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This essay tries to do the performative reading as opposed to the interpretative! hermeneutic reading of two 19th century poems, Wordsworth's "The Solitary Reaper" and Tennyson's "Tears, Idle Tears". The performative model tries not so much to offer interpretation as to offer explication. The difference between a hermeneutic critical model and an aesthetic/performative one is analogous to the difference between reading a lyric poem with the eyes only and listening to it or performing it.
"The Solitary Reaper", as a whole, does not concern itself with the meaning of what the maiden sings, but with the effect the poem exerts on the speaker/reader with the help of many analogies, repetitions, and stanza form, In the poem, the song she sang by herself against the inhospitable background expands in space and time. representing the music of human suffering and endurance continuing into the future. In the expanse of the song, it loses its specificity and becomes quasi-spiritual. with the result that the maiden and her song becomes presence in absence, absence in presence.
"Tears, Idle Tears", as a double being, each line preserving its own integrity and being absorbed into the whole, affects, as a double being, at once its own and not its own, each stanza and their relations with the whole poem. The refrain, "the days that are no more", tends to make the poem non-progressive. There is a sense of temporal suspension, not duration, but deepening intensity, and with rhymelessness it contributes to indefiniteness of meaning and the shape of the poem contributes to definiteness of effect.
The texts we are dealing with suggests not the historical truth but rather the narrative one, which emerges through the Nachtraglichkeit(deferred action), in which the cause can be reached and detected only through and after result. Through the dynamic relation existing between the reader !critic and the text, the reader/critic succeeds in sharing the universal experience in the imaginary space the text provides.
"The Solitary Reaper", as a whole, does not concern itself with the meaning of what the maiden sings, but with the effect the poem exerts on the speaker/reader with the help of many analogies, repetitions, and stanza form, In the poem, the song she sang by herself against the inhospitable background expands in space and time. representing the music of human suffering and endurance continuing into the future. In the expanse of the song, it loses its specificity and becomes quasi-spiritual. with the result that the maiden and her song becomes presence in absence, absence in presence.
"Tears, Idle Tears", as a double being, each line preserving its own integrity and being absorbed into the whole, affects, as a double being, at once its own and not its own, each stanza and their relations with the whole poem. The refrain, "the days that are no more", tends to make the poem non-progressive. There is a sense of temporal suspension, not duration, but deepening intensity, and with rhymelessness it contributes to indefiniteness of meaning and the shape of the poem contributes to definiteness of effect.
The texts we are dealing with suggests not the historical truth but rather the narrative one, which emerges through the Nachtraglichkeit(deferred action), in which the cause can be reached and detected only through and after result. Through the dynamic relation existing between the reader !critic and the text, the reader/critic succeeds in sharing the universal experience in the imaginary space the text provides.
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