Author Description

<p><i>Poetical Matter</i> examines the two-way exchange of language and methods between nineteenth-century poetry and the physical sciences. The book argues that poets such as William Wordsworth, Mathilde Blind, and Thomas Hardy identified poetry as an experimental investigation of nature’s materiality. It also explores how science writers such as Humphry Davy, Mary Somerville, and John Tyndall used poetry to formulate their theories, to bestow cultural legitimacy on the emerging disciplines of chemistry and physics, and to communicate technical knowledge to non-specialist audiences. The book’s chapters show how poets and science writers relied on a set of shared terms (“form,” “experiment,” “rhythm,” “sound,” “measure”) and how the meaning of those terms was debated and reimagined in a range of different texts.<br></p><p>“A stimulating analysis of nineteenth-century poetry and physics. In this groundbreaking</p><p></p><p>study, Tate turns to sound to tease out fascinating continuities across</p><p>scientific inquiry and verse. Reflecting that ‘the processes of the universe’ were</p><p>themselves ‘rhythmic,’ he shows that a wide range of poets and scientists were</p><p>thinking through undulatory motion as a space where the material and the immaterial</p><p>met. ‘The motion of waves,’ Tate demonstrates, was ‘the exemplary form in</p><p>the physical sciences.’ Sound waves, light, energy, and poetic meter were each</p><p>characterized by a ‘process of undulation,’ that could be understood as both a</p><p>physical and a formal property. Drawing on work in new materialism and new</p>formalism, Tate illuminates a nineteenth-century preoccupation with dynamic patterning<p></p><p>that characterizes the undulatory as (in John Herschel’s words) not ‘things,</p><p>but forms.’”</p><p>—Anna Henchman, Associate Professor of English at Boston University, USA</p><p>“This impressive study consolidates and considerably advances the field of physics</p><p>and poetry studies. Moving e