Poetry poetic prose

Woolf certainly seeks to test, in Poetry, Eiction and the Euture , the technical limitations of poetic prose, including its capacity for the elegiac, in asking ... 

Woolf s essay goes on to develop a model of poetry and poetic drama that will be forged by novelists in the future, merging the techniques of drama, poetry and prose, and thereby harnessing... 

Woolf understands this new poetic prose to effect a transformation of the novel form in total, but also to make the separate genres of poetry and drama redundant. If earlier attempts at poetic prose resulted in the purple patch , an intrusion in the novel that may be eloquent, lyrical, splendid and may read very well cut out and stuck in an anthology ( 4, p. 437), the new poetic prose will follow the example of Tristram Shandy, where poetry is changing easily and naturally into prose, prose into poetry (E4, p. 438). It is a book full of poetry, but we never notice it it is a book stained deep purple, which is yet never patchy ( 4, p. 437). 

If the new poetry cannot do the dirty work of prose, or be used for the common purpose of life , then prose will have to take on beauty and the other rights of poetry such as rhyme, metre, poetic diction (E4, p. 434). Interestingly, Eliot himself was later to write an Introduction to Djuna Barnes s experimental novel Nightwood (1937), in which he was keen to keep the two genres quite distinct. To say that Nightwood will appeal primarily to readers of poetry , he explains, does not mean that it is not a novel, but that it is so good a novel that only sensibilities trained on poetry can wholly appreciate it. And he is at pains to point out that her prose has... 

Its uses in art and pure mathematics, being without practical apphcation, can be said to be poetic. Its uses in various areas of the study of materials and [of] other areas of [engineering] are examples of practical prose. Its uses in [physical] theory, especially in conjunction with the basic equations of mathematical physics, combine poetry and high prose. Several of the problems that fractal [geometry] tackles involve old mysteries, some of them already known to primitive man, others mentioned in die Bible, and others familiar to every landscape artist. 

We are inclined to believe that the history of Russian Symbolism did not in fact begin with the Merezhkovsky lecture that served as the starting point in our discussion, but from approximately the year 1896. By this time, the trend had accumulated a sufficiently solid reserve of books by various authors who had openly stood under the banner of the new art that many at the time were calling decadence. For the most part, these were collections of poetry Merezhkovsky, Briusov, Konstantin Balmont (1867-1942), and Alexander Dobroliubov (1876-1945 ) were well known as poets. But at the same time, Gippius, Sologub, and Merezhkovsky had already garnered some distinction as prose authors. It is traditionally assumed that symbolism was a primarily poetic trend. But it is in fact clear that prose was no less important to its founders. 

Jean Baudrillard) shapes the poetics of the Russian neo-baroque in the prose of Andrei Bitov, Evgenii Kharitonov, Viktor Pelevin, Tatiana Tolstaia, Mikhail Shishkin, Sasha Sokolov, and in the poetry of the Nobel Prize Laureate Joseph Brodsky, Viktor Krivulin, Aleksei Parshchikov, Elena Shvarts, and many others. Unlike conceptualists, these postmodern writers -sometimes candidly, and with self-irony, and sometimes stoically - try to preserve connections with modernist aesthetics in the neo-baroque, the quest for modernist sensibilities is valued as a self-sufficient, albeit usually fruitless, quest for the real that lies hidden beneath endless layers of cnltnral simulacra and social spectacles. 

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