Foregrounding and the sublime: Shelley in Chamonix

Abstract

Commentators have spoken of the moment of sublime experience as one of amazement, of being overwhelmed by the strikingness of the sublime appearance. The sublime, in other words, is an effect of defamiliarization. If a poet is to embody the sublime experience in language (i.e., in the poetic sublime), we would expect the resources of linguistic foregrounding to be central to this effort. The defamiliarizing moment is, of course, central to the modern conception of the response to foregrounding. It is thus also at the heart of response to the sublime.

In this article I consider the resources of foregrounding called upon by Shelley in his letter from Chamonix and his poem `Mont Blanc', and suggest that these enable us as readers to enact his experience through striking figurative, phonetic, and metrical features. I focus on four features: the sense of defamiliarization; disrupted or unusual syntax; the senses being under pressure; and figures that suggest a merging of mind and nature. In particular, I develop a conception of the ecological significance of the sublime scene, showing how Shelley creates an ethical view of Mont Blanc through three concepts that I term presence, community, and autonomy.