Red calf spine with gilt banding, decoration and title. Red cloth boards. Dimensions are for one volume.

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Condition: Very Good. Three lovely volumes of the poetical works by the controversial Victorian poet Algernon Charles Swinburne, lovely examples of his poetry. They were controversial due to the taboo topics discussed in the work, such as lesbianism, sado-masochism, and antitheism.’Tristram of Lyonesse’ recounts the medieval story of Tristan and Isolde, the ill-fated lovers.Algernon Swinburne was a British poet who didn”t shy away from subjects that were taboo at the time, such as lesbianism, cannibalism, and anti-theism. He began writing poetry during his school-life at Eton, and as an adult became friends with many Pre-Raphaelites, including Dante Rossetti and William Morris. Swinburne enjoyed a lot of success during his lifetime, though his popularity was decreased since. He was influenced by the Pre-Raphaelites, and others such as Percy Shelley, Victor Hugo, and Alfred Tennyson. 

Algernon Charles Swinburne (5 April 1837 – 10 April 1909) was an English poet, playwright, novelist and critic. He wrote many plays – all tragedies – and collections of poetry such as Poems and Ballads, and contributed to the Eleventh Edition of the Encyclopædia Britannica. Swinburne wrote about many taboo topics, such as lesbianism, sado-masochism, and anti-theism. His poems have many common motifs, such as the Ocean, Time, and Death. Several historical people are featured in his poems, such as Sappho (“Sapphics”), Anactoria (“Anactoria”), and Catullus (“To Catullus”).

Swinburne was born at 7 Chester Street, Grosvenor Place, London, on 5 April 1837. He was the eldest of six children born to Captain (later Admiral) Charles Henry Swinburne (1797–1877) and Lady Jane Henrietta, daughter of the 3rd Earl of Ashburnham, a wealthy Northumbrian family. He grew up at East Dene in Bonchurch on the Isle of Wight. The Swinburnes also had a London home at Whitehall Gardens, Westminster. As a child, Swinburne was “nervous” and “frail”, but “was also fired with nervous energy and fearlessness to the point of being reckless.” He went horseback riding and wrote plays with his first cousin Mary Gordon who lived nearby on the Isle of Wight. They secretly collaborated on her second book, Children of the Chapel, which contained an unusual number of beatings.

Swinburne attended Eton College (1849–53), where he started writing poetry. At Eton, he won first prizes in French and Italian. He attended Balliol College, Oxford (1856–60), with a brief hiatus when he was rusticated from the university in 1859 for having publicly supported the attempted assassination of Napoleon III by Felice Orsini. He returned in May 1860, though he never received a degree.

Swinburne spent summer holidays at Capheaton Hall in Northumberland, the house of his grandfather, Sir John Swinburne, 6th Baronet (1762–1860), who had a famous library and was president of the Literary and Philosophical Society in Newcastle upon Tyne. Swinburne considered Northumberland to be his native county, an emotion reflected in poems like the intensely patriotic “Northumberland”, “Grace Darling” and others. He enjoyed riding his pony across the moors; he was a daring horseman, “through honeyed leagues of the northland border”, as he called the Scottish border in his Recollections.

In the period 1857–60, Swinburne became a member of Lady Trevelyan’s intellectual circle at Wallington Hall.

After his grandfather’s death in 1860 he stayed with William Bell Scott in Newcastle. In 1861, Swinburne visited Menton on the French Riviera, staying at the Villa Laurenti to recover from the excessive use of alcohol. From Menton, Swinburne went to Italy, where he travelled extensively. In December 1862, Swinburne accompanied Scott and his guests, probably including Dante Gabriel Rossetti, on a trip to Tynemouth. Scott writes in his memoirs that, as they walked by the sea, Swinburne declaimed the as yet unpublished “Hymn to Proserpine” and “Laus Veneris” in his lilting intonation, while the waves “were running the whole length of the long level sands towards Cullercoats and sounding like far-off acclamations”.

At Oxford, Swinburne met several Pre-Raphaelites, including Dante Gabriel Rossetti. He also met William Morris. After leaving college, he lived in London and started an active writing career, where Rossetti was delighted with his “little Northumbrian friend”, probably a reference to Swinburne’s diminutive height—he was just 5’4″.

Swinburne was an alcoholic and algolagniac and highly excitable. He liked to be flogged. His health suffered, and in 1879 at the age of 42, he was taken into care by his friend, Theodore Watts-Dunton, who looked after him for the rest of his life at The Pines, 11 Putney Hill, Putney. Watts-Dunton took him to the lost town of Dunwich, on the Suffolk coast, on several occasions in the 1870s.

In Watts-Dunton’s care Swinburne lost his youthful rebelliousness and developed into a figure of social respectability. It was said of Watts-Dunton that he saved the man and killed the poet. Swinburne died at the Pines on 10 April 1909, at the age of 72, and was buried at St. Boniface Church, Bonchurch on the Isle of Wight.

Work: Swinburne’s poetic works include: Atalanta in Calydon (1865), Poems and Ballads (1866), Songs before Sunrise (1871), Poems and Ballads Second Series, (1878) Tristram of Lyonesse (1882), Poems and Ballads Third Series (1889), and the novel Lesbia Brandon (published posthumously in 1952).

Poems and Ballads caused a sensation when it was first published, especially the poems written in homage to Sappho of Lesbos such as “Anactoria” and “Sapphics”: Moxon and Co. transferred its publication rights to John Camden Hotten. Other poems in this volume such as “The Leper”, “Laus Veneris”, and “St Dorothy” evoke a Victorian fascination with the Middle Ages, and are explicitly medieval in style, tone and construction. Also featured in this volume are “Hymn to Proserpine”, “The Triumph of Time” and “Dolores (Notre-Dame des Sept Douleurs)”.

Swinburne wrote in a wide variety of forms, including Sapphic stanzas (comprising 3 hendecasyllabic lines followed by an Adonic):

So the goddess fled from her place, with awful
Sound of feet and thunder of wings around her;
While behind a clamor of singing women
    Severed the twilight.

— ”Sapphics”, stanza 6

Swinburne devised the poetic form called the roundel, a variation of the French Rondeau, and examples of this form were included in A Century of Roundels dedicated to Christina Rossetti. Swinburne wrote to Edward Burne-Jones in 1883: “I have got a tiny new book of songs or songlets, in one form and all manner of metres … just coming out, of which Miss Rossetti has accepted the dedication. I hope you and Georgie [his wife Georgiana, one of the MacDonald sisters] will find something to like among a hundred poems of nine lines each, twenty-four of which are about babies or small children”. Opinions about these poems vary, some finding them captivating and brilliant while others see them as over-clever and contrived. One of these poems, A Baby’s Death, was set to music by the English composer Sir Edward Elgar as the song “Roundel: The little eyes that never knew Light”. English composer Mary Augusta Wakefield set Swinburne’s May Time in Midwinter to music.

Swinburne was influenced by the work of William Shakespeare, Percy Bysshe Shelley, Catullus, William Morris, Dante Gabriel Rossetti, Robert Browning, Alfred Lord Tennyson, and Victor Hugo. Swinburne was popular in England during his lifetime but his stature has greatly decreased since his death.

After the first Poems and Ballads, Swinburne’s later poetry became increasingly devoted to celebrations of republicanism and revolutionary causes, particularly in the volume Songs before Sunrise. “A Song of Italy” is dedicated to Giuseppe Mazzini; “Ode on the Proclamation of the French Republic” is dedicated to Victor Hugo; and “Dirae” is a sonnet sequence of vituperative attacks against those whom Swinburne believed to be enemies of liberty. Erechtheus is the culmination of Swinburne’s republican verse.

He did not stop writing love poetry entirely; indeed his epic-length poem Tristram of Lyonesse was produced during this period but its content is much less shocking than that of his earlier love poetry. His versification, and especially his rhyming technique, remained in top form to the end.