scad. gc0paol ID‘^ mcn~ CJO&&& 0e1sl@d01% l ~ e r

cu'h1hflam&2& m~brn'ld!~~l@sg. mndbwdammnb dl. 61th. mmwm

dl22 cowor k a b . rnw @aim, qmubb@alm r~)ar~g ssrnsabm 5

rubrurnl~q#sJ. alPYu&'g aim@l~g., , ambetelhlm, ~anlrnmO.

BlnD~b. a%*, m~BU'b~lb &m'l mb&thb @ m o emsl. 99 ~ e a

d'd ' ld cal381fiW 9ern~bg (~oatic image )AXU~UX%% acrnbo ~crnsoW& ( imagery ) 811'bwejhim6)8l~@@ ob&m OUJ%KJ~

da?colq,q. ' d 6 1 b ' &OD (UW 03o(~m813611 am& W d h @ 7 6 ) l i b 0 ~ 8 1 3

siwdcmkriooaa3 ~aalm @OD &&daPrmg @caxoW@2at.

gC30(D6)(lbo @o1.d6)81amg &edtl@Ua?(m c p r ~ ) W o ~ m En%&. BUaa

(~y I ta (~6 r )o 630& 0mmk n1~3alm0 eg.hmg. arnb r11aQn116)(moee~3,

on9ouocn0~~n'kos1&161u ~ W b ~ m s l c m a &@@bIa@s

atoddkh km~daahmb n~%lmlomb. . . . . . . 9 c W

~cbCQv abcn0urblmb (n9co aa?rn?rbdm03cp~7. asalcadag

av@Wmbq,. pcLI% uahmla@s ~4~ofuu'krM &mhg a,su:,

~ a x m J m?a~ba,amg, thmhknbo &su% mlm3aucdlrmkdo ca~o I I D ~ 12

awl g2ardmg mbmawobUm m k d o oe~apWk~1 mbcu@Wq'.

UUml ~rasfl(30 04@ C%bfliod~lab @ldJb.4,"00~~. &XlJ~d0'leJ@2

aln83"63@& d0~6rmOd832& ~b6%Qm36)6)(11~& 6 ) ~ ~ s I U ~ X U ~ ~ ~ R ~ C U ~ ' ~ D

s.3~11 (DW m~361ts (~0~+83~bth6d~32~1 P D ~ & % QID&UP~PD%

sra w k a ~ doaa (uumjear, m m m 901 uuml). ru~ocn@

Pblodsran @muaXil&an uadruu~m3comm m~~"sma& casn'mio~co~0w

ru&s&cu& uumharm$ asolasrLrsbw, (mmo gaol ml ) . AWJ

c d ( m W g comb uum'&own[ ,ipabdiodo?ab am* Q w p m h mm,

uumha@ ru~rumNq (uumaol d'mld uuml: ).

6)0fi& Metaphor)

d m mjflrndomkrltb&ao ( Poetic metaphor )em&Ns.

fS%~0#3dom38) alplam@%( &hi-present principle )rnlw 'S~hUDhwq URaUC tb3Br)m. &I3(~&0bh(~lpl& &~(~~J~%?~BIM)SB)&

mmh#a?nobo8~& almlwlsllzb cumbob. m e m x m s emw1[1,Q#a1

0rrb08~h ~ ~ % m 6 ~ d 0 b d 0 s 1 b o ~ c o l ( ~ ~ ~ cumbrmb. r m p l d g . am- c~vbs616nJ. doemmaace , ramlmmg, dhkocl lrnN ~ m W m a r n U W U X K D ~

emtrar& r o ~ a M r n c h m m g . ~ m a b c h ~ ~ ~ ~ r n a m ~ . cudobcukobo

~ $ w r n w rm~u~~rnda%b ~ ~ & ~ ~ ~ g a o b e , ma&wamg a&&&.

gal0 ( s i m i l e )

&dmcdianlmb wbdar,keslds@&& s,ad.&. amxi n r l ~ l ~ d m l m e r

&&I asllasdoxh asnr emwwhlcoam mp~llo~cm@sg. @oicoo wlom t

&ddD6)6~ 6)d)03 &IN)?& &(mqBd)0mg ( Heraldic Symbol) cm%@3@b. 5 5

a1cwZU%Wsg.

0ww m~?co@w (Myth and Archetype)

c b ; x u b a 6 I ~ r ~ c b 3 0 h 0 ~ ( images of impression)

6I~(112i3(oh0(% (images o f thoughts) &. I O . G @ & ~ ~ (u?RB'~& 6 7

m$ls$'. & ~ l ~ m k & d ~ & m m ( ~ & m k & a e & s1. d. ~1813,

web ,(~&m@s Bdlodm& 6)6)cuamlda(11@36,mm,(j.e ndb dbmb(m&%.

6XlfU~b3cokb&&cb ~ f l ~ ~ ~ ~ b o ~ s i I t b % & ~ @ % & .

&&4~16)&0 a k m%dcuum&'so& paaati mass mmcu&mhsr&

a ( r ~ k ( ~ ~ 9 8 1 & OU~~J&JI!& OM8&ti'kb&UD O W S ~ ~ S @ O ~ & ~ S ~ .

&mmm m ~ n l m i r s b q ~gim%rn isssI~ttnme13csl ma. 4.

oWdhM BlibeuaeYdrnma amnY~mmq,, adwaw aomo o h l a ~ 7 1

8fsJ. W J O J ~ ~ ~ O ~ ~ O ~ W @ ~ ' @ % J ~ ~ R I U ~ K B ~ I mdetbm cb~~hgdbglb W(D

~ a n l a m m ~snhdobintpmm m30&mh(d0 ag~'IinUm~'k136r)~ 99 rule81

mo . au76da~~hddsllab s~l&mIwrn&8,lerb0 6 3 ~ ~oJ%J~~)s &a

&dd11)63a1 C D ~ Y W ~ J ~&t8~21ddpcb3sf ( s@9 biom&pn'k& m b l

uu~%acobmde,. 04.4. oWdhW 061m m;rmg oufl&~ecdla'lab

Rl~irladc23612 d&K~~irlcfhd6)6,@UR& ( Sense-metaphor) RXlI(O&d8, 7 2

@~m@m)bo (emotive metaphor) cosfls~l CU~RS~&&@S~.

~crY~nlatslY6o~b~s ro@dbrnwl gM~6.@@30b avlabm B a b a % a ~ ~ & d ~

@b, arBn@@%lO fWUDsl%iI&3~ I E X ~ ~ & R & D ~ ~ ~ S ~ O W U ~3iX@@lcbdQ3$2&1

+OD r u l n ~ c o ~ @ojrancoo alornSrp~,l& @~~auwlahrnm&'.

8 2 . ....... where as, if t h e p o e t i n j e c t s h i s f e e l i n g s

i n t o h i s poem, he c e a s e s t o r e c o g n i s e them; t h e

words t a k e h o l d of them, p e n e t r a t e them and meta-

morphose them: t h e y d o n o t s i g n i f y them, e v e n t o

h i s e y e s 1 *

Jean-paul -%r t re - What is L i t e r a t u r e . p. 10

3 . ' S t y l e c o n s i s t s i n a d d i n g t o a g i v e n though t all

t h e c i r c u m s t a n c e s c a l c u l a t e d t o produce t h e h o l e e f f e c t t h a t t h e t h o u g h t ought t o produce ' .

Middleton Murry - The Problem of S t y l e . p.3

4 . T che h ov

Quoted by Middleton mrry i n 'The Problem of Style '. p. 1 4 .

6.a . 'A r e p r o d u c t i o n o r i m i t a t i o n of t h e form of a pe r son

o r t h i n g ; e s p : an i m i t a t i o n i n s o l i d f o m '. Webs te r ' s Nlneth N e w C o l l e g i a t e D i c t i o n a r y .

b. 'An image is t h e reproduction in t h e mind of a

sensa t i on produced by a phys ica l pe r cep t i on '

Encyclopedia of Poetry and Poet ics-Editor . A l e x

Preminger.

7. 'It would be b e t t e r t o say ' the consciousness

of P e t e r a s an image ' o r t h e imaginat ive

consciousness of P e t e r '.

Jean-paul Sart re - The Psychology of Xinagination

p. 7.

8 . 'we c a n exper ience imaginat ive ly t h a t which has come t o u s through t h e sensese.

P. Gurrey - The Appreciat ion of fbetry. p.44

1 0 . 'He can not be s a i d t o have c r e a t e d it, but t o have d i s c w e r e d it, because when he h a s d i f i n i t e l y

expressed it we recognise it a s true '. T.E. Hulme - Speculat ions. p. 1 4 9 .

11. ' Y e t t h e image i s t h e cons tan t i n a l l poetry, and

every poem i s i t s e l f an image:

C. Day L e w i s - The Poe t ic Tinage. p. 17

1 3 . Stephen Spender - The St ruggle of t h e nodern. p.110

1 4 . 'A 'Sone ' might be d e s c r i b e d as a g roup of words

s o s e l e c t e d a n d a r r a n g e d as t o come i n t o r e sonance

i n t h e p r o c e s s of metaphor, t h e sone b e i n g t h e

i r r e d u c i b l e dynamic u n i t in P o e t r y s .

George Whalley - P o e t i c R o c e s s . p. 161

15. 'What g i v e s an image, e f f i c a c y i s less i ts v i v i d n e s s

a s a n image than i t s c h a r a c t e r as a men ta l e v e n t

p a r t i c u l a r l y connec ted wi th s e n s a t i o n . Its e f f i c a c y

comes from i ts b e i n g 'a rel ict ' a n d a r e p r e s e n t a t i o n

of s e n s a t i o n C

I + A . Richa rds - P r i n c i p l e s of L i t e r a r y C r i t i c i s m

p. 119.

17. 'A p o e t 's imagery reveals h i s own i d i o s y n c r a s i e s

and n o t on ly t h e u s a g e s of h i s p e r i o d ' .

C a r o l i n e . F.E. Spurgeon - Shakespeare 's Imagery

And What It T e l l s us. p.43.

18. '. . . . . . Poetic image i s a word-p ic ture cha rged

w i t h emotion or p a s s i o n '

C. Day L e w i s - The P o e t i c Image. p. 19.

19. 'Images a r e t h e o r g i n a l s e n s a t i o n a l e x p e r i e n c e of

t h e p o e t '*

H e r b e r t Read - %he Tenth Muse. p.127.

20. 'That t h e y are me taphor s a t a l l sugpeeta however, t h a t

t h e y i n d i c a t e a r e l a t i o n n o t o t h e r w i s e t o be expressed ' .

George whal ley - P o e t i c Process . p.2.

'Images i n v e r s e are n o t mere d e c o r a t i o n s , b u t

the v e r j e s s e n c e of a n i n t u i t i v e language '.

rn , .c. Hulme - S p c u l a t i o n s . p. 125.

Imaqe may be f o r example, a v i s u a l image, a

copy of a s e n s a t i o n ; o r it may be an idea ,

any e v e n t in t h e mind which r e p r e s e n t s scme

t h i n g ; o r it may be a f i g u r e of speech, a

double u n i t i n v o l v i n g a comparison '.

I.A. Richards - Cole r idge on Imaginat ion. p.33.

'An image i s t h a t which p r e s e n t s an i n t e l l e c t u a l

and emot iona l complex i n an i n s t a n t of time @. E z r a m u n d - L i t e r a r y Essays .

E d i t e d w i t h an i n t r o d u c t i o n by T.S. E l l i o t . p.4.

'Mental f a c u l t y fo rming images o r c o n c e p t s of

e x t e r n a l o b j e c t s n o t p r e s e n t t o t h e s e n s e s '.

T h e Goncise Gxford Dictonary.

George Whalley - P o e t i c Process. p.63.

35. 'Tl\e f u l l p rocess of metaphor t h e r i n g i n g as I

si1311 c a l l it-makes for resonance, a p e r v a s i v e t o n e

7,.1h ich spreads out\.rarc3 in rings of sound a n d light

t ~ j ~ r i n ' g i n t o s y n l p a t i ~ e t i c v i b r a t i o n o t h e r o r all

5e:atures of: t h e poem'.

Ge,)rge 1.111aJ.leji-l:oetic Process. p. 1-48.

3 7 . 'Th i s is one t h i n g t h a t can n o t be l e a r n e d from

anyone else, and it i s t h e mark of g r e a t n a t u r a l

a b i l i t y , f o r t h e a b i l i t y t o u s e metaphor w e l l

i m p l i e s a p e r c e p t i o n of resemblances '. A r i s t o t i l e - P o e t i c s , c h a p t e r 2 2

w o t e d by Terence Fiawkes i n 'Metaphor'-The C r i t i c a l

39. w i r l t i l i a n - I n s t i t u t i o Oratoria Quoted by J . G . J e n n i n g s i n 'An Essay on Metaphor

1 1 1 E 'oet ry8. p.18.

40. ' T t ~ e y becane p r o o f s of o r i g i n a l c ~ e n i u s on ly a s f a r

a s Lhey are modiFied by a predominant pass ion : o r

by a s s o c i a t e d t h o u g h t s o r images awakened by t h a t

p a s s i o n . . . .; o r l a s t l y , when a human a n d i n t e l l e c t u a l

l i f e is t r a n s f e r r e d t o them f r o m t h e p o e t ' s o w n

s p i r i t '. S .i' . Cole r idge - Biographia L i t e r a r i a

Chdp te r XV P a r t 111. Ed. By Dr . Raghul T i l a k . p.99.

41. K e a t s - Uuoted i n The P o e t i c Image by C. Day L e w i s

p. 75.

42. 'In many cases modern l i t e r a t u r e is a cancer of

words ........ . our f i r s t duty as a w r i t e r is

t h u s t o r e - e s t a b l i s h language i n i t s d ign i t y .

After a l l , we t h i n k with words '. ~ean -Pau l -Sa r t r e - What Is L i t e r a tu r e . p.210.

43. Northrop Frye - The Stubborn S t r u c t u r e

The Drunken Boat. p. 208.

44. In sho r t , E l i zabe than metaphors speak, and t hey

ask f o r a response. Modern metaphors, by con t r a s t ,

t r y t o d e l i v e r t h e i r goods i n one imnediate 'handing

over ' which is complete i n i t s e l f : Terence Hawkes - Metaphor- .The Cri t ical Idiom p.22.

46. Austin War r en and Rene Wellek - Theory of L i t e r a t u r e

p. 190.

47. bieitzsche - Philosophy AM Truth (p.88-89)

(iuoted by J . G . Jennings i n 'An Essay an Metaphor '. p. 73.

48. 'Simile, l i k e prose is a n a l y t i c , metaphor like

poet ry is s y n t h e t i c , simile is ex tens ive , metaphor

i n t e n s i v e ........ Simile i s t o metaphor a s prose t o

poet ry . ' R.A. Foakes - The Romantic Asser t ion . p. 23.

51. Carol ine F .E. Spurgeon - Shakespeare 's linage-

And what It T e l l s us . p.8.

'It is a d i s a s t e r then t h a t cr i t ics shou ld e v e r have

used t h e word 'Symbol ' as though a symbol w e r e an i n d i c a t i n g mark s t and ing f o r something o t h e r than

i t s e l f , a s ign f o r unambiguous s u b s t i t u t i o n ' .

George whalley - Poe t i c Process. p. 165.

'Thus i f an image is used in a poem as a sepa ra t e

i d e n t i t y as a se l f -determined and i n d i v i d u a l

ex i s t ence , it is most probably a symbol '. Robin Skel ton - The Poe t i c Pa t t e rn . p, 92.

I b i d - p. 103.

Northrop Frye - Anatomy of C r i t i c i s m . p. 92.

'Daughters of memory' - Blake

Quoted i n Poetic Process by George Wha1ley.p. 190.

'Allegory i s a tern denot ing a technique of

l i t e r a t u r e which i n t u r n g i v e s rise t o a method

of c r i t i c i s m '.

Encyclopedia of Poetry And Poet ics .

E d i t o r - Alex Preminger. r ......... these myths w e r e Poetry in ~ c t i o n '

C. Uay I e w i s - The Poe t i c Image. p. 32.

62. 1 . . . . . . myth seems t o o f f e r t o poe t ry an i n v i o l a b l e r r fuge a g a i n s t t h e i ncu r s ions of a h o s t i l e s c i e n c e o .

William K. Wimsatt. Jr and Cleanth Brooks - Li t e r a ry C r i t i c i s m - A mart His tory . p. 709.

63. C.G. Jung - The Archetypes And t h e Co l l ec t i ve

Unconscious - Trans l a t ed by R.F .C. H u l l . p.4.

65. 'Emotions, genera ted c o l l e c t i v e l y , persists in

s o l i t u d e s o t h a t one man, alone, s i n g i n g a song,

s t i l l f e e l s h i s emotion s t i r r e d by c o l l e c t i v e

images. He is a l r eady e x h i b i t i n g t h a t paradox

of a r t - man withdrawing from h i s f e l l m s i n t o

t h e world of art, only t o e n t e r more c l o s e l y in

t o communion wi th humanity l- Chr i s topher Caudwell i n I l l u s i o n And Rsa l i ty .

Guoted by C. Day L e w i s i n The P o e t i c 3nage.p. 144.

66. 'D i s t i nc t i ons between t h e deco ra t i ve and t he

f u n c t i o n a l images a r e q u i t e v a l u e l e s s i n t he

a b s t r a c t ' . C. Day L e w i s - The Poe t i c Image. p.55.

67. R.A. Foakes - The Ranantic Asser t ion . p. 32-34

68. George Whalley - P o e t i c Process. p.148.

69. Carol ine F .E. Spurgeon - Shakespeare 's linagery

And What It T e l l s us. p.44.

70. Mrs. Vinod Aggawal - The Iinagery of Kal idasa

p. 21-22.

71. I.A. Richards - P r i n c i p l e s of L i t erary C r i t i c i s m

p. 118- 121.

72. I.A. Richards - ad. 4. oW&&Imd ammw aaamp(rcmIub em. dl. ~ 1 . e~aw&uXmQl&@ ~#u~~?ri l~~kDl~amg.

77 . Harold Bloom - The Anxiety of Inf luence . p.80.

82 . I .A . ~ ichards i n The Philosophy of Rhetorics, Newyork, 1936, cal led t h e tern imported t o i l lustrate

or modify the underlying idea in an image the

'~ehicle': the other term becane the tenor (or object matter). These terms have a l s o been cal led

content and reference by Owen Barfield (poetic Diction p. 18).

R.A. Foakes - The Romantic hssertion. p.18.