Quotation and Modern American Poetry: "Imaginary Gardens With Real Toads"In this volume Elizabeth Gregory addresses a number of key issues surrounding the formation of the American poetic canon. Taking as her primary examples T. S. Eliot's Waste Land, William Carlos Williams' Paterson, and selected poems by Marianne Moore, she examines the ways in which modern American writers struggled with questions of literary authority and cultural identity in relation to pre-existing European models. Gregory focuses on these issues through analysis of the use of quotation in modern and postmodern literature, a practice that was strikingly divergent from the accepted use of literary allusion. Her introduction traces a history of quotation as it has been practiced in literature from classical to modern times. She then focuses on the texts of Eliot, Williams, and Moore--three central figures of American modernism whose work the author believes represents a spectrum of responses to the established European model of poetical discourse. Gregory's selection of Moore also allows her to deal with feminist concerns as they emerge in the more general modernist dialogue. How was a female writer to make use of a literary canon that traditionally excluded female participation? "The implications of Gregory's argument . . . will surely be of especial interest to feminist scholars of American poetry."--Lois Parkinson Zamora, University of Houston. |
From inside the book
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Page 3
... present to the past and of their American culture to that of the Old World . Secondly , in its parody of the more familiar poetic allusion , quotation raised questions about the possibility of originality , since it could be understood ...
... present to the past and of their American culture to that of the Old World . Secondly , in its parody of the more familiar poetic allusion , quotation raised questions about the possibility of originality , since it could be understood ...
Page 9
... present work to the earlier one , the relation implicit in a gloss , Montaigne turned the technique of quotation on its head and stressed the role of the present author in the creation of the new whole . He thus emphasized the new over ...
... present work to the earlier one , the relation implicit in a gloss , Montaigne turned the technique of quotation on its head and stressed the role of the present author in the creation of the new whole . He thus emphasized the new over ...
Page 13
... present , in tension with socially defined roles and tradi- tion , their counterparts.28 The romantic moment seems to have differed from other moments in which originality had precedence over tradition ( Augustan Rome and fifth ...
... present , in tension with socially defined roles and tradi- tion , their counterparts.28 The romantic moment seems to have differed from other moments in which originality had precedence over tradition ( Augustan Rome and fifth ...
Page 18
... present in the poem as a kind of icon , almost a religious object . The transformation of the quota- tion that then occurs refutes not just the statement of the quotation , but its range of sacred associations as well . In Coleridge's ...
... present in the poem as a kind of icon , almost a religious object . The transformation of the quota- tion that then occurs refutes not just the statement of the quotation , but its range of sacred associations as well . In Coleridge's ...
Page 20
... gain by the changes tended , conversely , to welcome the new possibilities offered in the apparently less strictly structured present . These disparate reactions are reflected in the work of the 20 / Quotation and Modern American Poetry.
... gain by the changes tended , conversely , to welcome the new possibilities offered in the apparently less strictly structured present . These disparate reactions are reflected in the work of the 20 / Quotation and Modern American Poetry.
Contents
1 | |
25 | |
William Carlos Williamss Paterson | 73 |
Marianne Moores Poetry of Quotation | 129 |
Notes | 187 |
Bibliography | 221 |
Index | 231 |
Other editions - View all
Quotation and Modern American Poetry: Imaginary Gardens with Real Toads Elizabeth Gregory No preview available - 1996 |
Quotation and Modern American Poetry: Imaginary Gardens with Real Toads Elizabeth Gregory No preview available - 1996 |
Common terms and phrases
acknowledge allusions American appear argues argument associated attempt authority beginning borrowing called cited claims clear close comes complexity concern continues critics culture death demonstrated describes desire direct discussion earlier echoes effect Eliot employs evidence example fact fall father female feminine figures follows further gender gives hierarchy influence instance involves issues kind language less letters lines literary loss male Marianne Moore marks means Milton modernist Moore's mother move notes offers once operate originality particular past Paterson pattern phrase play poem poem's poet poetic poetry position possibility Pound present Press question quotation quotes readers reference relation represents role romantic secondary seems sense serves silence sources speak specifically standard story structure suggests texts things tion tradition transformation understanding University voice Waste Land William Carlos Williams Williams's woman women writing York
Popular passages
Page 43 - I bequeath myself to the dirt to grow from the grass I love, If you want me again look for me under your boot-soles.
Page 15 - And God said, Let there be a firmament in the midst of the waters, and let it divide the waters from the waters. And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament: and it was so. And God called the firmament Heaven. And the evening and the morning were the second day.
Page 219 - So saying, her rash hand in evil hour Forth reaching to the Fruit, she pluck'd, she eat: Earth felt the wound, and Nature from her seat Sighing through all her Works gave signs of woe, That all was lost.
Page 191 - A little onward lend thy guiding hand To these dark steps, a little further on; For yonder bank hath choice of sun or shade; There I am wont to sit, when any chance Relieves me from my task of servile toil, Daily in the common prison else enjoin'd me, Where I, a prisoner chain'd, scarce freely draw The air imprison'd also, close and damp, Unwholesome draught.
Page 35 - What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images...
Page 5 - Ye have heard that it was said by them of old time, Thou shalt not kill; and whosoever shall kill shall be in dang-er of the judgment: But I say unto you, That whosoever is angry with his brother without a cause, shall be in danger of the judgment...
Page 190 - And Cush begat Nimrod : he began to be a mighty one in the earth. He was a mighty hunter before the Lord : wherefore it is said, "Even as Nimrod the mighty hunter before the Lord.
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Page 200 - The invisible world, doth greatness make abode, There harbours; whether we be young or old, Our destiny, our being's heart and home, Is with infinitude, and only there ; With hope it is, hope that can never die, Effort, and expectation, and desire, And something evermore about to be.
Page 37 - You gave me hyacinths first a year ago; "They called me the hyacinth girl." — Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, Looking into the heart of light, the silence. Oed