Елиът и Емпсън

Абстракт

Настоящото изследване разглежда пояснителните бележки, които и Т. С. Елиът (1888-1965), и Уилям Емпсън (1906-1984) прибавят към собствената си поезия и които са се превърнали в неотделима част от тази поезия.

За разлика от Елиът, който избягва да говори за обстоятелствата около създаването на прочутите бележки към Пустата земя и техния статут, или говори за тях уклончиво, Емпсън теоретизира и открито защитава както каузата на авторовата анотация в модерната поезия изобщо, така и собствените си бележки. Отново за разлика от Елиът, при когото практиката на авторова анотация се ограничава до Пустата земя, при Емпсън тя обхваща по-голямата част от стихотворенията му. Тези разлики могат до голяма степен да бъдат обяснени с различните възгледи на двамата поети по няколко ключови въпроса, свързани с функциите и методологията на литературната критика - генетичния подход към литературния текст, изследването на авторовите интенции и литературния смисъл и интерпретация.

Наред с тези различия обаче двамата поети споделят и едно фундаментално убеждение - това за тясната връзка между творческата и критическата дейност. И въпреки явните разлики между бележките на Елиът и Емпсън като тип текст, може да се твърди, че между тях има и редица важни сходства. След подробен преглед на тези сходства настоящото изследване предлага тезата, че бележките на Елиът към Пустата земя предлагат на Емпсън не просто общ стимул, а и конкретен модел на авторова анотация - модел, който Емпсън едновременно отхвърля и възприема.

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