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However, some of these paradoxes qualify to fit into the mainstream viewpoint of a paradox, which is a self-contradictory result gained even while properly applying accepted ways of reasoning. These paradoxes, often called antinomy, point out genuine problems in our understanding of the ideas of truth and description.
In literature, the paradox is an anomalous juxtaposition of incongruous ideas for the sake of striking exposition or unexpected insight. It functions as a method of literary composition and analysis that involves examining apparently contradictory statements and drawing conclusions either to reconcile them or to explain their presence.
This is a good example of what "paradox" means to Brooks: the poet expresses himself in words that are metaphorical and thus protean in their meaning, that contradict one another because of their connotations. [4]: 9 Brooks thus uses the same criteria to analyze and judge these poems as he did for the modern and metaphysical verse.
Although statements can be self referential without being paradoxical ("This statement is written in English" is a true and non-paradoxical self-referential statement), self-reference is a common element of paradoxes. One example occurs in the liar paradox, which is commonly formulated as the self-referential statement "This statement is false ...
In a highly relevant way, this paradox echoes that of modern-day naturalists who celebrate how the immutable building blocks of DNA continually combine and recombine to produce a living world of infinite variety and change. Modern readings of Hopkins's poems stress this correspondence without necessarily resolving the inherent contradiction of ...
The Well Wrought Urn: Studies in the Structure of Poetry by Cleanth Brooks and Paul Rand. Harcourt, Brace 1975 ISBN 9780156957052 "Review of Poems, in Two Volumes by Francis Jeffrey, in Edinburgh Review, pp. 214–231, vol. XI, October 1807 – January 1808; Composed upon Westminster Bridge, September 3, 1802 in audio on Poetry Foundation
Cleanth Brooks identifies the heresy of paraphrase in the eponymous chapter from The Well Wrought Urn, a work of the New Criticism. [1] [2] [3] Brooks argues that meaning in poetry is irreducible, because "a true poem is...an experience rather than any mere statement about experience or any mere abstraction from experience."
Caliban to the Audience, the longest section by far of the work, is a prose poem in the style of Henry James.In it, Auden reflects on the nature of the relationship of the author (presumably Shakespeare) to the audience of The Tempest, the paradoxes of portraying life in art, and the tension of form and freedom.