Phantastes Chapter 1: Alastor; or, The Spirit of Solitude

A quest poem by Percy Bysshe Shelley (1792-1822) published in 1816. The full title is “Alastor: or, the Spirit of Solitude.” MacDonald quotes lines 484-488 in which the Poet encounters his soulmate. Shelley’s poem is a major influence on Phantastes, and Shelley’s Preface to “Alastor” offers a nice gloss on MacDonald’s fantasy. “The poem entitled ‘Alastor’ may be considered as allegorical of one of the most interesting situations of the human mind. It represents a youth of uncorrupted feelings and adventurous genius led forth by an imagination inflamed and purified through familiarity with all that is excellent and majestic, to the contemplation of the universe. He drinks deep of the fountains of knowledge, and is still insatiate. The magnificence and beauty of the external world sinks profoundly into the frame of his conceptions, and affords to their modifications a variety not to be exhausted. So long as it is possible for his desires to point towards objects thus infinite and unmeasured, he is joyous, and tranquil, and self-possessed. But the period arrives when these objects cease to suffice. His mind is at length suddenly awakened and thirsts for intercourse with an intelligence similar to itself. He images to himself the Being whom he loves. Conversant with speculations of the sublimest and most perfect natures, the vision in which he embodies his own imaginations unites all of wonderful, or wise, or beautiful, which the poet, the philosopher, or the lover could depicture.

'Hail England old England my country & home': Englishness and the Local in John Clare’s Writings

This article rethinks John Clare's connection to place, as well as the concepts of ‘place’ and ‘the local’ themselves. It argues that the localism of his work was enabled by potential alienation and displacement and was connected to a sense of wider national community. Clare's writings attempt to think of England in two related ways: as a political community brought together at times of threat, and as a community of taste brought together by a way of apprehending the natural world. His early patriotic verse is often strained and unconvincing, but poems such as ‘The Flitting’ present an idea of ‘native poesy’ that embodies the local and the national through careful description of the natural world. However, this idea was itself mediated through metropolitan attempts to reclaim the customs and literature of ‘merry England’. Thus Clare's localism and nationalism are shown to be ambivalent and uncanny

Empathy’s echo: post-apartheid fellow feeling

The concept of empathy has been set to work, across a range of fields, to mark a break with the relational patterns of apartheid. Similarly, empathy has been identified, historically, as that which, within apartheid and colonial rule more generally, exceeded or escaped relations of domination. This paper approaches the discourse of empathy from a different angle, taking empathy as a concept embedded in colonial thinking. Given that so many claims to empathy have had recourse to psychoanalysis, the paper focuses on empathy in Freud’s work, specifically Dora’s case and Freud’s analysis of Michelangelo’s Moses, which are read alongside the images and installations of contemporary South African artist, Nandipha Mntambo, in particular her collection of images and installations in The Encounter. Three scenes are conjured wherein empathy confronts its impossibility, but rather than foreclose on empathy as a postapartheid condition, it is through the disclosure of the aporias of empathy that it might be brought into the realm of the ethical through a practice of reinscription and through the figure of Echo

The re-discovery of contemplation through science : with Tom McLeish, “The Re-Discovery of Contemplation through Science: Boyle Lecture 2021”; Rowan Williams, “The Re-Discovery of Contemplation through Science: A Response to Tom McLeish”; Fraser Watts, “Discussion of the Boyle Lecture 2021”; and Tom McLeish, “Response to Boyle Lecture 2021 Panel and Participant Discussion.”

Some of the early-modern changes in the social framing of science, while often believed to be essential, are shown to be contingent. They contribute to the flawed public narrative around science today, and especially to the misconceptions around science and religion. Four are examined in detail, each of which contributes to the demise of the contemplative stance that science both requires and offers. They are: (1) a turn from an immersed subject to the pretense of a pure objectivity, (2) a turn from imagination as a legitimate pathway to knowledge, (3) a turn from shared and participative science to a restricted professionalism, and (4) an overprosaic reading of the metaphor of the “Book of Nature.” All four, but especially the imperative to consider reading nature as poetry, and a deeper examination of the entanglements between poetry and theoretical science, draw unavoidably on theological ideas, and contribute to a developing “theology of science.”

The roots of romantic cognitivism:(post) Kantian intellectual intuition and the unity of creation and discovery

During the romantic period, various authors expressed the belief that through creativity, we can directly access truth. To modern ears, this claim sounds strange. In this paper, I attempt to render the position comprehensible, and to show how it came to seem plausible to the romantics. I begin by offering examples of this position as found in the work of the British romantics. Each thinks that the deepest knowledge can only be gained by an act of creativity. I suggest the belief should be seen in the context of the post-Kantian embrace of “intellectual intuition.” Unresolved tensions in Kant's philosophy had encouraged a belief that creation and discovery were not distinct categories. The post-Kantians held that in certain cases of knowledge (for Fichte, knowledge of self and world; for Schelling, knowledge of the Absolute) the distinction between discovering a truth and creating that truth dissolves. In this context, the cognitive role assigned to acts of creativity is not without its own appeal

John Keats and Percy Bysshe Shelley complete poetical works

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The Charles the First Draft Notebook: A Facsimile of Bodleian Ms. Shelley Adds. E. 17

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