By David Simpson
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Additional resources for Irony and Authority in Romantic Poetry
Example text
We can never be sure of the degree to which we are the generous transcribers of fact, and of how far we remain the architects of personally and socially determined patterns. The awareness of the unconscious has only compounded this problem, for its very theorisation presupposes a reservoir of inarticulable determining influences within and around the conscious mind; the 'will' or the ethical faculty can thus only tentatively define one 'self' out of an indefinite number of possibles. We do not possess the fixed self-availability necessary to construct a past from a stable 'moment' in our own time, so that the prospect of an articulable mediation between then and now becomes even more remote.
Michel Foucault, in The Birth of KINDLING THE TORCH 31 the Clinic: An Archaeology of Medical Perception, has pointed out (p. 65) ... the two great mythical experiences on which the philosophy of the eighteenth century had wished to base its beginning: the foreign spectator in an unknown country, and the man born blind restored to light. I would agree with this. The metaphor of the traveller, informed by numerous popular accounts of exotic travels and anthropological oddities, is indeed prominent in philosophical discourse, often in the cause of demonstrating cultural relativity, and the Molyneux problem was without doubt the central riddle in the discussions of the theory of vision.
29 From this point, the reference points become bewilderingly manifold. What we have seen at work in the 'spontaneous' business of writing poetry can be situated, I shall try to suggest, in the wider context of the models of knowledge production and possibility which characterise the late eighteenth and early nineteenth centuries. To say this is immediately to involve oneself in difficult methodological questions which cannot be sidestepped, yet which seem to preclude in their very formulation any opportunity we might have for solving them.