他教我们感受自然并观察自然，从而帮助我们摆脱了学术流连忘返的习俗。

（第xxxvii页）

Rinder在这里的Wordsworth版本显然受到Walter Pater在诗人湖上发表的两篇文章（1874年和1889年）的启发，但她试图将他构筑为新生印象派的尝试有些可疑（因为印象派[End Page 427]旨在试图捕捉）感官体验），就像她建议华兹华斯教他的读者“感受”自然（哲学反思是一种特殊的感觉方式）一样。²当凯瑟琳·布拉德利（Katharine Bradley）和伊迪丝·库珀（Edith Cooper）（以迈克尔·菲尔德（Michael Field）撰写）于6月1日收到他们的Rinder选集时，Rinder对华兹华斯时代后自然写法的庆祝落入了空洞的耳朵。这两个女人不满意林德从《树枝上的谎言》第一版中选出的六本迈克尔·菲尔德诗歌。（1893），库珀（Cooper）在他们的日记中宣称“我们还没有以一种真正的个人方式接触大自然”。这些诗-“今日之风”，“中午”，“ O风”，“大紫罗兰”，“我会唱歌”和“阳光”，虽然很难统一，但它们之间存在某种脱节的感觉。在说话者和自然世界之间。以“中午”为例，演讲者感叹“在所有定义的美中，没有一个分享我的视野！在我的脑海中/压抑着悲伤：蕨类植物和花朵是盲目的”（Rinder，第98页） ）。在“大紫罗兰”中重复了说话人与自然之间的不可调和的差异，在“大紫罗兰”中，一只蜜蜂被一朵花“挫败了”（“早年的青年/从欲望中闭嘴”）（Rinder，第101页）。在《阳光》中 太阳的重要性仅与它为酒神提供酒中必不可少的作用有关：“我们只能喝那种/点燃秋天大桶的酒！” （Rinder，第103页）。这些诗中缺乏与自然的和谐，以及对原始牧草图案的依赖，导致库珀在收到林德的选集后宣称，他们的诗“在世界面前有些僵硬，还不如应有的温暖和大气。 ” 库珀承认布拉德利“在类型上做得更好”，但她认为正是她自己的散文“克鲁基斯”才使…………………………………………………………………………………………………………………………………………………… （Rinder，第103页）。这些诗中缺乏与自然的和谐，以及对原始牧草图案的依赖，导致库珀在收到林德的选集后宣称，他们的诗“在世界面前有些僵硬，还不如应有的温暖和大气。 ” 库珀承认布拉德利“在类型上做得更好”，但她认为正是她自己的散文“克鲁基斯”才使…………………………………………………………………………………………………………………………………………………… （Rinder，第103页）。这些诗中缺乏与自然的和谐，以及对原始牧草图案的依赖，导致库珀在收到林德的选集后宣称，他们的诗“在世界面前有些僵硬，还不如应有的温暖和大气。 ” 库珀承认布拉德利“在类型上做得更好”，但她认为正是她自己的散文“克鲁基斯”才使...