In this poem, Pound chose classical-sense words, such as sublime, Penelope, kinema, Dionysus, Ariel and so on, to create ancient images in this poem. After those images combine together as a mosaic, which is the poem, the mosaic appears an ancient but ironic sense; whereas, it reminds readers of "the glorious past," which indicates Pound's dissatisfaction about modern society. It is his bitter manner that forced him to escape from terrible reality by writing the poem. One way to run away from the disillusion is to create an imaginary world to replace it. In addition, his ironic manner ... ... middle of paper ... ...thology of English Literature, volume 2.
T. A. Shippey in “The World of the Poem” expresses himself on the subject of a point of style in the Old English poem Beowulf: “The poet reserves the right to say what people are thinking; he does not, however, regard this as ultimately important” (39). It is true that the reader is forced to draw conclusions, from the words and actions of the characters, about the thoughts of the characters. This is one of the many preferences of the author which contribute to the style or “how” writers say what they say (Abrams 303). Joan Blomfield in “The Style and Structure of Beowulf” takes note of two important features of the poem’s style – the irony and the tendency to antithesis: This tendency to antithesis, frequently verging on paradox, and the constant play of irony are but stylistic manifestations of those movements of the poet’s thought which shape the very stuff of the poem (Blomfield 58). Antithesis abounds: The poem has a reference to the burning of Heorot included in the description of its first glories, and the prediction of family strife with Ingeld while yet all is well in ... ... middle of paper ... ...oks, 1977.
While some literature participated in the ideological implications of this conflict, much writing retreated into a longer-term contextualisation of the confrontation as futile and resting on debased values. The stylistic plurality of twentieth-century art - a plurality that Andre Malraux calls the ‘imaginary museum’ of stylistic heterodoxy in The Voices of Silence, leaves it open to various interpretations by writers as well as commentators. However, disposed to the apocalyptic view of history, the most remarkable feature of the age is its pessimism and despair. The modernist writer occupied a worl... ... middle of paper ... ... of Virginia Woolf. Best American Plays.
Authors like Ambrose Bierce, an innovator of experimental fiction, are highly criticized for taking on projects using this writing style. In one of his most famous works, "An Occurrence at Owl Creek Bridge," Bierce developed a trademark for comparison in the metafiction genre. In the words of literary critic, Cathy Davidson, "Bierce has staked his claim as `the precursor of postmodern fiction.'" Bierce's short story creates intense drama in a small amount of space, leaving readers with many questions, and strongly placing itself into the metafiction genre. Often compared to the likes of Edgar Allen Poe, the close examination of time, the attention giving to mental fiction to avoid real life, and the blending of reality and fiction allow Bierce's work of fiction to be marked as timeless.
TS Eliot’s Portrait of a Lady and Dialogism There seems to be an air of paradox in bringing a theory on the novel as a genre and the most famous Anglo-American modernist poet as a whole. Mikhail Bakhtin’s seminal study of ‘Discourse in the Novel’, written in 1934-35, and finally appearing in English translation in 1981, offers us an account of the difference between ‘poetic discourse’ and ‘novelistic discourse’. The division is not strictly a difference in to the novel and the poetry as genres. Often with Bakhtin we find that the novel assimilates all genres including poetry which he himself calls the process of “incorporated genres” as one of the main features of the novel. Bakhtin also opines that even non-narrative poetry can possess a degree of ‘dialogism’ for which he rates the novel so highly.
However, these quotes support the importance of emotion within poetry, but what about the importance of emotion within the poet? Throughout this essay, Lord Byron will be the main poet of focus, as his notorious lifestyle suggests that true emotion may have been his weakness. His poems 'Fare Thee Well!' (composed 18 March 1816: From Poems (1816)) and 'When we two parted' (composed August or September 1815: From Poems (1816)) will also be the primary focus, as they represent two negative influences which happened in Byron's life that would have produced an emotional response. When first approaching Byron's poetry, the reader would find it difficult not to judge the poem without putting it in the context of his famous reputation.
In the literary movement of Romanticism, authors such as Ralph Waldo Emerson and Edgar Allan Poe challenge established ideas of literature through their work, in which the movement began as a rejection of literature based on rational and intellectual thought. This new idea allowed for an emphasis on the individual because intuition and emotion are found within oneself. Although Emerson is commonly associated with transcendentalism and Poe with dark romanticism, they each uphold a common literary principle of the Romantic Era within their work, which is reliance upon oneself. Emerson’s “Self Reliance” and Poe’s “Black Cat” characterize this principle through the emphasis of individualism. In the “Black Cat” Poe’s use of self-reliance is unique as he challenges it through the narrator’s rational explanation of irrational events.
Search for Meaning in James Joyce's Dubliners Throughout Dubliners James Joyce deliberately effaces the traditional markers of the short story: causality, closure, etc. In doing so, "the novel continually offers up texts which mark their own complexity by highlighting the very thing which traditional realism seeks to conceal: the artifice and insufficiency inherent in a writer's attempt to represent reality. (Seidel 31)" By refusing to take a reductive approach towards the world(s) he presents on the page - to offer up "meaning" or "ending" - Joyce moves the reader into complex and unsettling epistemological and ontological realms. Meaning is no longer unitary and prescriptive, the author will not reveal (read impose) what the story "means" at its close and therefore we can't definitively "know" anything about it. Instead, meaning, like modernism, engenders its own multiplicity in Joyce's works, diffuses into something necessarily plural: meanings.
Oxford: Clarendon Press, 1986. 65-86. Watt, David. ‘Introduction: The Anglo-American Relationship’. The Special Relationship.
Ambiguities of Counter-Hegemonic Monologism in Margaret Atwood’s Surfacing In his book Ideologies of Epic, Colin Graham looks at the recognisable tendency of Victorian epic poetry to establish or attempt to establish a monologic discourse in relation to the concept of nation, national literature and empire. Epic as genre and the concept of nation, “ . . . desiring to be ‘centripetal’, turning in upon themselves, denying the existence of the ‘other’” (Graham,1), is a phenomenon relevant to monologic discourse as it may be perceived not only in national epic but also in the novel and it’s concomitant ideologies.