Wordsworth in His Major Lyrics: The Art and Psychology of Self-representationUniversity of Missouri Press, 2001 - 180 Seiten |
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Seite 3
... effect of discouraging an investigation of the problems of defining the "I" of the lyric speaker and conceptu- alizing the subjectivity it represents. By privileging the importance of language, it relegates to issues of minor importance ...
... effect of discouraging an investigation of the problems of defining the "I" of the lyric speaker and conceptu- alizing the subjectivity it represents. By privileging the importance of language, it relegates to issues of minor importance ...
Seite 4
... effect, the lyric speaker is cut off from the self of the poet and critical thought becomes disengaged from the issues that arise out of that relationship. Not entirely unlike the old New Criticism, deconstruction figures the lyric ...
... effect, the lyric speaker is cut off from the self of the poet and critical thought becomes disengaged from the issues that arise out of that relationship. Not entirely unlike the old New Criticism, deconstruction figures the lyric ...
Seite 9
... effects ("oh, / The difference to me!"), they remain limited in scope and do not engage in the more complex act of ... effect of eighteenth-century anxieties about the 'soul' and the 'self ' ” (29–30). 15. Robert Langbaum, The Poetry ...
... effects ("oh, / The difference to me!"), they remain limited in scope and do not engage in the more complex act of ... effect of eighteenth-century anxieties about the 'soul' and the 'self ' ” (29–30). 15. Robert Langbaum, The Poetry ...
Seite 12
... effect , a dramatic monologue . " 17 Other critics , among them Paul Sheats in The Making of Wordsworth's Poetry ... effects recognized . More important , the self - dramatizing character of the " I " of the major lyrics has been left ...
... effect , a dramatic monologue . " 17 Other critics , among them Paul Sheats in The Making of Wordsworth's Poetry ... effects recognized . More important , the self - dramatizing character of the " I " of the major lyrics has been left ...
Seite 19
... effect of poetry was an impersonal effect . It had elaborated on these hints to formulate a rule , the rule that the ' T ' in a poem is never immediately and directly the poet ; that the - poet - in - his - poem is always distinct from ...
... effect of poetry was an impersonal effect . It had elaborated on these hints to formulate a rule , the rule that the ' T ' in a poem is never immediately and directly the poet ; that the - poet - in - his - poem is always distinct from ...
Inhalt
15 | |
The Dramatics of SelfRepresentation in Tintern | 47 |
Resolution | 77 |
Public Performance Subjective | 103 |
The Poet in His Letters | 130 |
The Prelude as a Major Lyric | 152 |
Works Cited | 165 |
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Wordsworth in His Major Lyrics: The Art and Psychology of Self-representation Leon Waldoff Keine Leseprobe verfügbar - 2001 |
Häufige Begriffe und Wortgruppen
achieved act of self-representation anxiety apostrophe appears autobiographical awareness Beaumont character climactic Coleridge Coleridge's conception consciousness critical death dejection Dorothy Wordsworth dramatic earlier Elegiac Stanzas emphasizes encounter Ernest de Selincourt Essays expressivist father feelings Fenwick Notes fictional Freud human ideal identifies imagination important Intimations Ode Isabella Fenwick John John Keats Keats language Leech-gatherer letters lines lyric speaker Lyrical Ballads M. H. Abrams major lyrics memory mind moments mood Mount Snowdon narration narrative Nature notion person phrase poem poet speaking poet's poetic Prelude presence Prose psychological questions reading recognition reenactment relationship repetition representation represents Resolution and Independence Romantic lyric Romantic poetry Romanticism says scene self-dramatizing self-transformation sense of loss soul speaker of Tintern speaker's thoughts speaker's utterance splitting strategies structure subjectivity sublime suggest things Tintern Abbey tradition transformation transitional traumatic understanding University Press verse paragraph voice William Wordsworth words Wordsworth's poetry Wye valley
Beliebte Passagen
Seite 91 - So, oft it chances in particular men, That for some vicious mole of nature in them, As, in their birth,— wherein they are not guilty, Since nature cannot choose his origin,— By the o'ergrowth of some complexion, Oft breaking down the pales and forts of reason...
Seite 132 - Then sing, ye Birds, sing, sing a joyous song! And let the young Lambs bound As to the tabor's sound! We in thought will join your throng, Ye that pipe and ye that play, Ye that through your hearts today Feel the gladness of the May!
Seite 72 - For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue.
Seite 91 - Oft breaking down the pales and forts of reason, Or by some habit that too much o'er-leavens The form of plausive manners ; that these men, Carrying, I say, the stamp of one defect, Being nature's livery, or fortune's star, Their virtues else, be they as pure as grace, As infinite as man may undergo, Shall in the general censure take corruption From that particular fault : the dram of eale Doth all the noble substance of a doubt To his own scandal.
Seite 87 - THERE was a roaring in the wind all night ; The rain came heavily and fell in floods; But now the sun is rising calm and bright ; The birds are singing in the distant woods ; Over his own sweet voice the Stock-dove broods ; The Jay makes answer as the Magpie chatters ; And all the air is filled with pleasant noise of waters.
Seite 124 - ... art; A wedding or a festival, A mourning or a funeral; And this hath now his heart, And unto this he frames his song: Then will he fit his tongue To dialogues of business, love, or strife; But it will not be long Ere this be thrown aside, And with new joy and pride The little Actor cons another part; Filling from time to time his 'humourous stage' With all the Persons, down to palsied Age, That Life brings with her in her equipage; As if his whole vocation Were endless imitation.
Seite 149 - I WAS thy neighbour once, thou rugged Pile ! Four summer weeks I dwelt in sight of thee : I saw thee every day ; and all the while Thy Form was sleeping on a glassy sea. So pure the sky, so quiet was the air ! So like, so very like, was day to day ! Whene'er I looked, thy Image still was there ; It trembled, but it never passed away.
Seite 155 - I love to see the look with which it braves, Cased in the unfeeling armour of old time, The lightning, the fierce wind, and trampling waves. Farewell, farewell the heart that lives alone, Housed in a dream, at distance from the Kind! Such happiness, wherever it be known, Is to be pitied; for 'tis surely blind.
Seite 68 - Is lightened ; that serene and blessed mood In which the affections gently lead us on, Until the breath of this corporeal frame, And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul : While with an eye made quiet by the power Of harmony and the deep power of joy, We see into the life of things.
Seite 150 - Ah ! THEN, if mine had been the Painter's hand, To express what then I saw; and add the gleam, The light that never was, on sea or land, The consecration, and the Poet's dream; I would have planted thee, thou hoary Pile, Amid a world how different from this ! Beside a sea that could not cease to smile; On tranquil land, beneath a sky of bliss.