Limba engleza contemporana

Trimis la data: 2009-07-28
Materia: Engleza
Nivel: Facultate
Pagini: 40
Nota: 10.00 / 10
Downloads: 0
Autor: Elena Dumitrascu
Dimensiune: 65kb
Voturi: 1
Tipul fisierelor: doc
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There are lots of ways of describing the nature of poetry and accounting for its significance, all of them theoretical constructs designed to demonstrate by argument that they are right, while others are wrong. However, they are ultimately based on individual attitude, subjective dispositions that persuade the others to accept them as having more general validity. Therefore, it seems only appropriate to tackle the issue in a personal key. We will start from a place usually regarded as one where man finds his eternal peace, you have surely guessed - a cemetery.

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Certainly, all these cannot be true. Love and remembrance do not live for ever, they fade in the minds of the living until they die in their turn. Then why do we record such falsehood in stone? Perhaps because at the time they were not felt as falsehoods, but as true to some sense of reality which is not accountable to conventional conditions of truth. They represent expressions of conviction at a different level of awareness. On the other hand, the fact that I (or anybody in the cemetery) can read these lines means that in a sense the love and remembrance which prompted the composition do live for as long as the gravestone remains.

The very recording of the falsehood ensures its survival as a kind of truth situated in a different dimension, not subject to conventional concepts of time. One point about poetry is that it outlives and transcends the occasion of its composition, and transfers its significance to strangers in another time and place. This is a contradiction: the words do tell the loss. The logical implication of the line is denied in its very expression. Words would fail, so we will not use them; but we do use them, and so, they do not actually fail. This paradox cannot be rationally resolved.

Again, this seems to be a feature of poetry in general: it cannot be interpreted by a direct application of conventional logic. In these lines, the expression of religious conformity coexists with a contrary expression of rational non-conformity. There is a similar disparity between the regularity of the sound patterns of the poem, its rhythm and rhyme, and the irregularity of its grammar. Words would fail our loss to tell, instead of the usual word order: Words would fail to tell our loss. This seems to suggest that in order to express an awareness of experience which is out of the ordinary, we need to mould ordinary language into a different shape. We need to disrupt conventional patterns of thought and expression and reformulate them into patterns observing different principles of order.

Thus, we can discern in these simple epitaphs features that are common to all poetry: the fashioning of thought and language to capture the elusive sense of reality in a different dimension, the paradoxical expression of what cannot be expressed, the verbal echoing. To be sure, these epitaphs lack the artistry of poems canonized as works of literature. Only the stone they are carved in gives them permanence. None would survive in print. And yet, they are humble kin to the sonnets of Shakespeare and the odes of Keats.
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