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 10
... human heart ' . It is a revelation of the heart's capacity to be touched a demonstration of the primacy of human feeling . To claim that the play is anti - Godwinian would be misleading . It represents ( to use one of its own metaphors ) ...
... human heart ' . It is a revelation of the heart's capacity to be touched a demonstration of the primacy of human feeling . To claim that the play is anti - Godwinian would be misleading . It represents ( to use one of its own metaphors ) ...
Side 12
... human heart ' he had Shakespeare and Schiller in mind . He meant it literally when he implied that Wordsworth was as great as them , but also more consistent . The grandeur of his claim rests on the character of Rivers . In dramatic ...
... human heart ' he had Shakespeare and Schiller in mind . He meant it literally when he implied that Wordsworth was as great as them , but also more consistent . The grandeur of his claim rests on the character of Rivers . In dramatic ...
Side 85
... human perception . But it is also a ' repetition in the finite mind ' of God's eternal act of creation.51 One might be tempted , from an atheistical ( or ahistorical ) perspective , to see the ' infinite I AM ' as the human imagination ...
... human perception . But it is also a ' repetition in the finite mind ' of God's eternal act of creation.51 One might be tempted , from an atheistical ( or ahistorical ) perspective , to see the ' infinite I AM ' as the human imagination ...
Innhold
Introduction The First Acquaintance of the Poets 17937 | 3 |
The Early Days at Alfoxden | 17 |
Alfoxden and the making of a | 32 |
Opphavsrett | |
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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 |