Mangan in England

Abstract

Imagine an emerging poet writing in English, in the 1830s and 1840s. His first work is barely read, and when read, misunderstood. He is largely self-taught and the poetry explores odd themes in even odder forms, with historical figures and introspective speakers jostling with arcane knowledge and obscure European poetic precedent. The work is liberal leaning to radical, exploring heterodox views while still remaining broadly Christian. Using prosopoeia, the poet explores ways to make historical or imaginary figures speak to the reader of experiences from past linguistic cultures in versified modern English. This poet is drawn to the oriental and the gothic as well as the European, and his work is set in Africa, Italy, German towns, Spanish cities, monasteries, ancient courts or contemporary public houses. There is an anacreontic, even bacchanalian, aspect to the subject-matter: at all times the reader encounters extraordinary linguistic energy and artistic brio. There is also a certain contortedness of thought and feeling, a striving to come to expression, an impatience with the limits of poetic form and social convention. Above all the poetry explores an elaboration of style, a restless trying out of different modes in which genre and prosodic and stanzaic forms are pushed to the limits of doggerel. The effect might be called mannerist or even grotesque.