Introduction to the second edition

Summary

Interaction in Poetic Imagery was my first book. It was based on my doctoral researches at Cambridge in the mid-1960s. I set out to formulate a theory of a significant, but previously untheorised, aspect or potentiality of poetic imagery – indeed an aspect or potentiality not previously demarcated, either under the name I gave it, ‘interaction’, or any other name. With ‘imagery’ understood as ‘metaphor, simile and the various forms of comparatio’, I identified interaction as ‘any local cross-terminological relation between the tenor and vehicle of an image’, explicitly adapting ‘tenor’ and ‘vehicle’ from I. A. Richards’ The Philosophy of Rhetoric. I then categorised the modes of interaction into four groups (with subsequent subdivisions). The cross-terminological relation might be effected aurally or extra-grammatically or by intrusion or (most commonly) by neutral terminology. All this was established on the basis of a corpus of Greek poetry – early lyric and dramatic poetry, from Archilochus to Aeschylus – with additional examples from English poetry, from Shakespeare to the twentieth century.