Hegel and the English Romantic Tradition
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Re-examining English Romanticism through Hegel's philosophy, this book outlines and expands upon Hegel's theory of recognition. Deakin critiques four canonical writers of the English Romantic tradition, Coleridge, Wordsworth, P.B. Shelley and Mary Shelley, arguing that they, as Hegel, are engaged in a struggle towards philosophical recognition.
satisfying himself in an external form, but as only finding himself in himself, and thus giving himself his adequate in the spiritual world alone. Romantic art gives up the task of showing him in such an external form and by means of beauty: it presents him only as condescending to appearance, and the divine as the heart of hearts in an externality from which it always disengages itself. Thus the external can here appear as contingent towards its significance.23 The concept of love had been
journey into a region deeper than heaven and hell – the “mind of Man”. In dark tones, he claims of his epic journey: Jehovah, with his thunder, and the quire Of shouting angels and the empyreal throne I pass them unalarmed. The darkest Pit Of the profoundest Hell, chaos, night, Nor aught of [blinder] vacancy scooped out By help of dreams can breed such fear and awe As fall upon us often when we look ... (982–988) Wordsworth is self-consciously taking on the mantle formerly carried by Milton in
chapters. Chapter 1 explores in detail the relationship between Hegel, his theory of recognition and Romanticism as a theory, especially German Romanticism. I examine Hegel’s theory of recognition in terms of a vacillation between receptivity and imaginative autonomy before illustrating how Hegel’s philosophy remains within the symbiotic alterity of receptivity and autonomy. I go on to argue that this same symbiotic alterity is at work in, and is the driving creative force of, romantic
gives the narrating Rousseau no recourse to definite knowledge of his place in the universe, and by offering him Nepenthe to his question “‘Into this valley of perpetual dream,/Shew whence I came, and where I am, and why – /Pass not away upon the passing stream’” (397–399) Rousseau places him further into a realm of forgetfulness, where there is no ultimate answer to questions, only a constant deferral of absolute meaning. Consequently, any transcendental sphere (such as The One) remains
Contingent Limits of Romantic Myth-Making 161 my bosom; my gloom disappeared, and in a short time I became as cheerful as before I was attacked by the fatal passion.28 The restorative effects of organic nature temporarily revive Victor. However, Frankenstein is a tragedy, and Victor’s hamartia and act of hubris, or his unrecognitive transgression, have already set the wheel of fortune in motion. Victor, in the same fashion as the Mariner, having returned from a region beyond the romantic lines