By Jack Goldstein
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This circumstance motivates the subject to stop short of consummating with his or her adulterous partner and to retreat to the safe, though stultifying, haven of marriage. Shelley’s complex fantasy regarding vocal authority and the music of feminine expression exhibits all of the features of this arrangement. First of all, Shelley’s fascination with the power of feminine expression, concretized in rhythmic somatic movement and in emotionally charged song, diminishes the historical authority of the word.
On Saturday, February 1, for example, she reveals, “in the evening … H. Mrs. H. and I go to the opera—Figaro—I am very much pleased” (JMS 161). On Tuesday, February 4, and on Thursday, February 6, she records 33 Lacan 154, 178. Zizek, Plague 49. 35 Lacan 73–83. 36 Fenner 28. 34 32 Shelley’s Music that she listened to Hunt’s music and on the ninth of the same month writes, “walk with S. and Hunt to Brougham’s in the morning—after dinner read the arcadia. Several of Hunt’s acquaintances come in the evening—music” (JMS 162–3).
Poetry composed and performed extempore, in the style, perhaps, of a prima donna showing off her vocal range at the London opera houses,27 remains confined to the temporal and must be experienced immediately. 28 In this regard, voice functions as the object constituting Shelley’s subjectivity, his desire, and textuality itself. Written text promotes the fantasy of self-present expression, but ultimately it represents an ever-elusive acoustic mirror of every poet’s subjectivity. Feminine expression mirrored back to him the vacancy behind his own silent expression.