“In The Burden of Rhyme, Levine elegantly and convincingly lifts the burden we labor under when we believe that formalist and historicist approaches to poetry are opposed. She does so by doing a deep dive into the sometimes quirky, sometimes fantastic Victorian search for the historical origins of poetic forms. The Victorians, she reveals, viewed forms as the manifestations of history, and in no case was that clearer than in their love of rhyme, which embodied the history of love itself. Revelatory and relevant to all scholars and readers of poetry and of the history of literary criticism, The Burden of Rhyme speaks to anyone interested in how we might, as Levine says, ‘reimagine the relationship between scholarly knowledge and the ineffable charisma of a poem.’”

Adela Pinch, University of Michigan

“This impassioned and creative scholarship gives us access to a felt history of rhyme in Victorian poetry that, its author argues, was displaced by the formalism of the New Critical project. We reconnect with a rich nineteenth-century culture of rhyme, a culture whose deep scholarship located rhyme in European and non-European histories alike—troubadour, Arabic, Norse, Greek. Above all, this lost tradition valued affect and saw rhyme as the vehicle of desire, feeling, love. Levine’s work will transform our reading of Victorian poetry.”

Isobel Armstrong, University of London

“This trimly learned, compellingly written study will earn admiring thanks from scholars pursuing a broad range of interests: British Victorian poetry, the European practice of literary historiography on either side of 1800, twentieth-century criticism and theory in the anglophone academy, and the work of poetic rhyming as a once pervasive, if now largely unsuspected, enactment of literary modernity dating from the Middle Ages into our time.”

Herbert F. Tucker, University of Virginia

“Levine breaks new ground in studies of Victorian poetry and literary history with her conceptualization of genetic formalism—a nineteenth-century theory and practice of poetry that looked to romantic poetry’s transhistorical, multicultural developmental processes as part of poetic form. Levine dares to see feeling, both the reader’s necessary feeling into poetry understood in this unfamiliar way and rhyme’s feeling after its partner rhyme, as integral dimensions of reading Victorian poetry—especially since human desire and couplings were understood as inhabiting Arabist and Troubadour poetry that introduced rhyme to modern poetry. The Burden of Rhyme is without question the most important study of Victorian poetry to appear in more than a decade.”

Linda K. Hughes, Texas Christian University