Charles Algernon Swinburne's literary reputation rests almost exclusively upon his poetry, and though his critical writings were voluminous, they are usually slighted by literary historians. Examinations of Swinburne's aesthetic principles, too, are generally based upon interpretations of his poetry, though these may be as misleading as the discrepancies between other artists' principles and practices. Believing that a solid and consistent core of poetic theory underlay all of Swinburne's critical essays, casual pieces, and letters, Professor Connolly has attempted to reconstruct the theory from a careful analysis of this body of writing. In this book he sets forth his findings as general principles and as they apply to lyric and dramatic poetry. "Swinburne was a far sounder and more consistent critic than he is usually given credit for being," Professor Connolly concludes, "and the various critical principles that can be discovered in his essays hang together in a more integrated theory of poetry than is usually imagined. He had, as other critics had, a number of basic principles and themes that he used with astonishing versatility in his criticism. The successful poet who is also a critic usually has a valuable contribution to make to the general understanding and appreciation of poetry. Swinburne, in this respect, was not an exception."

Focusing on Algernon Charles Swinburne's poems on Apollo, Yisrael Levin calls for a re-examination of the poet's place in Victorian studies in light of his contributions to nineteenth-century intellectual history. Swinburne's Apollonian poetry, Levin argues, shows the poet's active participation in late-Victorian debates about the nature and function of faith in an age of changing religious attitudes. Levin traces the shifts that took place in Swinburne's conception of Apollo over a period of four decades, from Swinburne's attempt to define Apollo as an alternative to the Judeo-Christian deity to Swinburne's formation of a theological system revolving around Apollo and finally to the ways in which Swinburne's view of Apollo led to his agnostic view of spirituality. Even though Swinburne had lost his faith and rejected institutional religion by his early twenties, he retained a distinct interest in spiritual issues and paid careful attention to developments in religious thought. Levin persuasively shows that Swinburne was not simply a poet provocateur who enjoyed controversy but failed to provide valid cultural commentary, but was rather a profound thinker whose insights into nineteenth-century spirituality are expressed throughout his Apollonian poetry.

In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.

No detailed description available for "Swinburne's poetics".

Joyce kept this workbook as a source for expressions and ideas for Finnegans Wake. The structure of the notebook and the way in Joyce used it offer insights into his methods and the writing of Finnegans wake.

Swinburne's Style: An Experiment in Verse History establishes Swinburne's significance in the historical development of English poetry from 1865 to the present. Situating Swinburne on the cusp of modernism, it argues that Swinburne had no personal style because he possessed all styles. His mastery of traditional verse forms promoted a level of stylistic self-awareness which the next generation of poets could not sustain. If criticism to date has found Swinburne challenging, this is because his poetry challenges criticism. Rather than making or remaking arguments for or against Swinburne's style, Kilbride begins from a forensic investigation of 'the period ear'. Close analysis of primary works, manuscripts, reviews, obituaries, letters, manuals of prosody and other documents of Swinburne's own times attempt to reconstruct a context largely lost after the break with traditional verse-forms in the early twentieth century. From the powerful choral rhythms of Atalanta in Calydon, to the daring development of a unique form of ode in Erechtheus, the reader will encounter a Swinburne previously lost to us, but whose stylistic achievements are once again brought before our ears. Laura McCormick Kilbride is Research Fellow in English at Peterhouse, Cambridge.