After the Heavenly Tune: English Poetry and the Aspiration to SongDuquesne University Press, 2000 - Počet stran: 418 After the Heavenly Tune offers an expansive answer to the basic question central to the history of poetry and poetics: what do poets mean when they write "I sing?" Berley's chapters on Shakespeare and Milton unfold the remarkable development of these two "speculative musical poetics" who are central to the history of English poetry. And in his last two chapters on romanticism and modernism, he draws an intriguing line from Wordsworth to Stevens, in which the aspiration to song becomes a dazzling means of exploring, scrutinizing, and redefining the burdens and achievements--poetic, philosophical, social, and personal--for individual poets in their times. After the Heavenly Tune offers not only groundbreaking studies of The Merchant of Venice and Milton's theory of prophecy, but also compelling new readings of classical and medieval literary theory, the burdens of romanticism, and the resolutions of modernism. This work will appeal to a broad audience: Renaissance, classical, and romantic literary scholars; philosophers; musicologists; theologians; and general readers interested in English poetry and Literary Studies. |
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Strana 4
... Hesiod begins his Theogony , as Wesley Trimpi observes , " by giving an account of how he became a singer . One day near Mount Helicon , [ Hesiod ] says , the Muses , who first declared to him that they could not only feign things which ...
... Hesiod begins his Theogony , as Wesley Trimpi observes , " by giving an account of how he became a singer . One day near Mount Helicon , [ Hesiod ] says , the Muses , who first declared to him that they could not only feign things which ...
Strana 5
... Hesiod's day , by which time these faculties were being more clearly seen , they began to distinguish different parts and forms . " According to Plutarch , they then observed that each faculty in its turn contained three different ...
... Hesiod's day , by which time these faculties were being more clearly seen , they began to distinguish different parts and forms . " According to Plutarch , they then observed that each faculty in its turn contained three different ...
Strana 63
... Hesiod's invocation , then it cannot be Socrates who is responsible for them . Nor is Hesiod . No one person , after all , can be responsible . Such " differentiation " and " restrictions " are deep mysterious elements of the Greek ...
... Hesiod's invocation , then it cannot be Socrates who is responsible for them . Nor is Hesiod . No one person , after all , can be responsible . Such " differentiation " and " restrictions " are deep mysterious elements of the Greek ...
Obsah
ONE Platos True Musician and the Trope | 27 |
Beyond Aristotelian Praxis | 36 |
Platonic SelfRule and Neoplatonic Frenzy | 45 |
Autorská práva | |
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ability achieve Adorno ancient cycle Aristotle aspiration to song assert become Blake Blue Guitar Christian claim to song conception conceptual metaphor condition of music confront desire discord divine inspiration Donoghue early poems earthly ennobling Harmony Ficino God's hear heaven heavenly tune Hesiod Homer human Il Penseroso imagination Jessica John Keats John Milton Keats Keats's Kerrigan L'Allegro language lative Lorenzo Lorenzo's speech M. H. Abrams Maimonides means Merchant Merchant of Venice merriment merry metaphor Milton mind modern Muses nature Neoplatonic Nightingale one's Oxford Penseroso Phaedrus philosophic Plato play poet poet's poetic song Portia practical music Prelude Princeton prophecy prophetic Pythagoras reattuning relationship Renaissance rhetorical romantic says Shakespeare Shelley Shylock Sidney silence sing singer Socrates soul sounds speak speculative music Stevens Stevens's sweet theory things thou thought tion trans trope of song truth Vendler verse voice Wallace Stevens words Wordsworth writes Yeats York