This Is Not an Improvisation: Letitia Landon and the Slipperiness of Taxonomy

ABSTRACT

Writing in 2007, in The Wordsworth Circle, Jeffrey Robinson remarked on the “ephemerality” of improvisational poetry, its fundamental resistance to being “preserved.” Printed poetry is typically regarded as “fixed” and static: what any poem represents as improvisation is, at best, only a record, executed in a fixed medium, of a performance whose infinite variability is inherent in the nature of improvisation itself. Partly an homage to Rene Magritte’s This is Not a Pipe (1928–29) and to Michel Foucault’s 1973 essay on that painting, and using as a test case The Improvisatrice (1825), the long poem by Letitia Elizabeth Landon, herself a devotee of interdisciplinary and multimedia performance, this essay considers the physical, structural, and methodological challenges and limitations posed to printed “word art” by works that purport to be, or aspire to the condition of, “improvisations.” The improvisatrice who is the poem’s narrator claims to be both a painter and a songstress, but her “speech,” captured and rendered in printed words by Landon (who ventriloquizes that speech), can neither “be” nor even “represent” a work produced (“performed”) in visual art or vocal song. In her long poem Landon effectively creates a literary trompe l’oeil, an illusion that depends for its “completion” upon the reader’s implied participation in that performative act of completion. In the process, Landon’s poem reveals the fundamental incompatibility of improvisational literary production with the performative nature of improvisation.     

Improvisation and Hybrid Genres: Reading Childe Harold’s Pilgrimage

ABSTRACT

In the first section I ask two questions: what sort of a poem is Childe Harold’s Pilgrimage, and what is the immediate experience of reading it in sequence? These two questions are the practical equivalents of the main terms of my title. I try to answer them by reconstructing a first reading of the poem in the light of my own experience and the imagined one of the first readers of the poem. I suggest that two terms—accretion and elimination—are helpful here and that, in some ways, the structure and sequential experiencing of the poem resemble the structures of extended nineteenth-century musical forms. In the second section, I reverse perspective and take a position at the end of the poem. From such a point, it is easier to find what the poem has included and eliminated and this, in turn, suggests the kind of poem that it is. In the third section I tackle the terms “improvisation” and “hybrid genres” directly, link them with my earlier arguments, and engage with some theorists, especially Bakhtin. In particular, I argue against the view that Childe Harold’s Pilgrimage dissolves genre but argue that genres are nevertheless “open categories.” My conclusion is less definite. I confess to difficulties that still bother me.     

Antimodernist Antecedents in Early Canadian Modernism: Archibald MacMechan’s “A Ballade of Canadian Literature” and F.R. Scott’s “the Canadian Authors Meet”

ABSTRACT

Archibald MacMechan’s regular column in the Montreal Standard entitled “The Dean’s Window” (1906–1933) is an important index to educated antimodernist literary values. MacMechan brought his reading of world literature into his appraisals of the Canadian scene, through his groundbreaking work, Headwaters of Canadian Literature(1924). In a 1912 “Dean’s Window” column, MacMechan, a published poet, opened with a poem of his own, “The Ballade of Canadian Literature,” which anticipated F.R. Scott’s “The Canadian Authors Meet”—itself a seminal work of early Canadian modernism. By no means binaries, the degree to which modernism and antimodernism could resemble each other is manifest in MacMechan’s and Scott’s poems, even though Scott’s poem eviscerates the Canadian Authors Association, an organization of which MacMechan was a founding member.     

Lucy Hutchinson,Lucretius and Soteriological Materialism

Abstract

This article examines Lucy Hutchinson's pervasive materialism, arguing that her use of corporeal imagery – in part shaped by her early translation of Lucretius – contributes to the soteriological purposes of her later works in multiple ways. Criticism on Hutchinson has tended to divorce the materialist imagery of her translation from the Calvinistic themes of her other writings. I argue, however, for the lasting presence of a materialism constructed from the vocabularies of Lucretian Epicureanism, Neoplatonism and John Owen. Focusing especially on the poem Order and Disorder and Hutchinson's theological tract to her daughter, I show how she uses materialism as a “means” to achieving assurance and grace. I suggest that these various responses to physical experience are part of Hutchinson's enduring investigation into the ontology of “Order” and “Disorder”, and her quest for stable spiritual being.     

Lamech’s Song and the Cain Genealogy: An Examination of Gen 4,23-24 within its Narrative Context

Gen 4,17-26 contains a curious poem, “Lamech’s Song,”, which interrupts the genealogy of Cain (Gen 4,23-24). Interpretations of Lamech’s perplexing song range from it being incoherent, to its playing a central role in the surrounding narrative and genealogy. This essay explores the meaning of Lamech’s song and demonstrates its significance within the larger context of the Cain narrative. The reading of the Lamech narrative and poem proposed in this essay points to Lamech as an egocentric man who objectified both men (who might wound him) and women (who are pleasing), thus portraying Lamech as an even more sinister and corrupted version of Cain. Understanding the message of Lamech’s song as an articulation of his world-view that “might makes right,”, leads to an appreciation for the poem’s placement in the center of the Cain-Lamech narrative.     

Des Akademikers Kritik der epikureischen theologie im ersten Buche der Tuskulanen Ciceros 1

A close reading of the three “mimetic” hymns shows that in none of them can any credible interaction between voice and audience be reconstructed from the words of the poem. Furthermore, the voice of the poems cannot be assigned to a “master of ceremonies”, nor to anyone else present on the occasions imagined. Paradoxically, this is what allows for the remarkably vivid recreation of festival occasions in these poems.     

The date of Marvell’s Hortus

A post-Restoration dating of Marvell’s poem The Garden and its Latin companion piece “Hortus” to around 1668 has been generally accepted in recent criticism, despite some counter-arguments from those who defend the traditional dating to Marvell’s period at Nun Appleton (1650–2). None of these analyses, however, have attempted to date the Latin rather than the English poem. This article offers a new dating of “Hortus” to around 1654, during Marvell’s time at Eton as tutor to John Dutton. The argument is based on a series of parallels and allusions to Latin poetry either dating from, or demonstrably particularly fashionable in, the period between 1646 and 1654, as well as close attention to the political resonance and contemporary understanding of the poem’s classical sources. As such, it is also a case study in the dating of neo-Latin verse, of which many thousands of examples survive from seventeenth-century England.     

Torah as maternal return: chiastic copulation and the reconception of sacred history. or,un(k)notting the love in the law1

Torah, the name of the first five books of the “sacred history” comprised by the Hebrew Bible, tends to be translated as “Law” and to be affiliated with the separating “Law of the Father.” But Torah means “teaching.” Venerable tradition allies this teaching with feminine Wisdom, “a tree of life.” Theories of poetic language elaborated by such scholars as Julia Kristeva and Hélène Cixous facilitate discovering beneath the Torah's fractured and labyrinthine surface a way of return to the mother. This way is embodied in the inversions, textuality, and concentricity of the rhetorical trope of chiasmus, which exceeds the bounds of the Law to provide a form for the expression of “woman's desire” and so for the feminine text. Exploring as such the doubly chiastic poem in which, when naming woman in Eden, a human being (adam) changes its name to man (iysh) challenges man's biblical history, while restoring the memory of interconnection with the mother and all life. Reduplications of this transformative moment expand upon sacred history in terms of the Torah's central injunction to love one's neighbor as oneself.     

Francis Harding’s “In Artem Volandi” (1679) and the early modern art of flying

The article examines a neglected Anglo-Latin poem on flying, entitled “In Artem Volandi” (1679) and penned by Francis Harding, an Oxford student. So far, the poem has neither received any critical attention nor has it ever been translated into English. The article contributes to the Anglophone understanding of the dynamic relationship between Restoration Science and satire by analysing the poem’s complex handling of a range of contemporary concerns. The prospect of human flight and the ideas about future interstellar travel in late seventeenth-century England enabled Harding to explore a host of cultural issues, including witchcraft, atomism, adultery, and colonialism. The article examines the poem’s intertext by relying on three main types of texts: works in English, works in Neo-Latin never before translated into English, and works in Latin for which translations were available. The first-time translation of the poem into English is provided at the end of the article.     

Robert Frost's ambivalence: Borders and boundaries in poetic and political discourse

Phrases from Robert Frost's well-known poem “Mending Wall” are often used to frame discussions of borders in academic and political discourse. Used by some to justify the construction of physical barriers, others have used excerpts from the poem to fundamentally question the truism it appears to project. In light of recent interest in borders, our paper returns to Frost's full poem and its contexts in order to define, theorize, and critically mobilize what we take to be a useful ambivalence regarding fences. We use Frost's formulations to address the universal difficulty of moving beyond the borders of our daily lives, whether imposed at the edges of the nation-state, inscribed in our social relations, or inferred within the formal dimensions of a poem. Working at the crossroads of political geography, psychoanalytic theory, and literary analysis we argue that addressing the central role of borders in our lives and Frost's deep ambivalence about fences and borders is a useful step in any political and aesthetic movement forward. We cannot be “good neighbors” in other words or even good co-inhabitants until and unless we acknowledge that we are ambivalent not only toward the Other, but also about the very concept of borders and boundaries itself. Ideas presented about ambivalence provide border scholars and political geographers with an opportunity to re-evaluate our positionality and recognize how our own humanity intersects with that of others.     

‘The Island Blazed’: A Blinding Light and Tiepolo's Hound

This essay is primarily a study of Derek Walcott's Tiepolo's Hound as an affirmation of Caribbean, tropical, blinding light through an engagement with the life and work of Camille Pissarro. Conceived as such, the poem, I argue, proposes an “adamic” vision and imagination attuned with “Time” rather than “History” (the concepts are Walcott's), as well as an intensification of sensory-perception beyond vision. In order to better appreciate the historical and contextual relevance of Tiepolo's Hound, the essay provides first a general introduction to: (1) a nuanced understanding of light and its “otherness” emerging from modern physics; (2) some of the ways in which western capitalism and Cartesian perspectivism, as a hegemonic aesthetic and philosophical tradition in the West, have attempted to capture and control light and its “otherness;” and (3) the blinding quality of light in the tropical context, which repositions light as a force against any and all exploitative capitalist desires.     

Tradition and critique in Paul Muldoon's “Madoc: A Mystery”

Paul Muldoon's “Madoc: A Mystery” remains his longest poem and most thorough vision of an alternative history. This article argues that Muldoon's poem works to stage not only a visionary history of America but also, via the uneasy relations that develop between its two main characters (semi-fictionalised versions of Samuel Taylor Coleridge and Robert Southey), a dramatisation of the conflict that obtains between competing modes of historical understanding. Muldoon's Coleridge and Southey represent stances that may be usefully regarded as parallel to positions advanced in the famous debate regarding interpretation between Hans-Georg Gadamer and Jürgen Habermas, thinkers whose names appear in the poem itself. To read the poem in light of this connection between its fantastical transatlantic history and the history of critical theory allows a reading of Muldoon's treatment of both literary and political histories as secondary to the work's playful exploration of struggles between modes of historical interpretation.     

The religious geography of Marvell’s “An Horatian Ode”: popery,presbytery, and parti-coloured picts

ABSTRACT

Marvell’s “Ode” (1650) is an English poem about a British problem – a problem further problematized by religion. The “Ode” lauds Cromwell’s Irish and Scottish campaigns, but English responses to these “colonial” wars were in reality complicated by protestant infighting among presbyterians, independents, and sectarians. Writers like Milton and Nedham rallied English support for Cromwell’s Irish campaign by recycling Spenserian stereotypes of Irish catholic barbarity. But Milton and Nedham also undercut English protestant unity by flinging these same anti-catholic stereotypes at Scottish presbyterians in Belfast and Edinburgh. Departing from previous studies, this article argues that Marvell’s “Ode” eschews Milton and Nedham’s anti-Presbyterianism in ways calculated to elide, rather than divide, protestant communities. The article explores how the “Ode” presents Cromwell’s Irish and Scottish campaigns as exclusively anti-catholic (rather than anti-presbyterian) crusades, comparing Marvell’s presentation of Cromwell in the “Ode” with his identification of Cromwell as an anti-catholic crusader in “First Anniversary” (1655). Both poems anticipate in this respect Marvell’s later anti-catholic, but pro-nonconformist, approach to Ireland in Rehearsal transpros’d (1672–1673). The article is therefore concerned to root Marvell’s post-Restoration commitment to protestant tolerationism within the anti-catholic language of the “Ode”.     

Frontier Stories： Periphery as Center in Qing History

Since at least the 1960s, the importance of the tremendous territorial expansion under Qing role to the modem history of China has been generally acknowledged. Indeed, one can say that the frontier story is one of the things that makes the Qing ＂Qing.＂ However, only in the last twenty years has the study of what is now termed the ＂borderlands＂ come into its own as a sub-field. This essay begins by describing some key concepts and terms in the study of the Qing frontier, including the Manchu wordjecen. It then raises the problem of narrative fiameworks, asking how we might best contextualize the growth of the empire, before going on to explore the implications of the discursive shift represented by the ＂New Qing History＂ and the extensive research on Qing borderlands associated therewith. A poem by the Mongol poet Na-xun Lan-bao provides the focus for a concluding discussion of a distinctive Qing frontier sensibility.     

“Ceci n’est pas un fragment”: Identity,Intertextuality and Fictionality in Sappho’s “Brothers Poem”

In this article, Sappho’s Brothers Poem is re-evaluated and analysed from various perspectives that have not been addressed sufficiently in scholarship so far. First, some questions of principle regarding the role of the brothers and the Sapphic speaker are discussed. Secondly, the poem’s communicative situation is examined, and different options for the identification of the person addressed as “you” are considered. Thirdly, it is demonstrated how the poem establishes an intertextual dialogue with the Homeric Odyssey on various levels, and how this dialogue affects the general understanding of the poem. Finally, the commonly held view that the five transmitted stanzas do not represent the entire poem is challenged. The article concludes with some wider considerations about some of the most common assumptions regarding the nature and the fragmentary state of the Brothers Poem.     

“Let Me Come to Tell You”: Loide Shikongo,the King,and Poetic License in Colonial Ovamboland

In this paper, I explore cultural discourse, gender and the subjectivities of local people on the frontier of empire in mid‐20th century southern Africa. Using the example of Nekwaya Loide Shikongo, a prominent woman from Ondonga in northern Namibia (the colonial “Ovamboland”), and an epic poem on the deposed King Iipumbu yaShilongo that she performed in 1953, I discuss how gender was constituted and mediated. The narrative of a remarkable woman’s life and her poetry is told to understand how gender in relation to other forms of identity was constructed in different cultural discourses. I argue that both the Christian mission’s cultural discourse and the South African colonial administration’s efforts to masculinise the “native” political authority gendered Owambo elite women whose identities had previously included “gender” only as a rather contingent component. The example of Loide Shikongo, however, also shows that many Owambo continued to pursue heterogeneous, and sometimes ambiguous, strategies in their claims to Christian models of modernity.     

A vision of Ireland, 1967: John Montague’s aisling ghéar

More than fifty years after its publication as a broadsheet ballad, John Montague’s “The Rape of the Aisling” (1967) retains its satirical force. Whilst not the first instance in Irish writing to acknowledge sexual abuse of young people by priests (two years earlier John McGahern’s The Dark had been banned partly on the grounds of its rendering of clerical malfeasance), Montague’s rough ballad nonetheless places sexual abuse at the very heart of its assault on the Catholic Church’s baleful influence on a society on the cusp of dramatic social change. By adopting, and radically adapting, that most malleable of literary forms – the aisling or dream-vision poem – Montague seems to suggest that in mid-twentieth-century Ireland it is not the “Saxon occupier” who poses a risk to Republican ideals. Now, it is members of a home-grown patriarchy, the “access-all-areas men in black” who abuse and rape children and young people in their care, who seek to compromise the Proclamation’s promise to cherish “all of the children of the nation equally”.     

Grave Marking and Wailing: Ritual Responses to the Babylonian Crisis in Jeremiah’s Poetry (Jer 31, 21)

This article explores Jer 31,15-22, which recapitulates the history of the Babylonian crisis from invasion to exile to manumission. Against traditional “triumphalistic” approaches to this poem that view the restored Israel in its repatriation as a victorious warrior (vv. 21-22), this article argues for a ritual reading of the text. It demonstrates that the need for a ritual response to the Babylonian crisis was so strong that Jeremiah prescribes mourning rites to Judah not only at the time of its demise (v. 15) but also at the time of its manumission from captivity (v. 21). Since the use of laments and other mourning rites in the restoration of “collapse societies” was well attested in the ANE, their appearance in the Book of Consolation as part of the poetic vision of Judah’s reconstitution can also be construed as a socio-religious necessity.     

“Neptune to the Common-wealth of England” (1652): the “Republican Britannia” and the continuity of interests

ABSTRACT

In the seventeenth century, John Kerrigan reminds us, “models of empire did not always turn on monarchy”. In this essay, I trace a vision of “Neptune’s empire” shared by royalists and republicans, binding English national interest to British overseas expansion. I take as my text a poem entitled “Neptune to the Common-wealth of England”, prefixed to Marchamont Nedham’s 1652 English translation of Mare Clausum (1635), John Selden’s response to Mare Liberum (1609) by Hugo Grotius. This minor work is read alongside some equally obscure and more familiar texts in order to point up the ways in which it speaks to persistent cultural and political interests. I trace the afterlife of this verse, its critical reception and its unique status as a fragment that exemplifies the crossover between colonial republic and imperial monarchy at a crucial moment in British history, a moment that, with Brexit, remains resonant.