142
MORRIS DICKSTEIN
tions of the term-"the kind of imagination that is concerned with the
supernatural and especially the Last Things," our sense of the poet
rebels. The exuberant, utopian verses of the unfinished "Recluse" are
perhaps an exception, but that is the only poem of Wordsworth in
which, as Hartman admits, "the relations between self and nature [are]
relatively unproblematic." Even the afflatus of Book VI is but a
momentary "flash that has revealed/The invisible world," that is,
an
epiphany rather than apocalypse. ("Flash" significantly reappears in
the Snowdon account, which is even more clearly a momentary vision.)
The Simplon Pass itself, with its "immeasurable height/ Of woods
decaying, never
to
be
decayed,/ The stationary blasts of waterfalls,"
in which nature is at once and unceasingly being destroyed and being
preserved, implies (to use a political analogy) permanent revolution
rather than the
telos
or end of history-not the Last Things but, as
Wordsworth himself concludes, an order "of first, and last, and midst,
and without end."
The Poetic Themes of Robert Lowell
by
Jerome Mazzaro
Jerome Mazzaro traces the development of
Lowell's style, explores literary and philo-
r;:ricsh~~~lmiir;!!~~h~e~~~~e:;.:~~~ lli~~_kr~ITnS~
to H1uminatc Lowell's complex views of the
writer and of man's nature. Setting the work
in its proper historical, cultural, and reU..
aious contexts, Mazzaro provides a
b~
Cor
undetstandinj; LoweU's
art.
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The Philosophy of Surrealism
by Ferdinand A1qui6
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In this landmark
.tUd~
Ferdinand Alaui6
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the world-which has left its imprint on the
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He discusses surrealist aims and hopes,
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realist revolt
and
the Marxist revolution,
fon!,d~~~~a:~;~~is:x~~:r~n: ~!r::~
bol•. Finally, he relates
the
surrealist theory
of imaaination
to
reliaioD, aesthetics, and
metaphysics.
208
pages
$S.9S
II
The University of Michigan Press
Ann
Arbor
Morris Dickstein
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