Queer temporality in Victorian love and marriage poems

IF 0.3 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY Nineteenth-Century Contexts-An Interdisciplinary Journal Pub Date : 2022-03-15 DOI:10.1080/08905495.2022.2057150
Pearl Chaozon Bauer, S. Kersh
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Abstract

The pressures of performing a happy married life become a macabre enactment. The two keep the “ghost” of marital unhappiness from their guests and Meredith names this dance of effrontery “Hiding the Skeleton.” Suggesting their game is a kind of social contagion, and hinting at its wide prevalence, the speaker exposes the ludicrousness of the couple’s interactions, sardonically enquiring, “Went the feast ever cheerfuller?” (line 2). The “game” or performance, in which the husband and the wife play, is strictly monitored by those in attendance. Meredith’s first-person speaker (the voice of the husband, in this sonnet) takes sarcastic glee in their superb demonstration. The sonnet concludes with the revelation that “Love” and “marriage” are long-dead corpses only revived by their game:
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维多利亚婚恋诗中的时间性
追求幸福婚姻生活的压力变成了一场可怕的演出。他们俩不让客人看到婚姻不幸福的“幽灵”,梅雷迪思把这种厚颜无耻的舞蹈命名为“隐藏骨架”。演讲者暗示他们的游戏是一种社会传染,并暗示其广泛流行,他揭露了这对夫妇互动的荒谬,讽刺地问道:“宴会更愉快了吗?”(第二行)。丈夫和妻子玩的“游戏”或表演受到在场人员的严格监控。梅瑞狄斯的第一人称说话者(在这首十四行诗中是丈夫的声音)在他们精湛的演示中带着讽刺的喜悦。这首十四行诗的结尾揭示了“爱情”和“婚姻”是早已死去的尸体,只有在他们的游戏中才能复活:
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来源期刊
CiteScore
0.20
自引率
0.00%
发文量
46
期刊介绍: Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.
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