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

By Neil Fraistat | Go to book overview
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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.

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.
Louis L. Martz, The Poetry of Meditation ( New Haven: Yale University Press, 1954), pp. 280-320.
Earl Miner, The Metaphysical Mode from Donne to Cowley ( Princeton: Princeton University Press, 1969), pp. 232-45.
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


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


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