Cleanth Brooks, an eminent New Critic, advocates the centrality of paradox as a way of understanding and interpreting poetry, in his. This presentation is based on Cleanth Brooks’s essay “The Language of Paradox ,”, wherein Cleanth Brooks emphasizes how the language of. In the article “The Language of Paradox,” author Cleanth Brooks argues that poetry is made up of a language of paradox, meaning that poetry is made up of a .
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The urn which holds the ashes of the phoenix also holds the ashes of the phoenix lovers, it is the poem itself.
His famous It is a Beauteous Evening: These articles exemplify the tenets of New Criticism: Though London is lamguage 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.
In literaturethe paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. This article is about the figure of speech. In particular, the New Critical techniques were found to be very effective with such forms as lyric poetry but not with genres like the novel, which are heavily invested in cultural, social, historical and moral readings.
Cleanth Brooks and The Language of Paradox. The very houses seem asleep And all that mighty heart is lying still! Studying a passage of prose or poetry in New Critical style required careful, exacting scrutiny of the passage itself. Log In Sign Up. The metaphor suggested in the first lines of the poem makes several clear implications: Retrieved from ” https: The poet must work by contradiction and qualification.
It is a perpetual part of the craft of poetry and cannot be kept out, but can only be directed and controlled. Brooks simply believed that, “‘Imagination’ reveals itself in the balance or reconciliation of opposite or discordant qualities. In The Well Wrought Urn Brooks shows that paradox was so essential to poetic meaning that paradox was almost identical to poetry.
One type langugae union becomes a metaphor for the other.
He neatly and contemptuously epitomizes the two main categories of secular success in the line: This is exactly the way in which neo-classical poets used paradoxes; though it is true, here, to say that paradoxes insist on the irony, rather than the wonder.
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.
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The tone of irritation that is seen at the opening of the poem becomes something very different. All the generalizations are made out of a close analysis of lyric poetry.
Enter the email address you signed up with and we’ll email you a reset link. Skip to main content. Its death is life. This makes it a permissible feature of an epigram or a satire, sub- varieties of poetry, but not of poetry itself. This seems to parody both love and religion, but in fact it combines them, pairing unlikely circumstances and demonstrating their resulting complex meaning. The dominant metaphor of the holy anchorite who by giving up this world achieves a better world is true here.
According to literary cleeanth Leroy Searle, Brooks’ use of paradox emphasized the indeterminate lines between form and content. Literary or rhetorical paradoxes abound in the works of Oscar Wilde and G. Brooks points also to secondary paradoxes in the poem: The intense world is actively achieved and not received passively: Cleanth Brooksan active member of the New Critical movement, outlines the use of reading poems through paradox cleajth a method of critical interpretation.
It is an intense and serious parody of a normally sacred ritual. Brooks’ seminal essay, The Language of Paradoxlays out his argument for dleanth centrality of paradox by demonstrating that paradox is “the language appropriate and inevitable to poetry. Brooks’ contemporaries in the sciences were, langauge the s and 50’s, reorganizing university science curricula into codified disciplines.
Cleanth Brooks and The Language of Paradox | sucheta sankar –
This is in principle what Wordsworth has stated in the second edition of the Lyrical Ballads: It is however, not possible that the metaphors will fit on the same plane. It is this reason that gives the speaker the opportunity to remark upon the beauty of London as 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.
Paradox, however, is essential to the structure and being of the poem. He represents the secular world the lovers have renounced. Reveals itself in the balance or reconcilement of opposite or discordant qualities: His reading of “The Canonization” in The Language of Paradoxwhere paradox becomes central to expressing complicated ideas of sacred and secular love, provides an example of this development.
The study of English, however, remained less defined and it became a goal of the New Critical movement to justify literature in an age of science by separating the work from its author and critic see Wimsatt and Beardsley’s Intentional fallacy and Affective fallacy and by examining it as a self-sufficient artifact.
The poet is not defeated by this task nor is the poem reduced to shallow sophistry.