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These three volumes of letters by Algernon Charles Swinburne add approximately 600 letters by this poet that were not available when Cecil Y. Lang published his six volume edition of Swinburne's letters. The volumes also contain a selection of several hundred other letters addressed to Swinburne.
These three volumes of letters by Algernon Charles Swinburne add approximately 600 letters by this poet that were not available when Cecil Y. Lang published his six volume edition of Swinburne's letters. The volumes also contain a selection of several hundred other letters addressed to Swinburne.
These three volumes of letters by Algernon Charles Swinburne add approximately 600 letters by this poet that were not available when Cecil Y. Lang published his six volume edition of Swinburne's letters. The volumes also contain a selection of several hundred other letters addressed to Swinburne.
These three volumes of letters by Algernon Charles Swinburne add approximately 600 letters by this poet that were not available when Cecil Y. Lang published his six volume edition of Swinburne's letters. The volumes also contain a selection of several hundred other letters addressed to Swinburne.
This lively, accessible book is the first to explore Victorian literature through scent and perfume, presenting an extensive range of well-known and unfamiliar texts in intriguing and imaginative new ways that make us re-think literature's relation with the senses. Concentrating on aesthetic and decadent authors, Scents and Sensibility introduces a rich selection of poems, essays, and fiction, exploring these texts with reference to both the little-known cultural history of perfume use and the appreciation of natural fragrance in Victorian Britain. It shows how scent and perfume are used to convey not merely moods and atmospheres but the nuances of the aesthete or decadent's carefully cultivated identity, personality, or sensibility. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.
In their own time, Lewis Carroll, Robert Louis Stevenson and Algernon Charles Swinburne were highly successful writers. Part of the "Lives of Victorian Literary Figures" series, this three-volume facsimile edition draws together a range of biographical sources relating to these three celebrated Victorian authors.
Decadent Poetics explores the complex and vexed topic of decadent literature's formal characteristics and interrogates previously held assumptions around the nature of decadent form. Writers studied include Oscar Wilde, Charles Baudelaire and Algernon Charles Swinburne, as well as A.E. Housman, Arthur Machen and Hubert Crackanthorpe.
How did literary aestheticism emerge in Victorian Britain, with its competing models of religious doubt and visions of secularisation? For Lyons, the aestheticism developed and progressively revised by Algernon Charles Swinburne (1837-1909) and Walter Pater (1839-1894) illuminates the contradictory impulses of modern secularism: on the one hand, a desire to cast itself as a form of neutrality or disinterestedness; on the other, a desire to affirm 'this world' as the place of human flourishing or even enchantment. The standard narrative of a 'crisis of faith' does not do justice to the fissured, uncertain quality of Victorian visions of secularisation. Precisely because it had the status of a confusing hypothesis rather than a self-evident reality, it provoked not only dread and melancholia, but also forms of fantasy. Within this context Lyons gives a fundamentally new account of the aims and nature of Victorian aestheticism, taking as a focus its deceptively simple claim that art is for art's sake first of all.