Poems in Their Place: The Intertextuality and Order of Poetic Collections

By Neil Fraistat | Go to book overview
Save to active project

in any event a radical prior to plot in narrative. And the principles of that continuousness are beginnings and endings (in addition to the beginning and ending) that are separated-joined by continuances (as opposed to the continuousness). Further principles include progression, recurrence, and varying relation between the units of a collection (or plotted narration). The principles are cognitive in being knowable and mentally usable, determining the relatable continuity of elements cognitively apprehensible for their what-ness: specific versions of people, times, places, and causalities. The difference between plotted and nonplotted versions of narrative are illustrated by collections, in which the individual constitutive elements may also stand alone as integral lyrics, narratives, or dramatic entities. 28 These theses will need testing by a wider variety of evidence than that used here, even if the variety has been greater than usual in discussions of integrated collections or even of narrative. At a minimum, it should be clear what fruitful evidence is supplied for narrative and other kinds of literary theory by the evidence available from integrated collections in different periods and cultures.


NOTES
1.
Those interested in integrated collections should consult the classic article by Jin'ichi Konishi, "Association and Progression: Principles of Integration in Anthologies and Sequences of Japanese Court Poetry, A.D. 900-1350," Harvard Journal of Asiatic Studies 21 ( 1958): 67-127.
2.
Louis L. Martz, The Poetry of Meditation ( New Haven: Yale University Press, 1954), pp. 280-320.
3.
Earl Miner, The Metaphysical Mode from Donne to Cowley ( Princeton: Princeton University Press, 1969), pp. 232-45.
4.
At almost the same time, the late Judith Sloman and I individually discovered the integration of Fables. My first version appeared in Chapter 8 of Dryden's Poetry ( Bloomington: Indiana University Press, 1967) and hers as "The Structure of Dryden's Fables," Ph.D. diss., University of Minnesota, 1968. See also her "Interpretation of Dryden's Fables," Eighteenth-Century Studies 4 ( 1971): 199-211. I added a few things in Writers and Their Background: John Dryden ( London: G. Bell & Sons Ltd, 1972), pp. 259-66; and more particularly in The Restoration Mode from Milton to Dryden ( Princeton: Princeton University Press, 1974), pp. 541-57. For other studies, see David J. Latt and Samuel Holt Monk , John Dryden: A Survey and Bibliography of Critical Studies, 1895-1974 ( Minneapolis: University of Minnesota Press, 1976). Judy Sloman posthumous Dryden: The Poetics of Translation ( Toronto: University of Toronto Press, 1985), edited by Anne McWhir

-40-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
Loading One moment ...
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited page

Bookmark this page
Poems in Their Place: The Intertextuality and Order of Poetic Collections
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

While we understand printed pages are helpful to our users, this limitation is necessary to help protect our publishers' copyrighted material and prevent its unlawful distribution. We are sorry for any inconvenience.
Full screen
/ 346

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.

Are you sure you want to delete this highlight?