Embodying Revolution: The Figure of the Poet in ShelleyClarendon Press, 1989 - 300 pages A strange figure recurs throughout Shelley's work, a solitary young poet hounded by passion or madness to the grave. This study reveals the figure to be an allegory of a violent revolutionary age. Seen in the context of a largely forgotten ideal that connected introspection with radical politics, Clark demonstrates that Shelley's self-analyses and metaphysical speculations are related to a notion of the poet as an explorer in previously unchartered regions of the human mind. He shows that ultimately, the curiously weak Shelleyan poet is really an ambivalent fictional embodiment of the social forces tearing Europe apart in the Romantic age. |
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Page 76
... ideal prototype of every thing excellent or lovely that we are capable of conceiving as belonging to the nature of man ' ( J vi . 201-2 ) . The Preface to Alastor , describing the genesis of an ideal love - object within the poet's mind ...
... ideal prototype of every thing excellent or lovely that we are capable of conceiving as belonging to the nature of man ' ( J vi . 201-2 ) . The Preface to Alastor , describing the genesis of an ideal love - object within the poet's mind ...
Page 123
... ideal identity appears , similarly , in the Alastor poet's contemplation of his withered and ghostly reflection . It is in this context of mental weakness that the poet nurses the hope that his ideal image has a permanent existence in ...
... ideal identity appears , similarly , in the Alastor poet's contemplation of his withered and ghostly reflection . It is in this context of mental weakness that the poet nurses the hope that his ideal image has a permanent existence in ...
Page 156
... ideal ' ( L ii . 108 ) . Moreover , he goes on to discuss the suitability of the ' familiar ' conversational style of writing to ' ideal ' subjects , denying ' that the familiar style is to be admitted in the treatment of a subject wholly ...
... ideal ' ( L ii . 108 ) . Moreover , he goes on to discuss the suitability of the ' familiar ' conversational style of writing to ' ideal ' subjects , denying ' that the familiar style is to be admitted in the treatment of a subject wholly ...
Contents
SelfAnalysis and Sensibility | 13 |
The Literary Context of Sensibility | 44 |
Questions of Personal Identity | 65 |
Copyright | |
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active power Adonais aesthetic Alastor attrib beautiful becomes Childe Harold's Pilgrimage Coleridge Critical David Hume Defence destructive dream Edinburgh Review embodies emphasis added English Epipsychidion expression feeling figure forces fragment French Revolution Glenarvon Godwin History human mind human nature Hume Hume's Ibid ideal idol imagination influence intense introspective John Julian and Maddalo KSMB Literature Lord Byron madness Mandeville maniac Mary Mary Shelley Metaphysics mind's moral Mutability notion object Oxford passion passive Percy Bysshe Shelley personal identity Philosophical PMLA poem poet poet's poetic poetry political Prince Athanase Prometheus Unbound Quarterly Review reading refinement relation Revolt of Islam Revolution Rousseau science of mind self-analysis sense sensibility sensitive shape all light Shelley adds Shelley describes Shelley writes Shelley's Alastor Shelley's conception Shelley's Prose Shelley's science Similarly social Staƫl suggests sympathy Tasso thought tion Torquato Tasso trans University Press violent vols London William Wordsworth