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Algernon Charles Swinburne: the Causes and Effects of His Sapphic

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Algernon Charles Swinburne: the Causes and Effects of His Sapphic ALGERNON CHARLES SWINBURNE: THE CAUSES AND EFFECTS OF HIS SAPPHIC POSSESSION By ANTHEA MARGARET INGHAM A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of English College of Arts and Law The University of Birmingham October 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The thesis regards the extraordinary power of Sappho in the 1860s as resulting in a form of “Sapphic Possession” which laid hold on Swinburne, shaped his verse, produced a provocative new poetics, and which accounted for a critical reception of his work that was both hostile and enthralled. Using biographical material and Freudian psychology, I show how Swinburne became attracted to Sappho and came to rely on her as a substitute mistress and particular kind of muse, and I demonstrate the pre-eminence of the Sapphic presence in Poems and Ballads: 1, as a dominant female muse who exacts peculiar sacrifices from the poet of subjection, necrophilia, and even a form of “death” in the loss of his own personality; as a result, he is finally reduced to acting as the muse’s mouthpiece, a state akin to that of Pythia or Sibyl. Verse written under such duress instigates a new poetics where the demands and constructs of the muse produce a sublime composed of aberrance, fracture and the darkness of myth. To explicate this argument I read Poems and Ballads: 1 through carnival, a form of Bacchanal or Sapphic Komos which has the effect of blurring the boundaries between life and lyric, and which demands a joyous and reciprocal response from its readers, in which they must acknowledge their own attraction to the Sapphic sublime. DEDICATION I dedicate this to the memory of my father, Roy Whyte Purnell who first introduced me to the verse of Algernon Charles Swinburne some sixty years ago. ACKNOWLEDGEMENTS I would like to thank my supervisor, Dr Marion Thain for her unfailing support, wise guidance and good humour. I would also like to thank my children, who, in their various ways, have given me invaluable assistance: Victoria and Sophia have contributed their typing skills; Harry has given advice on Classical matters, while Fred has shared his thoughts on carnival and Ted has assisted with IT. I would also like to thank Roger Ingham who has tirelessly transported me to and from Birmingham University. Lastly I would like to acknowledge funding from the University of Staffordshire. TABLE OF CONTENTS Introduction 1 Chapter 1: “Who Is Sappho? What Is She? ”: Identifying Sappho In 1860 9 Sapphic texts 11 Sappho and the sublime 20 Nineteenth-century reception 24 Visual image and its constructs 31 Summary of Sapphic constructs 34 Chapter 2: The Process of Sapphic Possession 38 Early intimations of Sappho 39 Sappho at Eton 48 Sappho in the outside world 57 Sappho embodied 64 Sappho and the problems of poetic identity 67 Submission to Sappho 75 Chapter 3: Omnipresent Sappho 78 Sappho’s footprints and footsteps 79 Sapphic tropes 89 Hidden footsteps 94 Sappho’s embodiments 96 Backtracking 111 Chapter 4: The Triumph of The Muse 114 The nature of the Sapphic muse 115 The muse as source, agent and product 120 Thanatos and the muse 136 Chapter 5: The Sapphic Sibyl 151 The poet as Sibyl 151 “Nec mortale sonans”: the sublime 168 “Adflata est numine quando”: the poet as priest/ess 181 Chapter 6: Sapphic Komos: “A Carnival Of Ugly Shapes?” 188 Swinburne, Sappho and the carnivalesque 192 Critics at the carnival 195 Sapphic Komos 208 “Itylus”: an instance of Komos 217 Poet and muse: a live performance 222 Conclusion 225 Appendix of Sapphic Fragments 232 Bibliography 246 LIST OF ABBREVIATIONS ACS: Gosse, E. The Life of Algernon Charles Swinburne. London: Macmillan, 1917. CW: The Complete Works of Algernon Charles Swinburne. Eds. Edmund Gosse and Thomas James Wise Gordon: Disney-Leith, Mary. Boyhood of Algernon Charles Swinburne. London: Chatto and Wyndus, 1917. Lang: The Swinburne Letters. 6 vols. Ed. Cecil Y. Lang. Cambridge, Massachusetts: Yale UP, 1959-1962. L J: Lafourcade, Georges. La Jeunesse de Swinburne 1837-1867. 2 vols. Paris: OUP, 1928. Notes: “Notes on Poems and Reviews.” In Swinburne Replies. Ed. Clyde K. Hyder. New York: Syracuse University Press, 1966, 16-32. P&S: Gosse, E. Portraits and Sketches. London: Heineman, 1912. SAC: Swinburne as Critic. Ed. Clyde K. Hyder. London: Routledge and Kegan Paul, 1972. SR: Swinburne Replies. Ed. Clyde K. Hyder. New York: Syracuse University Press, 1966, 16- 32. SSS: Maxwell, Catherine. “Swinburne: Style, Sympathy and Sadomasochism.” Journal of Pre- Raphaelite Studies, 12 (Fall 2003), 86-96. TCH: Swinburne: The Critical Heritage. Ed. Clyde K. Hyder. London: Routledge and Kegan Paul, 1970. TFS: Maxwell, Catherine. The Female Sublime from Milton to Swinburne: Bearing Blindness. Manchester: Manchester UP, 2001 TSC: Reynolds, Margaret. The Sappho Companion. London: Vintage, 2001. TSH: Reynolds, Margaret. The Sappho History. London: Palgrave Macmillan, 2003. UL: The Uncollected letters of Algernon Charles Swinburne. Ed. Terry L. Meyers. London: Pickering and Chatto, 2005. INTRODUCTION “Someone, I say, will remember us in the future.” “By the hunger of change and emotion, By the thirst of unbearable things…” Swinburne’s fortunes in the twentieth century were certainly varied, owing as much to “the hunger of change and emotion” as to the “thirst of unbearable things.” 1 In the early part of the century he was biographically bowdlerised by his cousin Mary Disney-Leith, distorted by Edmund Gosse, scavenged by Theodore Watts-Dunton, and forged by Thomas Wise; and later he was to be damned by T.S. Eliot in his essay “Swinburne as Poet” (1920).2 However, his more “respectable” verses remained firmly embedded in anthologies, and biographies and critical works abounded, most notable among which was the massive two volume work by Georges Lafourcade, La Jeunesse de Swinburne (1928), which still remains the most comprehensive study of Swinburne and his early work. A glance at Frederick Faverty’s section on Swinburne in The Victorian Poets (1969) will show a huge assortment of extraordinarily disparate work that continued to be written about the poet in the first half of the Twentith Century. However, it was with the publication of Cecil. Y. Lang’s The Swinburne Letters in 1959, along with renewed interest in the PreRaphaelites, that significant scholarly interest began to take place in journals such as the Journal of Pre- Raphaelite Studies, The Victorian Newsletter, Victorian Studies and Victorian Poetry, this last devoting the greater part of the 1971 Fall edition to Swinburne. Indeed, I have found a number of articles from this edition particularly stimulating, in particular, those by Julian Baird, Robert Greenberg and F.A.C.Wilson. Following from this initiative, the seventies saw important contributions made to Swinburne scholarship by a raft of scholars, some 1 The first quotation is from Sappho’s fragment 147 and the second from Swinburne’s “Dolores”. 2 Actually Eliot’s remarks were misunderstood: his much-quoted: “the meaning is only the hallucination of meaning” (149), was taken out of context, he had continued: “The world of Swinburne does not depend on some other world which it stimulates; it has the necessary completeness and self-sufficiency for justification and permanence.” However, this served to reinforce earlier criticism. Harold Nicolson, for example, would comment in 1926: “There are many who agree with [George] Meredith in thinking him ‘devoid of an internal centre….’”(2). 1 of whom are now usefully discussed by Rikky Rooksby in The Whole Music of Passion (12-14). They are so very numerous it would seem invidious to pinpoint individuals, but I personally have found the work of Ian Fletcher in Swinburne and Jerome K. McGann in Experiment in Criticism particularly interesting, although I do not necessarily accept their arguments. I have also found two books by Clyde K. Hyder: Swinburne Replies (1966) and Swinburne: The Critical Heritage (1972) extremely useful in providing a helpful point of reference to contemporary Victorian reception.3 However, this is a mere sketch of books about the poet, available in the earlier part of the twentieth century, as K.H. Beetz’s A.C. Swinburne: A Bibliography of Secondary Works (1980) will show. The late sixties and seventies saw a resurgence in biography: two rather sensational biographies, one by Jean Overton Fuller (1968) and the other by Donald Thomas (1979), and a third, a very thorough one by Philip Henderson, Swinburne the Portrait of a Poet, (1974) with thoughtful verse criticism, which I have found very useful to refer to. More recently in the field of biography, knowledge of Swinburne’s life has been augmented by Rikki Rooksby’s meticulous Swinburne: A Poet’s Life (1997), and Terry Meyers The Uncollected Letters of Algernon Charles Swinburne (2007) has added further to the earlier collection by Lang; the recently- published sixth volume of Pickering and Chatto’s facsimile edition of Lives of Victorian Literary Figures (2005) complements the picture with its useful section on Swinburne as seen through the eyes of his contemporaries. Further details of these and other publications mentioned in this chapter will be found in my bibliography. In the late twentieth century and more particularly in the twenty-first, interest in Swinburne has accelerated, not only through the initiative of scholars mentioned above, but there have been important new contributions to Swinburne studies by such diverse scholars as Yisrael Levin, Margot Louis, Terry Meyers, Elizabth Prettejohn and Nicholas Shrimpton, and others too numerous to mention here.
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