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ABSTRACT Title of Dissertation ABSTRACT Title of dissertation: TEXTUAL SENSIBILITIES: THE PHYSICALITY OF BRITISH POETRY, 1750-1850 Laura Wells Betz, Doctor of Philosophy, 2005 Dissertation directed by: Professor Neil Fraistat Department of English My dissertation argues that key eighteenth and early nineteenth-century poets – including James Thomson and James Macpherson, Thomas Chatterton , Charlotte Smith, and Erasmus Darwin, and William Blake, John Keats, and Percy Shelley – are united by a preoccupation with the physical properties of the text, language, or both. I argue that these writers take the central period concept of sensibility, or the human capacity for sensory perception and emotion, and reconceive it as a textual category, exploring what I call textual sensibility, or the text’s capacity to stimulate the senses relative to its intellectual comprehensibility. In major poems these writers foreground the visual and sonic characteristics of words, punctuation, and space, and use various poetic “units”– from one letter to the entire poem – as physical things or effects that frustrate informational reading and force a more experiential approach to the text. I argue that these techniques arise from the widespread focus on the senses in eighteenth and early nineteenth-century British culture. The dissertation’s first chapter defines the salient techniques of physical poetic practice in a range of eighteenth and early nineteenth-century texts; the other chapters concentrate specifically on Blake, Keats, and Shelley as poets who pursue particularly rich, complex, and self-reflexive forms of physical poetic style. My study fills a gap in coverage in the larger field of interest in material affect, which has tended to focus on virtually every other literary period at the expense of the eighteenth and early nineteenth centuries. Jerome McGann’s The Poetics of Sensibility touches upon “affective” versus “referential” language in certain late eighteenth-century poets, and scholars have addressed Blake’s material uses of word and image and some aspects of Keats’s sensory style. But my study supplies an in-depth account of the diverse techniques of physical poetic practice in the eighteenth and early nineteenth-century period, and of the important epistemological inquiry that underlies them: is reading, and particularly reading poetry, about gaining “information” from the text or “experiencing” it, and can these two effects be combined? TEXTUAL SENSIBILITIES: THE PHYSICALITY OF BRITISH POETRY, 1750-1850 by Laura Wells Betz Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2005 Advisory Committee: Professor Neil Fraistat, Chair Professor Katherine King Professor Susan Lanser Professor Elizabeth Loizeaux Professor Orrin Wang © Copyright by Laura Wells Betz 2005 ii Dedicated to my parents, Mike and Janet Wells, without whom none of this would have been possible iii Acknowledgements My first debt of gratitude is to my director, Neil Fraistat, who throughout my doctorate has never failed to be a fine teacher, a challenging critic, a generous listener and reader, a wise advisor, and a kind supporter. I also wish to thank Susan Lanser for her acumen and generosity in reading and commenting on my work, and for her seminar, “Enlightenment and its Fictions” in Spring 2000, without which I might never have pursued deeper study of the eighteenth century. To Orrin Wang, I express my appreciation for always making me think in new ways about my work, and for smart advice about my writing and with regard to the profession. I also thank Elizabeth Loizeaux and Katherine King for being wonderful, insightful readers of my dissertation. To Jerome McGann, I express my appreciation for his being a wonderful teacher and thesis director during my B.A. and M.A. at the University of Virginia, and for advice on the title of this dissertation. One does not come to the end of a Ph.D. without support from loved ones, and these are debts that can never be repaid. To my parents, to whom this dissertation is dedicated, I express my love and great thanks for the perpetual encouragement and love they have shown to me, and for their unfailingly optimistic and uplifting spirit. To each of my brothers, thank you for your loving support, coupled with your unmatched sense of humor. To my family-in-law, I express appreciation for always showing me love and devotion. And, at last, to John, I have no words that can capture what you have meant to me throughout my studies and especially throughout the writing of this dissertation. From that sunny day when I first met you onward, you have daily borne out I Corinthians 13. Who could ask for anything more? iv Table of Contents List of Figures.…….…………………………………………………………....................v Introduction.……………………………………………………………………………….1 Chapter One: Explorations in Textual Physicality, 1750-1850.………………………...40 Chapter Two: “Word, Work, and Wish”: Blake’s Affective Style in Jerusalem..........116 Chapter Three: “Perplex’d with a thousand things”: Keats and the Charm of Words..197 Chapter Four: “At Once Mild and Animating”: Shelley’s Spell of Style.…………….266 Notes.…………………………………………………………………………………...359 Bibliography.…………………………………………………………………………...381 v List of Figures 1. Samuel Richardson. Clarissa or the History of a Young Lady. Ed. Angus Ross. New York: Penguin, 1985, 890, 893. ………………………………………………………...52 2. Erasmus Darwin. “Proem.” The Loves of the Plants. London: J. Johnson, 1789, vi-vii. ……………………………………………………………………………………………86 3. Erasmus Darwin. The Loves of the Plants. London: J. Johnson, 1789, 6, illustration. ……………………………………………………………………………………………92 4. William Blake. Jerusalem. Plate 12. Copy E. Facsimile edition. William Blake: The Complete Illuminated Books. Intro. by David Bindman. New York: Thames & Hudson, in association with the William Blake Trust, 2000. ……………………………………145 5. William Blake. Jerusalem. Plate 13. Copy E. Facsimile edition. William Blake: The Complete Illuminated Books. Intro. by David Bindman. New York: Thames & Hudson, in association with the William Blake Trust, 2000. ……………………………………158 6. William Blake. Jerusalem. Plate 16. Copy E. Facsimile edition. William Blake: The Complete Illuminated Books. Intro. by David Bindman. New York: Thames & Hudson, in association with the William Blake Trust, 2000. ……………………………………186 1 Introduction Though Wordsworth’s poetry could hardly be characterized as preoccupied with the physical character of language, his Preface to the Lyrical Ballads has much to say on the subject. Amidst the Preface’s famous arguments about the poet and poetry and its familiar phrases, “a poet is a man speaking to men” and “all good poetry is the spontaneous overflow of powerful feeling,” Wordsworth obsessively returns to the topic of the autonomous physical power of words. The physical character of language, of course, is an issue on which Pope famously comments decades before in “An Essay on Criticism” when he writes “The sound must seem an Echo to the sense,” clearly subordinating what he calls “the pow’r of Music” in poetry to its clear ideational communication.1 Samuel Johnson offers his view on the same issue in The Life of Dryden when he declares that “[words should not] draw that attention on themselves which they should transmit to things.”2 Yet where Pope and Johnson pronounce with firmness and confidence their verdicts on the proper sensory role of words, this problem hovers unresolved over Wordsworth and his assertions about poetry. The irresolution emerges primarily through Wordsworth’s discussion of meter – one of the most physically affective of all poetic devices. This discussion repays our close attention because it defines, at a theoretical level, what the poets addressed in this study deeply explore at the level of stylistic technique: the different kinds of affective use to which a physical tool like meter can be put, as well as the questions about the meaning, value, and cultural function of poetry that are raised by that use. 2 In a sometimes anxious and defensive tone, Wordsworth presents conflicted and ambivalent arguments about the precise role of meter in poetry. He first admits that language can have a force that is independent of meaning when he suggests that “words . [when they are] in themselves powerful” can carry “the excitement [that poetry purposes to create in the reader] . beyond its proper bounds.”3 He then focuses specifically on poetic meter, arguing that it can have the effect of “tempering and restraining” this excitement. This latter effect occurs precisely because of the autonomy of meter: its creation of a “feeling not strictly and necessarily connected with the passion [evoked by the poetry].” Or, Wordsworth suggests, meter holds passion in check by exerting semi-hypnotic effects, or a “tendency . to divest language, in a certain degree, of its reality, and thus to throw a certain half-consciousness over the whole composition.”4 Yet elsewhere in the Preface Wordsworth portrays meter in the opposite way: as a stimulant. He argues that its laws, which ensure its regularity and uniformity, cause it not to “interfere” with the passion that is the subject of the verse but “to heighten and improve the pleasure that co-exists with it.”5 As if he is not sure that what he has just claimed is true, Wordsworth uses the most hyperbolic form of evidence possible, grandly asserting that the heightening effects of meter have been affirmed by the “concurring
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