Under Criticism: Essays for William H. PritchardDavid Sofield, Herbert F. Tucker American literary life has been enriched over the past generation by habits of criticism practiced at Amherst College during the tenure of William H. Pritchard. These essays, which were commissioned as a tribute to Pritchard, celebrate his fortieth year at Amherst and demonstrate the breadth of his influence in the fields of theory, criticism, and pedagogy. The occasion of forty years of teaching at Amherst by William H. Pritchard, the renowned critic of Frost, Jarrell, and many others, has generated a remarkable collection of essays by former students, colleagues, and friends. The essays themselves are a spectrum of contemporary criticism, ranging from classroom memoirs to analytic essay in criticism to assessment of the state of academic letters today. These contributions, a tribute, by reason of their very range, are a salute to the breadth of William Pritchard's circle of literary acquaintance. Under Criticism demonstrates the fine persistence in certain manners of approach and habits of focus that go, among that circle, under the name of criticism. Drawing foremost on their engagement with the literature before them, Christopher Ricks, Helen Vendler, Patricia Meyer Spacks, Neil Hertz, David Ferry, Paul Alpers, Joseph Epstein, and Frank Lentricchia--as well as fifteen other critics and men and women of letters--reinforce Professor Pritchard's prescription that in order to have a hearing, the critic needs to keep listening. |
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Page 98
... lines . Many learn extra stanzas , for no extra credit . I begin by telling them that Chaucer almost always capitalizes on the rhyme royal form , and that they will find it easier to memorize stanzas if they think about how the poet had ...
... lines . Many learn extra stanzas , for no extra credit . I begin by telling them that Chaucer almost always capitalizes on the rhyme royal form , and that they will find it easier to memorize stanzas if they think about how the poet had ...
Page 103
... line four ) . While the first and third gram- matically inverted lines have clear caesuras , the lines about the magnitude of the heavens and the melody of the nine spheres flow without interior pauses . Perhaps it is not too much to ...
... line four ) . While the first and third gram- matically inverted lines have clear caesuras , the lines about the magnitude of the heavens and the melody of the nine spheres flow without interior pauses . Perhaps it is not too much to ...
Page 298
... lines ending in n ( with another half - dozen nasals along the way ) provide some of the elevation here , as do the enjambments , the alliterative b's giving way to the heavier d's , and the two exquisite para- rhymes , " left it ...
... lines ending in n ( with another half - dozen nasals along the way ) provide some of the elevation here , as do the enjambments , the alliterative b's giving way to the heavier d's , and the two exquisite para- rhymes , " left it ...
Contents
Herbert F Tucker | 1 |
William J Pritchard | 9 |
Roger Sale | 19 |
Copyright | |
19 other sections not shown
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American Amherst College anthology asked Baird Bill Pritchard Brower called Chaucer classroom course death Dickinson dream Eliot Emily Dickinson English 1-2 English Papers Enkidu essay experience Ezra Pound F. R. Leavis feel freshman Gilgamesh Golden Treasury graduate Harvard hear Hertz human idea imagine intellectual Jarrell Jarrell's Johnson kind language later Latin Leavis Leavis's lines literary critic literary theory literature living mean memorable Merleau-Ponty metaphor Milton mind narrative never novel once one's Palgrave's passage perhaps philosophy phrase Plutarch poem poem's poet poetic poetry Pope Pound prose question Randall Jarrell reader response Reuben Brower rhyme Richard Wilbur Robert Frost Samuel Johnson seems sense sentence Shakespeare sound speak speech stanza story Strether T. S. Eliot talk taught teacher teaching tell things thought tion translation truth University Press Varnum verse voice Wilbur words Wordsworth writing wrote