DOCSLIB.ORG

Chapter 1. Becoming Michael Field: „Arran & Isla Leigh‟ (28)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Chapter 1. Becoming Michael Field: „Arran & Isla Leigh‟ (28) The University of Hull The Poetic Oeuvre of „Michael Field‟: Collaboration, Aestheticism and Desire in the Writings of Katharine Harris Bradley (1846 – 1914) and Edith Emma Cooper (1862 – 1913) being a Thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the University of Hull by Matthew William Mitton, BA (Hons.), MA (Dist.) September 2008 Acknowledgements Firstly, I would like to express my gratitude to the members of the Department of English, University of Hull, for their sustained support throughout the course of this project. Especially, I would like to thank my supervisor, Ann Heilmann, for her patience, encouragement and excellent guidance over the last two years. My thanks also go to Angela Leighton for her advice in the early stages of this project. Jane Thomas deserves particular mention for being the person who introduced me to Michael Field in the first place as an undergraduate and for many helpful discussions on late nineteenth century literature in general. I would like to express my gratitude to the University of Hull for the award of a three year scholarship which made this project possible, as well as the Carl Baron Memorial Fund for a cash award in late 2006 which enabled the purchase of essential research materials. I am greatly indebted to Leonie Sturge Moore and her sister, Charmian O‟Neal, for their kind permission to quote from the unpublished papers of Katharine Bradley and Edith Cooper. I am also grateful to Colin Harris and Patricia Buckingham of the Bodleian Library for their help in accessing the Michael Field collection in their care, the staff of the Harvard University Library for their swift response to my enquiries, as well as the personnel of the Brynmor Jones Library. Thanks are also due to Trudi Tate, who, as reviews editor for Women: A Cultural Review, enabled me to keep up to date with the latest critical works on Michael Field to emerge while this project was under way. Mark Llewellyn was also helpful in alerting me to many journal articles which might have otherwise proved elusive for some time. David Wheatley offered great assistance in translating Latin quotations and titles. I should also like to acknowledge the many booksellers and dealers in rare editions – particularly Philip J. Piragees and John Hart – who have helped in sourcing a great deal of the original material which I draw on in this thesis. I would particularly like to thank Anesh Kumar, Tony Harewood, Sharon Hodgson and Barbara Wilson for their friendship and support over the years, and for their encouragement of a project which has often rendered me an absent presence. Especial thanks must go to Peter and Jeanette Riley and Alan and Joyce Measures for all of their many kind enquires and encouraging words, practical and moral support, not to mention their consistent and steady confidence in me and my work. I dedicate this work to my niece and nephew, Aimée and Adam Ashton. However, overall, this is for my mother and father, Wendy and Bill Mitton, in endless gratitude for their constant patience, understanding, and financial and moral support far above and beyond the call of duty. They have ensured that I had a peaceful and nurturing atmosphere to retire to and write-up the bulk of this thesis. Without their unwavering belief in me, not a page of this could have been written. Abbreviations NM: The New Minnesinger (1875) B: Bellerophôn (1881) LA: Long Ago (1889) TM: The Tragic Mary (1890) SS: Sight and Song (1892) UTBa: Underneath the Bough (1893) UTBb: Underneath the Bough, Revised and Decreased (1893) UTBc: Underneath the Bough, American Edition (1898) WH: Wild Honey from Various Thyme (1908) PA: Poems of Adoration (1912) MT: Mystic Trees (1913) WC: Whym Chow: Flame of Love (1914) D: Dedicated (1914) SP: A Selection from the Poems of Michael Field (1923) WD: Works and Days: From the Journal of Michael Field (1933) Contents Introduction (1) Chapter 1. Becoming Michael Field: „Arran & Isla Leigh‟ (28) Chapter 2. „Manifold Desire‟: Voicing Sappho‟s Songs in Long Ago (1889) (58) Chapter 3. „Implicating Eyes‟: The Poetics and Sexual Politics of Ekphrasis in Sight and Song (1892) (88) Chapter 4. „Issues of Heart and Mind‟: Courtly Postures and Song in Underneath the Bough (1893, 1893 & 1898) (119) Chapter 5. „For That Moment Only‟: The Poetics of Prose (149) Chapter 6. „Ancient Law of Pleasure‟: from Profane to Sacred in Wild Honey from Various Thyme (1908) (173) Chapter 7. Separate Voices, United Passions: Style and Desire in Poems of Adoration (1912) and Mystic Trees (1913) (204) Conclusion: Closing the Circle (234) Bibliography (251) Introduction The last few decades have witnessed an immense resurgence in critical and academic interest in the lives and writings of nineteenth-century women poets, many of whom had been forgotten or ignored for the greater part of the twentieth century. From the 1970s onwards there has been a steady increase of articles, monographs and critical editions which have sought to reclaim and reinstate such seminal figures as Felicia Hemans, Elizabeth Barrett Browning, Christina Rossetti and Charlotte Mew. Few would now deny that writers such as Barrett Browning and Rossetti are major figures of Victorian poetry, as integral to the canon as Robert Browning, Swinburne or Tennyson, but for nearly a century, despite their formidable reputation in their own time (both women were considered for the position of Poet Laureate), their work was dismissed as minor, inferior to their male peers, and they were allowed to fall from view. Their recovery ran parallel with the rise of feminist studies in the 1970s, which saw the resurrection and reappraisal of these forgotten, suppressed voices as being central to the intellectual cause.1 One of the more curious, idiosyncratic voices of women‟s poetry to re-emerge and take centre stage at the close of the nineteenth century – and to be rediscovered at the fin de millennium – was that of „Michael Field‟. There have been very few poets quite like Michael Field, both at the fin de siècle, or, indeed, at any other time. What on the surface appeared quite commonplace was in truth anything but orthodox: not only was Michael Field not male, he was two women, Katharine Bradley and her niece Edith Cooper, which Stevie Smith termed „that odd amalgam of aunt and niece‟ (Smith 1981: 181). Following on from the publication of a few early verse dramas, there was a great deal of speculation in literary circles about the emergence of a new poetic presence, a young male poet whose classical learning and accomplishment in blank verse drew comparisons to Shakespeare.2 The extent of Michael Field‟s impact (and the effect of 1 In 1975 Germaine Greer edited an edition of Rossetti‟s Goblin Market – which, as Tom Paulin states, „initiated the rediscovery of her poetry‟ (Paulin 2005: 222) – this was duly followed by Cora Kaplan‟s major re-issue of Barrett Browning‟s Aurora Leigh in 1978. 2 In his critical assessment on Michael Field in Poets and Poetry of the Nineteenth Century (1893), Lionel Johnson asserted of the verse dramas that: „Michael Field, at her highest point of excellence, writes with an imagination, an ardour, a magnificence, in degree far lower, in kind not other, than the imagination, the ardour, the magnificence of Shakespeare‟ (Johnson 1893: 308). 6 the pseudonym) can be glimpsed in a fascinating letter which Gerard Manley Hopkins wrote to Robert Bridges on Holy Thursday 1885, after hearing that the latter was due to meet the young author, Michael Field, at a forthcoming literary gathering: I had almost forgotten to say that Michael Field is the author of Callirrhoe [sic], Fair Rosamund, and other plays one or all published very lately and much praised by the critics. He is a dramatist: nought which concerns the drama concerns not him, he thinks. It might indeed do him good to know that you had never heard of him, but I hope you will not let him make up a trio of enemies (spretae injuria formae you know) with Marzials and Hall Caine. [….] M. F. may perhaps be Irish: Field is a common, Michael a very common Irish name. Do be wise. (Hopkins 1935: 215) Hopkins‟s letter reveals the extent to which the fame of Michael Field had spread by 1885, and also that the male name was working. But more importantly, perhaps, the letter reveals the complex political nature of male dominated literary circles. The critics may praise this new writer, „he‟ may be an accomplished dramatist – or so „he thinks‟ – but he is not to be allowed to get above his station just yet. (It may do him good to know he has yet to impress himself upon the elder literary lions). But then again, Hopkins cautions Bridges against making an enemy of him: united with other young male writers he could become a potentially dangerous element. It is interesting that Hopkins thinks „him‟ to be Irish; Michael Field was such a blank canvas that his audience could literally imagine him to be who they pleased. But this strategy had its dangers, as another letter from Hopkins to Bridges a year later on 26 November 1886 illustrates. By this time Hopkins had learnt of the identity which lay behind the male name: „Sputters of poetry by Michael Field appear now in every week‟s Academy, vastly clever, pointed, and flowing, but serving in the end to shew [sic] Coventry Patmore was right in his opinion of women‟s poetry‟3 (Hopkins 1935: 245). Hopkins does not hide his admiration of this lyric verse,4 but he is now able to dismiss it on the grounds of gender.
Load more

Recommended publications
  • Modernist Ekphrasis and Museum Politics
    1 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna to The Department of English In partial fulfillment of the requirements for the degree of Doctor of Philosophy In the field of English Northeastern University Boston, Massachusetts April 2017 2 BEYOND THE FRAME: MODERNIST EKPHRASIS AND MUSEUM POLITICS A dissertation presented By Frank Robert Capogna ABSTRACT OF DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English in the College of Social Sciences and Humanities of Northeastern University April 2017 3 ABSTRACT This dissertation argues that the public art museum and its practices of collecting, organizing, and defining cultures at once enabled and constrained the poetic forms and subjects available to American and British poets of a transatlantic long modernist period. I trace these lines of influence particularly as they shape modernist engagements with ekphrasis, the historical genre of poetry that describes, contemplates, or interrogates a visual art object. Drawing on a range of materials and theoretical formations—from archival documents that attest to modernist poets’ lived experiences in museums and galleries to Pierre Bourdieu’s sociology of art and critical scholarship in the field of Museum Studies—I situate modernist ekphrastic poetry in relation to developments in twentieth-century museology and to the revolutionary literary and visual aesthetics of early twentieth-century modernism. This juxtaposition reveals how modern poets revised the conventions of, and recalibrated the expectations for, ekphrastic poetry to evaluate the museum’s cultural capital and its then common marginalization of the art and experiences of female subjects, queer subjects, and subjects of color.
    [Show full text]
  • THE Chap-Book SEMI-MONTHLY
    DELOS AVERY 425 SURF ST. CHICAGO iiiii'iCJS HSSTQR5CAL SUkVcV THE Chap- Book A MISCELLANY of Curious and Interesting Songs, Ballads, Tales, Histories, &c. ; adorned with a variety of pictures and very delightful to read ; newly composed by MANY CELEBRATED WRITERS; To which are annexM a LARGE COLLECTION of Notices of BOOKS. VOLUME L From May i^ib to November 1st A.D. MDCCCXC IV CHICAGO Printed for Stone &' Kimball o^ the Caxton Building where Shopkeepers^ Hawkersy and others are supplied DELOS AVERY 42S SURF ST. CHICAGO CKAB 1 INDEX TO VOLUME I POETRY ALDRICH, THOMAS BAILEY page ORIGINALITY 247 PESSIMISTIC POETS I03 BROWN, ALICE TRILBY 91 CARMAN, BLISS NANCIBEL 103 THE PRAYER IN THE ROSE GARDEN 34 CRAM, RALPH ADAMS THE RIDE OF THE CLANS I39 GOETZ, P. B. QUATRAINS 344 HALL, GERTRUDE MOONLIGHT, TRANSLATED FROM PAUL VERLAINE 7 VERSES 184 HENDERSON, W. J. ASPIRATION 335 HOVEY, RICHARD HUNTING SONG 253 THE SHADOWS KIMBALL, HANNAH PARKER PURITY 223 MOODY, WILLIAM VAUGHN A BALLADE OF DEATH-BEDS 5I MORRIS, HARRISON S. PARABLE 166 00 MOULTON, LOUISE CHANDLER page IN HELEN'S LOOK I96 WHO KNOWS? 27 MUNN, GEORGE FREDERICK THE ENCHANTED CITY 1 27 PARKER, GILBERT THERE IS AN ORCHARD 331 PEABODY, JOSEPHINE PRESTON THE WOMAN OF THREE SORROWS I34 ROBERTS, CHARLES G. D. THE UNSLEEPING 3 SCOLLARD, CLINTON THE WALK 183 SHARP, WILLIAM TO EDMUND CLARENCE STEDMAN 212 TAYLOR, J. RUSSELL THE NIGHT RAIN I27 VERLAINE, PAUL EPIGRAMMES 211 MOONLIGHT, TRANSLATED BY GERTRUDE HALL 7I YELLOW BOOK-MAKER, THE 4I PROSE ANNOUNCEMENTS I9, 43, 73, 96, I18, I47, I75, 204, 242, 266, 357 B.
    [Show full text]
  • Michael Field and the Gaze
    Victorian Literature and Culture (2006), 34, 553–571. Printed in the United States of America. Copyright C 2006 Cambridge University Press. 1060-1503/06 $9.50 A VISUAL FIELD: MICHAEL FIELD AND THE GAZE By Hilary Fraser In 1892, Katharine Bradley (1846–1914) and Edith Cooper (1862–1913) published a volume of poetry with the title Sight and Song based on their response to a series of paintings in British and Continental public galleries. Bradley and Cooper, aunt and niece, devoted lovers, who over the three decades of their writing lives produced numerous volumes of poetry and plays collaboratively under the authorial signature “Michael Field,” had already made their name with a volume published in 1889 entitled Long Ago, comprising translations and elaborations of the Sapphic fragments, which has been read as an intriguing and (for the times) audaciously explicit celebration of love between women. The concept of “translation” was as fundamental to the project of Sight and Song as it had been to Long Ago; however, in the later volume it refers not to the literal translation of poetic fragments written in an ancient and other language (as Long Ago ostensibly did) but to the rhetorical act of interpreting visual images. The aim of their new collection of ekphrastic poems was, as they explained in the Preface to Sight and Song, “to translate into verse what the lines and colours of certain chosen pictures sing in themselves” (Michael Field, Sight and Song v). The synaesthetic complexity of Michael Field’s language here suggests the multidimensional sensory experience of looking at and responding to visual art works, something the women try to capture in the various kinds of writing they undertake around the production of this volume – their journal and their letters, as well as the poems themselves – in their attempt to provide such a translation.
    [Show full text]
  • 2006 July-August
    July-August 2006 NEWSBOY Page 1 VOLUME XLIV JULY-AUGUST 2006 NUMBER 4 An Alger trio Part Two: Horatio Alger, Jr., John Townsend Trowbridge and Louise Chandler Moulton -- See Page 7 Carl Hartmann The Horatio Alger Society’s ‘Most Valuable Player’ An 1898 letter from Horatio Alger to Louise Chandler Moulton. From the J.T. Trowbridge papers, Department of Manuscripts, Houghton Library, Harvard University. Permission acknowledgement on Page 7. A previously unpublished story -- See Page 3 by renowned author Capwell Wyckoff: Drumbeat at Trenton Photo courtesy of Bernie Biberdorf, 1991 -- See Page 15 Page 2 NEWSBOY July-August 2006 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 HORATIO ALGER SOCIETY 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 To further the philosophy of Horatio Alger, Jr. and to encourage the 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 1234567890123456789012345678901212345678901234567890123456789012123456789 spirit of Strive and Succeed
    [Show full text]
  • Babylon Revisited Rare Books & Yesterday's Gallery Catalog 68
    Babylon Revisited Rare Books & Yesterday's Gallery yesterdaysgallery .com PO Box 154 / E. Woodstock, CT 06244 860-928-1216 / [email protected] Catalog 68 Please confirm the availability of your choices before submitting payment. All items are subject to prior sale. You may confirm your order by telephone, email or mail. We accept the following payment methods: Visa, Mastercard, Paypal, Personal Checks, Bank Checks, International and Postal Money Orders. Connecticut residents must add 6% sales tax. All items are guaranteed as described and may be returned for any reason. Please notify us within three days of receipt and note the reason for the return. All items should be shipped fully insured. Shipping charges are $6.00 for the first item, $1.50 for each additional item. Shipping of sets or unusual items or items being sent overseas will be billed at cost. We generally ship via the U. S. Postal Service. 1) ABBE, George. Voices in the Square. New York: Coward-McCann. 1938. First Edition. Earle dustjacket art. Author's first novel and story of a New England town. Near Fine in Very Good plus dustjacket, some rubbing to spine ends and flap corners, few nicks. $125.00 2) ANONYMOUS. One Woman's War. New York: Macaulay Company. 1930. First Edition. Stylized dustjacket art. Uncommon World War One themed narrative from a woman's point of view. From the jacket copy: "Some of the women war workers never returned; some returned to commit suicide rather than face the memory of what they had become. The woman who writes this book was a member of an aristocratic family.
    [Show full text]
  • Short Poetry Collection 80
    Short Poetry Collection 80 1. Annabel Lee by Edgar Allan Poe (1809-1849), read by David Duckett 2. Azure and Gold by Amy Lowell (1874-1925), read by ravenotation 3. A Burnt Ship by John Donne (1572-1631), read by Shawn Craig Smith 4. By the Candelabra's Glare by L. Frank Baum (1856-1919), read by Miriam Esther Goldman 5. The Children by Rudyard Kipling (1865-1936), read by Ruth Golding 6. Composed upon Westminster Bridge by William Wordsworth (1770-1840), read by Jhiu 80 Collection Short Poetry 7. Corporal Stare by Robert Graves (1895-1985), read by ravenotation 8. The Crucifixion of Eros by Clark Ashton Smith (1893-1961), read by Peter Piazza 9. Darkness by Lord Byron (1778-1824), read by Sergio Baldelli 10. The Death of the Hired Man by Robert Frost (1874-1963), read by Nicholas Clifford 11. Dubiety by Robert Browning (1812-1889), read by E. H. Blackmore 12. Dulce Et Decorum Est by Wilfrid Owen (1893-1918), read by Bellona Times 13. Epilogue by Robert Browning (1812-1889), read by E. H. Blackmore 14. How a Cat Was Annoyed and by Guy Wetmore Carryl (1873-1904), read by Bellona Times 15. The Ideal by Francis S. Saltus (1849-1889), read by Floyd Wilde 16. I Find No Peace by Thomas Wyatt (1503-1542), read by Jhiu 17. The Indian's Welcome to the Pilgrim Fathers by Lydia H. Sigourney (1791-1865), read by Jim Fish 18. Louisa M. Alcott In Memoriam by Louise Chandler Moulton (1835-1908), read by Carolyn Frances 19. The Marshes of Glynn by Sidney Lanier (1842-1881), read by SilverG 20.
    [Show full text]
  • Report of the Librarian
    216 American Antiquarian Society [Oct., REPORT OF THE LIBRARIAN "My library was dukedom large enough. " —Tempest, i:2 HEN Joseph's brethren came to his adopted W country during the seven lean years, they were made happy by discovering an abundance of food stored up for their need. And so it is with the historians and college professors from the far corners of the United States who flock to us all the year long, but especially during the summer vacation and the Christmas holidays, eager for our books and newspaper files, our manuscripts, maps and prints, for which they have hungered during the months when they had available only the less fortunately stored historical granaries of their various institutions. From Florida to Vancouver they have journeyed to Worcester in ever-increasing numbers to buy with their enthusiastic appreciation the rich grain of our histori- cal, biographical, and literary resources. As we watch them at their work, we cannot but share their enthu- siasm when they find here the varied materials they need for the scholarly work in which they are engaged. A Seventh Day Adventist historian from Washing- ton found our collections particularly rich in the rare periodicals, pamphlets, and broadsides relating to the Millerite delusion. A business historian was delighted with our wealth of editions of the early manuals of bookkeeping which he needed for his bibliography. A Yale graduate' student delved into our source material on the question of war guilt at the beginning of the Civil War. A Radcliffe graduate was made happy with an abundance of material on the practice of medicine in Colonial days.
    [Show full text]
  • Michael Field and Fin De Siecle Culture and Society
    Michael Field and Fin de Siecle Culture and Society MICHAEL FIELD AND FIN-DE-SIECLE CULTURE & SOCIETY The Journals, 1868-1914, and Correspondence of Katharine Bradley and Edith Cooper from the British Library, London Contents listing PUBLISHER'S NOTE EDITORIAL INTRODUCTION BY DR MARION THAIN CONTENTS OF REELS DETAILED LISTING BRIEF CHRONOLOGY Michael Field and Fin de Siecle Culture and Society Publisher's Note The “binary star” – as Browning called them - that was ‘Michael Field’, shone brightly from the first appearance of their play Callirrhoe in 1884 to their deaths in 1913/14. Katharine Harris Bradley (1846-1914) and her niece, Edith Emma Cooper (1862-1913), collaborated in writing verse and drama and were “closer married” than many of their heterosexual friends. They were familiar figures in the art world and were close friends with Berenson and Ruskin. Robert Browning was the first to acclaim their “genius” in poetry and they were widely published in periodicals. Collected volumes of poetry included Bellerophon, Underneath the Bough, Long Ago, Sight and Song, Poems of Adoration and Mystic Trees. They also wrote 27 dramas, mainly based on legends and historical figures, many of which explore the relationship between love and death. Given the range of their interests and the wealth of their connections, they are ideally situated to illuminate many aspects of late Victorian and early Modernist culture. Their diaries and letters are both voluminous and clearly written – yet they have remained inaccessible to most scholars until now. There is much on: Death – which assumed a central role in Victorian culture following the death of Prince Albert in 1861 – is a recurring theme in their diaries and their works.
    [Show full text]
  • The Woman's Story, As Told by Twenty American Women;
    i a 3= S 11 I |ai ^ <G133NV-SOV^ s I i I % ^OF-CA! c: S S > S oI = IS IVrz All ^ * a =? 01 I lOS-Af i | a IZB I VM vvlOSANGElfr;* ^F'CAI!FO% i i -n 5<-;> i 1 % s z S 1 1 O 11... iiim ^J O j f^i<L ^3AINlT3\\v s^lOSANCFlfx/ c 1 I I TV) I 3 l^L/I s ! s I THE WO MAN'S STORY AS TOLD BY TWENTY AMERICAN WOMEN PORTRAITS, AND SKETCHES OF THE AUTHORS BY LAURA C. HOLLOWAY " Author of The Ladies of the IVTiite House," "An Hour with " Charlotte Bronte," Adelaide Nvilson" "The Hiailh- stone," "Mothers of Great Men and Women," "Howard, the Christian Hero," "The Home in Poetry," etc. NEW YORK JOHN B. ALDEN, PUBLISHER 1889 Copyright, 1888, BT LAURA C. HOLLOWAY,, 607 CONTENTS. Preface v Harriet Beecher Stowe Portrait and Biographical Sketcli ix Uncle Lot. By Harriet Beecher Stowe 1 Prescott Portrait and ^Harriet Spofford. Biographical Sketch 33 Old Madame. By Harriet Prescott Spofford 37 Rebecca Harding Davis. Biographical Sketch 69 Tirar y Soult. By Rebecca Harding Davis 73 Edna Dean Proctor. Portrait and Biographical Sketcli. 97 Tom Foster's Wife. By Edna Dean Proctor 99 Marietta Holley. Portrait and Biographical Sketcli. .113 Fourth of July in Jonesville. By Marietta Holley. 115 Nora Perry. Portrait and Biographical Sketch 133 Dorothy. By Nora Perry 135 Augusta Evans Wilson. Portrait and Biographical Sketch 151 The Trial of Beryl. By Augusta Evans Wilson 157 Louise Chandler Moulton. Portrait and Biographical Sketch 243 * " Nan." By Louise Chandler Moulton 247 Celia Thaxter.
    [Show full text]
  • Michael Field, German Philosophy and Sapphic Identity: Towards Martin Heidegger Dr
    Michael Field, German Philosophy and Sapphic Identity: Towards Martin Heidegger Dr. Mayron E. Cantillo Lucuara. Universitat de València Recibido 9/11/2020 Michael Field, filosofía alemana e Michael Field, German Philosophy and Sapphic identidad sáfica: hacia Martin Identity: Towards Martin Heidegger Heidegger Katharine Bradley and Edith Cooper, also known Katharine Bradley y Edith Cooper, también jointly as Michael Field, took a special and enduring conocidas conjuntamente como Michael Field, interest in philosophy, chiefly in its Germanic cultivaron un interés especial y duradero por la branch, but this aspect of their highly intellectualised filosofía, principalmente por su rama germánica, si lives has received no systematic inquiry to date. In bien este aspecto de sus vidas altamente this article, I propose to offer an integrative three- intelectualizadas no ha sido objeto de ningún estudio fold account of (1) how contemporary critics have sistemático hasta la fecha. En este artículo, approached the Fields mostly from gender-based ofrecemos un triple comentario integrador de (1) philosophical viewpoints, (2) how the couple cómo los críticos contemporáneos han abordado a engaged with prominent German thinkers such as las Fields principalmente desde puntos de vista Hegel and Nietzsche, and lastly (3) how their ahead- filosóficos basados en el género, (2) cómo la pareja of-time poetics can be fruitfully associated with se desenvolvía con pensadores alemanes tan Martin Heidegger’s deconstructive ontology as prominentes como Hegel y Nietzsche y, por último, 213 expounded in Being and Time. The conclusions I (3) cómo su adelantada visión poética puede reach, reinforced by a brief comparative study of vincularse fructíferamente a la ontología Nº 98 Michael Field’s Long Ago (1889), are audacious yet deconstructiva de Martin Heidegger tal y como se marzo 2021 promising: the Fields and Heidegger seem to expone en Ser y Tiempo.
    [Show full text]
  • INTRODUCTION Michael Field
    Introduction Michael Field Decadent Moderns Sarah Parker and Ana Parejo Vadillo And so closes the Victorian epoch.—It is an epoch already yesterday: it is for us, England’s living, & yet unspent poets to make all things new. We are for the morning—the nineteenth century thinks it has no poets—nothing to lose—verily it has nothing: for we are not of it—we shake the dust of our feet from it, & pass on into the 20th century. —Michael Field, “Works and Days” (October 12, 1892) I still do not yet realise where modernity is taking me; I am moving with it as if down a stream, not using it enough for as a motive force like a mill wheel water fall turning a mill. But I do not get frightened—I maintain a resolute patience. I cannot yet define my position to Law & Anarchy—though I am certain that we are doing an unnatural & destructive thing if you allow the claims of others to mar the freedom of self-realisation as the central need of our lives—& the condition of happiness. —Michael Field, “Works and Days” (December 31, 1893) q1 Sarah Parker and Ana Parejo Vadillo The two entries that serve here as epigraphs— the first by Katharine Bradley, the second by her beloved niece and life partner Edith Cooper, with whom she wrote and published under the pseudo- nym “Michael Field”—are taken from the poets’ unpublished joint diary “Works and Days” in 1892 and 1893, respectively. Bradley writes following the funeral of Alfred, Lord Tennyson—a symbolic death for Victorian poetry.
    [Show full text]
  • "Across the Twilight Wave" : a Study of Meaning, Structure, and Technique
    “ACROSS THE TWILIGHT WAVE”: A STUDY OF MEANING, STRUCTURE, AND TECHNIQUE IN MEREDITH’S MODERN LOVE By WILLIE DUANE READER A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA April, 1967 ACKNOWLEDGMENTS I would like to express my gratitude to the many persons and Institutions which have assisted me in preparing this dissertation. Thanks are due to the libraries of the University of Florida, the Uni- versity of South Florida, the University of Texas, Harvard University, Yale University, Princeton University, and the Henry E. Huntington Library and Art Gallery, whose resources were made available to me, and to the librarians of these institutions for whose unfailing courtesy and patience I am grateful. An extra debt of gratitude is owed to Professor C. L. Cline of the University of Texas, who made available to me the resources of his per- sonal collection of Meredithiana, and who provided me with specialized information on Meredith which he had gathered while preparing a new edi- tion of Meredith's letters. A similar debt of gratitude is owed to Professor Phyllis Bartlett of Queens College, who provided me with informa- tion gathered while preparing a new edition of Meredith's poems. Finally, I would like to express my very great appreciation to the faculty members of the University of Florida who are members of the com- mittee which has guided me in the present work: Professors Ants Oras, William Ruff, and Leland L. Zimmerman. To Professor Oras I am especially grateful, both for his detailed supervision of this work and for his great kindness to me during several years of study at the University of Florida.
    [Show full text]