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 59
... social environment in which they arise . Hume insists that , unless we desire to assign the causes of greatness in the arts to chance , it is to social conditions that we must look . He affirms accordingly a notion of inspiration as an ...
... social environment in which they arise . Hume insists that , unless we desire to assign the causes of greatness in the arts to chance , it is to social conditions that we must look . He affirms accordingly a notion of inspiration as an ...
Page 91
... social conditions appears in the condensed account of civilization given in his ' Ode to Liberty ' ( 1820 ) . Identification of the mind's power and libertarian social conditions is so close as to enable the former to be addressed ...
... social conditions appears in the condensed account of civilization given in his ' Ode to Liberty ' ( 1820 ) . Identification of the mind's power and libertarian social conditions is so close as to enable the former to be addressed ...
Page 99
... social conditions . In his essay on the ancient Greeks , for example , Shelley describes the human arts as modifications of one active force , according to particular social circumstances : ' all the inventive arts maintain , as it were ...
... social conditions . In his essay on the ancient Greeks , for example , Shelley describes the human arts as modifications of one active force , according to particular social circumstances : ' all the inventive arts maintain , as it were ...
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