Alexander Freer

Poetry appears in veils but is not concealed. The subjects of poetry are "clothed in its Elysian light" not to serve the vanity of poets but to make visible a measure of their inspiration.1 This claim, central to Percy Shelley's Defence of Poetry, finds few sympathetic ears. The metaphor of poetry's dress suggests to some that poets engage in obfuscation, if not reckless cover-up. William Hazlitt says as much in an 1824 review of Shelley's Posthumous Poems: "His Muse offers her services to clothe shadowy doubts and inscrutable difficulties in a robe of glittering words, and to turn nature into a brilliant paradox. … Where we see the dazzling beacon-lights streaming over the darkness of the abyss, we dread the...

In the 1980s there was a brief but intense period of interest among literary critics and theorists in Classical Rabbinic interpretation, and, in particular, the genre of commentary known as Midrash. Interest concentrated around the apparent similarities between Midrash and the commentaries and criticism of Derrida, Lacan, Freud, Barthes and others. This essay examines this connection between Midrash and theory in light of the persistent charge from Foucault and others that all hermeneutics is essentially theological. It proceeds by drawing out the aims and frustrations of the literary critics and Jewish scholars involved, and considers in what ways the questions which arose in these years might be pertinent for contemporary literary criticism, theory and institutional practice.

I argue that the difficulty Kant encounters in evaluating music in the third Critique is caused by his problematic attempt to separate sound from meaning. Analogously, Wordsworth attempts in the Preface to divide metrical pleasure and the feeling derived from the semantic meaning of poems. In both cases, this separation can be overcome by a radical, Romantic understanding of musicality, whereby music not only participates in meaning but becomes its grounds. While this remains latent in Kant, Wordsworth's ‘Tintern Abbey’ can assert the centrality of listening to thinking, which has important implications for his poetics.