By Michael Silk
This is often an strange and unique contribution to literary conception. Michael Silk is a classicist, yet his ebook is anxious not just with the literature of antiquity, but additionally with the speculation of literature as such: it investigates a facet of poetic imagery within the useful context of historical poetry. during the research, many illustrative passages from English verse are mentioned, however the corpus of poetry selected for specific realization is early Greek lyric and drama (up to and together with Aeschylus and Pindar) and the different hundred appropriate passages from this corpus are tested systematically. Dr Silk formulates a brand new serious notion, 'interaction', to symbolize yes gains of metaphor and different imagery and explores intimately their nature and importance. in addition to interplay itself, many subsidiary 'matters bobbing up' are given tremendous therapy: there are discussions of similar concerns within the fields of stylistics and literary concept, new strategies on a number of points of historic literature (notions of Greco-Roman theorists in addition to practices of Greek poets), and especially, very important contributions to the idea and perform of 'literary lexicography' in a lifeless language.
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Extra info for Interaction in Poetic Imagery: With Special Reference to Early Greek Poetry
That is, IKET' ES Sopious, applicable to the king but not to the vine, and therefore in tenor terminology, stands as part of- or instead of part o f - t h e vehicle: a displacement once again, notwithstanding the extreme dissimilarity in other ways between the Aeschylus and the English proverb. Such displacements I shall call intrusions and intrusion is another main kind of interaction. 2f. (the subject is "AEAIOS, the Sun): O9poc 81 5 COKEOCVOTO TTEp&aocs O' i a p a s TTOTI (3EVOEOC V V K T O S £p£[avas.
For the archaic Greek language, it has no other meaning. 22) in a similar way, though a certain confusion appears in his appeal to the dichotomy between 'topos' and 'vivid and deeply felt*. The former term refers wholly to the typicality of ideas, the latter, ultimately, to the novelty of words. g. 6^a. ). g. v. 2) : pccivco and peprjKa might be better regarded as cognates. (For a new instance of such restriction, see below, pp. ii5f. 2 (twice), P\. Tact. 24. 708d. 290 and fr. 146 (in addition to the Aeschylean passage).
Assumption 8: notwithstanding the previous assumption, certain poetic authors whose works are subsequently felt to have a classic or definitive significance can represent for later poetry almost a second norm. For all the poetry in my corpus, early epic usage, especially Homeric usage, has a status different in kind from any other poetic usage. Assumption 9: quantity. The greater the frequency of a usage and, in particular, the larger the number of different authors represented in the evidence, and the larger the number of different genres they represent, the more likely that the usage is normal.