‘”Why were you silent when I spoke tonight?”: coming to terms in Tennyson’s “Sea Dreams” and Swinburne’s A Midsummer Holiday and Other Poems.’

Journal article

Oulton, C. 2022. ‘”Why were you silent when I spoke tonight?”: coming to terms in Tennyson’s “Sea Dreams” and Swinburne’s A Midsummer Holiday and Other Poems.’. Victorians. 141, pp. 37-50. https://doi.org/10.1353/vct.2022.0004
AuthorsOulton, C.
Abstract

The Victorian seaside is registered in both popular culture and literature of the sublime as a liminal space. This cultural function is enabled partly by its status as a symbol of modernity, inflected by the past. Specifically the seaside carries the weight of place-based temporalities, where ‘timelessness’ both underpins and conflicts with holiday time. Along the shore the fashionable water cure for invalids competes with a space that is also coded as healthy freedom. Allegorical seascapes are the ideal vehicle for exploring difficult religious questions, because they are embedded in conflicted ways of seeing. Tennyson’s ‘Sea Dreams’ and Swinburne’s A Midsummer Holiday and Other Poems configure a seaside infiltrated by commerce and destabilised by erosion, where meaning is elusive and finally deferred.

KeywordsTennyson; Swinburne; Seaside; Religion; Holiday; Dream; Sublime; Erosion; Poetry; Temporalities
Year2022
JournalVictorians
Journal citation141, pp. 37-50
PublisherOhio State University Press
ISSN2166-0107
2475-6741
Digital Object Identifier (DOI)https://doi.org/10.1353/vct.2022.0004
Official URLhttps://muse.jhu.edu/article/862276
Publication dates
Online19 Aug 2022
Publication process dates
Deposited31 Mar 2022
Accepted author manuscript
License
All rights reserved
File Access Level
Open
Output statusPublished
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Oulton, C. 2009. ''Murderous impulse'': Children as victims of violance in Mary Cholmondeley's major fiction.
'Which he never meant to be published on any account': the hidden archive in David Copperfield and Paul Kelver
Oulton, C. 2010. 'Which he never meant to be published on any account': the hidden archive in David Copperfield and Paul Kelver.
'I am not by nature domestic': Mary Cholmondeley and the politics of home
Oulton, C. 2010. 'I am not by nature domestic': Mary Cholmondeley and the politics of home.
'My undisciplined heart': romantic friendship in David Copperfield
Oulton, C. 2004. 'My undisciplined heart': romantic friendship in David Copperfield. Dickens Quarterly. 21 (3), pp. 157-169.
''Never be divided again'': Armadale and the threat to romantic friendship
Oulton, C. 2005. ''Never be divided again'': Armadale and the threat to romantic friendship. Wilkie Collins Society Journal. 7, pp. 31-40.
Let the flowers go: a life of Mary Cholmondeley
Oulton, C. 2009. Let the flowers go: a life of Mary Cholmondeley. London Pickering & Chatto.
Child sacrifice and the crisis of gender in Mary Cholmondeley's major fiction
Oulton, C. 2010. Child sacrifice and the crisis of gender in Mary Cholmondeley's major fiction. English Literature in Transition, 1880-1920. 53 (2), pp. 204-218. https://doi.org/10.2487/elt.53.2(2010)0059
''The shadow which I call pain'': Mary Cholmondeley and the dilemma of bodily weakness
Oulton, C. 2009. ''The shadow which I call pain'': Mary Cholmondeley and the dilemma of bodily weakness. Life Writing. 6 (3), pp. 303-312. https://doi.org/10.1080/14484520903082926
“What a comrade she would make”: the limits of romantic friendship in Jude the Obscure
Oulton, C. 2007. “What a comrade she would make”: the limits of romantic friendship in Jude the Obscure. Thomas Hardy Journal. 23, pp. 117-125.
Left past the moon
Oulton, C. 2001. Left past the moon. NPF Publications.
''The bad women are better than the good ones'': the new woman and sexual fall in Cholmondeley's short fiction
Oulton, C. 2009. ''The bad women are better than the good ones'': the new woman and sexual fall in Cholmondeley's short fiction. in: Oulton, C. and Schatz, S. (ed.) Mary Cholmondeley Reconsidered London, UK Pickering & Chatto.