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قراءة كتاب The Literature of Ecstasy

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The Literature of Ecstasy

The Literature of Ecstasy

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دار النشر: Project Gutenberg
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THE LITERATURE
OF ECSTASY

BY

ALBERT MORDELL

Author of:
The Erotic Motive in Literature
Dante and Other Waning Classics
The Shifting of Literary Values

 

BONI and LIVERIGHT

Publishers        New York

 


THE LITERATURE OF ECSTASY


Copyright, 1921, By
Boni & Liveright, Inc.


Printed in the United States of America


CONTENTS

PAGE
CHAPTER I. INTRODUCTION 9
 
CHAPTER II. THE PSYCHOLOGY OF ECSTASY 18
 
CHAPTER III. ECSTASY, NOT RHYTHM, ESSENTIAL TO POETRY 42
 
CHAPTER IV. PROSE THE NATURAL LANGUAGE OF THE LITERATURE OF ECSTASY 77
 
CHAPTER V. PROSE PRECEDES VERSE HISTORICALLY 96
 
CHAPTER VI. BLANK VERSE AND FREE VERSE AS FORMS OF PROSE 111
 
CHAPTER VII. MORAL AND PHILOSOPHICAL IDEAS AS POETRY WHEN WRITTEN WITH ECSTASY 123
 
CHAPTER VIII. POETRY RISES ABOVE ART FOR ART'S SAKE AND INTUITION 138
 
CHAPTER IX. HIGH FORM OF POETRY ECSTATIC PRESENTATION OF ADVANCED SOCIAL IDEALS 152
 

CHAPTER X. LITERATURE OF ECSTASY EMANATES FROM THE UNCONSCIOUS

179
 
CHAPTER XI. LOVE ECSTASY IN ARABIAN POETRY 203
 
CHAPTER XII. CONCLUSION 226

THE LITERATURE OF ECSTASY


CHAPTER I

INTRODUCTION

From time immemorial it has been assumed that poetry is something which is caviare to the general public. A "poem" even to-day is supposed to be a literary composition that is in artificial language arranged in a metrical pattern, often conveying a trite idea or enshrining an ineffective image. Thousands of volumes and essays have been written on poetry, and instead of fathoming a true conception of its nature, they have dealt with the trappings and garments which clothe it; these indeed have often been confused with poetry itself. As a result, there has grown around the pathway leading to poetry an endless maze of shrubbery. The reader who has no knowledge of rules and laws relating to verse, who is ignorant of technical requirements and established uses, labors under the delusion that he does not like poetry. Though he reads many works in prose that stir a deep emotional appeal within him, he does not regard himself as one of those lovers who haunt the foot of Parnassus Hill.

I wish in this volume to present a conception of poetry freed from academic and conventional standards. I wish to restore to the term poetry its primary and fundamental significance as a verbal composition in which the predominating feature is ecstasy. Poetry is an emotional

atmosphere that pervades all literature in its finest parts; it characterizes any purely personal expression of the creative imagination. As the reader perceives, my definition of poetry includes prose literature in which ecstasy is present. I do not think of poetry as a branch of literature couched in a metrical form, following regular rules of rhythm, diction, figures of speech or rhyme. My conception of poetry then, is not that of a department of literature which is opposed to prose, but of an emotional spirit hovering over any kind of writing, whether in verse or prose, which conveys ecstasy.

I shall try to show especially that the prose literature of ecstasy fulfils all the intrinsic conditions which have been associated with poetry. I shall consider the question of how much, or rather how little, the element of rhythm or any other pattern is essential in determining the nature of poetry. In fact, I shall even maintain that prose irregularly rhythmical or even unrhythmical,[10-A] just as the exigencies of the emotion require, is the natural language of the emotions, that it was so at the very beginnings of literary history, and has in fact never ceased being used as such a vehicle. I shall further take the position that the set forms of verse which have grown up among all nations as a vesture for emotional writing, have been more or less pervaded with artificiality. The final judgment as to the nature of poetry resides in the appeal to the emotions. The test of poetry is not in the form which the writer uses, or in compliance with rules of prosody, but in the soul of the reader or hearer. If two emotional

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