MLRy ioo.i, 2005 201 to distance Blake, satire being too exclusively negative, whereas Blake's intent is, ul? timately, to go beyond the corrosive to affirmativespiritual values. For Rawlinson, the heart of Blakean comedy is the 'carnivalesque', a kind of egalitarian, communally founded, celebratory social liturgy. (Rawlinson is at some pains to locate the origins of the carnivalesque in religion.) The question, for many readers, will be whether this understanding of the comic has enough in common with theirs for the book's argument to resonate. The upshot is that for long stretches little attention is given to the comic in the ordinary sense, or forthat matter even in Rawlinson's sense. His very long chapter on An Island in theMoon goes into considerable detail about what he believes is happening , but his focus is less on the comic, even in the limited sense of the carnivalesque, than on the implications for society of the characters' faulty 'readings' (which seems to mean interpretations). How much has this got to do with comedy? And throughout the book, Rawlinson's own method of 'reading' is questionable. His typical method is to substitute freely in discursive equations, as it were, drawing equivalences from pictorial or textual references in far-distant locations in Blake's oeuvre, too often in an unconvincingly strained way. This, of course, is a method that Blake critics use all the time, but Rawlinson pushes it to almost unexampled lengths. This book could have used more practical planning and better execution. There is a chapter on Blake's designs that cries out for illustrations. (Plenty of books that cost less than ?40 manage to include pictures.) Rawlinson and his editors consider it adequate to referto a work by page number in the Erdman edition without naming the work. And I counted some three dozen or more errors of spelling, punctuation, grammar, and typography. University of Arkansas, Fayetteville Brian Wilkie [Professor Wilkie, a regular contributor to MLR, died on 14 December 2003.] Coleridge and the Idea of Friendship, 1J8Q-1804. By Gurion Taussig. Cranbury, NJ: University of Delaware Press; London: Associated University Presses. 2003. 376 pp. ?50. ISBN 0-87413-741-1. A recurring theme in Taussig's original and carefully argued study is the contest, in Coleridge and his contemporaries' writings, between 'transcendent and empiricist notions of friendship'(p. 53)?thatis, between the 'spiritual'view of friendship as ideally imitating God's love forhumanity, and the Hobbesian view that All Society [. . .] is either forGain, or forGlory, not so much forlove of our Fellowes, as forlove of our Selves' (pp. 28-29, 229). Needless to say, Coleridge's own allegiance was primarily to the firstof these views, involving a 'fervor' which tended to elevate friendship 'from a mundane to a spiritually charged mode of interaction' (p. 29). At the same time, how? ever, this tendency was ambiguously connected, in the early part of his career, with an 'enthusiasticsensibility that threatened to disrupt conventional allegiances to fam? ily,state, and church' (p. 49); and part of Taussig's study traces Coleridge's gradual movement away from the view of friendship as the basis for 'a new kind of democratic relationship [. . .] that presupposes a fundamental equality between men based upon their common political rights' (p. 146). The ideal of transcending individual, private attachments in favour of iove of humanity' is evident, for example, in the pantisocratic Coleridge's description of his wifeas a woman whom 'I do not love?but whom by every tie of Reason and Honor I ought to love' (p. 137); yet even here, the force of individual feeling clearly threatens the rational ideal of universal friendship on which pantisocracy was based. A furthernotable case is Coleridge's decision to avoid excessive involvement with his friend (and 'friend of freedom'), John Thelwall, in favour 202 Reviews of preserving his and Wordsworth's ideal of rural retirement in the Quantock hills, which had been threatened by questions which the owner of Alfoxden raised about Thelwall'spresence there (pp. 203-04). Coleridge'scelebration, in 'Fears in Solitude', ofhis 'lowly cottage' in Nether Stowey, moreover, is interpretedby Taussig as seeking 'to demonstrate his sentimental integration within the landscape and affections of the...
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