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• W835523988 abstract "In the field of Romantic Studies it is common to assume the dichotomy between closet drama and stage performance. This essay will question this long-established dichotomy and argue instead for the Romantics' involvement in the theatrical performativity of their poetic language. Other scholars have demonstrated the Romantic denial of the public stage in favour of privatized closet reading was a cultural strategy meant to promote the hegemony of the written text as the only legitimate authority in the theatrical vision.1 Here I will rather explore a formerly neglected aspect of closet drama, namely, the performativity of its language as a compelling issue intrinsically bonded with questions of power.2 Wordsworth's The Borderers patently acts out the complexity of such an issue.Written in 1796-97 (the first version was completed in early 1797) and then revised for publication in 1842, without any view to its exhibition upon the stage,3 The Borderers was never performed during Wordsworth's lifetime, first in compliance with the author's stated intentions, and later, when financial reasons made him change his mind, because it was rejected by the manager of Covent Garden. Only two centuries later did a world premiere take place, during the Grasmere celebrations of Wordsworth's centenary in 1970. There followed a Yale Theatre Studies production in 1987 which was favourably received.4 For the purposes of the following discussion it is irrelevant whether the play was performed or whether it is fit or unfit for a public stage. Rather, I will focus on the play's metalinguistic intensity, on the text's mise en abyme of its own making. My aim is to show Wordsworth's awareness of the ideological side of language and his critical interest in the agency of cultural discourse helped him negotiate the divide between imagination and history after the French Revolution.Regicide and languageThe French Revolution gave rise to a political controversy over the nature of representation. The standard example is the debate between Edmund Burke and Thomas Paine on the literal or metaphorical nature of language, both on the page and on the stage, including the political arena, which Wordsworth defined as that great stage where senators, tongue-favoured men, perform.5 Women intellectuals like Mary Wollstonecraft and Joanna Baillie also joined in the controversy, upholding the performative potential of language to fashion identity and forge gender categories. Wordsworth took active part in these debates on the role of language in fashioning private as well as social identity. The Borderers was the offspring of his role in the political controversy combined with his engagement with Edmund Burke's position.Burke's passionate narrative of the French Revolution was received by radical thinkers much like a speech act does what it says: his account had unleashed the very horrors it prophesied. Burke's position is interesting because, while it is possible to detect an anti-mimetic bias in his remarks on language, as Mary Jacobus puts it, he also need[ed] Indeed, for Jacobus, it is history provided the basis of his theory of tragedy.6 Wordsworth engages Burke's double allegiance to language and history.Wordsworth celebrated Burke in The Prelude.7 However, it is doubtful the reasons for the poet's admiration were confined to the performative potential of the writings of the political philosopher. Wordsworth stressed the importance of rhetoric in the making of historical events, but, like Burke, he needed history. He cultivated the secret ambition to have a public and political voice in history. It is therefore likely, as Jacobus establishes, Burke incarnated the poet's suppressed desire for historical agency.For Burke modern history had the form of tragedy. He had championed an affinity between this literary genre and modern politics, with its genesis in regicide. Mary Jacobus observes: Instead of making tragedy the paradigm of Revolution, Burke makes Revolution the paradigm of tragedy. …" @default.
• W835523988 created "2016-06-24" @default.
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• W835523988 date "2015-01-01" @default.
• W835523988 modified "2023-10-15" @default.
• W835523988 title "CLOSET DRAMA ON THE STAGE OF REVOLUTION: LANGUAGE ON TRIAL IN WORDSWORTH’S THE BORDERERS" @default.
• W835523988 doi "https://doi.org/10.1163/9789401212007_014" @default.
• W835523988 hasPublicationYear "2015" @default.
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