Designs on Truth: The Poetics of the Augustan Mock-EpicPenn State Press, 1992 M09 1 - 256 páginas Designs on Truth provides a reinterpretation of Augustan poetry, not as works to be defended before the court of Matthew Arnold and the Romantic tradition but as works that examine the rich relationships among text, culture, and world. In Designs on Truth, Gregory Colomb identifies the characteristics of the mock-epic and argues that the form had developed formal expectations. In making this argument, he explains the intentions of the writers of mock-epics, and expands our conception of the interest and significance of such poems. By demonstrating how these poems are supported by the genre's poetics, he brings out ways these poems differ from other &"Augustan&" poems such as the Horatian epistles that are often discussed with them. Designs on Truth puts into question the distinction between history and poetry in the mock-epic, examining it at three levels of poetic structure: fable (global narrative structure), and portraits (characterological narrative structure). Focusing chiefly on the mock-epic's representations in terms of class and &"kind,&" this study returns historical particulars to the central role that the poets had always given them and seeks to understand how they are made poetic. Designs on Truth shows how the poems themselves subvert any easy distinction between historical and poetic particulars. This often philosophical genre is itself a reconsideration of the role of reference (fact) and judgment (value) in representation. This study shows how representation and judgment work in the mock-epic, and how together they stand at the heart of the dominant Augustan poetic. Colomb also provides new readings of the mock-epic, including the first comprehensive reading of The Dispensary since the eighteenth century. |
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... object , with the result that the talk of style and subject guides them to the purely rhetorical aspects of the matter . Even though the poet's li- cense includes his fable or fiction , critics consistently avoided the ques- tion of the ...
... object or state of affairs . Hence the two kinds of poetic license : that concerning expression and that con- cerning ideas . Dryden's defense of expressive license , rhetoric , allows the poet great latitude because the ideas were ...
... objects , and to representation of such things as depending not on sense , and therefore not to be comprehended by knowledge , may give him a freer scope for imagination " ( Ker , 1.153 ) . But in the end , Dryden defends only " those ...
... objects of perception and under- standing . The shock at the violence in The Dispensary is not to be found in the literalized version . No reader will take very seriously the pros- pect that the apothecaries themselves will take up arms ...
... objects of the argument , but the events and situation are fictional — in a special sense . Taken purely as story , the narration of the events is simply fictional . The Apothecaries did not storm the College ; Arabella Fermor did not ...
Contenido
Prologue | 33 |
Naming Names | 35 |
Dullness by Its Proper Name 3 | 59 |
Urban Gravitation | 79 |
Ranging Afield | 95 |
Prologue | 119 |
From Caricature to Portraiture 6 | 129 |
Dishonourable Confederacies | 145 |
A Taxonomy of Dunces 8 | 163 |
A Succession of Monarchs 9 | 183 |
Epilogue | 207 |
209 | |
219 | |
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Designs on Truth: The Poetics of the Augustan Mock-Epic Gregory G. Colomb Vista previa limitada - 1992 |