[I]nstead of apocalypse, there is only and self-displacing vision (65). Thus Geoffrey Hartman, early in Wordsworth's Poetry, comments on culminating scene in poet's account of origin and progress of his powers, (1) Ascent of Snowdon. implicit contrast, of course, is to Apostrophe to Imagination which supervenes on Wordsworth's account of crossing Alps in Prelude, Book VI, moment of recognition in which, rising up before and progress of [his] song (VI 527), (2) poet's reveals its distinctive structure: what Hart-man identifies, in an even more striking formulation, as consciousness of self raised to apocalyptic pitch (17). It is from these rival highpoints(63) of Prelude that argument of Wordsworth's Poetry, Hartman's account of poet's via naturaliter negative, is strung. formulation from which we set out--instead of apocalypse, there is only and self-displacing vision--is thus also an aphoristic condensation of that argument and its guiding claim: that adherence of Wordsworth's poetry to limits of experience must be read as systematically resisting or evading apocalyptic tendency of his imagination, with his most avoidance of apocalypse (61). dominant strategy of this avoidance would be literalization, although Hartman himself does not use that term: The main attributes that define figuratively in ecstatic Apostrophe of Book VI--mist, flash, abyss--appear in as literal part of landscape (64). I have impression, perhaps mistaken, that Hartman's reading in Wordsworth's Poetry of Apostrophe to Imagination has been more influential than his discussion of Snowdon. This is not surprising given absolute cognitive, if not poetic, privilege he claims for former passage: Wordsworth once, and only, face to face with his imagination (61), in language which (with its allusion to St. Paul) is itself notably apocalyptic in tendency. There is, however, a counterplot to Wordsworth's Poetry that emerges in latter half of book, and which Hartman's retrospective comments highlight. Consider, for example, following statement from Polemical Memoir introducing A Critic's Journey (1998): There is a dialectic of senses, initiated by dominance of eye, by scopic desire; and poet came to believe that Nature was an agency pitting other senses against and resolving-- developmentally and providentially--sensory fixations [...] Wordsworth's Poetry went beyond contending categories of 'Nature' and 'Imagination' to show this dialectic in detail. (xxvi) Here again and in particular, a later section of Wordsworth's Poetry entitled Eye and Ear on Snowdon, figures centrally, though in ways that significantly rework, as we will see, terms of its relation to Book VI. For displacements which organized relationship between two passages will now appear as internal to unfolding of episode itself and indeed to very play of perception. Hartman's earlier characterization of as developing and self-displacing vision thus itself harbors a literalism that refers us from visionary to visual. Read in context of this later development, Snowdon's astonishing avoidance of apocalypse will seem less like an evasion of self-knowledge, however breath-taking in performance, and more like an unprecedented form of poetic resolve. As quotation from A Critic's Journey indicates, Eye and Ear on Snowdon is part of a longer development devoted to showing how, beginning especially with Alfoxden period, Wordsworth's writing works to subdue the tyranny of eye without sacrificing its grounding in senses, and specifically how sight transcends [...] itself, and becomes hearing (176). …
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