AND the fire that breaks from thee then, a billion Times told lovelier, more dangerous, O my chevalier! The force of the paradox holds a poem together, it builds unity and coherence within the text and the task of the critic is to lay bare these paradoxes and show how they work.
Who cares if X was in love with lady Y?
Moreover they were criticised for being too linguistic. Both were developed in essays published in and by Wimsatt in collaboration with Monroe Beardsley, and were collected in The Verbal Icon.
Poetry makes use of literary devices — hyperbole, parallelism, repetition, iambic pentameter, and so on. Fish criticizes Wimsatt and Beardsley in his essay "Literature in the Reader" Highest poetry should synthesize thought and feeling, argument and image, the rational and the non-rational.
My heart in hiding Stirred for a bird, — the achieve of, the mastery of the thing! Consciously or unconsciously the author follows that form.
All of its meaning is linguistic, but not all that is pertinent to meaning can be explained by linguistic analysis.
They have different constructions. Its best known member is Roman Jakobson. Labeling such an erroneous belief the Heresy of Paraphrase, they maintain that a poem is not simply a statement that is either true or false, but a bundle of harmonized tensions and resolved stresses.
For example, the fabula is always chronological, moving from beginning to end, whereas the syuzhet may start in the middle in media res and then jump back and forth within the chain of events.