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Connotations A Journal for Critical Debate Volume 10 (2000/2001) Numbers 2-3 Waxmann Munster / New York Connotations - A Journal for Critical Debate by the Connotations Society is licensed under a Creative Commons Attribution-ShareAlike 4.0 International License. Editor's Note When, some ten years ago, my younger colleagues and I wanted to launch a new journal for critical debate, we asked some very well known scholars in the field of Literature in English to support us by joining the editorial board. One of them was John F. Steadman, with whom I had been privileged to practice critical debate when I met him socially in Munster. He instantly complied with our wish, and hon­ oured us by letting us publish his article on The House of Fame and, through the years, gave us his advice with unfailing amiability. When he now told us that he wanted to withdraw, we of course understand and respect that decision, but we shall miss him very much. We shall think of him with gratitude and affection and we wish him all the best. Inge Leimberg Connotations: A Journal for Critical Debate Published by Connotations: Society for Critical Debate EDITORS Inge Leimberg (Munster) and Matthias Bauer (Saarbrucken) ASSOCIATE EDITORS Lothar Cerny, Michael Steppat, Dieter Kranz and Christiane Lang Secretary: Jutta Muller EDITORIAL ADDRESS Matthias Bauer, Universitat des Saarlandes, Department of English (4.3), P.O. Box 151150, 66041 Saarbrucken,Germany Email: [email protected] http://www.connotations.de EDITORIAL BOARD M. H. Abrams, Cornell University Christiane Bimberg, Universitat Dortmund John Russell Brown, Middlesex University Paul Budra, Simon Fraser University Eleanor Cook, University of Toronto Elizabeth Story Donno, The Huntington Library Judith Dundas, University of Illinois at Urbana-Champaign William E. Engel, Nashville, Tennessee A. C. Hamilton, Queen's University, Ontario John P. Hermann, University of Alabama John Hollander, Yale University Lothar Honnighausen, Rheinische Friedrich-Wilhelms-Universitat Bonn Arthur F. Kinney, University of Massachusetts, Amherst Maynard Mack, Yale University Frances M. Malpezzi, Arkansas State University J. Hillis Miller, University of California, Irvine Dale B. J. Randall, Duke University Alan Rudrum, Simon Fraser University John M. Steadman, The Huntington Library Zdenek Stfibrny, Charles University, Prague Leona Toker, The Hebrew University of Jerusalem John Whalen-Bridge, National University of Singapore Joseph Wiesenfarth, University of Wisconsin-Madison Waxmann Munster / New York ~ Connotations wants to encourage scholarly communication in the field of English Literature (from the Middle English period to the present), as well as American and other Literatures in English. It focuses on the semantic and stylistic energy of the language of literature in a historical perspective and aims to represent different approaches. Each issue consists of articles and a forum for discussion. The forum presents, for instance, research in progress, critical hypotheses, responses to articles published in Connotations and elsewhere, as well as to recent books. As a rule, contributions will be published within five months after submission so that discussion can begin without delay. Articles and responses should be forwarded to the editors. Articles should not exceed 12,000 words and follow the MLA Handbook. Responses should be limited to 4,000 words. If possible, all contributions should be submitted bye-mail or on diskette (preferably in a Windows format), accompanied by a hard copy; they should be in English and must be proofread before submission. Manuscripts and disks will not be returned. Connotations is published three times a year. Private subscribers are welcome to join the Connotations Society for Critical Debate. Members receive the journal as well as invitations to the Connotations symposia. The suggested annual fee is € 40 ($ 37, £ 27); reduced rate (e.g. for students) € 20 ($18, £ 14). Please write to: Connotations, Department of English (4.3), Universitat des Saarlandes, 66041 Saarbrucken, Germany. Email: [email protected]. Libraries and other institutional subscribers write to: Waxmann Verlag, Steinfurter Str. 555, 48159 Munster, Germany; or: Waxmann Publishing Co., P.O. Box 1318, New York, NY 10028, U.S.A. Email: connotations@ waxmann.com. Annual subscriptions are in Europe € 40, in the U.S. and all other countries $ 60, including postage. A selection of articles and responses is freely available on the internet (http://www.connotations.de). @Waxmann Verlag GmbH, Munster/New York 2002 All Rights Reserved Printed in Germany ISSN 0939-5482 Connotations is a member of the Council of Editors of Learned Journals. Contributions are indexed, for example, in the MLA Bibliography, the World Shakespeare Bibliography and the IBZ/IBR. Connotations A Journal for Critical Debate Volume 10 (2000/2001) Numbers 2-3 The Poetics of Conversation in 20th-Century Literature and Criticism (I) Conversation and the Poetics of Modernism LOTHAR HONNIGHAUSEN 106 How to Have a Conversation with Gertrude Stein: An Essay in Four Steps HEATHER CASS WHITE 124 Robert Frost's Conversational Style MAURICE CHARNEY 147 "He do the Police in Different Voices": A Bakhtinian Take on Conversational Modes in some Modem British Poets RA]EEVPATKE 160 "Akind of musical conversation": Britten and Crozier's Let's Make an Opera! REBEKKA FRITZ, INGE LEIMBERG and NINA SANDMEIER 175 Conversational Echoes in Anne Fine, Goggle-Eyes (1989) THOMAS KULLMANN 207 'Conversation' among Pragmatist Philosophers JOHN WHALEN-BRIDGE 224 Poetics and Conversation NEAL R. NORRICK 243 Other ARTICLES and DISCUSSIONS "Momentary visions of permanence" in the Stuart Masque or the Eloquence of Speech through Picture THIERRY DEMAUBUS 268 Vaughan and Divine Inspiration: A Reply to Donald Dickson JONATHAN NAUMAN 287 The Visuality of Personification in Richard Savage's The Wanderer: A Vision SANDRO JUNG 293 Hopkins's Portraits of the Artist: Between the Biographical and the Ideological DENNIS SOBOLEV 304 Connotations VD!. 10.2-3 (2000/2001) The Poetics of Conversation in 20th-Century Literature and Criticism Critical debate, as it is practised by the authors and editors of Connota­ tions, is akin to conversation. This is an added reason why we are glad to share with our readers the contributions to our most recent sympo­ sium, and invite them to continue its discussions by writing responses and by taking pait in our next conference in 2003. The second group of talks will be published in the next issue of Connotations. My co­ editors and I would also like to take the opportunity to thank the Deutsche Forschungsgemeinschaft for its financial support, and the director and staff of the Gleimhaus in Halberstadt, where the sympo­ sium took place on August 5-9, 2001, for their hospitality. Gleim's "Temple of Friendship" proved a most congenial place for discussions on "The Poetics of Conversation." Matthias Bauer Connotations Vo!. 10.2-3 (2000/2001) Conversation and the Poetics of Modernism LOTHAR HONNIGHAUSEN Poetry as a literary genre encompasses many modes but conversational poetry or conversation in poetry is not what comes first to mind when one tries to define the essence of poetry. In fact, poetry and conversation constitute different kinds of discourse with different ideological goals and different communicative appeals and responses. While conversation is primarily a societal phenomenon and as such plays a major role in novels and plays, poetry's prime end and mode of communication, at least from the era of Romanticism through Modernism to Postmodernism, is to affect the sensibility of individuals individually and intimately. In contrast, conversation-whether we think of the enlightenment aristocrats of the eighteenth century or the salons of the nineteenth century bourgeoisie-was very much a public affair. In this regard, it is helpful to remind oneself of the social and scenic quality of the term Konversationsstucke, conversational pieces in art history, a subspecies of genre painting, depicting social gatherings both in interior scenes Gan Steen, The Bean King's Festival, 1668; Jan Vermeer, Christ at the House of Mary and Martha, 1655) and as fetes galantes in stylized landscapes (Antoine Watt eau, The Champs Elysees, 1717-21, Edouard Manet, Le dejeuner sur l'herbe, 1863) in which conversation plays a major role. As for conversational pieces in literary history, T. S. Eliot's poetry volume, Prufrock and Other Observations 1917, contains not only interesting examples of poems in which conversation or conversational elements play a role but even one poem that is entitled "Conversation Galante." The French title of this poem is a reminder of the impact on modernism of the great conversational tradition of salons and fetes _______________ For debates inspired by this article, please check the Connotations website at <http://www.connotations.de/debhoennighausen01023.htm>. Conversation and the Poetics of Modernism 107 galantes and particularly of the revival of interest in them through the neo-rococo of Verlaine and Beardsley. In T. S. Eliot's "Conversation Galante," the speaker's flourish of parodic moon images ("I observe: 'Our sentimental friend the moon!'''Eliot 33)1 elicits from the female respondent a commentary that is not exactly appreciative: "How you digress!" His second attempt to evoke for her a romantic setting through an "exquisite nocturne" -perhaps by Chopin-" and moonshine" is hardly more successful: "Does this refer to me?" Finally, she counters
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