constellation poetry definition

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Think of 0000006788 00000 n 0000008436 00000 n 0000001197 00000 n Victorian poetry, according to Isobel Armstrong, had to face two cataclysmic changes to its reception. Victorian poetry, according to Isobel Armstrong, had to face two cataclysmic changes to its reception. Line 30 pulls the intimate context of address into the larger register and framework that came before it— “…for the world, which seems”— to move into eternal truths—“So various, so beautiful, so new,/ Hath neither joy, nor love, nor light” (32-3)— and then pulling back in to the two individuals, to intimacy— “And we are here” (35)—;before pushing, finally, into merging the individual and scope into “ignorant armies” (37).This mingling and merging in the form of the double poem is how Arnold perceived the relationship between reason and emotion.
Life, then, became established as “the condition of alienation” (reflecting the poet’s relationship to society) and poetry traced these redefined and ambiguous relations between self and other; the other defined as lover, society, nature, labor (6-7). Art, for one, was viewed as redundant, extraneous to life (4). “The sea of faith/ was once too, at the full, and round the earth’s shore.” (21-2)—an imitation of the above description of the shore—; and “But now I only hear/ Its melancholy, long, withdrawing roar” (24-5)—again, reflective of Sophocles’ “ebb and flow”. Yet the end leaves us with this tone of universality, of lovers connecting and accessing their inner selves as a fact:and what we mean, we say, and what we would, we know.All the doubts raised in the intimacy poem are addressed and you are left with the possibility of this idealized ending as pre-ordained, if only one had the courage to wait for it. Or so it’s come to seem, and likewise to seem as if some rhyme or song should by now have imaged a radical aesthetic-critical practice on the verge of falling, or already having fallen, first into formula and then cliché. 0000000775 00000 n 0000003565 00000 n 0000000016 00000 n 0000009259 00000 n

Rather, it pushes them forward as fact, as the ambiguity of reality as it exists, and allows both poems to engage in an interplay that raises both of them to a more polymorphic meaning: “a dialogue of a poem with itself” (Armstrong 14). The double poem, then, is not exposed by a different reading of the same text, as it is in the latent and manifest reading or the subject and object analysis, but is openly present in the poem itself, through the interaction and interplay of the tones of reason and emotion.In Arnold, both in “The Buried Life” and in “Dover Beach”, the shift from one ‘poem’ to the other, is in perspective. “Dover Beach” and “The Buried Life” do not pit their two inner poems against each other, or present them as a ‘struggle’ within the text as Armstrong suggests. 0000003884 00000 n Hints of this transition are layered into the repetition of “Begin, and cease, and then again begin,” (12), a sense of the eternal creeping in, and then the transition is made, “eternal note of sadness” (14) is introduced, and the poem moves to Sophocles and the past (15-8). Here, the text opens with the poem of intimacy with direct address: “Behold, with tears mine eyes are wet!” (2) and “Give me thy hand, and hush awhile/… and let me read there, love! trailer xref < Definitions of constellation: noun: a configuration of stars as seen from the earth noun: an arrangement of parts or elements What is defining about Victorian poetry, I would argue, is the dialogue between the two concurrent poems, their entwining and their ability to enrich each other through that dialogue.

In “The Buried Life” the distance poem provides this sense of a reconciled and harmonious reality: “When a beloved hand is laid in ours,… A bolt is shot back somewhere in our breast, / And a lost pulse of feeling stirs again”, but the intimacy poem questions its veracity: “Are even lovers powerless to reveal/To one another what indeed they feel?” (14-5).The effect that the dialogue of the two poems creates is the same, however: emotion undercuts reason and vice versa. 0000005966 00000 n But in line 29, the poem jolts you out of the register of generalized musing with a direct, passionate and relevant address:The tone shrinks, instantly, from distance to intimacy, from the world and all of time, to two individuals, here and now. Definitions of constellation: noun: a configuration of stars as seen from the earth noun: an arrangement of parts or elements And does this world really have no certitude, light or joy if there is such a thing as love, if the poetic persona has someone to address this to? While Armstrong implies that the ‘double poem’ is a unique and defining structure of Victorian poetry, the analysis is not necessarily confined to that time: poetry has always existed with latent and manifest interpretations that can be given equal weight.

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