What amours de voyage are. What it means to idealize what Keats calls "The fair creature of an hour," as Claude does. How such idealizations derive from "Juxtapositions." What it means to see through one's own idealization, by understanding its biochemical substrate. What's wrong with seeing through that idealization. With examples from Proust (and his differences from Freud). All relevant tangents, or so I think. With some interesting information about Andrea Aguyor.
Victorian Poetry 26: Last class: Housman after a touch of Yeats and a little Michael Field
Victorian Poetry 25: Jeff Nunokawa visits to discuss Wilde’s ”Ballad of Reading Gaol”
Victorian Poetry 24: The Rhymers’ Club: Fin de siècle poetry, towards Wilde and Yeats
Victorian Poetry 23: Amy Levy, Robert Bridges and... Kipling
Victorian Poetry 22: A bit more Stevenson, George R. Sims, and the amazing Alice Meynell
Victorian Poetry 21: Later Victorian Forms: Stevenson, Guggenberger, MacDonald
Victorian Poetry 20: George Eliot, Hardy, Hopkins
Victorian Poetry 19: Swinburne and Hopkins
Victorian Poetry 18: A touch of Fitzgerald and Hopkins; more on Meredith and Swinburne
Victorian Poetry 17: Some Meredith, then we begin The Rubáiyát of Omar Khayyam
Victorian Poetry 16: A little Patmore, then the rest of Goblin Market
Victorian Poetry 15: D.G. and C. Rossetti
Victorian Poetry 14: D.G. Rossetti and pre-Raphealitism
Victorian Poetry 12: Mainly Clough plus some narrative theory
Victorian Poetry 11: ”Long ago he was one of the singers” (Edward Lear) plus a little Clare
Victorian Poetry 10: ”The Hunting of the Snark” and some Clare
Victorian Poetry 9: ” ’Childe Roland to the Dark Tower Came’ ”
Victorian Poetry 8: More on R. Browning’s ”Development” and then mainly his”Thamuris Marching”
Victorian Poetry 7: more on Aurora Leigh and then some Robert Browning
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