Wordsworth in His Major Lyrics: The Art and Psychology of Self-representationUniversity of Missouri Press, 2001 - 180 Seiten |
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Seite 4
... relationship. Not entirely unlike the old New Criticism, deconstruction figures the lyric speaker as a persona, a fiction, though of course its linguistic and philosophical premises enable it to explore cultural depths in the idea of ...
... relationship. Not entirely unlike the old New Criticism, deconstruction figures the lyric speaker as a persona, a fiction, though of course its linguistic and philosophical premises enable it to explore cultural depths in the idea of ...
Seite 7
... relationships in Richard E. Matlak's The Poetry of Relationship : The Wordsworths and Coleridge , 1797-1800 ; and the " autographical " cultural self ( rather than the autobiographical self ) that creates itself and its identity in a ...
... relationships in Richard E. Matlak's The Poetry of Relationship : The Wordsworths and Coleridge , 1797-1800 ; and the " autographical " cultural self ( rather than the autobiographical self ) that creates itself and its identity in a ...
Seite 13
... relationships to addressees, objects, and ideals, and strategies of self-representation such as splitting of the self, idealization, and internalization. Last but not least, I contrast the self-representations with the historical and ...
... relationships to addressees, objects, and ideals, and strategies of self-representation such as splitting of the self, idealization, and internalization. Last but not least, I contrast the self-representations with the historical and ...
Seite 20
... relationship of the speaker to Wordsworth's inner life , and it represents him as a largely fictional character . It sets up an artificial boundary between life and art , one that is particularly inappropriate for Wordsworth . As Keats ...
... relationship of the speaker to Wordsworth's inner life , and it represents him as a largely fictional character . It sets up an artificial boundary between life and art , one that is particularly inappropriate for Wordsworth . As Keats ...
Seite 26
... relationship between language and feeling . For Wordsworth , the expressive language of poetry is not merely dress for thought but an incarnation of thought . He argues that if words were only clothing , they would be " an ill gift ...
... relationship between language and feeling . For Wordsworth , the expressive language of poetry is not merely dress for thought but an incarnation of thought . He argues that if words were only clothing , they would be " an ill gift ...
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.