By Andrew J. Welburn
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Additional info for Power and Self-Consciousness in the Poetry of Shelley
Thus Shelley arrives at the central idealist position. But having arrived there, he appears disturbed. It is not that he objects to anything in the argument. What makes him uneasy is a submerged sense that, far from having won through to a cosmic truth, he has been tricked into solipsism, unable now to know anything at all outside himself. In the following paragraph he rejects the idea of solipsism with sudden and exaggerated indignation, betraying the sense of threat: 'Let it not be supposed that this doctrine conducts to the monstrous presumption that I, the person who now write and think, am that one mind.
No one can say that they are good novels; but they are the more moving as documents in that the suffering behind them is real. She finally succumbed to the pattern of the heroine in many a sentimental novel, and attempted-unsuccessfully-to take her own life. For Shelley, she was not only the mother of his second wife Mary, but already a legend.
9 This landscape does not oppress us with the sense of its otherness. It unleashes our sense of psychic infinity, mirroring Contrary Landscapes 17 our desires and hopes, becoming a landscape of the mind whether or not it is also outwardly visible. Often it appears as a landscape of dream or reverie, an imagined Paradise or island of the blest. In Shelley's imagery after Queen Mab it is associated especially, not with the sun disappearing over the hard edge of the horizon, but with the last star of morning fading into invisibility as morning light grows.
Power and Self-Consciousness in the Poetry of Shelley by Andrew J. Welburn