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Introduction Chapter 1 the Wordsworthian Sonnet Revival Notes Introduction 1 Introduction to the facsimile reprint of The Germ (1901; rpt. Oxford: Ashmolean Museum, 1992), p. 20. The poem in question is ‘Her First Season’. 2 Christina Rossetti, The Complete Poems, eds R.W. Crump and Betty S. Flowers (London: Penguin, 2001), p. 854. 3 This equation was made explicit by some writers towards the end of the nineteenth century; see ch. 6 below, pp. 146–7. 4 In ‘Scorn not the sonnet’: ‘with this key/ Shakespeare unlocked his heart’ (ll. 2–3); see ch. 2 below. 5 See ch. 4 below for a discussion of Keble’s theory of ‘reserve’ in relation to the sonnet. 6 See ch. 1 below, pp. 18–23. 7 Jan Marsh ed., Dante Gabriel Rossetti: Collected Writings (London: J.M. Dent, 1999), p. 494. 8 See for instance Browning’s sonnet ‘Why I am a liberal’ (1885), published in response to a request and not included by Browning in the collected edition of his poems. 9 In Culture and Anarchy (1869), ch. 2. 10 See William T. Going, ‘The Term “Sonnet Sequence”’, Modern Language Notes 62 (1947), 400–2, and ch. 6 below. I have tended to use ‘series’ rather than ‘sequence’ for sonnet groupings written before the last quarter of the century. 11 The ‘obvious affinity’ between the sonnet sequence and the lyric sequence is noted by John Woolford in his illuminating discussion of the lyric sequence in Browning the Revisionary (Houndmills, Basingstoke: Macmillan, 1988), p. 89. 12 See ch. 6 below, pp. 140–1. 13 Raymond Williams, Marxism and Literature (Oxford: Oxford University Press, 1986), part II, ch. 8. 14 In ‘The Sonnet’s Voice’ (1881); see ch. 6 below, pp. 138–9. 15 ‘Cavalcanti’ (1934) in T.S. Eliot ed., Literary Essays of Ezra Pound (1954; rpt. London and Boston: Faber and Faber, 1985), p. 170. Chapter 1 The Wordsworthian Sonnet Revival: Poems in Two Volumes (1807) 1 Lee M. Johnson, Wordsworth and the Sonnet, Anglistica XIX (Copenhagen: Rosenkilde and Bagger, 1973), p. 10. 2 See Stuart Curran, Poetic Form and British Romanticism (Oxford: Oxford University Press, 1986), ch. 3; Daniel Robinson, ‘Reviving the Sonnet: Women Romantic Poets and the Sonnet Claim,’ European Romantic Review 6 (1995), 98–127. 155 156 Notes 3 Cited in Alun Jones ed., Wordsworth’s Poems of 1807 (Basingstoke: Macmillan, 1987), p. 159; Wordsworth’s account is corroborated by one of Dorothy Wordsworth’s journal entries (hence the editorial emendation to the date): see Marjorie M. Barber ed., A Dorothy Wordsworth Selection (London: Macmillan, 1965), p. 56. 4 First published in the European Magazine XL (March 1787) under the pseu- donym ‘Axiologus’. Helen Maria Williams was herself a poet, and identified herself strongly with the cause of the French Revolution. 5 Mary Robinson’s preface is reprinted in Paula R. Feldman and Daniel Robinson eds, A Century of Sonnets: The Romantic-Era Revival 1750–1850 (Oxford and New York: OUP, 1999), pp. 233–40; Anne Radcliffe, A Sicilian Romance (1790: OUP, 1993), pp. 23–24. 6 From the Gentleman’s Magazine, 56 (1786), 333–4; cited Duncan Wu, Romantic Women Poets: An Anthology (Oxford: Blackwell, 1997), p. 69. 7 Nathan Drake, Literary Hours or Sketches Critical and Narrative (London: Cadell and Davies, 1798), pp. 61, 66–7. 8 A translation of Petrarch’s sonnet beginning ‘Se la mia vita dall’aspro tor- mento’ ; first published in the Morning Chronicle in 1798. 9 Feldman and Robinson, Century, p. 15; the first edition of Smith’s Elegiac Sonnets appeared in 1784. 10 See Bishop Hunt Jr., ‘Wordsworth and Charlotte Smith’, The Wordsworth Circle 1 (1970), 85–103. 11 Feldman and Robinson, Century, p. 15. 12 Ibid., p. 16. 13 Doubtfully headed ‘To [?] Charles Lamb’, but the words in question were intended for the poet’s brother John; see Alan G. Hill ed., Letters of William Wordsworth: A New Selection (Oxford and New York: Oxford University Press, 1984), pp. 59–60. 14 Jennifer Ann Wagner suggests that Wordsworth ‘recuperated [the] form… from a “feminization” of the genre’, and traces out this ‘masculine’ Words- worthian line in her study of the nineteenth-century sonnet; A Moment’s Monument: Revisionary Poetics and the Nineteenth-century English Sonnet (London: Associated University Presses, 1996), p. 13. 15 See ch. 1 of Biographia Literaria for Coleridge’s account of his discovery of Bowles’ sonnets; the quotation is from the second version of Coleridge’s sonnet to Bowles, l. 8. Coleridge’s tortuous relation to the sonnet tradition is discussed in detail in Daniel Robinson, ‘“Work without hope”: Anxiety and embarrassment in Coleridge’s Sonnets’, Studies in Romanticism 39 (2000), 81–110. 16 John Kerrigan notes the significance of this phrase in ‘Wordsworth and the Sonnet: Building, Dwelling, Thinking’, Essays in Criticism 35 (1985), 57. 17 From a letter of October 1805 to Sir George Beaumont; cited in Jones, Poems of 1807, p. 161. 18 Paradise Lost, bk vii, ll. 26–7. 19 Coleridge, ‘Reflections on Having Left a Place of Retirement’, l. 48. 20 Jennifer Ann Wagner also notes this dimension of the Wordsworthian sonnet: ‘Wordsworth introduces to the nineteenth-century sonnet a self- reflexivity that the form had not seen since Shakespeare; [his] keen awareness of the dialectics of constraint and freedom, of miniaturization and expansion, Notes 157 of resistance and potentiality, reinforces the structure of his poems with a thematization of those very dynamics’: A Moment’s Monument, p. 15. 21 Jonathan Hess, in contrast, reads the poem as an assertion of liberty which ‘[affirms] what it sees as the foundations of political freedom… by negating what recent scholarship has come to see as the symbolically central political institution of the age [i.e. prison]’; ‘Wordsworth’s Aesthetic State: The Poetics of Liberty’, Studies in Romanticism 33 (1994), 24. 22 ‘I cannot praise a fugitive and cloistered virtue, unexercised and unbreathed, that never sallies out and sees her adversary, but slinks out of the race, where that immortal garland is to be run for, not without dust and heat’; Milton, ‘Areopagitica’ in K.M. Burton ed., Milton’s Prose Writings (London and New York: Dent, Dutton, 1974), p. 158. 23 E.P. Thompson, The Making of the English Working Class (1963; rpt. Harmondsworth, Middx.: Penguin, 1982), p. 299. 24 Compare the image of domestic contentment around the spinning wheel in ‘Michael’, ll. 80–111. 25 Cp. Spenser, Amoretti, 71, ll. 9–12: ‘But as your worke is woven all about,/ With woodbynd flowers and fragrant Eglantine:/ So sweet your prison you in time shall prove,/ With many dear delights bedecked fine’. 26 See for example Milton’s ‘When I consider how my light is spent’: ‘“Doth God exact day-labour, light denied?”/ I fondly ask. But Patience, to prevent/ That murmur, soon replies…’ (ll. 7–9). 27 This letter, to the Whig statesman Charles James Fox, was written in January 1801 to accompany a presentation copy of Lyrical Ballads; see Michael Mason ed., Lyrical Ballads (London and New York: Longman, 1992), pp. 42–43. 28 Herbert Sussman, Victorian Masculinities: Manhood and Masculine Poetics in Early Victorian Literature and Art (Cambridge: Cambridge University Press, 1995). 29 A similarity also noted by Arunodoy Bhattacharya in The Sonnet and the Major English Romantic Poets (Calcutta, 1976), p. 32. 30 ‘The Sonnets of William Wordsworth’, Quarterly Review 69 (1841–2), 3; 4–5. 31 Leigh Hunt and S. Adams Lee eds, The Book of the Sonnet (Boston: Roberts Bros., 1867), I, pp. 226–7 32 Alan Liu, Wordsworth: The Sense of History (Stanford, California: Stanford UP, 1989), p. 431. 33 Liu suggests that this poem was originally part of a series of poems com- memorating the ‘Calais Tour’ of 1802, a moment of great personal significance for Wordsworth in coming to terms with the legacy of his involvement in the fortunes of revolutionary France. For Liu, the ‘memorial tour’ is the form evolved by Wordsworth in response to his repression of History; see The Sense of History, pp. 474–85. 34 Stuart Curran suggests that the removal of the sonnets ‘To Sleep’ and the translations from Michelangelo would leave ‘a surprisingly coherent pattern’ constituting ‘a sequence in the Petrarchan mode’; Poetic Form, pp. 41–2. 35 In his definition of the ‘Fancy’ in the Preface to Poems (1815); Poems, p. 919. 36 Liu, Sense of History, pp. 428, 435. 37 Preface to Poems (1815); John O. Haydon, Wordsworth: The Poems (Harmondsworth, Middx.: Penguin, 1982), II, p. 919. 38 Wagner, Moment’s Monument, pp. 41–45. 158 Notes 39 See the letter to Lady Beaumont of 21 May 1807 defending sonnet 8, ‘With ships the sea was sprinkled far and nigh’: ‘My mind wantons with grateful joy in the exercise of its own powers, and, loving its own creation, “This ship to all the rest I did prefer”’ (Hill, Letters, p. 102). 40 Philip Cox points out this poem’s satirical relation to the ‘revisit’ sonnet tradition; Gender, Genre and the Romantic Poets (Manchester and New York: Manchester UP, 1996), p. 47. 41 This contradiction also fascinated Browning; see the discussion of ‘One Word More’ and its importance for the ‘aesthetic’ sonnet in ch. 6. 42 Liu suggests that this poem represents the end of the (repressed or dis- placed) Calais Tour, and in its rejection of the fantastic visions conjured up by the clouds implies the poet’s final surrender to respectability: ‘Watching the sky’s cumulus architecture… the poet feels all along that he will forget the phantom New Jerusalem because it has no earthly substance’; The Sense of History, p. 482. 43 For Wordsworth’s involvement in the revolutionary politics of London in the 1790s see Nicholas Roe, Wordsworth and Coleridge: The Radical Years (Oxford: Clarendon Press, 1988).
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