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Western University Scholarship@Western Electronic Thesis and Dissertation Repository 10-23-2015 12:00 AM The Aesthetics of Romantic Hellenism Derek Shank The University of Western Ontario Supervisor Tilottama Rajan The University of Western Ontario Graduate Program in English A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of Philosophy © Derek Shank 2015 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Literature in English, British Isles Commons Recommended Citation Shank, Derek, "The Aesthetics of Romantic Hellenism" (2015). Electronic Thesis and Dissertation Repository. 3300. https://ir.lib.uwo.ca/etd/3300 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. i THE AESTHETICS OF ROMANTIC HELLENISM (Monograph) by Derek Shank Graduate Program in English A thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Derek Shank 2015 ii Abstract This study examines the aesthetics of Romantic Hellenism in theory and practice. I trace various forms of Hellenism’s ambivalence, which manifests in certain paradoxes. Such paradoxes include the aesthetic of desire, which longs for a union with ancient Greek culture even as it is aware of the impossibility of such fulfillment, and the Romantic notion of mythology, which exhibits a tension between order and system. Such tensions work to energize Hellenism with aesthetic potentiality by preserving the mysteriousness of ancient Greek culture, and thus frequently turn upon the interdependence of the reading of Greece with the writing of literature or philosophy. In my first chapter, I show how Hellenism became the ground of German Romantic aesthetic theory beginning in the latter half of the eighteenth century. In the works of Winckelmann, Schiller, Friedrich Schlegel, Hegel, and Nietzsche, the study of Greek art and literature forms a space in which certain irresolvable aesthetic issues, in the form of the relationship between the real and the ideal, play out. The second chapter takes up the topic of fragmentation in British Romanticism, analyzing texts by Richard Polwhele, Felicia Hemans, Byron, Keats, and Blake. I show how fragmentation in representations of the modern Greek landscape and of ancient Greek art serves to energize them with aesthetic potentiality for the reading and writing processes. The third chapter examines the sexualization of the aesthetic of desire in Hellenizing erotic poems. I read Keats’s Endymion and Lamia and Percy Shelley’s Epipsychidion in the context provided by Shelley’s preface to his translation of Plato’s Symposium. Such poems work to stage the failure of cultural translation, the passionate yet futile attempt to “know” ancient Greek culture intellectually, aesthetically, and sexually. The fourth chapter addresses mythology iii as embodying a tension between system and fragment. With reference to Romantic theories of mythology such as those of Schelling and Friedrich Schlegel, I argue that Keats’s Hyperion poems and Shelley’s Prometheus Unbound work like mythology in staging their own failures at arranging Hellenic fragments into coherent systems, leaving the writing of Greece yet to be completed. Keywords English literature; Romanticism; Hellenism; Greece; Aesthetics; Literary theory; British Romanticism; German Romanticism; Classical reception; Percy Shelley; Mary Shelley; John Keats; George Gordon, Lord Byron; Richard Polwhele; Felicia Hemans; William Blake; Fragmentation; Ruin; Rape; Seduction; Desecration; Mythology; Hermeneutics; Translation; Ekphrasis; Greek Love; Anal sex; Desire; Sexuality; Eros; Eroticism; Georges Bataille; Failure; Perversity; Johann Joachim Winckelmann; Friedrich Schiller; Friedrich Schlegel; Friedrich Schelling; G. W. F. Hegel; Friedrich Nietzsche; Ovid; Plato; The Symposium; Prometheus Unbound; Hyperion; The Fall of Hyperion; “Ode on a Grecian Urn”; The Last Man; Modern Greece; Childe Harold’s Pilgrimage; Grecian Prospects; Laocoön; “On Seeing the Elgin Marbles”; Reflections on the Imitation of Greek Works in Painting and Sculpture; History of the Art of Antiquity; On Naive and Sentimental Poetry; On the Study of Greek Poetry; Athenaeum Fragments; Lectures on Aesthetics; The Birth of Tragedy; Endymion; Lamia; Epipsychidion; “A Discourse on the Manners of the Antient Greeks Relative to the Subject of Love” iv Acknowledgments An “Acknowledgements” section is a strange thing. It documents debts whose value it cannot adequately describe. In this respect it is not unlike many of the works I examine in this study, which point toward that which they cannot reach. I would like to thank the following scholars for their mentorship: Stan Fogel, for his irreverent introduction to “Theory”; Katherine Acheson, for her inspiring lectures on Paradise Lost; Craig Hardiman, for his sage advice about graduate school; Christina Vester, who baptized me with Greek fire; Ron Kroeker, who shares my perverse love of grammar; and David Porreca, who introduced me to the joys of the Medieval Congress at Kalamazoo and realized that I belonged in graduate school before I did. I owe special thanks to Tristanne Connolly, both for leading me into the Romantic fold, and for showing me the priceless intellectual guidance of which a scholar is capable. I am grateful to Steven Bruhm, Alison Conway, and Pauline Wakeham for their insightful feedback on my scholarship proposals. My thanks to the Ontario Ministry of Training, Colleges, and Universities, which awarded me two Ontario Graduate Scholarships; and my thanks to the Social Sciences and Humanities Research Council of Canada, which awarded me a Bombardier Doctoral Canada Graduate Scholarship. I am also grateful for the financial support of the Department of English and Writing and the Faculty of Arts and Humanities at the University of Western Ontario. I would like to thank Lukas Lemcke, Adrian Mioc, and Will Samson, for their prompt and incisive responses to my queries about modern languages. Many thanks to Kevin Goodwin for telling me he wrote five hundred words a day. v Thanks are also due to the staff of Western Libraries, and especially those of the D. B. Weldon Library, who have admirably weathered the onslaught of my photocopy, loan, and book order requests. I would also like to thank the William Blake Archive, which generously granted me permission to reproduce their image of Blake’s Laocoön. Thanks to my fellow graduate students and to the staff and faculty members of the Department of English and Writing at the University of Western Ontario. This has been a lovely intellectual and social environment in which to grow for the past five years. I am thankful to the members of the Romantic Reading Group here at Western. The group’s combination of intellectual rigour with kindness, passion, and curiosity has been a true blessing. Thanks to my father, Claude Shank, and to my grandparents, Jane and Marcel Labbé, who taught me the values of kindness, hard work, and self-discipline, and inspired me with their trust. Special thanks to my mother, Dianne Labbé. I cannot thank her enough for her incredible generosity in proofreading. But I owe her even more for inspiring my love of language and of literature in the first place. She showed me how words create worlds. Thanks to my second reader, Joel Faflak, for his rigorous and insightful feedback throughout the course of this project. I can only fail to express my gratitude to my supervisor, Tilottama Rajan. Her enthusiasm and generosity are simply astounding. She possesses an incredible capacity to transport herself into another’s work, to become a Negatively Capable reader—yet to retain at the same time a keen critical incisiveness rooted in her own inimitable intellect. Her guidance has been precious gift. vi Table of Contents Abstract ............................................................................................................................... ii Acknowledgments.............................................................................................................. iv Table of Contents ............................................................................................................... vi List of Figures .................................................................................................................. viii Introduction ......................................................................................................................... 1 Chapter 1 ........................................................................................................................... 40 1 The Real and the Ideal in the Reading and Writing of Greece .................................... 40 1.1 Nature and Culture Related through Imitation in Winckelmann’s Reflections and History ............................................................................................................ 43 1.2 Being and Consciousness Related through Moral Reflection in Schiller’s On Naive and Sentimental Poetry ............................................................................... 56 1.3 Objectivity and Creativity Related through Studium and Romantic Poetry in Friedrich Schlegel’s On the
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