97. Dunkel, schwierig, radikal und extrem

„When poetry is obscure this is chiefly because information necessary for comprehension is not part of the reader’s knowledge . . . and finding out this information may dispel much of the obscurity. When poetry is difficult this is more likely because the language and structure of its presentation are unusually cross-linked or fragmented, or dense with ideas and response-patterns that challenge the reader’s powers of recognition . . . . Alexander Pope’s The Dunciad (1728–43) is now obscure but not especially difficult; Wallace Stevens’s ‚Thirteen Ways of Looking at a Blackbird‘ or ‚Sunday Morning‘ . . . are difficult but mostly not obscure; Eliot’s The Waste Land (1922) or, in long retrospect the wuit (’no title‘) poems of LiShang-yin (c.813–58) are hard for readers because they are obscure and also difficult; indeed, their difficulties are deliberate and integral to poetic method . . . .“ (Prynne)/ Robert Potts: J. H. Prynne, a poet for our times, The Times Literary Supplement. November 3, 2010 Vgl. L&Poe

• 2005     Jun     #23. British Modernism in America
• 2005     Sep     #31. Betreff: Re: Semtex
• 2006            Aug            #106. Dichteraufstand in England, 1967

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