Reading "Mont Blanc"

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Perhaps what distinguishes Shelley’s “Mont Blanc” is not so much how amazingly his imagination recreates the magnificent and picturesque landscape of Mont Blanc and translates it into poetic language, but the fact that the “awful scene” doesn’t arouse the poet’s masculine instinct of worshiping magnitude, but touches his sensitive nerve and stimulates his speculation on the subtle relationship between the “universe of things” and “human mind.” The speculation, though, does not go as far as to settle on a clarification of his belief. Rather, I skeptically take the poet’s speculation to be his hesitation to assert his preoccupation with the Doctrine of Necessity, and meanwhile, to embrace the power of imagination. The hesitation is manifested near the end of the poem. It might be unjustifiable, though, to treat the last two lines as the finale, since they appear to be a paradoxical continuation of the poet’s speculation, with the potential of acceptance, rejection, or fusion. “The secret strength of things” “inhabits” the external world, and determines the complicated and “ceaseless motion” according to “a law,” or its principle, and ultimately “governs thought,” in other words, determines human’s perception of the external world that they occupy. This is, essentially, a materialistic belief that imagination is predicated upon the situation of being existential. The materialistic world predetermines human’s approach to perceiving it. And on the other hand, the materialistic world is predetermined by the power of necessity that maintains its constant motion and equilibrium. It is, therefore, a denial of the creativity and subjectivity of imagination, and, ultimately, a denial of human’s agency of inventing, through imagination, an ideal world free from the intangible laws that rigorously govern the material world. Shelley, hesitant or unwilling to let go of his
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