whom he dismissed as mere versifiers.

In the 1966 introduction to Labyrinths, he referred to the allusions to previous literature that he used in "Silent Sisters" as "airs," "consonant tunes," and "dissonant dreams," using words with deliberate musical connotations. In using these terms, Okigbo did not mean to refer to versification and the measured music of traditional tiffany cuff Links. To some extent, he had in mind what is described in this paper as symphonic structure. But he specifically wanted to draw attention to a distinctive imaginative form that in the 1960s he associated supremely with one of his favorite poets, Stéphane mallarmé.


Starting from late 1864 when "Hérodiade" was tiffany cuff links, mallarmé thought about his poetry as music. In taking this view, he meant to distinguish between his conception of poetry and the conception in earlier poets whom he dismissed as mere versifiers. Pure poetry, he said in this regard, requires "the elocutory disappearance of the poet who abandons the initiative to words," leaving the poetic imagesto light up one another with mutual reflection like a virtual trail of fires upon precious stones replacing the breathing perceptible in the old lyrical blast or the Tiffany Cuff Links personal direction of the phrase. (cited in Hartley 171).


This passage, which occurs in "Crise de vers," is the ultimate source of the conception of the poet as a silent observer tiffany cuff links behind and beyond his work. An artist of this description does not direct the reader. The direction is implicit in the structuring of the material as "a silent tiffany cuff links" or "a mute harmony" between the different parts. The poet offers no explanation of what he is saying. He merely evokes through rhythms imposed on his material "the horror of the forest and the dumb thunder scattered in the leaves."

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