Abstract
The habit of thinking of literary periods as segments creates the same kind of history that produces it. The Victorian period has always been regarded as isolated between two periods, Romanticism and modernism. Thus Victorian poetry is seen in terms of transition. It is on the way somewhere. It is either on the way from Romantic poetry, or on the way to modernism. It is situated between two kinds of excitement, in which it appears not to participate. What has been called the ‘genetic’ history of continuous development through phases and periods, a form of history which the Victorians themselves both helped to create and to question, sees Victorian poetry as a gap in that development.1 Modernism, in spite of its desire to see itself in terms of a break with history, actually endorses that continuity, for a radical break must break with something. And correspondingly it endorses the gap which Victorian poetry is seen to inhabit. The anxieties of modernism, trying to do without history, repress whatever relations the Victorians may seem to bear to twentieth-century writing. Thus Joyce’s frivolous ‘Lawn Tennyson, gentleman poet’ appears dressed for tennis in Ulysses. Virginia Woolf dissociates herself from the Victorians in her unscrupulously brilliant impressionistic account of them in Orlando.2 There ivy covers buildings and large families come into being with almost equally magical suddenness. She intuitively registers the drive to produce in Victorian society, whether it is children or industrial goods, and the need to muffle. The eroticisms and the euphemisms of bourgeois capitalism and its ideology, its inordinate excesses and concealments, are embodied for her in the voluptuous taxidermy of the stuffed sofa.
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Notes
Michel Foucault makes a critique of continuous ‘genetic’ history in his foreword to the English edition of The Order of Things: An Archaeology of the Human Sciences (London: Tavistock Publications, 1974):
T. S. Eliot, ‘The Metaphysical Poets’, Selected Essays, 3rd edn, (London: Faber and Faber, 1951) p. 288.
Raymond Williams, Culture and Society, 1780–1950 (London: Chatto and Windus, 1958).
The new wave of influential feminist writing on the nineteenth-century novel in the late 1970s is represented by Elaine Showalter, A Literature of Their Own: British Women Novelists from Brontë to Lessing (Princeton, N.J.: Princeton University Press, 1977).
Illustrative of the preoccupation with Romantic poetry among Deconstructionist critics is the collection of essays by Harold Bloom, Paul de Man, Jacques Derrida, Geoffrey Hartman and J. Hillis Miller, Deconstruction and Criticism (London: Routledge and Kegan Paul, 1979). Derrida’s major literary text beyond Rousseau is Mallarmé.
See Walter Benjamin, ‘On Some Motifs in Baudelaire’, Illuminations (London: Fontana, 1973) pp. 157–67.
Robert Browning, in his essay on Shelley (1832), Robert Browning: The Poems, ed. John Pettigrew and Thomas J. Collins (New Haven, Conn., and London: Yale University Press, 1981) 999–1013; see esp. p. 1001.
Substantial biographical work has appeared on Tennyson and Browning in particular. See, for instance, Robert Bernard Martin, Tennyson: The Unquiet Heart (Oxford: Clarendon Press, 1980);
William Irvine and Park Honan, The Book, the Ring, and the Poet (London: Bodley Head, 1974);
John Maynard, Browning’s Youth (Cambridge, Mass.: Harvard University Press, 1977).
Lionel Trilling, Matthew Arnold (New York: W. W. Norton, 1939).
Thomas Carlyle, Sartor Resartus: The Life and Opinions of Herr Teufelsdröckh, Centenary edn (London, 1896) vol. I, p. 31.
Alan Sinfield, Alfred Tennyson, Rereading Literature Series (Oxford: Blackwell, 1986).
Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985).
V. N. Volosinov, Marxism and the Philosophy of Language, trans. L. Matejka and I. R. Titunik (London: Seminar Press, 1973).
Herbert F. Tucker Jr, Browning’s Beginnings: The Art of Disclosure (Minneapolis, Minn.: University of Minnesota Press, 1980).
E. D. H. Johnson, The Alien Vision of Victorian Poetry: Sources of the Poetic Imagination in Tennyson, Browning and Arnold (Princeton, N.J.: Princeton University Press, 1952).
Robert Langbaum, The Poetry of Experience: the Dramatic Monologue in Modern Literary Tradition (London: Chatto and Windus, 1957).
There is much valuable uncollected work by Morse Peckham: for example, his centenary essay on Browning’s The Ring and the Book, ‘Historiography and The Ring and the Book!, Victorian Poetry, 6 (1968) 243–57.
Mikhail Bakhtin, The Dialogic Imagination: Four Essays, ed. Michael Holquist, trans. Caryl Emerson and Michael Holquist (Austin, Tx.: University of Texas Press, 1981).
Friedrich Schiller, On the Aesthetic Education of Man in a Series of Letters, trans. Elizabeth M. Wilkinson and L. A. Willoughby (Oxford: Clarendon Press, 1967) sixth letter, paras 3, 6, 33.
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© 1988 Isobel Armstrong
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Armstrong, I. (1988). Re-reading Victorian Poetry. In: Shattock, J. (eds) Dickens and other Victorians. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-19503-9_8
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DOI: https://doi.org/10.1007/978-1-349-19503-9_8
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