Calling from Diffusion: Hermeneutics of the PromenadeBased on four Nielson Lectures delivered at Smith College, this book examines a series of "promenade poems," lyrics that follow a poetic speaker moving through a landscape and responding to it. Thomas M. Greene invites the reader to consider a wide range of poets, beginning with Amy Clampitt and A. R. Ammons, continuing with Petrarch, Ronsard, Saint-Amant, Milton, Vaughan, and Marvell, and concluding with two representative Romantics, Wordsworth and Whitman. Greene's discussions of this rich body of texts stimulate reflection at several levels. They can be read first of all simply as analyses of several memorable poems exhibiting a similar structure over a period of seven centuries. They can also be read as meditations on the workings of lyric poetry, which is always attempting to bring into sharper focus the sensibility of a speaker whose emergence depends on her naming and evoking the objects surrounding her. Thus Greene argues that the distinction of a poetic consciousness lies in its "permeability," permitting a more intimate interplay between internal and external realms. His title is drawn from a line by Whitman: "You objects that call from diffusion my meanings and give them shape!" Finally, at yet another level, Greene's book presents a way of thinking about language which, recalling the Heideggerean theory of "ereignis," suggests that only through the projective act of naming can human beings assimilate things through intuitive knowledge. An afterword, "The Morality of Literary Interpretation," surveys critically a range of hermeneutic theories and formulates a position that accords the literary text both autonomy and mystery. |
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... stanza of the canzone . It's present in the ambiguity that blurs the stanza's central statement . The poet begins by informing us that if he can find some deserted river or spring or valley , his frightened soul is “ quieted ; ” “ ivi s ...
... stanza begins by telling us that the more remote the landscape visited , the wilder the situation , the lovelier the face perceived by the mind . The remotest landscape is the most apt for self - delusion . ... quanto in più selvaggio ...
... stanza 10 , are never clearly defined , doubtless because they were so much a part of the intellectual equipment of the age that a definition would have seemed otiose . At any rate , through the course of the poem , the relationships ...
Contents
Circles and Variations | 15 |
Utopias of Solitude | 29 |
Getting Engaged | 49 |
Copyright | |
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