1819년 영국의 시와 정치: 워즈워스, 셸리, 그리고 피터 벨
Poetry and Politics in 1819: Wordsworth, Shelley, and Peter Bell
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This paper explores the way in which Percy Bysshe Shelley contributes to the reform movement through his satiric attack upon the poetic authority for which William Wordsworth supposedly claims in Peter Bell. Among parodies of Wordsworth’s poem are John Hamilton Reynolds’ Peter Bell: A Lyrical Ballad published a week before Wordsworth’s work was printed in April 1819 and Shelley’s Peter Bell the Third composed in October 1819. In particular, Shelley critiques not only Wordsworth’s conservatism but his poetic failure by identifying Peter Bell with his creator. It was in the wake of the Peterloo Massacre that Shelley condemns Wordsworth and his works for condoning state violence although Peter Bell was originally composed in 1798 along with Lyrical Ballads. This paper argues that through his satiric rewriting of Peter Bell Shelley deconstructs Wordsworth’s poetic authority and consequently disguises the seemingly legitimate succession to the Lake poet. Shelley’s attempt to demonize and confine Wordsworth to a traitor ironically exposes the very paradox of cancelling out the distinction between subject and object of satirizing, ending up with the generic limits of satire. Nonetheless, Shelley’s purpose to mock Wordsworth by declaring the untimely death of the elder poet underscores the responsibility that poets take especially when faced with social crises. Hence, Shelley’s overarching project is contingent upon the idea of reform as opposed to the docile attitude that conforms to the dominant ideology, whether it is literary, religious or political.
Abstract
This paper explores the way in which Percy Bysshe Shelley contributes to the reform movement through his satiric attack upon the poetic authority for which William Wordsworth supposedly claims in Peter Bell. Among parodies of Wordsworth’s poem are John Hamilton Reynolds’ Peter Bell: A Lyrical Ballad published a week before Wordsworth’s work was printed in April 1819 and Shelley’s Peter Bell the Third composed in October 1819. In particular, Shelley critiques not only Wordsworth’s conservatism but his poetic failure by identifying Peter Bell with his creator. It was in the wake of the Peterloo Massacre that Shelley condemns Wordsworth and his works for condoning state violence although Peter Bell was originally composed in 1798 along with Lyrical Ballads. This paper argues that through his satiric rewriting of Peter Bell Shelley deconstructs Wordsworth’s poetic authority and consequently disguises the seemingly legitimate succession to the Lake poet. Shelley’s attempt to demonize and confine Wordsworth to a traitor ironically exposes the very paradox of cancelling out the distinction between subject and object of satirizing, ending up with the generic limits of satire. Nonetheless, Shelley’s purpose to mock Wordsworth by declaring the untimely death of the elder poet underscores the responsibility that poets take especially when faced with social crises. Hence, Shelley’s overarching project is contingent upon the idea of reform as opposed to the docile attitude that conforms to the dominant ideology, whether it is literary, religious or political.
참고문헌 (39)
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