Abstract

ABSTRACTAnalyzing the function of song as a genre can clarify debates over how Shelley’s more visionary mode of poetry might intervene in politics and whether his overtly political popular songs betray the philosophical claim to a revolution in subjectivity made by those visionary works. Because the genre of song originates in communal, oral performance, yet is also a subgenre of the larger category of lyric, its intrinsic oppositions or tensions mediate between political action and lyric subjectivity. Tracing two streams of song, the “urbane” and the “marginal,” that offer models for Shelley’s experiments in song, the essay then conducts a census of songs in the volumes that Shelley published or intended to publish. Applying a description of oral song performances as representing a “bodily economy,” it examines Shelley’s three revisionary Greek dramas, especially the two published in 1820, to interpret the drafts of songs intended for his “little volume of popular songs, wholly political.”