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 236
... lines 437 and 439 of the later poem . These lines are part of Rousseau's description of the ghastly pageant of slavery and conquest to which he surrendered himself : ' the new Vision , and its cold bright car , With savage music ...
... lines 437 and 439 of the later poem . These lines are part of Rousseau's description of the ghastly pageant of slavery and conquest to which he surrendered himself : ' the new Vision , and its cold bright car , With savage music ...
Page 237
... lines 206-7 with the draft lines from the ' Ode to the West Wind ' shows Shelley's ambivalence . Rousseau boasts : ' If I have been extinguished , yet there rise / A thousand beacons from the spark I bore . ' Shelley had written in the ...
... lines 206-7 with the draft lines from the ' Ode to the West Wind ' shows Shelley's ambivalence . Rousseau boasts : ' If I have been extinguished , yet there rise / A thousand beacons from the spark I bore . ' Shelley had written in the ...
Page 238
... lines Rousseau had referred to his ' heart [ which time could not assuage / Nor pain nor years pleasure ] ' . 38 The view that Rousseau's superiority stemmed from the extent to which he was a slave to elements of passion within himself ...
... lines Rousseau had referred to his ' heart [ which time could not assuage / Nor pain nor years pleasure ] ' . 38 The view that Rousseau's superiority stemmed from the extent to which he was a slave to elements of passion within himself ...
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 distinction dream Edinburgh Review embodies emphasis added 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