...increasingly of EBB poems included by influential textbooks; (2) the appearance of an ambitious annotated critical bibliography and two separate volumes of collected essays on her work; (3) and now, for the first time in over one hundred years, the preparation of an extensive scholarly edition: (4) all these speak directly to the poet's re-emergence as a central figure for serious students of Victorian poetry. Indeed, the creation of resources for studying EBB seems to have become something of an industry. What remains to be developed, however, are larger critical conversations concerning the impact of such shifts, both within and beyond the Victorian pedagogical canon. What company does Elizabeth Barrett Browning now keep in our curricula, for example? Robert Browning? Felicia Dorothea Hemans or Letitia Elizabeth Landon? Wordsworth? Byron? Christina Rossetti? Parliamentary Blue Books or Thomas Hood? George Meredith, Alexander Smith, and Sidney Dobell--or Augusta Webster? Harriet Beecher Stowe? Thomas Carlyle? Moreover, how might EBB's poetic migrations among courses on Victorian poetry or women's writing and, say, topics classes on the condition of England; nation and empire; Transatlantic studies; ekphrasis; animal rights; or the novel, signal or speak to new critical understandings of her work? (5) Part polemic, part reflection, and part history, this article can only gesture toward such discussion; but it does so in a spirit of invitation. (6)

To begin, then, on a note of warning: marketing EBB studies is one thing; celebrating those studies, as Harold Bloom's 2002 Modern Critical Views volume underscores, is quite another. Here, from prefatory expressions of regret that the particular critical views on offer fail "truly" to raise "the question of the aesthetic achievement" of Aurora Leigh (a work "which John Ruskin loved, but I, alas, do not"), Bloom quickly escalates into overt attack. "In the universities, colleges, and schools of the English-speaking world," his introduction opens, "the canon wars in one sense are pragmatically over, since the academies, joined by the media, have replaced virtually all aesthetic and cognitive standards by considerations of gender, race, ethnicity, sexual orientation, social class, and other irreducible resentments." EBB (readers may be surprised to learn) has thus "eclipsed her husband"; and as a result, it seems, Modern Critical Views has been reduced to providing the volume at hand. True, Bloom suggests, there is "no necessary finality" in the surrender of standards: "a considerable resistance still exists, even in 'the ruined academies.'" Still, he implies, in this context, his hands are tied: "I who have limped off too many canonical battlefields, acknowledge defeat in the academies, and am content to carry on the war elsewhere, and not in this Introduction." (7)

These words may be intended to resonate with something like the gravitas of Swinburne's "Hymn to Proserpine": "Thou hast conquered, O pale Barrett Browning." To some EBB "partisans" (Bloom, p. 1), they might sound more like Malvolio's threat toward the end of Twelfth Night. Still, they are not to be taken lightly: for in a sense, Bloom is already being "revenged on the whole pack" of us, including his contributors. (8) For if, as Sandra Donaldson's introduction to her own fine edited critical collection notes, popular Victorian poetry textbook headnotes can no longer neatly dispatch the Sonnets from the Portuguese, in Bloom's words, as "quite bad," or Aurora Leigh as "very bad," (9) still, Chelsea House's successful marketing ensures that when many readers open their first volume of EBB criticism, they will nonetheless find serious study of that poet linked to the ruin of the academies.

Almost too easy as a target, Bloom's introduction is highly suggestive as a text. Emotive, insistently and yet ambiguously physical, his elegiac self-dramatization as poetry warrior may be sentimental; but it is so in the strongest as well as the most dubious sense. Indeed, in their intensity and breadth--in their recourse to overblown battlefield imagery and insistence on a range of address extending at once to and beyond the "ruined academies," no less, perhaps, than in their insistence on certain poetry's links to carefully elaborated, "irreducible" political resentments--Bloom's protestations convey a passion that EBB herself might well have honored, even relished. Head-on confrontation with the capitalized issues of Poetry, Truth, Justice, and, of course, taste, is part of the point of EBB's work; and in trying to get somewhere with that work in our classrooms, we might do worse than to begin by going over the top.

Implicitly invoking the lost glories of the "ruined academies," Bloom reminds us of the extent to which many Victorian poetry teachers remain haunted by a critical past that is, in William Faulkner's unforgettable phrase, not even past. We foreground Arnold; but where Arnold is, T. S. Eliot rarely seems far behind. After generations, the juxtaposition of Victorian and modern poetics--the acknowledgment of alien visions--remains an ongoing critical practice, and one with clear pedagogical implications. (10) Through readings of, say, the Victorian "double poem," or of poetry "stricken through" by self-editing, (11) our classes continue to turn analytical tools honed by New Criticism on texts that most New Critics once discounted or abhorred. Like our immediate predecessors, we practice disciplines of close reading attuned to irony, ambiguity, and self-reflexivity; we remain partly bent on demonstrating the extent to which nineteenth-century poetry can challenge the productions of high Modernism (and now, in some instances, post-Modernism) on their own terms. Victorian poetry, we still delight in proving, is much more than parlor poetry.

If such projects seem irresistible, however, they may also be ironic. For in some sense, the classroom, with its oddly private, intimate public existence, may replicate as well as reject the culture of the Victorian parlor. Reliant upon, yet in some sense cordoned off from the professional, public (and published) life of literature, classroom teaching plays out within a highly particular liminal, idiosyncratic, and often affect-laden material space. Here, where the popular and the academic meet, where poetry finds physical voice, things get personal--and also, as Marion Ross's brilliantly suggestive "Now Our Hemans--" makes clear, ambiguously public. Significantly, in the context of his essay's frank, often skeptical meditation on the wider political, cultural, and pedagogical implications of recent critical revolutions, Ross thinks back to the origins of his own foundational Contours of Masculine Desire, to note that "there are yet unanalyzed histories preparatory to our choice" of scholarly subjects. "Even when my 'attraction' to Hemans could draw a nearly vitriolic response from otherwise dispassionate academics--as it most certainly did from one scholar at the 1988 International Romantic Revolutions conference ... when he passionately rose to speak in defense of British civilization and implied that barbarians were too near the gates," Ross writes, "I tended to connect such passions with something intrinsic to Hemans or to her culminating role in the poetess tradition" and not "with cultural identifications (racial, geographic, gender, sexual) associated with my own person." Nonetheless, "barely beneath the surface of my own consciousness, there must have existed some notion that the noticeably effeminate voice of a black boy from the US South would bring a different register to the dominant discourse on the 'romantics.' Somehow Hemans resonated with this call for a different voice." (12)

Fear of "barbarian" invasions; longing for "a different voice": such impulses may no longer explicitly structure most professional writing about EBB. Still, if readers' classrooms are like mine, the "uneven developments" of pedagogy may ensure their continued life. (13) To be sure, those classrooms may not be like mine. "Our EBBs," to reappropriate Ross's phrase, are as varied as we are, where "we" includes our students: it's an obvious truth, but one that can take on particular immediacy within the space of a classroom. Indeed, part of what may keep us from talking more openly and analytically about the critical and theoretical implications of our teaching is that classroom performance, even at its most formal, remains so deeply idiosyncratic, so unpredictably personal in ways that include the Victorian sense of "person" as physical presence. In fact, until fairly recently, when many of us have spoken of our teaching at conferences--those intermediary zones--such moments have marked points of private contact, akin to and often merged with more intimate discussions. "How are you? What...

NOTE: All illustrations and photos have been removed from this article.



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