query: which poem of john donne is cited by cleanth brooks as a sufficiently extreme instanceof paradox

pos: Paradox (literature) he would a natural phenomenon, and, as Brooks points out, can call the houses "sleeping" rather than "dead" because they too are vivified with the natural spark of life, granted to them by the men that built them. Brooks ends his essay with a reading of John Donne's poem "The Canonization", which uses a paradox as its underlying metaphor. Using a charged religious term to describe the speaker's physical love as saintly, Donne effectively argues that in rejecting the material world and withdrawing to a world of each other, the two lovers are appropriate candidates for canonization. This seems to

pos: Paradox (literature) he would a natural phenomenon, and, as Brooks points out, can call the houses "sleeping" rather than "dead" because they too are vivified with the natural spark of life, granted to them by the men that built them. Brooks ends his essay with a reading of John Donne's poem "The Canonization", which uses a paradox as its underlying metaphor. Using a charged religious term to describe the speaker's physical love as saintly, Donne effectively argues that in rejecting the material world and withdrawing to a world of each other, the two lovers are appropriate candidates for canonization. This seems to

pos: The Canonization "complexity of attitudes," fostered largely through the use of the canonisation conceit, perpetuates wit within the poem. "The Canonization" figures prominently in critic Cleanth Brooks's arguments for the paradox as integral to poetry, a central tenet of New Criticism. In his collection of critical essays, "The Well Wrought Urn", Brooks writes that a poet "must work by contradiction and qualification," and that paradox "is an extension of the normal language of poetry, not a perversion of it". Brooks analyses several poems to illustrate his argument, but cites "The Canonization" as his main evidence. According to Brooks, there are superficially many

pos: The Canonization Donne's poem unravels into 'facts'". Brooks looks at paradox in a larger sense: More direct methods may be tempting, but all of them enfeeble and distort what is to be said. ... Indeed, almost any insight important enough to warrant a great poem apparently has to be stated in such terms. For Brooks, "The Canonization" illustrates that paradox is not limited to use in logic. Instead, paradox enables poetry to escape the confines of logical and scientific language. However, Brooks's analysis is not the definitive reading of "The Canonization". A critique by John Guillory points out the superficiality of his

pos: The Well Wrought Urn The Well Wrought Urn The Well Wrought Urn: Studies in the Structure of Poetry is a 1947 collection of essays by Cleanth Brooks. It is considered a seminal text in the New Critical school of literary criticism. The title contains an allusion to the fourth stanza of John Donne's poem, "The Canonization", which is the primary subject of the first chapter of the book. "The Well Wrought Urn" is divided into eleven chapters, ten of which attempt close readings of celebrated English poems from verses in Shakespeare's "Macbeth" to Yeats's "Among School Children". The eleventh, famous chapter, entitled "The Heresy

pos: The Canonization The Canonization "The Canonization" is a poem by English metaphysical poet John Donne. First published in 1633, the poem is viewed as exemplifying Donne's wit and irony. It is addressed to one friend from another, but concerns itself with the complexities of romantic love: the speaker presents love as so all-consuming that lovers forgo other pursuits to spend time together. In this sense, love is asceticism, a major conceit in the poem. The poem's title serves a dual purpose: while the speaker argues that his love will canonise him into a kind of sainthood, the poem itself functions as a

neg: Paradox (literature) structure of the poem and is thus inclusive of irony. This existence of opposites or contraries and the reconciliation thereof is poetry and the meaning of the poem. R.S. Crane, in his essay "The Critical Monism of Cleanth Brooks", argues strongly against Brooks' centrality of paradox. For one, Brooks believes that the very structure of poetry is paradox, and ignores the other subtleties of imagination and power that poets bring to their poems. Brooks simply believed that, "'Imagination' reveals itself in the balance or reconciliation of opposite or discordant qualities." Brooks, in leaning on the crutch of paradox, only discusses

neg: Cleanth Brooks Cleanth Brooks Cleanth Brooks ( ; October 16, 1906 – May 10, 1994) was an American literary critic and professor. He is best known for his contributions to New Criticism in the mid-20th century and for revolutionizing the teaching of poetry in American higher education. His best-known works, "" (1947) and "Modern Poetry and the Tradition" (1939), argue for the centrality of ambiguity and paradox as a way of understanding poetry. With his writing, Brooks helped to formulate formalist criticism, emphasizing "the interior life of a poem" (Leitch 2001) and codifying the principles of close reading. Brooks was also the

neg: Cleanth Brooks to derive a historical and biographical context from the language the poet uses (Singh 1991). He argues "A poem by Donne or Marvell does not depend for its success on outside knowledge that we bring to it; it is richly ambiguous yet harmoniously orchestrated, coherent in its own special aesthetic terms" (Leitch 2001). New Criticism was accused by critics of having a contradictory nature. Brooks writes, on the one hand, "the resistance which any good poem sets up against all attempts to paraphrase it" (qtd. in Leitch 2001) is the result of the poet manipulating and warping language to create

neg: Cleanth Brooks poetry that we have" (qtd. in Singh 1991). Elsewhere, Ransom has even gone so far as to describe Brooks as a "spell binder" (qtd. in Singh 1991). Cleanth Brooks Cleanth Brooks ( ; October 16, 1906 – May 10, 1994) was an American literary critic and professor. He is best known for his contributions to New Criticism in the mid-20th century and for revolutionizing the teaching of poetry in American higher education. His best-known works, "" (1947) and "Modern Poetry and the Tradition" (1939), argue for the centrality of ambiguity and paradox as a way of understanding poetry. With his

neg: Cleanth Brooks being achieved through the irony and paradox of the opposing forces it contains, the world's most perfect example of such an ironic poem would be Albert Einstein's equation E=mc, which equates matter and energy at a constant rate (Searle). In his later years, Brooks criticized the poststructuralists for inviting subjectivity and relativism into their analysis, asserting "each critic played with the text's language unmindful of aesthetic relevance and formal design" (Leitch 2001). This approach to criticism, Brooks argued, "denied the authority of the work" (Leitch 2001). "Understanding Poetry" was an unparalleled success and remains "a classic manual for the intellectual

neg: Close reading Crowe Ransom's "The New Criticism" (1949) and Allen Tate's "A Note on Autotelism" (1949), to Cleanth Brooks' "The Well Wrought Urn" (1947), Rene Wellek and Austin Warren's "Theory of Literature" (1949), and W.K. Wimsatt's "The Verbal Icon" (1954). The first ten chapters of "The Well Wrought Urn" thus focus individually on poems across British literary history (John Donne, William Shakespeare, John Milton, Alexander Pope, Thomas Gray, John Keats, William Wordsworth, Alfred, Lord Tennyson, W.B. Yeats, and T.S. Eliot) before concluding with "The Heresy of Paraphrase," in which Brooks abstracts the premises on which his analyses rest. Meanwhile, when Wellek and

neg: Cleanth Brooks the tendency for critics to reduce a poem to a single narrative or didactic message. He describes summative, reductionist reading of poetry with a phrase still popular today: "The Heresy of Paraphrase" (Leitch 2001). In fact, he argued poetry serves no didactic purpose because producing some kind of statement would be counter to a poem's purpose. Brooks argues "through irony, paradox, ambiguity and other rhetorical and poetic devices of his or her art, the poet works constantly to resist any reduction of the poem to a paraphrasable core, favoring the presentation of conflicting facets of theme and patterns of resolved

neg: The Well Wrought Urn that he is an extreme example of what all good poetry exemplifies, namely, paradox. Brooks does this by comparing the symbolic imagery of Donne's verse with that of Shakespeare in "Macbeth". In order to prove that the language of poetry is paradox, he must treat poems that have traditionally been thought straightforward. 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. In doing so, Brooks brings up another central tenet of his critical theory, one which he will deal with more explicitly in the coming

neg: The Canonization canonisation of the pair of lovers. New Critic Cleanth Brooks used the poem, along with Alexander Pope's "An Essay on Man" and William Wordsworth's "Composed upon Westminster Bridge, September 3, 1802", to illustrate his argument for paradox as central to poetry. The speaker begs his friend not to disparage him for loving, but to insult him for other reasons instead, or to focus on other matters entirely. He supports his plea by asking whether any harm has been done by his love.The speaker describes how dramatically love affects him and his lover, claiming that their love will live on in

neg: Cleanth Brooks an actual poem in an actual classroom, and because the technique of focusing upon a poem as language rather than as history or biography or morality, gave a whole new meaning to and justification for the teaching of poetry (qtd. in Singh 1991). In an obituary for Brooks, John W. Stevenson of Converse College notes Brooks "redirect[ed] and revolutionize[d] the teaching of literature in American colleges and universities" (1994). Further, Stevenson admits Brooks was "the person who brought excitement and passion to the study of literature" (1994) and "whose work...became the model for a whole profession" (1994). Along with New

neg: Cleanth Brooks new meaning. On the other hand, he admonishes the unity and harmony in a poem's aesthetics. These seemingly contradictory forces in a poem create tension and paradoxical irony according to Brooks, but critics questioned whether irony leads to a poem's unity or undermines it (Leitch 2001). Poststructuralists in particular saw a poem's resistance and warped language as competing with its harmony and balance that Brooks celebrates (Leitch 2001). Ronald Crane was particularly hostile to the views of Brooks and the other New Critics. In "The Critical Monism of Cleanth Brooks," Crane writes that under Brooks's view of a poem's unity

neg: Paradox (literature) Chesterton's "spies do not look like spies" are examples of rhetorical paradox. Further back, Polonius' observation that "though this be madness, yet there is method in't" is a memorable third. Also, statements that are illogical and metaphoric may be called paradoxes, for example: "The pike flew to the tree to sing." The literal meaning is illogical, but there are many interpretations for this metaphor. Cleanth Brooks, an active member of the New Critical movement, outlines the use of reading poems through paradox as a method of critical interpretation. Paradox in poetry means that tension at the surface of a verse

neg: Paradox (literature) the truth poetry can reveal, and speaks nothing about the pleasure it can give. (231) Also, by defining poetry as uniquely having a structure of paradox, Brooks ignores the power of paradox in everyday conversation and discourse, including scientific discourse, which Brooks claimed was opposed to poetry. Crane claims that, using Brooks' definition of poetry, the most powerful paradoxical poem in modern history is Einstein's formula E = mc, which is a profound paradox in that matter and energy are the same thing. The argument for the centrality of paradox (and irony) becomes a "reductio ad absurdum" and is therefore

neg: Cleanth Brooks "The Well Wrought Urn", "by making the closest examination of what the poem says as a poem" (qtd. in Leitch 2001), a critic can effectively interpret and explicate the text. For him, the crux of New Criticism is that literary study be "concerned primarily with the work itself" (qtd. in Leitch 2001). In "The Formalist Critics," Brooks offers "some articles of faith" (qtd. in Leitch 2001) to which he subscribes. These articles exemplify the tenets of New Criticism: New Criticism involves examining a poem's "technical elements, textual patterns, and incongruities" (Leitch 2001) with a kind of scientific rigor and precision.

neg: Paradox (literature) context of the poem and determining whether it is appropriate to that context. Paradox, however, is essential to the structure and being of the poem. In "The Well Wrought Urn" Brooks shows that paradox was so essential to poetic meaning that paradox was almost identical to poetry. According to literary theorist Leroy Searle, Brooks' use of paradox emphasized the indeterminate lines between form and content. "The form of the poem uniquely embodies its meaning," and the language of the poem "affects the reconciliation of opposites or contraries." While irony functions within the poem, paradox often refers to the meaning and

neg: Cleanth Brooks stresses" (Leitch 2001). In addition to arguing against historical, biographical, and didactic readings of a poem, Brooks believed that a poem should not be criticized on the basis of its effect on the reader. In an essay called "The Formalist Critics," he says that "the formalist critic assumes an ideal reader: that is, instead of focusing on the varying spectrum of possible readings, he attempts to find a central point of reference from which he can focus upon the structure of the poem or novel" (qtd. in Rivkin, 24). While he admits that it is problematic to assume such a

neg: The Heresy of Paraphrase The Heresy of Paraphrase "The Heresy of Paraphrase" is the title of a chapter in "", a seminal work of the New Criticism by Cleanth Brooks. Brooks argued that meaning in poetry is irreducible, because "a true poem is a simulacrum of reality...an experience rather than any mere statement about experience or any mere abstraction from experience." Brooks emphasized structure, tension, balance, and irony over meaning, statement, and subject matter. He relied on comparisons with non-verbal arts in order to shift discussion away from summarizable content: The essential structure of a poem (as distinguished from the rational or logical structure

neg: Ode on a Grecian Urn me. In 1930, John Middleton Murry gave a history of these responses "to show the astonishing variety of opinion which exists at this day concerning the culmination of a poem whose beauty has been acknowledged for many years. Whether such another cause, and such another example, of critical diversity exists, I cannot say; if it does, it is unknown to me. My own opinion concerning the value of those two lines "in the context of the poem itself" is not very different from Mr. Eliot's." Cleanth Brooks defended the lines from critics in 1947 and argued: We shall not feel

neg: Cleanth Brooks From this frustration, Brooks and Warren published "Understanding Poetry". In the book, the authors assert poetry should be taught as poetry, and the critic should resist reducing a poem to a simple paraphrase, explicating it through biographical or historical contexts, and interpreting it didactically (Singh 1991). For Brooks and Warren, paraphrase and biographical and historical background information is useful as a means of clarifying interpretation, but it should be used as means to an end (Singh 1991). Brooks took this notion of paraphrase and developed it further in his classic "The Well Wrought Urn". The book is a polemic against

neg: Ode to a Nightingale Keats at work on the more exquisitely finished of the stanzas in "The Eve of St. Agnes", and seen this craftsman slowly elaborating and refining, will ever believe that this perfect stanza was achieved with the easy fluency with which, in the draft we have, it was obviously written down." In 1936, F. R. Leavis wrote, "One remembers the poem both as recording, and as being for the reader, an indulgence." Following Leavis, Cleanth Brooks and Robert Penn Warren, in a 1938 essay, saw the poem as "a very rich poem. It contains some complications which we must not gloss

neg: Elegy Written in a Country Churchyard the injustice of society as we do the inevitability of death." T. S. Eliot’s 1932 collection of essays contained a comparison of the elegy to the sentiment found in metaphysical poetry: "The feeling, the sensibility, expressed in the "Country Churchyard" (to say nothing of Tennyson and Browning) is cruder than that in the "Coy Mistress"." Later, in 1947, Cleanth Brooks pointed out that "In Gray's poem, the imagery does seem to be intrinsically poetic; the theme, true; the 'statement', free from ambiguity, and free from irony." After describing various aspects and complexities within the poem, Brooks provided his view on

neg: Cleanth Brooks Because New Criticism isolated the text and excluded historical and biographical contexts, critics argued as early as 1942 that Brooks' approach to criticism was flawed for being overly narrow and for "disabl[ing] any and all attempts to relate literary study to political, social, and cultural issues and debates" (1350). His reputation suffered in the 1970s and 1980s when criticism of New Criticism increased. Brooks rebuffed the accusations that New Criticism has an "antihistorical thrust" (Leitch 2001) and a "neglect of context" (Leitch 2001). He insisted he was not excluding context because a poem possesses organic unity, and it is possible

neg: The Heresy of Paraphrase assumptions of the New Criticism are now challenged or dismissed, the "heresy of paraphrase" is still commonly used to refer to reductive or utilitarian approaches to poetry. The Heresy of Paraphrase "The Heresy of Paraphrase" is the title of a chapter in "", a seminal work of the New Criticism by Cleanth Brooks. Brooks argued that meaning in poetry is irreducible, because "a true poem is a simulacrum of reality...an experience rather than any mere statement about experience or any mere abstraction from experience." Brooks emphasized structure, tension, balance, and irony over meaning, statement, and subject matter. He relied on

neg: John Donne Robert Drury of Hawstead, Suffolk. This poem treats Elizabeth's demise with extreme gloominess, using it as a symbol for the Fall of Man and the destruction of the universe. The increasing gloominess of Donne's tone may also be observed in the religious works that he began writing during the same period. Having converted to the Anglican Church, Donne quickly became noted for his sermons and religious poems. Towards the end of his life Donne wrote works that challenged death, and the fear that it inspired in many men, on the grounds of his belief that those who die are sent

neg: Cleanth Brooks to Murray Brooks and continued to raise him as her own, causing quite a rift in her own family and alienating herself from Cleanth and William. Cleanth mentioned on more than one occasion that she so doted on Murray (Hewitt) that she no longer had a relationship with Cleanth and William. Attending McTyeire School, a private academy, he received a classical education and went on to study at Vanderbilt University in Nashville, Tennessee, where he received his B.A. "summa cum laude" in 1928 (Leitch 2001). In 1928, Brooks received his M.A. from Tulane University and went on to study at

neg: Cleanth Brooks preeminent critic of Southern literature, writing classic texts on William Faulkner, and co-founder of the influential journal "The Southern Review" (Leitch 2001) with Robert Penn Warren. On October 16, 1906, in Murray, Kentucky, Brooks was born to a Methodist minister, the Reverend Cleanth Brooks, Sr., and Bessie Lee Witherspoon Brooks (Leitch 2001). He was one of three children: Cleanth and William, natural born sons, and Murray Brooks, actually born Hewitt Witherspoon, whom Bessie Lee Witherspoon kidnapped from her brother Forrest Bedford Witherspoon as a young baby after the natural mother had died. She later was able to change his name

neg: Sailing to Byzantium and it is a qualified and dignified prayer." Epifanio San Juan writes that the action of the poem "occurs in the tension between memory and desire, knowledge and intuition, nature and history, subsumed within a vision of eternal order". Cleanth Brooks asks whether, in this poem, Yeats chooses idealism or materialism and answers his own question, "Yeats chooses both and neither. One cannot know the world of being save through the world of becoming (though one must remember that the world of becoming is a meaningless flux aside from the world of being which it implies)". Sailing to Byzantium "Sailing

neg: John Crowe Ransom systematic." To this end, he argued that personal responses to literature, historical scholarship, linguistic scholarship, and what he termed "moral studies" should not influence literary criticism. He also argued that literary critics should regard a poem as an aesthetic object. Many of the ideas he explained in this essay would become very important in the development of The New Criticism. "Criticism, Inc." and a number of Ransom's other theoretical essays set forth some of the guiding principles that the New Critics would build upon. Still, his former students, specifically Allen Tate, Cleanth Brooks, and Robert Penn Warren, had a greater

neg: Cleanth Brooks From I. A. Richards' "The Principles of Literary Criticism" and "Practical Criticism", Brooks formulated guidelines for interpreting poetry (Leitch 2001). Brooks formulated these guidelines in reaction to ornamentalist theories of poetry, to the common practice of critics going outside the poem (to historical or biographical contexts), and his and Warren's frustration with trying to teach college students to analyze poetry and literature (Leitch 2001). Brooks and Warren were teaching using textbooks "full of biographical facts and impressionistic criticism" (Singh 1991). The textbooks failed to show how poetic language differed from the language of an editorial or a work of non-fiction.

neg: Historical poetry no longer speak for themselves. The interpretation of a historical poem is a matter of wide significance, particularly because it is linked to poetic intention. Cleanth Brooks writes in "The Formalist Critics": the author's intention as realized is the 'intention' that counts, not necessarily what he was conscious of trying to do, or what he now remembers he was then trying to do To add to this, the purpose of a historical poem serves various ulterior motives. One of these motives might include informing the audience at the time of present events, often to draw parallels and make a political

neg: Trees (poem) break any of the formal rules of poetics—a style often criticized today for being too sentimental to be taken seriously. The entire corpus of Kilmer's work was produced between 1909 and 1918 when Romanticism and sentimental lyric poetry fell out of favor and Modernism took root—especially with the influence of the Lost Generation. In the years after Kilmer's death, poetry went in drastically different directions, as is seen in the work of T. S. Eliot and Ezra Pound, and academic criticism grew with it to eschew the more sentimental and straightforward verse. The poem was criticized by Cleanth Brooks and

neg: The Well Wrought Urn the highly changeable language of metaphor. The poem does not try to find the truth-value of a particular idea; it tries to juxtapose many, contradictory ideas together and reach a sort of resolution. The poet is trying to "unify experience" by making poetry not a statement about experience but an experience itself, with all the contradictory elements contained in one cultural expression, i.e., the poem. The Well Wrought Urn The Well Wrought Urn: Studies in the Structure of Poetry is a 1947 collection of essays by Cleanth Brooks. It is considered a seminal text in the New Critical school of

neg: It is a beauteous evening, calm and free tremulous excitement, preparing the reader for the ensuing image of the eternal motion of the sea. Cleanth Brooks provided an influential analysis of the sonnet in terms of these tensions in "" (see also Paradox (literature)). The reference to Abraham's bosom (cf. ) has also attracted critical attention as that is normally associated with Heaven (or at least Purgatory) in the Christian tradition, inviting comparison with the Lucy poems. However, a natural reading is that Wordsworth was simply stressing the closeness of the Child to the divine: Stephen Gill references Wordsworth's ode: "". The 'natural piety' of children was a

neg: Organic unity to be cohesive; but without balance between the two sides, the work suffers. The main theme of organic unity relies on a free spirited style of writing and by following any guidelines or genre-based habits, the true nature of a work becomes stifled and unreliable on an artistic plane. The concept of organic unity gained popularity through the New Critics movement. Cleanth Brooks (1906–94) played an integral role in modernizing the organic unity principle. Using the poem "The Well Wrought Urn" as an example, Brooks related the importance of a work’s ability to flow and maintain a theme, so that

neg: Death Be Not Proud (poem) two and last two lines of "Death Be Not Proud" are recited by Paladin in "The Prophet" (Episode 16, Season 3 of Have Gun - Will Travel). The poem was set for voice and piano by Benjamin Britten as the concluding song in his song cycle "The Holy Sonnets of John Donne". Emma Thompson's character, Vivian Bearing, recites the poem in "Wit", where John Donne plays a central role. The first two lines are recited at the beginning of the title track to Children of Bodom's third album "Follow the Reaper". The poem is recited in its entirety by Kenneth

neg: Paradox (literature) his reading of Wordsworth's poem, "Composed upon Westminster Bridge", Brooks contends that the poem offers paradox not in its details, but in the situation the speaker creates. Though London is a man-made marvel, and in many respects in opposition to nature, the speaker does not view London as a mechanical and artificial landscape but as a landscape composed entirely of nature. Since London was created by man, and man is a part of nature, London is thus too a part of nature. It is this reason that gives the speaker the opportunity to remark upon the beauty of London as

neg: Cleanth Brooks Criticism, Brooks' studies of Faulkner, Southern literature, and T. S. Eliot's "The Waste Land" (appearing in "Modern Poetry and the Tradition") remain classic texts. Mark Royden Winchell calls Brooks' text on Faulkner "the best book yet on the works of William Faulkner" (1996). Eliot himself commended Brooks in a letter for Brooks' critique of "The Waste Land" (Singh 1991). Further, Winchell praises Brooks for "help[ing] invent the modern literary quarterly" (1996) through the success of "The Southern Review". As testament to Brooks' influence, fellow critic and former teacher John Crowe Ransom calls Brooks "the most forceful and influential critic of

neg:
Sartoris is the damdest best book you'll look at this year, and any other publisher". Contemporary reviews, however, were mixed; while appreciating Faulkner's writing style, they stressed the book's seeming lack of consistency and its loose plot. Literary critic Cleanth Brooks described the novel as "extremely well-written", full of literary allusions and exploring the plight of a lost generation. He compared "Sartoris" to the poem "The Waste Land" by T. S. Eliot.

 Sartoris Sartoris is a novel, first published in 1929, by the American author William Faulkner. It portrays the decay of the Mississippi aristocracy following the social upheaval

neg: Ben Toledano shows that Reagan himself personally made the decision. Reagan instead named W. Eugene Davis of Lafayette to the appeals court seat. Toledano is married to the former Roulhac Bunkley, a native Texan with a French Huguenot first name. Their children are son, Macon Cheek Toledano (born 1965), and daughters Gabrielle B. Toledano (born 1967), Roulhac d'Arby Toledano (born c. 1969), and Cleanth Brooks Toledano (born c. 1975), who is named for the literary figure Cleanth Brooks. It was in the Toledano home in New Orleans in the early 1960s where Brooks met Walker Percy, and Brooks frequently visited with Toledano

neg: The Lucy poems all, for by dying she was one with the natural processes that made her die, and fantastically ennobled thereby". Cleanth Brooks writes that "Strange fits" presents "Kind Nature's gentlest boon", "Three years" its duality, and "A slumber" the clutter of natural object. Other scholars see "She dwelt", along with "I travelled", as representing nature's "rustication and disappearance". Mahoney views "Three years" as describing a masculine, benevolent nature similar to a creator deity. Although nature shapes Lucy over time and she is seen as part of nature herself, the poem shifts abruptly when she dies. Lucy appears to be eternal, like

neg: MewithoutYou "Everything Was Beautiful and Nothing Hurt" from their album "", Aaron Weiss' lyrics are based on a poem from the metaphysical poet John Donne called "". John Donne wrote the poem to his wife to explain that there is no need for dreading their physical separation or distance because their spiritual love will always keep them together. The lines of the song "thy firmness makes my circle just, and makes me end where I begun" are directly from John Donne's poem where the conceit is revealed as a compass (Stanza 9, ll. 35–36). The title of the song itself is

neg: Ode: Intimations of Immortality superior, as poetry, to its psychological counterpart in "The Prelude"" but also said that "the semi-Platonic machinery of pre-existence... seems intrusive, and foreign to Wordsworth" before concluding that the poem was the "final and definitive expression to the most poignant experience of his poetic life". Cleanth Brooks used the "Ode: Intimation of Immortality" as one of his key works to analyse in his 1947 work "The Well Wrought Urn". His analysis broke down the ode as a poem disconnected from its biographical implications and focused on the paradoxes and ironies contained within the language. In introducing his analysis, he claimed

neg: Paradox (literature) be drawn and meaning can be extracted from poems both straightforward and enigmatic. Brooks points to William Wordsworth's poem "It is a beauteous evening, calm and free". He begins by outlining the initial and surface conflict, which is that the speaker is filled with worship, while his female companion does not seem to be. The paradox, discovered by the poem's end, is that the girl is more full of worship than the speaker precisely because she is always consumed with sympathy for nature and not – as is the speaker – in tune with nature while immersed in it. In

neg: The Good-Morrow The Good-Morrow "The Good-Morrow" is a poem by John Donne, published in his 1633 collection "Songs and Sonnets". Written while Donne was a student at Lincoln's Inn, the poem is one of his earliest works and is thematically considered to be the "first" work in "Songs and Sonnets". Although referred to as a sonnet, the work does not follow the most common rhyming scheme of such works—a 14-line poem, consisting of an eight-line stanza followed by a six-line conclusion—but is instead 21 lines long, divided into three stanzas. "The Good-Morrow" is written from the point of view of an awaking

neg: The Good-Morrow map showing two worlds, while Walker maintains that the reference is to a map showing only one. The Good-Morrow "The Good-Morrow" is a poem by John Donne, published in his 1633 collection "Songs and Sonnets". Written while Donne was a student at Lincoln's Inn, the poem is one of his earliest works and is thematically considered to be the "first" work in "Songs and Sonnets". Although referred to as a sonnet, the work does not follow the most common rhyming scheme of such works—a 14-line poem, consisting of an eight-line stanza followed by a six-line conclusion—but is instead 21 lines

neg: Guild of Scholars of The Episcopal Church Guild of Scholars of The Episcopal Church The Guild of Scholars of the Episcopal Church is a society of lay Episcopal academics which meets annually at General Theological Seminary in New York in November of each year. The guild was founded in 1945 and has included notable members such as Cleanth Brooks, Brooks Otis, Henry Babcock Veatch, Frederick Pottle, W. H. Auden, Dell Hymes, Hyatt Waggoner, and Richard W. Bailey. Norman Pittenger was a past chaplain. Current members include the literary academics John V. Fleming, Debora Shuger, and Charles Forker, the chemical weapons specialist George Parshall, the religious historians David

neg: Cleanth Brooks Brooks admitted to reading the Southern Agrarian manifesto, "I'll Take My Stand" (1930) "over and over" (qtd. in Leitch 2001). While he never argued for the movement's conservative Southern traditions, he "learned a great deal" (qtd. in Leitch 2001) and found the Agrarian position valuable and "unobjectionable" (qtd. in Leitch 2001): "They asked that we consider what the good life is or ought to be" (qtd. in Leitch 2001). The Fugitive Movement similarly influenced Brooks' approach to criticism. The Fugitives, a group of Southern poets consisting of such influential writers as John Crowe Ransom, Allen Tate, Donald Davidson, and Robert

neg: Tears, Idle Tears and symbolism of his works. The ambiguity occurs in the contrasting descriptions of the tears: they are "idle", yet come from deep within the narrator; the "happy autumn-fields" inspire sadness. Literary critic Cleanth Brooks writes, "When the poet is able, as in 'Tears, Idle Tears', to analyze his experience, and in the full light of the disparity and even apparent contradiction of the various elements, bring them into a new unity, he secures not only richness and depth but dramatic power as well." Critic Graham Hough in a 1953 essay asks why the poem is unrhymed, and suggests that something

neg: Wilbur Marshall Urban 1941 by Cassirer. He was a critic of Alfred North Whitehead, and of Paul Tillich. Cleanth Brooks, in "The Well Wrought Urn" (1947), gave extended attention to Urban's views on language and symbolism, as applied to poetry. Suzanne Langer, however, starting from a similar base in Cassirer's thought, had criticized what Urban had to say in detail on poetry, in "Philosophy in a New Key" (1942). These matters are discussed in Cleanth Brooks and William K. Wimsatt, "Literary Criticism: A Short History" (1957). Wilbur Marshall Urban Wilbur Marshall Urban (1873–1952) was an American philosopher of language, influenced by Ernst Cassirer.

neg: Paradox (literature) can lead to apparent contradictions and hypocrisies. Brooks' seminal essay, "The Language of Paradox", lays out his argument for the centrality of paradox by demonstrating that paradox is "the language appropriate and inevitable to poetry." The argument is based on the contention that referential language is too vague for the specific message a poet expresses; he must "make up his language as he goes." This, Brooks argues, is because words are mutable and meaning shifts when words are placed in relation to one another. In the writing of poems, paradox is used as a method by which unlikely comparisons can

neg: Cleanth Brooks Exeter College, Oxford, as a Rhodes Scholar. He received his B.A. (first class) in 1931 and his B.Litt. the following year. Brooks then returned to the United States and from 1932 to 1947 was a professor of English at Louisiana State University in Baton Rouge (Singh 1991). In 1934, he married Edith Amy Blanchord. During his studies at Vanderbilt, he met literary critics and future collaborators Robert Penn Warren, John Crowe Ransom, Andrew Lytle, and Donald Davidson (Singh 1991). Studying with Ransom and Warren, Brooks became involved in two significant literary movements: the Southern Agrarians and the Fugitives (Singh 1991).

neg: Paleoconservatism Garrett, Robert R. McCormick, Felix Morley and Richard M. Weaver, among others, articulated positions that have influenced contemporary paleoconservatives. Some paleoconservatives embrace the decentralizing tenets of the Anti-Federalists, such as John Dickinson and George Mason. Neoconservative critic David Brooks lists William Jennings Bryan, T. S. Eliot, Allen Tate, John Crowe Ransom, Cleanth Brooks and Walker Percy as major paleo influences. Counter-revolutionary (Roman Catholic) European precursors to the paleoconservatives include Joseph de Maistre, Charles Maurras, Juan Donoso Cortés, Klemens Wenzel von Metternich and Pope Pius IX, specifically in the Roman Catholic traditionalist subset of paleoconservatism. G. K. Chesterton and Hilaire Belloc

neg: Robie Macauley articles, essays and book reviews by Eric Bentley, Cleanth Brooks, R. P. Blackmur, Malcolm Cowley, Richard Ellmann, Leslie Fiedler, Martin Green, and Raymond Williams. In 1964 he served as a fiction judge for the National Book Awards together with John Cheever and Philip Rahv. He received a Guggenheim Fellowship and took a sabbatical in 1964–65 as a Fulbright Research Fellow at the University of London. During 1966 Macauley became the Fiction Editor at "Playboy", where he published fiction by Saul Bellow, Michael Crichton, John Cheever, Roald Dahl, James Dickey, J. P. Donleavy, Nadine Gordimer, John Irving, Arthur Koestler, John LeCarre,

neg: Death Be Not Proud (poem) Death Be Not Proud (poem) Sonnet X, also known by its opening words as "Death Be Not Proud", is a fourteen-line poem, or sonnet, by English poet John Donne (1572–1631), one of the leading figures in the metaphysical poets of seventeenth-century English literature. Written between February and August 1609, it was not published during Donne's lifetime; it was first published posthumously in 1633. It is included as one of the nineteen sonnets that comprise Donne's "Holy Sonnets" or "Divine Meditations", among his most well-known works. Most editions number the poem as the tenth in the sonnet sequence, which follows the

neg: Richard M. Weaver During 1940, Weaver began a Ph.D. in English at Louisiana State University (LSU), whose faculty included the rhetoricians and critics Cleanth Brooks and Robert Penn Warren, and the conservative political philosopher Eric Voegelin. While at LSU, Weaver spent summers studying at Harvard University, the University of Virginia, and the Sorbonne. His Ph.D. was awarded during 1943 for a thesis, supervised first by Arlin Turner then by Cleanth Brooks, titled "The Confederate South, 1865-1910: A Study in the Survival of a Mind and a Culture". It was published during 1968, posthumously, with the title "The Southern Tradition at Bay". After one

neg: Paradox (literature) parody both love and religion, but in fact it combines them, pairing unlikely circumstances and demonstrating their resulting complex meaning. Brooks points also to secondary paradoxes in the poem: the simultaneous duality and singleness of love, and the double and contradictory meanings of "die" in Metaphysical poetry (used here as both sexual union and literal death). He contends that these several meanings are impossible to convey at the right depth and emotion in any language but that of paradox. A similar paradox is used in Shakespeare's "Romeo and Juliet", when Juliet says, "For saints have hands that pilgrims' hands do

neg: Ted Hughes cited his main influences as including Blake, Donne, Hopkins and Eliot. He mentioned also Schopenhauer, Robert Graves's book "The White Goddess" and "The Tibetan Book of the Dead". Hughes worked for 10 years on a prose poem, "Gaudete", which he hoped to have made into a film. It tells the story of the vicar of an English village who is carried off by elemental spirits, and replaced in the village by his enantiodromic double, a changeling, fashioned from a log, who nevertheless has the same memories as the original vicar. The double is a force of nature who organises the

neg: The Flea (poem) The Flea (poem) "The Flea" is an erotic metaphysical poem (first published posthumously in 1633) by John Donne (1572–1631). The exact date of its composition is unknown. The poem uses the conceit of a flea, which has sucked blood from the male speaker and his female lover, to serve as an extended metaphor for the relationship between them. The speaker tries to convince a lady to sleep with him, arguing that if their blood mingling in the flea is innocent, then sexual mingling would also be innocent. His argument hinges on the belief that bodily fluids mix during sexual intercourse.

neg: I. A. Richards though Leavis was contemporary with Richards, Empson much younger. Other critics primarily influenced by his writings also included Cleanth Brooks and Allen Tate. Later critics who refined the formalist approach to New Criticism by actively rejecting his psychological emphasis included, besides Brooks and Tate, John Crowe Ransom, W. K. Wimsatt, R. P. Blackmur, and Murray Krieger. R. S. Crane of the Chicago school was both indebted to Richards's theory and critical of its psychological assumptions. They all admitted the value of his seminal ideas but sought to salvage what they considered his most useful assumptions from the theoretical excesses they

neg: Metaphysical poets exponent of the Baroque style in any language”. Crashaw is frequently cited by Harold Segel when typifying the characteristics of "The Baroque Poem", but he goes on to compare the work of several other Metaphysical poets to their counterparts in both Western and Eastern Europe. The use of conceits was common not only across the Continent, but also elsewhere in England among the Cavalier poets, including such elegists of Donne as Carew and Godolphin. As an example of the rhetorical way in which various forms of repetition accumulate in creating a tension, only relieved by their resolution at the end

neg: A Valediction: Forbidding Mourning the analogy of beaten gold can be traced to the writings of Tertullian, one of Donne's greatest religious influences. Another critic of Donne, Samuel Johnson, noted that the poem's compass analogy highlights the "violence" used by metaphysical poets to "[force] the most heterogeneous ideas together". A Valediction: Forbidding Mourning "A Valediction: Forbidding Mourning" is a metaphysical poem by John Donne. Written in 1611 or 1612 for his wife Anne before he left on a trip to Continental Europe, "A Valediction" is a 36-line love poem that was first published in the 1633 collection "Songs and Sonnets", two years after Donne's

neg: American modernism was the most powerful perspective in American literary criticism. The representatives were John Crowe Ransom, Allen Tate, Cleanth Brooks, Robert Penn Warren. "The influential critical methods these poet-professors developed emphasized the sharpening of close reading skills. New Criticism privileged the evaluation of poetry as the justification of literary scholarship". "Brooks and Warren's Understanding Poetry" (1938) became one of the most influential college poetry textbooks of the 1930s and was revised and reprinted well into the 1970s. (Morrisson: 29). New criticism showed itself in such works as Eliot's and Yeats' poems. "Poetry that best fit the aesthetic criteria of the New

neg: Warren–Brooks Award published in English in the United States. , the winners of the award have been: Warren–Brooks Award The Warren–Brooks Award for literary criticism was established to honor the innovative, critical interpretation of literature offered by Robert Penn Warren and Cleanth Brooks to celebrate the continuation of such achievement. It is awarded for outstanding literary criticism originally published in English in the United States of America and is given in those years when a book, or other worthy publication, appears that exemplifies the Warren–Brooks effort in spirit, scope, and integrity. The award is given annually by the advisory group of the

neg: The Heresy of Paraphrase Though Brooks applied this theory to his reading of poetry from many periods, subsequent literary scholars have suggested that the doctrine was shaped by the aesthetics of modernist literature. They point out that the New Criticism emerged at the peak of T. S. Eliot's influence as both poet and critic. Archibald Macleish's "Ars Poetica" (written eleven years before "") is often cited as prefiguring Brooks' doctrine: A poem should be palpable and mute As a globed fruit Dumb As old medallions to the thumb Silent as the sleeve-worn stone Of casement ledges where the moss has grown – A poem

neg: Warren–Brooks Award Warren–Brooks Award The Warren–Brooks Award for literary criticism was established to honor the innovative, critical interpretation of literature offered by Robert Penn Warren and Cleanth Brooks to celebrate the continuation of such achievement. It is awarded for outstanding literary criticism originally published in English in the United States of America and is given in those years when a book, or other worthy publication, appears that exemplifies the Warren–Brooks effort in spirit, scope, and integrity. The award is given annually by the advisory group of the Center for Robert Penn Warren Studies at Western Kentucky University for outstanding literary criticism originally

neg: Cleanth Brooks Penn Warren, met Saturday evenings to read and discuss poetry written by members of the group (Singh 1991). The discussion was based on intensive readings and included considerations of a poem's form, structure, meter, rhyme scheme, and imagery (Singh 1991). This close reading formed the foundation on which the New Critical movement was based and helped shape Brooks' approach to criticism (Singh 1991). While attending the University of Oxford, Brooks continued his friendship with fellow Vanderbilt graduate and Rhodes Scholar, Robert Penn Warren (Leitch 2001). In 1934, Warren joined the English department at Louisiana State, leading Brooks and Warren to

neg: Hilbert–Bernays paradox used by the Hilbert–Bernays paradox) have denied that there is such a thing as the referent of h; solutions to the Liar paradox that reject the law of noncontradiction (which is "not" used by the Hilbert–Bernays paradox) have claimed that h refers to more than one object. Hilbert–Bernays paradox The Hilbert–Bernays paradox is a distinctive paradox belonging to the family of the paradoxes of reference (like Berry's paradox). It is named after David Hilbert and Paul Bernays. The paradox appears in Hilbert and Bernays' "Grundlagen der Mathematik" and is used by them to show that a sufficiently strong consistent theory

neg: Epithalamium Donne and Francis Quarles. Ben Jonson's friend, Sir John Suckling, is known for his epithalamium "A Ballad Upon a Wedding." In his ballad, Suckling playfully demystifies the usual celebration of marriage by detailing comic rustic parallels and identifying sex as the great leveler. At the close of "In Memoriam A.H.H.", Tennyson has appended a poem, on the nuptials of his sister, which is strictly an epithalamium. E. E. Cummings also returns to the form in his poem "Epithalamion", which appears in his 1923 book "Tulips and Chimneys". E.E.Cummings' Epithalamion consists of three seven octave parts, and includes numerous references to

neg: The Well Wrought Urn of Keats's "Ode on a Grecian Urn". Widely considered to be one of his best poems, Keats's "Ode" ends on what many think a sententious note with its proclamation that "Beauty is truth, truth beauty." But Brooks sees this as dramatically appropriate; it is a paradox that cannot be understood except in terms of the entire poem, if we take seriously Keats's metaphor of the urn as a dramatic speaker. Part of the intent of "The Well Wrought Urn" is to dispel the criticism that Brooks in his earlier works had dismissed the eighteenth and nineteenth century English poets, particularly

neg: Sonnet ye please, I care for other none. (E) </poem> In the 17th century, the sonnet was adapted to other purposes, with John Donne and George Herbert writing religious sonnets (see John Donne's "Holy Sonnets"), and John Milton using the sonnet as a general meditative poem. Probably Milton's most famous sonnet is "When I Consider How My Light is Spent", titled by a later editor "On His Blindness". Both the Shakespearean and Petrarchan rhyme schemes were popular throughout this period, as well as many variants. The fashion for the sonnet went out with the Restoration, and hardly any sonnets were written

neg: Cleanth Brooks that "a detailed description of my emotional state on reading certain works has little to do with indicating to an interested reader what the work is and how the parts of it are related" (Rivkin 24). For Brooks, nearly everything a critic evaluates must come from within the text itself. This opinion is similar to that expressed by W. K. Wimsatt and Monroe C. Beardsley in their famous essay "The Affective Fallacy," in which they argue that a critic is "a teacher or explicator of meanings," not a reporter of "physiological experience" in the reader (qtd. in Adams, 1029, 1027).

neg: New Criticism of the New Critics rapidly predominated in American universities until challenged by Feminism and structuralism in the 1970s. Other schools of critical theory, including, post-structuralism, and deconstructionist theory, the New Historicism, and Receptions studies followed. Although the New Critics were never a formal group, an important inspiration was the teaching of John Crowe Ransom of Vanderbilt University, whose students (all Southerners), Allen Tate, Cleanth Brooks, and Robert Penn Warren would go on to develop the aesthetics that came to be known as the New Criticism. Indeed, for Paul Lauter, a Professor of American Studies at Trinity College, New Criticism is

neg: Bread Loaf School of English in 1920. Poet Robert Frost was involved in the first half-century of the Bread Loaf School. He purchased a 150-acre farm in the immediate vicinity (now owned by Middlebury College and known as the Robert Frost Farm) and subsequently spent more than 40 summers lecturing at the School. In addition to Robert Frost, prominent faculty and staff have included Donald Davidson, William Carlos Williams, Bernard DeVoto, Edward Weismiller, Theodore Roethke, John Crowe Ransom, Elizabeth Drew, A. Bartlett Giamatti, Perry Miller, Catherine Drinker Bowen, Carlos Baker, Harold Bloom, Cleanth Brooks, Charles Edward Eaton, Richard Ellmann, Paul Muldoon, William Sloane, John Ciardi,

neg: Light in August her travels. According to Cleanth Brooks, this opposition between Joe and Lena is a pastoral reflection of the full spectrum of social alienation in modern society. There are a variety of parallels with Christian scripture in the novel. The life and death of Joe Christmas is reminiscent of the passion of Christ, Lena and her fatherless child parallel Mary and Christ, and Byron Bunch acts as a Joseph figure. Christian imagery such as the urn, the wheel, and the shadow, can be found throughout. "Light in August" has 21 chapters, as does the Gospel of St. John. As Virginia V.

neg: Traditionalist conservatism in the United States (1919) and "Democracy and Leadership" (1924) and More's "Shelburne Essays" (1904–1921). One other group of traditionalist conservatives were the Southern Agrarians. Originally a group of Vanderbilt University poets and writers known as "the Fugitives", they included John Crowe Ransom, Allen Tate, Donald Davidson and Robert Penn Warren. Adhering to strict literary standards (Warren and traditionalist scholar Cleanth Brooks later formulated a form of literary criticism known as the New Criticism), in 1930 some of the Fugitives joined other traditionalist Southern writers to publish "I'll Take My Stand", which applied standards sympathetic to local particularism and the agrarian way of life

neg: Cleanth Brooks and imaginative skills required for the understanding of poetry" (Singh 1991). Further, critics praise Brooks and Warren for "introducing New Criticism with commendable clarity" (Singh 1991) and for teaching students how to read and interpret poetry. Arthur Mizener commended Brooks and Warren for offering a new way of teaching poetry: For us the real revolution in critical theory...was heralded by the publication, in 1938, of "Understanding Poetry"...for many of us who were preparing ourselves to teach English is those years...this book...came as a kind of revelation. It made sense because it opened up for us a way of talking about

neg: The Good-Morrow pause and a six-line conclusion "which is characteristically both unpredictable and intense". This was interlinked with the idea of courtly love, in which the goal of a romance is not simply passion, but a more significant moral perfection. "The Good-Morrow", although identified by Donne as a sonnet, does not follow this structural layout, although it does follow the thematic one; Donne used "sonnet" simply to refer to any piece of love poetry, ignoring the fact that "The Good-Morrow" was a 21-line work divided into three stanzas. The poem opens with a reference to a Catholic legend as Donne says: This

neg: The Sun Rising (poem) the entire world. The Sun Rising (poem) "The Sun Rising" (also known as "The Sunne Rising") is a thirty line poem with three stanzas published in 1633 by poet John Donne. The meter is irregular, ranging from two to six stresses per line in no fixed pattern. The longest lines are at the end of the three stanzas and the rhyme never varies—each stanza runs ABBACDCDEE. Donne's poems were known to be metaphysical with jagged rhythms, dramatic monologues, playful intelligence, and startling images. The poem personifies the sun. "The Sun Rising" is one of Donne's best-known works. Stanza one begins

neg: The Sun Rising (poem) The Sun Rising (poem) "The Sun Rising" (also known as "The Sunne Rising") is a thirty line poem with three stanzas published in 1633 by poet John Donne. The meter is irregular, ranging from two to six stresses per line in no fixed pattern. The longest lines are at the end of the three stanzas and the rhyme never varies—each stanza runs ABBACDCDEE. Donne's poems were known to be metaphysical with jagged rhythms, dramatic monologues, playful intelligence, and startling images. The poem personifies the sun. "The Sun Rising" is one of Donne's best-known works. Stanza one begins with the speaker

neg: A Hymn to God the Father Sin, Where I Begun"; without always crediting him as composer, or Donne as the author of the words. The poem starts out with a question that Donne asks from God that will He forgive his sins which he did even before his birth? Actually, Donne refers to the original sin which his ancestors Adam and Eve committed by eating the forbidden fruit, according to Christian theology. He then adds that if God has forgiven those sins he has not yet done, Donne has more sins to be forgiven. Then he seeks forgiveness for those sins wherein he tempted others to

neg: Guild of Scholars of The Episcopal Church L. Holmes and Robert Bruce Mullin, and the psychiatrist Margaret Morgan Lawrence. The chaplain, in perpetuity, of the guild is the Rev. Canon J. Robert Wright. David Hurd offers a regular organ recital at every meeting. Guild of Scholars of The Episcopal Church The Guild of Scholars of the Episcopal Church is a society of lay Episcopal academics which meets annually at General Theological Seminary in New York in November of each year. The guild was founded in 1945 and has included notable members such as Cleanth Brooks, Brooks Otis, Henry Babcock Veatch, Frederick Pottle, W. H. Auden, Dell Hymes,

neg: Culture of the Southern United States Erskine Caldwell, Edgar Allan Poe, Joel Chandler Harris, Sidney Lanier, Cleanth Brooks, Pat Conroy, Harper Lee, Zora Neale Hurston, Eudora Welty, Ralph Ellison, Thomas Wolfe, William Styron, Flannery O'Connor, Carson McCullers, James Dickey, Willie Morris, Tom Wolfe, Truman Capote, Walker Percy, Charles Portis, Barry Hannah, Alice Walker, Cormac McCarthy, Anne Rice, Shelby Foote, John Grisham, Charlaine Harris, James Agee, Hunter S. Thompson, Wendell Berry, Bobbie Ann Mason, Harry Crews and the authors known as the Southern Agrarians. Possibly the most famous southern novel of the 20th-century is "Gone with the Wind" by Margaret Mitchell, published in 1937. Another famous southern

neg: A Hymn to God the Father commit sins. But God still has not Donne. Donne then asks for mercy for those sins from which he refrained for a short-span but committed earlier. In the concluding verse he fears that he will still be lost (perishing on the shore on this side of the river Jordan), Donne is finally satisfied by asking God to swear an oath(!) that he will be true to his promise that His son Christ will take Donne to Heaven. Job done.. A Hymn to God the Father "A Hymn to God the Father", also titled "To Christ", is a poem by English

neg: John Donne Donne did not publish these poems, although they circulated widely in manuscript form. One such, a previously unknown manuscript that is believed to be one of the largest contemporary collections of Donne's work (among that of others), was found at Melford Hall in November 2018. Some have speculated that Donne's numerous illnesses, financial strain, and the deaths of his friends all contributed to the development of a more somber and pious tone in his later poems. The change can be clearly seen in "" (1611), a poem that Donne wrote in memory of Elizabeth Drury, daughter of his patron, Sir

neg: Bonini's paradox and Sober, 1993; Odenbaugh, 2006) Bonini's paradox can be seen as a case of the map–territory relation: simpler maps are less accurate though more useful representations of the territory. An extreme form is given in the fictional stories "Sylvie and Bruno Concluded" and "On Exactitude in Science," which imagine a map of a scale of 1:1 (the same size as the territory), which is precise but unusable, illustrating one extreme of Bonini's paradox. Isaac Asimov's fictional science of "Psychohistory" in his Foundation series also faces with this dilemma; Asimov even had one of his psychohistorians discuss the paradox. Bonini's paradox

neg: Death Be Not Proud (poem) Branagh at the end of Episode 4 of the 1987 BBC series "Fortunes of War", following the death of one the main characters. Death Be Not Proud (poem) Sonnet X, also known by its opening words as "Death Be Not Proud", is a fourteen-line poem, or sonnet, by English poet John Donne (1572–1631), one of the leading figures in the metaphysical poets of seventeenth-century English literature. Written between February and August 1609, it was not published during Donne's lifetime; it was first published posthumously in 1633. It is included as one of the nineteen sonnets that comprise Donne's "Holy Sonnets"

neg: Metempsychosis down to the latest classic thinkers, Plotinus and the other Neoplatonists. Metempsychosis was a part of the Neo-Manichaen dogma of the Albigenses around France in the 12th century. Created in the early XVth century, the Rosicrucianist movement also conveyed an occult doctrine of metempsychosis. "Metempsychosis" is the title of a longer work by the metaphysical poet John Donne, written in 1601. The poem, also known as the "Infinitati Sacrum", consists of two parts, the "Epistle" and "The Progress of the Soule". In the first line of the latter part, Donne writes that he "sing[s] of the progresse of a deathlesse

neg: Authorial intent Authorial intent In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in his or her work. Authorial intentionalism is the view, according to which an author's intentions should constrain the ways in which it is properly interpreted. New Criticism, as espoused by Cleanth Brooks, W. K. Wimsatt, T. S. Eliot, and others, argued that authorial intent is irrelevant to understanding a work of literature. Wimsatt and Monroe Beardsley argue in their essay "The Intentional Fallacy" that "the design or intention of the author is neither available nor desirable as a standard for judging

neg: Reincarnation in popular culture John Donne, written in 1601. The poem, also known as the "Infinitati Sacrum", consists of two parts, the "Epistle" and "The Progress of the Soule". In the first line of the latter part, Donne writes that he "sing[s] of the progresse of a deathlesse soule". During the classical period of German literature metempsychosis attracted much attention: Goethe played with the idea, and it was taken up more seriously by Lessing, who borrowed it from Charles Bonnet, and by Herder. Reincarnation is a key plot device in Edgar Allan Poe's 1832 short story "Metzengerstein', in his "Morella" (1835) and "The Oval

neg: She dwelt among the untrodden ways by condemning her to death while denying her the actual or symbolic fulfillment of maternity". To evoke the "loveliness of body and spirit", a pair of complementary but opposite images are employed in the second stanza: a solitary violet, unseen and hidden, and Venus, emblem of love, and the first star of evening, public and visible to all. Wondering which Lucy most resembled—the violet or the star—the critic Cleanth Brooks concluded that although Wordsworth likely viewed her as "the single star, completely dominating [his] world, not arrogantly like the sun, but sweetly and modestly". Brooks considered the metaphor only vaguely

neg: Hugh Kenner he couldn't get me on the phone all the time. He could be awfully controlling." Later, when McLuhan wrote that the development of cartography during the Renaissance created a geographical sense that had never previously existed, Kenner sent him a postcard reading in full: "Gallia est omnis divisa in partes tres, Yours, Hugh." In 1950, Kenner earned a Ph.D. from Yale University, with a dissertation on James Joyce, "James Joyce: Critique in Progress", for Cleanth Brooks. This work, which won the John Addison Porter Prize at Yale, became "Dublin's Joyce" in 1956. His first teaching post was at the University

neg: Authorial intent text," tracing material transformations and embodiments of works while not privileging one version over another. Authorial intent In literary theory and aesthetics, authorial intent refers to an author's intent as it is encoded in his or her work. Authorial intentionalism is the view, according to which an author's intentions should constrain the ways in which it is properly interpreted. New Criticism, as espoused by Cleanth Brooks, W. K. Wimsatt, T. S. Eliot, and others, argued that authorial intent is irrelevant to understanding a work of literature. Wimsatt and Monroe Beardsley argue in their essay "The Intentional Fallacy" that "the design

neg: Myra Brooks Welch Myra Brooks Welch Myra Brooks Welch (October 12, 1877 – August 11, 1959 Los Angeles, California) was a poet that is known for her Christian poem "The Touch of the Master's Hand", which was also adapted into a film. Myra Brooks was born on October 12, 1877 in Farmington Township, Fulton County, Illinois to Mary (née Eshelman) and John W. Brooks. She was the youngest of four other siblings: Charles, David, Frank and Dessie. By 1900, she and her parents had relocated to Independence, Oregon, where she was working as a sales clerk in a store. Around 1901, she married

neg: William Bodham Donne the words were not very audible, and in a foreign language. It has been found surprising that he did not object to the song "The Wearing of the Green", in a Dion Boucicault play set during the Irish Rebellion of 1798. In fact Donne cited the play, "Arrah-na-Pogue", in a short list of contemporary works he thought were likely to last, along with others by Edward Bulwer, Sheridan Knowles, John Westland Marston, Thomas Noon Talfourd, and Tom Taylor. Donne licensed in the range of 5,000 to 6,000 plays while in post. He kept careful records of the blue pencil, showing

neg: Cleanth Brooks Sciences, the National Institute of Arts and Letters, and the American Philosophical Society (Singh 1991). The National Endowment for the Humanities selected Brooks for the 1985 Jefferson Lecture, the U.S. federal government's highest honor for achievement in the humanities. He delivered the lecture both in Washington and at Tulane University in New Orleans, and it was subsequently included as "Literature in a Technological Age" in a collection of his essays. Brooks was the central figure of New Criticism, a movement that emphasized structural and textual analysis—close reading—over historical or biographical analysis. Brooks advocates close reading because, as he states in