Get Addressing Frank Kermode: Essays in Criticism and PDF

By Margaret Tudeau-Clayton, Martin Warnerd

Frank Kermode's paintings has constantly been vital to scholars of English literature. In those essays, best students seriously examine Kermode's texts and query his illustration of literary research, delivering their very own interpretative techniques.

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Additional resources for Addressing Frank Kermode: Essays in Criticism and Interpretation

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There is a marvellous passage in The Sense of an Ending (38) in which Kermode describes the Third Reich as having a cosmology which it always knew, in a manner, to be false: the most disquieting example extant of what philosophers call 'making it true'. Ovid's phrase, carmen perpetuum, 'perpetual song', similarly combines sophisticated doubleness with nostalgia. The phrase itself is knowingly literary almost an arrogant joke, for it echoes the aeisma dienekes of Callimachus (1949-53: I, fr. 1, 1).

Mezzo' is moreover implicitly structured not only with reference to the real but also with reference to the structure of the poem. Benvenuto da Imola, writing in the fourteenth century, said that the first canto prohemizatur ad tatum opus (Benvenuto 1887: I, 21). That is to say, it offers a classical prooemium in which the whole work is adumbrated: mezzo then implies the three stages both of life and of the Commedia itself, vice, penitence and bliss (Inferno, Purgatorio, Paradiso). The Sense of a Beginning 27 The metallic clarity of Benvenuto's allegorical method is alien to us in this age of scotophilia.

But the question of where the 'pathological' might begin or end, does open all manner of critical questions about the relative value and use of the dancer as 'Image': queries of a rather different order from those broached in the book, though to a large extent prompted by its discoveries. According to Kerrnode, Yeats' image of the dancer is closely linked with an ideal both Aristocratic and Romantic which: applies equally to the beauty of women and to the beauty of the work of art. Proportion, movement, meaning, are not intellectual properties, but belong to that reality of the imagination which is a symbolic reality.

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