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Modern Love and the Sonetto Caudato: Comedic Intervention through the Satiric Sonnet Form

Modern Love and the Sonetto Caudato: Comedic Intervention through the Satiric Sonnet Form Modern Love and the Sonetto Caudato: Comedic Intervention through the Satiric Sonnet Form Kenneth Crowell Science misses an advance for want of a live subject to dissect . . . Society must consent to see its members laid bare if it has the will to improve. I can interpret where the mouth is dumb. Speak, and I see the side-lie of a truth. n 1885, when asked by w illiam Sharp about the form of the sonnets of IModern Love, one of which he wished to include in his forthcoming anthol- ogy, Sonnets of this Century, George Meredith responded: “t he Italians allow of 16 lines, under the title of ‘Sonnets with a tail.’ But the lines of ‘Modern l ove’ were not designed for that form.” And that was that. From that time and into the present, critical conversation has not been overly concerned with the formal considerations of Meredith’s poetry, but rather, has seemed content to weigh by varying measures his talent as a novelist. More recent criticism of the Meredith corpus that does take account of the poetry seems to limit itself to three overlapping projects: establishing Meredith’s relative modernity; passing judgment—both positive and negative—on a http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Victorian Poetry West Virginia University Press

Modern Love and the Sonetto Caudato: Comedic Intervention through the Satiric Sonnet Form

Crowell, Kenneth.
Victorian Poetry , Volume 48 (4) – Feb 3, 2011
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Publisher
West Virginia University Press
Copyright
Copyright © 2010 West Virginia University.
ISSN
1530-7190

Abstract

Modern Love and the Sonetto Caudato: Comedic Intervention through the Satiric Sonnet Form Kenneth Crowell Science misses an advance for want of a live subject to dissect . . . Society must consent to see its members laid bare if it has the will to improve. I can interpret where the mouth is dumb. Speak, and I see the side-lie of a truth. n 1885, when asked by w illiam Sharp about the form of the sonnets of IModern Love, one of which he wished to include in his forthcoming anthol- ogy, Sonnets of this Century, George Meredith responded: “t he Italians allow of 16 lines, under the title of ‘Sonnets with a tail.’ But the lines of ‘Modern l ove’ were not designed for that form.” And that was that. From that time and into the present, critical conversation has not been overly concerned with the formal considerations of Meredith’s poetry, but rather, has seemed content to weigh by varying measures his talent as a novelist. More recent criticism of the Meredith corpus that does take account of the poetry seems to limit itself to three overlapping projects: establishing Meredith’s relative modernity; passing judgment—both positive and negative—on a

Journal

Victorian Poetry – West Virginia University Press

Published: Feb 3, 2011

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