イギリス・ロマン派研究

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1 P. B. A Metaphor of Hieroglyphics in P. B. Shelley s A Defence of Poetry: A Literary Heritage from Erasmus Darwin Ikeda Keiko Synopsis In his essay, A Defence of Poetry, P. B. Shelley compares poetry to hieroglyphics. The metaphor of hieroglyphics is used only once in this essay, but deciphering hieroglyphics is significantly linked to creative actions in both Percy s Alastor and Mary Shelley s The Last Man. Particularly, in Defence, the metaphor of hieroglyphics directly touches the core of Percy Shelley s theory on poetry. His theory focuses on the complicated relationship between poetic language and human thought. For Shelley, poetic language connotes visual ideas which create a necessary relationship between language and human thought. Thus, he seems to associate the quality of hieroglyphics with the visual one which builds the necessary relationship with human thought. On the other hand, he admits that language is arbitrarily associated with its referent. This is a dilemma in his poetic theory which makes it difficult to understand the metaphor of hieroglyphics. Though Tilottama Rajan successfully interprets the metaphor embodying both the possibility and the limit of visualized language, her discussion focuses on William Warburton s influence on Shelley and then excludes other possible sources for Shelley s view toward hieroglyphics. Critics have discussed whether Shelley is conscious of Warburton s groundbreaking view of hieroglyphics which suggests hieroglyphics phonetic quality in the eighteenth century. Yet, this essay proposes that another source might be Erasmus Darwin since [ 13 ]

2 14 Darwin compares hieroglyphics to poetry in The Temple of Nature. Unlike Shelley, however, Darwin emphasizes the visual quality of hieroglyphics as animation of poetry. It is true Shelley adapts Darwin s hieroglyphics to his theory on poetry, but we cannot deny that he is also conscious of other arguments on hieroglyphics. His contemporary arguments were divergent. Influenced by this historical background to the hieroglyphics arguments, Shelley s view of hieroglyphics is recreated on the basis of his theory on language and view on the relationship between picture and poetry. I Jean-Francois Champollion William Warburton Raybould Dieckmann 31, 62, 68 Iversen 141 P. B. P.B. Shelley A Defense of Poetry William Keach Tilottama Rajan

3 P. B Erasmus Darwin II Mary Shelley The Last Man Alastor; Or, the Spirit of Solitude : 8 3 4: Ikeda 75 76

4 , , , Constantin Francois Volney Queen Mab; A Philosophical Poem The Revolt of Islam 1811 The Ruins: Or a Survey of the Revolutions of Empires 189n

5 P. B : n III arbitrarily produced relation DP DP 513 DP 513 conception expression DP 513

6 18 those who have employed language as the hieroglyphic of their thoughts DP 513 DP 531 DP 513 DP 531 Dieckmann 31 32; Iversen 64 DP 513 Ferdinand de Saussure 20 Keach 15 17; Rajan DP 531 DP

7 P. B. 19 a pictorial immediacy and unity Keach 19 Keach 19 Rajan 291 Rajan 291 IV

8 20 Nancy Moore Goslee iconotexts or imagetexts 16 The Temple of Nature Goslee Thomas Jefferson Hogg LPBS LPBS William Godwin LPBS 341n3 Grabo 147; King-Hele 219 Goslee 18 1 Canto I The hieroglyphic figure The hieroglyphic figure of Venus these

9 P. B. 21 hieroglyphic designs animation 10 hieroglyphic(s) TN 34n;1.372 TN 34n;1.372 Thomas Love Peacock The Four Ages of Poetry pictures of integral thoughts DP 512 create afresh DP 512 DP 512 John Locke Schulze 110 DP 512

10 22 18 Packham The Botanic Garden The Loves of the Plants Interlude Alexander Pope Windsor Forest LP 48 Edward Gibbon The History of the Decline and Fall of the Roman Empire full over-shadowed animates the prose LP give form and animation to abstracted ideas TN 34n; V more plastic DP 513

11 P. B. 23 plastic creative OED, a, 2.a OED, a, 1, 4.a plastic pictorial plastic or pictorial imitation DP 511 more plastic DP 513 sister art Plato Phaedrus Horace Ars Poetica 18 Plato 565; Horace DP 512

12 Notes 1 e.g. Dieckmann 1 2; Iversen 38; Pope P. B. P. B. 3 Jane Blumberg and Nora Crook, eds, The Novels and Selected Works of Mary Shelley, 8 vols. London: Pickering, Beer 64, 311n62; Ferber 25; Fricke ; Sperry Donald H. Reiman, Neil Fraistat and Nora Crook, eds, The Complete Poetry of Percy Bysshe Shelley, vol. 3 Baltimore: Johns Hopkins UP, Curran 228n81; Colbert 25; Cameron ; Hogle Donald H. Reiman and Neil Fraistat, eds, Shelley s Poetry and Prose NY: Norton, 2002 DP 8 Frederick L. Jones, ed, The Letters of Percy Bysshe Shelley, vol. 1 Oxford: Oxford UP, 1964 LPBS The Temple of Nature; Or the Origin of Society: A Poem with Philosophical Notes London: Johnson, 1803 TN TN 34n; TN 34n; TN TN 8n;1.76, 9n;1.83, 13n;1.137, 15n;1.176, 47n;2.47, 162n;4.411 Additional Notes TN, Additional Note VI, 21;1.371 Additional Note X, 42; VI 21 TN, Additional Note VI, 21; The Loves of the Plants, The Botanic Garden: A Poem in Two Parts London: Johnson, 1791 LP 13 Mitchell See also Goslee 1 2; Park 159.

13 P. B. 25 Works Cited Beer, J. B. Coleridge: The Visionary. London: Chatto, Cameron, Kenneth Neill. A Major Source of The Revolt of Islam. PMLA 56 (1941): Colbert, Benjamin. Shelley s Eye: Travel Writing and Aesthetic Vision. Aldershot: Ashgate, Curran, Stuart. Shelley s Annus Mirabilis: The Maturing of an Epic Vision. San Marino: Huntington, Dieckmann, Liselotte. Hieroglyphics: The History of a Literary Symbol. St. Louis: Washington UP, Darwin, Erasmus. The Loves of the Plants. The Botanic Garden: A Poem in Two Parts. London: Johnson, The Temple of Nature; Or the Origin of Society: A Poem with Philosophical Notes. London: Johnson, Ferber, Michael. The Poetry of Shelley. London: Penguin, Fricke, Stefanie. Pleasant Riddles of Futurity : Egyptian Hieroglyphs in the Romantic Age. Romantic Explorations: Selected Papers from the Koblenz Conference of the German Society for English Romanticism, ed. Michael Meyer. Trier: WVT, Goslee, Nancy Moore. Shelley s Visual Imagination. Cambridge: Cambridge UP, Grabo, Carl. The Meaning of The Witch of Atlas. Chapel Hill: U of North Carolina P, Hogle, Jerrold E. Language and Form. The Cambridge Companion to Shelley. Ed. Timothy Morton. Cambridge: Cambridge UP, Horace. Horace: Satires, Epstles and Ars Poetica. Trans. H. Rushton Fairclough. London: Heinemann, Ikeda, Keiko. Mary Shelley as a Creator: The Meta-Fictional Element in The Last Man. Essays in English Romanticism 35 (2011): Iversen, Erik. The Myth of Egypt and Its Hieroglyphs: In European Tradition. Princeton: Princeton UP, Keach, William. Shelley s Style. NY: Methuen, King-Hele, Desmond. Erasmus Darwin and the Romantic Poets. London: MacMillan, Mitchell, W. J. T. Picture Theory: Essays on Verbal and Visual Representation. Chicago: U of Chicago P, Packham, Catherine. The Science and Poetry of Animation: Personification, Analogy, and Erasmus Darwin s Loves of the Plants. Romanticism 10.2 (2004): Park, Roy. Ut Pictura Poesis : The Nineteenth-Century Aftermath. The Journal of Aesthetics and Art Criticism 28.2 (1969):

14 26 Plato. Plato with an English Translation: Euthyphro, Apology, Crito, Phaedo, Phaedrus. Trans. Harold North Fowler. London: Heinemann, Pope, Maurice. The Story of Decipherment: From Egyptian Hieroglyphic to Linear B. London: Thames, Rajan, Tilottama. The Supplement of Reading: Figures of Understanding in Romantic Theory and Practice. Ithaca: Cornell UP, Raybould, Robin. An Introduction to the Symbolic Literature of the Renaissance. Oxford: Trafford, Schulze, Earl J. Shelley s Theory of Poetry: A Reappraisal. Hague: Mouton, Shelley, Mary. The Novels and Selected Works of Mary Shelley. Eds. Jane Blumberg and Nora Crook. 8 vols. London: Pickering, Shelley, Percy Bysshe. The Complete Poetry of Percy Bysshe Shelley. Eds. Donald H. Reiman, Neil Fraistat and Nora Crook. Vol. 3. Baltimore: Johns Hopkins UP, Shelley s Poetry and Prose. Eds. Donald H. Reiman and Neil Fraistat. NY: Norton, The Letters of Percy Bysshe Shelley. Ed. Frederick L. Jones. Vol. 1. Oxford: Oxford UP, Sperry, Stuart M. Shelley s Major Verse: The Narrative and Dramatic Poetry. Cambridge: Harvard UP, Volney, Constantin Francois. The Ruins: Or a Survey of the Revolutions of Empires. Trans. James Marshall. 1811; Cheapside: Tegg; Otley: Woodstock, Warburton, William. The Divine Legation of Moses Demonstrated. Vol. 2. NY: Garland, 1978.

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