Abstract
more complete repertoires are present in such proportions that no one of them dominates. The component genres of a hybrid will necessarily be of the same scale.'1 In the case of Shelley's 'hybrid', however, the 'scale' of the 'component genres', the question of the 'completeness' of the distinct 'repertoires', and the notion of a dominant or prevailingmode, are also perhaps those elements which can problematize critical readings of the poem. Can the 'balance' between repertoires sustain an ideological or philosophical 'balance' of perspective upon the Greek uprising of 1821? Constance Walker's suggestion that the 'dynamics of antithesis' are accentuated by the lyrical drama 'in the context of an unfinished struggle'2, defended Hellas against Jerome McGann's claim that the final chorus collapsed the poem's ideological case and 'hopelessly divided [Hellas] against itself3. More recently, Mark Kipperman (also writing in 'reply' to McGann) has argued that the poem's philhellenism and 'Utopian language' offer a
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