Wordsworth's Art of AllusionPennsylvania State University Press, 1988 - Всего страниц: 262 Wordsworth's poetry incorporated the English poetic tradition to a greater degree and in more ways than that of any poet before him. This book explores the range and uses of quotations, echoes, and allusions drawn from some 1,300 intertextual instances that the author has recognized in his work. The principal interest of the echoes examined here lies in the revaluation of the poet and the theoretical issues his varied use of them suggests. Through echoing, Wordsworth embodies and explicates his assertions of continuity in human development, his vision of interchange between the mind and nature, and his intention to revitalize English poetry by at once mediating and revolutionizing the tradition. Further, through echoic devices he accomplishes his three main poetic goals--the normative one of bringing poetry back in touch with oral discourse, the Miltonic one of giving it a prophetic role, and the peculiarly Wordsworthian one of substantiating his ideas about the relation between subject and object. This book will be of value to Wordsworth scholars for the actual borrowings it records and for the enriched understanding of the poet its original approach offers. Further, it possesses a truly wide-based cultural interest, not only in its general theory of echoing as a process central to discourse but specifically in such matters as the turn to native tradition vs. classic tradition, the difference between weak emulation and fierce wrestling with precursors, and, above all, the extraordinary classification of allusions. The categories are helpful fare beyond the Wordsworth subject matter that gave rise to their perception. Important also is the major theoretical challenge posed by this work to the intensely focused influence study of Harold Bloom. |
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... come to me from the fields of sleep " takes the last step - it completely blends inner and outer reference . The winds ... comes to consciousness " from above " and " from within " ; it is often stimulated by an external object , but the ...
... comes about between these opposed elements , and together they form a remarkable but unthreatening whole . The opposed elements are not fused but made to occupy middle ground . Thus , while Virgil turns at last to myth to locate his ...
... comes not to embitter but to cheer the poet " conscious that my leaf is sere , / And yellow on the bough ” ( 14–15 ) , and so inverts , without a specific confrontational purpose , the tonal force of the original . The lack of point or ...
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Using the Tradition | 19 |
Echo as Genesis and Mediation | 42 |
Wordsworth and the Renaissance Heritage | 83 |
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