One of Brooks’s big arguments in The Well Wrought Urn is that you can’t summarize (or paraphrase) a poem and retain its meaning. The poem says something. Book Source: Digital Library of India Item : Cleanth ioned. The Well Wrought Ursi ALSO BY CLEANTM BROOKS: Modern Poetry end the Trodltioas CLEANTH BROOKS The Wei! Wrought Urn STUDIES IN THE.
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They take up the conventional attitudes of such sculpture: I should wdll to use the passages as convenient points of entry into the larger symbols which dominate the play. She is like the sun in an- other regard: On the other hand, this is not at all to say tliat Pope is anxious to do away with the courtly conventions as a pious fraud.
tthe It is the experience which the cosmetic advertisers take at a level of dead seriousness, and obviously Pope is amused to have it taken seriously. Consider the passage once more: In the first stanza the speaker was willing to say me: With such phenomena the poet is not concerned. It is a question which has particularly vexed our own generation— to give it I. What this means, as the context makes clear, is that eight- eenth-century England had no scholarship system or carriere ouverte aux talents.
The happy man, too, is the detached observer, glid- ing through his world, a spectator of it, and preserving a certain aesthetic distance between it and himself.
The passage carries with it an ironic shock— the associations of innocence worught joy contrasted with the associations of grandeur and terror— but it is the kind of shock which, one is tempted to say, is almost normal in the greatest poetry.
We might look to Lao Tzu to support this: I point out the ambiguities, not to convict the poet of con- fusion, but to praise him for his subtlety and accuracy.
He first makes his Heroine the chief PriestCss, then the Goddess herself. One finds him here, as a consequence, no longer trying to recapture the childhood joy or lamenting its loss, but withdrawing to a more.
But the dream is elusive, it cannot be dissected and analyzed. Yet, we shall be able to make our best defense of it in proportion as we recognize and value its use of ambigu- ous symbol and paradoxical statement. Say what strange Motive, Goddess! One can touch upon this question at an obvious level by considering the personifications. No common Weapons in their Hands are found. I hasten to add that this sense of a somewhat frenetically whipped-up enthusiasm is dramatic- ally quite appropriate.
And now for the last stanza: The children welll the attitude toward wepl which the other philosopher, the mature philosopher, wins to with diffi- culty, if he wins to it at all. We have tried to see what its relation to each is.
In the same way, one could enlarge on the hint that the lover is not wholly satisfied and content: But he could never be put beside, say, Hamlet or Othello, in nobility of nature; and there is an aspect in which he is but a poor, vain, cruel, treacherous creature, snatching ruthlessly over the dead bodies of kinsman and Mend at place and power he is utterly unfitted to possess.
The poem, if it be a true poem is a simulacrum of reality—in this sense, at least, it is an ‘imitation’—by being an experience rather than any mere statement about experience or any mere abstraction from experience…. So it is, of course. After all, what the poet has said earlier is sincerely meant: And welk rich, al- most breathing world which the poet has conjured cleabth for us contracts and hardens into the decorated motife on the um itself: But to see this fully, it will be necessary to review the mo- tivation of the play.
Herrick persists with yrn shrewd- ness worthy of Sir James Frazer in seeing the May-day rites as religious rites, though, of course, those of a pagan religion.
Yet the disguise which they wear will enable Macbeth to assume the robes of Duncan— robes to which he is no more entitled than are the daggers to the royal garments which they now wear, grotesquely.
Yeats for permission to reproduce this poem. Is the babe natural wrougnt supernatural— an ordinary, helpless baby, who, as newborn, could not, of course, even toddle, much less stride the blast?
The supernatural guardians in The Rape of the Lock are made much of, but their effectiveness is hardly com- mensurate with their zeal. It could be taken off.
Dleanth and yet the principle of dra- matic propriety may take us further than would first appear. The Weird Sisters, he reflects, had hailed Banquo as The fact that the fields are autumn-fields which, though happy, point back to something which is over— which is finished— does connect them with the past and therefore properly suggests to the observer thoughts about that past. I sug- gest that the implied comparison of the child to the sun or the moon is still active here, and tliat Wordsworth is leaning on his earlier figure more heavily than most of his critics have pointed out, or than, perhaps, he himself realized.
Even the dead, when the poet recurs to them specifically, are described in terms of what they were— the village in the church- yard of which they lie as it was when the men were alive.
In weeds of Peace high triumphs hold. The matter of importance for the development of the poem is, of course, that the child is father to the man, to the man Wordsworth, for example, brrooks the birds, the lamb, and the moon are not.
But one can make a better case than a mere appeal to the authority of an established literary convention.