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This paper explores the presence of correspondances and allegory in Walter Benjamin's thoughts on the poetry of Charles Baudelaire. It compares these thoughts with other contemporary critical approaches and points up the relationship, which Benjamin considered essential, between the form of Baudelaire's work and the historical changes of the mid-nineteenth century. [ABSTRACT FROM AUTHOR]

This article examines the relationship between poetry and mathematics in nineteenth-century thought, particularly in relation to the notion of the world as a text, utterance, program, or formula created by God. In the works of writers and mathematicians as diverse as Coleridge, Hopkins, Lovelace, and Babbage, poetry and mathematics are frequently conceptualized in terms of one another, or envisaged as unified in the context of the world as Divine Logos. Furthermore, the idea of the world as a text or formula which theoretically could be deciphered often translates into an ambition to incarnate language or mathematics into reality itself through providing a 'uniting link' (Lovelace) between the material and symbolic worlds. [ABSTRACT FROM AUTHOR]

The article reviews the book "Victorian Wastelands: Apocalyptic Discourse in Nineteenth-Century Poetry" by Ralph Pordzik.

Th article provides several hypotheses as to reasons why William Wordsworth's poem "To the Rev. Dr. W__./(With the Sonnets to the River Duddon and Other Poems in this Collection.)" was first published in the midst of the April 1820 poetry collection "The River Duddon, A Series of Sonnets: Vaudracour and Julia: And Other Poems. To which is annexed a Topographical Description of the Country of the Lakes in the North of England," as opposed to appearing as a preface to the Duddon sonnet series, where it was later moved in the July 1820 edition of "Miscellaneous Poems" printed by Longman & Co. It considers possible miscommunications between author and publisher, the relationship between the River Duddon sonnets, and the editorial efforts to create "Miscellaneous Poems."

The gift book "Remember Me!" with Blake's wonderful engraving of the 'Hiding of Moses' was more remarkable for its decorations than for its literary contents. Of the twenty-four copies recorded, each differs from the others in the pattern of binding, colour of fore-edges, endpapers, and the decorated sleeve-case. Despite this varied elegance, the work had only a modest sale, and the same sheets were re-issued in 1825 for the 1826 gift-giving season. This paucity of sales may be related to the fact that the publisher John Poole had little experience of book distribution. His speciality was as a maker of Marble Paper and Fancy Pocket-Books, not in selling them. [ABSTRACT FROM AUTHOR]

The article introduces various reports published within the issue including an essay by Linda K. Hughes on the visual effects in the Victorian magazine "Once a Week," an essay by Jerome J. McGann on the dedication of Pre-Raphaelite poet Dante Gabriel Rossetti to the idea of the book as an aesthetic unit, and one by Richard Maxwell on artist Edward Lear's development of book illustration from his "Journals" through his publication "Landscape Illustrations of Tennyson."

The article discusses the representation of the city of London, England in 19th century literature and considers the modernity of the poems of Charles Baudelaire and why a French poet should be considered the first modern poet. Philosopher Walter Benjamin's criticism of Baudelaire is examined as is that of critic Algernon Swinburne and the place of London, not Paris, France as the center of industrial capitalism in the 19th century is also considered.

In this article the author discusses the relevance of prophecy to life in London in the late 18th and early 19th centuries. He argues that Thomas De Quincey foresaw a shift in the division of British culture, in which poetic imagination and redemptive spirituality shifted from the urban to the rural. The author also discusses the Romantic poetry of William Wordsworth and Samuel Taylor Coleridge in relation to the conceptual urban/rural split.

In this article the author analyzes the poem "The Old Cumberland Beggar" by Romantic poet William Wordsworth. He explains how Wordsworth defied the expectations of his upper-class readers by challenging their ability to identify with the character in the poem. The author argues that while conventional humanitarian poems create sympathy for beggar figures, "The Old Cumberland Beggar" intentionally displaces this sympathy and creates a feeling of dislocation.

In this article the author argues for a new scholarly edition of the original 1850 version of William Wordsworth's "The Prelude." He explains that the original edition is important in understanding how Victorians originally read the work, and describes the interplay between subsequent editions and literary criticism.

In this article the author discusses poet Percy Bysshe Shelley's marginal notes to David Hartley's "Observations on Man, His Frame, His Duty and His Expectations." She notes that Hartley's work may have influenced Shelley's poem "Queen Mab" in its focus on human agency. The article explores the concept of vibrations in Shelley and Hartley, and the importance of sound as a conceptual influence in Shelley's work.

The article presents an examination into the influence shared between the French poet Charles Baudelaire and the English poet Algernon Charles Swinburne. Introductory details are given pointing out the contradictory and vague ways in which the two authors share thematic ideology. The paradoxical influence and opposing resistance between the two figures is discussed in depth, focusing on their mutual engagement with accusations of obscenity.

The essay discusses an introduction to a nature poem by Victorian poet Maria Jane Jewsbury which praises the poet's doctor, Henry Jephson, continuing a widespread Victorian custom of patient poems. It also highlights Jewsbury's conflict between worldly ambition and spiritual immortality. It further notes a friend's admonition to cultivate an image of femininity and indicates this may have been a reason for her loveless marriage.

The essay explores the poetic influence of poet Manley Hopkins on his son, poet Gerard Manley Hopkins. The author compares the poem "The Old Trees" by Manley with the poem "Binsey Poplars" by Gerard. The poems were composed in the same time period and the author theorizes that the father's poem served as inspiration for that of the son. She also shows that the son goes beyond the father in rejecting conventional figures of speech and ornamentation for more original expressions.

The essay analyzes the writings of critic Christopher Brennan on the poet Stéphane Mallarmé and attempts to interpret them from a 21st century perspective. The author praises Brennan's understanding of Mallarmé but indicates his own view of Mallarmé is more optimistic. He cites, with Brennan, Mallarmé's innovation in refining verse down to its essential qualities and using it to shed light on the human condition.

The author discusses the poem "The Wreck of the Deutschland," written by Gerard Manley Hopkins. "The Wreck of the Deutschland," has been seen as a representation of Christ's relationship with the individual soul, the Virgin Mary and the Church. According to the article, the poem has been seen as a nuptial hymn.

The author discusses the poetry of Elizabeth Barrett Browning, in particular the poem "Aurora Leigh." It has been argued that "Aurora Leigh" is an example of Browning entering the male world of socio-economic conflict, theological polemic and sexual politics, where poets were seen as prophets. The author argues that Browning's beliefs were contrary to these, due to their undemocratic nature.

The author discusses the poetry of Thomas Hardy and how he used grammar differently from his contemporaries. Hardy believed that he was revealing moments of irregularity through his poetry. Hardy sees the "I' misplaced in time, looking back, not seeing the present. Also, the lyrical voices in Hardy's poetry went against the Victorian tradition.

The author discusses the coexistence of male and female personae which were in the works of poet Alfred Tennyson. The author argues that Tennyson's writings aspired to be masculine, but also possessed a feminine sensibility. The feminine sensibility appears in Tennyson's poetry through the use of female figures.

The author discusses the ways in which the scientific revolution of the mid-nineteenth century affected the poetry of Gerard Manley Hopkins. Hopkins presents debates in his poetry between the claims made by science of the time, and those of philosophy and scholasticism, set in a religious background. The author argues that Hopkins' response to science was a challenge to the perceived thinking of the time.

The author discusses the poet Dante Gabriel Rossetti, looking at his humbleness of visual art and artists through his poetry. The article addresses the question, is the deference to the visual arts seen in Rossetti's poetry actually a way in which to assert more power over the observer. The author argues that mathematical concepts, such as those seen in Immanuel Kant's sublime, are the roots of the mysteries Rossetti attributes to the visual arts.

This article examines the work of poet Robert Browning and how it dealt with mourning, loss, and grief. Unlike many Victorian poets, Browning did not revel in mourning; unlike many of his contemporaries he did not write elegies of any kind. However, he wrote often of death, and sometimes from the perspective of the dead.

Since Euripides and Seneca, without forgetting Racine and Garnier, Phedra's myth has had a special attraction for art, and their long-standing relationship has been periodically renovated. At the turn of the 19th century, the poetry of many, important, artistic sectors -articulated by a remission to the classical code and their opposition to all forms of burgeois art- produced one of the latest versions of the tragedy, Gabriele d'Annunzio's Fedra (1909). I shall focus on some of the cultural key issues related to this Italian playwright's text. According to D'Annunzio's introduction of the two characters to the classic repertoire, they reflect a reading of the ancient myth in Nietzschean code. [ABSTRACT FROM AUTHOR]

The article discusses the sonnets of William Gilmore Simms and compares their rhyme schemes to the traditional Petrarchan or legitimate form, Shakespearean or illegitimate form, as well as Romantic variations by Coleridge and Keats. Simms' poems "If From the Morning of Thy Days," "Flowers and Tress," "To My Books," "To W. Porcher Miles," "The Wreath," " Invocation," and "The Natal Star" are discussed.

U.S.-based poet William Cullen Bryant's periodical publication of the poem "The Fountain" as a political poem is an act that seeks to infuse interest in the career of a writer whose current status as a genteel poet elides his past position as a highly visible citizen. It is also an act that responds to the larger neglect suffered. Bryant's status exemplifies the current neglect by American literary studies of its nineteenth-century poetry. He is the reception historian's ironic counter example, the preeminent poet of his day, the poet who always would be remembered.

Presents information on Matthew Arnold and his work on poetry. Information of the withdrawal of a poem published in 1852 by Arnold; Information on Arnold's poetry.

Attempts to trace the development of poet Walt Whitman through his characteristic ideas, and also indicates the main drifts or persistent tendencies according to which these ideas were modified. Consideration of the poem "Song of Myself," which covers the period 1855 to 1859; Importance of sex in his poetry; Discussion of the second period, comprising 1859 to 1865, and illustrated by the poems "Out of the Cradle Endlessly Rocking" and "When Lilacs Last in the Dooryard Bloom'd"; Elegy in his work of this period; His third period, 1866 to his death, illustrated by the poems contained within "Leaves of Grass"; Conclusions.

An essay is presented that explores the first printing of a work by poet Lord Byron. It discusses traditional views on the printing of Byron's first work promulgated by William E. Leonard's dissertation "Byron and Byronism in America." The author offers an alternative view that proposes that Byron's first work was "The First Kiss of Love" that appeared in the "Lady's Weekly Miscellany." Textual variants, Byron's popularity in the United States, and his book "Hours of Idleness" are discussed.

Traces the historical background of Romantic poetry revolving around Irishman Robert Emmet, who was labeled an insurrectionist during the Irish Revolution. Discovery of duplicity in French treatment of Irishmen; Romantic attachment with Sarah Curran, daughter of a barrister; Poet Samuel Taylor Coleridge's idealization of Emmet; Tragic consequences of failed conspiracy; Emmet's performance in court.