聖愛と俗愛のあわい―シェリーのジェイン詩篇にみられる天上のヴィーナスと知性的エロティシズム

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  • In between Sacred and Profane Love: Venus Urania and Intellectual Eroticism in Shelley’s Jane Poems
  • セイアイ ト ゾクアイ ノ アワイ : シェリー ノ ジェイン シヘン ニ ミラレル テンジョウ ノ ヴィーナス ト チセイテキ エロティシズム

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<p></p><p>Political, idealistic, and ethereal—it is a typical image of P. B. Shelley in the tradition of English literary history. In 1970’s, Yasunari Takahashi, with Hidekatsu Nojima and Kenkichi Kamishima, discussed what is called “cerebral eroticism” in Shelley’s poetry. Shelley’s abstract imagery is, according to Takahashi, combined with eroticism (it is likely that this idea came from Susan Sontag and Wilson Knight); such images as caves, coves and the long hair of the west wind give Shelley’s poetry a tinge of cerebral eroticism. This topic, however, has yet to be further explored. My essay examines the co-relation between Platonic or intellectual imagery and sensual feelings, seen through Shelley’s “Jane poems,” love poems addressed to Jane Williams, the wife of his friend Edward Williams. An intensive reading of three Jane Poems, “The Magnetic Lady to Her Patient,” “One Word Is Too Often Profaned” and “To Jane (The Keen Stars Were Twinkling),” focusing on their formal aspects, shows that these poems are imbued with various transient and sensuous images in between heaven and earth, or the sacred and the profane. In so doing, Shelley seems to employ the traditional Platonic images of Venus Urania and Venus Pandemos representing sacred love and profane love respectively (these images are originally from Plato’s Symposium). This article aims to articulate the dynamism of such poetic images produced from the poet’s longing for Jane in between sacred love (Urania) and profane love (Pandemos), and that will enable us to reveal a form of intellectual eroticism in Shelley’s late style, which was to be inherited by D. G. Rossetti via E. A. Poe.</p>

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