The Complete Works of WH Auden: Prose
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Sharpe, Tony, 1952– Editor of Compilation
more information - www.cambridge.org/9780521196574 W. H. AUDen IN COnteXT W. H. Auden is a giant of twentieth-century English poetry whose writings demonstrate a sustained engagement with the times in which he lived. But how did the century’s shifting cultural terrain affect him and his work? Written by distinguished poets and schol- ars, these brief but authoritative essays offer a varied set of coor- dinates by which to chart Auden’s continuously evolving career, examining key aspects of his environmental, cultural, political, and creative contexts. Reaching beyond mere biography, these essays present Auden as the product of ongoing negotiations between him- self, his time, and posterity, exploring the enduring power of his poetry to unsettle and provoke. The collection will prove valuable for scholars, researchers, and students of English literature, cultural studies, and creative writing. Tony Sharpe is Senior Lecturer in English and Creative Writing at Lancaster University. He is the author of critically acclaimed books on W. H. Auden, T. S. Eliot, Vladimir Nabokov, and Wallace Stevens. His essays on modernist writing and poetry have appeared in journals such as Critical Survey and Literature and Theology, as well as in various edited collections. W. H. AUDen IN COnteXT edited by TONY SharPE Lancaster University cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, São Paulo, Delhi, Mexico City Cambridge University Press 32 Avenue of the Americas, New York, NY 10013-2473, USA www.cambridge.org Information on this title: www.cambridge.org/9780521196574 © Cambridge University Press 2013 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. -
Copyright by Jonathon N. Anderson 2019
Copyright by Jonathon N. Anderson 2019 GENRE AND AUDIENCE RECEPTION IN THE RAKE’S PROGRESS by Jonathon N. Anderson, BM THESIS Presented to the Faculty of The University of Houston-Clear Lake In Partial Fulfillment Of the Requirements For the Degree MASTER OF ARTS in Literature THE UNIVERSITY OF HOUSTON-CLEAR LAKE MAY, 2019 GENRE AND AUDIENCE RECEPTION IN THE RAKE’S PROGRESS by Jonathon N. Anderson APPROVED BY __________________________________________ David D. Day, J.D., Ph.D., Chair __________________________________________ Craig H. White, Ph.D., Committee Member RECEIVED/APPROVED BY THE COLLEGE OF HUMAN SCIENCES AND HUMANITIES: Samuel Gladden, Ph.D., Associate Dean __________________________________________ Rick J. Short, Ph.D., Dean Acknowledgements To Drs. White and Day, I offer my gratitude for your willingness to let me follow tangents and guesses throughout my graduate career. Dr. White, your generous indulgence, encouragement, and patient guidance helped me refine my fuzzy hunches to clearly articulated ideas. Dr. Day, your depth of knowledge on, enthusiasm for, and sense of humor with medieval works brings them to life and illuminates their continued relevance. I appreciate the priority both of you place on the excitement conjured by texts ancient and modern. To my parents, I offer my gratitude for maintaining a house strewn with interesting books waiting to be discovered. Mom, I appreciate all our late-night conversations about whatever random volume I happened to be curious about at the time. Dad, I hope I’m making good on the lifetime of blind confidence in my abilities you’ve given me. To Peg and Ed, the best in-laws anybody could ask for, thank you for your inspiration and advice. -
Auden and Religion.', in the Cambridge Companion to W
Durham Research Online Deposited in DRO: 13 November 2008 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Reeves, G. (2004) 'Auden and religion.', in The Cambridge companion to W. H. Auden. Cambridge: Cambridge University Press, pp. 188-199. Cambridge companions to literature. Further information on publisher's website: http://dx.doi.org/10.2277/0521829623 Publisher's copyright statement: c Cambridge University Press 2004. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk GARETH REEVES Auden and religion Auden liked systems. He liked to categorize and pigeon-hole, but invariably with the awareness that all systems and categories only work on their own terms, that the systematizer is implicated in his creations, that consciousness, while freeing us to explain ourselves to ourselves and to each other, also imprisons us in the explanations we have framed. -
Auden's Revisions and the Responsibility of the Poet
W. H. Auden’s Revisions and the Responsibility of the Poet Katharine Peddie Biography Katharine Peddie is working towards a PhD at the University of Kent comparing Robert Lowell with his contemporaries in the American avant-garde through their inheritances from William Carlos Williams and Ezra Pound. She lectures in twentieth century American literature. Abstract The development of Auden’s attitude towards his left-wing poetry of the 1930s is indicative of his change in perception of how poetry should operate in the public world, and whether it is the correct vehicle for expounding political opinion. These 1930s poems were explicitly engaged with issues of war: ‘September 1, 1939’ records Auden’s reactions to the declaration of the war that was to become WWII, and ‘Spain, 1937’ is effectively a call to arms for the communist cause in the Spanish Civil War. These earlier poems display a conviction that the role of the poet is that of spokesperson, even shaper of political values, for his readership. In ‘September 1, 1939’, Auden wrote: ‘All I have is a voice / To unfold the folded lie’. During the 1940s, ‘September 1, 1939’ was one of a number of poems that Auden attempted to expunge from his canon, no longer confident that his voice had been as easily equitable with truth as the line had suggested. In fact, he claimed to find the whole poem ‘infected with an incurable dishonesty’ (qtd. Fuller 1970, 260). This is symptomatic of Auden’s volte face in the 1940s concerning the role of the poet. Auden had become suspicious of the power of his own voice: it was beautiful and persuasive, or ‘rhetorically effective’, as Auden himself put it. -
Funeral Blues Notes
Funeral Blues By W.H. Auden Introduction This poem, which is now presented as a straight-forward and heart-rending expression of grief for a dead lover, was originally written as a song in a mildly satirical play which Auden co-wrote with Christopher Isherwood. It was later adapted as a poem, and included in a collection of poetry published in 1936. It was first published with the inspiring title of ‘Poem number IX’ but in 1937 it appeared under the name ‘Funeral Blues’ in the anthology ‘Collected Poems’. In spite of its slightly frivolous origins, however, it is a deeply moving and beautiful poem. About the poet Wystan Hugh Auden was born in York, England, in 1907. He studied at Oxford University, where he began a degree in Science and Engineering before changing to an English major. He published a number of poetry anthologies which established his reputation as a poet, although he was also an author and playwright. In his youth he travelled extensively. His visits to countries such as Spain, during the Civil War of 1934-1939, influenced his poetry, Although he was a homosexual, he married a German woman named Erika Mann (daughter of a prominent German writer) so that she could become a British citizen and leave Nazi Germany safely. In 1939 Auden moved to the United States, where he lived for many years. Here he met his long-term partner, Chester Kallman, and eventually became an American citizen. Towards the end of his life, with his health deteriorating, Auden moved to Austria. He died there in 1973. -
The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More Information
Cambridge University Press 0521829623 - The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More information The Cambridge Companion to W. H. Auden This volume brings together specially commissioned essays by some of the world’s leading experts on the life and work of W. H. Auden, one of the major English-speaking poets of the twentieth century. The volume’s contributors include a prize-winning poet, Auden’s literary executor and editor, and his most recent, widely acclaimed biographer. It offers fresh perspectives on his work from new and established Auden critics, alongside the views of specialists from such diverse fields as drama, ecological and travel studies. It provides scholars, students and general readers with a comprehensive and authoritative account of Auden’s life and works in clear and accessible English. Besides providing authoritative accounts of the key moments and dominant themes of his poetic development, the Companion examines his language, style and formal innovation, his prose and critical writing and his ideas about sexuality, religion, psychoanalysis, politics, landscape, ecology and globalisation. It also contains a comprehensive bibliography of writings about Auden. © Cambridge University Press www.cambridge.org Cambridge University Press 0521829623 - The Cambridge Companion to W. H. Auden Edited by Stan Smith Frontmatter More information THE CAMBRIDGE COMPANION TO W. H. AUDEN EDITED BY STAN SMITH © Cambridge University Press www.cambridge.org Cambridge University Press 0521829623 - The Cambridge -
Introduction
Cambridge University Press 0521829623 - The Cambridge Companion to W. H. Auden Edited by Stan Smith Excerpt More information 1 STAN SMITH Introduction ‘Of the many definitions of poetry, the simplest is still the best: “memorable speech”’, W. H. Auden wrote in the Introduction to his 1935 anthology, The Poet’s Tongue (Poet’s Tongue, p. v). Auden is one of the few modern poets whose words inhabit the popular memory. Long before the recitation of ‘Funeral Blues’ in the film Four Weddings and a Funeral, many of his phrases had passed into common use. His characterisation in ‘September 1, 1939’of the 1930s as a ‘low dishonest decade’ has become definitive and ubiquitous, invoked even in quarters not normally associated with high literacy. Dan Quayle, for example, announcing his 1999 Presidential candidacy, applied it to the Clinton years. This poem alone has supplied titles for countless books, including studies of the economic origins of World War II (A Low Dishonest Decade), Soviet espionage (The Haunted Wood), the history of saloons (Faces Along the Bar) and a play about AIDS (The Normal Heart). Such diverse co-options indicate the range of reference Auden can pack into a single poem. Ironically, a poem Auden rapidly disowned has become one of the most widely cited modern texts. Written in a ‘dive’ on New York’s Fifty-Second Street on the day Germany invaded Poland, it took on a whole new sig- nificance after 11 September 2001. The Times Literary Supplement’s ‘Letter from New York’ after those events reported that Auden’s words were now everywhere, reprinted in many major newspapers, read on national Public Radio and featured in hundreds of web chat-rooms. -
Auden at Work / Edited by Bonnie Costello, Rachel Galvin
Copyrighted material – 978–1–137–45292–4 Introduction, selection and editorial matter © Bonnie Costello and Rachel Galvin 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–45292–4 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. -
Auden's Revisions
Auden’s Revisions By W. D. Quesenbery for Marilyn and in memoriam William York Tindall Grellet Collins Simpson © 2008, William D. Quesenbery Acknowledgments Were I to list everyone (and their affiliations) to whom I owe a debt of gratitude for their help in preparing this study, the list would be so long that no one would bother reading it. Literally, scores of reference librarians in the eastern United States and several dozen more in the United Kingdom stopped what they were doing, searched out a crumbling periodical from the stacks, made a Xerox copy and sent it along to me. I cannot thank them enough. Instead of that interminable list, I restrict myself to a handful of friends and colleagues who were instrumental in the publication of this book. First and foremost, Edward Mendelson, without whose encouragement this work would be moldering in Columbia University’s stacks; Gerald M. Pinciss, friend, colleague and cheer-leader of fifty-odd years standing, who gave up some of his own research time in England to seek out obscure citations; Robert Mohr, then a physics student at Swarthmore College, tracked down citations from 1966 forward when no English literature student stepped forward; Ken Prager and Whitney Quesenbery, computer experts who helped me with technical problems and many times saved this file from disappearing into cyberspace;. Emily Prager, who compiled the Index of First Lines and Titles. Table of Contents Acknowledgments 3 Table of Contents 4 General Introduction 7 Using the Appendices 14 PART I. PAID ON BOTH SIDES (1928) 17 Appendix 19 PART II. -
W.H. AUDEN Auden Was Born 21 February 1907, in York, the Son of a Physician. at First Interested in Science, He Soon Turned to Poetry
W.H. AUDEN Auden was born 21 February 1907, in York, the son of a physician. At first interested in science, he soon turned to poetry. In 1925 he entered Christ Church College, University of Oxford, where he became the centre of a group of literary intellectuals that included Stephen Spender, Christopher Isherwood, C. Day Lewis, And Louis MacNeice. After graduation he was schoolmaster in Scotland and England for five years. In London, in the early 1930s, Auden belonged to a circle of promising young poets who were strongly leftist. His book Poems , which helped to establish his reputation, focused on the breakdown of English capitalist society but also showed a deep concern with psychological problems. He subsequently wrote three verse plays with Isherwood: The Dog Beneath the Skin , The Ascent of F-6, and On the Frontier . In 1937 he drove an ambulance for the Loyalists in the Spanish civil war. In the same year he was awarded the King's Gold Medal for Poetry, a major honour. Trips to Iceland and China - the first with MacNeice, the second with Isherwood - resulted in two jointly written books, Letter from Iceland , and Journey to a War . In 1939 Auden moved to the US, where he became a citizen and was active as a poet, reviewer, lecturer and editor. His Double Man and For the Times Being reflect an increasing concern with religion, which, he discovered, offered a better solution to his problems than communism. The Age of Anxiety , a "baroque eclogue" that takes place in a New York City bar, won him the 1948 Pulitzer Prize for poetry and provided an apt and convenient name for his era. -
© in This Web Service Cambridge University
Cambridge University Press 978-0-521-19657-4 - W. H. Auden in Context Edited by Tony Sharpe Index More information Index Acton, Harold, 91 ‘As It Seemed to Us’, 14 ‘The Acts of John’, 86 ‘At the Grave of Henry James’, 75, 131, 375 The Adelphi, 338, 345 ‘Atlantis’, 50, 130 Agee, James, 215 ‘Aubade’, 348 Alexander, Michael, 260 ‘Auden and MacNeice: Their Last Will and Allen, Bill, 147 Testament’, 83, 241 Allen, John, 223, 225 ‘August for the people and their favourite Alston Moor, 15, 16 islands’, 41, 43, 212, 317 Alvarez, A. A., 365 ‘Balaam and his Ass’, 308 Amsterdam, 316 Berlin journals (unpublished), 24, 26, 317, Anders als die Andern, 103 355 Anglo-Saxon Reader (Sweet), 261 ‘Brothers and Others’, 272, 273 Ansen, Alan, 83, 91, 103, 121, 295n, 369, 378 ‘Bucolics’, 59, 64, 77, 178 Arendt, Hannah, 107, 126 ‘California’, 52 Aristotle, 181 ‘Case Histories’, 345 Arnold, Matthew, 49 ‘Christmas 1940’, 63 Ashbery, John, 124, 355 ‘Commentary’, 155, 157, 185 Astor, Lady Nancy, 146 ‘Consider this and in our time’, 2, 38, 153, Atlantic, 125 205–6 Auden, Constance, 69, 107 ‘Control of the passes was, he saw, the key’ Auden, George, 151, 259 (‘The Secret Agent’), 16, 20, 287, 361 Auden, John, 15, 45, 84, 86, 236 ‘Dame Kind’, 108 Auden’s writings ‘Deftly, admiral, cast your fly’, 334, 363 ‘1929’, 299, 362 ‘Dichtung und Wahrheit’, 183, 308, 363, 365 ‘A Bride in the ‘30s’, 376 ‘Dover’, 342–4 A Certain World, 19, 77, 87, 260, 329 ‘Easily, my dear,. .’, 207–8, 213 A Choice of de la Mare’s Verse, 360 Elegy for Young Lovers, 250, 324 ‘A Communist to Others’, -
“And the Angel Will Not Come”: W. H. Auden and the Paradox of Poetic Language “And the Angel Will Not Come”: W. H. Auden
Nueva Revista del Pacífico 2020, N° 73 (pp. 186-209). ISSN (e) 0719-5176 186 “AND THE ANGEL WILL NOT COME”: W. H. AUDEN AND THE PARADOX OF POETIC LANGUAGE “AND THE ANGEL WILL NOT COME”: W. H. AUDEN Y LA PARADOJA DEL LENGUAJE POÉTICO Paula Baldwin Lind Universidad de los Andes [email protected] Resumen: El objetivo de este artículo es analizar las nociones de poesía y de lenguaje poético que propone W. H. Auden (1907-1973) desde su perspectiva de crisis de la cultura moderna, en una selección de ensayos y poemas, con especial énfasis en “Autumn Song” (1936). En esta obra, el ángel que no llega a la Tierra, la parálisis de los seres vivos y el silencio dominante muestran las limitaciones del lenguaje humano al intentar dar cuenta de la realidad y de las experiencias personales. Aunque la figura del espíritu celeste, la estación de otoño en que se enmarca el poema y las imágenes de desencanto resultan claves para su interpretación, es fundamental considerar las ideas religiosas y filosóficas que Auden desarrolló durante su carrera, las que permiten comprender mejor su poética. Paradójicamente, a la vez que el poeta angloamericano reconoce la limitación de las palabras, encuentra en el lenguaje poético un camino posible para conocer y explorar lo que significa ser humano con todo su misterio. Palabras clave: W. H. Auden, lenguaje poético, silencio, desencanto, conocimiento. Abstract: The aim of this article is to analyze the notions of poetry and poetic language proposed by W. H. Auden (1907-1973) from his perspective of crisis of modern culture, in a selection of essays and poems, with special emphasis on “Autumn Song” (1936).