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AMBIENTUM BIOETHICA BIOLOGIA CHEMIA DIGITALIA DRAMATICA EDUCATIO ARTIS GYMNAST. ENGINEERING EPHEMERIDES EUROPAEA GEOGRAPHIA GEOLOGIA HISTORIA HISTORIA ARTIUM INFORMATICA IURISPRUDENTIA MATHEMATICA MUSICA NEGOTIA OECONOMICA PHILOLOGIA PHILOSOPHIA PHYSICA POLITICA PSYCHOLOGIA-PAEDAGOGIA SOCIOLOGIA THEOLOGIA CATHOLICA THEOLOGIA CATHOLICA LATIN THEOLOGIA GR.-CATH. VARAD THEOLOGIA ORTHODOXA THEOLOGIA REF. TRANSYLVAN
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The STUDIA UNIVERSITATIS BABEŞ-BOLYAI issue article summary The summary of the selected article appears at the bottom of the page. In order to get back to the contents of the issue this article belongs to you have to access the link from the title. In order to see all the articles of the archive which have as author/co-author one of the authors mentioned below, you have to access the link from the author's name. |
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STUDIA PHILOLOGIA - Issue no. 2 / 2022 | |||||||
Article: |
THE CHAMELEON’S BLUSH AND THE POETIC IMAGINATION FROM SHAKESPEARE TO KEATS. Authors: JONATHAN P. A. SELL. |
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Abstract: DOI: 10.24193/subbphilo.2022.2.14 Article history: Received: 13 December 2021; Revised: 28 April 2022; Accepted: 4 May 2022; Available online: 30 June 2022; Available print: 30 June 2022 pp. 251-270 VIEW PDF FULL PDF Abstract: The Chameleon’s Blush and the Poetic Imagination from Shakespeare to Keats. When English Romantic poet John Keats likened William Shakespeare to a chameleon, far from being original, he was tapping into a venerable tradition of drawing analogies between human beings and the colour-changing reptile. In literary criticism, the analogy is usually taken to refer to poetic indeterminacy; in sociopsychology, to conscious or unconscious, opportunistic versatility of identity. This study traces the evolution of the polyvalent chameleon trope from the zoological treatises of antiquity, through wonder literature and Renaissance and early modern works on psychology and witchcraft, to Shakespeare’s plays. It shows more specifically how the chameleon came to acquire an imagination and how that imagination was, on the one hand, instrumental in prompting the sort of inter-subjective absorption Keats emblematised in the blush, and, on the other, projective in a sense akin to Hazlitt’s own theory of the imagination. As a result, new light is thrown not only onto specific features of Shakespeare’s art and Romantic poetics, but also onto past conceptions of the imagination and the generative role of zoological analogy in their formulations. Keywords: imagination, chameleon, William Shakespeare, John Keats, blush
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