ABSTRACT

This essay puts Wordsworth’s Salisbury Plain in dialogue with Coleridge’s Rime of the Ancyent Marinere in order to explore the two poets’ investment in what Jean-Luc Nancy would call “inoperative communities,” a notion of “community without community” that thinks the political and political agency beyond the binary of praxis and the philosophical quietism that critics often ascribe to Wordsworth’s major works. As wanderers on the margins of the social, Coleridge’s Mariner and Wordsworth’s “characterless” figures cast storytelling as a de-subjectivizing force that communicates non-closure and erodes self-mastery. By formally portraying normative aesthetic and political markers such as community, character, agency, and narrative as non-totalizing and inoperative, these poems gesture toward the notion of a shapeless, ungrounded community whose members fall between the cracks of reified political and literary structures. Because Coleridge’s poem formally and thematically revisits the inoperative energies of Wordsworth’s earlier text, this essay posits that the Rime’s presence in the first edition of the Lyrical Ballads—Romanticism’s so-called annus mirabilis—heralds an alternate trajectory of romanticism beyond the high Romantic humanism of the volume’s closing poem “Tintern Abbey.”

摘要

这篇文章使华兹华斯的索尔兹伯里平原与科尔里奇的《海军陆战队的霜》对话为了探讨两位诗人对让-卢克·南希（Jean-Luc Nancy）所谓的“不合作的社区”的投资，一种“没有社区的社区”的概念，认为政治和政治机构超越了实践的二元论和评论家经常认为的哲学安静主义华兹华斯的主要作品。当在社会边缘徘徊时，科尔里奇（Coleridge）的水手（Mariner）和华兹华斯（Wordsworth）的“无个性”人物将讲故事作为一种去主观化的力量，传达了不公开和削弱自我掌握的能力。通过将诸如社区，品格，代理和叙事之类的规范性美学和政治标记正式描绘为不全面和不起作用，这些诗向着一个无形，不扎实的社区的概念倾斜，该社区的成员落入了具体化的政治和文学结构的缝隙之间。里姆（Rime）在第一版抒情歌谣中的存在-浪漫主义的所谓的年人奇迹-预示了浪漫主义的另一条轨迹，超越了该卷闭幕诗“ Tintern Abbey”的高度浪漫人文主义。