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    Laon and Cythna and The Revolt of Islam: revisions as transition.

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    Authors
    Whickman, Paul cc
    Affiliation
    University of Derby
    Issue Date
    2018-10-16
    
    Metadata
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    Abstract
    The enforced amendments made to Laon and Cythna following its withdrawal from publication in December 1817 are generally regarded as workmanlike and prudent, sacrificing aesthetic merit in the name of compromise and self-censorship. There remain, however, few detailed readings of these modifications that go beyond subjective responses. To this end, this article offers a reading of these revisions arguing that although some are indeed functional alterations, other amendments serve thematic and aesthetic ends. One of Shelley’s most common changes, that of changing the word ‘God’ to ‘Power’, is a case in point. Since a key theme of the poem is of the collusion between political and religious tyranny, Shelley’s alteration of ‘God’ to ‘Power’ makes this connection more explicit. From this, this article concludes that these revisions signal, analogously at the very least, a transitioning point in Shelley’s thought and career. Whereas Queen Mab (1813) refers explicitly to ‘God’, later works such as Prometheus Unbound (1820) settle upon the term ‘Power’. The fact that we see Shelley move from one to the other between Laon and Cythna and The Revolt of Islam is therefore significant.
    Citation
    Whickman, P. (2018) ‘Laon and Cythna and The Revolt of Islam: revisions as transition’, The Keats-Shelley Review, 32(2), pp. 102-112. DOI: 10.1080/09524142.2018.1520461
    Publisher
    Taylor & Francis
    Journal
    Keats-Shelley Review
    URI
    http://hdl.handle.net/10545/623054
    DOI
    10.1080/09524142.2018.1520461
    Additional Links
    https://doi.org/10.1080/09524142.2018.1520461
    Type
    Article
    Language
    en
    ISSN
    0952-4142
    EISSN
    2042-1362
    ae974a485f413a2113503eed53cd6c53
    10.1080/09524142.2018.1520461
    Scopus Count
    Collections
    Department of Humanities

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