By Wyatt Prunty
This learn evaluates determine and shape in modern poetry, specifically the powers of simile and simile-like buildings. reading the works of Nemerov, Wilbur, Bowers, Hecht, Justice, Cunningham, Bishop, Van Duyn, Hollander, Pack, Kennedy, Ammons, Creeley, and Wright, Prunty argues that doubts approximately language, the culture, and theistic assumptions embedded within the culture have made simile and numerous simile-like preparations into significant modes of concept. From Lowell's early curiosity within the "similitudo" and the "phantasm" of Gilson, to Husserl's "phantasies" and Heidegger's curiosity in similitude, to the use made by way of modern poets of simile, he exhibits that metaphor--together with slippage, mimicry, synaphea, conjunctions, anacoluthon, chiasmus, and different simile-like patternings--have confirmed to be extra reliable than image and allegory. in the course of the research, Prunty demonstrates that as uncertainty approximately language has replaced from a quandary of brain to a brand new mind set, simile and simile-like occurrences have supplied poetry with variational suggestion and constitutive power.
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Extra resources for ''Fallen from the Symboled World'': Precedents for the New Formalism
The early, religiously informed version of "The Mills" did not fit the context that was evolving in the wake of World War II. Finding himself dislocated by a secular understanding that saw the world not as revelation but as mere process, Lowell made his poetry a means for locating the self within that process. In order to do this he developed a Januslike imaginative consciousness. By writing a series of lyrics in Life Studies which looked backward and forward, he created a continuum of retentional modification.
Things whirl in the chainsaw bite of whatever squares the universe by name and number. For the hundredth time, we slice the fog, and round the village with our headlights on the ground, like the first philosopher Thales who thought all things water, 46 "FALLEN FROM THE SYMBOLED WORLD" and fell in a well . . trying to find a car key. . It can't be here, and so it must be there behind the next crook in the road or growth of fog—there blinded by our feeble beams, a face, clock-white, still friendly to the earth.
In the second version of "The Mills," the reverie by Anne Kavanaugh which largely constitutes the poem is less the New Critics' static, synchronic artifact of irony and wit and more a diachronic movement of the mind of the persona through a series of re-presentations of her past. The poem's opening stanza begins with an objectivist description of Anne and her setting. Fourteen lines later, however, Anne addresses Harry and begins a meditative monologue, which runs the entire length of the poem.