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 55
... loss . The verse moves onward , without faltering , towards the climax determined for it , but the emotions pull against the claims : That time is past , And all its aching joys are now no more , And all its dizzy raptures . Not for ...
... loss . The verse moves onward , without faltering , towards the climax determined for it , but the emotions pull against the claims : That time is past , And all its aching joys are now no more , And all its dizzy raptures . Not for ...
Side 63
... loss . The writing is elegiac , but its power lies also in a series of ironies : in the exaggerated self - pity of the ' dull sobbing Draft ' ( which is separate and inferior to the external ' winds ' ) ; in the comic reversal implied ...
... loss . The writing is elegiac , but its power lies also in a series of ironies : in the exaggerated self - pity of the ' dull sobbing Draft ' ( which is separate and inferior to the external ' winds ' ) ; in the comic reversal implied ...
Side 79
... loss . The last part of the poem , though less densely allusive , is more complex . Not because it explores difficult philosophical issues , but because it offers a resolution to the poem's central problem in terms that seem directly to ...
... loss . The last part of the poem , though less densely allusive , is more complex . Not because it explores difficult philosophical issues , but because it offers a resolution to the poem's central problem in terms that seem directly to ...
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 |