the Piper and the child can neither see each other nor communicate each other. The child on wings, stuck on the Piper, can no longer fly; and the Piper, with the child as a heavy burden, gets into a strained situation.
The significance of those pictures is that in Innocence spiritual communion with God is possible; and in Experience the world, ignorant of "Logos" to His home, fails in communic
(2) is the principle, the law which presides conspicuously over such composition, and, when obeyed, is the reason why a projective poem can come into being. It is this: FORM IS NEVER MORE THAN AN EXTENSION OF CONTENT. (Or so it got phrased by one, R. Creeley, and it makes absolute sense to me, with this possible corollary, that right form, in any given poem, is the only and exclusively possible e
of French Sociologist Michel Maffesoli. The "re-tribalization" ofthe modern, mass-society world envisioned by Marshall McLuhan, with all ofthe ominous, dystopian possibilities that McLuhan warned of, subsequently accepted by many modern intellectuals, is not the future that Snyder expects or works toward. Snyder's is a positive interpretation ofthe tribe and ofthepossible future
Mid-Augus
Francis, Margaret Fuller, William Henry Furness, Frederick Henry Hedge, Theodore Parker, Elizabeth Peabody, George Ripley, and Jones Very.
I am mad for it to be in contact with me
this "contact" begins the poem's first catalogue as "Images and perceptions rush in free association from the unconscious, and the poet sees and feels as would never be possible with intellectual control" (175).
the case of Shelley, the process is accomplished through acts of forgetting history. There are thus significant differences between Wordsworth, the major figure of early Romantics, and later figures born after or just before the revolutionary year of 1789 such as Shelley, John Keats and Lord George Gordon Byron, in their presentations of selfhood and in their poetic reactions to revolutionary di