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Download (7Mb) University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/72010 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THE PO E T AND THE CIT Y the city as a theme in English poetry of the nineteenth century by Bridget O'Toole M.A. Submitted for the degree of Doctor of Philosophy to the University of Warwick Department of English September 1974 i. SUMMARY This study examines the treatment of the city as a subject in nineteenth century English poetry. There is an outline of some of the problems posed by urban subject-matter in the post-Romantic era together with a survey of attitudes to the city, literary precon­ ceptions and the kind of terminology already available at the beginning of the period. The body of the thesis shows how approaches developed, and considers how far poets were able to create forms and a language capable of dealing with this subject. It was not one which inspired great poetry; most poets found the material intransigent. A major reason for this was the complex set of reactions produced by the presence of the urban crowd. The poet's response to the city is seen to depend largely on his response to the crowd and this study has therefore taken into account the reaction of poets to social developments in the course of the century. The thesis deals with poetry in which the city or aspects of life in the city is the main subject. Poets for whom the city was only an occasional subject, e.g. Matthew Arnold and Robert Browning, have not been included although this study should throw some light incidentally on their treatment of urban themes. ii. TABLE OF CONTENTS Chapter One THE PROBLEM AND SOME PRECONCEPTIONS 1 Introductory Chapter Two POPULARISERS Charles Lamb, the Smith brothers, Frederick Locker-Lampson Chapter Three PROLETARIAN SYMPATHIES 55 Thomas Hood, Charles Mackay, the Chartists Chapter Four 'APOLLO DISCROWNED' 81 Robert Buchanan and Alexander Smith Chapter Five THE CITY OF DREADFUL NIGHT 105 James Thomson ('B.V.') Chapter Six THE FIN DE SIECLE 133 The influence of the 'aesthetic' movement, French painting and Baudelaire Chapter Seven ARTHUR SYMONS 166 Chapter Eight W. E. HENLEY AND JOHN DAVIDSON 186 Chapter Nine TOWARDS THE TWENTIETH CENTURY •. 215 BIBLIOGRAPHY 230 1. CHAPTER ONE THE PROBLEM AND SOME PRECONCEPTIONS I T. S. Eliot's The Waste Land is sometimes considered to be the first city poem written in English, and Eliot is credited with doing what he said Baudelaire had done, using 'imagery of the sordid life of a great metropolis' and elevating it 'to the first intensity - presenting it as it is, and yet making it represent much more than it is -' thus creating 'a mode of release and expression for other men.,1 But when Eliot acknowledges the influence of certain nineteenth century English writers on his own work, and when we discover that the Viotorians wrote a great deal of urban poetry, particularly in the eighteen-nineties, it becomes tempting to see Eliot as culminating rather than inaugurating a tradition of poetry of the city. The 'Preludes', 'Rhapsody on a Windy Night, and The Waste Land seem to have been anticipated in some way by works like James Thomson's City of Dreadful Night, John Davidson's 'Thirty Bob a Week' whose 'dingy urban images' Eliot has acknowledged 2 as an influence and the mass of urban verse written during the fin de si~cle in more or less conscious imitation of Whistler's paintings and Baudelaire's 'Tableaux Parisiens'. And yet I think that to see The Waste Land as the first important city poem is not altogether a mistake. All through the nineteenth century there is a sense of uneasiness with urban subject matter, a scarcity of any real confrontation by the poet of his material in a way that would compare with Wordsworth's presentation of the external world of Nature, or with the direct impact of urban experience on the sensi­ bility that we afterwards find in Eliot or the poets of the 1930s. 2. It is not that nineteenth century poets were unaware of the city as material for poetry. Like insistent but constantly frus- trated prospectors they would assert time and time again that there were rich veins of poetry in the city if only they could be found. They did so in opposition to the belief, sometimes stated, sometimes just assumed, that the city is essentially prosaic, or worse, inimical to poetry. The debate intensified as those who asserted the latter view became more eloquent and influential and the city itself more seemingly intransigent as a subject; Ruskin, Carlyle and Morris could point to the world around them of blackened buildings and human degradation, and insist as Ruskin frequently did, that 'You can't have art where you have smoke'. The argument was never quite resolved, the assertions recur with the same force in almost every decade after 1850. Arthur Hugh Clough declared in 1853 that he was prone to believe that Pindus and Parnassus were no longer the 'lawful haunts of the poetic powers', but that these were 'if anywhere, in the blank and desolate streets, and upon the solitary bridges of the midnight city.,3 In 1860s and 1870s, Robert Buchanan one of the poets who attempted the subject most earnestly acknowledged that 'Streets are not beautiful, and this is the age of streets' similarly of trade, railways, educational establishments, poor houses, debating societies, but, he says, 'if we strip off the hard outer crust of these things, if we pass from the unpictures- queness of externals to the currents which flow beneath, who then shall say that this life is barren of poetry?' 4 In a poem dated October 1887 Arthur Symons rejected the idea that Art was enshrined apart from human life, saying Seek her not there; but go where cities pour Their turbid human stream through street and mart5 3. and John Davidson argued at the turn of the century, 'It is not now to the light that "the passionate heart of the poet" will turn. The poet is in the street, the hospital. He intends the world to know it is out of joint.,6 By the time Davidson was writing those words there had in fact been a considerable amount of poetry specifically concerned with the city, ranging from the light verse of Frederick Locker-Lampson's very popular London Lyrics to the realism of Robert Buchanan and Charles Mackay, the phantasmagoric City of Dreadful Night by James Thomson and the many 'impressionist' lyrics of Davidson's contemporaries in the 1890s. And yet the tone of Davidson's argument as it proceeds shows that he feels the poet has yet to come to grips with the city as a subject. There can be no doubt that the city presented considerable problems to the poet, especially in the post-Romantic era. This study attempts to show some of the ways in which poets tackled these, but first it is necessary to understand what the problems were. II In the industrial era the phenomenon of the growing city made an impact which was traumatic in the strongest sense of the word. Building was rapid, disordered and ugly, housing an increasingly crowded population. The city became a 'wi:hderness' or 'juhgle', no longer the centre and symbol of civilisation's ordered harmony but the apparent embodiment of all chaos: and misery. To poets in the eighteenth century, the world of nature had seemed at various times to be monotonous, savage, formless, threatening; in the nineteenth century the wilderness was the town.? At the beginning of this period, in one of the rare moments when a poet confronted the city 4. directly we are given a sense of the horror it created in physical and moral terms. Blake's 'London' was to anticipate the experience of many of the later poets: I wander thro' each charter'd street, Near where the charter'd Thames does flow, And mark in every face I meet Marks of weakness, marks of woe. In every cry of every Man, In every Infant's cry of fear, In every voice, in every ban, The mind-forg'd manacles I hear. How the Chimney-sweeper's cry Every blackning Church appalls; And the hapless Soldier's sigh Runs in blood down Palace walls. But most through midnight streets I hear How the youthful Harlot's curse Blasts the new born Infant's tear, And blights with plagues the Marriage hearse.8 We are aware, here, not only of the blackened walls, the chimney sweeps and harlots, but of the narrator's own isolation. His lack of real communication with the people he passes is expressed in 'every face I meet'. Meeting faces comes to indicate a lack of meeting the person behind the face. Later Tennyson wrote of , ••.• the squares and streets, / And the faces that one meets,' and Eliot developed the image in Prufrock's 'Time to prepare a face to meet the faces that one meets.' The streets and buildings and the 'faces' of the city were only part of a larger problem. Romanticism made certain demands on the poet which added to the difficulties of writing about the city.
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