Discussion Of Poetry Research Articles

Home in the Poetry of Saudi Distinguished Poets

The homeland is represented in the poetry of poets who are passionate about its love in multiple images and different ways. This paper highlights Abdullah Al-Faisal's skill, familiarity, and competency through one of his famous poems, "The Redemption", demonstrating his allegiance to the great nation. Before returning to the career of Saudi poet Abdullah Al-Faisal, a brief discussion of poetry and homeland and its importance concerning poetry in the Kingdom of Saudi Arabia is provided. The main concern of this study is Al-Faisal's The Redemption and its critical-analytical description. An analysis of selected lines of the poem illustrates the great spectrum and depth of the concept of the homeland in Al-Faisal's poetry. The study generally reflects Al-Faisal’s love for his country through his poetry, deep attachment to his nation, and unwavering loyalty. His poetic works are intended to inspire readers to live better lives and communicate with those in authority. The paper concludes that The Redemption exemplifies Al-Faisal’s poems of pride and affection for the homeland. The study promotes a taste for literary work that supports learners’ literary competence to portray their thoughts and imagination in verse.

Communism, Poetry: Communicating Vessels (Some Insubordinate Essays, 1999–2018)

Communism, Poetry: Communicating Vessels (Some Insubordinate Essays, 1999–2018)

Phenomenological Enthymeme in Voloshinov's Marxist Sociology of Poetics, as Seen in "Discourse in Life and Discourse in Poetry"

Phenomenological Enthymeme in Voloshinov's Marxist Sociology of Poetics, as Seen in "Discourse in Life and Discourse in Poetry"

Una poética de la convocatoria. La literatura comunista de Raúl González Tuñón by María Fernanda Alle

Reviewed by: Una poética de la convocatoria. La literatura comunista de Raúl González Tuñón by María Fernanda Alle Marta Sierra Alle, María Fernanda. Una poética de la convocatoria. La literatura comunista de Raúl González Tuñón. Rosario, Argentina, Beatriz Viterbo Editora, 2019, 490 pp. María Fernanda Alle focuses on the communist years of Argentinean writer Raúl González Tuñón, an author who, for decades, remained understudied, and has recently received critical attention due to the versatility of his poetry and prose, as well as to his long-lasting aesthetic and political engagement. Una poética de la convocatoria centers on González Tuñón’s literary production between 1930 and 1970. A writer who embraced with similar enthusiasm the two main literary styles of his period—social realism and the avant-garde—González Tuñón’s style evolved during the period considered by Alle. In addition to an excellent work of documentation and reconstruction of the author’s oeuvre, María Fernanda Alle provides a comprehensive reading that illuminates González Tuñón’s literary practice from a more nuanced perspective. Alle combines literary and historical readings. Each chapter starts with a detailed historical reconstruction and the placement of literary production within the contexts of the Russian Revolution, the Spanish Civil War, and the revolutionary poetics and art of the 1960s. But equally profound is the detailed close reading and discussion of poetry and essays. The balance between the literary and the historical makes this volume easy to enjoy. The result is an informative perspective that is useful to the non-specialist and the literary critic. This volume sheds light on González Tuñón’s determination in keeping an enduring ideological and aesthetic practice throughout the years. The sections that discuss his engagement with the literary scene of the period—such as the debates with Martin Fierro and Florida, and Sur—are particularly rich. Overall, this book encompasses [End Page 171] the literary reading, documentation, and historical background of González Tuñón’s production from the conciliatory relationship between aesthetics and politics. Divided into three sections, the author shows the inseparable commitment to aesthetics and political action in González Tuñón’s works. “El hombre de su tiempo” addresses the first period of his oeuvre—between 1930 and 1940—and recaptures what Alle calls “Marxism as a fantasy” (55). La calle del agujero de la media (1930), El otro lado de la Estrella (1934), and Todos Bailan (1935) are poetry collections inspired by European travel and international bohemia. This section makes an important contribution by showing how González Tuñón reworked the tradition of Boedo and social realism. He introduced international influences in his works coming from the Russian Revolution and the Spanish Civil War, and shaped them into the more prescriptive style of writing characteristic of Boedo. In the section entitled “Un programa literario bajo la lupa del realismo socialista,” Alle traces the core of González Tuñón’s literary program, in particular, his definition of a romantic realist style. In essays and chronicles inspired by the Spanish Civil War, González Tuñón coined the notion of a literature that balances classic and romantic characteristics to achieve what he conceived as an art of authenticity. Critics have interpreted romantic realism as a poetic form of social realism in González Tuñón, but Alle’s reading—especially of Las puertas del fuego (1938) and La literatura resplandeciente (1976)—goes one step further. As defined in this volume, romantic realism implies the historical, civil or social value of poetry or, in other words, the ways in which poetry engages with society. As the author states, “En la síntesis de esas dos ‘actitudes’—la realista y la romántica—estaría concentrado, para Tuñón, el valor positivo de la literatura y el arte, por oposición del arte ‘inauténtico,’ es decir, aquel que, en pos de la pureza y la exclusividad de la forma, terminaría por servir a los intereses del poder y la explotación y, por consiguiente, se alejaría de las luchas de los pueblos...

БАХТИНСКИЙ ВОПРОС. СТАТЬЯ ТРЕТЬЯ: ВАЛЕНТИН НИКОЛАЕВИЧ ВОЛОШИНОВ

The article is a brief biography of Valentin Nikolaevich Voloshinov from the standpoint of his participation in the Bakhtin circle and publications under his own name of a number of Bakhtin’s works, which began with the critical article “Beyond the Social Principle” (1925), continued by the theoretical article “Discourse in life and discourse in poetry” (1926), books “Freudianism. A Critical Sketch” (1927) and “Marxism and the Philosophy of Language. Fundamental Problems of the Sociological Method in the Science of Language” (1929) and which completed by several papers in 1930. Additional arguments are given in favor of an earlier acquaintance between Bakhtin and Voloshinov than was commonly believed in the 1990 s, and a special interpretation of the episode with Voloshinov in the memoirs of O.M. Freidenberg is put forward.

Mimesis and Experience: A Platonic Perspective on Ricoeur'sTime and Narrative

AbstractRicoeur's Time and Narrative is duly cited in footnotes but does not seem to have had a strong impact on anglophone narratology. One of the reasons for this is certainly Ricoeur's emphasis on plot, which does not harmonize with the focus on consciousness in cognitive narratology. This article suggests that a reconsideration of the concept of mimesis could help build a bridge between Ricoeur's phenomenological approach and cognitive studies in narrative. More specifically, it argues that Plato's discussion of poetry in the Republic, unanimously criticized by modern scholars, can enrich Ricoeur's concept of mimesis. While Ricoeur follows Aristotle, who ties mimesis to plot, Plato, in Republic 2 and 3, considers mimesis an act of impersonation and thereby paves the way to the level of character, on which cognitive narratologists tend to focus. This article first offers a new reading of the Republic's examination of poetry, trying to show that Plato's account of the effects of poetry on the listeners’ souls resonates with current cognitive approaches. Equipped with this reading, it then turns to Ricoeur again. Ricoeur's description of mimesis III, the reader's adoption of the narrative configuration of time in life, remains vague and abstract. Through its focus on the impact of characters on audiences, Plato's idea of mimesis permits us to integrate a cognitivist perspective into Ricoeur's phenomenological account.

Classroom Translation of Tabib's Poem: A Practical Model for Analysis and Evaluation of Poetry Discourse Translation

Poetry Translation is a high-quality open access translation of classical texts by famous poets, the characteristics of poetry can be based on sound, syntax, structure or pragmatics. In addition to text transformation, poetic translation is concerned with the perception, discourse and action of and between people and textual agents in a material and social context. A public poetry translation project generally aims to feature one or more poets. Poetry translators are interested in interpreting the meaning layers of the source poem, they rely on reliability to judge this and produce a poem in the target language that is readable and pleasing to the literary text. They are responsible for making their writing easy to understand. The reader is also responsible for understanding the translator's translation. The possible solutions to these problems are collaboration between authors and translators. This article highlights the challenges associated with translating poetry. Although poetry makes up only a small percentage of the world's translation output, case studies and examples from poetry have dominated theoretical construction in translation studies to the detriment of genres translated more often.

Exploration of Poetic Texts by Foreign Students Within the Framework of Modern Poetic Discourse

The article describes the peculiarities of the analysis of the poetic Russian text while teaching foreign students. Studying poetic texts enables students not only to learn a foreign language, expand vocabulary but also deepen the understanding of the country’s culture. Regardless of the foreign students’ language level, the use of literary texts in class is really efficient as it helps to concentrate on both information exchange and the process of mutual verification of subjective experience-impression. Discussion of poetry encourages students’ active non-linear interaction with the target language as well as contributes to their critical interaction with a variety of texts, including literary and scientific ones. The communicative situation that arises during distance learning is analyzed within the framework of poetic, poet-related and institutional discourses. When teaching poetry, the author applies Google Street View technology to provide an interactive panoramic view of the points the poets refer to in their works. The article offers methodological notes aimed to contribute to effective work with students whose proficiency in the target language is at B2 level and higher. The article also presents an example of the analysis of a poetic passage and conclusions concerning the students’ interaction with it.

«Новые лирические исследования» XXI века: эстетическое и социальное в поэтической критике

The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

ЕКЗИСТЕНЦІяльНА ПАРАДИГМА ЛІрики МихайлА СитникА і ГаннИ Черінь (художньо-БІОГРАФІЧНИЙ ДИСКУРС)

The article highlights the poetic legacy of the war and postwar years of Ukrainian artists Mykhailo Sytnyk and Hanna Cherin, united not only by the Muse but also, albeit for a short time, by marriage. The creative tandem of poets lasted until the end of the 1940s, in the 1950s their lives diverged in the United States, but there remained works that united artists in their common life and artistic destiny. The aim of the article is to comprehend the existential paradigm of the lyrics of M. Sytnyk and H. Cherin in the artistic and biographical discourse. Materials of scientific research, in particular the texts of some poems, have been published in Ukraine for the first time and make it possible to cover the littleknown pages of the life and work of M. Sytnyk and H. Cherin in the 1940s in Europe. The article is written with the maximum preservation of the cited materials, which are important historical and literary sources in the study of the biography and work of Ukrainian artists, the disclosure of their biographical and creative discourse. To achieve this goal, several methods were used – primarily from biographical with the study of authentic sources, cultural-historical, philological, intertextual to phenomenological and hermeneutic analysis, which allow distinguishing and analyzing artistic and biographical discourse in the lyrics of M. Sytnyk and H. Cherin to explore the existential paradigm of their poetry. Elements of conceptual analysis are also used, which allow considering the lyrics of poets through the prism of dominant concepts. The married life of artists and the reasons for their divorce can be reproduced only from fragments, i.e. from the words of their friends, acquaintances, in some mentions of researchers of their work and from the poetic lines of M. Sytnyk and H. Cherin, because none of them did not mention this period after the break. The post-war period in Europe was the time not only of romantic relations between artists, marriage, and the birth of a daughter but also of successful creative activity, joint speeches at conferences, literary evenings, and other events of the DP cultural and artistic community. While in Europe, poets published their works in numerous emigrant publications and separate collections of poetry in the 1940s, existential meditations), in which the dominant concept is the lost Motherland, which is realized in the lyrics of poets through the opposition of foreign – native land. The artistic discourse of poetry of the war and post-war periods of M. Sytnyk and H. Cherin is represented by personal, intimate lyrics; civic and patriotic lyrics (in wartime – the lyrics of heroism and rank), and existential-nostalgic, anteistic lyrics associated with the loss of the Motherland. The existential paradigm of the lyrics of Mykhailo Sytnyk and Hanna Cherin in the artistic and biographical discourse is determined primarily by the circumstances of their life and creative activity – the Second World War, the difficult postwar years, and the emigration factor, which for many Ukrainian artists was decisive not only in their lives but also in their work. The common destiny of the artists was connected by the poetry of the war and the first postwar years, which reflected at the artistic level not only the story of their love – its bright and dramatic sides, but also the existential circumstances of Ukrainians in exile.

Анализ интерпретационного поля концепта CORONAVIRUS в немецкоязычных поэтических интернет-текстах

Classical concepts LEBEN (LIFE), TOD (DEATH), LIEBE (LOVE), NATUR (NATURE) as well as representations from other fields: religion (АPOKALYPSE, ARMAGEDDON), domestic life (ALLTAG (EVERYDAY LIFE), FAMILIENKRISE (FAMILY CRISIS), economics and politics (FINANZKRISE (FINANCIAL CRISIS), sport (FUßBALL (FOOTBALL), SPORT, DOPING (PERFORMANCE-ENHANCING DRUG), philosophy (ABSURDITÄT DES MENSCHLICHEN LEBENS (ABSURDITY OF HUMAN EXISTENCE) are explicated within the context of the German poetry discourse of the XXI century. However in 2020 due to the spread of coronavirus infection, which had an impact on world society, it becomes relevant to consider the methods of the CORONAVIRUS concept implementation in the context of German poetry Internet discourse of the XXI century. 
 Special attention focuses on three main groups of poetic texts: a poem- appeal; a poem-advice; a poem that creates a positive attitude; a poem that creates a sense of anxiety, which raise this problem. In the texts under study, the main set of linguostylistic means has been identified that serve as ways of manifestation of the CORONAVIRUS concept: epithets, chains of negative-evaluative lexical items, metaphors, rhetorical questions. However, the prevailing means are imperative constructions that have an influential character.

Немецкоязычный поэтический дискурс в когнитивно-коммуникативном интернет-пространстве ХХI в.

The development of computer technology had a great influence on the structuring of modern discursive practices and led to the introduction of new types of discourse. In particular, the Internet discourse was founded, as well as a number of genres explicated in the Internet space. The purpose of this work is to identify the features of modern German poetry Internet discourse that is an underexplored phenomenon in the context of a cognitive-discursive paradigm. The author deals with the actual questions of study of dichotomy “discourse — (Internet) text” of the poetry discourse, Attention is also focused on Flarf poetry, Google Lyrik, Found poetry, Spoetry / Spam poetry - the main genres presented in German Internet space based on “ready made” technology.

Oppressive Rhyming: George Orwell on Poetry and Totalitarianism

In George Orwell’s 1984, the poet Ampleforth observes that “the whole history of English poetry has been determined by the fact that the English language lacks rhymes.” In this article I connect Ampleforth’s observation to Orwell’s many other writings on language and political control and then show how Orwell’s discussion of poetry’s resistance to political manipulation enhances Tocqueville’s and Burke’s accounts of totalitarianism. Specifically, Orwell illustrates how an easily “rhyming” polity is particularly vulnerable to totalitarian politics, while a society containing considerable disorder in its language and politics can be strongly resistant to such tyranny.

An Interview with John Peck

ABSTRACTPaul Watsky interviews John Peck, Zürich-trained analyst, translator of Jung, and poet. The discussion of poetry not only concentrates on the six pieces John has contributed to this issue but also communicates more generally about the entire span of his oeuvre.

A Comparative Study of Taking Pride in One’s Own Poetry: Hafez and Shakespeare

Pride is discredited in all cultures, but pride in poetic talent is praiseworthy in all areas. In poetry, the geniuses of all eras have enjoyed their poetry and have paid attention to and have taken great pride in their own poetry. Hafiz boasts of his poetry and is so sure of his poetry that he knows that so long as people reside on earth, the world will read and receive his poetry. The same parallel is found in Shakespeare's poetry so much so that Shakespeare is sure that his poem will be read so long as people can breathe and see. This belief in the immortality of poetry and its effects in the two poets are followed in this article. The dimensions of this issue and the reasons for the discourse of poetry and sonnet are explained in detail. The conclusion is that the two poets are proud of beautiful form and musicality of their poetry which will spread through the world. This is endorsed through the untranslatability of the poems of the two poets ’poetry. The methodology of this paper is based on the descriptive-analytical approach of the American comparative Literature School. The focus of this study is to compare pride in the poetry of Hafez and Shakespeare.

Poetry and Hedonic Error in Plato’s Republic

This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox of tragedy’, and that the Republic and Philebus contain complementary discussions of tragic and comic pleasure.

‘I did not walk here all the way from prose’: Ben Lerner's virtual poetics

ABSTRACTThis paper argues that Ben Lerner's discussions of poetry and poetics in his two acclaimed novels, Leaving the Atocha Station and 10.04, have not received the serious attention they deserve. Here, I examine the novels as clear extensions of Lerner's poetic project as seen in his three volumes of ‘verse', and link them to the theoretical discussions of poetics one finds in the prose of poets like Baudelaire, Rimbaud, Dickinson, or Pound. This in turn opens the way to seeing Lerner as engaged in an ongoing project in which neither prose nor poetry is privileged, but each dialogues with the other in what must be considered a serial prosimetrum. Following from this, I examine how the prose writings illuminate and enact the poetics of virtuality which Lerner favours and explores in many ways, not least of which being the displacement of poetry and poetics into novels, and the disturbing of the claims generally made for each genre. Ultimately, Lerner's opposition to ‘mere actuality’ or ‘mere positivity’ can only be understood if his novels are allowed to be disturbed by the volumes of poetry that surround them, rather than being left to stand as copious containers that might bound the poetic impulse.

Imagined Spiritual Communities in Britain's Age of Print by Joshua King

Reviewed by: Imagined Spiritual Communities in Britain's Age of Print by Joshua King Caley Ehnes (bio) Imagined Spiritual Communities in Britain's Age of Print by Joshua King; pp. 368. Ohio State UP, 2015. $86.95 cloth. Joshua King's recent publication, Imagined Spiritual Communities in Britain's Age of Print, represents a significant intervention in the fields of book history and Victorian literature. While the weight of the archival and textual evidence provided by King often overwhelms his argument, the ultimate result of King's careful methodology and interaction with key scholars in the fields of Victorian literature, religion, and history (including Kirstie Blair, Mark Knight and Emma Mason, Charles LaPorte, and William R. McKelvy) is a book that will provide a solid and incontestable foundation upon which future scholars can build arguments about the spiritual communities developed and nurtured through Victorian literature. While I wish that King's monograph had more breadth in its discussion of poetry, it provides an excellent starting place for scholars interested in issues such as readership, audience, and the function of literature (especially fiction and poetry) in the religious press. Focusing on how the rise of print media reframed the way Victorians experienced religion, King argues that the networks created through the proliferation of print supported the development of an imagined spiritual community within Britain and, eventually, its empire. The core of King's argument lies in his self-described extension and revision of Benedict Anderson's influential conceptualization of nationalism in Imagined Communities.1 As his in-depth and comprehensive survey of essay collections, poetry volumes, and miscellaneous periodical contributions suggests, King agrees with Anderson about the role that print media played in the development of national communities. Each chapter implicitly, and often explicitly, reinforces the importance of print media in both defining and facilitating the creation of an imagined spiritual community—with one major difference: while Anderson aligns the development of a national community with the process of secularization, King builds on the recent work [End Page 381] of scholars such as Hilary M. Carey and McKelvy, who challenge traditional narratives of secularization and nationalism to articulate the development of a national consciousness "as the secularizing successor of religion" (5). For King, such secularization narratives efface the important role that religion and the religious press played in the development of Britain's national identity. In Imagined Spiritual Communities, King thus reorients the discussion of nineteenth-century print media and the development of nationalism to consider the "intersection of nineteenth-century reading, religion, and conceptions of nation" through the networks created by the era's print media (11). Significantly, King does not view this development of a spiritual community through literature as divided along denominational lines. Rather, he argues that the Victorian reader's familiarity with the cyclical structures upon which John Keble, Alfred Tennyson, and Christina Rossetti built The Christian Year (1827), In Memoriam (1850), and Verses (1847, 1893), respectively, collapsed the sectarian divide. The first part of the book provides the theoretical foundation for King's reading of Keble, Tennyson, and Rossetti. Throughout part 1, King traces the evolution of nineteenth-century debates about the rise of print media and the role of the clerisy in mediating the public's interaction with popular materials. From Samuel Taylor Coleridge's Aids of Reflection (1825) (chapter 1) through F.D. Maurice's career as an essayist and author of fiction (chapter 2) to Matthew Arnold's essays on culture and the Church (chapter 3), King examines how each writer presents an argument for the "transformation of Britain's print network into a medium through which readers of all classes and ideologies could imagine themselves in a Christian community spanning the nation" (97). For King, the evolving arguments made by Coleridge, Maurice, and Arnold about a British spiritual republic of letters set the stage for the reception and continuous influence of Keble's The Christian Year (chapter 4), which, King argues, provided Victorian readers with "a means for imagining private and domestic acts of reading as private ways of participating in a print-mediated, national religious community" (130). The final three chapters of King's monograph examine how Tennyson's In...

That Yelping Bitch: On Poetry in Plato's Republic

That Yelping Bitch: On Poetry In Plato’s Republic ROBERT LLOYD MITCHELL P oets and philosophers, it seems, have never been able to play very nicely together. Sometimes their quarreling sinks to the level of childish name-calling. Our title here comes from perhaps the most famous of those occasions . Towards the end of Plato’s Republic Socrates takes note of what, by his account, was already at that time a long-standing feud. As he tells it, one of the choicer names poets were calling philosophy was “That yelping bitch, shrieking at her master.”1 But of course the feeling was entirely mutual. It is hard to recall, or even imagine, a more brutal attack upon poetry than Socrates, at that point, was in the midst of delivering on behalf of philosophy. It is also a most puzzling attack. Unlike any other portion of the Republic, this one (book 10, 595a–608b) looks as if it were just tacked onto a work that seems perfectly complete without it. The career of the city built in speech has been traced from its origin in necessity to its demise in tyranny. In the process an understanding of the sense in which justice is human good has been achieved. All that remains to be done in the work is the relating of a myth whose point is apparently to drive home to the reader the bearing of the entire preceding conversation upon his immortal soul. But before doing that, Socrates, for no apparent reason, returns to a theme which had seemed to have been more than fully dealt with much earlier. At least in that context there had been no problem seeing why poetry was being discussed, even if it wasn’t always easy to agree with what Socrates was saying about it. Here, though, the topic just seems dragged in by the ears. Why does it arion 24.2 fall 2016 come up again here? And why this topic, in particular, rather than any number of others that we might have preferred to see developed further? The usual answer pretty much comes down to vindictiveness . Plato, it is said, just had a lot more to say against poetry and he would not let the work end until he had said it.2 And there may well be more to say about it. But if so, then why didn’t the author—notorious for constantly fiddling with his writings—just rework book 3, so that the whole discussion got put where it belongs? Or, if he couldn’t do that, then why didn’t he write a separate work on the topic? In any case, this section is taken as the locus classicus for the reasons why philosophy cannot have anything to do with poetry. Here, it is said, is where we find out what is wrong with poetry, why we must be very concerned about the effects that it must have on any well-ordered community. This way of taking this section, it seems to me, is not just mistaken but in fact dangerously mistaken—mistaken in a way that radically distorts the intent of the work as a whole. My aim here is to set forth why this is the case. I shall do so by looking again at the passage, attending particularly to the question of the relation between it and the rest of the work. For until we understand that relation we will not be in a position to grasp clearly the ground of the enmity between poetry and philosophy—will therefore most likely mis-take that ground in profoundly significant ways. My contention, basically, is this. This second discussion of poetry in the Republic is not just tacked on to the rest of the work. It belongs with the rest. As the last substantive discussion in the work it belongs there, indeed, as gathering the entire work together and sending it on its intended way. It adds (and this is essential) nothing new to the “doctrine” of the work.3 Instead it commences the work (ergon) of this work. Here begins the work that must be carried on in the soul of the thoughtful reader for whom...

The Poet's Mind. The Psychology of Victorian Poetry 1830–1870

The Poet's Mind. The Psychology of Victorian Poetry 1830–1870