General Materials Albert D. Pionke (bio) In this year of pandemic library closures, frustrated interlibrary loan requests, and nonexistent campus mail service, four books are featured in the general materials section. All monographs, each manifests an interest in the intersection of literary form with aesthetic, intellectual, material, political, regional, or theological history. Identifying a “key role” for the “nineteenth-century study of language” in the “emergence of popular sovereignty” during the period between the First (1832) and Third (1884) Reform Acts, Barbara Barrow’s Science, Language, and Reform in Victorian Poetry: Political Dialects (London: Routledge, 2019) proposes that Victorian poetry’s “lack of orderliness, its passages where poetic language spills over or exceeds its meter or formal confines,” be understood as philologically inflected interventions designed “to make visible the blind spots and exclusion of liberal reform” (p. 2). Max Müller’s Lectures on the Science of Language (1861)—which asserts a concurrence between political revolution and linguistic rejuvenation—provides an initial warrant for the book’s “nexus between language, philology, and politics,” itself first explored by means, not of a poem, but of Thomas Carlyle’s 1837 “experimental epic in prose,” The French Revolution (pp. 5, 6). Barrow retraces the text’s at times stylistically excessive engagement with the Revolution-era theories of language articulated within John Horne Tooke’s The Diversions of Purley (1786), Noah Webster’s Dissertations on the English Language (1789) and “Preface” to An American Dictionary of the English Language (1828), and Louis-Sébastien Mercier’s Panorama of Paris (1781–1788) and The New Paris (1789), arguing that “Carlyle’s positioning of the revolutionaries as a source of untapped, embodied potential paradoxically sets the terms for a Victorian conception of the modern polity” (p. 23). Poetic responses to Carlyle’s example, to later iterations of philological theory, and to the politics of ongoing franchise reform occupy the book’s four chapters, each of which addresses carefully selected works by one of the period’s major poets. Chapter 1 focuses on Elizabeth Barrett Browning’s incorporation of the language theories of John Locke and Étienne de Condillac in An [End Page 315] Essay on Mind (1826), A Drama of Exile (1844), and, most importantly, Aurora Leigh (1856) in order to create “a bodiless poetry as a symbolic expression of women’s exclusion from the reformed electorate” (p. 33). Chapter 2 then reinterprets Robert Browning’s The Ring and the Book (1868–1869) as a “challenge [to] the democratic pretenses of mid-Victorian philology” during the period of the Second Reform Act (1867) and Richard Chenevix Trench’s early work on what would eventually become the Oxford English Dictionary (p. 70). According to Barrow, Browning “refuses any easy consensus of the demos as imagined by Trench, showing how forms of mass consensus can perpetuate a dangerous and deadly collectivity—as in the growth of empire—as well as overlook those subjects still excluded from the political and social benefits of the reforming state” (p. 88). In chapter 3, Barrow devotes prolonged attention to Alfred Tennyson’s Maud (1855) and Idylls of the King (1859–1885), arguing that through “sound patterns, metonymic substitutions, and lupine and canine imagery, Tennyson subtly challenges the use of philology and evolutionary science as a model for British imperial sovereignty” (p. 95). The line between human and animal language appears increasingly porous in both works, exposing, in Maud, “the irresolvable crisis of Victorian class relations,” and, in Idylls, “the advent and decline of empire as a cycle of evolution from, and degeneration into, brutes” (p. 109). Finally, chapter 4 argues that Thomas Hardy’s Wessex Poems (1898) and Poems of the Past and Present (1901) “challenge the metropolitan appropriation of rural speechways into a unified vision of the nation that followed the passage of the 1884 Reform Act” (p. 127). Barrow’s short reading of “Her Dilemma” (pp. 136–137) provides what is, perhaps, the book’s best example of the interanimating relationship between metrical irregularity, word choice, and an inferable resistance to both contemporary philological theory and overly optimistic assessments of the effects of electoral reform. Whether a wider selection of poems and/or poets would sustain the correspondence between Victorian...
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May 3, 2020
Madeleine Cohen 
Open Access