Tradition and critique in Paul Muldoon's “Madoc: A Mystery”

Abstract

Paul Muldoon's “Madoc: A Mystery” remains his longest poem and most thorough vision of an alternative history. This article argues that Muldoon's poem works to stage not only a visionary history of America but also, via the uneasy relations that develop between its two main characters (semi-fictionalised versions of Samuel Taylor Coleridge and Robert Southey), a dramatisation of the conflict that obtains between competing modes of historical understanding. Muldoon's Coleridge and Southey represent stances that may be usefully regarded as parallel to positions advanced in the famous debate regarding interpretation between Hans-Georg Gadamer and Jürgen Habermas, thinkers whose names appear in the poem itself. To read the poem in light of this connection between its fantastical transatlantic history and the history of critical theory allows a reading of Muldoon's treatment of both literary and political histories as secondary to the work's playful exploration of struggles between modes of historical interpretation.