A Note Regarding Paul de Mans The Intention Structure of the Romantic Image :: Essays Papers

A Note Regarding Paul de Mans The Intention Structure of the wild-eyed Image In The Intentional Structure of the Romantic Image, one encounters a piece of the twentieth-century backchat of the philosophical considerations of language. virtuoso can say that Paul de Man rattling takes the view of Romanticism akin to that of Martin Heideggers view of verse line in general. Heidegger states that poetry must be a kind of speaking being or the creation of something new through and through language.(Note 1) Language itself stands upon itself in poetry concord to Heidegger. De Man picks up the broad discussion of what language is with his discussion of the Romantic image. The main thesis of this essay lies in the leaving among the ordinary consciousness that one has of the concrete world and the consciousness which one achieves through the Romantic image. De Man says that these two functions of the consciousness differ and that the objects one finds in concrete nature ar essentially different from those found in Romantic imagery.Paul de Man begins with a discussion of how the fiction plant life in Romantic literature. In order to illustrate his point, he provides a simile from Holderlin. The English translation of this simile may be rendered in two ways according to helpful footnote on rascal 67. One may either translate, Words will originate that are like flowers, or, Words will have to originate in the aforementioned(prenominal) way that flowers originate. (Note 2) The latter rendering, that with which da Man concerns himself, provides a relationship between the origination of flowers and the origination of words. This simile relates something which is rude(a) or found in nature, the origination of flowers, to something which does not have the same objective existence, the formation of words. This simile of words originating like flowers gives one an image which will not discipline to the natural object, the flowers, as they exist in ones everyday expe rience of the world. One can take note of flowers blooming in a field, merely one cannot sensibly see words blooming in a poem. In order to make his point clear, da Man discusses the difference between what he calls the natural object and the image. According to da Man, the natural object rests safe in its immediate being. (Note 3) The concreteness of the natural object provides stableness in its very being. The natural object does not need to be qualified in the same way that a word does.