Beschreibung:
A poem by Robert Herrick is taken as an exemplar of the neo-classical aesthetics of imitation. Herrick appropriates the established topoi and forms of the ode and the elegy to orchestrate a seamless verbal organization with self-similar features to be found from the phonic level to the overall vision. Galway Kinnell on the other hand is representative of a modem aesthetics of incompletude : instead of redundancy and convergence his poem relies on abrupt changes, fragmentation and rupture. How does the reader deal with these two contrasted strategies ? Are the two poles of redundancy and noise mutually exclusive or cooperative ?