Master of Arts (MA)

Master of Arts (MA)

<p>This thesis began life as an attempt to relate the main critical theories of the eighteenth century to those of the first Romantic poets, and possibly to find reason in this for the rise of criticism as a significant part of literature. This plan, through the shortness of time, has been artificially truncated. The period 1781-1798, from the publication of Johnson's Lives of the Poets to the first edition of the Lyrical Ballads, which is probably most crucial, has had to be ignored. Of course, the progress of critical ideas in toto is not regular, so that many relatively advanced works have been omitted too, though being early in a chronological sense. Most significant of these are Kames' Elements of Oriticism(1762), Dugald Stewart's Elements of the Philosophy of the Human Mind (1792), and Alexander Gerard's An Essay on Taste (1759). It is by such people as these, particularly the first two, that the process of defining subjectivity, and fixing its terminology was perfected. It would seem that from the precision of their findings, Wordsworth and Coleridge were able to formulate theories specifically of poetry and its place in life.</p> <p>It remains, therefore, to justify the value of the thesis as it stands, as having, nevertheless, an internal coherence. This has been done by the choice of Johnson as a pivotal figure. From an understanding of his opinions it is easy to see all the signs of Romantioism, together with muoh that is neo-classical, and very much that is derived from striotly English eighteenth oentury souroes.</p> <p>Further to this, ooncurrent with the growing refinement of neo-classicism which undoubtedly marked the age,¹ ran a reaction to the early neo-classicism of Pope. This reaction took, in the main, two forms: through the theoretical development of the omagination, and of the passions. The distinction between the "fancy" and the "imagination" became apparent before it was rationalised as such by Coleridge, and there were good reasons, first for the predominance of the "fancy'" and then for its evident insuffioiency, and its ultimate defeat by its suppressed counterpart, the imagination.</p> <p>The passions, too, became a popular source of poetry, and the Romantic poets' insistence on this in their work besides the faculty of imagination, provides a link between the period I am dealing with in most detail, and the theories of Wordsworth and Coleridge.</p> <p>This thesis is partly constructed on the simple premise that because many critics mentioned several criteria in almost the same sentence, it is important to investigate the nature of these criteria. On this head, the movement of the critical theories around the quality of the Sublime has been included, as it is, possibly, neo-classicism apart, the single most characteristic interest of the time. It passes out of currency, however, with the Romantics, as a question central to critical theory. Its importance to this study is that it reflects broadly the movements of the times, and depends ultimately on the theory of the passions, and is not itself depended upon.</p> <p>The logical connection of the occasionally disparate ideas dealt with in this work is partly a result of the fact that the ideas themselves were combined most succesfully by. the Romantics, and neither fully defined nor combined by the critics with whom I have dealt in most detail. It is part of my whole point to stress that pre-Romantic theorists were not often able to make a theory which logically cohered, but usually resorted to a single-minded interest in one artifically separated ingredient.</p> <p>Though I did not set out to do so, I have found myself trespassing into philosophical grounds, and it has been necessary to simplify these points. In connection with this, I have also found myself referring to twentieth century problems on the nature of reality, and in a sense, the investigation of the terms of the origin of these problems is the most important theme "discover'd not devis'd" in the whole work.</p> <p>_______________________</p> <p>¹See for example B.H. Bronson, "When was Neo-classicism?" in Studies in Oriticism and Aesthetics 1660-1800, ed. Anderson and Shea, (Minneapolis, 1967). pp. 13-36.</p> / Master of Arts (MA)

<p>The first chapter is an attempt to demonstrate the relationship between certain key features of Virginia Woolf's work and the artistic and philosophical theories of the English Romantics. Particular attention is focused upon the common distinction between two contrasting orders of experience, which are metaphorically denominated "the depths" and "the surface" in the writings of Virginia Woolf. Discussion follows of the pattern or rhythm, designated "the Rebirth archetype", into which these two states often fall, and its significance both in art and in life. Within this context, as well as that of Romantic myth in general, Mrs Dalloway, To the Lighthouse. and the final section of The Waves are examined in the following three chapters.</p> / Master of Arts (MA)

<p>The following study will examine the eighteenth century play, The Beggar's Opera by John Gay, and will reveal the many influences and traditions which contributed to its creation, and finally the causes for the amazing success of this new invention, ballad opera.</p> / Master of Arts (MA)

<p>This thesis puts forward a new interpretation of The First Anniversary. It suggests that "Shee" in the poem is the Virgin Mary, seen through the eyes of a convert from the Reiman Catholic Church. Other critical interpretations are examined. The historical and biographical background to the new interpretation are shown and finally the poem is examined closely to show the validity of this interpretation.</p> / Master of Arts (MA)

<p>This thesis examines the apparatus added to The Shepheardes Calender by E.K. and the woodcuts to determine how, or whether, they function as criticism in the modern sense of the term. The arguments are generally not in sympathy with the eclogues to Which they pertain, although some of them do highlight the advertising aspects of the Calender. The woodcuts, however, besides showing many instances of one-to-one correspondence with the eclogues, often interpret and even extend the poem along sympathetic lines. This contrast between the arguments and the woodcuts, both appearing before the text of the eclogue, suggests that a cross-reference between E.K.'s verbal and the artist's visual representation, and between these and the text, is intended, and that these parts of the apparatus constitute a lesson in reading Spenser.</p> <p>The, glosses contain much padding, many errors, and some misleading interpretations, which implies that their purpose is not criticism. They are to be seen rather than read, for their cumulative effect is to make the Calender look like, a heavily glossed edition of a classical author. That is, E.K.'s material is primarily an advertising strategy, as is much of the poem itself. In his introduction, arguments, and glosses he often works directly to promote the "New Poete," and more often obliquely by producing an apparatus whose existence takes priority over the content.</p> / Master of Arts (MA)

Master of Arts (MA)

Master of Arts (MA)

<p>In this thesis I have aimed to establish certain thematic and formal emphases in the work of W.B. Yeats during the last four years of his life. The variety of Yeats's interest in these years was as great as in any other period of his life; I have chosen to explore those interests which brought him into contact closely with public concerns and with other writers. Thus I deal with Yeats as a political philosopher and patriot, RS a founder of the Irish Academy of Letters, as a broadcaster, as editor of an important verse anthology and as a correspondent on poetry with a fellow poet. By quoting widely from primary sources I have tried to allow Yeats to explain himself My purpose has been historical exploration rather than literary criticism, and so my approach is geared strongly to biography and bibliography especially in the first two chapters. The picture of Yeats to emerge will be that of a poet strongly traditional in his views of politics and aesthetics, defining his world view sharply in all his work. Although 1 concentrate on Yeats in all aspects as an Irish writer, for him Ireland was of course a rnicrocosm of Europe and the modern world.<br /><br /> Chapter One begins from a point strictly outside the chronology of the thesis in order to present necessary introductory material; it explores the nature of Yeats's patriotism and his political views, demonstrating his intense concern for the Irish nation as it defined itself in a world troubled by crisis. Chapter Two deals with Yeats as a discursive theorist on modern poetry and the lyric, much concerned with the problem of poetry as a public art. Thr following chapter turns attention to textual natters; although I have called it “ The Imagery of Music” it also explores briefly aspects of Yeats's late lyrical technique including his use of refrain in poems. Chapter Four completes the study by examining the two last plays in terms of the material of the preceding chapters. I must emphasise that my interest is not primarily critical. There are many books and articles which treat the plays in literary critical terms or as objects for dramatic form, dealing essentially with the familiar material of Yeats's lat period.<br /><br /> I find that the predominant theme of the late Yeats is the ideal character of Ireland, its love of individuality and heroism. The predominant formal preoccupation is with traditional poetry, the folk song and the ballad. All of Yeats's work – poetry, plays and prose works – considered together, illuminates these preoccupations.</p> / Master of Arts (MA)