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With Mathilde Blind: Late-Victorian Culture and the Woman of Letters, James Diedrick offers a groundbreaking critical biography of the German-born British poet Mathilde Blind (1841–1896), a freethinking radical feminist. Born to politically radical parents, Blind had, by the time she was thirty, become a pioneering female aesthete in a mostly male community of writers, painters, and critics, including Algernon Charles Swinburne, William Morris, Ford Madox Brown, William Michael Rossetti, and Richard Garnett. By the 1880s she had become widely recognized for a body of writing that engaged contemporary issues such as the Woman Question, the forced eviction of Scottish tenant farmers in the Highland Clearances, and Darwin’s evolutionary theory. She subsequently emerged as a prominent voice and leader among New Woman writers at the end of the century, including Mona Caird, Rosamund Marriott Watson, and Katharine Tynan. She also developed important associations with leading male decadent writers of the fin de siècle, most notably, Oscar Wilde and Arthur Symons. Despite her extensive contributions to Victorian debates on aesthetics, religion, nationhood, imperialism, gender, and sexuality, however, Blind has yet to receive the prominence she deserves in studies of the period. As the first full-length biography of this trailblazing woman of letters, Mathilde Blind underscores the importance of her poetry and her critical writings (her work on Shelley, biographies of George Eliot and Madame Roland, and her translations of Strauss and Bashkirtseff) for the literature and culture of the fin de siècle.
Excerpt from Poetical Works of Mathilde Blind The only omission I have made is that of the notes to The Heather on Fire, which consist entirely in extracts from books, magazines, and newspapers, in reference to the Highland clearances. These, I imagine, which are already ancient history, can no longer have any interest for the reader of poetry, to whom this volume is offered on its own merits. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Poetical Matter examines the two-way exchange of language and methods between nineteenth-century poetry and the physical sciences. The book argues that poets such as William Wordsworth, Mathilde Blind, and Thomas Hardy identified poetry as an experimental investigation of nature’s materiality. It also explores how science writers such as Humphry Davy, Mary Somerville, and John Tyndall used poetry to formulate their theories, to bestow cultural legitimacy on the emerging disciplines of chemistry and physics, and to communicate technical knowledge to non-specialist audiences. The book’s chapters show how poets and science writers relied on a set of shared terms (“form,” “experiment,” “rhythm,” “sound,” “measure”) and how the meaning of those terms was debated and reimagined in a range of different texts. “A stimulating analysis of nineteenth-century poetry and physics. In this groundbreaking study, Tate turns to sound to tease out fascinating continuities across scientific inquiry and verse. Reflecting that ‘the processes of the universe’ were themselves ‘rhythmic,’ he shows that a wide range of poets and scientists were thinking through undulatory motion as a space where the material and the immaterial met. ‘The motion of waves,’ Tate demonstrates, was ‘the exemplary form in the physical sciences.’ Sound waves, light, energy, and poetic meter were each characterized by a ‘process of undulation,’ that could be understood as both a physical and a formal property. Drawing on work in new materialism and new formalism, Tate illuminates a nineteenth-century preoccupation with dynamic patterning that characterizes the undulatory as (in John Herschel’s words) not ‘things, but forms.’” —Anna Henchman, Associate Professor of English at Boston University, USA “This impressive study consolidates and considerably advances the field of physics and poetry studies. Moving easily and authoritatively between canonical and scientist poets, Nineteenth-Century Poetry and the Physical Sciences draws scientific thought and poetic form into telling relation, disclosing how they were understood variously across the nineteenth century as both comparable and competing ways of knowing the physical world. Clearly written and beautifully structured, Nineteenth-Century Poetry and the Physical Sciences is both scholarly and accessible, a fascinating and indispensable contribution to its field.” —Daniel Brown, Professor of English at the University of Southampton, UK “Essential reading for Victorianists. Tate’s study of nineteenth-century poetry and science reconfi gures debate by insisting on the equivalence of accounts of empirical fact and speculative theory rather than their antagonism. The undulatory rhythms of the universe and of poetry, the language of science and of verse, come into new relations. Tate brilliantly re-reads Coleridge, Tennyson, Mathilde Blind and Hardy through their explorations of matter and ontological reality. He also addresses contemporary theory from Latour to Jane Bennett.” — Isobel Armstrong, Emeritus Professor of English at Birkbeck, University of London, UK
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Daniel Karlin has selected poetry written and published during the reign of Queen Victoria, (1837-1901). Giving pride of place to Tennyson, Robert Browning, and Christina Rossetti, the volume offers generous selections from other major poets such asArnold, Emily Bronte, Hardy and Hopkins, and makes room for several poem-sequences in their entirety. It is wonderful, too, in its discovery and inclusion of eccentric, dissenting, un-Victorian voices, poets who squarely refuse to 'represent' their period. It also includes the work of Elizabeth Barrett Browning, George Meredith, James Thomson and Augusta Webster.
Engaging critically with the political and aesthetic agenda behind the project of recovery, this collection of specially commissioned essays offers revisionary readings of both established canonical Victorian women poets and re-discovered writers.