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structures of his verse”. Like Keats’s “camelion [sic] poet,” Harrison argues, Callicles is constantly “filling some other Body” (48). But this version of disinterestedness, the version where sensation directs one in an ongoing exploration of the physical world is probably not what Arnold had in mind, though it might be where the concept of “disinterestedness” finally arrives.) Later, when Callicles is pressed to explain his willingness to help Empedocles, he admits, “I know not how, he draws me to him, / And I could watch him with his sad face, / His flowing locks and gold-encircled brow / And kingly gait, for ever” (1:1, 58-63). Like Baudelaire’s modern painter, Callicles aestheticizes that which enraptures him, and thereby objectifies his own desire. The very aimlessness of this desire, its tendency to wander from object to object, points to the “psychic mobility,” the “unanchored identity,” of the modern subject (Bersani, 2). And while Arnold’s poem seeks to discredit just this suspended mobile subjectivity, its persistent presence in this central poem, and the poem’s final persistence in Arnold’s self-structured canon, speaks for, rather than against, the anarchic alternative Arnold seeks to control.Конец ознакомительного фрагмента.
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