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• W1978613888 abstract "Eliot claimed to have bypassed the diffuse, Romantic, effeminate British Decadent legacy that had privileged sound over concrete image in favor of French urban poets such as Charles Baudelaire or Jules Laforgue.1 And perhaps because modernism so successfully rid itself of A. C. Swinburne's infectious aural traits, critics have not recognized the profound visual impact of his pagan natural landscapes on modern urban/war poetry. In an age defined by world war and large scale technology, Swinburne's Decadent images of drowning and storm-shattered bodies accrued new iconic significance. Far from projecting utopian romantic visions of lost unity, the Decadent's Sapphic sublime of elemental obliteration—surfacing initially in H.D.'s (and Pound's) imagist, floral bodies whirled by a maelstrom of forces—dramatized at once modernity's keenly shattering intensity and a correspondent awareness of corporeal fragility.2 It has become a commonplace that Eliot's Baudelairian Fourmillante cité reflects back the alienated etherized modern subject. However, by contrast, Swinburnian pagan sites of death by drowning and snowstorm frequently stage spectacles of an Eliotic numbed body stung into sharp, percipient, erotic self-realization by the metropolis, world war, and technology. Thus in The Love Song of J. Alfred Prufrock's concluding Swinburnian turn seaward, modernity awakens the speaker into acute erotic sentience—human voices wake us, and we drown—from the bodily/perceptual haze of its overtly urban sections.3 Images spinning out the chilled delirium and beauty in terror denied to a sensually deprived Gerontion who never [End Page 425] fought in the warm rain propel the downed gull across Belle Isle's windy straits to its Swinburnian-Sapphic death by crystal, white feathers in the snow (CPP, 21, 23). Tim Armstrong argues in Modernism, Technology and the Body that technology renders the body supersensual.4 And Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction taken in tandem with On Some Motifs in Baudelaire imply that under the pressures of modernity's life-threatening stimuli, all modes of perception—erotic, aesthetic, visionary—become predicated on shock.5 Further, Benjamin's choice of Baudelaire (Swinburne's master) as the lyric poet who best incorporates a shock-aesthetic capable of competing with film's blitzing medium, prescribes a modern poetics based on Decadent self-shattering structures of eros and imaginative self-realization. Thus Benjamin alludes to Baudelaire's equation of the creative process with a duel in which the artist, just before being beaten, screams in fright (I, 163). And, citing Baudelaire's À Une Passante as an illustration of sexual shock arising under the conditions of urban traffic, Benjamin defines modern desire in terms of Decadent self-dissolving eros: in that poem, the citydweller is convulsed accordingly with le plaisir qui tue (the pleasure that kills) by the lightning glance of a mysterious female stranger borne by the crowd (I, 168, 169). Here I extend Benjamin's program for an urban Baudelairian poetics based on modern shock modes of perception to Swinburne's pagan landscapes, seeking to delineate a lyric Sapphic-Swinburnian moment in Eliot's (and other modern) poems. Like the more pervasive futurist moment Marjorie Perloff traces to Pound's vortex, the Swinburnian moment—cut, spliced, and mobilized in accord with modern filmic modes of attention by H.D.'s and Pound's imagist/cinematic eye—shares a heady engagement with technology's speed, danger, immediacy, and attendant ruptured forms.6 However the fragile, Decadent body plunged in an imagist vortex of external forces, unlike F. T. Marinetti's avant-guerre man at the wheel, sustained an elegiac pathos as well as mystic/erotic transport in the Janus face of technological adventure and war-ruin.7 Jerome McGann's recent comments on Swinburne's nature poetry as a powerful objective correlative for the immersive imagination suggests its relevance to such a poetics/erotics of..." @default.
• W1978613888 created "2016-06-24" @default.
• W1978613888 creator A5070340969 @default.
• W1978613888 date "2004-01-01" @default.
• W1978613888 modified "2023-10-17" @default.
• W1978613888 title "T. S. Eliot and A. C. Swinburne: Decadent Bodies, Modern Visualities, and Changing Modes of Perception" @default.
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• W1978613888 doi "https://doi.org/10.1353/mod.2004.0059" @default.
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