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By Antony Easthope

First released in 1991. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Et puis hardi, hardi, en plein ballant: Tel le patin qui glisse à fleur de vire: élan Puis plané rebuffaient le vent bouffant. Mon coeur blotti Frémit pour un oiseau: ah! quels parfaire et seigneurie! Beauté brute, valeur, prouesse, oh! panache, grand air superbe, Ici de fondre! ALORS le feu que tu jettes, mais un million De fois plus délicieux, plus périlleux, mon chevalier! Point de merveille: c’est l’ahan qui fait le soc dans le sillon Luire, et les braises bleu-blême, ah! mon aimé, Choir pour se déchirer, pour s’entailler d’or-vermillon.

In 38 DISSOLVING THE LITERARY OBJECT Derrida’s exemplum, the words ‘I have forgotten my umbrella’ take on very different significance according to whether they are read as a citation? the beginning of a novel? a proverb? someone else’s secretarial archives? an exercise in learning a language? the narration of a dream? an alibi? (1977, p. 201; see also further discussion in 1979, pp. 122–43) rsi ty o fE xe ter Now, in the present context, the words ‘I have forgotten my umbrella’ have acquired significance as a figure for the problem of interpretation in literary criticism.

A provisional order of exposition will classify context in terms of social practice, the signifier and the signified. rsi AT THE LEVEL OF SOCIAL PRACTICE Un ive An institutional reading (2) would treat the sonnet in terms of the sociology of literature, noting its place as a high cultural form. Printed in a book and calling on an elite register, Literary English, the text is reproduced within institutions of higher education and sometimes in schools. It has hardly any existence outside these and is published almost exclusively for academic use.

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