“Souls Overcast” and “The Shadow-less Soul”: Swinburne’s Elemental Republicanism

Saville, Julia F.

doi:10.1007/978-3-319-52506-8_6

Julia F. Saville³

Part of the book series: Palgrave Studies in Nineteenth-Century Writing and Culture ((PNWC))

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Abstract

The sixth chapter returns to the 1870s London of Chapter 4, where Swinburne, inspired by the elemental grandeur of Whitman’s soul-singing, experiments with a newly inventive soul-talk delivered in Songs Before Sunrise (1871). In the sonic patterns of the “Prelude” and “Hertha,” he actualizes fresh myths and allegories, urging all humanity to aspire to be “divine” civic souls like his exemplars Barrett Browning and Whitman, Blake and Hugo. In later works, such as “Off Shore” from Studies in Song (1880) and the scenes of ocean swimming from Tristram of Lyonesse (1882), he develops the civic republican trope of open-air swimming already seen in Clough and Browning into a signature motif. Rejecting imitative harmonies, his swimmer-poets immerse themselves in “the measureless music of things”—elemental rhythms of the sea, the tides, and sea winds translated into classical harmonies that pleasure the ear with mesmerizing classical meters and intricately harmonized rhymes.

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Notes

1.
PACS, 2:120. Because this edition does not provide line numbers, I cite only volume and page. For a detailed explanation of the Swinburne editions used, see note 1 of Chapter 2.
2.
“Victor Hugo: L’Année terrible,” Bonchurch, 13:247.
3.
Swinburne, SL, 1:268.
4.
Whitman, Leaves, Comprehensive, 282–3, 302–3, 303–4.
5.
“In the Water,” PACS, 6:18.
6.
“Emily Brontë,” Bonchurch, 14:46.
7.
Phelan, Music of Verse, 172–3.
8.
This debate, which harkens back to the critiques of A. E. Housman (1910) and T. S. Eliot (1920), is perhaps the most lively to emerge from the Swinburne centennial celebrations in 2009. The discussions most pertinent to this chapter include McGann, “Wagner, Baudelaire, Swinburne”; Weiner, “Knowledge and Sense Experience”; Thain, “Desire Lines”; Jarvis, “Insuperable Sea”; and Helsinger, Chapter 7 of Poetry and the Thought of Song.
9.
Weiner, “Knowledge and Sense Experience,” 12.
10.
Jarvis, “Insuperable Sea,” 522. In making this point, Jarvis builds on and challenges McGann’s groundbreaking study of Swinburne’s investment in the theories of Wagner and Baudelaire (“Wagner, Baudelaire, Swinburne,” 628).
11.
“Off Shore,” PACS, 5:51.
12.
BC, 13:253.
13.
“Before a Crucifix,” PACS, 2:81.
14.
“The Saviour of Society,” PACS, 2:308.
15.
Louis, Swinburne and His Gods, 3, 9.
16.
“Ave Atque Vale,” PACS, 3:57–58. As mentioned in Chapter 4, Baudelaire, like Gustave Flaubert, fell victim to Louis Napoleon’s press censorship, which even the generous EBB condemned in 1853 (BC, 19:12). Les fleurs du mal, much admired by Swinburne, was considered an affront to “that great Christian morality which is in reality the only sound base for public morals” (state prosecutor, quoted in Price, French Second Empire, 187).
17.
SL, 3:14. This epistolary statement, one of the most forthright and mature about his republican faith, was made to American banker, critical essayist, and poet E. C. Stedman.
18.
Swinburne, Notes on Poems and Reviews, 30.
19.
Swinburne, “Charles Baudelaire,” 30, 34, 35.
20.
Thomson, “Swinburne Controversy,” 103.
21.
The memoir in the letter to Stedman mentioned earlier is the source for these views (SL, 3:8–16). For the history of country-court animosity in classical republicanism, see J. G. A. Pocock, Machiavellian Moment, 348–51, 407–9.
22.
Much excellent research has been done on Swinburne’s Oxford years (1856–9), including Monsman, “Old Mortality”; Rooksby, A. C. Swinburne, 46–60; Rooksby, “The Case of Commoner Swinburne”; and Meyers, “On Drink and Faith.”
23.
Knight, Memoir of John Nichol, 140.
24.
Here, essays such as “Louis Napoleon” (parts 1 and 2) and “Mazzini and His Critics”—both by Swinburne’s close friend, the Glaswegian John Nichol—and “Church Imperialism,” by Swinburne himself, reflect the group’s declared interests. See Sypher, Undergraduate Papers.
25.
SL, 2:293.
26.
Swinburne, “Prelude: Tristram and Iseult,” Tristram, ll. 1–2; Tristram, 9.13–14. All subsequent in-text citations of this work give canto and line numbers.
27.
McGann, “Swinburne, ‘Hertha,’ and the Voice,” 284.
28.
Swinburne, “To Victor Hugo,” Poems and Ballads, ll. 122–3, 124–6.
29.
SL, 1:115.
30.
Swinburne, “Matthew Arnold’s New Poems,” 80.
31.
Swinburne, “Matthew Arnold’s New Poems,” 80.
32.
See Weiner, Republican Politics and English Poetry, 159, for an account of Mazzini’s role in encouraging Songs Before Sunrise.
33.
Swinburne, “Prelude,” Major Poems and Selected Prose, l. 141.
34.
I take the phrase “poetic tale” from Weiner, who shows how Swinburne, in his essay William Blake, draws his own theory out of The Marriage of Heaven and Hell (Weiner, Republican Politics and English Poetry, 161). The phrase “allegoric myth” is Swinburne’s, quoted in Louis, Swinburne and His Gods, 109. In McGann’s view, “Hertha” is “Swinburne’s poetic manifesto” and “the key theoretical text” in Songs Before Sunrise (McGann, “Swinburne, ‘Hertha,’ and the Voice,” 283–4).
35.
For a useful summary of late nineteenth-century cultural changes, see Gagnier, Idylls, 12–15.
36.
“Off Shore,” PACS, 5:46.
37.
Tristram, 9.433.
38.
Louis offers a compelling argument as to why the “Prelude” constitutes a repudiation of Swinburne’s earlier poetics and of the reputation he had earned from John Morley for being, in the latter’s words, the “libidinous laureate of a pack of satyrs” (Louis, Swinburne and His Gods, 86–91; J. Morley, “Mr. Swinburne’s New Poems,” 29).
39.
This is an instance of the “thoroughly empiricist epistemology” Weiner finds in Swinburne’s republican and antitheist poems—an epistemology “that traces all knowledge not to transcendent revelation or inborn concepts, but to experience of this world and inward reflection on the powers of the mind” (“Knowledge and Sense Experience,” 13).
40.
“Genesis,” PACS, 2:118.
41.
For penetrating discussion of the effects of such enlightenment rhetoric see Weiner, Republican Politics and English Poetry, 24–5, 41.
42.
Swinburne, “Hymn to Proserpine,” Poems and Ballads, l. 108. Louis points to this echo in her discussion of the “Prelude” (Swinburne and His Gods, 88).
43.
SL, 4:255–6.
44.
Swinburne, “The Poems of Dante Gabriel Rossetti,” Bonchurch, 15:22.
45.
For instances, see SL, 2:61, 135; 3:93. Here are the two relevant stanzas of Dipsychus:

Verse
Verse There is no God, or if there is, The tradesman thinks, ’twere funny If he should take it ill in me To make a little money. Whether there be, the rich man says It matters very little For I and mine, thank somebody, Are not in want of victual.

(1.7.166–9; Clough Poems, 197)
46.
Adam and Eve (then titled Fragments of the Mystery of the Fall) and “Notes” were published in 1869, in The Poems and Prose Remains of Arthur Hugh Clough. Weiner observes in addition that Swinburne’s “A Watch in the Night” appeared in the same volume of the Fortnightly Review as Symonds’s essay on Clough’s Poems and Prose Remains (Weiner, Republican Politics and English Poetry, 210–11). For Clough and his Oxford contemporaries, such as Froude and Palgrave, the practice of transnational religious study and dialogue was exemplified by Emerson in the 1840s, and two decades later, when Emerson’s volume of verse May-Day and Other Pieces (1867) appeared in London, it caught the attention of soul poets. Browning, for instance, mentioned it approvingly to Isa Blagdon (Dearest Isa, 278), while Swinburne and George Meredith especially admired the leading poem, “Brahma” (SL, 1:252).
47.
See Wilson, “Indian and Mithraic Influences”; Louis, Swinburne and His Gods, 112; McGann, “Swinburne, ‘Hertha,’ and the Voice,” 287.
48.
SL, 2:98.
49.
Swinburne, “Hertha,” Major Poems and Selected Prose, ll. 1–5. All subsequent in-text references to this work cite line numbers from this edition.
50.
See Weiner’s typographical representation of the way antimetabole—a phrase mirrored or repeated in reverse order—works to emphasize “the poem’s insistence on the integration between Hertha’s ‘I’ and humanity’s ‘thou’” (Republican Politics and English Poetry, 168–9).
51.
SL, 3:14.
52.
In her wonderfully detailed, informative reading of “Hertha,” Margot Louis points out that the first two lines of this stanza rewrite Hugo’s aphorism in “Le Satyre” from La Légende des Siècles: “Un roi c’est de la guerre, un dieu c’est de la nuit” [“A king is of war, a god is of night”—my translation]. See Swinburne and His Gods, 112.
53.
Weiner, Republican Politics and English Poetry, 169.
54.
Carlyle—himself musing in “The Hero as Divinity” on the “Northmen” as “deep, rude, earnest minds, fairly opened to the things about them”—describes the tree as follows: “Igdrasil, the Ash-tree of Existence has its roots deep-down in the kingdoms of Hela or Death; its trunk reaches up heaven-high, spreads its boughs over the whole Universe” (On Heroes, 18–19). Wendell Stacy Johnson was the first to note Swinburne’s debt to Carlyle (Louis, Swinburne and His Gods, 211n50).
55.
Bhagavad Gita 14:1. To McGann, it is the Vedas (philosophical poems), whose “culminant forms” are the Upanishads, that seem closer to “Hertha” than the tree Asvatha. By putting Swinburne’s song in dialogue with the Hindu texts, he suggests an allusion to the Vedas’ practical instruction in self-awareness, identification of the individual soul with the Universal Soul, and the latter’s identity as “the ongoing, ceaseless process of thought by which Being itself is sustained” (McGann, “Swinburne, ‘Hertha,’ and the Voice,” 291–2).
56.
William Blake, Bonchurch, 16:344.
57.
“Prelude,” l. 38; “Hertha,” l. 190.
58.
Saville, “Swinburne’s Swimmers.”
59.
Swimming scenes proliferate in Swinburne’s post-1879 corpus. Some, such as those in “Loch Torridon” (Astrophel and Other Poems, 1894) and “The Lake of Gaube” (Bookman, October 1899), are descriptive, attentive to local detail, and reminiscent of holidays spent at secluded venues at home and abroad, such as Lancing-on-Sea in West Sussex, the Highlands of Scotland, and the Cauterets valley in the Pyrenees. Others are the focus of swimming songs, such as “Off Shore” (Studies in Song, 1880), “In Guernsey” (A Century of Roundels, 1883), “In the Water” (A Midsummer Holiday and Other Poems, 1884), and “A Swimmer’s Dream” (Astrophel and Other Poems, 1894).
60.
SL, 6:113. Among the most compelling discussions are Prins, Victorian Sappho, esp. 165–7; Maxwell, Female Sublime, 214–17; and most recently, Jarvis, “Insuperable Sea.”
61.
SL, 1:208.
62.
“The Triumph of Time,” Poems and Ballads, ll. 63, 257–8, 290.
63.
“Off Shore,” PACS, 5:53.
64.
“Prelude,” ll. 188, 190.
65.
“Off Shore,” PACS, 5:46.
66.
“Off Shore,” PACS, 5:46.
67.
“Off Shore,” PACS, 5:47.
68.
“Off Shore,” PACS, 5:47.
69.
An allusion to Christ’s miraculous transformation of water into wine at the wedding in Cana, Galilee, resonates in this stanza (John 2:1–11).
70.
“Off Shore,” PACS, 5:47.
71.
“Off Shore,” PACS, 5:48.
72.
Yisrael Levin offers an absorbing and convincing alternative reading of “Off Shore” as a reworking of the Old Testament creation myth in pagan and erotic terms (“Solar Erotica,” 55).
73.
“Off Shore,” PACS, 5:48.
74.
“Off Shore,” PACS, 5:49.
75.
“Off Shore,” PACS, 5:51.
76.
“Off Shore,” PACS, 5:51.
77.
“Off Shore,” PACS, 5:51–2.
78.
Pater, Renaissance, 189.
79.
PACS, 5:193.
80.
SL, 3:14.
81.
Several scholars have studied the musical effects of Tristram; see, for instance, S. J. Sillars on Wagnerian influence in “Tristan and Tristram”; and Rooksby, “Algernonicon,” 75–6.
82.
For instance, Whitman writes, “Arthur vanish’d with all his knights, Merlin and Lancelot and Galahad, all gone, dissolv’d utterly like an exhalation” (“Song of the Exposition,” Leaves, Comprehensive, ll. 36, 47).
83.
Swinburne, “Victor Hugo: L’Année terrible,” Bonchurch, 13:247.
84.
Maxwell, Swinburne, 111.
85.
See Shannon’s summary of events in Ireland, including Parnell’s trial for seditious conspiracy in late 1880–1, his imprisonment, and the suppression of the Irish National Land League that took place even as the strained relationship between the French foreign minister, Leon Gambetta, and Gladstone worsened during the Egyptian rebellion and threatened Turkish intervention in late 1881 and early 1882 (Shannon, Crisis of Imperialism, 152–5).
86.
In his essay Under the Microscope, Swinburne accuses Tennyson of degrading the fated love of Lancelot and Guinevere to a mere scandal, “rather a case for the divorce-court than for poetry” (57). In Swinburne’s view, the laureate eliminates the role of fate from the Arthurian legend and thus reduces an epic engagement with destiny to a sordid domestic intrigue, the mere adultery that Baudelaire in his lively endorsement of Flaubert’s Madame Bovary calls the “tritest theme of all…played over and over again like a tired barrel-organ” (Baudelaire, “Review,” 339–40). James Eli Adams describes the context of debate on divorce reform from 1854 to 1856, within which Tennyson “took up sustained composition of the Idylls,” and thus gives special pertinence to Swinburne’s complaint (Adams, “Harlots,” 422–3).
87.
Harrison, Swinburne’s Medievalism, 115n1.
88.
As Louis argues, in Tristram “erotic fulfilment is inseparable from annihilation” (Swinburne and His Gods, 81).
89.
The love potion was the “wondrous wine” concocted by Iseult’s mother for Iseult and her future spouse (King Mark of Cornwall, Tristram’s uncle) to drink on their wedding night. It was intended to protect them from forewarned unhappiness and bless their marriage with undying love.
90.
For an alternative reading of these doubles, see Joseph E. Riehl, “Swinburne’s Doublings.”
91.
Other critics note Swinburne’s interest in hybridizing poetic forms to innovative effect: Marion Thain, for instance, explores his concern with lyric’s relation to modernity, its capacity to accomplish “a generic balance of…the poetic and the communicative” (“Desire Lines,” 145). Tucker identifies a similar formal dilemma in his reading of Tristram: “How might a poetics of momentaneousness be dilated to epic proportions, or conversely how might a verse narrative of book length be maintained at the pitch of intensity to which his [Swinburne’s] imagination resonated?” (Epic, 523).
92.
In his comparison of Tennyson’s Tristram to “a Swinburne, say, or a Pater—who has vowed himself to the delights of the sense, thereby reeling ‘back into the beast,’” Matthew Reynolds implies that aesthetic immersiveness is necessarily at odds with civic responsibility (Realms of Verse, 257–8). On the contrary, to read Swinburne as a soul poet who follows the precedents of EBB and Whitman is to recognize ethico-political value in his aestheticism.
93.
Saville, “Nude Male,” 58–68.
94.
Prins’s observation applies here, that “Swinburne’s writing can be understood as another version of rhythmic transport, the conversion of ‘natural’ rhythms into a metrical sublime” (Victorian Sappho, 172).
95.
Jarvis, “Musical Thinking,” 69–70.
96.
Swinburne, “The Halt before Rome,” PACS, 2:47; Clough, “Duty, that’s to say complying,” Clough Poems, ll. 29–30; Anonymous, “Review of Prince Hohenstiel-Schwangau in Litzinger and Smalley, Browning: The Critical Heritage, 368; Swinburne, William Blake, Bonchurch, 16:343.

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References: Chapter 6: “Souls Overcast” and “The Shadow-less Soul”

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Saville, J.F. (2017). “Souls Overcast” and “The Shadow-less Soul”: Swinburne’s Elemental Republicanism. In: Victorian Soul-Talk. Palgrave Studies in Nineteenth-Century Writing and Culture. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-52506-8_6

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