See his complete works (ed. by E. Gosse and T. J. Wise, 20 vol., 1925-27, repr. 1968); his letters (ed. by C. Y. Lang, 6 vol., 1959-62); biographies by G. Lafourcade (1932, repr. 1967), J. O. Fuller (1971), M. Panter-Downes (1971), and P. Henderson (1974); studies by S. C. Chew (1929, repr. 1966), E. Thomas (1912, repr. 1970), and C. K. Hyder, ed. (1970).
Algernon Charles Swinburne, watercolour by Dante Gabriel Rossetti, 1862; in the Fitzwilliam Museum, elipsis
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Algernon Charles Swinburne (5 April 1837 – 10 April 1909) was a Victorian era English poet. His poetry was highly controversial in its day, much of it containing recurring themes of sadomasochism, death-wish, lesbianism and irreligion.
Swinburne was born at 7 Chester Street, Grosvenor Place, London, on 5 April 1837. He was the eldest of six children born to Captain (later Admiral) Charles Henry Swinburne and Lady Jane Henrietta, daughter of the 3rd Earl of Ashburnham. He grew up at East Dene in Bonchurch on the Isle of Wight and attended Eton college 1849-53, where he first started writing poetry, and then Balliol College, Oxford 1856-60 with a brief hiatus when he was rusticated from the university in 1859, returning in May 1860.
He spent summer holidays at Capheaton Hall in Northumberland, the house of his grandfather, Sir John Swinburne (1762-1860) who had a famous library and was President of the Literary and Philosophical Society in Newcastle upon Tyne. Swinburne considered Northumberland to be his native county, an emotion memorably reflected in poems like the intensely patriotic 'Northumberland', 'Grace Darling' and others. He enjoyed riding his pony across the moors (he was a daring horseman) 'through honeyed leagues of the northland border'. He never called it the Scottish border.
In the years 1857-60, Swinburne became one of Lady Pauline Trevelyan's intellectual circle at Wallington Hall and after his grandfather's death in 1860, would stay with William Bell Scott in Newcastle. In December 1862, Swinburne accompanied Bell Scott and his guests, probably including Dante Gabriel Rossetti, on a trip to Tynemouth. Scott writes in his memoirs that as they walked by the sea, Swinburne declaimed the as yet unpublished 'Hymn to Proserpine' and 'Laus Veneris' in his strange intonation, while the waves 'were running the whole length of the long level sands towards Cullercoats and sounding like far-off acclamations'.
At university Swinburne associated with the Pre-Raphaelites and counted among his best friends Dante Gabriel Rossetti. After leaving college he lived in London and started an active writing career, where Rossetti was delighted with his 'little Northumbrian friend'.
His poetic works include: Atalanta in Calydon (1865), Poems and Ballads I (1866), Songs before Sunrise (1871), Poems and Ballads II, (1878) Tristram of Lyonesse (1882), Poems and Ballads III (1889), and the novel Lesbia Brandon (published posthumously).
Poems and Ballads I caused a sensation when it was first published, especially the poems written in homage of Sappho of Lesbos such as "Anactoria" and "Sapphics". Other poems in this volume such as "The Leper," "Laus Veneris," and "St Dorothy" evoke a Victorian fascination with the Middle Ages, and are explicitly medieval in style, tone and construction. Also featured in this volume are "Hymn to Proserpine", "The Triumph of Time" and "Dolores (Notre-Dame des Sept Douleurs)".
Swinburne devised the poetic form Roundel, a variation of the French Rondeau form, and some were included in A Century of Roundels dedicated to Christina Rossetti. Swinburne wrote to Edward Burne-Jones in 1883: "I have got a tiny new book of songs or songlets, in one form and all manner of metres ... just coming out, of which Miss Rossetti has accepted the dedication. I hope you and Georgie [his wife Georgiana, one of the MacDonald sisters] will find something to like among a hundred poems of nine lines each, twenty-four of which are about babies or small children". Opinions of these poems vary between those who find them captivating and brilliant, to those who find them merely clever and contrived. One of them, A Baby's Death, was set to music by the English composer Sir Edward Elgar as the song Roundel: The little eyes that never knew Light.
Swinburne was an alcoholic and algolagniac, and a highly excitable character. His health suffered as a result, and in 1879 at the age of 42 he had a mental and physical breakdown and was taken into care by his friend Theodore Watts, who looked after him for the rest of his life at No. 2 The Pines, Putney. Thereafter he lost his youthful rebelliousness and developed into a figure of social respectability. He died on 10 April 1909 at the age of 72 and was buried at Bonchurch on the Isle of Wight.
His mastery of vocabulary, rhyme and metre arguably put him among the most talented English language poets in history, although he has also been criticized for his florid style and word choices that only fit the rhyme scheme rather than contributing to the meaning of the piece. He is the virtual star of the third volume of George Saintsbury's famous History of English Prosody, and A. E. Housman, a more measured and even somewhat hostile critic, devoted paragraphs of praise to his rhyming ability.
Swinburne's work was once quite popular among undergraduates at Oxford and Cambridge, though today it has largely gone out of fashion. This largely mirrors the popular and academic consensus regarding his work as well, although his Poems and Ballads, First Series and his Atalanta in Calydon have never been out of critical favor.
It was Swinburne's misfortune that the two works, published when he was nearly 30, soon established him as England's premier poet, the successor to Alfred, Lord Tennyson and Robert Browning. This was a position he held in the popular mind until his death, but sophisticated critics like A. E. Housman felt, rightly or wrongly, that the job of being one of England's very greatest poets was beyond him.
After the first Poems and Ballads, Swinburne's later poetry is devoted more to philosophy and politics (notably, in favour of the unification of Italy, particularly in the volume Songs before Sunrise). He does not stop writing love poetry entirely (including his great epic-length poem, Tristram of Lyonesse), but the content is much less shocking. His versification, and especially his rhyming technique, remain in top form to the end.
T. S. Eliot, reading Swinburne's essays on the Shakespearean and Jonsonian dramatists in The Contemporaries of Shakespeare and The Age of Shakespeare and Swinburne's books on Shakespeare and Jonson, found that as a poet writing notes on poets, he had mastered his material and was "a more reliable guide to them than Hazlitt, Coleridge, or Lamb," Swinburne's three Romantic predecessors, though he characterized Swinburne's prose as "the tumultuous outcry of adjectives, the headstrong rush of undisciplined sentences, are the index to the impatience and perhaps laziness of a disorderly mind."
On T.S. Eliot comments on Swinburne: The correct statement made by T.S. Eliot on 'The Sacred Wood: Essays on Poetry and Criticism'- Imperfect Critics - Swinburne as Critic - is 'he is more reliable to them than Hazlitt, Coleridge, or Lamb: and his perception of relative values is almost always correct.' And then continues...'Against these merits we may oppose two objections: the style is the prose style of Swinburne, and the content is not, in an exact sense criticism... and ... but as a poet his notes upon poets whom he admired. Further down... 'Swinburne is an appreciator and not a critic. To finalize... 'His great merit as a critic is really one which, like many signal virtues, can be stated so simply as to appear flat.'