Wordsworth in His Major Lyrics: The Art and Psychology of Self-representationUniversity of Missouri Press, 2001 - 180 Seiten |
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Seite 1
... psychological, historical, social, and other dimensions to it. For this reason more than any other, perhaps, readers, teachers, and critics have tended to prefer practical answers to the question while reading or teaching or writing ...
... psychological, historical, social, and other dimensions to it. For this reason more than any other, perhaps, readers, teachers, and critics have tended to prefer practical answers to the question while reading or teaching or writing ...
Seite 3
... psychological, historical, or other determinants of the poet's empirical self but to emphasize what he calls the most important aspect of "the human predicament," which is "to remain, always, within language.”4 Despite its ...
... psychological, historical, or other determinants of the poet's empirical self but to emphasize what he calls the most important aspect of "the human predicament," which is "to remain, always, within language.”4 Despite its ...
Seite 4
... psychological) solution to human problems, they are illusory. "The idea that poetry, or even consciousness," McGann writes, "can set one free of the ruins of history and culture is the grand illusion of every Romantic poet." McGann does ...
... psychological) solution to human problems, they are illusory. "The idea that poetry, or even consciousness," McGann writes, "can set one free of the ruins of history and culture is the grand illusion of every Romantic poet." McGann does ...
Seite 6
... psychological and developmental issues. Feministcriticism has providedoneofthemostimportantrevisions of critical thinking about the lyrical "I." In bringing attention to the numerous women readers and writers of the early nineteenth ...
... psychological and developmental issues. Feministcriticism has providedoneofthemostimportantrevisions of critical thinking about the lyrical "I." In bringing attention to the numerous women readers and writers of the early nineteenth ...
Seite 7
... psychological issues that are central, I believe, to an understandingof the "I" of Wordsworth's majorlyrics andthe subjectivity it represents. Put in its simplest form, the assumption with which this study begins is that the individual ...
... psychological issues that are central, I believe, to an understandingof the "I" of Wordsworth's majorlyrics andthe subjectivity it represents. Put in its simplest form, the assumption with which this study begins is that the individual ...
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 anxiety apostrophe appears attempt attention autobiographical awareness become beginning calls character claim Coleridge concern consciousness context continues course critical death defined discussion dramatic earlier early effect effort Elegiac emphasizes employs encounter event experience expression fact father fear feelings figure first function heart human idea ideal imagination important John language later Leech-gatherer letters lines loss major lyrics memory mind moment moments mood narrative Nature never notion object observed particularly passage past person phrase poem poet poet’s poetic poetry Prelude presence psychological questions reading recognition reference reflections relation relationship repetition representation represents Resolution and Independence Romantic says scene seems self-dramatizing self-representation self-transformation sense soul speaker speaking spirit stage stanza strategies structure subjectivity sublime suggest takes things thought Tintern Abbey transformation transitional turning understanding utterance verse voice Wordsworth writing
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.