By Michael Silk
This is often an strange and unique contribution to literary concept. Michael Silk is a classicist, yet his e-book is worried not just with the literature of antiquity, but in addition with the speculation of literature as such: it investigates a side of poetic imagery within the functional context of historic poetry. during the research, many illustrative passages from English verse are mentioned, however the corpus of poetry selected for specific consciousness is early Greek lyric and drama (up to and together with Aeschylus and Pindar) and different hundred suitable passages from this corpus are tested systematically. Dr Silk formulates a brand new severe inspiration, 'interaction', to signify convinced gains of metaphor and different imagery and explores intimately their nature and value. in addition to interplay itself, many subsidiary 'matters coming up' are given tremendous therapy: there are discussions of similar concerns within the fields of stylistics and literary conception, new ideas on quite a few points of historic literature (notions of Greco-Roman theorists in addition to practices of Greek poets), and certainly, vital contributions to the idea and perform of 'literary lexicography' in a useless language.
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Extra info for Interaction in Poetic Imagery: With Special Reference to Early Greek Poetry
Hockett 563^ I grant that poetry might be expected to exercise more influence on the 'literate standard' than on the ultimate, * casual' norm; and I am not suggesting that poetry (in eras like the Hellenic) has no influence on the sensibility of the times, an influence necessarily mediated through language. But such influence would tend to be indirect and formal (for a possible example see below, p. 227). 17. Even in the case of those poets sometimes regarded as * makers of their language' (Dante, Chaucer, Shakespeare), direct influence of any relevant kind will still have been marginal.
ApTruicov Warriors are warlike, Ares is warlike; I am pale, grass is pale; and so on. Another common form, equally interactive and, if anything, still more trivial, is exemplified by Theognis in the verse preceding the last instance, yAcocKjav E'XCOV dyocO'nv Neoropos, the neutral element here being yAcoaaocv &yoc0r)v, corresponding to the comparative adjective of the first three instances. Stereotyped form is not to be thought of as a Greek peculiarity. English comparisons, including, symptomatically, a large number of proverbial expressions, most commonly take the form '(as) A^as V\ 'White as snow', predicable of a good many things, is typical and in its pristine, stereotyped simplicity could claim, as plausibly as any of its Greek counterparts, to represent interaction at its most rudimentary.
21 INTERACTION (§12) There is not much to note about the status (terminological status) of TT&VTOC. Euporj. Some words are colourless, as OTOCV. Some belong to the tenor, as 6ociiicov. And Evporj is a term of the vehicle that coheres with KAUSGOV and carries through certain of its implications, TT&VTOC SetjaaiVEiv cpiAov might be characterized as neutral, but to all intents and purposes is relatively colourless tenor terminology; tenor, because the KOCKCOV terminology, not the KAVSCOV, is as yet dominant.