DOCSLIB.ORG

Introduction Chapter One

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Introduction Chapter One INTRODUCTION CHAPTER ONE INTRODUCTION If Eliot has been tne Messiah of the recent Metaphysical cultism, Coleridge was its John Baptist, carrying out the merits of the metaphysicals, preparing the way for the present revival. (Duncan, 1959: 33) The twentieth century has displayed a distinct taste for the seventeenth century metaphysical literature, thought tensions and preblems. The affinity has been most clearly revealed in the i4etaphysical revival - revival of interest in a style found in its most distinguished and distinguishable fonii in the poetry of John Donne, Marvell, Vaughan, etc. The metaphysical revival began almost imperceptibly in the earlier nineteenth century, increased in vigour and importance and flourished in the twentieth century. Dougnlas Bush (1945: 135) has called the Metaphysical revival "the main single factor in effecting the modem revolution in taste". The revival shows no sharp breaks, but an abandance of fresh interpretation. In addition to its essential continuii^, the movement always had life and interest, because it was always changing. New generations of poets transmuted metaphysical tecnniques into a genuine modem poetic idiom. For the poets and critics, the new interpretation has been most rewarding. The most representative metaphysical poets were John Donne, Edward Herbert, George Herbert, John Cleveland, Andrew Marvell and Abraham Cowley. Richard Crashaw was a metaphysical poet but he was a special case. In the work of Henry Vaughan there are some important metaphysical elements. It is necessary to indicate the precise nature of the term 'Metaphysical*. Men of the sixteenth century desired a change in poetry - poetry more sparkling, less emotional and more intellectual, less sweet and more piquant. Some others wanted obscurity which was shown by the satirists. These tastes are gratified and there came a transformation by what is called 'Metaphysical'.'But the seventeenth century writers were not aware of the term and did not have any idea that they were 'Metaphysical'. The metaphysical conceit grows up gradually. There is nothing metaphysical about Spenser's comparisons of two contesting i-Lnights to two contesting beasts but there is sometning metaphysical in' /^V , Donne's comparison of a pair of lovers to 'a pair of ^^ compasses'. As the resemblances become more recondite, more intellectual and less emotional tney are m-^ving further in the metaphysical direction. '»Vhere comparisons are to be very recondite the things are compared must be sought for in the fields of experience very remote from one another. 3eing remote - they cannot be re-united without a clash or snock. In ancient, mediaeval and Golden poetry - such clashes as shocks are avoided for decorum. The poets welcomed this necessity. The rule of the decorum exists to avoid clashes or shocks to organized sensibility. It was an easy discovery that an occasional defiance of the rule resulting in s#hocK can give pleasure. Breaches of decorum v/ork in the same way, thougn the shock need not be comic. A more flippant and v^imsical use of the same method can be seen v^ere Ovid describes Olympus in terms of Rome. As Lewis (195A-: 54Jj points out The metaphysicals were making no absolute innovation when tney deliberately produced poetic shocks by coupling v/hat was sacred, august, remote or inhuman with what was profane, humdrum, familiar, and social, so that God is asked to 'batter' a heart, Christ's 'stretched sinews' become fidlestrings, cherubs nave breakfasts. The novelty lay in doing this sort of thing more often and more violently, than previous poets had done. It is this 'discors concordia' that gives raetapiiysical poetry its essential flavour.' These po^-ts were not abolisning or ignoring poetic decorum but exploiting it in the reverse. Decorun was in their bones. "Hetapnysical poetry is tv/ice bom" (ibid: 54l). It uses discoro. "It may be either 'parasitic' (it lives on non-metaphysical pot ^y) or as being of a 'higher logical order' (it jresuooooes o"Cht?r poetry}" (ibid: 542). Let us first exa.nine metaphysical poetry entirely from a sev:;nteonth century joxnz of view and then trace out the revival from its beginning in the nineteenth century to the present. This includes an examination of changing critical attitude towards metaphysical poetry and a study of shifting interpretations of the metaphysical style in the poetry of W B Yeats, r^iiot and others. The seventeenth century metaphysical poets were never self-consiciously allied; neither were tney individuals working independently. Donne was the leavining force in the rise of the style. His poetry abounds in probing analogies and ingenious wit and recent critics have found in Donne, examples of ambiguity and unified sensibility. Following Donne's lead, iidward and George Herbert helped establish the secular and devotional lines in metaphysical poetry. In <this structures and figures £dward Herbert praised the expression of common things ingeniously ana wittily and somewhat out of the ordinary road. :'iarveil, v/hose tone is often closer to that of Lovelace and the Cavalier Piatonists tnan to Donne, absorbed tne metapnysicai style with an easy grace into his own. George Herbert channelled tne metaphysical into a true devotional poetry like Donne: he married a careful logic to a metaphorical vision. Both i:,dward and George Herbert depended for their figures on abstract knowledge and everyday experience. Crashaw's metaphysical style is intertwined witn a continental Carnoiic baroque style. All these poets contributed to the development of the style tcnown as 'Metapnysicai'. Thomas Crew in his poem (M.L.P. i969: pp. 17/-80) 'An Jiiegy upon the death of the Dean of Pauls Dr John Donne' mentioned Donne's revolt against imitation and conventional imagery of 'Gods and Goddesses', his pregnant fancy, his masculine line that bends 'our troublesome language'. Donne had been able to express something new through the handling of the language. An Anglican clergyman .-riles Aiaxsworth found hidden referances and allegories through out Donne's poetry. The poetry of Donne and his followers was related to the philosophical, rhetorical and poetic theories of the Renaissance, which constituted still a force in seventeenth century literature. Logical structure, metaphor and wit are usually regarded as typical of Donne and his follov/ers. During the Renaissance many writers forged new links between rhetoric and logic. Part of the new interest in logic was due to Peter Ramus, who, in his artistic revision of Aristotle, stressed the subordination of other sciences to logic and greatly emphasized the logical process of investigation and disposition. There was a new e.-nphasis upon the so-called figures of thougnt, such as definition, distinction, cause and eiiect which could be dealt with under the heads of logic. Logical disposition, figures of thougn and the metaphysical conceit flourished in the A logic-conscious Ilenaissance climate. Writing familiar to the metaphysical poets could 6 have given t;iem considerable support for their conceits. In fact Aristotle (cf. Welldon, 1886: 2b9) could be regarded as 'the Father of the Conceit'. He stressed the need for appropriateness in figures, but he also emphasized the pleasure given by strangeness, originality and surprise. He approved metaphors derived from well constructed enigmas and explained that it is proper to derive metaphors from objects vmich are closely related to the thing itself. For him it is a mark of sagacity to discern resemblances in things which are widely different, Aristotle was interested in wit as a stylistic device that could enliven and make more effective the matter in hand and was aware of its close relationship to an underlying logic. The ideal was the continual flash o±" novelty from surprising intellectual relationship. Man ^•ras connected not only with stars, but also with the minerals, vegetable and animal realims. There were seven spheres, seven ages of man, seven days, seven sins, and seven notes in the scale. Renaissance thinkers were particularly eager to bring order into complexity by finding connexions not onJ v betv/een macrocosm and microsasm, but also between all created things. The metaphysical ijonceit was apparently a product of the Renaissance tendency to discover significant analogies almost everywnere. Carew Ln his iilegie ... recognised Donne's sovereignty of ti'i«L.?« 1921: 177) 'the Universal monarcny of Wit' (Carew, ibid: 180), and during the early seventeenth century, the metaphysicals were praised for their wit. The interest in wit was derived mainly from the Classical, mediaeval and early Renaissance rhetorical theory. Though Donne and his contemporaries did not explicitly refer to a distinctive relation of thought and feeling, they did sometimes think in terms some-v^at similar to those employed by modem critics, such as Douglas Bush (1945: 135) who says that the re-discovery of Donne is - "the main single factor in effecting the modem revolution in taste". Donne and others emphasised the close relationsnip between body, mind and soul. Marvell's 'The Dialogue between the Soul and Body' is unique and a great poetic achievement. The dialogue form was not the invention of Marvell. In Mediaeval Latin poetry too tnere are many examples. The form was popular in the seventeenth century. In his 'Dialogue between the Resolved Soul and Created Pleasure', the Soul brushes aside all temptations with the unwavering assurance. But in this poem, 'Dialogue between the Soul and Body', Marvell examines both sides of the questioi- reasonably. This Dialogue is based on important philosophical concepts. In this system of thought - developed by Plato, Aristotle, the Stoics and Christ - there is a firm belief in fundamental distinction between mind and matter, soul and body. For the seventeenth century thinkers 8 reality was divided into these two substances. Marvell's Dialogue supports their relationship. The Dialogue sets the two opposite poses. The idea that the soul endures exile in its house of clay is as old as Plato and it is seen in all Christian writings.
Load more

Recommended publications
  • Metaphysical Poetry
    METAPHYSICAL POETRY Metaphysical poetry is a group of poems that share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox and contain extremely complicated thought. Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry' in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style. What Does Metaphysical Mean? The word 'meta' means 'after,' so the literal translation of 'metaphysical' is 'after the physical.' Basically, metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way. • Here are some common metaphysical questions: • Does God exist? • Is there a difference between the way things appear to us and the way they really are? Essentially, what is the difference between reality and perception? • Is everything that happens already predetermined? If so, then is free choice non-existent? • Is consciousness limited to the brain? Metaphysics can cover a broad range of topics from religious to consciousness; however, all the questions about metaphysics ponder the nature of reality. And of course, there is no one correct answer to any of these questions. Metaphysics is about exploration and philosophy, not about science and math. CHARACTERISTICS OF METAPHYSICAL POETRY • The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions.
    [Show full text]
  • The Sacred and the Secular
    Part 3 The Sacred and the Secular Allegory of Fleeting Time, c. 1634. Antonio Pereda. Kunsthistorisches Museum, Vienna, Austria. “I write of groves, of twilights, and I sing L The court of Mab, and of the Fairy King. I write of hell; I sing (and ever shall) Of heaven, and hope to have it after all.” —Robert Herrick, “The Argument of His Book” 413 Erich Lessing/Art Resource, NY 00413413 U2P3-845482.inddU2P3-845482.indd 413413 11/29/07/29/07 10:19:5210:19:52 AMAM BEFORE YOU READ from the King James AKG Images Version of the Bible he Bible is a collection of writings belong- ing to the sacred literature of Judaism and- TChristianity. Although most people think of the Bible as a single book, it is actually a collec- tion of books. In fact, the word Bible comes from the Greek words ta biblia, meaning “the little books.” The Hebrew Bible, also called the Tanakh, contains the sacred writings of the Jewish people and chronicles their history. The Christian Bible was originally written in Greek. It contains most of the same texts as the Hebrew Bible, as well as twenty-seven additional books called the New Testament. The many books of the Bible were written at different times and contain various types The Creation of Heaven and Earth (detail of writing—including history, law, stories, songs, from the Chaos), 1200. Mosaic. Monreale proverbs, sermons, prophecies, and letters. Cathedral, Sicily. Protestants living in Switzerland; and the Rheims- “I perceived how that it was impossible Douay Bible, translated by English Roman to establish the lay people in any truth Catholics living in France.
    [Show full text]
  • Introduction
    Notes Quotations from Love’s Martyr and the Diverse Poetical Essays are from the first edition of 1601. (I have modernized these titles in the text.) Otherwise, Shakespeare is quoted from The Riverside Shakespeare, ed. G. Blakemore Evans, 2nd edn (Boston: Houghton Mifflin, 1997). Jonson, unless otherwise noted, is quoted from Ben Jonson, ed. C. H. Herford and Percy and Evelyn Simpson, 11 vols (Oxford: Clarendon Press, 1925–52), and Edmund Spenser from The Works of Edmund Spenser: A Variorum Edition, ed. Edwin Greenlaw, Charles Osgood and Fredrick Padelford, 10 vols (Baltimore: The Johns Hopkins University Press, 1932–57). Introduction 1. Colin Burrow, ‘Life and Work in Shakespeare’s Poems’, Shakespeare’s Poems, ed. Stephen Orgel and Sean Keilen (London: Taylor & Francis, 1999), 3. 2. J. C. Maxwell (ed.), The Cambridge Shakespeare: The Sonnets (Cambridge: Cambridge University Press, 1969), xxxiii. 3. See, for instance, Catherine Belsey’s essays ‘Love as Trompe-l’oeil: Taxonomies of Desire in Venus and Adonis’, in Shakespeare in Theory and Practice (Edinburgh: Edinburgh University Press, 2008), 34–53, and ‘The Rape of Lucrece’, in The Cambridge Companion to Shakespeare’s Poetry, ed. Patrick Cheney (Cambridge: Cambridge University Press, 2007), 90–107. 4. William Empson, Essays on Shakespeare (Cambridge: Cambridge University Press, 1986), 1. 5. I admire the efforts of recent editors to alert readers to the fact that all titles imposed on it are artificial, but there are several reasons why I reluctantly refer to it as ‘The Phoenix and Turtle’. Colin Burrow, in The Complete Sonnets and Poems (Oxford: Oxford University Press, 2002), chooses to name it after its first line, the rather inelegant ‘Let the bird of lowdest lay’, which, out of context, to my ear sounds more silly than solemn.
    [Show full text]
  • Imagism and Te Hulme
    I BETWEEN POSITIVISM AND Several critics have been intrigued by the gap between late AND MAGISM Victorian poetry and the more »modern« poetry of the 1920s. This book attempts to get to grips with the watershed by BETWEEN analysing one school of poetry and criticism written in the first decade of the 20th century until the end of the First World War. T To many readers and critics, T.E. Hulme and the Imagists . E POSITIVISM represent little more than a footnote. But they are more HULME . than mere stepping-stones in the transition. Besides being experimenting poets, most of them are acute critics of art and literature, and they made the poetic picture the focus of their attention. They are opposed not only to the monopoly FLEMMING OLSEN T AND T.S. ELIOT: of science, which claimed to be able to decide what truth and . S reality »really« are, but also to the predictability and insipidity of . E much of the poetry of the late Tennyson and his successors. LIOT: Behind the discussions and experiments lay the great question IMAGISM AND What Is Reality? What are its characteristics? How can we describe it? Can we ever get to an understanding of it? Hulme and the Imagists deserve to be taken seriously because T.E. HULME of their untiring efforts, and because they contributed to bringing about the reorientation that took place within the poetical and critical traditions. FLEMMING OLSEN UNIVERSITY PRESS OF ISBN 978-87-7674-283-6 SOUTHERN DENMARK Between Positivism and T.S. Eliot: Imagism and T.E.
    [Show full text]
  • Stellar and Terrestrial Imagery in Dylan Thomas's Poetry
    1044 GAUN JSS Apotheosis of Mortal Man: Stellar and Terrestrial Imagery in Dylan Thomas’s Poetry Ölümlü İnsanın Tanrısallaştırılması: Dylan Thomas Şiirinde Yıldız ve Yeryüzü İmgeleri Fahri ÖZ1 Ankara University Abstract Dylan Thomas’s poetry is replete with the images of life and death and their cyclicality and rebirth. Such images include stars that stand for human beings’ potential to reach godly heights on the one hand, and the grass that symbolizes their mortality on the other. Such images appear most prominently in his elegies “After the Funeral”, “And death shall have no dominion”, “Do not go gentle into that good night” and “Fern Hill”, which harbours pastoral elements. The images in these poems can be treated as a strong sign of his interest in paganism. The analysis of such images can provide us with clues about the elucidation of Thomas’s marginal yet indispensible place within English poetry since these images attest to the fact that he was not only influenced by English Romantic poets like John Keats but also Nineteenth-century American poets like Emily Dickinson and Walt Whitman. Key Words: Apotheosis, Rebirth, Paganism, Stars, Earth, Elegy, Pastoral, Tradition Öz Dylan Thomas’ın şiirleri yaşam-ölüm çevrimselliğini ve yeniden doğuşu imleyen imgeler açısından zengindir. Bu imgeler arasında insanın ölümlü varoluşunu gösteren çimenler olduğu kadar onun tanrısal bir konuma erişebilme gizilgücünü simgeleyen yıldızlar da yer alır. Söz konusu imgeler ağıt türüne dâhil edilebilecek“After the Funeral”, “And death shall have no dominion”, “Do not go gentle into that good night” ve pastoral ögeler içeren“Fern Hill” adlı şiirlerinde öne çıkmaktadır.
    [Show full text]
  • THE DEVELOPMENT and FUNCTION of the IMAGE in the POETRY of T. S. ELIOT,1909-1922 by JOHN FREDERICK PRESTON B.A.J the University
    THE DEVELOPMENT AND FUNCTION OF THE IMAGE IN THE POETRY OF T. S. ELIOT,1909-1922 by JOHN FREDERICK PRESTON B.A.j The University of British Columbia, 1964 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA July, 1967 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and Study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by h.i>s representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of £M4>tLr'7*/ The University of British Columbia Vancouver 8, Canada Da t e 5E?T£~/7y9&2. ^ /ft 7 ii ABSTRACT One of the most unique and striking features of T. S. Eliot's poetry up to and including The Waste Land is its imagery. Par from being mere decoration, the images in these poems play a vital role in the process of poetic communication. This paper attempts to examine in some detail Eliot's image, the important influences which con• tributed to its development, and its function in these poems. The poems of Prufrock and Other Observations show that Eliot had perfected his own "imagisra" before coming into contact with Imagist theories through Ezra Pound in 1914, These poems reveal Eliot's characteristic method of using images—which are mainly precise renderings of an urban scene—as "objective correlatives" for a wide range of thoughts and feelings, in order to dramatize the plight of the poem's speaker.
    [Show full text]
  • The Annotated Waste Land with Eliot's Contemporary Prose
    the annotated waste land with eliot’s contemporary prose edited, with annotations and introduction, by lawrence rainey The Annotated Waste Land with Eliot’s Contemporary Prose Second Edition yale university press new haven & london First published 2005 by Yale University Press. Second Edition published 2006 by Yale University Press. Copyright © 2005, 2006 by Lawrence Rainey. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Set in Scala by Duke & Company, Devon, Pennsylvania Printed in the United States of America. Library of Congress Control Number: 2006926386 A catalogue record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Commit- tee on Production Guidelines for Book Longevity of the Council on Library Resources. ISBN-13: 978-0-300-11994-7 (pbk. : alk. paper) ISBN-10: 0-300-11994-1 (pbk. : alk. paper) 10987654321 contents introduction 1 A Note on the Text 45 the waste land 57 Editor’s Annotations to The Waste Land 75 Historical Collation 127 eliot’s contemporary prose London Letter, March 1921 135 The Romantic Englishman, the Comic Spirit, and the Function of Criticism 141 The Lesson of Baudelaire 144 Andrew Marvell 146 Prose and Verse 158 vi contents London Letter, May 1921 166 John Dryden 172 London Letter, July 1921 183 London Letter, September 1921 188 The Metaphysical Poets 192 Notes to Eliot’s Contemporary Prose 202 selected bibliography 251 general index 261 index to eliot’s contemporary prose 267 Illustrations follow page 74 the annotated waste land with eliot’s contemporary prose Introduction Lawrence Rainey when donald hall arrived in London in September 1951, bear- ing an invitation to meet the most celebrated poet of his age, T.
    [Show full text]
  • Dream Logic and Multiple Metamorphoses in Elizabeth Bishop's Early Poetry
    Rel'isra de Estudios Nortea111erica11os. 11 ! 9 ( 2003 ). pp. J 11 - 121 DREAM LOGIC AND MULTIPLE METAMORPHOSES IN ELIZABETH BISHOP'S EARLY POETRY ERNESTO SUÁREZ TOSTE Universidad de La Laguna (pero qué bien. esroy pensando clarito. el vodka las clava como m ari posa~ en el canón. A es A. a rose is a rose is a rose, April i> the cruellest monrh. cada cosa en su lugar y un lugar para cada rosa es una rosa es una rosa ... ). Uf. Beware of the Jabberwocky my son. Juuo CoRTÁZAR, Rayuela Elizabeth Bishop published North & South, her first volume of poetry, in 1946. By then the reputation of surrcalism in New York was truly difficult to define. On the one hand, most European surrealists had fled the war and settled in America, enjoying relative respect from their American peers, though not financia! success; on the other, the American public had grown tired with the constant scandals provoked by such characters as Salvador Dalí. It is therefore hardly surpris ing that Bishop publicly rejected any connection between her p oetry and surreali sm. Sadly enough, her reluctance to admit the extent of her surrealist affi nities has led the majority of critics into the beli ef that such affinities were of a superficial nature. What critics too often overlook is that most of the poems included in North & South were written well before 1946, many as early as 1936, while Bishop was residing in París. Much of this misunderstanding derives from the non-distinction between Breton's automatic surrealism and the kind of «narrative» images produced by the academic-illusionistic­ oneiric branch of surrealist painting, heralded by such painters as Giorgio de Chirico and René Magritte (Krauss 91 -93 ).
    [Show full text]
  • “T. S. Eliot on Metaphysical Poets”
    1 Subject: ENGLISH Class: B.A. Part 3 Honours, Paper-V Topic: T.S Eliot Lecture No:36 By: Prof. Sunita Sinha Head, Department of English Women’s College Samastipur L.N.M.U., Darbhanga Email: [email protected] Website: www.sunitasinha.com Mob No: 9934917117 “T. S. ELIOT ON METAPHYSICAL POETS” ABOUT T.S. ELIOT: • Besides being a poet, playwright and publisher, T. S. Eliot (1888- 1965) was one of the most seminal critics of his time. • T. S. Eliot is a classicist in literature and supports orderliness both in art and criticism. He rejects impressionistic criticism of Arthur Symons and philosophical abstract and intellectual criticism of Arnold. • He is the critic who was a creative artist first. 2 • He is in the tradition of English poet-critics from Sidney to Arnold. He is one of the greatest literary critics of England. • He is the most influential critic of the modern age. He is like Dryden for most of his criticism is written in the form of prefaces to his works with the purpose of justifying his own poetic creations. • As a critic Eliot speaks with authority and conviction. He had the rare gift of expressing his thoughts in lucid, striking, pointed and trenchant phrases as, “objective correlative,” “disassociation of sensibility” and “tradition and the individual talent.” • Eliot does not accept didacticism or any other use of poetry as a necessary condition of poetic art. To him, poetry is an amusement. • He believed that the function of criticism is the elucidation of art and the correction of taste and to bring back the poet to life.
    [Show full text]
  • Master List of Terms Tested Literary Criticism 2009-2015 Last Updated 12 July 2015
    Master List of Terms Tested Literary Criticism 2009-2015 last updated 12 July 2015 The first column details the year and test in which the term found in the second column serves as a correct answer; the remaining four columns offer the distractors used in a particular test item. I do not mind sending as an attachment a Word file that the coach and his or her team can manipulate in a manner that serves them best. Contact me: [email protected] Please contact me when you find a typo, inconsistency, or anything more serious: [email protected] Please note that the variety of distractors and, indeed, the terms themselves follows the editorial decisions that have characterized each succeeding edition of The Handbook to Literature. We are currently using the twelfth edition. Use Control + F to find a term. 2015 S rune keen koine logo siglum 2015 S ethos bathos logos mythos pathos 2015 S slam calypso rap reggae scat 2015 S aesthetics essentialism expressionism formalism metaphysics 2015 S dirge encomium epithalamium eulogy ode 2015 S tritagonist antagonist deuteragonist eiron protagonist 2015 S roman noir Gothic novel novel of incident roman à clef underground press 2015 S Agrarians Bet Generation Knickerbocker Group Muckrakers Transcendental Club 2015 S School of Donne Fleshly School of Poetry Graveyard School School of Night School of Spenser 2015 S epic question epic catalogue epic formula epic ideal epic simile 2015 S acatalectic catalectic chiasmic hypercatalectic vatic 2015 S philology belle-lettres exegesis lexicography synopsis 2015
    [Show full text]
  • Concepts of Harmony in Five Metaphysical Poets Disertační Práce
    Univerzita Karlova v Praze Filozofická fakulta Ústav anglistiky a amerikanistiky Mgr. Tomáš Jajtner Concepts of Harmony in Five Metaphysical Poets Disertační práce studijní program: anglická literatura vedoucí práce: Prof. PhDr. Martin Hilský, CSc. rok podání: 2006 IJIII/1111*2551145195* ll ll Filozofická fakulta Univerzity Karlovy v Praze Prohlašuji, že JSem disertační práci vykonal samostatně a s využitím uvedených pramenů a literatury. i ___-""<' .• ~ I (c l"~L .._ / /·'t '-'-''-<- I '1 l I / 2 Contents Acknowledgements 5 Introduction 7 PARTONE 13 I. The Conceit of Harmony: Harmony as the Principle of Cosmos 14 1.1. Heraclitus and Pythagoras: towards a concept of harmony 14 1.1.1. Introduction 14 1.1.2. The hidden harmony ojHeraclitus 14 1.1.3. The overwhelming harmony ofthe Pythagoreans 21 1.2. Socrates and Plato- the aspiration to song 32 1.3. Aristotle and the notion of mimesis (}líJ.111mc;) 35 1.4. Platonism and Neoplatonic frenzy- the commonplaces and the shifters 37 II. The Conceit of English Renaissance Poetics -how harmonies blend together 43 11.1. lntroduction 43 11.2. The problem of conceit 43 11.2.1. Types ojconceit 48 11.3. The problem of metaphor in Pythagorean scheme 52 11.4. Pre-modem self and the act of poetry 55 III. Towards the concept of metaphysical poetry 58 111.1. lntroduction 58 111.2. The rhetorical problem 58 111.3. The problem ofwit in early modem English theory 62 111.4. Metaphysical wit 69 IV. Breaking the Circle of Perfection 76 PARTTWO 84 I. John Donne- provocation of the metaphysical style 85 1.1.
    [Show full text]
  • T. S. Eliot, France, and the Mind of Europe
    T. S. Eliot, France, and the Mind of Europe T. S. Eliot, France, and the Mind of Europe Edited by Jayme Stayer T. S. Eliot, France, and the Mind of Europe Edited by Jayme Stayer This book first published 2015 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2015 by Jayme Stayer and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-7738-7 ISBN (13): 978-1-4438-7738-1 For my parents, Richard and Patricia Stayer TABLE OF CONTENTS Preface ......................................................................................................... x Eliot and France, France and Eliot William Marx Introduction ............................................................................................... xv Eliot and France, Eliot and Europe Jayme Stayer Part I: Eliot and France Chapter One ................................................................................................. 2 Playing Possum: Symbolic Death and Symbolist Impotence in Eliot’s French Heritage Jean-Michel Rabaté Chapter Two .............................................................................................. 24 Seduction and Disenchantment: Eliot in the
    [Show full text]