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The Poetry of William Butler Yeats 281Blake, William. The Complete Poetry and Prose of William Blake. Ed. David V.Erdman. Rev. ed. New York: Anchor-Doubleday, 1982.Bloom, Harold. Foreword. Weiskel vii–x.. Poetry and Repression: Revisionism from Blake to Stevens. New Haven:Yale UP, 1976.. Yeats. New York: Oxford UP, 1970.Bohlmann, Otto. Yeats and Nietzsche. London: Macmillan, 1982.Bornstein, George. Transformations of Romanticism in Yeats, Eliot, and Stevens.Chicago: U of Chicago P, 1976.. Yeats and Shelley. Chicago: U of Chicago P, 1970.Burke, Edmund. A Philosophical Inquiry into the Origin of Our Ideas of the Sublimeand the Beautiful. Ed. James T. Boulton. London: Routledge, 1958.Burke, Kenneth. “Thanatopsis for Critics: A Brief Thesaurus of Deaths andDyings.” Essays in Criticism 2 (1952): 369–75.Castiglione, Baldassare. The Book of the Courtier. Trans. Thomas Hoby. 1561.London: Dent, 1975.Cullingford, Elizabeth. Yeats, Ireland and Fascism. New York: New York UP,1981.Derrida, Jacques. “Of an Apocalyptic Tone Recently Adopted in Philosophy.”Trans. John P. Leavey, Jr. Semeia 23 (1982): 63–97.Dougherty, Adelyn. A Study of Rhythmic Structure in the Verse of William ButlerYeats. The Hague: Mouton, 1973.Ellmann, Richard. The Identity of Yeats. 2nd ed. New York: Oxford UP, 1964.Emerson, Ralph Waldo. Essays and Lectures. New York: Library of America,1983.Engelberg, Edward. The Vast Design: Patterns in W. B. Yeats’s Aesthetic. Toronto:U of Toronto P, 1963.Farag, Fahmy. “Needless Horror or Terrible Beauty: Yeats’s Ideas of Hatred,War, and Violence.” The Opposing Virtues. Dublin: Dolmen, 1978. 7–19.Fletcher, Angus. Allegory: The Theory of a Symbolic Mode. Ithaca: Cornell UP,1964.Fowler, Alastair. Kinds of Literature: An Introduction to the Theory of Genres andModes. Cambridge: Harvard UP, 1982.Freud, Sigmund. Beyond the Pleasure Principle: Standard Edition 18: 3–64.. Group Psychology and the Analysis of the Ego. Standard Edition 18:65–143.. “Mourning and Melancholia.” Standard Edition 14: 243–58.. The Standard Edition of the Complete Psychological Works of SigmundFreud. 24 vols. Ed. James Strachey. London: Hogarth, 1953–74.
282The Poetry of William Butler YeatsFry, Paul H. “The Possession of the Sublime.” Studies in Romanticism 26 (1987):187–207.. The Reach of Criticism. New Haven: Yale UP, 1983.Gross, Harvey. Sound and Form in Modern Poetry: A Study of Prosody fromThomas Hardy to Robert Lowell. Ann Arbor: U of Michigan P, 1964.Grossman, Allen. Poetic Knowledge in the Early Yeats: A Study of The Wind amongthe Reeds. Charlottesville: UP of Virginia, 1969.Guerlac, Suzanne. “Longinus and the Subject of the Sublime.” New <strong>Literary</strong>History 16 (1985): 275–89.Hartman, Geoffrey. Saving the Text: Literature/Derrida/Philosophy. Baltimore:Johns Hopkins UP, 1981.Heidegger, Martin. Being and Time. Trans. John Macquarrie and EdwardRobinson. Oxford: Blackwell, 1980.Hertz, Neil. “The Notion of Blockage in the Literature of the Sublime.”Psychoanalysis and the Question of the Text. Ed. Geoffrey Hartman.Baltimore: Johns Hopkins UP, 1978. 62–85.. “A Reading of Longinus.” The End of the Line: Essays on Psychoanalysisand the Sublime. New York: Columbia UP, 1985. 1–20.Hoagwood, Terence Allan. Prophecy and the Philosophy of Mind: Traditions ofBlake and Shelley. University: U of Alabama P, 1985.Horace. “The Art of Poetry.” Trans. Walter Jackson Bate. Criticism.: The MajorTexts. Ed. Bate. 2nd ed. New York: Harcourt, 1970. 51–58.Jonson, Ben. Ben Jonson: The Complete Poems. Ed. George Parfitt. 1975. NewHaven: Yale UP, 1982.Kant, Emmanuel. Critique of Judgment. Trans. J. H. Bernard. London: Hafner-Macmillan, 1951.Kenner, Hugh. A Colder Eye. New York: Penguin, 1983.Kugel, James L. “Two Introductions to Midrash.” Midrash and Literature. Ed.Geoffrey Hartman and Sanford Budick. New Haven: Yale UP, 1986. 77–103.Lacan, Jacques. Ecrits. Trans. Alan Sheridan. New York: Norton, 1977.. Speech and Language in Psychoanalysis. Trans. Anthony Wilden.Baltimore: Johns Hopkins UP, 1968.Lévi-Strauss, Claude. The Savage Mind. Trans. George Weidenfeld andNicolson Ltd. London: Weidenfeld, 1966.. “The Structural Study of Myth.” The Structuralists: From Marx to Lévi-Strauss. Ed. Richard DeGeorge and Fernande DeGeorge. New York:Anchor-Doubleday, 1970. 169–94.Lewis, R. W. B. “Days of Wrath and Laughter.” Trials of the Word. New Haven:Yale UP, 1965. 184–235.
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Bloom’s Literary ThemesTHE SUBLIM
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Bloom’s Literary Themes: The Subl
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, Series Introduction by Harold Blo
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Series Introduction by Harold Bloom
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xviVolume Introduction by Harold Bl
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xviiiVolume Introduction by Harold
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2Kate Chopinsublime that cannot be
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4Kate Chopinand tongue, eyes and sk
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6Kate Chopinone of ravishment; as R
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8Kate Chopin(10.3); “she uses the
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10Kate Chopincan signify both life
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12Kate Chopinas being like an abyss
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14Kate Chopinfirst time alone, bold
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16Kate Chopinwith wanting itself
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18Kate Chopinshe finds a new idiom
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20Kate ChopinI have relied upon the
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22Kate Chopinsemiotic collapse, def
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24Kate ChopinWhile it would be extr
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26Kate Chopin24. Walter Benn Michae
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28Rainer Maria Rilkearrived at the
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30Rainer Maria Rilkereference an an
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32Rainer Maria RilkeThe Duino Elegi
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34Rainer Maria Rilkehe anticipated
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EMMA(JANE AUSTEN),.“ ‘Hurrying
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Emma 39a transformation, if even mo
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Emma 41and the use of the third per
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Emma 43WORKS CITEDAusten, Jane. The
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46Edgar Allan Poeassociate with Rom
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48Edgar Allan PoeIn this sense, “
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50Edgar Allan Poehouse as a slave (
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52Edgar Allan PoeCanning. As he rea
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56William BlakeBlake’s “The Tyg
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58William Blakecommand to establish
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60William Blakeportrays Rahab as a
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64William BlakeBaudelaire, Charles.
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Frankenstein 67aspiring hero learns
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Frankenstein 69that a dream fades a
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Frankenstein 71The creation is at o
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Frankenstein 73This powerfully char
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Frankenstein 75through reality. To
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78Mary ShelleyShelley’s fiction.
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80Mary ShelleyIII.There is an intri
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82Mary Shelleyinto discourse, the a
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84Mary Shelleyregard him as editor
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86Mary Shelleydesire”; he simply
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“GOD’S GRANDEUR”(GERARD MANLE
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92Gerard Manley Hopkinsdefinition,
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94Gerard Manley Hopkins[i.e., heed]
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96Gerard Manley Hopkinspower. Just
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98Gerard Manley Hopkins“strikes l
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100The Poetry of Homer and Sapphofr
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102The Poetry of Homer and SapphoTh
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104The Poetry of Homer and Sapphofu
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106The Poetry of Homer and SapphoYe
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108The Poetry of Homer and Sappho4.
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110The Poetry of John Keatsterror a
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112The Poetry of John Keatsprocess
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114The Poetry of John Keatshe belie
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116The Poetry of John Keatsthe infi
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118The Poetry of John Keatsas trans
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120The Poetry of John KeatsHowever,
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122The Poetry of John Keatsam indeb
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124The Poetry of John KeatsIn The F
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126The Poetry of John KeatsNotes1.
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128The Poetry of John KeatsAeschylu
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King Lear(William Shakespeare),.“
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King Lear 133intellect would have p
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King Lear 135incidents recorded in
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King Lear 137Of the secondary plot
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King Lear 139it be the stars that g
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King Lear 141disaster, a flame whic
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King Lear 143age was precisely this
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King Lear 14512. Compare Edmund’s
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148Samuel Taylor Coleridgelength) (
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150Samuel Taylor Coleridgedevotion
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152Samuel Taylor Coleridgeauthority
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154Samuel Taylor Coleridgethat her
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156Samuel Taylor ColeridgeMilton, M
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158William WordsworthI“Tintern Ab
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160William Wordsworth“depth” of
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162William Wordsworthintrospection,
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164William WordsworthThat awful Pow
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166William WordsworthBy now it shou
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168William Wordsworththat was, up t
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170William Wordsworthharmony” and
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172William Wordsworththe landscape.
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174William Wordsworthwhen first”
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176William Wordsworthmost obvious e
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178William Wordsworthinto a single
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180William Wordsworthphenomenology
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182William Wordsworthprophetic hear
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184William Wordsworth(1) the prevai
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The Poetry of Robert Lowell,.“Rob
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The Poetry of Robert Lowell 189For
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The Poetry of Robert Lowell 191as w
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The Poetry of Robert Lowell 193avat
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The Poetry of Robert Lowell 195Two
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The Poetry of Robert Lowell 197most
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The Poetry of Robert Lowell 199infi
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The Poetry of Robert Lowell 201As i
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The Poetry of Robert Lowell 203Chur
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The Poetry of Robert Lowell 205As L
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The Poetry of Robert Lowell 207At t
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The Poetry of Robert Lowell 209not
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The Poetry of Robert Lowell 211iden
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The Poetry of Robert Lowell 21313.
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Moby-Dick(Herman Melville),.“The
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Moby Dick 217transported into a tra
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Moby Dick 219appalls him about the
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Moby Dick 221these jets as both a c
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Moby Dick 223has nailed to the mast
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Moby Dick 225Sealts, Merton M., Jr.
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228John MiltonIf we divide the peri
Page 249 and 250: 230John MiltonSuch was the nidus or
Page 251 and 252: 232John Miltonis the translation of
Page 253 and 254: 234John MiltonIn the description of
Page 255 and 256: 236Percy Bysshe ShelleyMerely allow
Page 257 and 258: 238Percy Bysshe Shelleythe sublime
Page 259 and 260: 240Percy Bysshe ShelleyShelley call
Page 261 and 262: 242Percy Bysshe ShelleyThe impulse
Page 264 and 265: Song of Myself(Walt Whitman),.“Th
Page 266 and 267: Song of Myself 247the spirit behind
Page 268 and 269: Song of Myself 249flower named in t
Page 270 and 271: Song of Myself 251In what way is
Page 272: Song of Myself 253interplay of the
Page 275 and 276: 256The Poetry of William Butler Yea
Page 299: 280The Poetry of William Butler Yea
Page 305 and 306: 286AcknowledgmentsWlecke, Albert O.
Page 307 and 308: 288IndexBurke, Kenneth, 21n11, 178,
Page 309 and 310: 290IndexFredericks, Nancy, 216, 220
Page 311 and 312: 292Indexlute, 47, 48Lyotard, Jean-F
Page 313 and 314: 294IndexSatan, 70, 76, 203, 232-233
Page 315: 296Index“Meditations in Time of C
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