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By Algernon Charles Swinburne. Lying asleep between the strokes of night. I saw my love lean over my sad bed, Pale as the duskiest lily’s leaf or head, Smooth-skinned and dark, with bare throat made to bite, Too wan for blushing and too warm for white, But perfect-coloured without white or red. And her lips opened amorously, and said –.
By Algernon Charles Swinburne. All the night sleep came not upon my eyelids, Shed not dew, nor shook nor unclosed a feather, Yet with lips shut close and with eyes of iron. Stood and beheld me. Then to me so lying awake a vision. Came without sleep over the seas and touched me, Softly touched mine eyelids and lips; and I too,
By Algernon Charles Swinburne About this Poet English poet and critic Algernon Charles Swinburne was born into a wealthy Northumbrian family in London, England in 1837. He was educated at Eton College and at Balliol College, Oxford, but did not complete a degree. Swinburne was one of the most accomplished lyric poets...
Algernon Swinburne, (born April 5, 1837, London, Eng.—died April 10, 1909, Putney, London), English poet and critic.After attending Eton and the University of Oxford, Swinburne lived on an allowance from his father. His verse drama Atalanta in Calydon (1865) first showed his lyric powers.Poems and Ballads (1866), containing some of his best work, displays his paganism and masochism and ...
Algernon Charles Swinburne. (1837-1909), Poet and literary reviewer. Sitter in 25 portraits. One of the outstanding poets of the nineteenth century. Born into the minor aristocracy, Swinburne met Rossetti at Oxford, and became an intimate member of his circle. His unconventional behaviour, alcoholic excess and the erotic nature of much of his ...
Algernon Charles Swinburne (1837–1909), dramatist, novelist and critic, was late Victorian England’s unofficial Poet Laureate. Swinburne was admired by his cont...
3 de oct. de 2017 · In 1909 The Eton College Chronicle announced the delivery of 'a great wreath of ilex and laurel' to the grave of Algernon Charles Swinburne. This chapter situates 'The Flogging-Block' within nineteenth-century metrical discourses, and debates about classical verse composition during Eton reform, in order to show how the beaten boy becomes an exemplary Eton boy.
