TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

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As the most formally defined of modern literary genres, the lyric has been misunderstood as the genre most isolated from history - indeed, as the exemplary model of literary genre as a category separable from history. But Dickinson's work may be a model for an alternative approach in which the reading of genre and the reading of history are mutually implicated in each other. (55) In fact, the point to Jackson's work appears not to be the blind overturning of convention and genre. While she shows how lyric poetry was always already inflected by a sense of history, especially in the case of Dickinson, her work serves to nuance our understanding of lyricism. She does this by tracing the roots of reductivist approaches to the lyric, beginning with the writings of John Stuart Mill. Lyric poetry has been conditioned to accord itself with the belief in an isolated (Mill used a prison metaphor) "I" that, as Northrop Frye once said, "pretends to be talking to himself or to someone else: a spirit of nature, a Muse...a personal friend, a lover, a god, a personified abstraction, or a natural object" (in Jackson 130). This conceit engenders the bypassing of any particular addressee or "you" for a universal "we" situated ideally in "a form of transcendentally apostrophic address" (130). Lyric poetry gives the reader the vacuous thrill, under this reductivist arch, of becoming a peeping-tom or a blackguard. We overhear a poet in a moment of affected confession. For Jackson the benefit for the reader in this act of overhearing is the confirmation, if not the affirmation, of themselves in their particularity. Lyricism, on Mill's account, encounters itself very much as that technique borne out of the traditional definition of impersonality that asserts differences without being able to make any that matter. Mill's lyricism asserts a general reader that prefers to make distinctions that differ without suggesting any particular reader who might assert those distinctions in practice. 117
Mill, Jackson notes, finds the conceit that the particular is at once the universal to be a problem. Mill contrasts lyricism with the eloquence of observably addressed direct- speech that enacts change and makes a difference. As it pertains to Dickinson, Jackson asserts that we have made Dickinson's writing into lyric expression after this modern interpretation of the genre. Dickinson is universally acknowledged for her autonomy. We have been used to reading Dickinson's work with an acute concern for hearing reflexivity and formal self-awareness or, for reading the ways she addresses a universal theme through the conceit of a private and particularly idiomatic speech concerned to conceal any determinative singularities that might implicate Dickinson herself or any determined empirical reader. In the medallion chapter - "5. Dickinson's Misery" - Jackson does a close reading of a poem first published in 1945, and perhaps never sent in Dickinson's lifetime: On the World you colored Morning painted rose - Idle his Vermillion Aimless crept Stole the Glows Over Realms Of Orchards I the Day before Conquered with the Robin - Misery, how fair Till your wrinkled Finger shored the pushed sun away Midnight's awful Pattern 118
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TABOO: THE ACTUAL MODERNIST AESTHET
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Christopher David Chapman practice.
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CONTENTS PREFACE ..................
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objectification, while titles are a
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ACKNOWLEDGMENTS I would like to ack
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taboo, as the following remark indi
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emind us too hastily only of Benjam
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e renewed in philosophical contempl
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the word “Title.” I do this out
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where fate - the agent of nature‟
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Cantos with Nancy Cunard. The final
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come into their meaning through the
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meaning in the words he appoints to
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―The Role of Language in Trauersp
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God‘s genetic ―pure word,‖ re
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conceived of as a pantomime where t
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ensnared within post-lapsarian syst
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aspects of his linguistic theory th
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decision-making powers, we can demo
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him to transpose arguments about th
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Caesar‖ is an obvious case in poi
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eath of this world, and from it the
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magnanimity wins out in dire and pa
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elegated to the setting in which th
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Notes 1 In an early, unpublished, t
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every locution being, in essence, e
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CHAPTER TWO: LONG SERIES OF TRANSLA
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dramatic monologue, a feat he would
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terms that this chapter wishes to c
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structural factitiousness that the
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is implicit to baroque criticisms o
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meaning of the poems it collects. P
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Pound's fragments as commentary on
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Few critics read these poems in the
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a diorama booth in which his hero a
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the genetic milieu into which it be
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In fact, two complaints can be hear
Page 75 and 76: while keeping lines that praise Bro
Page 77 and 78: Cantos deliver a poetic condition i
Page 79 and 80: Quia Pauper Amavi, and, after McGan
Page 81 and 82: George Steiner uncovers the ramific
Page 83 and 84: to register history differently to
Page 85 and 86: commitment to past modes of critica
Page 87 and 88: modern poet. Pound exhorted Barry t
Page 89 and 90: the case, is deliberately making ou
Page 91 and 92: Pound's genius was to see Propertiu
Page 93 and 94: delineate Pound's portrayals as fai
Page 95 and 96: presence of a continuous patina of
Page 97 and 98: described by Christine Brooke-Rose.
Page 99 and 100: 10) of their rows over fidelity. Fo
Page 101 and 102: obsessive desire most critics find
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Page 105 and 106: Propertius as Propertius once had C
Page 107 and 108: saw no viable future for his own ex
Page 109 and 110: then, these imaginary aesthetes wer
Page 111 and 112: ‗persona,‘ an impersonation of
Page 113 and 114: difference between his intention an
Page 115 and 116: itself a Western bourgeois assumpti
Page 117 and 118: subject. Deleuze's 1977 discussion
Page 119 and 120: his subjectivity as a blend of fact
Page 121 and 122: eak occurs in the poet's mind as th
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Page 125: Pound‘s impersonality, to use the
Page 129 and 130: apostrophe to ‗Misery‘ performa
Page 131 and 132: ―Mauberley,‖ the poem‘s narra
Page 133 and 134: to posit a fictional author being n
Page 135 and 136: neither Rainey‘s Institutions of
Page 137 and 138: y Piero della Francesca. Pound was
Page 139 and 140: E gradment li antichi cavaler roman
Page 141 and 142: that have not traditionally been co
Page 143 and 144: The library of the dukes of Milan w
Page 145 and 146: Rainey‘s disdain for bourgeois hi
Page 147 and 148: Bornstein, for example, is interest
Page 149 and 150: the meaning of Pound‘s text by co
Page 151 and 152: Do come, do come. I can see us at B
Page 153 and 154: the political implications of that
Page 155 and 156: the winners of its game (148). Beca
Page 157 and 158: iography and how he can be seen to
Page 159 and 160: to him is plain: ―News of Nancy?
Page 161 and 162: view of Pound‘s political beliefs
Page 163 and 164: which to describe the force of natu
Page 165 and 166: interrogation of that two-word theo
Page 167 and 168: elationships that they believed to
Page 169 and 170: commemoration is to writing (Derrid
Page 171 and 172: knowable “as a combination of ato
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Page 175 and 176: ejects any teleological argument fo
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Ontologies, such as those that belo
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this mystery could only be experien
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attention to the way names effect t
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Adorno acknowledges that Kant‘s w
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understanding how de-personalizatio
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Fate becomes a term that Benjamin i
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WORKS CITED Arkins, Bryan. ―Pound
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The New Age. 27.26, 1919. Ovid. The
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