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 possibilities 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 materials (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. 134. 10. Mark Storey, The Problem of Poetry in the Romantic Period (Basingstoke: Macmillan Ltd., 2000), p. 186. 11. Vol. II (4th ed., New York: W.W. Norton, 1979), p. 817. In his famous Golden Treasury, Francis Palgrave initiated this identification of the charac- teristic and best poetry of Clare’s achievement with “I Am” by including it in the first edition of his anthology. 12. Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory 1910–1945 (Wisconsin: University of Wisconsin Press, 1989). 13. Lyric and Labour in the Romantic Tradition (Cambridge: Cambridge University Press, 1998). 14. Arthur Rimbaud, quoted in Poems for the Millennium, p. 44. NOTES 281

15. I discuss “The Poet’s Garret” in this regard in the chapter on Mary Robinson and the Fancy. 16. Michel de Certeau. The Practice of Everyday Life, trans. Steven Rendall (Berkeley: University of California Press, 1988), p. 103. 17. Emmanuel Levinas, Outside the Subject (Palo Alto: Stanford University Press, 1993), p. 151. 18. The passage is reminiscent of the middle section of Wordsworth’s “Nutting,” with its “perchance” and “or” grammars, a technique of throw- ing narrative into a present-tense exploration in the narrator’s mind. 19. In his recent biography of John Clare, Jonathan Bate, following John Barrell, associates the circular and open form of Clare’s poems with his attempt to recover in poetry the sense of circular openness in the land around his home at Helpstone before the emprisoning “linearity” of enclosure was installed. See Jonathan Bate, John Clare (New York: Farrar Strauss and Giroux, 2003). 20. The Other Tradition (Cambridge, Mass.: Harvard University Press, 2000), p. 11. 21. Ashbery, The Other Tradition, p. 16.

3 Cursory Observations on Poetry and Cheerfulness 1. Stanley Cavell, Cities of Words (Cambridge, Mass.: Harvard University Press, 2004), p. 18. 2. Maria Jewsbury, “Why Is the Spirit of Poetry Anti-Cheerful?” in Phantasmagoria; or, Sketches of Life and Literature (1825). 3. Found in Jerome McGann, The New Oxford Book of Romantic Period Verse (Oxford: Oxford University Press, 1993), pp. 36–37. 4. Donald Reiman, “Structure, Symbol, and Theme in ’Lines written among the Euganean Hills,” in Shelley’s Poetry and Prose, ed. Donald H. Reiman and Sharon B. Powers (New York: W.W. Norton, 1977), p. 580. 5. Preface to Christabel, in Samuel Taylor Coleridge: The Complete Poems, ed. William Keach (London: Penguin, 1997), p. 187. 6. The Musical Times, and Singing Class Circular (May 1, 1854), VI, pp. 37–39. 7. Vol. I (1822), pp. 81–89. 8. Theodor Adorno, “Is Art Lighthearted?” in Notes on Literature II (New York: Columbia University Press, 1992), pp. 247–53. 9. Yeats, “The Happiest of Poets,” in Essays and Introductions (New York: The Macmillan Company, 1961), pp. 53–64. 10. Happily (Sausalito: The Post-Apollo Press, 2000).

4 A Poetry of Mind: The Della Cruscans, Mary Robinson, and the Fancy at the Time of the French Revolution and Beyond 1. In The Poetics of Sensibility, Jerome McGann demonstrates that Gifford’s polemic against the Della Cruscans includes a very accurate, if negatively judged, description of a poetry that prefers “sound” over “sense.” 282 NOTES

2. Memoirs of the Late Mrs. Robinson, Written by Herself, 4 vols. (London: R. Phillips, 1801), pp. 2, 125; quoted in Judith Pascoe, Romantic Theatricality: Gender, Poetry, and Spectatorship (Ithaca: Cornell University Press, 1997), p. 75. 3. In her fine book Romantic Theatricality, Judith Pascoe recognizes the “overtly political verse” in the Della Cruscans and Mary Robinson and distinguishes between that and the more typical and familiar whimsical and playful poems. I am arguing the opposite: the continuity of the two types of Della Cruscan poetry. 4. Mary Robinson: Selected Poems (Peterborough, Ontario: Broadview Literary Texts, 2000), pp. 20–21. 5. Theodor Adorno, “On Lyric Poetry and Society,” in Notes to Literature (New York: Columbia University Press, 1991), pp. 37–54. 6. Michael Gamer, “ ‘Bell’s Poetics’: The Baviad, the Della Cruscans, and the Book of The World,” Chapter 2, in The Satiric Eye, ed. Steven E. Jones (New York: Palgrave Macmillan, 2003), pp. 31–53. 7. The recognition of the political possibilities inherent in the poetry of the Fancy in the Della Cruscan mode is picked up by the decidedly non–Della Cruscan Jacobin John Thelwall (1764–1834) in his brilliant book of mixed genres, The Peripatetic (1793), which engages, through a loose fictional scaffolding, issues of race, class, and human rights. His background, his com- munity hardly participates in the fashionable, witty middle class; nonetheless he mentions the Fancy throughout his book. And in a concluding “Epithalamium,” in a language thoroughly “Della Cruscan,” Thelwall estab- lishes the link between marriage (i.e., affection and passion leading to love and permanent relationship) and the larger universal marriage proposed in the radical vision of a reformed society. A few passages show how Thelwall’s transformation of his theme fits completely with the transformations outlined in the Della Cruscans and Mary Robinson (note the similar diction and idiom, the rhymed tetrameter couplets in the first part, etc.):

Sportive lyre, whose artless strings, Brush’d by young Affection’s wings, (Nymphs and rustics list’ning round) Whisper’d sweet the varied sound— Sounds which only aim’d to borrow Pathos from the youthful heart,— Thrills of Hope, and Sighs of Sorrow— Fleeting joy, and transient smart!— Sportive Lyre! Ah, once again— Once again, and then no more— Let me wake the youthful strain, And thy playful strings explore. Once again—and then, adieu!— Bolder heights my soul shall try: Bolder objects rise in view— TRUTH and godlike LIBERTY! . . . NOTES 283

Meanwhile, Io Hymen! Thy triumphs I join,— My Fancy awhile to thy ardours resign:. . . Those ardours by Nature indulgently given To realize all that is look’d for in heaven,— To unite us in bonds of affection and peace, And bid the rude struggles of selfishness cease, Till, heart link’d to heart, all the universe smile, And Social Affection each sorrow beguile, While Sympathy’s touch shall the union sustain, And vibrate alike thro’ each link of the chain. Yes such, if by Nature conducted, and join’d Not by Interest and Pride, but the tie of the mind, Sex blended with sex from affection alone, And Simplicity made every bosom its throne— Such, such are the blessings from Hymen would flow, And this wilderness turn to an Eden below:— An Eden of Mind where each virtue should blow.

Particularly at the close of this poem are visible the links among Thelwall, the Della Cruscans and Mary Robinson, and the visionary poetry of Blake. John Thelwall, The Peripatetic, ed. Judith Thompson (Detroit: Wayne State University Press, 2003), pp. 380–81. 8. Cf. perhaps most famously Shelley’s lines from the “Ode to the West Wind”—“Scatter, as from an unextinguished hearth / Ashes and sparks, my words among mankind!” 9. Is it possible that Coleridge “staged” the drama of enthusiasm and excess unleashed and then curtailed it in order to make evident to readers a paradigm of public repression by current orthodoxies? 10. Gamer, “ ‘Bell’s Poetics.’ ” 11. Pierre Joris, A Nomad Poetics (Middletown: Wesleyan University Press, 2003), p. 31. 12. As Judith Pascoe says in Romantic Theatricality: “for Robinson, the ‘self’ that claims authorship of the poems is a curious array of free-floating and nontotalized personas” (p. 176). 13. The Dada poet/painter Jean Arp described some poems he wrote on papier dechires, “torn up paper.” In these poems he “gave free rein to reality and chance.” He said that “if you tear up a piece of paper or draw- ing, you let in the very essence of life and death.” Quoted in Barbara Guest, Durer in the Window, Reflexions on Art. (New York: Roof Books, 2003), p. 4. 14. Octavio Paz, Marcel Duchamp: Appearance Stripped Bare (New York: Arcade Publishing, 1990), p. 2. 15. Pascoe makes a similar argument about Robinson’s earlier “Ode to Della Crusca”—that she appropriates Merry’s domain in order to establish a place for her own voice. See Romantic Theatricality, p. 79. 284 NOTES

5 “Affectionate Eternity”: Leigh Hunt and the Poetics and Politics of the Fancy 1. A point made in the Introduction to the anthology Other: British and Irish Poetry since 1970, ed. Richard Caddel and Peter Quartermain (Hanover: Wesleyan University Press, 1999). 2. The Englishman’s Magazine, August 1831. 3. Keats may also be revealing a fear of or at least an ambivalence about his own sexuality when he says: “I care not for white busts.” 4. Letters of John Keats, ed. Hyder Rollins (Cambridge, Mass.: Harvard University Press, 1958), pp. II, 11–13. See also my poem based on this letter: “floridize absorb spin” (privately published, 2002). 5. Poetical Works (London, 1832). 6. Hazlitt, too, typically criticizes Wordsworth for excluding too much of the world and of literature. 7. See Jeffrey N. Cox’s excellent essay, “Leigh Hunt’s Foliage: A Cockney Manifesto,” in Leigh Hunt: Life, Poetics, Politics, ed. Nicholas Roe (London: Routledge, 2003), pp. 58–77. 8. In “Projective Verse,” Charles Olson, Selected Writings (New York: New Directions, 1966). 9. The Indicator, June 25, 1820, pp. 300–01. 10. For Romantic ballooning and the French Revolution, see Jane Stabler, Burke to Byron, Barbauld to Baillie, 1790–1830 (Basingstoke: Palgrave, 2001), pp. 132–35. 11. In Lord Byron and Some of His Contemporaries (1828), Hunt, in defending Shelley as poet and humanitarian, speaks regarding the criticism of Shelley for his personal excesses: “A greater portion of will among reformers is desirable; but it does not follow that an occasional excess of it (if such) can or does do the mischief he supposes, or furnishes any excuse worth mention for the outcries and pretended arguments of the opposite party. If he will have a good deal of will, he must occasionally have an excess of it. The party in question, that is to say, all the bad systems and governments existing, with all their slaves and dependents, have an infinite will of their own, which they already make use of, with all their might, to put down every endeav- our against it: and the world in general is so deafened with the noise of ordinary things, and the great working of the system which abuses it, that an occasional excess in the lifting up of a reforming voices appears to be necessary to make it listen.” Hunt could be writing about some of his own Regency (Examiner) decade poems, such as Foliage, with its green, breathing, geniality, apparently so slight and at times ungainly, trivial. 12. The “reclining poet” topos in eighteenth-century poetry signals a turning away from ordinary social speech, the speech from the world of commerce and exchange, toward the world of reverie and expanded dream-like states of being. Here it stands not for the language of “depth,” meaning, and use, but for the “sacred waste” of dream and the body, and for a new poetry of surfaces and presents: the body touches the ground at many points and NOTES 285

areas—surface against surface. The poem records the experience of touch, or taste as a form of touch; the bee is the aerial version of the poet’s reclining body, touching point after point of sweet taste, producing when projected into poetic language a poetry of correspondences or sequenced relationships of elements, noted from “now” to “now.” The body’s sinking onto the ground is recorded as the weight of pleasures. . .or is it an anti-weight of “delicious,” “sparkling,” motions (floating signifiers)? 13. Blackwood’s Magazine (October 1819), p. 206; my emphasis. 14. Hunt’s Hermes may have stimulated Keats’s simile of Hermes in his sonnet, “As Hermes Once. . .,” the threshold god whose divinity also may be said to break past the suspicious watchfulness of the cultural police, and pro- voked Shelley’s beautiful, extended translation of the Homeric Hymn to Mercury, to say nothing of his poem The Witch of Atlas, where the Witch is akin to Hermes’s god of thresholds and transformations. 15. Edmond Jabès, The Book of Margins, trans. Rosemarie Waldrop (Chicago: University of Chicago Press, 1993), p. 82.

6 The Poetics of Expiration: Felicia Hemans 1. The Massachusetts Review, vol. xli, no. 3 (Autumn 2000), p. 291. 2. Quoted in Barbara Guest, Rocks on a Platter (Hanover: Wesleyan University Press, 1999). 3. Felicia Hemans: Selected Poems, Letters, Reception Materials, ed. Susan J. Wolfson (Princeton: Princeton University Press, 2000), p. 545. All passages from Hemans’s poetry are from this edition unless otherwise stated. 4. The conflict between an act of use (nourishment, holiness) versus an art of the beautiful, liberating, supplement haunted the late friend and poetic agonist of Hemans, William Wordsworth. His 1828 poem “The Gleaner” written near the beginning of the exchange and relationship between the two poets, an account of a painting by James Holmes (1777–1860), shifts its focus from sexually alluring woman and the “excessive” proliferation of odiferous flowers to the sheaf of corn she carries on her lap, with its future, singular, nutritive value: . . .had that charge been idle flowers, Fair Damsel, o’er my captive mind, To truth and sober reason blind, ‘Mid that soft air, those long-lost bowers, The sweet illusion might have hung, for hours. —Thanks to this tell-tale sheaf of corn, That touchingly bespeaks thee born Life’s daily tasks with them to share Who, whether from their lowly bed They rise, or rest the weary head, Ponder the blessing they entreat From Heaven, and feel what they repeat, 286 NOTES

While they give utterance to the prayer That asks for daily bread. See also my discussion of “The Gleaner” in Jeffrey C. Robinson, The Current of Romantic Passion (Madison: University of Wisconsin Press, 1991). 5. Nanora Sweet, “History, Imperialism, and the Aesthetics of the Beautiful,” in At the Limits of Romanticism, ed. Mary A. Favret and Nicola J. Watson (Bloomington: Indiana University Press, 1994). 6. Ibid., p. 175. 7. Ibid., p. 174. 8. See Re-Visioning Romanticism: British Women Writers, 1776–1837, ed. Carol Shiner Wilson and Joel Haefner (Philadelphia: University of Pennsylvania Press, 1994) pp. 210–27. 9. Ibid., p. 222. 10. Ibid., p. 220. 11. Tait’s Edinburgh Magazine, n.s. June 14, 1847, pp. 359–63. 12. SW, p. 593. 13. Ibid., p. 377. 14. In SW, p. 581. 15. Allen Grossman, The Long Schoolroom (Ann Arbor: University of Michigan Press, 1997). 16. Mary F. Robinson, “Felicia Hemans,” in The English Poets, 1880. 17. “The Rise and Fall of the Improvisatore, 1753–1845,” Romanticism, vol. 6.2 (2000), pp. 195–210. 18. SW, p. 460. 19. Ibid., p. 203. 20. Ibid., p. 433. 21. Ibid., p. 462. 22. Ibid., p. 430. 23. Fanny Howe, The End (Los Angeles: Littoral Books, 1992), p. 29. 24. SW, p. 415. 25. SW, p. 571. L.E.L., “Stanzas on the Death of Mrs. Hemans,” which first appeared in the New Monthly Magazine, vol. 44 (July 1835), pp. 286–88. 26. SW, p. 574. “Stanzas Addressed to Miss Landon, and Suggested by her ‘Stanzas on the Death of Mrs. Hemans’ ” which first appeared in New Monthly Magazine, vol. 45 (1835), p. 82. 27. Giorgio Agamben, The Man without Content (Stanford: Stanford University Press, 1999), p. 5.

7 The Fancy: From Poetry to Boxing and Back 1. Quoted in Technicians of the Sacred, ed. Jerome Rothenberg (Berkeley: University of California Press, 1985), p. 456. 2. These works anticipate the hybrid, resolutely urban, prose poems of Baudelaire. It may be, in fact, that the great nineteenth-century successes of the Fancy appear in “prose”: the essays of Hazlitt, Lamb, and DeQuincey, NOTES 287

the novels of Dickens. It is no accident that the lifeforce hero, so to speak, in Hard Times literally is the Fancy that combats the Gradgrind regime of a sinister market-driven set of values. 3. John Masefield, “Introduction” to The Fancy by John Hamilton Reynolds (London: Elkin Mathews, 1920), pp. 14–15. 4. Richard Willard Armour, Barry Cornwall (Boston, 1935), p. 44. 5. “The Notion of Expenditure,” in Visions of Excess, pp. 119–120. 6. Pierce Egan, Real Life in London (London: Printed for Jones & Co., 1821), p. 392. 7. Ibid., p. 399. 8. Benjamin Haydon’s Regency-decade portrait of Wordsworth curiously presents him with an open collar, as if a bit of Cockney temperament and sympathy had rubbed off on the middle-aged Lake Poet. Perhaps Haydon knew about Wordsworth’s (uncomfortable) affinity for the poetics of the Fancy. 9. In Rhonda Garelick, Rising Star, Dandyism, Gender, and Performance in the Fin de Siecle. (Princeton: Princeton University Press, 1998), p. 18. 10. Giorgio Agamben, Stanzas: Word and Phantasm in Western Culture, trans. Ronald L. Martinez (Minneapolis: University of Minnesota Press, 1993), p. 48. 11. William Hazlitt, The Spirit of the Age (London: Henry Colburn, 1825), p. 125. 12. Rep. in John Hamilton Reynolds, Poetry and Prose, ed. George C. Marsh (London 1928), pp. 183–87. 13. John Clare, as well as the more familiar members of the Cockney group, cultivated a “mania” for the boxing Fancy. Going to the Fives Court in London to see boxing, Clare “caught the mania so much from Rip for such things that I soon became far more eager for the fancy than himself and I watch’d the appearance of every new Hero on the stage with as eager curosity [sic] to see what sort of a fellow he was as I had before done the Poets—and I left the place with one wish strongly in uppermost and that was that I was a Lord to patronize Jones the Sailor Boy who took my fancy as being the finest fellow in the Ring—,” in John Clare by Himself, ed. Eric Robinson and David Powell (Manchester: Carcanet, 1996), p. 153. 14. The Fancy, p. xiv. 15. Jack Randall was practically worshiped by John Clare. 16. As it is in my essay, “Hazlitt’s ‘My First Acquaintance with Poets’: The Autobiography of a Cultural Critic,” in Romanticism, vi, vol. no. 2 (2000), pp. 178–94. 17. For a discussion of the sexual dimension of “The Fight” as well as the place of “sentiment,” see the chapter on Hazlitt’s essay in my The Current of Romantic Passion. 18. “Die Ruckschritte der Poesie,” pub. 1828. 19. In Walter Benjamin, Selected Writings, vol. 4 (Cambridge, Mass.: Harvard University Press, 2003), p. 374. 288 NOTES

8 William Hazlitt’s Poetics of the Fancy in His Select British Poets: A Cockney Anthology, I 1. See Payson G. Gates, “Hazlitt’s Select British Poets: An American Publication,” in K-SJ, vol. 35 (1986), pp. 168–82. See also William St Clair, The Reading Nation in the Romantic Period (Cambridge: Cambridge University Press, 2004), pp. 223–24, 606. 2. For example, the Boston Currier of August 12, 1824, carries an advertisement for the sale of “London Books, of the most elegant editions. . .selected by William C. Hall, from the manufactories in England, for Cast, which enables B. H. [Benjamin Hall] to sell them as low as can be purchased in this place.” I have seen no mention here of Select British Poets. 3. My personal copy has a mid-nineteenth-century American binding (not rebinding) rather than one produced roughly at the time of the date of “publication” in 1824; this suggests that text blocks of 1824 may have remained unbound for twenty-five or more years. 4. Curiously, St Clair notes that the 1824 edition of Elegant Extracts included small selections from Wordsworth and Byron (St Clair, 224). 5. The Letters of Mary Wollstonecraft Shelley, ed. Betty T. Bennett (Baltimore: Johns Hopkins University Press, 1980–), I, pp. 378–79. 6. I have seen Longfellow’s copy in the Longfellow House, Cambridge, Massachusetts. The volume is defective, lacking the last ninety-six pages, leading one to wonder about the care with which the sheets were gathered and bound. But this is the only copy I have seen that shows its owner’s use of the book: Longfellow underlined or checked poems sparingly—from Sidney, Drayton, Dryden, Wordsworth, Lamb, and James Montgomery. Among the poets missing in this defective volume are Shelley, Byron, and Keats. 7. This summary of Knox comes in part from Leah Price, The Anthology and the Rise of the Novel (Cambridge: Cambridge University Press, 2001), pp. 67–77. 8. See Price, The Anthology, p. 70. 9. John Guillory, Cultural Capital (Chicago: University of Chicago Press, 1993). 10. A general survey of this section follows; more detailed discussion of canonical poems, the interpretation of which shifts from their placement in 1824 occurs in the next chapter. 11. Edinburgh Review, March 1819. 12. See the next chapter for a more detailed discussion of Wordsworth and Shelley in the context of 1824.

9 Select British Poets, II: Fanciful Readings of Canonical Romanticism 1. Following on the work of Jerome McGann in The Poetics of Sensibility. 2. As when a man dreams he reflects not that his body sleeps, Else he would wake; so seem’d he entering his Shadow: but With him the Spirits of the Seven Angels of the Presence Entering; they gave him still perceptions of his Sleeping Body; NOTES 289

Which now arose and walk’d with them in Eden, as an Eighth Image Divine tho’darken’d; and tho walking as one walks In sleep; and the Seven comforted and supported him. Like as a Polypus that vegetates beneath the deep— They saw his Shadow vegetated underneath the Couch Of death: for when he enterd into his Shadow: Himself: His real and immortal Self: was as appeard to those Who dwell in immortality, as One sleeping on a couch Of gold; and those in immortality gave forth their Emanations Like Females of sweet beauty, to guard round him & to feed His lips with food of Eden in his cold and dim repose: But to himself he seemd a wanderer lost in dreary night. (Milton, Book I, pl. 15, ll. 1–16) 3. Marina Tsvetaeva, A Captive Spirit, trans. and ed. by J. Marin King (Ann Arbor: Ardis Publishers, 1980), pp. 237–41. 4. Donald Wesling, The New Poetries: Poetic Form since Coleridge and Wordsworth (Lewisburg: Bucknell University Press, 1985) pp. 20–22. 5. For example, in “Tintern Abbey”: . . .that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world Is lighten’d:—that serene and blessed mood, In which the affections gently lead us on, Until, the breath of this corporeal frame, And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. 6. Ralph Waldo Emerson, “Circles” in Essays: First Series, in The Selected Writings of Ralph Waldo Emerson (New York: Random House, 1968), p. 282. 7. Wayne Koestenbaum, “A Brief Defense of Private Poetry,” in Cleavage: Essays on Sex, Stars, and Aesthetics (New York: Ballantine Books, 2000), pp. 303–08. 8. Charles Reznikoff, from Jerusalem the Golden, in Poems 1918–1936, ed. Seamus Cooney (Santa Barbara: Black Sparrow Press, 1976), p. 109. 9. Allen Grossman, Sweet Youth (New York: New Directions, 2002), p. 83. 10. Helen Vendler, The Odes of John Keats (Cambridge, Mass.: Harvard University Press, 1983), p. 83. 11. Dorothy Van Ghent, Keats: The Myth of the Hero, ed. Jeffrey Cane Robinson (Princeton: Princeton University Press, 1983), p. 146. 12. Charles Bernstein, “Artifice of Absorption,” in A Poetics (Cambridge, Mass.: Harvard University Press, 1992), p. 75. 290 NOTES

13. Stillinger, Reading, 652–53. 14. From “The Klupzy Girl,” in Charles Bernstein, Islets/Irritations (New York: Roof Books, 1992), p. 47. 15. Indicator (XLIV, Wednesday, August 9, 1820), p. 345. 16. Keats’s earlier 1817 volume extensively features the poetics of the Fancy: paratactic heroic couplets, a lush mythological eroticism, overt visionary intentions: So did he feel, who pull’d the boughs aside, That we might look into a forest wide, To catch a glimpse of Fauns, and Dryades Coming with softest rustle through the trees;. . . 17. See my more extended discussion of this letter in Reception and Poetics in Keats: My Ended Poet (Basingstoke: Macmillan, 1998). 18. James Chandler, England in 1819 (Chicago: University of Chicago Press, 1998), p. 432. 19. Julie Carlson, “Fancy’s History,” European Romantic Review, vol. 14 (2003), 163–76. 20. As we have seen in a previous chapter, Keats’s attitude in these poems toward the Other is here expressed through his attitude toward Fame in which he shares the views of contemporaries Hazlitt and Reynolds. Similarly he is at one with Hazlitt and Reynolds on the preference for the “old poets” perceived as belonging to a precapitalist and less ego-driven poetics. 21. Is it surprising that the Fancy-promoting “Ode to Psyche” has long been considered the “weakest” of Keats’s major odes in spite of its prominent position in Keats’s own volume? 22. Cf. Keats’s remark that he took “greater pains” with the “Ode to Psyche” than with any other previously written poem. BIBLIOGRAPHY

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Kaufman, Robert. “Negatively Capable Dialectics: Keats, Vendler, Adorno, and the Theory of the Avant-Garde.” Critical Inquiry 27 (Winter 2001): 354–83. Kaufman, Robert. “Red Kant, or The Persistence of the Third Critique in Adorno and Jameson.” Critical Inquiry 26 (Summer 2000): 682–724. Keach, William. Arbitrary Power: Romanticism, Language, Politics. Princeton: Princeton University Press, 2004. Keach, William. “Cockney Couplets: Keats and the Politics of Style.” SiR 25 (Summer 1986): 182–96. Keats, John. Letters of John Keats. Edited by Hyder Rollins. Cambridge: Harvard University Press, 1958. Keats, John. The Poetical Works. Edited and with an introduction by James Russell Lowell. Boston: Little, Brown and Company, 1854. Koestenbaum, Wayne. “A Brief Defense of Private Poetry,” in Cleavage: Essays on Sex, Stars, and Aesthetics. New York: Ballantine Books, 2000. Lowy, Michael and Sayre, Robert. Romanticism against the Tide of Modernity. Durham, N.C.: Duke University Press, 2001. Levinas, Emmanuel. Outside the Subject. Palo Alto: Stanford University Press, 1993. Levinson, Marjorie. Keats’s Life of Allegory. Oxford: Basil Blackwell, 1988. Masefield, John. “Introduction” to The Fancy by John Hamilton Reynolds. London: Elkin Mathews, 1920. McCaffery, Steve. “Writing as a General Economy.” In Artifice & Indeterminacy, edited by Christopher Beach. Tuscaloosa: The University of Alabama Press, 1998. McGann, Jerome. The Poetics of Sensibility. Oxford: Oxford University Press, 1996. Mee, Jon. “ ‘Reciprocal Expressions of Kindness’: Robert Merry, Della Cruscanism and the Limits of Sociality.” In Romantic Sociality, edited by Gillian Russell and Clara Tuite. Cambridge: Cambridge University Press, 2002. Mee, Jon. Romanticism, Enthusiasm and Regulation. Oxford: Oxford University Press, 2003. Nelson, Cary. Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory 1910–1945. Madison: University of Wisconsin Press, 1989. Pascoe, Judith. Romantic Theatricality: Gender, Poetry, and Spectatorship. Ithaca: Cornell University Press, 1997. Paz, Octavio. Marcel Duchamp: Appearance Stripped Bare. New York: Arcade Publishing, 1990. Perelman, Bob. “Parataxis and Narrative: The New Sentence in Theory and Practice.” In The Marginalization of Poetry. Princeton: Princeton University Press, 1996. Price, Leah. The Anthology and the Rise of the Novel. Cambridge: Cambridge University Press, 2001. Reiman, Donald. “Structure, Symbol, and Theme in ‘Lines written among the Euganean Hills.’ ” In Shelley’s Poetry and Prose, edited by Donald H. Reiman and Sharon B. Powers. New York: W.W. Norton, 1977. Reynolds, John Hamilton. Poetry and Prose. Edited by George C. Marsh. London, 1928. Reznikoff, Charles. Jerusalem the Golden, in Poems 1918–1936. Edited by Seamus Cooney. Santa Barbara: Black Sparrow Press, 1976. 294 BIBLIOGRAPHY

Riding, Laura. Rational Meaning. Charlottesville: University of Virginia Press, 1997. Robinson, Jeffrey C. “Hazlitt’s ‘My First Acquaintance with Poets’: The Autobiography of a Cultural Critic.” Romanticism 6.2 (2000): 178–94. Robinson, Jeffrey C. Reception and Poetics in Keats: My Ended Poet. Basingstoke: Macmillan, 1998. Robinson, Jeffrey C. The Current of Romantic Passion. Madison: University of Wisconsin Press, 1991. Robinson, Mary. Memoirs of the Late Mrs. Robinson, Written by Herself, 4 vols. London: R. Phillips, 1801. Robinson, Mary. Selected Poems. Edited by Judith Pascoe. Peterborough, Ontario: Broadview Literary Texts, 2000. Robinson, Mary F. “Felicia Hemans.” In The English Poets. 1880. Roe, Nicholas. John Keats and the Culture of Dissent. Oxford: Clarendon Press, 1997. Rothenberg, Jerome, editor. Revolution of the Word. New York: The Seabury Press, 1974. Rothenberg, Jerome and Joris, Pierre, editors. Poems for the Millennium, vol. 1. Berkeley: University of California Press, 1995. Scarry, Elaine. On Beauty and Being Just. Princeton: Princeton University Press, 1999. Shelley, Mary Wollstonecraft. Letters. Edited by Betty T. Bennett. Baltimore: Johns Hopkins University Press, 1980. Stabler, Jane. Burke to Byron, Barbauld to Baillie, 1790–1830. Basingstoke: Palgrave, 2001. St. Clair, William. The Reading Nation in the Romantic Period. Cambridge: Cambridge University Press, 2004. Stein, Gertrude. Reflection on the Atomic Bomb. Los Angeles: Black Sparrow Press, 1973. Stillinger, Jack. Reading The Eve of St. Agnes. New York: Oxford University Press, 1999. Storey, Mark. The Problem of Poetry in the Romantic Period. Basingstoke: Macmillan Ltd., 2000. Sweet, Nanora. “History, Imperialism, and the Aesthetics of the Beautiful.” In At the Limits of Romanticism edited by Mary A. Favret and Nicola J. Watson. Bloomington: Indiana University Press, 1994. Thackrey, Susan. George Oppen: A Radical Practice. San Francisco: O Books, 2001. Thelwall, John. The Peripatetic. Edited by Judith Thompson. Detroit: Wayne State University Press, 2003. Trilling, Lionel. “The Poet as Hero: Keats in His Letters.” In The Opposing Self. New York: The Viking Press, 1955. Trilling, Lionel. The Liberal Imagination. New York: Anchor Books, 1950. Tsvetaeva, Marina. A Captive Spirit. Translated and edited by J. Marin King. Ann Arbor: Ardis Publishers, 1980. Van Ghent, Dorothy. Keats: The Myth of the Hero. Edited by Jeffrey Cane Robinson. Princeton: Princeton University Press, 1983. BIBLIOGRAPHY 295

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Abrams, M. H., 36, 51 Milton, Book One, 289–90 Adorno,Theodor Milton, Book Two, 62–63, 176 “Is Art Lighthearted?” 103–105 Songs of Innocence and of Experience, Agamben, Giorgio, 71, 201 246 Akenside, Mark “Hymn to Cheerfulness,”92–93 Bloom, Harold, 51, 114 Antin, David, 278 Boxing (“The Fancy”), 195–222 Arnold, Matthew,33, 253 Brummell, Beau, 200–202 Arp, Jean, 284 Burns, Robert, 238–39 Ashbery,John, 79, 80 Butler, Marilyn, 36 Byron, George Gordon, 202–204, 213–14 Babbitt, Irving, 34–35 Barbauld,Anna Laetitia, 13 Campbell,Thomas, 224 Eighteen Hundred and Eleven,16 Canetti, Elias, 76 “To Mr. S.T.Coleridge,”67 Cavell, Stanley,83 “Washing Day,”65–67 Celan, Paul, 167 Barrett, Elizabeth, 189 Chandler, James, 270 Bataille, Georges, 168, 182, 198 Cheerfulness, 83–108 Batchelor, David Cixous, Helene, 171 Chromophobia,5 Clare, John, 56, 78–81, 288 Bate, Jonathan, 282 “Emmonsails Heath in Winter,” Baudelaire, Charles, 201, 287 57–58 Beattie, James, 27 “I am,”56–57 Bernstein, Charles, 142, 206, 264, 267, “The Eternity of Nature,”79–80 279 “One day across the fields I chanced Bewell,Alan, 268 to pass,”78–79 Birrell,Augustine, 225 “There spotted like the sparrows Blake,William, 7, 11, 174 paler grey,”57 Auguries of Innocence, 96–97 Clement, Catherine, 171 “The Chimney Sweeper” (Songs of Coleridge, Samuel Taylor, 2 Experience), 69–70 Biographia Literaria, 2, 139 “London,”70–71 Christabel, Preface to, 100–101 The Marriage of Heaven and Hell,7, “The Eolian Harp,”124, 172–73 39, 124 “Frost at Midnight,”36 298 INDEX

Coleridge, Samuel Taylor—continued and imagination, 2–5 The Nymphs, 155–56 poetic form, 12–14 Sibylene Leaves, 154 Felman, Shoshana, 71 “The Visit of the Gods,”101–102 Foscolo, Ugo, 99–100 Collins,William Fussell, Paul, 88 “Ode on the Poetical Character,”43, 95 color, 5–6 Gamer, Michael, 119, 125 constructivism (in poetry), 31, 104 Gates, Payson, 225 couplets, rhyming tetrameter, 88–101 Gifford,William, 112, 119 Cox, Jeffrey,17, 241 Gilfillan, George, 170–71 Crystallization (Stendhal), 142 Goethe, Johann Wolfgang von Curran, Stuart, 53 “Erlkonig,”246 “Prometheus,”120 dandy,200–202 Gray,Thomas Della Crusca (Robert Merry), 124–25 “Ode on a Distant Prospect of Eton “The Adieu and Recall to Love,” College,”42–43, 229 94–95 Grossman,Allen, 128, 176, 260, 279 Diversity, 118–19 Guillory,John, 41, 92, 228 The Grove of Fancy, 118–20 The Laurel of Liberty, 117 H. D., 173 Della Cruscans, 94–96, 111–38, 261 Hall,William C., 225 Dickens, Charles and the Fancy,105, Hallam,Arthur, 140 267, 288 Hamilton, Paul, 17, 222 dithyrambics, 101–103 Hartman, Geoffrey,52 see also Leigh Hunt Hazlitt,William, 14, 147, Duff,William, 26–29 on Byron 202–204 Duncan, Robert, 280 “Critical List,”on Wordsworth, 247 Dyer, George, 60–61 “The Fight,”195, 218–23 Dyer, John “My First Acquaintance with “The Country Walk,”93–94 Poets,”200 “Grongar Hill,”93–94 Lectures on the English Poets, 233–37 “The Living Poets,”240–43 Eagleton,Terry,49 “On Poetry in General,”236–37 effusion, 171–73 Select British Poets, 195, 224–45, 246, 268 Egan, Pierce Hazlitt,William Carew,225 Real Life in London, 199–201 Hejinian, Lyn, 16 Eliot,T.S., 8, 18 Happily, 106–108 Ellison, Julie, 33 Hemans, Felicia, 87, 115, 167–91 Emerson, Ralph Waldo, 83, 251 “Corinne at the Capitol,”180 “Our Daily Paths,”182–83 fame (and the problem of the ego and “The Dying Improvisatore,”180–81 normative poetics), 197, 207 “Indian Woman’s Death Song,”176 “fanciphobia” (or skepticism about the “Night-Blowing Flowers,”183–85 fancy), 6, 25–48 “The Song of the Rose,”176–79 fancy “To Wordsworth,”186–88 definitions, 2–15 Hoelderlin, Friedrich, 62, 167 gender, 15–16 “In the Days of Socrates,”62 INDEX 299

Hollander, John, 88 “Welcome Joy and Welcome Hopkins, Gerard Manley,115 Sorrow,”97–98 Howe, Fanny Kertesz,Andre “Our Heaven’s Words,”183 On Reading, 118 Howe, Susan, 188 kitch (and a poetry of cheerfulness), Hughes, Harriet, 170 104–105 Hunt, Leigh, 14, 83, 139–166 Knox, Reverend Vicesimus, 25, 227–31 “Epistle to William Hazlitt,”158–59 Koestenbaum,Wayne, 251 “Fancy’s Party,”151–54 Kristeva, Julia, 5 The Feast of the Poets, 144–50, 254 Foliage, 150–66 Landon, Laetitia, 87, 188–89 on Keats 142–43 Levi, Primo, 71 Lord Byron and Some of His Levinson, Marjorie, 16, 141 Contemporaries, 285 Lowell, James Russell, 33 “On Poems of Joyous Impulse,”101 Lowy,Michael, 17, 18 “Rhyme or Reason,”102–103 lyric subject (voice of the speaker), 13, on Wordsworth 146–48 49–81 imagination Martz, Louis, 133 Coleridge’s definitions, 2–4 Marvell,Andrew Immaturity and maturity,12 “Bermudas,”90–91 improvisatore and improvisatrice, Masefield, John, 198 180–82; see also Felicia Hemans Matilda,Anna (Mrs. Hannah Cowley), 126–27 Janowitz,Anne, 58, 60–61 “Ode to Della Crusca,”96 Jeffrey,Francis, 224, 240–41 McCaffery,Steve, 278 Jewsbury,Maria, 84, 86–87, 176, 191 McFarland,Thomas, 37 Jochmann, C. G., 222–23 McGann, Jerome, 8, 16–18, 96, 170 Joris, Pierre, 130 McGrath,Thomas, 174 Poems for the Millennium,8, Mee, Jon, 17, 92, 121, 221 62–63 Milton, John juxtaposition, 13 “Il Penseroso,”91–92, 246 “L’Allegro,”91–92, 246 Kant, Immanuel, 6, 29, 104 mood, 250–50 Kaufman, Robert, 17, 104 Morris,William, 105–106 Keach,William, 16 Keats, John, 14, 115 Nelson, Cary,58–60 “Fancy,”271 on Leigh Hunt, 140–41 Olson, Charles, 14, 32 Hyperion, 143–44 O’Neill, Michael, 53 “If by dull rhymes our English must Oppen, George, 49–50, 63, 206 be chain’d,”272 and letters to Fanny Brawne, 33 Palgrave, Francis, 281 “Ode to a Nightingale,”259–75 parataxis, 13 see also rhyming tetrameter “Ode to Psyche,”14, 274–75 couplets, 89 “Robin Hood,”271 Pascoe, Judith, 114–15 sonnets on “fame,”207 Pater,Walter, 127 300 INDEX

Perelman, Bob, 278 “Lines Written among the Euganean Pessoa, Fernando, 111 Hills,”98–100 Platner, Ernst, 28 “To a Skylark,”177 poetics Smith, Charlotte, 174, 181 aleatory,32 Beachy Head, 76–77 of expiration (Felicia Hemans), 167–91 “To Fancy,”44 nomadic (Pierre Joris), 128 “To the Muse,”45 Price, Leah, 227 Stendhal, 127 Procter, Bryan Weller (“Barry Stewart, Dugald, 28–29 Cornwall”), 198 Stillinger, Jack, 264 Storey,Mark, 37–38, 56 Raworth,Tom,118 sublime and the beautiful, 29–30 reclining poet, 285–86 Swedenborg, Emanuel, 40 Reid,Thomas, 10 Sweet, Nanora, 169–70 Reynolds, J. H., on Keats 205–207 Swift, Jonathan The Fancy, 207–17 “A Description of the Morning,” Reznikoff, Charles, 259 131–33 Rimbaud,Arthur, 63 Robinson, Mary,44, 111–38, 261 Tegg,Thomas, 225–26 Ainsi va le Monde, 117, 121–24 Thelwall, John, 113, 283–84 “All Alone,”70–72 Thomson, Heidi, 68 “The Camp,”97 translations (by Hunt), 148–50, 159–66 “January,1795,”64, 97 Trilling, Lionel, 35–36, 50–51 “A London Summer Morning,”64, Tsvetaeva, Marina, 129, 173, 246 131–33, 217 Memoirs, 113–14, 116–17 Van Ghent,Dorothy,268 “Ode to the Nightingale,”174 Vendler, Helen, 38, 260 “To the Poet Coleridge,”67–69, 136–38 Waldrop, Rosmarie, 182 “The Poet’s Garret,”134–36 Warton, Joseph, 43 “Twilight,”114–16 “Ode I.To Fancy,”45–47 Roe, Nicholas, 268 Watten,Barrett, 278 Rothenberg, Jerome, 18 Wesling,Donald, 16, 247–48 Whitman,Walt,184 Sappho, 68, 173 “Good-bye My Fancy!” 47 “Hymn to Aphrodite,”120, 272 witness, poetry of, 63–73, 129 Sayre, Robert, 17, 18 Wolfson,Susan, 54–55 Scarry,Elaine, 29–30 Wordsworth, Dorothy,74 Schiller, Friedrich, 34–35 Wordsworth,William, 15 Schlegel, Friedrich, 127 1799 Prelude,67 Scott,Walter, 167–68, 191 Collected Poems (1815), 75, 145 Shakespeare,William “To the Daisy,”252 A Midsummer Night’s Dream,4 “Extempore Effusion on the Death The Tempest (Puck’s songs), 89–90 of James Hogg,”190–91 Shelley,Mary,226 “The Gleaner,”286–87 Shelley,Percy Bysshe “How sweet it is, when mother “Hymn to Intellectual Beauty,”120 Fancy rocks,”257–58 INDEX 301

“I wandered lonely as a cloud,” Preface to Lyrical Ballads,61 74–76, 106 The Prelude, Book I, 54 “Lines Left upon a Seat in a Yew- “Though narrow be that Old Man’s Tree,”255 cares, and near,”253–54 Moods of My Own Mind, 15, 61, 246 “Tintern Abbey,”36, 253, 290 Note to “The Thorn,”30 “A whirlblast from behind the hill,” “Ode: Intimations of Immortality,” 259 175, 256 “Old Man Travelling,”72–73 Yeats,William Butler “Personal Talk,”254–55 “The Happiest of Poets,”105–106 “Poems of the Fancy,”251 Preface to Collected Poems (1815), Zamora, Daisy,85 131, 139 Zukofsky,Louis, 13, 55, 171