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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To take up the first question for the silence of the com- mentators here warns us that the explication had better not be taken for granted: All right, let s be serious.
Macbeth here is proud of his new clothes: Indeed, it is enough for the rather artificial world of manners with which Pope is concerned. One can easily see why.
For, as we have seen.
The Well Wrought Urn
But there must be no mistake as to what is going on: Why does he make this decision? But Brooks instead wants us to see poetry as like music, a ballet, or a play:.
So it is, of course. Are they idle tears? Say what strange Motive, Goddess!
Presumably, he thought the reader required a more explicit account. Brooks thus uses the same criteria to analyze and judge these poems as he did for the modern and metaphysical verse. The poet is certainly entitled, if he chooses, to let it cleznth at that. With Stanza III the emphasis is shifted from sight to sound.
The Well Wrought Urn | work by Brooks |
For better or worse, the lock has been lost. The principal ironic effect, therefore, is one of bathos: But the poet is most truthfully described as a poietes or maker, tiot as an expositor or communicator. All human beauty is tainted with mortality: I shall not try to prove here that Wordsworth consciously built up the imagery of Stanza II as preparation for Stanza V. He claims that Wordsworth and Tennyson frequently wrote better i.
By sporting on the shore. It is visionary; that is, like a vision, a revelation. But, on reflection, the two mean- ings tend to coalesce. But the tempest, ridiculous though it is when seen in perspective, is a real enough tempest and related to very real issues.
He went on to question. That is to say, where is the real center of the poem? Or, that more exquisite instance which Shakespeare, perhaps half-smiling, provided for the King in Love’s Labor’s Lost: The eleventh, famous chapter, entitled “The Heresy of Paraphrase,” is a polemic against the use of paraphrase in describing and criticizing a poem.
It is a pattern of resolutions and balances and harmonizations, developed through a temporal scheme The sylphs do represent the supernatural, though the supernatural reduced, of course, to its flimsiest proportions. Thalestris, in inciting Belinda to take action against the Baron, cries: One sees a smile, but laughter is vocal.
The real nature of the conventions of polite society, the heroic pre- tensions of that society as mirrored in the epic, the flattering cliches which society conventionally employs— all come in for a genial ragging. Macbeth is uncomfortable in them because he is continually conscious of the fact that they do not belong to him.
Indeed, Pope is able to reduce the incident to its true importance, precisely because he recognizes clearly its hidden significance. It is only thus that we can accept the culminating paradox of O Death in Life, the days that are no more. So sweet a kiss the golden sun gives not To those pesh morning drops upon the rose, As thy eye-beams, when their fresh rays have smote And they thy glory through my grief will show: And the rich, al- most breathing world which the poet has conjured up for us contracts and hardens into the decorated motife on the um itself: The passage ends with what is apparently one of the most astonishing non sequiturs in criticism.
The Well Wrought Urn : Cleanth Brooks : Free Download, Borrow, and Streaming : Internet Archive
The marks of their identification seem plain enough. The violation of logic involved is intended and is thoroughly justified, Belinda is a goddess, but she puts on her krn at her dressing table; and, such is the paradox of beauty- worship, she can be both the sincere devotee and the divinity herself.
I am sorry that this must be so.
The past is buried within one: We can even anticipate the crux of the poem in these terms: This may be thought hardly astonishing. He takes Herrick’s poem, “Corinna’s going a-Maying”, and reveals that the speaker in the poem has a complex attitude toward his carpe diem theme. The myth of the sylphs is, thus, of the tye utility to Pope: The abbey burial ground is, in its turn, humanized by the churchyard.
Brooks does this rwought comparing the symbolic imagery of Donne’s verse with that of Shakespeare in Macbeth. He must not be allowed to dismiss the early characterizations of the um as merely so much vaguely beautiful description.