Romanticism and the Androgynous Sublime
Fairleigh Dickinson Univ Press, 1996 - 153 sider
This book studies and articulates the emergence from the poetical subtext of six major English romantics of "the androgynous sublime," a mode that conflates the motif of psychic androgyny (traceable as far back as the Book of Genesis and Plato's Symposium) with the mode of sublimity, first discussed by Longinus and much debated from the eighteenth century onward.
Frequently echoed by the romantic poets, Milton's description of the Holy Spirit's role in the creation of the world is androgynous.
Since humane creativity mirrors divine creativity, it follows that the artist qua artist muct also be androgynous - that is, endowed with what Lyrical Ballads, calls "a more comprehensive soul" than is "supposed to be common among mankind."
Characterized by a flexuous, limber style and an association with androgynous subject matter, the androgynous sublime subverts conventional notions of sublimity while offering a more comprehensive model with which to supplement, of non supplant, them.
The methodology of this study is to present a "counter-deconstructive" reading of the text and, where applicable, designs of Blake, as well as the poetry of Wordsworth, Coleridge, Byron, Shelley, and Keats, seen from this somewhat novel but not ignoble perspective.
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Manfred as Destroyer and Preserver
Androgynous Sublimity in Don Juan
Shelleys Androgynous Quest
Shelleys intensest rime
The Sublime Androgyny of Adonais
Keatss Immortal Androgyny
False versus Sublime Androgyny
Apocalypse and the Death of Dad
From Darkness to Light
Coleridge From the Analogical to the Androgynous Sublime
Coleridges Androgynous Sublime
Byrons Sublime Androgyny
added Albion androgynous sublime appears aspect beautiful becomes beginning Blake Byron called character Christabel Coleridge Coleridge's combined comes complete concept contrast creation darkness daughter death described discussion divine double earlier early earth emanation emphasis English eternal eyes face female feminine figure Four Golden hand heaven hence human idea illustration imaginative important involves Jerusalem Juan Keats Keats's kind latter light lines London male Milton mind Misogyny mode moon motif myth nature night observed once original Oxford passage patriarchal perhaps plate poem poem's poet poetic poetry portrayal portrayed present reference reflected relations remarks reminded rhetorical romantic says seems seen sense sexual Shelley Shelley's song sonnet sort soul sound Spirit stanza suggests symbol theme thou turn University Press Virgin vision voice waters whole Witch Wordsworth written York
Side 115 - The breath whose might I have invoked in song Descends on me; my spirit's bark is driven, Far from the shore, far from the trembling throng Whose sails were never to the tempest given; The massy earth and sphered skies are riven! I am borne darkly, fearfully, afar; Whilst burning through the inmost veil of Heaven, The soul of Adonais, like a star, Beacons from the abode where the Eternal are.
Side 59 - The immeasurable height Of woods decaying, never to be decayed, . The stationary blasts of waterfalls, And in the narrow rent at every turn Winds thwarting winds, bewildered and forlorn, The torrents shooting from the clear blue sky, The rocks that muttered close upon our ears, Black drizzling crags that spake by the wayside As if a voice were in them, the sick sight And giddy prospect of the raving stream...
Side 16 - So God created man in his own image ; — male and female created he them.
Side 52 - It is a beauteous evening, calm and free, The holy time is quiet as a Nun Breathless with adoration; the broad sun Is sinking down in its tranquillity; The gentleness of heaven broods o'er the Sea: Listen!
Side 16 - Aonian mount, while it pursues Things unattempted yet in prose or rhyme. And chiefly thou, O Spirit, that dost prefer Before all temples the upright heart and pure, Instruct me, for thou know'st; thou from the first Wast present, and, with mighty wings outspread, Dove-like, sat'st brooding on the vast abyss, And mad'st it pregnant...
Side 80 - O Lady ! we receive but what we give, And in our life alone does Nature live : Ours is her wedding garment, ours her shroud...
Side 58 - The invisible world, doth greatness make abode, There harbours ; whether we be young or old, Our destiny, our being's heart and home, Is with infinitude, and only there ; With hope it is, hope that can never die. Effort, and expectation, and desire, And something evermore about to be.
Side 114 - It is a dying lamp, a falling shower, A breaking billow; - even whilst we speak Is it not broken? On the withering flower The killing sun smiles brightly: on a cheek The life can burn in blood, even while the heart may break.
Side 92 - When he gave to the sea his decree that the waters should not pass his commandment. When he appointed the foundations of the earth., then I was by him, as one brought up with him, and I was daily his delight, rejoicing always before him, rejoicing in the habitable part of his earth, and my delights were with the sons of men.