Modern Love and Poems of the English Roadside, with Poems and Ballads

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by George Meredith


  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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