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'Kermode's effortless learning, lucid intelligence and wry, self-deprecating style prove that, at its best, literary criticism itself is a lively art.' - Al Alvarez
Product Description
For the past four decades Frank Kermode, critic and writer, has steadily established himself as one of the most brilliant minds of his generation. Questioning the public's harsh perception of 'the artist', Kermode at the same time gently pokes fun at artists' own, often inflated, self-image. He identifies what has become one of the defining characteristics of the Romantic tradition - the artist in isolation and the emerging power of the imagination. Back in print after an absence of over a decade, The Romantic Image is quintessential Kermode. Enlightenment has seldom been so enjoyable!
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First Sentence
As its title is intended to indicate, this essay is primarily concerned with the evolution of assumptions relating to the image of poetry; it is an attempt to describe this image in a new way, and to suggest new ways of looking at contingent issues, in poetry and criticism. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index
As its title is intended to indicate, this essay is primarily concerned with the evolution of assumptions relating to the image of poetry; it is an attempt to describe this image in a new way, and to suggest new ways of looking at contingent issues, in poetry and criticism. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index
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7 of 7 people found the following review helpful
Image as Keyword to Romantic Poetry
29 April 2002
Format:Paperback
Kermode maintains that Yeats's images and symbols define the Romantic tradition-the preference for images over formal reasoning as a way to reconcile opposites. Yeats's poetry, for all its mythical, classical, and historical allusions,its occultism and arcana, values imagination over intellection, and the resonant image over the plain statement. Organic images, as distinct from descriptive or ornamental images, generate symbolic ripples. Kermode holds that Yeats's recurrent, almost obsessive images, such as tree, bird, tower, and dancer, reach a high point of Romantic imagery and organic form. The pre-eminent example of symbolic images (archetypes), is the dancer and the dance at the end of "Among School Children," an image that reconciles body and soul, identity and action, artist and art. Kermode's study is a standard in Yeats criticism.
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