Post by account_disabled on Jan 6, 2024 5:54:25 GMT
It is more complex and "abstract", but this too can be considered a form-content agreement. The poet and philosopher Holderlin (considered by some, as a lyricist, superior to Goethe, and, as a philosopher, comparable to Hegel; but known to us above all for the epistolary novel Hyperion) believed that human language did not have the ability to convey true essence of nature, which could only be transmitted by a poetic language that managed to be "informed" by nature itself. In this way the philosophy expressed justifies its poetic form and the extensive use of onomatopoeia. D'Annunzio's philosophy (certainly superficial, but not enough to justify the absolute absence of studies) is expressed at the beginning of the Virgins of the Rocks: the poet hopes for a new Renaissance and a return to the values of classical, especially Latin, greatness. His timeless writing style, so rich and archaic, then makes sense: the obsolete words are not only there to make a scene, but to show, in the modern world, the classical spirit that needs to be resurrected.
Immersed register and narrator It should be natural for a writer to match the linguistic register to what he narrates: Dante already chose to use different languages for Hell, Purgatory and Paradise, moving from a lower and at times vulgar style to a sublime and solemn one. I have already spoken about the immersed narrator in my article on point of view : it is clear that if you narrate in deep immersion, the entire narration is merged with the character's flow of thoughts, and therefore a natural agreement is formed between form and content. Extra: a bit of poetry “ELENA: How many wonders I see, I mean. / I'm amazed, I have a lot to ask. / And first of all to know Special Data why the words / of that man had / a strange tone for me, / strange and dear. / It seems that one sound adapts to another / and, as one word has reached the ear, / another comes to caress it. FAUST: If you already like how our people speak, / oh, how singing will make you happy. / Because it deeply satisfies the hearing and the mind. / But it is safer to prove it immediately: / dialogue arouses him, attracts him. ELENA: And tell me then: how could I too / speak so well? FAUST: it's easy, it has to come from the heart. / You fill him with desire; and around him / he will search... ELENA: ... who enjoys with you.
FAUST: What was and will be no longer shown. / Only the present… ELENA: ... makes us happy. FAUST: Treasure and pledge it is, sovereign reward. / And who confirms it for us? ELENA: My hand.” (JW Goethe, Faust II) Not even the prose writer can avoid reading poetry: in it there is always a perfect agreement between form and content. We need to pay attention to the sound, the rhythm, but above all try to understand how these formal characteristics add to the content, and what type of transmission results. The example cited here is particularly interesting, and in German it is even more so: first Elena speaks with a classical, Greek style poem, without rhyme, while Faust uses a German romanticism poem, naturally rhyming. As the two become closer and become romantically involved, Elena begins to speak like Faust, and she too discovers the rhyme. Clearly it is not a technical artifice as an end in itself, but it has great communicative power.
Immersed register and narrator It should be natural for a writer to match the linguistic register to what he narrates: Dante already chose to use different languages for Hell, Purgatory and Paradise, moving from a lower and at times vulgar style to a sublime and solemn one. I have already spoken about the immersed narrator in my article on point of view : it is clear that if you narrate in deep immersion, the entire narration is merged with the character's flow of thoughts, and therefore a natural agreement is formed between form and content. Extra: a bit of poetry “ELENA: How many wonders I see, I mean. / I'm amazed, I have a lot to ask. / And first of all to know Special Data why the words / of that man had / a strange tone for me, / strange and dear. / It seems that one sound adapts to another / and, as one word has reached the ear, / another comes to caress it. FAUST: If you already like how our people speak, / oh, how singing will make you happy. / Because it deeply satisfies the hearing and the mind. / But it is safer to prove it immediately: / dialogue arouses him, attracts him. ELENA: And tell me then: how could I too / speak so well? FAUST: it's easy, it has to come from the heart. / You fill him with desire; and around him / he will search... ELENA: ... who enjoys with you.
FAUST: What was and will be no longer shown. / Only the present… ELENA: ... makes us happy. FAUST: Treasure and pledge it is, sovereign reward. / And who confirms it for us? ELENA: My hand.” (JW Goethe, Faust II) Not even the prose writer can avoid reading poetry: in it there is always a perfect agreement between form and content. We need to pay attention to the sound, the rhythm, but above all try to understand how these formal characteristics add to the content, and what type of transmission results. The example cited here is particularly interesting, and in German it is even more so: first Elena speaks with a classical, Greek style poem, without rhyme, while Faust uses a German romanticism poem, naturally rhyming. As the two become closer and become romantically involved, Elena begins to speak like Faust, and she too discovers the rhyme. Clearly it is not a technical artifice as an end in itself, but it has great communicative power.