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Negative Idealism of Percy Bysshe Shelley : His Self-Revisionism Toward "The Triumph of Life"

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Negative Idealism of Percy Bysshe Shelley : His Self-Revisionism Toward Title Negative Idealism of Percy Bysshe Shelley : His Self-Revisionism toward "The Triumph of Life" Author(s) 白石, 治恵 Citation 北海道大学. 博士(文学) 甲第13713号 Issue Date 2019-09-25 DOI 10.14943/doctoral.k13713 Doc URL http://hdl.handle.net/2115/76587 Type theses (doctoral) File Information Harue_Shiraishi.pdf Instructions for use Hokkaido University Collection of Scholarly and Academic Papers : HUSCAP NEGATIVE IDEALISM OF PERCY BYSSHE SHELLEY: HIS SELF-REVISIONISM TOWARD “THE TRIUMPH OF LIFE” Harue SHIRAISHI Hokkaido University 2019 Acknowledgements First I would like to thank my Lord who “worketh in” me “both to will and to do of his good pleasure.” (Philippians 2:13) I am very grateful to Professor Eijun Senaha of Hokkaido University for his patience, encouragement, and advice. My greatest debt is to the former Professor Yutaka Akagawa of Meiji Gakuin University who sowed the seeds o f my study by teaching me the inexhaustible joy of appreciating poetry. I wish to thank Pastor Lawrence Appleby and brothers and sisters of Mount Zion Church for their uninterrupted prayer for me, and also wish to thank Professor Peter Robinson of the Univ ersity of Reading for accepting me as a visiting scholar. The idea and outline of this paper were mostly formed in the days I spent in Reading. This paper would not have been finished without the invaluable advice and encouragement from the members of The Society of Bungaku to Hyoron, especially from Professor Kazuhiro Ueno and Dr. Tomoko Takiguchi, as well as from the members of The Silphe Society and The Society of Shonan Eibungaku. My special thanks go to my father and my mother, Sadao and Kyoko Shiraishi, who taught me to have the courage not to give up, and finally, to my sister Yasue Horikiri and her family for their abundant support and love. Table of Contents Introduction (1) Part I Before “The Triumph of Life” Chapter 1 Necessity: Growing out of Materialism (17) Chapter 2 Vegetarianism: A Justification by a Carnophob e (37) Chapter 3 Aesthetics: From Pursuing Intellectual Beauty to Urging Beauty in Horror (53) Chapter 4 Religion and Myth: Acceptance by Mythicizing Christianity (73) Chapter 5 Heroism ： Character Development Oscillating Between Hero and Artist (93) Part II: "The Triumph of Life" (113) Chapter 1 A Critical History of “The Triumph of Life” (114) Chapter 2 Shelley’s Epistemology through Multitudes and the Chariot:Negative Sympathy toward the Multitude (135) Chapter 3 The Captives: Reinterpretation Necessity and Surpassing the Master (150) Chapter 4 “A Shape All Light” from the Realm without a Name: Anonymity and Destructive Beauty in the Ideal Woman (168) Chapter 5 Negation of Ending: Absence of the Hero-Protagonist and Limitations and Possibilities of Language (180) Conclusion (192) Works Cited (19 5) Appendix: Annotated Bibliography of Percy Bysshe Shelley’s “The Triumph of Life” (212) Shiraishi 1 Negative Idealism of Percy Bysshe Shelley: His Self-Revisionism toward “The Triumph of Life” Introduction “The Triumph of Life”(TL) of Percy Bysshe Shelley (1792-1822) is the terminal work of self-revisionism, that completes his negative idealism, which urges the poet to express his ideal in his writings and makes him reject his own works because of the hunger for a more ideal way of expression. He tries to express the transcendent perfection which cannot be descriptive by the limited human language. This is a literary application of negative theology that regards human language as being limited therefore tries to explain God by using negative sentences. He continually revises his own works through creation and denial until he reaches TL, which is the most highly valued and the most negative of his works in terms of characters, story, and expressions. Negative idealism is an attitude to be unacceptable toward his own works by pursuing an extreme of Platonic idealism, as well as to be positive in order to keep searching for new poetical expressions in aesthetics, ethics, and language. Shelley continues to pursue his ideal from his early stage as a poet through repetitive creation and rejection. In Queen Mab (1813), his first long poem, Necessity is the source that brings the ideal world, but it has lost its absolute authority in Alastor after severe experience and failure in his real life. Although vegetarianism is argued eloquently Shiraishi 2 around 1813, it is scarcely found in his writings after 1815. The Platonic intellectual beauty that Shelley worshiped in his early stage changes into the beauty in horror described in "On Medusa" through ekphrasis, which is inspired by Italian art. The strong aggression toward Christianity, which is inspired by eighteenth century philosophers such as d'Holbach, is depicted in The Necessity of Atheism (1811) and Queen Mab. However, in "On Christianity," written around 1817, Shelley acknowledges Jesus Christ as having an ideal ethical character, apart from his skeptical view toward the religion . The character of the protagonists Shelley frequently adopts in his poems pendulates between the hero, who saves his people by sacrificing himself, and the artist, who pursues his ideal to the extreme and without caring about other people. Thus, Shelley continues to pursue his ideal, repeating creation and negation of his own works until he arrived at TL. TL is the poem in which his self-revisionism struggles along. The structure and scene changes make TL the most outstanding and distinctive of his poems, and they result from negating of “Prince Athanase” (1817). In “Prince Athanase,” Shelley tries to combine certain elements—such as inconsiderate people, a mentor for a young disciple to surpass, pure innocent days, and a femme fatale —into one poem, but he fails to unite them into one story and finally leaves them as fragments. In TL, he uses a multiple-nested structure instead of forcing the connection of fragments with one story. And the poem Shiraishi 3 successfully maintains consistency by including the same phrase "Why?" which plays a role of the cue of the scene change. The absence of the heroic protagonist is another distinctive feature of TL, and it is the fruit of Shelley's self-revisionism. Neither the apparent protagonist nor the hero is described in TL. Jesus Christ, once the target of Shelley's attacks, is regarded as the ideal character, teaching doctrines with which Shelley has great sympathy. Shelley sees Jesus in the same light as that Greek mythology is the catalog of many a various characters. In TL, only Jesus and Socrates are not captives of life's triumphal procession. Shelley expresses the ideal hybrid of Christianity and Hellenism by apophasis. I obtained the view of Shelley's unspecified expression from two essays on negative theology by Jacques Derrida. Derrida proposes a revolutionary philosophy of negative theology in "Of an Apocalyptic Tone Newly Adopted in Philosophy" in 1982. Moreover, in "How to Avoid Speaking: Denial," he develops a narrow definition of negative theology as the way to recognize God, to the broad definition as the way to recognize what is unsayable with language . Derrida also paves the way for the application of negative theology in philosophy and literature. The present essay takes a suggestion from the viewpoint of "a literature to describe what cannot be described" as well as Deconstruction & Criticism (1979) by the Yale critics. The negative theological aspect of Shelley, inspired by Derrida, has been little applied to Shelley studies, which are inclined to see the poet as an idealist pursuing the sublime. Shiraishi 4 Negative idealism is the basis which I regard as Shelley’s creation. Skeptical idealism, the view to find both an idealist and a skeptic in Shelley, has been argued by some critics like Wasserman, Hogle, and Curran. But I see negativity in Shelley’s idealism —negativity in thought and negativity in expression. Shelley’ idealism is based on Platonism which he has devoted himself to since he was a student. Negativity in thought is his tendency of pursuing to the ultimate. Platonic idea is beyond the material world, so it cannot be acknowledged or expressed in human language. Shelley pursues his ideal given by the poetic inspiration, but the work he composed is limited by the language so that it cannot reflect the inspiration exactly. So he negates his own works even in the middle of writing. Instead the negation urges him to the next creation pursuing a better expression . Negativity in expression is the way to express what is indescribable by negation. Negative theology is the way to acknowledge God who is beyond the human language and thoughts. The germ of the idea can be found in Patristics and Hellenism, especially Neo-Platonism, and accepted through the Middle and modern ages to the present. 1 It express transcendental God by negatives. Shelley uses this method to express his transcendental ideal. Moreover, he uses “negative” more widely as absence (negative to existence), ambiguity (negative to specify) and apophasis. Using such negative methods, Shelley tries to express the indescribable ideal. Negative idealism, which makes the poet unreceptive to his own works and motivates him to pursue the next 1 Concerning the history of negative theology, see Rocca 3 -26. Shiraishi 5 creation, connects his conflicting vectors of pursuing the ideal and examining the inner self. Negative idealism of Shelley is the eternal effort to express what is indescribable. This paper is divided into two parts. In Part I titled “Before ’The Triumph of Life’” I argue how Shelley’s negative idealism contributes to his works preceding TL in five themes. Chapter 1 examines his doctrine of Necessity which grows out of materialism afterwards. The most obvious idea displayed in the first published poem Queen Mab is materialism. For Shelley the source of world order is not God but Necessity, which is deeply influenced by the eighteenth-century thinkers.
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