Abstract

In Byron, Shelley, and Goethe’s Faust, author Ben Hewitt has provided us with a carefully done and convincing study. Given this, it would have been interesting to see Hewitt’s effort to integrate Mary Shelley’s work into his narrative. Apart from any similarities between Faust and Frankenstein, it bears remembering that Goethe himself remained unconvinced by efforts to clearly demarcate works as “tragic” or “epic”; a fact that becomes especially clear in the number of works he’d devoted to rewriting the story of Prometheus. One cannot help but wish that Hewitt had considered the connection between these works and Shelley’s own “Modern Prometheus” in juxtaposition to his reading of P.B. Shelley’s Prometheus Unbound, for this would have made for an especially good ending to Hewitt’s story. Wayne Deakin’s consideration of Hegel and the English Romantic Tradition does indeed close with a brief consideration of Mary Shelley’s Prometheus, but this comes only at the end of a much longer set of considerations. In this book Deakin adopts a similar strategy as that of Hewitt, namely, foregoing any historical recovery of Hegel’s direct influence on the English Romantics—in Deakin’s case, Coleridge, Wordsworth, and P.B. Shelley—to focus instead on a reading of key poetic works in concert with their Hegelian framework. This reading essentially flows from Deakin’s effort to rethink Hegel’s relatively early notion of self-consciousness through his late lectures on aesthetics. For Deakin, this leads to “aesthetic recognition”; a situating of the self in relation to the world that remains in tension so far as the subject’s drive for autonomy will automatically be humbled by its reception of and to alterity—be that other “Nature” or other subject.