Obbligati: Essays in CriticismAtheneum, 1986 - 330 Seiten "The proper role of criticism [is] as a musical obbligato; that is, a counterpart that must constantly strive to move in strict harmony with and intellectual counterpoint to its subject, and remain always subordinate to the text upon which it presumes to comment." With this declaration, Hecht sets forth the manifesto of this graceful group of essays, implicitly chiding today's academic critics who apply theories to texts. Hecht is particularly elegant and eloquent on contemporary American poetry, from the tension between truth and fiction in Robert Lowell's autobiographical lyrics to the "musicianship" of Richard Wilbur. Hecht's best essay evokes the unique poetic voice of Elizabeth Bishop, and he is equally perspicacious on Frost, Auden, and Dickinson. An extended essay on Marvell's "The Garden" and Keats' "Ode to a Nightingale" offers an unusual comparative reading that captures the energies and langours of both poems. This book offers literary essays of rare quality. The writing throughout is a model of form suiting function--the lucid exposition of well-chosen ideas. |
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Seite 82
... beginning of his request that some balance sheet of his deeds may repre- sent him properly to posterity . For this to be called purely self- regarding vanity is to miss its strong classical , its deliberately Roman component . Fame is ...
... beginning of his request that some balance sheet of his deeds may repre- sent him properly to posterity . For this to be called purely self- regarding vanity is to miss its strong classical , its deliberately Roman component . Fame is ...
Seite 115
... beginning with the most elementary units and gradu- ating from alphabet to words to chapter to book . The last line , " Then - Revelation closed , " is ambiguous , depending on whether we suppose the poet to have used an inversion or ...
... beginning with the most elementary units and gradu- ating from alphabet to words to chapter to book . The last line , " Then - Revelation closed , " is ambiguous , depending on whether we suppose the poet to have used an inversion or ...
Seite 245
... beginning with the last line of the second stanza and ending with the first line of the fourth , makes of most of the third stanza a sort of large parenthetical aside . It is the word away that ties the parts to- gether , and after ...
... beginning with the last line of the second stanza and ending with the first line of the fourth , makes of most of the third stanza a sort of large parenthetical aside . It is the word away that ties the parts to- gether , and after ...
Inhalt
The Pathetic Fallacy | 3 |
On W H Audens In Praise of Limestone | 27 |
Othello | 51 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
answer Antonio appears Bassanio bear beauty become beginning believe bird body called character Christian clear comes continues course critics death doubt effect example exhibit eyes face fact father feelings figure final follows give given hand hear heart heaven hope human Iago imagination innocent interest Italy Jacob Jesus Jews kind later least less letter lines live look Lord Lowell means mind moral nature never offer once Othello passage perhaps play poem poet poetry Portia present question reason refers regard remarks rich scene seems sense Shakespeare Shylock sort soul speaks speech stand stanza story suggest symbolic tell things thou thought tion truth turn unto virtue whole writes young
Verweise auf dieses Buch
Laughter, Pain, and Wonder: Shakespeare's Comedies and the Audience in the ... David Richman Eingeschränkte Leseprobe - 1990 |
"Fallen from the Symboled World": Precedents for the New Formalism Wyatt Prunty Eingeschränkte Leseprobe - 1990 |