By Marion Thain
'Michael box' (1884-1914) used to be the pseudonym of 2 girls, the aunt and niece Katharine Bradley and Edith Cooper, who lived and wrote jointly as 'lovers'. the massive oeuvre comprises poems, dramas, and an unlimited diary. Marion Thain recounts the improvement of a desirable and idiosyncratic poetic personality, which grew to become a self-reflexive learn in aestheticism. The developed existence and paintings of 'Michael box' is used the following to deepen and complicate our knowing of some of the such a lot targeted aesthetic debates of the overdue 19th and early 20th centuries; a approach unified via the ordinary engagement with theories of time and heritage that constructions this publication. This research of poetry, aestheticism and the fin de si?cle, in the course of the functionality of 'Michael Field', has implications that extend a long way past an knowing of 1 poet's paintings. students of either Victorian and modernist literature will examine a lot from this cutting edge and compelling research.
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Extra resources for ’Michael Field’: Poetry, Aestheticism and the Fin de Siècle
Sample text
The reader is left not knowing whether the authors are advocating the truth of this final pronouncement, or whether they are merely offering another stage in the cycle of Carloman’s tragic inability to make sense of life. This play poses an unanswered question; like so many of Michael Field’s dramas, it sets out a dialectic but fails to find an aesthetically pleasing resolution. This is strange because Carloman’s story is to a large extent Bradley and Cooper’s. 59 By the time of the women’s conversion to Catholicism, they are combining the centripetal (Christian) and the centrifugal (pagan) impulses in order to reconcile their past life with their new-found religious calling.
Sois pieux envers chaque jour, aimez-le, respecte-le, ne le fle´tris pas surtout, ne l’empeˆche pas de fleurir. ’24 ‘Jean-Christophe’ L’adolescent par Romain Rolland25 This demand to live each day at a time and not theorise life comes, ironically, at the start of a year which would see Michael Field’s diary begin to formulate their lives in terms of the grandest theories in order to reconcile past, present and future into a satisfying whole. Indeed, the dog’s death is presented as the motivation for Bradley and Cooper’s conversion to Catholicism, and thus ushered in a new and decisive grand narrative.
In the cell, Carloman realises that his belief in the ability of the flux of nature to provide the truths of life is also false. The river rushing by, which has been Carloman’s talisman of his religion of time and the power of mutable nature, ceases to reassure. Carloman believes that ‘Time has played me false’ (p. 83), and finally is without God. Just as Carloman becomes disillusioned with God and time, Marcomir decides he has understood Carloman’s preaching and found life’s secret in the sound of The diaries and dramas 39 the river: ‘Do you hear / How the Rhone sings outside?
