By Margaret Tudeau-Clayton, Martin Warnerd
Frank Kermode's paintings has constantly been very important to scholars of English literature. In those essays, top students seriously verify Kermode's texts and query his illustration of literary research, delivering their very own interpretative recommendations.
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Extra resources for Addressing Frank Kermode: Essays in Criticism and Interpretation
Even as we think we are hearing, we are in fact composing. Some people in response to this passage pointed out (what is true) that older clocks make two distinct sounds in repeated sequence- that is, they actually do 'go tick-tock, tick-tock'. Mean- The Sense of a Beginning 31 while, however, it is equally true that people can do the thing of which Kermode speaks, they can hear 'tick-tick-tick-tick' as 'tick-tock, tick-tock'. The basic counter-argument was always, therefore, to point out that Kermode's demonstration, where it succeeded, depended on a prior ability to determine what sound the clock was really making (otherwise this remarkable selfdeceiving dexterity of mind could never have been exposed to view).
434, fr. 762k; 1880-88: III, 214; this phrase was quoted by Plutarch: Moralia 999e). Thus the suggestion grows that these are not coexistent states of affairs but rather rival languages, with the implication that 'god-language' could be replaced by psychological language. In which case the Muse herself might die, replaced by the animus or spirit of the individual poet. In Virgil the ego is already growing strong but the Muse is still (though belatedly) invoked. In Ovid animus is the confessed origin of a poem which terminates, likewise, in the personality of the poet; vivam, 'I shall live' is the last word of the Metamorphoses.
And on page 125 we duly find Kermode speaking of 'our readiness to submit the show of things to the desires of our minds; of the structures of explanation which come between us and the text or the facts like some wall of wavy glass'. The same metaphor recurs in Kermode' s distinction between 'transparent' and 'opaque' texts; and in the door which, in Kafka's parable of the Law, becomes not a means of access to an Elsewhere, of escape from the airless room of the self and its obscurely conditioned fore-understandings, but one more wall closing off the - in any case fictive - radiance beyond.