The Spasmodic Poets: Appraising a Controversial School of Victorian Literature

The Spasmodics were a group of neo-Romantic writers who sought to influence literary society on a grand scale, casting a long shadow over Victorian poetry from 1850 to 1860. This work documents their trajectory, examining the various personalities and aesthetic principles that shaped the movement, without championing any particular critical stance.

Format: Paperback / softback
Length: 277 pages
Publication date: 14 October 2022
Publisher: McFarland & Co Inc

Few stories capture the intricate interplay of critical theory, mass media, and public taste quite like the tale of the Spasmodics. These earnest, youthful, and largely self-educated neo-Romantics harbored a grand aspiration to become prophets who would wield significant influence over the literary society of their time. From approximately 1850 to 1860, the Spasmodics cast a long shadow over virtually every serious discussion of Victorian poetry. Many mid-nineteenth-century writers, including Tennyson, both Brownings, and Matthew Arnold, were either adherents or outspoken detractors of the Spasmodic School.

This essay aims to document, within the appropriate social context, the trajectory of the Spasmodic School in both its original incarnation and in subsequent appraisals. By examining the diverse personalities and aesthetic principles that shaped the movement, it seeks to provide a comprehensive account without endorsing any particular critical stance or verdict. The scholarly apparatus contained herein cites a range of competing Victorianist interpretations, approaches, and judgments, each with varying degrees of expertise.

The Spasmodic School emerged during a period of immense cultural and intellectual transformation in Britain. The mid-nineteenth century witnessed the rise of a new middle class, driven by industrialization and urbanization, which sought to assert its cultural and intellectual authority. This newfound assertiveness manifested itself in various forms, including the emergence of literary clubs, periodicals, and societies dedicated to the promotion of literature and the arts.

One of the key figures associated with the Spasmodic School was John Keats, a poet whose work embodied the spirit of Romanticism. Keats's poetry was characterized by its sensuous imagery, its emphasis on the individual's subjective experience, and its celebration of the natural world. His poems, such as "Ode to a Nightingale" and "Ode to Autumn," resonated with readers who were seeking a deeper connection with the world around them and a more profound understanding of their own emotions and experiences.

Another important figure in the Spasmodic School was the critic and essayist Walter Pater. Pater's writings were characterized by their erudition, their aestheticism, and their fascination with the exotic and the mysterious. He was particularly interested in the works of ancient Greece and Rome, and his essays on these subjects were widely read and influential. Pater's influence extended beyond the realm of literature, as he was also a prominent figure in the art world. He championed the works of modern artists, such as the Pre-Raphaelites, and his essays on art were widely respected and influential.

The Spasmodic School's aesthetic principles were deeply influenced by the theories of the French philosopher Jean-Jacques Rousseau. Rousseau believed that the natural world was the source of all beauty and that human beings were fundamentally connected to the natural world. He argued that the modern world, with its emphasis on technology, industry, and urbanization, had severed this connection and that it was essential to re-establish it. The Spasmodic School's aesthetic principles were reflected in their emphasis on the natural world, their celebration of the individual's subjective experience, and their rejection of the rationalism and materialism of the modern world.

The Spasmodic School's influence extended beyond Britain. Its aesthetic principles were widely adopted by writers and artists in other parts of Europe and North America, and its influence can be seen in the works of writers such as Oscar Wilde, James Joyce, and Virginia Woolf. However, the movement also faced criticism and opposition from some quarters. Critics argued that the Spasmodic School's emphasis on the natural world and the individual's subjective experience was too narrow and that it failed to address the social and political issues of the day. They also argued that the movement's aestheticism was superficial and that it lacked a deeper understanding of the human condition.

Despite these criticisms, the Spasmodic School continued to thrive and evolve. Its influence can be seen in the works of subsequent generations of writers and artists, who sought to re-explore the themes and principles of the movement. The Spasmodic School's legacy is a testament to the power of literature and the arts to shape and influence public taste and to inspire new generations of artists and thinkers.

In conclusion, the story of the Spasmodic School is a fascinating and complex one that captures the interplay of critical theory, mass media, and public taste in the mid-nineteenth century. The movement's earnest, youthful, and self-educated neo-Romantics sought to become prophets who would influence literary society on a grand scale. Their aesthetic principles were deeply influenced by the theories of Jean-Jacques Rousseau and were reflected in their emphasis on the natural world, their celebration of the individual's subjective experience, and their rejection of the rationalism and materialism of the modern world. The Spasmodic School's influence extended beyond Britain, and its legacy can be seen in the works of subsequent generations of writers and artists. Despite facing criticism and opposition, the movement continued to thrive and evolve, and its impact on the cultural and intellectual landscape of the mid-nineteenth century is undeniable.

Dimension: 229 x 152 (mm)
ISBN-13: 9781476682969