Maybe the language poets' (or I should say Ron Silliman's historical version of same) reaction against "speech", and American anecdotal poetry, signalled a dissatisfaction with narrative and representation; but it seems predicated on an equally simplistic (ie. as simplistic as the prose realists') concept of representation. One sees a New-Critical emphasis on the technical analysis of the "verbal object", its autotelism - Clark Coolidge's "word-drumming".

The issue of representation-as-communication - as parable, if you will - is downplayed.

The Romantics understood inspiration as a progressive, purposeful movement of ecstatic vision : the sun is not a 1-inch bright disk in the sky, but a burning eye at the "top" of the visible world, an emblem of the fusing power of spiritual insight - the synthetic, imaginative intelligence. For Hopkins, each thing speaks itself, and in speaking, "selves" itself - communication is its essence; it mirrors the dark "speech" of its origins in the Logos.

These stances imply a cosmology, obviously! A particular interpretation of nature & experience.

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