Enigmatic Poem Research Articles

Anne Carson: ecstatic lyre

Anne CarsonAEs works re-think genre in some of the most unusual and nuanced ways that few writers ever attempt, from her lyric essays, enigmatic poems, and novels in verse to further forays into video and comics and collaborative performance. CarsonAEs pathbreaking translations of Ancient Greek poetry and drama, as well as her scholarship on everything from Sappho to Celan, only continue to demonstrate the unique vision she has for whatAEs possible for a work of literature to become. Anne Carson: Ecstatic Lyre is the first book of essays dedicated to the breadth of Anne CarsonAEs works, individually, spanning from Eros The Bittersweet through Red Doc . With contributions from Kazim Ali, Dan Beachy-Quick, Julie Carr, Harmony Holiday, Cole Swensen, Eleni Sikelianos, and many others (including translators, poets, essayists, scholars, novelists, critics, and collaborators themselves), we learn from CarsonAEs greatest admirers and closest readers about the books thatmoved and inspired them.

The “Palmtwigede” Pater Noster Revisited: An Associative Network in Old English

Extending a line of inquiry begun by Thomas Hill in 2005, this article uses attestations of palmtwig (“palm twig” or “branch”) and palmtreow (“palm tree”) across the Old English corpus to understand three strange uses of those terms in the enigmatic poem “Solomon and Saturn I”. Specifically, the vernacular collection known as the Blickling Homilies provides a semiotic narrative for the term palmtwig, which originates in a literal account of the palms used to honor Christ’s victory over death and culminates in a palmtwig that is given to Mary by an angel before her ascension, an object which takes on the illuminating and healing powers of Christ himself. The Blickling evidence suggests that in “Solomon and Saturn I”, the Pater Noster prayer is called “palmtwigged” because it is the same kind of charged, resonant object as the palmtwig of the Blickling Homilies. Both are metonyms for Christ. This work relates to recent work on medieval materiality and vernacular Incarnational poetics, as it explores the ambiguity and interpermeability among objects, words, and symbols as signs, specifically as they relate to the ultimate word of Christianity.

MAKING AN ASS OF HIMSELF -- 'BOTTOM' BY ARTHUR RIMBAUD

This paper looks at Arthur Rimbaud's enigmatic little poem 'Bottom' from the prose poetry collection, the ILLUMINATIONS. It looks at some previous approaches to the poem and then proceeds to look at Rimbaud's self-presentation in the piece. Rimbaud's predilection for metamorphosis and changing identity as well as his tendency to portray aspects of his own failure in love and art come under examination. The sexual content of the text is also scrutinized and the conclusion is that in the poem Rimbaud sets out to make an ass of hiomself in every sense.

Yeats’s “Sailing to Byzantium”. The “Esoteric” Four‐Stanza Structure

The celebrated W. B. Yeats was a superb verbal technician who evolved from writing lyrical verse in his youth to a sparser, more “metaphysical” style of poetry in his later years. Quite often, these mature poems can be seen as visionary expressions of a life spent as unorthodox spiritual adventurer – Yeats was for twenty‐one years an avid member of the Golden Dawn, a group whose practice of ritual magic centered on their own occult, rather eccentrically eclectic interpretation of the Kabbala. The poet himself readily attested to the profound influence his association with that order had on his own thinking. Nevertheless, the impact of this esoteric background has not often been expounded in detail within critical analyses of his work. In partial rectification, this paper will undertake an analysis of one of his most enigmatic poems, “Sailing to Byzantium,” utilizing key doctrines drawn from the Hermetic Kabbala, doctrines that themselves depend largely on a Neoplatonic substratum. The ensuing interpretation will strive to demonstrate that the four stanzas of the poem conform to a fourfold metaphysical‐ontological division that occurs within both the Hermetic Kabbala and Classical Neoplatonism, a division that tends to construe states of being as differing modes of consciousness.

My Uncle Emily (review)

Reviewed by: My Uncle Emily Karen Coats Yolen, Jane. My Uncle Emily; illus. by Nancy Carpenter. Philomel, 2009 32p. ISBN 978-0-399-24005-8 $17.99 R Gr. 2–4 This fictional tale grown from a small seed of biography reveals the fierce love and loyalty poet Emily Dickinson shared with her family, particularly her young nephew Thomas Gilbert Dickinson, known as Gib. Uncle Emily, as she is called in the family, gives Gib one of her rarely titled poems, “The Bumble Bee’s Religion,” and a dead bee to take to his teacher. Gib worries that the other children will be as baffled by the poem as he, and he is right. Moreover, a big boy named Jonathan calls his aunt names, whereupon Gib punches him in the nose, falls and twists his ankle, and has to wear a dunce cap for the remainder of the day. Later, he tells a cleaned-up version of the incident to his family, prompting Emily to share another poem with Gib (“Tell all the truth but tell it slant”) so that he can be fully comforted and reconciled with his ordeal. Yolen’s spare, ragged-right prose evokes the elegance of Dickinson’s own work and embodies a faith in the poetic sensitivity of even the youngest readers. Moreover, the book maintains a distinct child focus throughout the story, portraying not only the problem of having difficulty understanding an enigmatic poem, but also of having a beloved relative who is thought eccentric by one’s peers. The pen-and-ink illustrations enhanced with digital colors and effects to resemble woodcuts also focus the action on Gib’s perspective, his postures clearly articulating his shifting moods throughout the story. Creamy, yellowed colors create an atmosphere of sun-drenched attunement to natural things, adding to the sense of family warmth and understanding. This would make an inviting start to an investigation of Uncle Emily’s life and letters, or even just a broader look at poetry. A final note explains a little more about the factual elements of the story (including the sad reality that its young protagonist died not long afterward). [End Page 466] Copyright © 2009 The Board of Trustees of the University of Illinois

J. D. NILES, Old English Enigmatic Poems and the Play of the Texts.

J. D. NILES, Old English Enigmatic Poems and the Play of the Texts.

Old English Enigmatic Poems and the Play of the Texts. Studies in the Early Middle Ages, 13

Old English Enigmatic Poems and the Play of the Texts. Studies in the Early Middle Ages, 13

Old English Enigmatic Poems and the Play of the Texts. John D. Niles

<i>Old English Enigmatic Poems and the Play of the Texts</i>. John D. Niles

Poisoned places: the Avernian tradition in Old English poetry

AbstractScholars have long disputed whether or not Beowulf reflects the influence of Classical Latin literature. This essay examines the motif of the ‘poisoned place’ present in a range of texts known to the Anglo-Saxons, most famously represented by Avernus in the Aeneid. While Grendel's mere presents the best-known poisonous locale in Old English poetry, another is found in the dense and enigmatic poem Solomon and Saturn II. The relationship between these poems is discussed beside a consideration of the possibility that their use of the ‘Avernian tradition’ points to the influence of Latin epic on their Anglo-Saxon authors.

Old English Heroic Poems and the Social Life of Texts by John D. Niles (review)

1?8ARTHURIANA JOHN D. NiLES, OldEnglish Heroic Poems and the Social Life ofTexts. Studies in the EarlyMiddleAges. Turnhout: Brepols, 2007. Pp. xiii, 372. isbn: 978-2-503-52080-3. €80. Like its recently released companion volume, OldEnglish Enigmatic Poems andthe PUy ofthe Texts, this volume brings together a number ofJohn Niles's innovative articles, supplements them, and in the process offers a stimulating and original contribution to Anglo-Saxon scholarship. Here, in an Introduction that identifies various critical schools as 'flights from meaning,' Niles lays out the critical procedure that has been the hallmark of his career: a close attention to philology of the most traditional kind joined to a larger critical eye towards not simply the artistry of a poem but also the cultural work that it performs—the qualities that would have given it historical meaning and impact. Describing OldEnglish Enigmatic Poems as being 'in conversation' with the various critical movements he surveys (11), Niles manages, as only a very few critics do today, to appreciate a poem's artistry even as he describes its cultural embeddedness and the tensions that affect its critics as well as the poem itself. The initial essay, 'Locating Beowulfin Literary History,' thus takes on the issue of the poem's meanings in connection with its date. While acknowledging that earlier, short lays may have circulated orally—must, in fact, have done so—Niles persuasively argues that this particular poem with its particular thematic concerns and narrative twists is most likely to date from the tenth century. The argument rests on the historical situation ofpost-Alfredian England as well as on the poem's presentation of characters like Scyld and Wiglaf, but what gives it force is the way Niles ties in historical examples of the recording of oral works. 'Beowulf Niles suggests, 'is the projection of two great desires: first, for a distinguished ethnic origin that would serve to merge Angles, Saxons, and Danes into a single more-or-less united people, and second, for an ethical origin that would ally this unified race with Christian spiritual values' (56). Niles's historicism, then, approaches Old English poetry not simply from the view of what a particular word or reference meant but from that of how a poem in its entirety would have functioned within Anglo-Saxon culture, particularly that ofthe tenth century. Widsith, he suggests, 'is ofinterest for the ways in which it synthesizes historical and geographical knowledge so as tojustifyan emergentAnglo-Saxon social order, lending that order the patina ofantiquity while wrapping irs controlling ethos in an aura of Tightness or inevitability that derives from its articulation through the formal speech of the imagined poet-sage, Widsith himself, the celebrant of ancient kings' (84). History is very much what we make of it, and this was as true for the Anglo-Saxons as it is today. One of the essays first published here, 'Anglo-Saxon Heroic Geography,' delivers this point with particular force. This kind ofgeography designates 'geographical ideas that, whatever theirbasis, are subsumed into a mode of seeing that has a validity independent ofthe actual features ofthe physical world' (123). So, the issue isn't who really lived where but who was understood to live where—or, perhaps, who had to live where—as part of a larger nexus of cultural, political, and traditional concepts. And in this vein, in light oftenth-century desires to validate an REVIEWS109 Anglo-Danish past, it made good sense for Anglo-Saxons to understand the Geats, who figure so prominently in Beowulf, as synonymous with Bede's Jutes. The volume's final essay, also original, is 'Heaney's Beowulf Six Years Later.' Taking on a host ofAnglo-Saxonists who have criticized the translation for one reason or another, Niles suggests that it is in fact 'the most successful presentation thathas yet been made ofan Old English poem in the form ofa modern English verse translation' (326—27). Noting both Heaney's academic credentials and his long-standing interest in the Middle Ages and earlier, Niles sees the poem as a purposeful appropriation of a literary monument: 'When Heaney uses an archaic dialect word such as "wargraith " instead ofa more transparent term such as "war...

Mammon's Music: Literature and Economics in the Age of Milton by Blair Hoxby (review)

MLR, 100.3, 2??5 783 available to readers an impressive amount of new material, much of it the result of Smith's tireless researches. It is far superior to all previous editions of Marvell in several respects: its annotation of linguistic detail, the puns and verbal ambiguities so abundant in Marvell; its notes identifying possible sources and analogues, classical and biblical; its citation of parallel passages from the poet's contemporaries; and its consistent attempts to situate Marvell's writings in their historical context. Marvell's critical reputation has undergone marked changes in the last few years, with a new emphasis on his involvement in politics and on locating his poems in specific historical moments. Much of the most interesting recent work on Marvell? Smith's own writings and those of David Norbrook, Annabel Patterson, Thomas Corns, Blair Worden, Derek Hirst, and others?has been historicist in its emphasis. Readers wanting guidance in reading the 'Horatian Ode', 'The First Anniversary', or such relatively obscure poems as 'The Character of Holland' or 'The Loyal Scot' have exactly the book here that will suit their needs. For some poems, including 'The First Anniversary' and Marvell's poem on the death of Cromwell, Smith's introduction and notes provide the best critical and historical introduction available. But forall its considerable merits, Smith's edition suffersfrom a certain imbalance. Anyone interested in Marvell as wit, lyric poet, ironist, the Marvell celebrated by T. S. Eliot for 'a tough reasonableness behind the slight lyric grace', may at times feel disappointed. Smith's introductions and notes are at their best when they treat the poems by Marvell which fithis own particular interests, and are less helpful in treating such poems as 'The Nymph Complaining forthe Death of her Fawn' or the four 'Mower' poems. Here as elsewhere, Smith's introductions and notes excel in pointing out parallel passages in classical and Renaissance authors. But 'The Nymph Complaining' is a difficult, enigmatic poem, and readers may need more help in coming to terms with its 'interpretative difficulties' (p. 64) than is afforded by a bare list giving bibliographical references to eighteen critical studies. The canon of Marvell's verse satires is uncertain, and Smith's edition treats the problematical elements with great assurance. He makes a strong case for Marvell's authorship of two satires of the 1660s, 'Second Advice' and 'Third Advice', as well as for the much earlier elegy on the death of Lord Francis Villiers. 'Blake's Victory', another poem whose authenticity has been doubted by Marvell scholars, is relegated to an appendix of doubtful poems. I would have preferred that A Dialogue between Thyrsis and Dorinda' had similarly been classed as doubtful, though Smith in his introduction states arguments forand against its authenticity. Ofthe poems 'of uncer? tain attribution' excluded from the edition but listed in a further appendix, I would have liked to see texts of 'The Kings Vowes' and 'Upon his Majesties being made free of the City' included among 'doubtful poems', since the case for their being wholly or partly by Marvell is at least as strong as with 'Blake's Victory' and 'Thyrsis and Dorinda'. For all these minor reservations, Nigel Smith's edition of Marvell is a triumphant achievement, invaluable for the student of Marvell and seventeenth-century poetry. In its full and informative introductions and notes, it is a great advance over the previous editions of Margoliouth, Legouis, Lord, Donno, and Walker. King's College London Warren Chernaik Mammon's Music: Literature and Economics in the Age of Milton. By Blair Hoxby. New Haven and London: Yale University Press. 2003. xii + 320 pp. ?30. ISBN 0-300-09378-0. Mammon's Music is a work ofconsiderable originality,which casts new light on Milton and some of his contemporaries by juxtaposing literary texts with economic treatises 784 Reviews and pamphlets of the seventeenth century. The title suggests a certain ambivalence. To the Puritan moralist Milton, the siren song ofmaterial gain represents a temptation to be resolutely resisted. And yet, as Blair Hoxby shows convincingly, images of trade and its circulation resonate throughout Milton's writings, associated both with ideas of empire and with freedom of thought. Mammon...

Anna Akhmatova’s “An Old Portrait” and the Ballets Russes

The unspecified visual art referent in Akhmatova’s enigmatic poem, “An Old Portrait” (Staryi portret, 1910), dedicated to the painter Aleksandra Ekster, has long inspired critical speculation. scholars (superfin and Timenchik, Rosslyn, Rubins) have proposed numerous readings, but none has entirely resolved the poem’s mysteries. I will argue that the ballets Le Pavillon d’Armide and Cléopâtre, performed in the first Paris season of the Ballets Russes, provide hitherto unexplored subtexts for the spare but dramatic poem. Considered within the context of the ballets, the poem’s characters and details take on more specific and meaningful contours. By analyzing these ballets’ respective libretti, costume designs and stage sets, it becomes possible to detect in the poem references to the Gobelins portrait depicting the deadly enchantress in Le Pavillon d’Armide, the poisoning of Amoun at the conclusion of Cléopâtre, and Vaclav Nijinsky’s performances as Armida’s servant in Le Pavillon d’Armide and Cleopatra’s slave in Cléopâtre. The poem also demonstrates Akhmatova’s early fascination with portraiture, especially the complex relationship between artist and sitter. In this sense, “An Old Portrait” anticipates the poet’s eventual cultivation of her own image in portraits painted by her contemporaries.

The Organization of Space in Alexander Blok's Retribution

The Organization of Space in Alexander Blok's Retribution Nina Segal Translated from Russian by Edward Waysband Alexander Blok's poem Retribution amounts to what may be called his spiritual testament. Blok (1880-1921) worked on this poem for over eleven years, from 1910 to 1921. Almost up to his last day he was still trying to arrange the materials left in the draft or outline form —the fragments written in June 1921 were the last verses that Blok ever wrote. He was tormented by the sense of his poem's elusiveness, inexplicability, by its ineluctable incompleteness. Whatever external reasons may have caused Retribution to remain unfinished, one of the main internal reasons lay with the organization of space. The poem's plot covers a long period of Russian and world history, from the 1870s to the first decade of the twentieth century. Blok pedantically collected historical details about the rule of Alexander III and about the 1877-1878 Russian-Turkish war. As he conceptualized his poem, these events, along with other realia of the period, were supposed to provide an epic background for the destiny of three generations of one family: a father, a son, and the son's son. In the Introduction, Blok describes the idea of Retribution as follows: "A family that has suffered the retribution of history, of the environment, of the epoch, begins, in its turn, to administer retribution; the last of the first-born is already able to snarl and roar like a lion; he is ready to seize, with his little human hand, the wheel of history. And he may, indeed, have seized it… Through catastrophes and setbacks my 'Rougon-Macquarts' free themselves gradually from the éducation sentimentale of Russian nobility, 'coal turns into a diamond,' and Russia into a New America, a New —not the Old America" (Blok 1960-1965, III: 298). The idea of Retribution is, in effect, connected both with the Western-European novel (Émile Zola's naturalistic chronicle) and with the notion [End Page 75] of the heroic epic (a family's destiny, its defeats and triumphs). The need for self-liberation from the Russian literary éducation sentimentale (Pushkin's Eugene Onegin, Lermontov's Demon, etc.) means that the lyrical I of the traditional protagonist of Russian literature has to change: it must be reforged in historical cataclysms and epic feats in order to take over the shaping of history. The main features of the plot and its lack of closure stem from the theme (named in the poem's Introduction) of the right of an ancient family's new generation to historical retribution. Numerous attempts have been made to interpret this enigmatic poem —most prominent, perhaps, is Ivanov-Razumnik's reconstruction of its second chapter (see 1988: 7-18). My reading of it will argue that novelty of its goals is reflected in the novelty of its complex chronotope. According to Mikhail Bakhtin's well-known definition, the chronotope is "the intrinsic connectedness of temporal and spatial relationships that are artistically expressed in literature" (1981: 84); it is a morphological category, directly associated with genre. Whereas the type of chronotope is usually a stable feature of a literary work, Retribution is characterized by a combination of several types of chronotopes —the epic, the mythological, the historical, and the lyrical. It is in the epic chronotope that conceptions of time and space are associated with the imperative to repair the damages caused to the family. The hero who represents the family is repeatedly called upon to struggle against representatives of hostile force; attempts to redress the "poetic injustice" of the past are renewed cyclically, with each new generation of the family. By contrast, the historical chronotope is always correlated with a national or supra-national idea of a definite people, nation, state, empire. This idea, to be realized in the future, is usually related to a still unredeemed space (see Segal 1995: 10-19). In Retribution it is the idea of Slavic alliance, a necessary prerequisite to an eventual redemption of Constantinople and an ideological justification for the numerous Russian-Turkish campaigns. War —among many other possible conflicts —is a driving force of the historical chronotope (Segal 1992:419...

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The old formalism: character in contemporary American poetry

Our appreciation of American poetry is as influenced by the personas presented in the poems as by public perception of the poets themselves. Emily Dickinson peeking from behind a doorway with large dark eyes is an indelible image superimposed over her spare, enigmatic poems. The grand gestures of Wait Whitman's voice have much to do with our reading of Song of Myself. And we cannot hear Mending Wall or Mowing without thinking of the image of the rustic, sly farmer-poet that Robert Frost so carefully cultivated. The moral authority of the poet reveals itself through the poems as well, and it is crucial to the meaning of the poem, Holden argues, if art is to elevate life. Part 1 of The Old Formalism, The Practice, is a close study of some of the conventions and developments in contemporary American poetry, with such topics as sex and poetry, rhetoricity, and sensibility. Holden shows lucidly how character -- or lack of it -- is revealed in poetry. In Personae, the second part, he gives a studied reading of a group of several admired poets, such as Richard Hugo, Mary Kinzie, Ted Kooser, and William Stafford. Holden uses biographical references and personal contacts with the poets to strengthen the notion of character revealed in poetry. This book takes a decided stand in the ongoing debate of the past two decades about the relationship of American poetry to American culture. In an age when image dominates word, and the business of poetry is nearly as celebrity-laden as Hollywood, Holden takes us past the media glitz, backstage where the poems are waiting to be read. Quite simply, in a clear, incisive manner, he teaches us how to read well again.

Chaucer's Legend of Good Women, Ladies at Court and the Female Reader

���� � The Legend of Good Women is undoubtedly Chaucer’s most enigmatic poem. It is constructed on the model of saints’ lives, but records the histories of markedly unholy pagan women. It promises to be a comprehensive legendary, but breaks off abruptly after only nine legends with the conclusive, yet incomplete, observation: “This tale is seyd for this conclusioun—” (2723). 2 It insists on the authority of written sources, yet diverges dramatically from the very authorities it cites. The narrator is vociferous in his expression of his complete and utter boredom, yet there is compelling evidence that the poet had a serious and ongoing interest in the project. 3 And, crucially, while recent scholarship sites Chaucer’s audience in the male world of court bureaucracy and administrative officialdom, the narrative voice identifies its public as predominantly female. 4 The purpose of this article is to take up Chaucer’s invocation to women, to place an eminently troublesome text in dialogue with its female audience. The analysis falls into two parts: a critical reading of the women in the Legend’s implied audience followed by an examination of the fifteenthcentury female readership to which the manuscripts attest.

Daniil Kharms and the poetics of the absurd: essays and materials

Part 1 Epigraph: Aleksandr Galich - Legenda o tabake. Part 2 Introduction - Daniil Kharms, black miniaturist, Neil Cornwell on Daniil Kharms, Iakov Druskin a Kharms chronology, Anatolii Aleksandrov. Part 3 General studies: Daniil Kharms in the context of Russian and European literature of the absurd, Jean-Philippe Jaccard the anti-world of Daniil Kharms - on the significance of the absurd, Anthony Anemone. Part 4 The prose works: towards an interpretation of Kharms' Sluchi, Robin Aizlewood Slobodan Pesic's film Slucaj Harms and Kharms' Sluchai, Milena Michalski elements of the fantastic in Daniil Kharms' Starukha, Rosanna Giaquinta some features of the poetics of Kharms' prose - the story Upadanie (The Falling), Aleksandr Kobrinsky. Part 5 The poetic works: on one enigmatic poem by Daniil Kharms, Lazar Fleishman I Raxrushenie, Daniil Kharms Kharms' I Razrushenie, Jerzy Faryno Daniil Kharms' poetic system - text, context, intertext, Nina Perlina. Part 6 The theatrical works: the oberiuty and the theatricalization of life, Tatiana Nikol'skaia Kharms' play Elizaveta Bam, Milhail Meilakh Elizaveta Ham a dramatic work - a new translation from the definitive text by Neil Cornwell, Daniil Kharms. Part 7 - beyond the turning point - an afterword, Robin Milner-Gulland.

Imitating God: the allegory of faith in Piers Plowman B

The author offers a new reading of the B-text of Piers Plowman that challenges many of the prevailing critical assumptions about this enigmatic poem. In particular, she takes issue with the theory that Langland's paradoxical allegories reflect his religious skepticism and literary anxiety.

Virgil's Poetic Ambitions in Eclogue 6

The Eclogues, Virgil's earliest work, are also in some ways his most puzzling, and of these enigmatic poems the sixth is perhaps the most baffling. Since it clearly assumes a considerable knowledge of the contemporary literary scene, much that would have been clear at least to Virgil's fellow poets must remain opaque to us. But it would be over–pessimistic to suppose that we can make nothing of the poem; nor have modern scholars been slow to construct the most varied hypotheses. In this article I shall not be attempting a comprehensive survey of the most recent contributions even in English. Like Michael Winterbottom in his illuminating piece on Eclogues 1 and 9 (in G&amp;R23 [1976], 55–59), I am trying to set down, as simply and concisely as possible, some considerations which, in the light of teaching and reflection, seem to me to contribute to the interpretation and enjoyment of the poem.

The Rhetoric of Romanticism

What do 'The Triumph of Life' and Paul de Man's programmatic reading of Shelley's unfinished poem have to tell us about theory? Writing in his preface to The Rhetoric of Romanticism, which reprints 'Shelley Disfigured' in a theoretical context distinct from that of its prior publication in the collective volume Deconstruction and Criticism, de Man singles out this essay as 'the only place where I come close to facing some of these questions' about the fragmentary and interrupted character not only of so many pivotal romantic texts, but of his own critical corpus as well. In his account of 'The Triumph of Life,' de Man asks, however, whether the structure of this enigmatic poem is properly one of question and answer (a structure he elsewhere terms hermeneutic), or rather one of 'a question whose meaning, as question, is effaced from the moment it is asked. The answer to the question is another question, asking what and why one asked.' (RR, 98) If we can acknowledge what and why we ask when we ask the question of theory, in light of our position (historical, institutional, ideological) as readers and theorists, we might rewrite the initial question in a way that inscribes our self-interest in plainer terms, to ask: what do these texts tell us about the theorist? One answer (though not necessarily a privileged or paradigmatic one) suggests itself towards the end of Shelley's poem, where the theorist makes a brief appearance, under doubtful circumstances.