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Introduction: “Poetry Fetter'd Fetters the Human Race” NOTES Introduction: “Poetry Fetter’d Fetters the Human Race” 1. Samuel Taylor Coleridge. Biographia Literaria, vol. 1, ed. James Engell and W. Jackson Bate (Princeton: Princeton University Press, 1983), pp. 304–05. 2. (London: Reaktion Books Ltd, 2000). 3. There may be a racial dimension to chromophobia, but this is not Batchelor’s point. 4. Jerome Rothenberg and Pierre Joris, eds., Poems for the Millennium, vol. 1 (Berkeley: University of California Press, 1995), p. 4. 5. Reviewers reacted violently to the half-rhyme, enjambed heroic couplets in Keats’s 1817 volume of poems as “loose” couplets to go along with the Cockney poet’s “loose” politics. See William Keach, “Cockney Couplets: Keats and the Politics of Style,” SiR, vol. 25 (Summer 1986), pp. 182–96. 6. Oxford English Dictionary [OED]. 7. Georges Bataille, “The Notion of Expenditure,” in Visions of Excess (Minneapolis: University of Minnesota Press, 1985), pp. 116–29; Laura Riding, Rational Meaning (Charlottesville: University of Virginia Press, 1997). 8. See Steve McCaffery, “Writing as a General Economy,” ed. Christopher Beach, Artifice & Indeterminacy (Tuscaloosa: The University of Alabama Press, 1998), pp. 201–21. Or, as Gertrude Stein said approvingly in Reflection on the Atomic Bomb (Los Angeles: Black Sparrow Press, 1973), p. 140: “A book which makes no difference between one jeweler and another.” 9. See, for example, Blake’s Visions of the Daughters of Albion and Mary Robinson’s Sappho and Phaon for examples of the early Romantic linkage of the erotic and the democratic. 10. See his poems “Mantis” and “Mantis: An Interpretation.” 11. Discussed by Bob Perelman, “Parataxis and Narrative: The New Sentence in Theory and Practice,” in The Marginalization of Poetry (Princeton: Princeton University Press, 1996), pp. 59–78. 12. David Antin and Barrett Watten discuss the way that “narrative” (or in Antin’s word “story”) have come to signify a sequence of events already predetermined as meaning and intention; an antithetical poetry, then, puts a stress on a movement of mind through events, with emphasis on the sub- jective experience rather than the outward sequence of events themselves. A poetry of “non-narrative” (Watten) and “narrative” (Antin) displays a 278 NOTES mind not bound by a predetermined structuring of events. See Barrett Watten, “Nonnarrative and the Construction of History,” in The Constructivist Moment: From Material Text to Cultural Poetics (Middletown: Wesleyan University Press, 2003), pp. 197–237; David Antin, “Talking Narrative: A Conversation with David Antin,” ed. Brian McHale, Narrative, vol. 12, no. 1 ( January 2004), pp. 93–115. 13. Charles Bernstein’s notion of a poetry of “impermeability,” one in which the mind moves quickly over words and signs, rather than getting “absorbed,” drawn into another domain of images and meaning, stunned by beauty and mystery, is relevant to thinking about the Fancy as a term for the mind (either in the poem or the reader)-constantly-in-motion. See “Artifice of Absorption,” in A Poetics (Cambridge, Mass.: Harvard University Press, 1992), pp. 9–89. 14. David Antin in “Talking Narrative” calls “a poetry of mind” “subjectivity,” by which he does not mean “emotional response” to experience. In distin- guishing “subjectivity” from “plot,” he finds in the former those surprising, unexpected, “free” moments of encounter with events of the world rather than with the already prescribed sequence of events called plot. 15. My book Reception and Poetics in Keats: My Ended Poet (Basingstoke: Macmillan, 1998) is in effect a study of Keats as a poet of the Fancy. 16. William Keach, Arbitrary Power: Romanticism, Language, Politics (Princeton: Princeton University Press, 2004). 17. See my new book, Wordsworth Day by Day: Reading His Work into Poetry Now (Barrytown: Station Hill Press, 2005). 18. “Williams’ description of The Waste Land as ‘the great catastrophe to our letters,’ along with Eliot’s conservatism & the aid & comfort he gave to the academicizers of the 30s and 40s, shouldn’t obscure the actual contribution of his work to more extreme, often subterranean developments up to the present. So, for example, the collage techniques of The Waste Land (worked out in collaboration with Pound) strikingly pointed, circa 1920, to possibil- ities for holding multiple experiences in the mind as simultaneity &/or reoccurrence: what he elsewhere called the ‘simultaneous existence’ & ‘simultaneous order’ of all poetries of all times.” Revolution of the Word, ed. Jerome Rothenberg (New York: The Seabury Press, 1974), p. 35. 19. See Allen Grossman’s claim that within good “poetry of closure” resides a “poetry of aperture” or participation, in The Sighted Singer (Baltimore: Johns Hopkins University Press, 1992). 20. Donald Wesling, The New Poetries (Lewisburg: Bucknell University Press, 1985); William Keach, “Cockney Couplets: Keats and the Politics of Style,” SiR, vol. 25 (Summer 1986), pp. 182–96; Marjorie Levinson, Keats’s Life of Allegory (Oxford: Basil Blackwell, 1988); Jerome McGann, The Poetics of Sensibility (Oxford: Oxford University Press, 1996); Jon Mee, “ ‘Reciprocal Expressions of Kindness’: Robert Merry, Della Cruscanism and the Limits of Sociality,” in Romantic Sociality, ed. Gillian Russell and Clara Tuite (Cambridge: Cambridge University Press, 2002), pp. 104–22; Jon Mee, Romanticism, Enthusiasm and Regulation (Oxford: Oxford University Press, 2003); Jeffrey N. Cox, Poetry and NOTES 279 Politics in the Cockney School: Keats, Shelley, Hunt, and Their Circle (Cambridge: Cambridge University Press, 1998); Michael Lowy and Robert Sayre, Romanticism against the Tide of Modernity (Durham, N.C.: Duke University Press, 2001); Paul Hamilton, Metaromanticism: Aesthetics, Literature, Theory (Chicago: The University of Chicago Press, 2003); Robert Kaufman, “Red Kant, or The Persistence of the Third Critique in Adorno and Jameson,” Critical Inquiry, vol. 26 (Summer 2000), pp. 682–724; and “Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant- Garde,” Critical Inquiry, vol. 27 (Winter 2001), pp. 354–83. 1 Fanciphobia: A History of Skepticism about the Fancy 1. Let me reiterate that this agonistic relationship between Fancy and Imagination, whereas it is symptomatic of a system of excess and corrections that threatens culture from the eighteenth century to the present, can blind one to a more common usage, particularly among poets and artists, of the word “Imagination” as simply a strong, at times visionary, creative faculty. 2. Ed. John Mahoney (Gainesville, Fla.: The University of Florida Press, 1964), pp. 6–7. 3. Anthropologie fur Aerzte und Weltwisse, quoted in Samuel Taylor Coleridge, Biographia Literaria, ed. James Engell and W. Jackson Bate (Princeton: Princeton University Press, 1983), p. ci. 4. Elements of the Philosophy of the Human Mind (1792), p. 413. 5. Robert Duncan called one of his late volumes of poems Ground-Work, insisting, in contrast to traditional aesthetics, that the gathering of raw mate- rials (not so much their “shaping” and evaluating) did not precede but was the real work of poetry. 6. Quoted in Engell and Bate, Biographia Literaria, p. cii. 7. On Beauty and Being Just (Princeton: Princeton University Press, 1999). 8. Ibid., p. 64. 9. “Preface” to Poems, 1815, in Shorter Poems, 1807–1820 by William Wordsworth, ed. Carl H. Ketcham (Ithaca: Cornell University Press, 1989), pp. 635–36. 10. “ ‘Nice Arts’ and ‘Potent Enginery’: The Gendered Economy of Wordsworth’s Fancy,” The Centennial Review, vol. 33, no. 4 (1989), pp. 441–67. 11. The Poetical Works of John Keats, ed. with an introduction by James Russell Lowell (Boston: Little, Brown and Company, 1854), p. xxxvi. 12. Irving Babbitt, Rousseau and Romanticism (originally published in 1919; reissued New York: Meridian Books, 1955). 13. Lowell, The Poetical Works of John Keats, p. xiii. 14. Lionel Trilling, “The Poet as Hero: Keats in His Letters,” in The Opposing Self (New York: The Viking Press, 1955), pp. 3–49. 15. Bracketing the work of Abrams and Northrop Frye (the Fall in Romantic Poetry is a Fall into Self-consciousness) were two very influential studies that valorize the “purity” of self-development and its identification with the 280 NOTES extent of a poem, Louis Martz’s study of seventeenth-century metaphysical poetry, The Poetry of Meditation, and Robert Langbaum’s discussion of the Victorian dramatic monologue, The Poetry of Experience. 16. Jack Stillinger, Reading The Eve of St. Agnes (New York: Oxford University Press, 1999), p. 105. 17. As in the case of John Clare’s famous late sonnet “I Am” (see chapter 2), the only one of Clare’s several thousand poems to be anthologized in the first edition of Palgrave. 18. Cambridge, Mass.: Harvard University Press, 2004. 19. I return to Gray’s Eton College Ode in the discussion of Knox’s establish- ment anthology Elegant Extracts, where a line from the Ode is featured prominently on the book’s title page. 20. Joseph Warton, Odes on Various Subjects (London, 1746), see “Advertisement.” 2 Lyric Subjects in Romantic Poetry 1. Terry Eagleton, The Idea of Culture (Oxford: Blackwell Publishers, 2000), p. 84. 2. Quoted in Susan Thackrey, George Oppen: A Radical Practice (San Francisco: O Books, 2001). 3. Published in The Liberal Imagination (New York: Anchor Books, 1950). 4. “Structure and Style in the Greater Romantic Lyric,” included in Harold Bloom, ed., Romanticism and Consciousness (New York: W.W. Norton & Company, 1970), pp. 201–29. 5. “The Internalization of Quest-Romance,” in Bloom, Romanticism, pp. 3–24. 6. It should be observed that, ironically, Abrams’s essays are in fact historicist in that the Romantic poetry of the lyric subject results directly from a historical situation—“retirement,” from the politically repressive world of cities such as London and Bristol, and carried out with a Godwinian notion that social change must emerge from the imaginative change of individuals. 7. Stuart Curran, Poetic Form and British Romanticism (New York: Oxford University Press, 1986), p. 217. 8. Romanticism, p. 2. 9. Susan Wolfson, Formal Charges (Palo Alto: Stanford University Press, 1997), p.
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