By Rosemarie Waldrop, Rosmarie Waldrop
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Extra info for Against Language: Dissatisfaction With Language: as Theme and as Impulse Towards Experiments in Twentieth Century Poetry
It simply is", 1 1 3 one kind of description seems possible: a description that excludes any 'beyond', that deliberately stays outside, a quasimathematical measuring. Registering the distance between the object and me, and the object's own distances (its external distances, that is to say, its measurements), and the distances between objects themselves. 114 But in another essay he describes his narrators as: no longer just a man who describes the things he sees, but at the same time one who invents the things around him and who sees the things he invents.
Hofmannsthal did not trust the literary work of art to overcome its more convention-bound medium to the same extent. For he turned from poetry to the theatre where the word would be aided by the visual and, in the case of his librettos, by music. The experience of the outside world is so crucial for Hofmannsthal because, for him, this is man's way of finding himself. " 85 This means lastly that, if our world disintegrates with our language, so do we. Rilke parallels this idea of our dependence on the 'world' very closely: .
Wilbur M. Urban tries to console them when he speaks of the "intrinsic expressiveness" of words that enables them to "conjure up. . 34 But this "intrinsic" quality is seen in relation to the reference function even though it has the fancy name "conjuring". And Urban's primary example of this expressiveness is onomatopoeia; yet onomatopoeia depends on reference, as can be seen in homonyms. In the phrase, "the little birds cheep", 'cheep' is onomatopoetic. The same sound has no resonance of that sort at all if you say: "The little birds are cheap".