@article{harrison_2020, title={Percy Shelley, James Russell Lowell, and the Promethean Aesthetics of EBB's "The Runaway Slave at Pilgrim's Point"}, volume={58}, ISSN={["1530-7190"]}, DOI={10.1353/vp.2020.0002}, abstractNote={Percy Shelley, James Russell Lowell, and the Promethean Aesthetics of EBB's "The Runaway Slave at Pilgrim's Point" Antony H. Harrison (bio) The composition history of "The Runaway Slave at Pilgrim's Point" is well known: in 1845, Elizabeth Barrett Browning was commissioned separately by the American poet James Russell Lowell (with whom she had corresponded since 1842) and Maria Weston Chapman, the editor of The Liberty Bell, to write a poem for that abolitionist annual, normally published around Christmastime since its inception in 1839.1 She completed the poem late in 1846 and sent it to Lowell on December 23. In agreeing to write for The Liberty Bell, Barrett Browning was motivated by her hatred of slavery as an institution, her epistolary friendship with Lowell (who had previously solicited her work), and her admitted love for America and the Americans. As all scholars of her life and poetry are well aware, EBB2 was the descendant of slave owners in Jamaica, whose plantations had been highly profitable for the Moulton Barrett family. From her first knowledge of it, the "curse" of this family history was burdensome to EBB and demanded repeated exorcism in her writings, poems, and letters alike. As she explained to Robert Browning in 1845, "I would give ten towns in Norfolk (if I had them) to own some purer lineage than that of the blood of the slave!—Cursed we are from generation to generation."3 Similarly, in mid-January of 1847, shortly after completing "Runaway Slave," she wrote to her American friend, Cornelius Mathews: "when I write against slavery, it is not as one free from the curse" (BC 14: 100).4 Despite her adamant belief that slavery was abhorrent, EBB generally admired the inhabitants of a nation in which that institution thrived. In a letter to Lowell from January 1843, she wrote: "From the circumstances of a retired [End Page 53] life & ill health it has happened that I never stood face to face with an American, except in my dreams. But I love the Americans & America for the sake of national brotherhood & a common literature & I honor them for the sake of liberty & noble aspiration—& I am grateful to them, .. very grateful, .. [sic] for their kindness to me personally as a poet" (BC 6: 261–262). On sending "Runaway Slave" to Lowell, she repeated the sentiment: "I have written this poem precisely because, as an Englishwoman ought, I love & honour the American people." But she further explained that the great antislavery cause must always be dear to me,—and for the sake, I will say, as much of American honour as of general mercy & right—In the poem I enclose to you I have taken up this double feeling, (with an application of the case to women especially) perhaps you will think too bitterly & passionately for publication in your country. I do not presume to decide—I leave it entirely, of course, to your judgement—I will only say, for my own part, that in writing this poem, I have not forgotten, as an Englishwoman, that we have scarcely done washing our national garments clear of the dust of the very same reproach. (BC 14: 86–87) In her last sentence EBB refers, of course, to the Slavery Abolition Act passed by Parliament in 1833, which outlawed slavery throughout the British Empire and went into effect on August 1 of the following year. Its full impact was not felt for sixteen years, however: only slaves under the age of six were immediately freed, and it was not until August 1, 1840, that all slaves over the age of six at the time of the bill's enactment were finally released from long periods of continuing "apprenticeship." It is particularly worth observing that in this letter EBB lays out two separate rationales for the abolition of slavery ("this double feeling"). "Honour," of course, falls under a category of values specifically associated at this historical moment with the behavioral (and therefore social) ideals of educated middle and upper class Britons and (presumably) Americans, whereas the terms "mercy & right" suggest foundational humanitarian (and therefore inseparable religious and political) ideals. As EBB's parenthesis indicates, she...}, number={1}, journal={VICTORIAN POETRY}, author={Harrison, Antony H.}, year={2020}, pages={53–72} }
 @book{harrison_2009, title={The cultural production of Matthew Arnold}, ISBN={9780821418994}, DOI={10.1353/book.1085}, publisher={Athens: Ohio University Press}, author={Harrison, A. H.}, year={2009} }
 @article{harrison_2007, title={Christina Rossetti: Illness and ideology ('Goblin Market')}, volume={45}, DOI={10.1353/vp.2008.0000}, abstractNote={Doubtless the most familiar references to illness in the poetry of Christina Rossetti appear in Goblin Market after Lizzie's sister Laura has banqueted on the sumptuous fruits proffered by the demonic Goblin men (the only males, one recalls, who actually appear in the poem). Ecstatic for the moment, Laura returns to the maidens' garden cottage promising to bring her sister "plums ... / Fresh on their mother twigs" and "cherries worth getting." She describes her feast in detail: "You cannot think what figs My teeth have met in, What melons icy-cold Piled on a dish of gold Too huge for me to hold, What peaches with a velvet nap, Pellucid grapes without one seed: Odorous indeed must be the mead Whereon they grow, and pure the wave they drink With lilies at the brink, And sugar-sweet their sap." (1) Such delicate fruits would, in our own age, appear to be a tonic for any illness, but Laura's allusion to iconic lilies, in this context, suggests the delusory quality of her gustatory experience: soon, in fact, "her tree of life drooped from the root" (l. 260). She is overwhelmed by "her heart's sore ache" and an unquenchable "passionate yearning" (ll. 261, 266). She sickens, says the narrative voice: Her hair grew thin and gray; She dwindled, as the fair full moon doth mm To swift decay and burn Her fire away. (ll. 277-280) With "sunk eyes and faded mouth" (l. 288), her final stages of deterioration begin. In a both literally and figuratively pivotal passage that appears about midway through the poem, when Laura, "dwindling / Seemed knocking at Death's door" (ll. 320-321), her sister Lizzie is reminded of Jeanie in her grave, Who should have been a bride; But who for joys brides hope to have Fell sick and died In her gay prime. (ll. 312-316) Eventually, of course, Lizzie braves the Goblin glen and the vicious assaults of the demons themselves, to return dripping with fruit juices which Laura sucks from her body and by which she is miraculously saved, indeed resurrected: "Life out of death" (l. 524), we are told, was their effect. As with so many modern vaccines, the antidote to the disease--presumably unavailable to Jeanie--is derived from its source. Before leaving this passage about Jeanie, crucial to a number of the poem's ideological resonances, we should observe its striking statement of causality and its equally startling collocation of associations: here "joys brides hope to have" are implicitly identified with Laura's powerfully sensual experience of the Goblin fruit, defining her temptation by the Goblin men as a sexual one. Moreover, the premature and illicit experience of such "joys" causes Jeanie to become a "fallen" woman (recall that she "fell sick"). This association becomes explicit with Rossetti's choice of the word "gay" to describe her: the term in the mid-Victorian lexicon commonly referred to prostitutes. (2) In this central passage from Rossetti's title poem in her debut volume, an equation is thus set up between the indulgence of female sexual desire and sickness unto death. In cultural context, this poem can be read as a monitory exemplum and thus an extreme instance of Victorian sexual repression: it reflects a profound fear of female sexuality and its potential consequences. (3) The fear and sublimation of female sexual desire and insistence upon the dangerous, if not fatal, effects of its indulgence emerges often--metaphorically, if not literally--in much of Rossetti's poetry. We witness it not only in Goblin Market: it permeates her works, (4) prose as well as poetry, from the 1850s--one immediately thinks of her juvenile prose tale, Maude, as well as poems such as The Convent Threshold and "An Apple-Gathering," for instance--to her last major poems, including the justly admired Monna Innominata sonnet of sonnets. That fear, I will eventually argue, also played a powerful role in Rossetti's own life, from the emergence of her passionate religiosity at about the same time as her serious adolescent illness--to her ultimate rejection of two marriage proposals, and the arguments against marriage made in her works of devotional prose. …}, number={4}, journal={Victorian Poetry}, author={Harrison, A. H.}, year={2007}, pages={415–428} }
 @article{harrison_2004, title={The correspondence of Dante Gabriel Rossetti, vols 1-2, The formative years, Charlotte Street to Cheyne Walk (1835-1862)}, volume={42}, ISSN={["0042-5206"]}, DOI={10.1353/vp.2004.0040}, abstractNote={Reviewed by: The Correspondence of Dante Gabriel Rossetti, vols. 1–2: The Formative Years: Charlotte Street to Cheyne Walk (1835–1862) Anthony H. Harrison (bio) The Correspondence of Dante Gabriel Rossetti, vols. 1–2: The Formative Years: Charlotte Street to Cheyne Walk (1835–1862), ed. William E. Fredeman. Cambridge: D. S. Brewer, 2002. $165.00 each vol. William Fredeman's monumental edition of Dante Gabriel Rossetti's letters has been long awaited by afficianadoes of Pre-Raphaelitism and by students of Victorian art and poetry. The edition is an appropriate capstone to two decades in which Pre-Raphaelite studies have flourished in ways that Fredeman himself could not have envisioned when his Pre-Raphaelitism: A Bibliocritical Study was published by Harvard in 1965. Since the early 1980s the academic and popular publications that owe a profound debt to his extraordinary scholarship include a large number of important books and essay collections on Pre-Raphaelitism as an artistic movement, as well as a breathtaking array of critical books, articles, and biographies of individual poets and painters associated with it. These include several groundbreaking studies of Dante Gabriel Rossetti, as well as a major biography; the immensely innovative and significant Dante Gabriel Rossetti Hypermedia Archive created by Jerome McGann; the variorum edition of Christina Rossetti's poetry edited by Rebecca Crump, and a now completed four-volume edition of her letters. Substantial work on Ford Madox Brown, John Everett Millais, and William Holman Hunt as well as other painters in the Pre-Raphaelite orbit, such as James Smetham, has also appeared. Thus, long before Dick Fredeman died in 1999, he might well have looked back upon his scholarly achievement (and the extensive work founded upon it) with immense satisfaction as well as with justifiably positive expectations for the future of Pre-Raphaelite studies. At the same time, all who knew him well would understand his profound disappointment at not having completed work on all nine planned volumes of the DGR letters. The Correspondence of Dante Gabriel Rossetti is to appear (as Fredeman projected) in three sets of volumes, "each terminating in a crisis year, or turning point, in Rossetti's life" (p. xviii): volumes 1 and 2, The Formative Years: Charlotte Street to Cheyne Walk (1835-1862); volumes 3-5, The Chelsea Years: Prelude to Crisis (1863-1882); and volumes 6-9, TheLast Decade: Kelmscott to Birchington (1873-1882). Together, the volumes will print nearly 5,800 letters to some 330 recipients. These are reproduced from 125 manuscript collections, and they constitute twice the number of [End Page 201] letters contained in the sadly flawed and inadequate four-volume Doughty-Wahl edition published without an index by Oxford between 1965 and 1967. Fredeman's edition will print some 2,000 letters never before published. Also projected is a Companion to the Correspondence in which about 300 letters with "virtually no relevant content" (p. xxiii) will be calendared. Since Fredeman's death, work to complete his ambitious project has been taken over by a group of respected scholars in Pre-Raphaelite studies, and we can look forward to the timely appearance of the seven remaining volumes of DGR's letters. The first two volumes, however, are entirely Fredeman's work, and they constitute, in every respect, a model of traditional epistolary editing. The apparatus is extensive, and the often lengthy annotations to the letters reflect Fredeman's vast, unequaled knowledge of all matters Pre-Raphaelite. Immensely useful as these annotations are, they sometimes overwhelm the texts of the letters they are meant to elucidate. Occasionally, a single annotation becomes in itself a brief essay designed to recuperate information about long neglected (or virtually forgotten) individuals, places, or events. (See, for instance, note 2 to letter 48.3 on the minor artist and student of Henry Fuseli, Theodore von Holst [1810-44]; note 1 to 49.16 on DGR's verse epistle inspired by his 1849 continental tour with William Holman Hunt; and note 1 to 50.13 on DGR's acquaintance with the American poet and painter Thomas Buchanan Read [1822-72].) The useful and efficient apparatus includes an "Introduction" that explains the origins of this edition and a commentary on the deficiencies...}, number={2}, journal={VICTORIAN POETRY}, author={Harrison, AH}, year={2004}, pages={201–205} }
 @article{harrison_2004, title={Victorian culture wars: Alexander Smith, Arthur Hugh Clough, and Matthew Arnold in 1853}, volume={42}, ISSN={["0042-5206"]}, DOI={10.1353/vp.2005.0004}, abstractNote={EVEN AS MATTHEW ARNOLD WAS PUBLISHING HIS FIRST TWO VOLUMES of poetry (anonymously, in 1849 and 1852), he appears to have been fighting what we might well perceive, early in the twenty-first century, as a culture war. Arnold's famous "Preface" to his 1853 Poems suggests that the most powerful enemies of the poetic principles he formulates there, and (as I hope to demonstrate) of his foundational philosophical, moral, and spiritual values, are the phenomenally popular Spasmodic poets, or, as Arnold terms them in his "Preface," "the school of Keats." In fact, Arnold's "Preface," which has traditionally been read as a poetic and aesthetic manifesto, is, in addition, a political manifesto. As the generally negative reviews of Arnold's work that appeared between 1849 and 1853 make clear, Arnold's literary and aesthetic values, his "taste," opposed that of most middle-class readers of poetry and fiction. As has been frequently discussed, most of those reviews damn Arnold's work with faint praise; the poetry, although (as Clough himself characterized it) that of "a scholar and a gentleman," (1) is described as out of tune with the modern world, self-absorbed, uselessly erudite. About the 1849 volume, Charles Kingsley asked, "To what purpose [is] all the self-culture through which the author must have passed," given that the poems present only "dreamy, transcendental excuses for laziness" in their domination by "hungry abstractions ... stolen from the dregs of German philosophy"? (2) And William Edmonstoune Aytoun, who two years after the publication of Empedocles was to explode the Spasmodic fad through his Blackwood's parody of their work, attacked Arnold's volume as a "perversion of a taste which, with so much culture, should have been capable of better things." (3) One reviewer was distressed that a fellow Oxonian, "a man of high culture," should be so alienated from his generation and should through his verse propound an "indolent, selfish quietism." (4) Clough himself questioned Arnold's "ascetic and timid self-culture" (Armstrong, Scrutinies, p. 167). Such comments are typical of the reviews of Arnold's work from 1849 and 1852 and present a remarkable contrast, as we shall see, with the tone and content of responses to Alexander Smith's Poems, published on the heels of Arnold's volume. The responses to Smith's work were effusive. By March of 1853 Arnold had, it seems, read many of the reviews and appears at first to take a "quietist" stance in response to them. In a letter to his intimate friend, Arthur Hugh Clough, of March 21, Arnold espouses a kind of aesthetic relativism that is powerfully belied by the direction and force of his later prose writings on such matters, including the "Preface" to his 1853 volume (the first book he published under his own name). Of Clough, just several months before writing the "Preface," Arnold queried, "What is to be said when a thing does not suit you--suiting and not suiting is a subjective affair and only time determines, by the colour a thing takes with years, whether it ought to have suited or no." (5) Such a view may have eased Arnold's displeasure, not to say bafflement, at the reviews of both The Strayed Reveller (in 1849) and Empedocles on Etna and Other Poems. But he had not yet seen Clough's, which appeared in the July issue of the North American Review. Reading Clough's review as in itself a text for ideological analysis instructs us in the highly significant cultural conflict embedded in the reception history of Arnold's and Smith's works in 1853 and reified in Arnold's 1853 "Preface." While reviews of Arnold's Empedocles were somewhat slow to appear, Smith's Poems was immediately and widely reviewed. A sensation of the winter season, it was rushed into a second edition soon after the first printing. William Michael Rossetti, in fact, insisted that, during the spring of 1853, "nothing [was] talked of ... but Alexander Smith." (6) Dante Rossetti called A Life-Drama "wonderful" and compared it to Goethe's Wilhelm Meister. …}, number={4}, journal={VICTORIAN POETRY}, author={Harrison, AH}, year={2004}, pages={509–520} }
 @inbook{t._2002, title={Arthurian poetry and medievalism}, DOI={10.1002/9780470693537.ch13}, abstractNote={This chapter contains section titled: References and Further Reading}, booktitle={A companion to Victorian poetry (Blackwell companions to literature and culture ; 15)}, publisher={Malden, MA: Blackwell Publishers}, author={T., Harrison.}, editor={R. Cronin, A. Chapman and Harrison, A. H.Editors}, year={2002}, pages={246–261} }
 @inbook{r. cronin_harrison_2002, title={Editor's preface}, booktitle={A companion to Victorian poetry (Blackwell companions to literature and culture ; 15)}, publisher={Malden, MA: Blackwell Publishers}, year={2002}, pages={vii -} }
 @book{cronin_chapman_harrison_2002, title={The Blackwell companion to Victorian poetry}, ISBN={0631222073}, publisher={Malden, MA: Blackwell}, author={Cronin, R. and Chapman, A. and Harrison, A. H.}, year={2002} }
 @inbook{harrison_1999, title={1848}, booktitle={A companion to Victorian literature & culture}, publisher={Malden, Mass.: Blackwell Publishers}, author={Harrison, A. H.}, year={1999} }
 @book{arseneau_harrison_kooistra_1999, title={Culture of Christina Rossetti: Female poetics & Victorian contexts}, ISBN={0821412434}, publisher={Athens: Ohio University Press}, author={Arseneau, A. and Harrison, A. H. and Kooistra, L. J.}, year={1999} }
 @misc{harrison_1998, title={Selected prose of Christina Rossetti, by D. Kent and P. Stanwood}, volume={7}, number={1998 Fall}, journal={Journal of Pre-Raphaelite Studies}, author={Harrison, A. H.}, year={1998}, pages={115–116} }
 @book{harrison_1998, title={Victorian poets and the politics of culture: Discourse and ideology}, ISBN={0813918189}, publisher={Charlottesville, VA: University Press of Virginia}, author={Harrison, A. H.}, year={1998} }
 @article{harrison_1997, title={Christina Rossetti and Caroline Gemmer: Friendship by royal mail}, number={1997}, journal={Victorians Institute Journal}, author={Harrison, A. H.}, year={1997}, pages={1–27} }
 @book{harrison_1997, title={The Letters of Christina Rossetti}, ISBN={0813916860}, publisher={Charlottesville, VA: University Press of Virginia}, author={Harrison, A. H.}, year={1997} }
 @misc{harrison_1996, title={Annoying the Victorians by James Kincaid}, volume={38}, journal={Criticism}, author={Harrison, A. H.}, year={1996}, pages={166–169} }
 @article{harrison_1995, title={Epistolary relations: The correspondence of Christina Rossetti and D. G. Rossetti}, volume={new series 4}, journal={Journal of Pre-Raphaelite Studies}, author={Harrison, A. H.}, year={1995}, pages={91–101} }
 @inbook{harrison_1995, title={Swinburne's Tristram of Lyonesse: Visionary and courtly epic}, ISBN={0815306547}, booktitle={Tristan and Isolde: A casebook}, publisher={New York: Garland}, author={Harrison, A. H.}, year={1995}, pages={301–323} }
 @article{harrison_1994, title={Introduction: Christina Rossetti in 1994}, volume={32}, journal={Victorian Poetry}, author={Harrison, A. H.}, year={1994}, pages={203–207} }
 @article{harrison_1993, title={'I am Christina Rossetti'}, volume={14}, journal={Humanities}, author={Harrison, A. H.}, year={1993}, pages={33–37} }
 @inbook{harrison_1993, title={Christina Rossetti among the Romantics: Influence and Ideology}, ISBN={0312102119}, DOI={10.1007/978-1-349-23084-6_8}, abstractNote={Christina Rossetti was not a voracious, but rather a focused, reader. Apart from the Bible, Thomas à Kempis, St Augustine, Plato, Homer and the classics in Italian, her adult reading was largely in the religious literature of her day (W. Rossetti 1904, pp. lxix–lxx).1 She appears uninfluenced by a number of authors and works we would expect her to have appropriated. References to Shakespeare and Milton are, for instance, extremely unusual in her writing, and in 1870 she acknowledged to a close friend that she was still ‘the rare Englishwoman not to have read the Holy Grail’2 Yet her copy of Keble’s The Christian Year was dog-eared by the time of her death in 1894. She read widely in Tractarian literature, as this fact, her sonnet on Newman, and the theological content of her books of devotional prose make clear (Chapman 1970, pp. 170–97; Tennyson 1981, pp. 197–203; Cantalupo 1988; Schofield 1988).}, booktitle={Influence and resistance in nineteenth-century poetry}, publisher={New York: St. Martin's Press; Macmillan}, author={Harrison, A. H.}, editor={Blank, G. K. and Louis, M. K.Editors}, year={1993}, pages={131–149} }
 @inbook{harrison_1992, title={Christina Rossetti: The poetic vocation}, ISBN={0810383616}, booktitle={World literature criticism, 1500 to the present: A selection of major authors from Gale's Literary Criticism Series}, publisher={Detroit: Gale Research, Inc.}, author={Harrison, A. H.}, year={1992} }
 @inbook{harrison_1992, title={Cleon and its contexts}, ISBN={0816188610}, booktitle={Critical essays on Robert Browning}, publisher={New York: G. K. Hall}, author={Harrison, A. H.}, year={1992} }
 @inbook{harrison_1992, title={Dante Rossetti: Parody and Ideology}, ISBN={0816188637}, booktitle={Critical essays on Dante Rossetti}, publisher={New York: G. K. Hall}, author={Harrison, A. H.}, year={1992}, pages={191–205} }
 @book{harrison_taylor_1992, title={Gender and discourse in Victorian literature and art}, ISBN={0875801684}, publisher={DeKalb: Northern Illinois University Press}, author={Harrison, A. H. and Taylor, B.}, year={1992} }
 @inbook{harrison_taylor_1992, title={Introduction}, ISBN={0875801684}, booktitle={Gender and discourse in Victorian literature and art}, publisher={DeKalb: Northern Illinois University Press}, author={Harrison, A. H. and Taylor, B.}, editor={Harrison, A. H. and B.TaylorEditors}, year={1992} }
 @inbook{harrison_1992, title={Medievalist discourse and the ideologies of Victorian poetry}, volume={4}, booktitle={Studies in Medievalism}, author={Harrison, A. H.}, year={1992}, pages={219–234} }
 @inbook{harrison_1992, title={Swinburne and the critique of ideology in The awakening}, ISBN={0875801684}, booktitle={Gender and discourse in Victorian literature and art}, publisher={DeKalb: Northern Illinois University Press}, author={Harrison, A. H.}, year={1992}, pages={185–206} }
 @book{harrison_1992, title={Victorian poets and romantic poems: Intertextuality and ideology}, ISBN={0813913640}, publisher={Charlottesville: University Press of Virginia}, author={Harrison, A. H}, year={1992} }
 @misc{harrison_1991, title={Dante Gabriel Rossetti: Poet and painter by Eben Bass; English Pre-Raphaelitism and its reception in America in the Nineteenth Century by Susan Casteras; The Legend of Elizabeth Siddal by Jan Marsh; and Selected letters of William Michael Rossetti, ed. Ro}, volume={35}, journal={Victorian Studies}, author={Harrison, A. H.}, year={1991}, pages={99–101} }
 @article{harrison_1991, title={Matthew Arnold's gipsies: Intertextuality and historicism}, volume={29}, journal={Victorian Poetry}, author={Harrison, A. H.}, year={1991}, pages={365–383} }
 @misc{harrison_1991, title={Swinburne and his gods: The roots and growth of an agnostic poetry by Margot K. Louis}, volume={90}, journal={JEGP, Journal of English and Germanic Philology}, author={Harrison, A. H.}, year={1991}, pages={449–452} }
 @misc{harrison_1990, title={Christina Rossetti and the poetry of discovery by Katherine Mayberry}, volume={45}, DOI={10.2307/3045024}, journal={Nineteenth-Century Literature}, author={Harrison, A. H.}, year={1990}, pages={383–386} }
 @inbook{harrison_1990, title={Christina Rossetti and the sage discourse of feminist high Anglicanism}, ISBN={0813516005}, booktitle={Victorian sages and cultural discourse: Renegotiating gender and power}, publisher={New Brunswick, NJ: Rutgers University Press}, author={Harrison, A. H.}, year={1990}, pages={87–104} }
 @inbook{harrison_1990, title={Swinburne's craft of pure expression}, booktitle={Twentieth-Century Literary Criticism}, publisher={Detroit: Gale Research}, author={Harrison, A. H.}, year={1990} }
 @misc{harrison_1990, title={Vanishing lives: Style and self in Tennyson, D. G. Rossetti, and Yeats by James Richardson}, volume={33}, journal={Victorian Studies}, author={Harrison, A. H.}, year={1990}, pages={339–340} }
 @article{harrison_1989, title={ROSSETTI,DANTE + POET - PARODY AND IDEOLOGY}, volume={29}, ISSN={["0039-3657"]}, DOI={10.2307/450610}, number={4}, journal={STUDIES IN ENGLISH LITERATURE 1500-1900}, author={HARRISON, AH}, year={1989}, pages={745–761} }
 @book{harrison_1988, title={Christina Rossetti in context}, ISBN={0807817554}, publisher={Chapel Hill: University of North Carolina Press}, author={Harrison, A. H.}, year={1988} }
 @book{harrison_1988, title={Swinburne's medievalism: A study in Victorian love poetry}, ISBN={0807113271}, publisher={Baton Rouge: Louisiana State University Press}, author={Harrison, A. H.}, year={1988} }
 @misc{harrison_1988, title={The language of exclusion: The poetry of Emily Dickinson and Christina Rossetti by Sharon Leder with Andrea Abbott}, volume={61}, number={1}, journal={American Literature}, author={Harrison, A. H.}, year={1988}, pages={112–114} }
 @inbook{harrison_1987, title={Eighteen early letters by Christina Rossetti}, ISBN={0801419379}, booktitle={The achievement of Christina Rossetti}, publisher={Ithaca: Cornell University Press}, author={Harrison, A. H.}, year={1987}, pages={192–207} }
 @misc{harrison_1987, title={The complete poems of Christina G. Rossetti, vol. 2, ed. R. W. Crump and Christina Rossetti: Critical perspectives, 1862-1982 by Edna Charles}, volume={25}, journal={Victorian Poetry}, author={Harrison, A. H.}, year={1987}, pages={94–99} }
 @article{harrison_1985, title={'For love of this my brother': Medievalism and tragedy in Swinburne's The tale of Balen}, volume={25}, journal={Texas Studies in Literature and Language}, author={Harrison, A. H.}, year={1985}, pages={470–494} }
 @article{harrison_1985, title={Christina Rossetti: The poetic vocation}, volume={27}, journal={Texas Studies in Literature and Language}, author={Harrison, A. H.}, year={1985}, pages={225–248} }
 @article{harrison_1985, title={Reception theory and the new historicism: The metaphysical poets in the nineteenth century}, volume={4}, journal={John Donne Journal}, author={Harrison, A. H.}, year={1985}, pages={163–179} }
 @article{harrison_1985, title={The medievalism of Swinburne's poems and ballads, first series: Historicity and erotic aestheticism}, volume={21}, journal={Papers on Language and Literature}, author={Harrison, A. H.}, year={1985}, pages={129–151} }
 @article{harrison_1985, title={The metaphysical poets in the Nineteenth Century}, volume={4}, number={2}, journal={John Donne Journal}, author={Harrison, A. H.}, year={1985} }
 @misc{harrison_1984, title={The romantic ideology by Jerome J. McGann}, volume={49}, journal={South Atlantic Review}, author={Harrison, A. H.}, year={1984}, pages={122–126} }
 @misc{harrison_1983, title={Algernon Charles Swinburne: A bibliography of secondary works, 1861-1980 by Kirk Beetz}, volume={81}, journal={Modern Philology}, author={Harrison, A. H.}, year={1983}, pages={76–78} }
 @misc{harrison_1983, title={Images of crisis: Literary iconology, 1750 to the present by George Landow}, volume={7}, journal={Comparatist}, author={Harrison, A. H.}, year={1983}, pages={76–78} }
 @article{harrison_1983, title={La bella mano: An exhibition of Pre-Raphaelite art and crafts at the Virginia Museum of Art}, volume={4}, journal={Journal of Pre-Raphaelite Studies}, author={Harrison, A. H.}, year={1983}, pages={139–142} }
 @misc{harrison_1983, title={The poetry of Dante Gabriel Rossetti: Modes of self expression by Joan Rees}, volume={62}, journal={Philological Quarterly}, author={Harrison, A. H.}, year={1983}, pages={122–125} }
 @article{harrison_1982, title={CATACLYSM AND PRE-RAPHAELITE TRAGEDY + MORRIS,WILLIAM THE 'HAYSTACK IN THE FLOODS'}, volume={47}, ISSN={["0038-2868"]}, DOI={10.2307/3199407}, number={4}, journal={SOUTH ATLANTIC REVIEW}, author={HARRISON, AH}, year={1982}, pages={43–51} }
 @article{harrison_1982, title={SWINBURNE LOSSES - THE POETICS OF PASSION}, volume={49}, ISSN={["0013-8304"]}, DOI={10.2307/2872761}, abstractNote={On August 4, 1866, A. C. Swinburne's recently issued and obstreperously erotic Poems and Ballads, First Series was attacked by three anonymous critics. The Saturday Review disparaged the poet as "the libidinous laureate of a pack of satyrs"; the Athenaeum perceived him as "utterly revolting" in his immorality; and the London Review denounced him as "unclean for the sake of uncleanness."' However, the three critics who so viciously denigrated the twenty-nine-year-old Swinburne little understood the social and political precepts, the philosophy, and the poetics upon which the shocking lyrics of Poems and Ballads, First Series were based. Swinburne's swift response to these critics in Notes on Poems and Reviews begins to explain the premises behind his erotic "antiestablishment" poetry.2 He claims that Poems and Ballads is "dramatic, many-faceted, multifarious; and no utterance of enjoyment or despair can properly be assumed as the assertion of the author's personal feeling or faith."3 Swinburne here announces for the first time his poetic theory, which insists upon the uninhibited exploration of all issues and experiences relevant to a comprehensively prophetic treatment of the human condition. Swinburne extends and amplifies this aesthetic not only in the very large body of critical essays written over the course of his career, but also, by example, in his erotic poetry. Despite Swinburne's virtually obsessive concern with love and sexuality, no critic has yet systematically discussed the complex relations between his aesthetic ideals and his poetic vision of a world dominated and molded tragically by essential passionate impulses. To initiate such a program of study, I propose in the following pages briefly to examine the poetics that Swinburne himself enunciates in this connection and then to present detailed discussions of two major and very different poems by him: one a visceral erotic work and the other a plangently ethereal love lyric.}, number={3}, journal={ELH-ENGLISH LITERARY HISTORY}, author={HARRISON, AH}, year={1982}, pages={689–706} }
 @article{harrison_1981, title={Cleon's 'joy-hunger' and the Empedoclean context}, volume={9}, journal={Studies in Browning and His Circle}, author={Harrison, A. H.}, year={1981}, pages={57–68} }
 @article{harrison_1981, title={Eros and thanatos in Swinburne's poetry: An Introduction}, volume={2}, journal={Journal of Pre-Raphaelite Studies}, author={Harrison, A. H.}, year={1981}, pages={22–35} }
 @article{harrison_1981, title={Irony in Tennyson's 'Little Hamlet'}, volume={32}, journal={Journal of General Education}, author={Harrison, A. H.}, year={1981}, pages={271–286} }
 @article{harrison_1980, title={Swinburne and courtly love}, volume={18}, journal={Victorian Poetry}, author={Harrison, A. H.}, year={1980}, pages={61–64} }
 @inbook{harrison_1980, title={The ancient mariner as poete maudit: A note}, booktitle={A fair day in the affections: Literary essays in honor of Robert B. White, Jr.}, publisher={Raleigh, NC: Winston Press}, author={Harrison, A. H.}, editor={Durant, J. and Hester, M. T.Editors}, year={1980}, pages={147–149} }
 @article{harrison_1979, title={The Swinburnean woman}, volume={58}, journal={Philological Quarterly}, author={Harrison, A. H.}, year={1979}, pages={90–102} }
 @article{harrison_1978, title={Hardy's poetry: The uses of nature}, volume={19}, journal={Forum: BSUF}, author={Harrison, A. H.}, year={1978}, pages={63–70} }
 @article{harrison_1978, title={The aesthetics of androgyny in Swinburne's early poetry}, volume={23}, journal={Tennessee Studies in Literature}, author={Harrison, A. H.}, year={1978}, pages={87–89} }
 @article{harrison_1977, title={Ruskin against tradition: Two theories of landscape art in early Victorian England}, volume={4}, journal={Victorians Institute Journal}, author={Harrison, A. H.}, year={1977}, pages={1–15} }
 @article{harrison_1977, title={Swinburne's craft of pure expression}, volume={51}, journal={Victorian Newsletter}, author={Harrison, A. H.}, year={1977}, pages={16–21} }
 @article{harrison_1976, title={SWINBURNE 'TRISTRAM OF LYONESSE' VISIONARY AND COURTLY EPIC}, volume={37}, ISSN={["0026-7929"]}, DOI={10.1215/00267929-37-4-370}, abstractNote={Research Article| December 01 1976 Swinburne's Tristram of Lyonesse Visionary and Courtly Epic Antony H. Harrison Antony H. Harrison Search for other works by this author on: This Site Google Modern Language Quarterly (1976) 37 (4): 370–389. https://doi.org/10.1215/00267929-37-4-370 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Antony H. Harrison; Swinburne's Tristram of Lyonesse Visionary and Courtly Epic. Modern Language Quarterly 1 December 1976; 37 (4): 370–389. doi: https://doi.org/10.1215/00267929-37-4-370 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsModern Language Quarterly Search Advanced Search The text of this article is only available as a PDF. Copyright © 1976 by Duke University Press1976 Article PDF first page preview Close Modal You do not currently have access to this content.}, number={4}, journal={MODERN LANGUAGE QUARTERLY}, author={HARRISON, AH}, year={1976}, pages={370–389} }