Introduction In her recent book Listening Publics, Kate Lacey makes a compelling claim about origins of sound recording, proposing that the phonograph was prefigured in literary culture of nineteenth century. Lacey believes that what she calls imagination, which involves the separating of sound from time, place and body, both anticipates and helps to shape recording technology. Especially given that phonograph works by making a series of inscriptions first on tinfoil and later on wax, it thus represents an extension of textual practices. (1) Douglas Kahn, too, associates with widespread nineteenth-century trend of transferring the of into contaminated realm of writing (p. 70). In an age of rising literacy and unprecedentedly large-scale publication, when reading was increasingly silent and private yet also part of a shared cultural experience, displacement of this of presence was a significant literary phenomenon. (2) If Kahn is justified in grouping all ... and conceptual means of sound recording as both technological means, empirical fact, and metaphorical incorporation under umbrella term phonography (p. 16), then his definition covers mnemonic structure of poetic form. A poem's iterative formal patterns, like cylinders of phonograph that Thomas Edison initially saw as a means of capturing not music but speech, constitute a mechanism for mental preservation of language; they allow readers to evoke, appropriate, and recontextualize nebulous of verse. Lacey is chiefly concerned with role of sound technology in emergence of modern public sphere, and Kahn focuses on aesthetics of sound and noise in twentieth century. But I elaborate on notion that literature prefigures or portends Edison's invention by discussing Victorian lyric poetry--which often features conspicuously anonymous and dislocated voices, emphasizing disconnection of a putative utterance from a quasi-anthropomorphized poetic speaker--as a particularly revealing example of phonographic imagination. The work of literary critics as well as media theorists shows that this topic is ripe for further investigation. Emily Harrington has recently suggested that both recorded and lyric voices are defined by repetition and mechanical or metrical functioning and a disembodied state--ideas that I expand on in pages that follow. (3) Margaret Linley posits that Victorian lyric's attempt to conjure dead, absent, and lost voices while talking (figuratively) about voice should be reconsidered in light of Victorian anxiety regarding question of whether phonographs, like telegraphs and cameras, were remapping human coordinates. (4) At a time when embodied speech was being displaced and destabilized, when (as I claim later in this essay) poetic fixation on vanished past signaled elegiac nature of age, and when waning of religious faith and vogue for spiritualism ignited new uncertainties about whether dead could speak, admittedly problematic urge to personify marks on a page provided an intriguing counterpart to urge to personify recordings. Frederick Garbit's 1878 attribution of human traits to phonograph (it is tractable, teachable and humble, ... faithful, outspoken and devoid of all treachery), his proposal that such a machine be placed inside Statue of Liberty, fact that Edison manufactured talking dolls containing phonograph cylinders, use of phonographs to synchronize recorded dialogue with silent films: all reflect desire to reunite disembodied sound with human presence. (5) Yopie Prins, concentrating on a mnemonic formal feature that I also scrutinize, argues that metrical strategies of Victorian poems were preceding and perhaps even predicting sound reproduction technologies that emerged in course of nineteenth century. …
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