By H. Dubrow
This publication engages with deictics ('pointing' phrases like here/there, this/that) of area. It makes a speciality of texts by way of Donne, Shakespeare, Spenser, and Wroth particularly, touching on their sorts of deixis to cultural and established advancements; however it additionally indicates parallels with either iconic and overlooked texts from a number of later ancient sessions.
Read or Download Deixis in the Early Modern English Lyric: Unsettling Spatial Anchors Like “Here,” “This,” “Come” PDF
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Extra info for Deixis in the Early Modern English Lyric: Unsettling Spatial Anchors Like “Here,” “This,” “Come”
2 To deny or even downplay the coexistence of significant narrative elements in a text structured around consecutive hours would merely be tendentious. But such hybridity, inflecting rather than erasing either the narrative or the lyric elements, is common in the poetry of the period, and in any event lyric characteristics predominate in the principal passages I analyze below. The most significant deictics in the “Epithalamion” participate in the practice that I will term strategic spatiality. Strategic in many senses, these deictics invite that label above all by ordering space, one of the main patterns traced in the preceding chapter; in this instance deixis gathers together the elect while Othering those excluded from the wedding.
Reporting a very different traveller’s encounter with a decaying statue of an arrogant monarch, Shelley’s “Ozymandias” uses the spatial nearness and farness of deixis to indicate that voyager’s changing perspectives on the ruin, thus again thematizing the process of deixis. 18 But the lyric ends on “Round the decay / Of that colossal wreck, boundless and bare / The lone and level sands stretch far away” (12–14). 0006 32 Deixis in the Early Modern English Lyric part of a landscape of receding sands.
Not surprisingly, the temporalities of this poem have attracted the critical attention encouraged if not commandeered by Spenser’s overt references to the hours of the day. 1 Might the subtle and shifting generic modalities of the “Epithalamion” compromise its presence in this study? In the poem often cited as a prototype of the subgenre widely termed the lyric epithalamium, characteristics typically associated with the lyric mode do in fact abound. Witness, for example, the meditative intensity with which that speaker calls up the events of the wedding in his own mind.
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