Swinburne, His Poetry and Religion Essay Example for Free

Swinburne, His Poetry and Religion Essay Before one can attack an individual, group, or ideology, it is a logical requirement to achieve a considerable amount of knowledge on the particular subject. This was adhered to by Swinburne, whose familial background and values necessitated his education in the Anglican Church. He knew much about the scriptures, as well as the corresponding interpretative methods of apocalyptics, prophecy, and typology. With this knowledge, Swinburne was equipped with means and ways to express his own interpretations through poetry. Acknowledging the Victorian society’s preference for biblical allusions, he regularly made use of language that contained religious references that often challenged the issues of the Roman Catholic Church. Swinburne took a fancy to attacking organized religion, particularly the Catholic Church’s involvement in a divided Italy. Parody and blasphemy started to make their way into Swinburne’s works, although he never dismissed the existence of the Church—in fact, its absolute presence became the foundation for his poetry. In â€Å"Hymn To Proserpine†, a 100-line dramatic monologue, is all about the mythological figure Proserpine, offspring of Zeus and Demeter, who eventually became queen of darkness, and, in Swinburne’s terms, death. The Roman Emperor Julian the Apostate, historically known to have opposed Christianity, takes on the main task of being the voice of the poem. Included in the epic are mentions of a â€Å"pale Galilean†, which is a thinly-veiled reference to Jesus Christ. Such a bold statement completely revealed Swinburne’s ties to paganism and atheism, which was soon criticised by the press. Another work, â€Å"Atalanta in Calydon†, also surprised readers due to its dramatic entrance in the literary world, which was maintained by poetry of subtle and mostly quiet character. Patterned closely after classic Greek drama, it also utilises elements unique to this traditional form—but with the signature style in rhythm and metrical agility. With its Greek structure and ancient themes of being in control of your own fate and the belief in divine intervention, Swinburne succeeded in going beyond the typical Greek tradition of religious acceptance, and appeals to the spirit of man to overcome and conquer the tyrannical rule of the gods. Quintessentially Swinburne, with his partiality and focus on sensual and sexual pleasures, upheld the beauty and spirit of life by denouncing the forces that controlled death and decay. On the other hand, one of Swinburne’s most popular works, â€Å"Poems and Ballads†, no longer attempted to hide behind the cloak of traditional styles or references. It outwardly declared the poet’s trashing of convention, and introduced themes that celebrated immoralities such as sexual freedom and philistinism. Within the work, the subjects of â€Å"The Leper†, â€Å"Anactoria†, â€Å"Faustine†, and â€Å"Laus Veneris† were all directly proclaiming the benefits of physical and sexual obsession, as well as excessive and abusive living. Once more, paganism figured prominently as Swinburne’s larger theme, with the work dedicated solely to the cult of the goddess of pain—from whom escape will only result in death. But like the previous â€Å"Atalanta†, Swinburne’s use of rhythm and magical verse was worthy of applause; his ability to move within the restricted format nimbly yet exuding the emotions designed per work is a feat still left unchallenged even by many modern poets. Movement appears to be Swinburne’s skill—as evidenced by the slow and unhurried â€Å"Laus Veneris†, the haste and quickness in â€Å"The Triumph of Time†, the carefree lightness of â€Å"Faustine†, and the swiftness in â€Å"Dolores†.