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The Sublime and The Grotesque in Romantics Drama PDF
The Sublime and The Grotesque in Romantics Drama PDF
Language Forum, Vol. 27, No. 1-2, Jan.-Dec. 2001, New Delhi, India
Abstract
The verse dramas of the early romantic period have recently been reconsidered for their
significance in reorienting our approaches to drama and performance. This article highlights
the closet dramas of the early British romantics as a subversive and ideological genre which
has inspired radical experimentalists in the field of dramatic theory and practice. In spite of
the old argument that these plays have no performance potentialities of their own, new
readings of them suggest that the early romantics were in search of new forms to challenge
the established norms of mimesis in drama. It is maintained that their exploitation of the
sublime and the grotesque as devices for such a challenge was rooted in their faith in science,
on the one hand, and in their strategy of subverting the prevailing norms of perception, on the
other. It has also been argued that these devices were the necessary consequences of dramas
which meant to portray disoriented people who were the first victims of a society that was
heading towards economic liberalism, a society that glorified energy and, at the same time,
was shocked by the terrors it inflicted on the bodies involved.
Contemporary theatrics has only recently acknowledged its debt to the early romantics
contributions in this field. Research in the last three decades has suggested that their
chaos and incomprehensibility rather than in a divinely ordained teleology4 It has also
been laid down that they retreated from representation to higher performative levels
such as parody, romance, farce and grotesque. This paper tries to establish the scene to
view the early romantics verse (closet) dramas -- a drama that happens primarily in
romantics were bent on undermining the hegemonic discourse(s) of power which was
beginning to solidify itself in more concrete institutions. They felt the need for subversive
dramatists such as Artaud, Grotowsky or Beckett, among others, never overlooked their
legacy.
It might sound strange that while this papers concern is body/politics, closet
dramas which were primarily written to be read should be foregrounded. The truth of
the matter is that the romantics were highly conscious of dramatic form as a socio-
political medium. We should also bear in mind that the term closet does not mean their
dramas were unperformable; it may also suggest a kind of rear-guard attack in a society
which was beginning to be afflicted with commercial theatres. In other words, closet
drama might as well suggest a kind of drama written for another age which was ready to
2
The romantic verse drama occurs within language. Language is thus a scene
which must ingest gestures and language resonances to put the body in a relational
situation between internal and external spaces. This type of drama, to borrow Sartres
remark, makes the whole world a part of language...the horizons, the obscure forces
which work within us and outside us.5 At the same time, we know that romantic irony
considers language a structured, rational system that by its very nature cannot capture or
articulate the unstructured and chaotic.6 Thus, language can only be considered as an
index registering interactions between the triangle of space(s), energy, and the body.
instrument through which the internal voice/ energy bends the dimensions of space and
A close study of Shelley's The Cenci (1819) or Byron's The Two Foscari (1821)
and The Deformed Transformed (1822) or Wordsworth's only play, The Borderers (1796-
7), suggests that in all of these plays body is the locus on which energy hinges as we
watch power either (re)inscribe body or itself challenged by the body. The dramas of the
romantics is an arena in which the rules of mimesis are allegorically questioned by having
the individual and the institutions de-scribe and (re)inscribe power on the body,
respectively.
Speculating on the body and expressing sympathy with the outcast and the victim
of brutal judgment were rooted in the French Revolution and its campaign for slave
nature of power to theatricalise and/or legitimize itself. This also was the lesson
disseminated to society by those who created the reign of terror in France. Therefore, as
3
institutions of power tried to parcel the body of the dispossessed and their spaces out into
non-existence, the dramas of romantic poets revived social and symbolic topographies
[their] visions.8 Coleridges Alvar in Remorse and Shelleys Beatrice in The Cenci
are two instances of such characters who try to relocate their bodies. Optimistic as
reflections take tragic turns in their plays,9 he has Alvar re-claim his body, while in
Shelley's The Cenci and in Byron's The Two Foscari, the bodies of the protagonists get
eliminated.
This process of the body cast out and/or reclaimed is a common experience
among the early romantic playwrights. Francis Barker identifies this as a power-
mechanism which used to exclude the dispossessed and/or make use of them. It matures
in L`age classique and is consummated in the nineteenth century with the global triumph
10
of the bourgeois class. The romantics verse dramas are strong socio-political
comments on the plights of a society disturbed and disoriented by some such socio-
economic catastrophes consequent on the rise of economic liberalism.11 And it was the
theatrical representation of such ordeals that forced the romantics to look for new devices
contravene the tenets of the established theatre of the time by propounding sublime and
grotesque elements in the realm of perception. This call for change also came from
4
In the sphere of science which manifested itself in the workings of energy and
body, Frankenstein, among others, puts forth the polemics of an age concerned with
change and transformation by focusing on body. This novel has several undercurrents12
power. The morning after a thunder strikes an oak, he visits the tree and beholds that it
was not splintered by the shock, but entirely reduced to thin ribands of wood. He then so
knowledge of his peculiar nature -- which runs parallel to the workings of nature -- victor
explains how a man of great research who is, like Victor, excited by this catastrophe
tries to acquaint him with the more obvious laws of electricity, and enters on the
explanation of a theory which he had formed on the subject of electricity and galvanism,
natural, and evidently ultimate, consequence of a new mode of perception that conceived
the universe as a flux of energy and as the overriding agent in any operations in nature, a
tendency which can be described as a strong longing for a new form of humanity.14
Before Mary Shelley, it was Wordsworth who acknowledged his faith in a new Being
who could serve as a dear and genuine inmate of the household of man15 if man could
5
This thirst for relating energy to the workings of the mind and the body had great
enticement for Coleridge. In a letter to Henry Crabb Robinson (7 Dec., 1812), he requests
him to procure for him the perusal of Goethes work on Light & Color.16 What
interests him in this work is Goethes idea that light is the source of energy and motion.
Later, in his Notebooks (Aug. 1818), he identifies five powers to have plus/minus
features:
Thus Coleridges acquaintance with light as energy with the intensifying heat at one end
of the spectrum and the intensifying darkness at the other end18 had great consequences
in his theory of perception. His use of light and darkness can best be illustrated in his play
Remorse where he stages extreme darkness with extreme light, a cinematic technique
This new mythology gained force as the matter-based physics of the eighteenth
century began to give way to the energy-based physics of the nineteenth century.19 If
science expanded its realm to cover the mind, then the polarities of electricity,
magnetism, galvanism had to inform the construction of mind and matter.20 Goethe
argued that all of us have some electrical and magnetic forces within us; and we put
6
forth, like the magnet itself, an attractive or repulsive power, as we come in contact with
something similar or dissimilar.21 His praise for Napoleon best illustrates this new faith:
Byron, Shelley, and Keats had their own preoccupations with energy and
matter/body. Harmony, framework, and structure are but known codes in the discourse of
order. On the other hand, energy-based perception affects the classical notion of framed
boundaries cease to be the immovable partitions between discrete substances, the walls
by which man determines his order and security among the categories of existence.23
to affirm chaos but to accentuate change that has a different set of codes. Byron, as
Garber observes, does not choose to stand against chaos but to stand with it, to give it a
king decides not to rule exploits the codes of a universe informed by the tenets of a chaos
rather than order. Landscape or space, for instance, in his works -- especially in Childe
Harold and Don Juan -- points to the polarities of energy: one extreme showing
agonized, corrupted, and spoiled nature -- nature elevated to the level of human history as
chaos, the other showing a Dionysian, innocent, and fertile nature -- nature considered
as sublime.
Shelleys interest in energy can be traced in his concern with music. Not only is
the transforming world a music that dissolves strain, but also, as he elaborates on the
role of language in A Defence, energy manifests itself best in language and the energy
latent in it. The huge machination of violence and atrocity, for instance, evoked in his
7
play, The Cenci(1819), is done through a vibrating language the resonances of which
create bold outlines of the bodies which are either subjected to violence or subject others
to it
Keats, on the other hand, has always been known for his non-kinetic imagery
Georgiana Keats, he celebrates the latent energy in life as an Electric fire in human
nature tending to purify - so that among these human creatures there is continually some
birth of new heroism.25 His craze for the concrete world is proverbial and this
mesmerized attitude towards objects poses him in sharp contrast with Byron and Shelley
mainly because Keats solidifies the transient moments into static pictures, or rather
immortalizes objects, whereas Shelley, for instance, lets his eyes run with the flow of the
world. Yet Keats' method is another mode of creating tension by concentrating so much
energy in objects that their familiarity disappears. Thus poetic objects threaten our secure
hand. The germinal cause of the gothic (not in its modern popular sense which, in Coxs
words, supports institutionalized power),26 of the romantic sublime, and of the grotesque,
through systems associated with power, determinism, fanaticism. Such a mind prefers
not passive on-looking, is a means in their long-term strategy of overcoming mimesis and
8
the psychology pertinent to it. It is evident in Keats and Charles Browns play Otho the
When I close
These lids, I see far fiercer brilliances,-
Skies full of splendid moons, and shooting stars,
And panting fountains quivering with deep glows.
( V, v, 43-47 )
Here conventional seeing is contravened; the eye -- a different eye -- becomes the
executive agent of the oscillating mind. It is this new organ that establishes a dome in
Xanadu or, when bestowed to an Ancient Mariner, disorients the fact-oriented young
It is this fascination with the eye which is directly related to the early romantics
preoccupation with the grotesque and the sublime which, in turn, affected romantic
theatrics. Their achievement in this field gave rise to bi-focal perception which, as a
theatrical means, has had a great impact on drama in general and on performance in
particular.
between the external world and our senses. Goethe asserts that colours produced in our
perception may be seeing colours produced by the eye itself. ...28 To enlighten
Eckermann, he says that our eye works according to the law of required change
Theory of Colors, Eckermann comes across yet another of Goethes laws which is
9
On a clear winters day, and in the sunlight, the
shadows cast upon the snow frequently appear blue.
This is classed by Goethe,..., under the subjective
phenomena: for he assumes as a principle that the
sunlight comes down to us not perfectly white;
but, penetrating through an atmosphere more or less
misty, yellowish: so that the snow, when the sun
shines upon it, is not perfectly white, but tinged
with yellow, which charms the eye to opposition
production of blue. The blue shadow is, according
to this view, a demanded colour. ...30
This was in accord with Coleridges theory of perception. Goethes effort to explain
sensory perception as the link between subjective quality and objective quantity31 paved
the way, in Burwicks words, to a literary fascination with the dream-vision and the
trance.32 This looked more like the conspiracy of the senses to establish their own
visionary republic in which the material world is re-fused according to a high degree of
autonomy.
letter to Pryce (April, 1818), he praises Kants merit as a man who proved that Space
and Time were 1, neither general terms, 2. nor abstractions from Things, 3. nor Things
themselves; but, 4. the pure a priori forms of the intuitive faculty... . They are the acts of
the perceptive powers of which all particular acts of perception are modifications & c.33
If time and space are subjective entities within the subject, then perception which
the momentum or synchronic potentialities of the subject. Perhaps when Byron in his
poem, The Dream(1816), says, ...- The mind can make / Substance, and people planets
of its own / With beings brighter than have been, and give/A breath to forms which can
outlive all flesh.(I, 19-22), he, too, celebrates this autonomy of the mind that creates its
10
own tyranny of pleasure and pain, (I, 14) because the mind expands its territory in
As perception expands its scope, our being divides, and thus, as the compound
eye divides transversely, the focal point is -- if not lost -- blurred, displaced, or softened.
This is irresistible to Goethe who was bent towards classicism. Goethe shows Eckermann
a lithograph done by Delacroix, a scene from Faust showing Mephistopheles and Faust
on their way to free Margareta from prison. Eckermanns account of the picture is
Eckermann is puzzled over Delacroixs art because he has made no figure like another,
but in each expressed some different part of the action.35 Goethe, it seems, is having
can be found in another of Goethes essays. In discussing Leonardos The Last Supper
11
he maintains that the artist, by dividing Christs devotees in groups of three, has given
more energy to the sides, leaving the centre almost empty. He then concludes if centre is
emptied or not accented, attention is concentered on the sides36 which can stimulate our
imagination.
No wonder, then, that Keats citizens on the Grecian Urn are emptying the town,
Byrons Don Juan and Childe Harold set out for a new life, leaving behind their centres
of family and tribe, Sardanapalus sheds the corrupt monarchy of his predecessors by
setting his castle ablaze to lesson the ages, Shelleys Prometheus sides with an unbound
finally, a group of men oscillate between the borders of Scotland and England in
Wordsworths The Borderers. It is this legacy which has strengthened the epic element
in modern drama. The early romantics were among the forerunners of those dramatists
and inclining towards polyphony, are more intimate with contemporary dramatists.
This tipping over, this centrifugal or eddying movement has its unique
consequences. In the realm of the self one tends to be a negotiator with, if not an
annihilator of, its rigidity, a thing so crucial in the theatre of contradictions. Socially or
politically, one is apt to believe in a positive antagonism. And aesthetically, when one
shies away from the centre, one tends to deviate from the norms of beauty which are
usually centralized. Trespassing the boundaries of the received forms and norms, we
are at the threshold of the terrible, the awful, the boundless, and the ugly - all but names
for what has come to be called the sublime; which, in turn, widens the chasm between the
12
The role that Schiller assigns to the sublime in mans life is one of overcoming
violence realistically or to impose our will upon it, we use science, but the way Schiller
suggests to deal with nature idealistically might sound odd: To destroy the very concept
accompany us through life. The first conduces us to beauty and, its realm is the world of
sense only and beyond this its earthly wings cannot bear us.38 But when the second
approaches, it is tacit and solemn, and upon its powerful pinion we are borne across the
vertiginous depths.39 The sublime is further associated with rupture because it Not
gradually..., but suddenly and with a shock40 ushers us into an acquaintance aided by
the terrifying and magnificent spectacle of change which destroys everything and
creates it anew, and destroys again -.... To mankind the sublime is valuable with
reference to the pure daemon in him.41 Locke destroys will, and Schiller revives it in the
If the sublime is a yearning for what is not, Schillers sense of the sublime must
be one step ahead of Lockes psychology, on the one hand, and Freuds precursor in the
realm of the unconscious, on the other. As Weiskel says, Locke actually substituted
anxiety for the will. He concludes that since Locke says will arises from the perception
of absence,42 the consequence of such a perception is anxiety the antidote of which is the
Thus the romantic poets, with their emphasis on the expressive self, foreground
13
The romantic sublime, however, should not be confused with irrationality, for,
more than anything else, it was rather anti-rationalist or a critique of reason as defined by
Romanticists had to develop their own discourse. They, for instance, were critical of the
boundary strategy of the eighteenth century mentality. Gilbertson sees this metaphoric
Enlightenment. In feudalism, Gilbertson informs us, boundary designated the social and
that established cultural boundaries to define the conventions of thought and action, and
therefore of personal identity,43 seemed to romanticists not that much remote from the
fetters used in the Feudal age. Thus, the sublime must be redefined as transgressing the
transgression.
Schiller sees the same power struggle in world history, where prosperity and
order without freedom reduce man to an obedient cog in a machine. Only when
freedom contradicts this procession of the physical order, Schiller believes, world
history appears to me a sublime object.44 It, therefore, must be noted here that the appeal
order and decorum to establish a conservative order. To the classicist Goethe ancient
literature borders on the serious and dignified, while romanticism is an unnatural and
original thing but artificial, recherch, heightened, exaggerated, bizarre, to the point of
14
45
travesty and caricature. On the other side, there is Lessing, who recognizes the
everything merges from one into another. But he, like Goethe, maintains that for us --
fine spirits that we are -- to witness this state of enjoyment in nature, we should be
able to set up arbitrary limits... to eliminate and to guide46 our enjoyment at will.
In dealing with the sublime, the romantics needed an autonomy which they
ultimately found in Kants aesthetics. After analyzing different kinds of the sublime and
the effect of each on the subject, Kant observes that the sublime in nature is improperly
so called, and the sublimity should in strictness, be attributed merely to the attitude of
thought... .47 Thus Kant provides the license for Coleridge to make his pleasure dome in
Xanadu or for Wordsworth to go dreaming disguised as Peter Bell. If reason cloaked the
balanced this strategy by declaring theirs the subversive discourse of the oppressed,
which gives priority to a-symmetries deemed inappropriate for the stage by the canons.
This is why their mirrors are almost never plane but convex or concave ones and, thus,
the image rarely the classical life-size portraits, but broken, dull, vague, and agonized
fantasies of the self, and very rarely the determined self itself. The irony in romantic
process of making is that it is at the same time an unmaking process and these,
making and unmaking... are the essential gestures in that wary cooperation with chaos
But if the sublime crosses the borders of decorum, of what can its essence be
comprised? Of the great, the unlimited, the colossal, the astronomical only? Does it
comprise only positive aspects or should we speak of a negative sublime? In other words,
15
does romanticism neglect impure elements in the sublime? In spite of the fact that Kant
sees the sublime as the attitude of thought, he shows his reserve of mind by setting a
limit to the limitless products of the mind. He allows the artist to show Furies, disease,
devastations of war,... as evils in a very beautiful manner. But with regard to one kind of
ugliness he cautions us and it is that which excites disgust. Because, to him, this feeling
destroys all aesthetic delight, and consequently artistic beauty... .49 Both Shelley and
Schiller, however, transgressed such limits, the former in The Cenci and the latter in The
Robbers.
Likewise, F. Schlegel owns that impurity is a part of mans soul. Just as pure
oxygen is not good for breathing and is mixed with nitrogen, shunning from the impure
is the essence of foolishness. And when discussing the novel and psychology, he
considers it illogical...to shrink from even the most painstaking and thorough analysis of
unnatural pleasure, horrible tortures, revolting infamy, and disgusting physical or mental
impotence. 50
The road to this mode, ironic though it may sound, had previously been paved by
Lessing. In Laocoon ( 1766) he shows his surprise when he comes across terror, extreme
pain and the disgusting in art. Gerald Gillespie observes that in this set of statues Lessing
recognized two mixed sensations, the ridiculous and the horrible, springing from
for the corporeal state of character, but respect for his spirit, could combine to produce a
different new sensation, not the desire to laugh, but rather a feeling of sympathy and
fascination.51
16
Elsewhere, Schiller is quite alert to the value of intensity. To Schiller theft in a
tragedy could, morally speaking, be considered as something vile but, aesthetically, the
artist will discard it. But a vile action can be reinstated in our aesthetic estimation, if
the artist can raise it to the level of a crime, say a murder. He confronts us with a
contradiction here: our moral judgment does not like the terrible, while our aesthetic
contradiction by saying that terror finally serves on the side of moral judgment in that our
mind switches from the quality of crime to thinking about its consequences.
The sublime is also a component of romantic irony. To Schiller, it can also consist
of confusion. He does not limit the sublime to what is unattainable for imagination, the
which can elevate the mind provided it advances to greatness and announces itself as a
work of nature... .53 Burke also considers obscurity as a sublime element. Clarity for him
is an enemy to all enthusiasms whatsoever and dark, confused, uncertain images have
From the above discussion it is clear that in the aesthetics of the late eighteenth
and early nineteenth centuries the sublime began to include the caricature and the
grotesque. Beside ontological and psychological reasons for this development, one should
not neglect its socio-political dimensions. Erich Auerbach suggests that this mixing of the
genres, this elevation of the low to the sublime is a result of the collapse of the classical
creed that each subject had its own scale or level of representation: All that contributed
to the stability and greatness of the state... was portrayed in the high style, while the rest
was considered as reality or domestic aspect.55 The contempt of the higher class for
17
this reality, according to Harpham, is because reality had a darker side, connected with
the vulgar and possibly orgiastic growth processes in the depths... . Because of this,
decorum is shaken and, in Harphams words, as the mighty shiver on their thrones...
To believe that the romantic imagination breaks the boundaries and camps forever
outside the limits of the self and society is a mere misconception. To them, the self
renews itself permanently, but this renewed thing comprises of those broken pieces put
together again: the difference is the fractures and the missing pieces now supplied with
other materials. Besides, the structure of the romantic works can also suggest a return in
which the glittering eye -- exposed to the terrors of vastness -- relocates the self and
society; a relocation which is also a displacing of the received forms of the past.
Byrons play Cain: A Mystery (1821) exemplifies this. It has three-acts, of which the
middle one occurs in The Abyss of Space and the first and the last occur on The land
without paradise. In the last act, after his abysmal journey in the second act, Cain sees
things not as they were but as new things that have a displaced or corrupted aspect.
This is because, in his wifes words, ...that proud spirit, who withdrew thee hence,/ Hath
Related also to the sublime and the grotesque is the romantic poets preoccupation
with images and after-images. Here again we are confronted with Platos The Parable of
The Cave, but this time shadows or the phantasmagorical figures of this world do not
move us away from essence. Now, they themselves are but essences that enhance the
dance of the silhouettes. The mind is the cave or grotto out of which grotto-esque
shapes emerge. In other words, perception is now willing to probe into the nocturnal side
18
of life. This was one of the long term programs of the romantics for subverting the
empirical view of perception. If Schelling discusses the effects of Galvanic, electric, and
Schuberts concepts, Burwick concludes that the old faith in the supernatural now is
reinterpreted as the inner...world which must stand in harmony with the outer world,
German poets like Lenz, did not turn their backs to the cave but were fascinated by the
struggle of light with darkness: The camera obscura or darkened chamber has a fissure
or crack, the image of which is reflected is no longer clear, but becomes diffused and
distorted. Madlands understanding of Lenzs argument that the artist has the freedom
discussion here because the dominant metaphor for the mind among the romantics is the
1818) in which he compares mans life to a large Mansion of many apartments the first
being Thoughtless Chamber and the last the Chamber of Maiden Thought whereby
vision becomes darker and the poise between good and evil gets distorted.59
19
Darkness is an element that Burke considers to be sublime. It is because
imagination is baffled or terrified. Yet romantic imagination, which identifies the mind as
a cave, by letting some light break through from the fractures in this cave, or what Locke
called Camera Obscura, substituted the material determinism of the natural world with
split characters, demon-heroes, marginal ghosts who, in Gillespies words, all of which
creativity and the shadow side of existence.60 This shadow side of existence is
absurd, we can say that sublime has another side, the grotesque.
Coleridge has both a taste for, and a simple definition of, the grotesque. The Odd
or the grotesque, to him is when words or images are placed in unusual juxta-position
Arts.61 Wordsworths inner eye (Prelude, V, 453), also suggests his concern with
fantasies rather than copies. Keats sense of grotesque is best seen in his letter to George
and Georgiana Keats (1818-19), in which he admires cartoons for being grotesque to a
curious pitch...as there was left so much room for imagination.62 Keats proves that he is
well aware of caricature and the grotesque as highly charged images which cause an
electric shock in the reader. Madland believes that the grotesque is not an idealized
reality. In contrast to classicism which shows nature in a perfect condition which calms
the reader or spectator, the grotesque has a tendency to disturb him or her.63 The
equivalent for Madlands idea that the grotesque tends to disturb is Keats idea that it
leaves so much room for imagination, which undercuts the well-formed works and
20
questions their validity. Even Kant votes against stiff regularity because it is
inherently repugnant to taste. But further on, what he says anticipates Keats taste for
the cartoon and the grotesque: On the other hand, anything that gives the imagination
In fact when we consider the definitions of the sublime and the grotesque, we can
see that they overlap in many points. Weiskel knows the sublime to be cognate with the
experiential structure of alienation. ... Alienation also presupposes the bathetic collapse of
the signifying relations which make a social order. The sublime also does not satisfy
understanding completely because it comes down to the claim that the failure to
Whats more, there has been a tendency to set the grotesque in opposition to the
beautiful. However, both Burke and Kant provoke us to reconsider the definition of
deformity. The former does not consider deformity as the antonym of beauty because, in
his view, deformity is opposed not to beauty, but to complete common form. Burke
object in contrast with a deformed one and takes the former as a beautiful object.66
As stated earlier, the early romantics, with their organic approach towards the soul
and imagination, could not exclude or discard the abysmal world as the impure or
demonic layer of mans consciousness because they considered the ugly an aspect of
humanity. Among the romantic plays Byrons Manfred, Cain, and The Deformed
Remorse do have elements of the sublime and the grotesque, yet none stands as unique as
The Cenci, a play not so popular in its own time for its impurity.
21
In this play Shelley does not demarcate the sublime and the grotesque; on the
contrary, he pauses on each so long that one flows into the other. In fact had he
knows drama to be a prismatic and many-sided mirror( 121). If to him this is the
essence of poetry in drama, the manner of representation must very precisely take care
of it. Elsewhere in A Defence he admires Milton as a genius for treating both God and his
Devil equally. Milton, he says, mingled... the elements of human nature as colours upon
a single Pallet, and arranged them in the composition of his great picture according to the
laws of epic truth... ( 130). Shelley achieves this objective in The Cenci by creating a
bi-focal view in portraying his characters. As, for instance, we look at the conflicts
between a cruel father and a resisting daughter, Shelley makes us consider power as
inside-out energy which deforms and disorients both the oppressor and the oppressed.
Shelley knows drama to be the best vehicle to usher us into the shocking moment
when energy/power inscribes itself on the body. His fascination with terror is reminiscent
of Schillers where he says, sorrow, terror, anguish, despair itself, are often the chosen
The early British romanticists failed to communicate with their own audience.
They were looking for a heightened language which could let the body move more freely
according to emotions, negative or positive. This eventually led to some stylized actions
that would reduce actions to gestures including both realms of the sublime and the
grotesque. The fact that Stanislavsky chose Byrons Sardanapalus and Grotowsky went
for his Cain, and Artaud re-wrote The Cenci to stand as his manifesto for the Theatre of
22
Cruelty corroborates the claim that the early romantics had a lot in stock to offer to the
posterity to enable them to experiment with forms as some radical gesture in modern
theatre.
NOTES
1
Frederick Page, ed., Byron: Poetical Works (Oxford: Oxford University Press, 1970).
2
W. J. B. Owen and Jane Worthington Smyser, eds., The Prose Works of William Wordsworth
(Oxford: At The Clarendon Press, 1974), II, 192
3
Friedrich von Schiller, Naive and Sentimental Poetry and On the Sublime, trans. Julius A Elias ( New
York: Frederick Ungar Publishing Co., 1966 ), 204
4
Anne K. Mellor, English Romantic Irony (Cambridge, Mass. : Harvard University Press, 1980),
vii.
5
Jean-Paul Sartre, Myth and Reality in the Theatre, Gambit, Vol. 3, No. 9, 64.
6
Mellor, English Romantic Irony, 10.
7
Alethea Hayter, Opium and the Romantic Imagination (London: Faber and Faber, 1968), 237
8
Johannes Birringer, Theatre, Theory, Postmodernism (Bloomington: Indiana University Press,
1991), 28.
9
Julie Carlson, Command Performances: Burke, Coleridge, and Schillers Dramatic Reflections
on the Revolution in France, Wordsworth Circle, Vol. 23, No. 2, 127.
10
Francis Barker, The Tremulous Private Body: Essays on Subjection (London: Methuen, 1984),
13.
11
See, Marjean D. Purinton, Romantic Ideology Unmasked (London: Associated University Press, 1994.)
The reader is also invited to look at some plays written by radical British dramatists of the last three
decades of the twentieth century in which these dramatists identify themselves and their own age crazed
with privatization and market economy with the social life and institutions of the early romantics. Howard
Brentons (1942- ) Bloody Poetry (1984) and Edward Bonds(1934- ) The Fool (1976) are but two
outstanding examples.
12
Bette Londons reading of this novel in her essay Mary Shelley, Frankenstein, and the
Spectacle of Masculinity PMLA, Vol. 108, No., 2, 253-267 gives the major role to the male body
as spectacle. A body that is seen, nonetheless, grotesque and on the threshold of
decomposition.
13
Mary Shelley, Frankenstein (Hertfordshire: Wordsworth Classics, 1993), 32.
14
Eric Bentley, The Modern Theatre (London: Robert Hale Limited, 1950), 25.
15
The Prose Works of W. Wordsworth, I, 141.
16
E. L. Grigs, ed., Collected Letters of S.T. Coleridge, 6 Vols. (Oxford: At The Clarendon Press,
!956 ), III, 442.
17
K. Coburn, ed., Notebooks, 3 vols.,(London: Routledge and Kegan Paul, 1973), III, 1808-1819.
Ent. 4420, Aug., 1818.
18
F. Burwick, The Damnation of Newton: Goethes Color Theory And Romantic Perception (
Berlin: Walter de Gruyter, 1986), 226.
19
F.Burwick, The Haunted Eye: Perception and The Grotesque in English and German
Romanticism, ( Heidelberg: Carl Winter, 1987), 76.
20
Ibid.
21
Eckermann, Conversations of Goethe with Eckermann, trans. John Oxenford, ed. J. K.
Moorhead( London: J. M. Dent & Sons Ltd., 1930 ), 234.
22
Ibid., 245.
23
Philip Gilbertson, Boundaries and the Self in Romanticism, in English and German
Romanticism: Cross-Currents and Controversies, ed. James Pipkin (Heidelberg: Carl Winter,
1985), 150-51.
23
24
Frederick Garber, Byron, Schelegel, and the Ironists Lucid Contours, in English and German
Romanticism: Cross-Currents and Controversies. ed., James Pipkin (Heidelberg: Carl Winter,
1985), 175.
25
H. Buxton Forman, ed., The Complete Works of John Keats, 5 vols. (Glasgow: Gowars and
Gray, 1901), V, (Letters 1819-1820), 37.
26
Jeffrey N. Cox, ed., Intro., Seven Gothic Plays ( Athens: Ohio University Press, 1992 ), 18.
27
Also quoted by Alethea Hayter, Opium and the Romantic Imagination (London: Faber and
Faber, 1968), 319.
28
Eckermann, 168.
29
Ibid., 169.
30
Ibid., 298.
31
The Damnation of Newton, 9.
32
Ibid., 210.
33
Collected Letters of S.T. Coleridge, IV, 852.
34
Eckermann,135.
35
Ibid.,135.
36
Goethe, The Relief from Phigalia, in Goethe on Art, ed., John Gage (London: Scholar Press,
1980), 98.
37
Naive and Sentimental Poetry & On the Sublime, 195.
38
Ibid., 197.
39
Ibid., 198.
40
Ibid., 210.
41
Ibid.
42
The Romantic Sublime, 18.
43
Boundaries and The Self in Romanticism, 145, 146, 148.
44
Naive and Sentimental Poetry & On The Sublime, 206.
45
Eckermann, 70-71.
46
G. E. Lessing, Hamburg Dramaturgy, trans. Helen Zimmern. Intro. by Victor Lange ( New York:
Dover Publications, Inc., 1962 ), 171.
47
Immanuel Kant, The Critique of Judgment, trans. James Creed Meredith (Oxford: At the
Clarendon Press, 1973), 134.
48
Frederick Garber, Byron, Schelegel, and the Ironists Lucid Contours, 179.
49
Ibid., 173-74.
50
F. von Schlegel, The Aesthetic and Miscellaneous works, trans. E. J. Millington, (London:
Henry G. Bohn, 1849) , 419, 11, 34.
51
Gerald Gillespie, Romantic Irony and Anti-Theatre, in English and German Romanticism, ed.,
James Pipkin (Heidelberg: Carl Winter, 1985), 200-201
52
F. Schiller Reflections on The Use of The Vulgar and Low Elements in Works of Art (1793) in
Dramatic Theory and Criticism: Greeks to Grotowsky, ed. B. F. Dukore (New York: University of
Hawaii, 1974 ), 470-71.
53
Naive and Sentimental Poetry and On the Sublime, 205.
54
Edmund Burke, The Works and Correspondence, VIII vols. (London: Francis and John
Rivington, 1852), II, 600, 602.
55
See, G. Harpham, On the Grotesque: Strategies of contradiction in Art and Literature
(Princeton: Princeton University Press, 1982 ), 73.
56
Ibid.
57
Burwick, The Haunted Eye, 58.
58
Madland, Non-Aristotelian Drama ( Main: Peter Lang, 1982),134.
59
The Complete Works of J. Keats, (Letters: 1814-1819), 109.
60
Romantic Irony and Anti-Theatre, 205.
61
Notebooks, III, 4503.
62
Letters, IV, 202.
63
Non-Aristotelian Drama, 183.
64
The Critique of Judgment, P.88.
24
65
Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychology of
Transcendence (London: The Johns Hopkins University, 1976), 35, 36.
66
Burke, 629.
67
P. B. Shelley, A Defence of Poetry, in The Complete Works of P. B. Shelley, 10 vols., eds. Roger
Ingpen and Walter E. Peck ( New York: Gordian Press, 1965 ), VII, 248.
25