- Title
- Reading William Blake and T.S. Eliot: contrary poets, progressive vision
- Creator
- Rayneard, Max James Anthony
- ThesisAdvisor
- Wylie, Dan
- Subject
- Blake, William, 1757-1827 -- Criticism and interpretation
- Subject
- Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Date
- 2002
- Type
- Thesis
- Type
- Masters
- Type
- MA
- Identifier
- vital:2279
- Identifier
- http://hdl.handle.net/10962/d1007545
- Identifier
- Blake, William, 1757-1827 -- Criticism and interpretation
- Identifier
- Eliot, T. S. (Thomas Stearns), 1888-1965 -- Criticism and interpretation
- Description
- Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
- Format
- 167 pages, pdf
- Publisher
- Rhodes University, Faculty of Humanities, English
- Language
- English
- Rights
- Rayneard, Max James Anthony
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RU Department of Literary Studies in English
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