This is a forceful and thorough-going critique of recent thinking on Romanticism. Thomas McFarland reaches back to Rousseau to confront the misplaced emphases and serious misreadings of recent new historicist, post-structuralist, and feminist Romantic criticism. In its place, McFarland advocates an attention to the 'texture' of Romantic writing, in order to restore our sense of what Romanticism is, and to allow us to hear again its distinctive voice.

This book surveys the poetic endeavour of John Keats and urges that his true poetry is uniquely constituted by being uttered through three artificial masks, rather than through the natural voice of his quotidian self. Keats's great achievement, the book argues, can only be ascertained by means of a resuscitation of the defunct critical category of 'genius', as that informs his use of the masks. The Masks of Keats thus constitutes a criticism of and rebuke to the deconstructive approach, which must treat all texts as equal and must entirely forgo the conception of quality.

Paradoxes of Freedom is a study of the historical and philosophical conception of liberty. Centering his argumemt upon the Romantic exaltation of freedom that followed the psychic explosion of the French Revolution, Thomas McFarland identifies freedom as one of the three chief transcendencies, along with love and religion, by which humanity orientates itself. Departing from contemplation of the significance of the revolutionary motto `live free or die', he examines the apotheosis of freedom along with its vicissitudes, and indicates, by an examination ranging from Shakespeare and Luther to the writings of Nietzsche and Wagner, both the reasons for the supreme valuation of freedom and the nature of the hindrances, in theory and in fact, that enmesh the actual realization of freedom. the book concludes with a sombre assessment of the future of freedom as an orientating transcendence.

This book seeks to isolate the special factors that generate Wordsworth's greatness as a poet. Setting out from a dissatisfaction with the current trend towards New Historicism in Wordsworthian criticism, it endeavours to qualify the social and political bias of that criticism by a renewed assertion of the poetic primacy of the personal and the qualitative. Taking Marjorie Levinson's reading of `Tintern Abbey' as the book's starting point, McFarland sets forth a different way of approaching the poem, and then identifies `intensity' as the secret of Wordsworth's power. The permutations of that quality are illustrated by careful examinations of `Ruth', of the `spots of time', and of `Home at Grasmere', which is revealed as containing the incandescent centre of Wordsworth's values. There follow chapters on Wordsworth's dessication, which is seen as precisely the absence of intensity; and on the aspiration of The Recluse, which is seen to fail largely because the personal intensity necessary to complete the venture had been used up in the opening of `Home at Grasmere'. McFarland then discusses the special way in which Wordsworth assumed the prophetic stance which was essential to his poetic vision and was adopted in the intense personal confidence that he possessed the truth. The book concludes with a reading of The Borderers, not as a successful play but as a disposal chamber for the dark matter of Wordsworth's cosmos; the writing of the play is seen as necessary to clear the way for the purified current of Wordsworthian intensity to flow towards supreme poetic achievement.

The Opus Maximum gathers the last major body of unpublished prose writings by Samuel Taylor Coleridge. Consisting primarily of fragments dictated to Joseph Henry Green, probably between 1819 and 1823, these writings represent all that exists of what Coleridge considered to be "the principal Labour" and "the great Object" of his life, which he called variously the Logosophia and Magnum Opus. Dedicated to "the reconcilement of the moral faith with the Reason," Coleridge's envisioned Magnum Opus was supposed to "reduce all knowledges into harmony." While such a synthesis finally eluded him, and the Magnum Opus remained unfinished, the surviving fragments nonetheless bear powerful witness to Coleridge's engagement with theology, moral philosophy, natural philosophy, and logic, among other disciplines. Among the subjects that will particularly interest readers are Coleridge's criticisms of Epicureanism, pantheism, and German Naturphilosophie; his attempt to ground reason in faith; and his reflections on personhood (especially in the relationship between mother and child), on will, on language, and on the Logos. Previously unknown to all but a handful of scholars, the manuscripts presented here provide valuable insight into a crucial period of Coleridge's intellectual development, as he became increasingly dissatisfied with Naturphilosophie and struggled to affirm Trinitarian Christianity on a rational basis. With this volume, The Collected Works of Samuel Taylor Coleridge, begun forty years ago under the sponsorship of the Bollingen Foundation and the editorship of the late Kathleen Coburn, is now complete.

Despite their hopeful aspirations to wholeness in life and spirit, Thomas McFarland contends, the Romantics were ruins amidst ruins," fragments of human existence in a disintegrating world. Focusing on Wordsworth and Coleridge, Professor McFarland shows how this was true not only for each of these Romantics in particular but also for Romanticism in general. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Despite their hopeful aspirations to wholeness in life and spirit, Thomas McFarland contends, the Romantics were ruins amidst ruins," fragments of human existence in a disintegrating world. Focusing on Wordsworth and Coleridge, Professor McFarland shows how this was true not only for each of these Romantics in particular but also for Romanticism in general.

Originally published in 1981.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

By Ismar John Peritz, Frank Milton Bristol, And Robert Remington Doherty.

By Ismar John Peritz, Frank Milton Bristol, And Robert Remington Doherty.

Thomas McFarland presents a personal theory of comedy which shows a wide knowledge of comic theory and practice, the origins and nature of the comic vision, the pastoral, the pastoral elegy, and the golden age. He deftly draws together the various elements and demonstrates how the blending of the pastoral with the comic allows the inclusion of religious concerns to be a natural part of what is initially a socially oriented art form. McFarland argues that Shakespeare's use of the pastoral is not just a fanciful game of veiled references to the court of Elizabeth but a strengthening and deepening of comedy itself. This process was possible because of a fundamental affinity between the realm of comedy and the realm of pastoral. As McFarland observes, ""The alliance of comedy and pastoral realizes what neither mode could adequately achieve by itself: the representation of paradise."" Plays discussed include Love's Labour's Lost, A Midsummer-Night's Dream, As You Like It, A Winter's Tale, and The Tempest.

The "Opus Maximum" gathers the last major body of unpublished prose writings by Samuel Taylor Coleridge. Consisting primarily of fragments dictated to Joseph Henry Green, probably between 1819 and 1823, these writings represent all that exists of what Coleridge considered to be "the principal Labour" and "the great Object" of his life, which he called variously the "Logosophia" and "Magnum Opus."

Dedicated to "the reconcilement of the moral faith with the Reason," Coleridge's envisioned "Magnum Opus" was supposed to "reduce all knowledges into harmony." While such a synthesis finally eluded him, and the "Magnum Opus" remained unfinished, the surviving fragments nonetheless bear powerful witness to Coleridge's engagement with theology, moral philosophy, natural philosophy, and logic, among other disciplines. Among the subjects that will particularly interest readers are Coleridge's criticisms of Epicureanism, pantheism, and German Naturphilosophie; his attempt to ground reason in faith; and his reflections on personhood (especially in the relationship between mother and child), on will, on language, and on the Logos.

Previously unknown to all but a handful of scholars, the manuscripts presented here provide valuable insight into a crucial period of Coleridge's intellectual development, as he became increasingly dissatisfied with "Naturphilosophie" and struggled to affirm Trinitarian Christianity on a rational basis. With this volume, "The Collected Works of Samuel Taylor Coleridge," begun forty years ago under the sponsorship of the Bollingen Foundation and the editorship of the late Kathleen Coburn, is now complete.