Regan, Stephen. “The Victorian Sonnet, from George Meredith to Gerard Manley Hopkins.” Yearbook of English Studies 36, no. 2 (2006): 17–34.
Simpson, Arthur. “Meredith’s Pessimistic Humanism: A New Reading of ‘Modern Love.’” Modern Philology 67, no. 4 (May 1970): 341–56.
Tucker, Cynthia. “Meredith’s Broken Laurel: ‘Modern Love’ and the Renaissance Sonnet Tradition.” Victorian Poetry 10, no. 4 (Winter 1972): 351–65.
Van Remoortel, Marianne. “The Inconstancy of Genre: Meredith’s Modern Love.” In Lives of the Sonnet, 1787–1895: Genre, Gender and Criticism, 115–39. Farnham, UK: Ashgate, 2011.
Wilson, Phillip E. “Affective Coherence, a Principle of Abated Action, and Meredith’s ‘Modern Love.’” Modern Philology 72, no. 2 (November 1974): 151–71.
On Meredith’s Oeuvre
Frankel, Nicholas. “Poem, Book, Habitat: The World of George Meredith’s Poetry.” In Masking the Text: Essays on Literature and Meditation in the 1890s. Wycombe, UK: Rivendale Press, 2009.
Hiemstra, Anne. “Reconstructing Milton’s Satan: Meredith’s ‘Lucifer in Starlight.’” Victorian Poetry 30, no. 2 (Summer 1992): 123–33.
Hughes, Linda K. “Inventing Poetry and Pictorialism in Once a Week: A Magazine of Visual Effects.” Victorian Poetry 48, no. 1(Spring 2010): 41–72.
Ketcham, Carl H. “Meredith and the Wilis.” Victorian Poetry 1, no. 4 (November 1963): 241–48.
Morris, John W. “The Germ of Meredith’s ‘Lucifer in Starlight.’” Victorian Poetry 1, no. 1 (January 1963): 76–80.
Simpson, Arthur. “Meredith’s Alien Vision: ‘In the Woods.’” Victorian Poetry 20, no. 2 (Summer 1982): 113–23.
Tompkins, J. M. S. “Meredith’s Periander.” The Review of English Studies, n.s., 11, no. 43 (August 1960): 286–95.
VICTORIAN POETIC THEORY
Browning, Robert, and W. Tyas Harden. An Essay On Percy Bysshe Shelley. London: Reeves and Turner, for the Shelley Society, 1888.
Buchanan, Robert. “The Fleshly School of Poetry.” Contemporary Review 18 (1871): 334–50.
Hopkins, Gerard Manley. Further Letters of Gerard Manley Hopkins. Ed. C. C. Abbott. London: Oxford University Press, 1956.
Patmore, Coventry. “English Metrical Critics.” North British Review 27 (1857): 127–61.
Prins, Yopi. “Victorian Metres.” In The Cambridge Companion to Victorian Poetry. Ed. Joseph Bristow, 89–113. London: Cambridge University Press, 2000.
Saintsbury, George. A History of English Prosody: From the Twelfth Century to the Present Day. 2nd ed. New York: Russell & Russell, 1961.
Index of First Lines
A message from her set his brain aflame. 27
A roar thro’ the tall twin elm-trees 138
All other joys of life he strove to warm, 26
Along the garden terrace, under which 59
Am I failing? for no longer can I cast 51
And—“Yonder look! yoho! yoho! 157
At dinner she is hostess, I am host. 39
At last we parley: we so strangely dumb 68
But where began the change; and what’s my crime? 32
By this he knew she wept with waking eyes: 23
Captive on a foreign shore, 101
Distraction is the panacea, Sir! 49
Fair mother Earth lay on her back last night, 148
Full faith I have she holds that rarest gift 54
Give to imagination some pure light 60
Go from me. Yet I feel that I shall stand 329
Hard as hurdle arms, with a broth of goldish flue 354
He felt the wild beast in him betweenwhiles 31
He found her by the ocean’s moaning verge, 71
“Heigh, boys!” cried Grandfather Bridgeman, “it’s time before dinner to-day.” 3
Here Jack and Tom are pair’d with Moll and Meg. 40
Honoria, trebly fair and mild 336
How many a thing which we cast to the ground, 63
I am not of those miserable males 42
I am to follow her. There is much grace 64
I bade my Lady think what she might mean. 62
I chafe at darkness in the night; 140
I dream of you to wake: would that I might 349
I hate the dreadful hollow behind the little wood, 345
I must be flatter’d. The imperious 50
“I play for Seasons; not Eternities!” 35
I think she sleeps: it must be sleep, when low 37
I thought once how Theocritus had sung 329
If thou must love me, let it be for nought 330
In our old shipwreck’d days there was an hour, 38
‘In Paris, at the Louvre, there have I seen 55
It chanced his lips did meet her forehead cool. 28
It ended, and the morrow brought the task: 24
It is no vulgar nature I have wived. 57
It is the season of the sweet wild rose, 67
It keeps eternal whisperings around 327
Light feet, dark violet eyes, and parted hair; 326
Love ere he bleeds, an eagle in high skies, 48
Madam would speak with me. So, now it comes 56
Many in aftertimes will say of you 351
Mark where the pressing wind shoots javelin-like, 65
‘My future will not copy fair my past’—330
My Lady unto Madam makes her bow. 58
Night like a dying mother, 122
No state is enviable. To the luck alone 41
Not solely that the Future she destroys, 34
Now, this, to my notion, is pleasant cheer, 87
O my lover: the night like a broad smooth wave 135
On my darling’s bosom 107
Out in the yellow meadows where the bee 33
Pitch here the tent, while the old horse grazes: 75
She can be as wise as we, 116
She issues radiant from her dressing room, 29
She wearies with an ill unknown; 332
She yields: my Lady in her noblest mood 61
“Sirs! may I shake your hands? 93
The long cloud edged with streaming gray, 124
The misery is greater, as I live! 46
The old coach-road thro’ a common of furze 19
The old grey Alp has caught the cloud, 141
The old grey mother she thrumm’d on her knee: 108
Their sense is with their senses all mix’d in. 70
They say that Pity in Love’s service dwells, 66
This golden head has wit in it. I live 53
This was the woman; what now of the man? 25
Though I am faithful to my loves lived through, 126
Thus piteously Love closed what he begat: 72
‘Tis Christmas weather, and a country house 45
Trust me, I have not earned your dear rebuke,—350
Vous êtes un beau ciel d’automne, clair et rose! 342
We saw the swallows gathering in the sky, 69
We three are on the cedar-shadow’d lawn; 43
What are we first? First, animals; and next, 52
What may this woman labour to confess? 44
What soul would bargain for a cure that brings 36
Whate’er I be, old England is my dam! 80
When I would image her features, 139
When the Head of Bran 118
Why, having won her, do I woo? 335
Within a Temple of the Toes, 127
Yet it was plain she struggled, and that salt 30
You are an autumn sky, suffused with rose . . . 343
You like not that French novel? Tell me why. 47
Your love lacks joy, your letter says. 339
Youth gone, and beauty gone if ever there 352
Subject Index
adultery. See marriage
Aeschylus, 255, 288
analogy, 181–82, 252, 260, 264
ancients, the, 277, 278, 285–95
Apollo, 255
Arabian Nigh
ts, 135n1, 258
Aristotle, 289
Armstrong, Isobel, xxiii, 277
Arnold, Matthew, xli, 278, 285
Athenaeum, xxviii, 185
Aytoun, W. E., xli–xlii
Bailey, Philip, xxviii, 185, 304–5
Bain, Alexander, 251–52, 253
ballad, xli, 321
Barrett Browning, Elizabeth, xliv, 302, 323, 324, 328, 348
Barrie, J. M., xxi
Bartlett, Phyllis, x
Baudelaire, Charles, xxii, xli, xliv, 279, 308–14, 324, 341
Beddoes, Lovell, 302–4
Beethoven, Ludwig van, 271, 275
Béranger, Pierre-Jean de, 191
Boccacio, 291
Bridges, Robert, 279, 315
Bristow, Joseph, 353
Browning, Elizabeth Barrett, xliv, 302, 323, 324, 328, 348
Browning, Robert, xxii, 185, 195, 202, 214, 302, 328, 331
Burns, Robert, 176, 210, 274, 298
Byron, George Gordon, Lord, 180, 204, 302
Camoëns, Luis de, 328
Cavazza, Elizabeth, 212
Charnock, Richard Steven, xv
Chartism, xxx, xxxi, 80n1
Chaucer, 298, 316
Cobbett, William, xxxviii, 215, 216, 226
Coleridge, Samuel Taylor, 194, 272
Crimean War, xxxi, 9n8, 147n12, 344
Dante, 349n3
desire, xxii, xxiii, xxxv, xxxvi, xl, 215
Dickens, Charles, 185
Disraeli, Benjamin, 194
divorce, 234–40. See also marriage
Dobell, Sidney, xxviii
Doyle, Arthur Conan, xxi
dramatic monologue, xxxii, 197
Edgeworth, Maria, 313
Ellis, Sarah Stickney, 29n13, 215, 216, 217
Fraistat, Neil, xxiii
French literature, 204, 306, 308–14
French Revolution, 275, 298–99
Friedman, Norman, xxxix
Gautier, Théophile, 309, 311–12
genius, literary and poetic, 180, 186, 255, 257–59, 291, 298–301, 311, 313
Gilfillan, George, xxviii
Goethe, xlii, 179, 181, 281, 287, 290, 294, 295
grand style, 287
Greek tragedy, 287–88, 291
Hallam, Arthur Henry, xli, 185, 277–78, 280
Hallam, Henry, 291
Handel, George Frideric, 275
Hardy, Thomas, xxxi
Hawthorne, Nathaniel, 311
Hegel, G. W. F., 182n8
Homer, 255, 287
Hood, Thomas, 177
Hopkins, Gerard Manley, xxxiv, 279, 315, 324, 353; “Harry Ploughman,” xxxiv, xliv, 315, 320–21; on prosody, 315–19, 320–21
Hughes, Linda, xxxii
Hunt, Leigh, xxxiii, 325
Hutton, R. H., xxix–xxx, 35n28, 175, 180, 189
imagination, 218, 220, 256–59, 281, 297, 304
infidelity. See marriage
intelligibility. See poetry: theories of
James, Henry, xxxix, 279, 308
Johnson, A. B., xxxix, 252, 260
Keats, John, xxii, xlii, xliii, 277, 280, 290–91, 323, 325
Langland, William, 318
language, subjective meaning of, 260–62, 266
laws of association, 283. See also Bain, Alexander
Lewes, George Henry, xxviii, 278
Lucas, Samuel, xxvi
marriage: authority in, 227–28; dissolution of, xxxvii, 234–40; expectations in, 213–14, 217–25, 226–33, 247–50; in fiction, 223; infidelity in, xxxviii, 183, 213–14, 215, 229–32; jealousy in, 230–31, 233; love in, 220
Marston, J. W., xxviii, xxix, 185
Massey, Gerald, xli, 180, 278–79, 296
Maxse, Frederick, xxvi, xlii, 2n1, 141n2, 147n12, 175, 193
McGann, Jerome, xxiii
Meredith, Arthur Gryffydh, xxv
Meredith, Augustus, xiv
Meredith, George: marriage to Mary Ellen Peacock Nicolls, xxv–xxvi, 116n1; representation of Nature, xxiii, xl, xlii–xliii, 177–78, 182, 187–88; youth, xxiv–xxv. See also Spasmodism
Meredith, George, works: “Aneurin’s Harp,” 210; “Autumn Even-Song,” xxvi, xliv; “Ballad of Fair Ladies in Revolt,” 209; Ballads and Poems of Tragic Life, 208; “Beggar’s Soliloquy,” xxvi, xxxi, 191, 197–98, 199, 202, 209; “By the Rosanna,” xxvi, xlii–xliii, xliv, 184, 187–88; “Cassandra,” xli, xlii, xliii, 101n1, 187, 197, 210; “Chillianwallah,” xxv; “Doe, The,” xliv, 216; Evan Harrington, 194, 201, 206; “Grandfather Bridgeman,” xxxi, 176, 186–87, 195, 202, 203; “Head of Bran, The,” xxvi, xliii, 118n1, 200; “I chafe at darkness,” xliii; “Juggling Jerry,” xxvi, xxxi, 179, 184, 187, 197, 202, 209, 216; “King Harald’s Trance,” 210; “Margaret’s Bridal-Eve,” xli, xlii, xliv, 178, 198, 216; “Martin’s Puzzle,” 209; “Meeting, The,” xxvi, 198, 216; “Modern Love” (see “Modern Love”); Modern Love (see Modern Love and Poems of the English Roadside, with Poems and Ballads); “Monthly Observer,” xxv; “Nuptials of Attila, The,” 210; “Ode to the Spirit of Earth in Autumn,” xlii, 177–78, 188, 203; “Old Chartist, The,” xxvi, xxxi, 187, 191, 199, 202, 209; Ordeal of Richard Feverel, The, 193, 206; “Patriot Engineer, The,” xxvi, xxxi; “Phantasy,” xxvi, xliii, 127n2, 187, 198; Poems, xxv; Poems and Lyrics of the Joy of Earth, 206; “A roar thro’ the tall twin elm-trees,” xliii; Shaving of Shagpat, 193; “Shemselnihar,” xliii; “Song of Theodolinda, The,” 210; “When I would image her features,” xliii; “Young Usurper, The,” 197
Meredith, Jane Eliza Macnamara, xiv
Meredith, Melchizedek, xiv
Meredith, Owen, 193
metaphor, 182–83, 203, 255–56
Meynell, Alice, xxi, 331
Mill, John Stuart, 216, 247
Millais, John Everett, 198
Milton, John, 255, 271, 305, 317
“Modern Love,” xxi–xxiii, xxxii–xli, 324; composition history of, xxvii; critical response to, xxvii, 178–79, 181–83, 185–86, 191, 195–97, 199, 203–4, 205, 208–9, 210, 212–14; gender roles in, 215–16; senses in, xxxix–xl; summary of, xxxii–xxxiii
Modern Love and Poems of the English Roadside, with Poems and Ballads: organization of, xxvii; “Poems and Ballads,” xli–xliv; reception of, xxviii–xxx, 175–214; “Roadside Poems,” xxvii, xxx–xxxii, 176; sensory perception in, x, xxviii, xliii
Modernists, xxii
Moxon, Edward, 331
Mozart, Wolfgang Amadeus, 275
Niebuhr, Barthold George, 272, 294
ode, xlii
Paget, John, xxxvii–xxxviii, 216, 234
Parthenon, 176
Patmore, Coventry, xxix, xxxvii, 216, 323, 331; “Angel in the House, The,” xliv
Peacock, Thomas Love, xxv
Petrarch, 349n3. See also sonnet form
Phelan, Joseph, xxvin13
phrenology, 77n10
Poe, Edgar Allan, 310, 341
poet, work of, 296–97
poetry: and morality, 293, 312–14, 341; and prosody, 315–19, 320–21; and readers, 283–84, 320; and subject matter, xxxviii, 305–6, 308, 311; theories of, 277–79
Pope, Alexander, 182n7, 298
Pre-Raphaelite movement, xxvi, 325, 331, 348; Meredith and, xxiii; poetry, 251
Racine, Jean, 309
Raphael, 55n83
realism, 306, 312
Regan, Stephen, xxxvin35
Revue des Deux Mondes, 308
Rossetti, Christina, xliv, 323, 348
Rossetti, Dante Gabriel, 185, 189, 348
Rossetti, William Michael, 189, 348
Rudy, Jason, xxix
Ruskin, John, xxxvii, 215, 216, 241
Saturday Review, xxi–xxii, xxviii, 201
science, as compared to art, 258–59. See also senses
senses: aesthetic theory of, 255–59, 274–76; and imagination, 256–59; and language, 263–66; mental processing of, 253–55, 260–67, 268–70; and music, 274–76; physiology of, 268–76; in poetry, 182, 279, 280–82, 324; scien
tific theories of, 251–52, 253–59, 260–67, 268–76
Shakespeare, William, 37n32, 52n74, 255, 263, 287, 290, 291–92, 305
Sharp, William, xxxivn32, 206
Shelley, Percy Bysshe, 177–78, 203, 277, 280, 300
Smith, Alexander, xxviii
sonnet form, xxvi, xxxiii–xxxvii, 206, 319, 323, 353; history of, xxxiii; types of, xxxiii–xxxiv
Sophocles, 292
Spasmodism, xxiii, xxviii–xxx, 180, 278, 299–307, 324, 344; and Meredith, xxiii, xxviii, xxix–xxx, 184, 186, 279
Spectator, 180
Spenser, Edmund, 291
Squire, Sir John, 343
Stevenson, Robert Louis, xxi
Swinburne, Algernon, xxx, xlii, 175, 189, 212
Symbolists, xxii, 341
Symons, Arthur, 208
Tennyson, Alfred Lord, xxi, 40n42, 195, 277, 299, 331, 344; compared to Meredith, 182
Tennyson, Alfred Lord, works: Idylls of the King, 190, 205; In Memoriam, 139n1, 203, 280; Maud, xliv, 324
Thomson, James, 208–9
Thornycroft, Hamo, 353
Travelers Record, 211
Tucker, Cynthia, xxxv–xxxvi
Tucker, Herbert, xxix
Wallis, Henry, xxvi
Westminster Review, 199
Wilson, George, 252, 268
women: compared to slaves, 248; and equal rights, xxiii, 248; as fallen, 200; and gender roles, xxxvii–xxxviii, 215–16, 217–25, 226–33, 241–46, 247–50, 323. See also marriage
Wordsworth, William, xlii, 159n5, 277, 281n3, 287, 298, 315, 325
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