Poetic Diction: A Study in Meaning
Poetic Diction, first published in 1928, begins by asking why we call a given grouping of words “poetry” and why these arouse “aesthetic imagination” and produce pleasure in a receptive reader. Returning always to this personal experience of poetry, Owen Barfield at the same time seeks objective standards of criticism and a theory of poetic diction in broader philosophical considerations on the relation of world and thought. His profound musings explore concerns fundamental to the understanding and appreciation of poetry, including the nature of metaphor, poetic effect, the difference between verse and prose, and the essence of meaning.
CONTRIBUTOR: Howard Nemerov.
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FOREWORD BY HOWARD NEMEROV page I
DEFINITION AND EXAMPLES
THE EFFECTS OF POETRY
MEANING AND MYTH
LANGUAGE AND POETRY
THE MAKING OF MEANING l III
THE MAKING OF MEANING ll
abstract activity actually aesthetic aesthetic imagination already ancient appear Appendix archaism Aristotle Barfield become C. S. LEWIS called century chapter Coleridge conception concrete consciousness conservatism creative critic definition distinction effect element example existence experience expression fact feel Goethe Greek Greek language guage history of language human Hume I. A. Richards idea imagination inspiration judgement Kant kind knowledge Latin literary literature living logical Logical Positivism logomorphism matter Maud Bodkin Max Miiller meaning meaningless merely mind myth nature Neo-Platonism never objects observation OWEN BARFIELD perception perhaps philosophy phrase pleasure poet poetic diction poetic principle poetic values poetry primitive prosaic prose pure question rational principle reality referred Rudolf Steiner ruin scientism semantic sense Shelley soul speech spirit strangeness synthesis tautology theory thing thinking thought tion true metaphor understanding unity verb verse whole Wordsworth writing wrote