By Paul de Man

'Through complicated and stylish shut readings of poems via Rilke, Proust's Remembrance, Nietzsche's philosophical writings and the main works of Rousseau, de guy concludes that every one writing issues itself with its personal task as language, and language, he says is often unreliable, slippery, impossible....Literary narrative, since it needs to depend on language, tells the tale of its personal lack of ability to inform a story....De guy demonstrates, fantastically and convincingly, that language turns again on itself, that rhetoric is untrustworthy.' Julia Epstein, Washington submit ebook global

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Extra info for Allegories of Reading: Figurative Language in Rousseau, Nietzsche, Rilke and Proust

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The last stanza, in which the mastery is asserted, is also the one in which effects of euphony reach their highest point of elaboration. The poem comes to rest in the lines Lass deine Hand am Hang der Himmel ruhn und dulde stumm, was wir dir dunkel tun. It can easily be verified that, in this last line of verse, there appears rigorously no syllable that does not fulfill an effect of euphony. The main rhymes and assonances (dulde stumm, wir dir, dunkel tun) are interconnected by syllables that are themselves assonant (und dulde) or alliterated (was wir) and thus enclose each sound-effect into another, as a larger box can enclose in its turn a smaller one.

15. An exception occurs in line 7, where the third person refers to the feelings, to the interiority of the subject. , its Fotential activity to the speaking voice; this becomes the explicit theme of the poem in the two concluding lines. The purpose of the text is not to reunite the two separate entities but to evoke a specific activity that circulates between them. The poem does not mention this activity by name . " That it is called a fulfillment [Vollendung] and that the will of the "du" is said to be accomplished by this act does not allow for its definition but repeats in fact the relationship of immanence between the two "persons" that is being staged in the tex t .

21. 9. The remark applies, with qualifications too complex to enumerate here, to the writings on Rilke of Heidegger, Guardini, Bollnow, Mason, and jacob Steiner. 10. Such as, for instance, H. W. Belmore, Rilke's Craftmanship: An Anag,sis of His Poetic Style (Oxford, 1 954); Ulrich Fiilleborn, Das Strukturproblem tier spiiten Lyrik Rilkes (Heidelberg, 1960); Frank H. Wood, Rainer Maria Rilke: The Ring of Forms (Minneapolis, 1958); Brigitte L. Bradley, Rainer Maria Rilkes neue Gedichte: Ihr zyklisches GeJiige (Bern, 1 968).

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