The Quest for Permanence: The Symbolism of Wordsworth, - download pdf or read online

By David Perkins

Regardless of ocassional error and weak point, this booklet offers the best severe writing approximately Romantics that we have got obvious for a few years. not anyone ahead of Perkins has made us suppose so strongly the turbulence of feelings which Wordsworth had to keep an eye on: Wordsworth so usually under pressure the necessiti of feeling because the foundation for ethical and highbrow fulfillment that one is shocked to benefit that he used to be so hard-pressed to manage it. however the writer definitely proves his case by way of displaying how Wordsworth makes use of summary reviews, spatial distance, retrospection or reminiscence, the experience of background, in fact nature, or even meter to calm and deal with emotions...
Contents:
I. Wordsworth: The Isolation of the Human Mind
II. Wordsworth: The Linking of guy and Nature
III. The Wordsworthian Withdrawal
IV. Shelley: Man's everlasting Home
V. Shelley: Visitations of the Transcendent World
VI. Shelley: The Earthly Analogue
VII. Keats: The everlasting Present
VIII. Keats: The Uncertainties of Vision
IX. Keats: The confirmation of strategy

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Additional resources for The Quest for Permanence: The Symbolism of Wordsworth, Shelley and Keats

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Pound/Joyce, 45–47) Based on Pound’s comments alone, Joyce should not have been taken aback by the Munich audience’s reactions—although one can assume that perhaps a certain degree of self-overestimation and inflated expectations had tainted his perception. Joyce’s misreading of his play’s merits—and weaknesses—is all the more surprising since Joyce was generally well informed about developments on the contemporary stage, frequenting theatres as often as he could. Indeed, judging by the contents of his Trieste library in 1920, just after the Munich staging, Joyce owned a fair spread of texts by contemporary German playwrights (see Ellmann, The Consciousness of Joyce, 132), albeit mostly in English translation (indicated by “E” in brackets below), among them Wedekind’s Pandora’s Box and Die Zensur (Censorship), Franz Werfel’s Die Troierinnen des Euripides (The Trojan Women by Euripides), Hermann Sudermann’s Frau Sorge (Dame Care, E) and Es war (The Undying Past, E), René Schickele’s Hans in Schnakenloch, which Schickele had asked Joyce to translate (Ellmann, James Joyce, 412), and of course Gerhart Hauptmann’s plays Friedensfest (The Coming of Peace, E), Elga, Hanneles Himmelfahrt (Hannele: A Dream Poem, E), Die Ratten (The Rats), Rose Bernd (Rosa Bernd, E), Die Weber (The Weavers, E), and Michael Kramer and Vor Sonnenaufgang (Before Sunrise), both of which Joyce himself claims to have translated, as he indicates in various letters (Ellmann, James Joyce, 87; Jill Perkins, Joyce and Hauptmann, 10), of which however only the latter survives as a manuscript.

If moments later Signe, like Molly, cannot fall asleep and has to use her chamber pot (“I have forgotten to spend a penny, I won’t be able to sleep until I do. Light. Get up again. Relieve myself. Back to bed”),6 like Bloom, Perrudja in his stream of consciousness travels to foreign parts of the world, playing with concepts and words and fusing reality and legend, geography and imagination: I want to travel. Leave. The world stands still. I move. That is how distance is created. The atlas makes me sick.

Ellmann informs us that Max Reinhardt’s theatre group came to Zurich to stage Shakespeare’s A Midsummer Night’s Dream, Aeschylus’ Agamemnon, Büchner’s Dantons Tod (Danton’s Death), and Strindberg’s Totentanz (The Dance of Death) and Gespenstersonate (Ghost Sonata). The Dadaists started congregating in Zurich from 1916 on, putting on their cabarets, although not patronized by Joyce as far as we know (for more on this, see Chapter 5). In 1917 Wedekind came from Munich for a full half year—from 7 May to 7 October and 22 · Part I.

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The Quest for Permanence: The Symbolism of Wordsworth, Shelley and Keats by David Perkins


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