Of course, the Quartets offer enough cues toward this critical attitude that it may fairly be said to reside within the poem at least as much as it is imposed from without. As the text of the poem itself apparently gives license to the view that its "poetry does not matter," the preponderance of critical attention to the Quartets' non-lyrical passages has been devoted to philosophical and theological paraphrase of its argument, to explicating the system of belief or thought behind the words. Meanwhile, relatively little attention has been paid to the working of the poetry itself, to the construction of the presumed meaning, in these "discursive" or "conceptual" passages. Seduced by the desire for a systematic argument, criticism has overestimated these passages' straightforwardness and largely neglected their ambiguity and indeterminacy. The seductive voice of argument – which is already a voice within the poem – invites conceptual scrutiny but repels formal analysis; it displaces the concerns of "poetry" in order to work its poetry undetected.
The Composition of Four Quartets. London: Farber, 1978. Gish, Nancy K. Time in the Poetry of T. S. Eliot. London: Macmillan, 1981. Gross, Harvey and Robert McDowell.
28 Februrary 2005, www.britainexpress.com/history/bio/donne.htm Steig, Michael. "Donne's Divine Rapist: Unconscious Fantasy in Holy Sonnet XIV." University of Hartford Studies in Literature: A Journal of Interdisciplinary Criticism. 1972: 52-58. Sullivan, Ernest W. The Influence of John Donne.
II, Harcourt Brace Jovanovich, 1967, pp. 103-10. SOURCE6: Christopher Isherwood, "H. G. Wells," in his Exhumations: Stories, Articles, Verses, Methuen & Co. Ltd., 1966, pp. 38-46. SOURCE7: W. Somerset Maugham, "Some Novelists I Have Known," in his The Vagrant Mood: Six Essays, Doubleday, 1953, pp.
San Diego: Harcourt Brace & company, 1993. Poschl, Viktor. The Art of Vergil, Image and Symbol in the Aeneid. Trans. Gerda Seligson, Greenwood Press, Connecticut 1986.
The poem is a villanelle, which is a type of French pastoral lyric. It was not found in English literature until the late nineteenth century. It derives from peasant life, originally being a type of round sung. It progressed throughout the sixteenth and seventeenth centuries to its present form. For Dylan Thomas, its strictly disciplined rhyme scheme and verse format provided the framework through which he expresses "both a brilliant character analysis of his father and an ambivalent expression of his love towards him"(Magill 569 ).
13 G. Wilson Knight, The Mutual Flame: on Shakespeare's Sonnets and The Phoenix and the Turtle (London: Methuen, 1955) 118. Works Cited Alpers, Paul J. ed. Elizabethan Poetry: Modern Essays in Criticism. New York: Oxford UP, 1967. Knight, G. Wilson.
Maybe a kind of objective observation here, since the shelves of Nancy's family are really glazed, or we can say that the tradition is well kept, though antique, locked away in the shelves. (The need for an "impersonal" or objective poetry in which the life of the writer is dissolved into his art) In the title of the volume, "observation" indicated the writing technique, the purpose of the poems, and also the attitude of the poet, he observe, like an objective spectator, observing everything, forever observing, includes himself in the observation, and wrote down what he observed into his poems.
New York: Anchor Books, 1977. Donaldson, E. Talbot. “Old English Prosody and Caedmon’s Hymn.” Beowulf: The Donaldson Translation, edited by Joseph F. Tuso. New York, W.W.Norton and Co.: 1975. Magoun, Frances P. “Oral-Formulaic Character of Anglo-Saxon Narrative Poetry.” In TheBeowulf Poet, edited by Donald K. Fry.