Table of Contents
Declaration
Abstract
Preface By Peter Dayan
Introduction
0.1 A short biography of Shao Xunmei
0.2 Shao and Western poetry
0.3 Shao and Anglophone influences
0.4 Shao and music
0.5 A feminist approach
0.6 Translation policy
Chapter 1 Shao, Swinburne and the idea of harmony
1.1 The gathering of Shao, Sappho and Swinburne
1.1.1 Shao’s encounter with Sappho
1.1.2 From Sappho to Swinburne
1.1.3 A poet in the making
1.2 Harmony as a condition of music in poetry
1.2.1 Swinburne’s conception of harmony
1.2.2 The nightingale as a symbol of harmony
1.2.3 A shared practice: the merging of Sappho and the nightingale
Chapter 2 Shao, Sitwell and “the sister of horticulture”
2.1 Poetry as “the sister of horticulture”
2.1.1 Sitwell’s conception of “the sister of horticulture”
2.1.2 Texture and jili
2.2 The horticulture of musical sisters
2.2.1 The flower as musical woman
2.2.2 Sexual consummation as a condition of music
2.2.3 Garden, sexual ecstasy and possible biblical influence
2.2.4 The instrumentalisation of woman’s body
Chapter 3 Shao, Moore and the idea of pure poetry
3.1 Shao and Moore in dialogue
3.1.1 Shao’s correspondence with Moore
3.1.2 Moore’s conception of pure poetry
3.2 The dialogic of pure poetry
3.2.1 Prose poetry and the use of dialogic
3.2.2 Pure poetry as the unity of arts
Conclusion
Bibliography
Index