ABSTRACT

Mary Robinson’s Lyrical Tales (1800) has long been understood as a retort to William Wordsworth and Samuel Taylor Coleridge’s first edition of Lyrical Ballads (1798) and has long been admired for its multi-genre presentations of radical social, political, and sexual politics. This essay is on the collection’s understudied poem “The Shepherd’s Dog” and its focus upon the radical relationship between human and animal, colleague and companion, soldier and soldier of the working class. By privileging the working animal’s sentience, his complicated service to humans, and his similarity to revolutionaries, Robinson’s poem functions as a uniquely non-anthropocentric and postsecular precursor to “Michael,” Wordsworth’s famous pastoral poem from the second edition of Lyrical Ballads. This examination of “The Shepherd’s Dog” emphasizes Robinson’s authority among first-generation Romantics and among those she inspired after them, especially the nineteenth-century women writers who continued to assert the value of both the female and non-human gaze.

摘要

玛丽·罗宾逊的抒情故事（1800 年）长期以来一直被理解为对威廉·华兹华斯和塞缪尔·泰勒·柯勒律治的第一版抒情歌谣（1798 年）的反驳，长期以来因其对激进社会、政治和性政治的多体裁表现而备受推崇。这篇文章是关于该集未被研究的诗歌“牧羊犬”及其对人类与动物、同事与伴侣、士兵与工人阶级士兵之间的激进关系的关注。罗宾逊的诗将劳动动物的感知、他对人类的复杂服务以及他与革命者的相似性赋予特权，从而成为华兹华斯第二版著名田园诗《迈克尔》的独特非人类中心主义和后世俗先驱。抒情民谣。此次对《牧羊犬》的考察强调了罗宾逊在第一代浪漫主义作家和她在他们之后受到启发的那些人中的权威，尤其是在继续主张女性和非人类凝视的价值的 19 世纪女性作家中。