Yeats as Precursor: Readings in Irish, British, and American by S. Matthews

By S. Matthews

W. B. Yeats has proved to be probably the main influential poet of the early 20th century. His mediatory place, as either overdue Romantic and sleek author, has bequeathed a fancy diversity of probability to later poets. The self-proclaimed founding father of a particular Irish literature, Yeats's contradictory old place has been greatly vital in difficult later writers to outline their very own relation to their respective cultural contexts. during this leading edge learn, Steven Matthews lines, via shut readings of important poems, the move of Yeatsian effect throughout time, and likewise throughout cultural house - from eire to Britain and the US. He additionally explores how Yeats has been an important founding presence within the significant pursuits of contemporary poetry feedback, from formalism to the Yale deconstructionists' negotiations with eu conception. through enticing centrally with the paintings of Harold Bloom, Paul de guy and Jacques Derrida, Matthews bargains his personal concept of Yeatsian impact around the 20th century.

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You walk after you're dead. '43 It is better to discover a full incarnation through expression than to suffer purgatorial unsettledness after death. For Bloom, the quest by the ephebe, or new (later) poet, to overcome the precursor is figured in Freud's conflicting drives, the one toward love or Eros, the other towards death or Thanatos. On the basis of this equation, a poet might be defined as someone who is particularly anxious to counter the drive towards death, to make death a `figuration rather than a reality': the repressed rhetorical formula of Freud's discourse in Beyond the Pleasure Principle can be stated thus: literal meaning equals anteriority equals an earlier state of meaning equals an earlier state of things equals death equals literal meaning.

Such ideas of coming-to-understanding through engagement with the tropology of texts suggest that the rhetorical figure of anagorisis might be set alongside that of prosopopoeia as being central to the work of literary influence. Anagorisis is the figure of recognition, of the dramatic recognition scene as Aristotle perceived it. Terence Cave has argued that, post-Hegel, the figure has been taken to describe the passage from ignorance to self-knowledge, and is integral to the recognitions which come to us through reading.

Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-03-18 The human writes, the human thinks, and always following after and defending against another human . . 57 Yet, as I hope has become clear, such individuation as Bloom conceives of it is fraught with situational problems and circularities. If the only criticism of poetry `must be poetry', then the basis for judgement of the success or failure of any particular act of belated overcoming or sublimation of an earlier text becomes shaky.

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