Coleridge, Wordsworth, and the Language of AllusionClarendon Press, 1986 - 214 sider In her study of two creative minds, Lucy Newlyn offers a startlingly new version of the poetic interaction between Coleridge and Wordsworth during the critical years from 1797 to 1807. Rejecting the traditional accounts, even those given by the poets themselves, which have minimized the differences between the two, Newlyn demonstrates that it is only on the most superficial level that each poet seemed to be the other's ideal audience. Below that surface, she insists, there were radical dissimilarities between the two which led to a kind of "creative" misunderstanding by which each artist clearly defined himself in relation to the other. Because it is in the poet's "private language" of allusion that these differences are most clearly seen, the book concludes that this "private language" spoken by artists amongst themselves may in fact be the most aggressive of literary forms. |
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Side viii
... given rise . My aim has been to present difference as the incompatibility it increasingly was , as well as the means of creative self - definition it turns out to have been . The key to this interpretation is in the poets ' private ...
... given rise . My aim has been to present difference as the incompatibility it increasingly was , as well as the means of creative self - definition it turns out to have been . The key to this interpretation is in the poets ' private ...
Side 46
... given the ' special privilege ' he had earlier wished on his son . The central passage of the poem ( 11. 69-86 ) is an allusive portrait , designed for a private audience as a tribute not just to Dorothy herself but to the values she ...
... given the ' special privilege ' he had earlier wished on his son . The central passage of the poem ( 11. 69-86 ) is an allusive portrait , designed for a private audience as a tribute not just to Dorothy herself but to the values she ...
Side 131
... given the strange vitality of the sea - beast . Once the conferring power is released , which it is the moment one sees the stone as ' couch'd ' , 28 there can be no abstraction , no reversal of the process . During the next twelve ...
... given the strange vitality of the sea - beast . Once the conferring power is released , which it is the moment one sees the stone as ' couch'd ' , 28 there can be no abstraction , no reversal of the process . During the next twelve ...
Innhold
Introduction The First Acquaintance of the Poets 17937 | 3 |
The Early Days at Alfoxden | 17 |
Alfoxden and the making of a | 32 |
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Coleridge, Wordsworth and the Language of Allusion Lucy Newlyn Ingen forhåndsvisning tilgjengelig - 2001 |
Vanlige uttrykk og setninger
allusion asked associations aware becomes begins Biographia Book Borderers called Chapter child childhood claims Coleridge Coleridge's comes connection continues contrast creative describe earlier early earth echo fact fancy fear feel final Frost at Midnight given gives Griggs Hartley heart hope human imagination implied Intimations kind language later less Letter light lines living look loss Lyrical March meaning memory metaphor Milton mind mood moving myth Nature never offers once original pain passage passion past Pedlar phrase play poem poet poet's poetry possible Prelude present reason recalls reference relationship response Sara scene seems seen sense shape shared soul sounds spirit stage stanza suggest symbolic takes thee things thou thought Tree turns values vision voice whole wish Wordsworth writing written
Referanser til denne boken
Masters of Repetition: Poetry, Culture, and Work in Thomson, Wordsworth ... Lisa Malinowski Steinman Ingen forhåndsvisning tilgjengelig - 1998 |