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• W134420922 abstract "Genetic texts not only document the evolution of literary works through the stages of their compositional history but--both by resituating texts within their documentary histories and by enlarging them beyond their formal boundaries--emphasize their interdependence with historical conditions. While every work of art comes into existence and form shaped by historical contingencies and continues to depend upon historical conditions (which it may also influence) for its preservation, dissemination and reception, certain modernist works recast notions of authority to acknowledge rather than obfuscate that interdependence. For example, the genetic text of Ezra Pound's Cantos shows error to be inseparable from intentionality and authority the interminable wandering of this modernist epic ways that resonate with features of its final text, challenging both readerly and editorial preconceptions about the nature of its authority.(1) In the course of making this argument about the text of The Cantos, I used Charles Lamb's and Virginia Woolf's opposite responses to a manuscript of Lycidas as paradigmatic stances toward literary authority as such. In A Room of One's Own, the fictionalized yet markedly autobiographical speaker recounts how, while wandering Oxbridge paths earlier trodden by literary and familial forebears from Milton and to Woolf's father and brother, she remembered an essay which Lamb wrote how it shocked him to think it possible that any word Lycidas could have been different from what it is. To think of Milton changing the words that poem seemed to him a sort of sacrilege.(2) Woolf was recalling Lamb's impassioned note to his 1820 essay Oxford the Vacation (which he may have written Cambridge(3)) about how the sight of Milton's revised holograph (and with it the specter of critique genetique) expelled him from the paradise of to the fallen world of laborious trial-and-error: There is something to me repugnant, at any time, written hand. The text never seems determinate. Print it. I had thought of the Lycidas as of a full-grown beauty--as springing up with all its parts absolute--till, evil hour, I was shown the original written copy of it, together with the other minor poems of its author, the Library of Trinity, kept like some treasure to be proud of. I wish they had thrown them the Cam, or sent them, after the latter cantos of Spenser, into the Irish Channel. How it staggered me to see the fine things their ore! interlined, corrected! as if their words were mortal, alterable, displaceable at pleasure! as if they might have been otherwise, and just as good! as if inspirations were made up of parts, and those fluctuating, successive, indifferent! I will never go into the work-shop of any great artist again, nor desire a sight of his picture, till it is fairly off the easel; no, not if Raphael were to be alive again, and painting another Galatea.(4) For Lamb, the poetic authority epitomized by Milton is--or rather, must seem--timeless, inalterable, absolute. A poem transcends its historical beginnings as transcends the author's erring hand; print settles a text by erasing the fragile traces of its human origins and history. While is perfectly aware that this transcendent authority is an illusion--that the artist's workshop exists, whether or not readers choose to enter--his rhetoric cultivates that illusion with apotropaic fervor (as if their words were mortal, alterable, displaceable at pleasure! as if they might have been otherwise, and just as good!). For Lamb, the printed poem is a timeless prelapsarian Eden wherein critique genetique is as unthinkable as the mortal violation of poetry's sacred borders by the snaky, erring traces of fallible intention preserved the abhorrent holograph he looked upon in evil hour. …" @default.
• W134420922 created "2016-06-24" @default.
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• W134420922 date "1995-05-01" @default.
• W134420922 modified "2023-09-25" @default.
• W134420922 title "Modernism, Genetic Texts and Literary Authority in Virginia Woolf's Portraits of the Artist as the Audience" @default.
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