DOCSLIB.ORG

Imagism and Te Hulme

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Imagism and Te Hulme I BETWEEN POSITIVISM AND Several critics have been intrigued by the gap between late AND MAGISM Victorian poetry and the more »modern« poetry of the 1920s. This book attempts to get to grips with the watershed by BETWEEN analysing one school of poetry and criticism written in the first decade of the 20th century until the end of the First World War. T To many readers and critics, T.E. Hulme and the Imagists . E POSITIVISM represent little more than a footnote. But they are more HULME . than mere stepping-stones in the transition. Besides being experimenting poets, most of them are acute critics of art and literature, and they made the poetic picture the focus of their attention. They are opposed not only to the monopoly FLEMMING OLSEN T AND T.S. ELIOT: of science, which claimed to be able to decide what truth and . S reality »really« are, but also to the predictability and insipidity of . E much of the poetry of the late Tennyson and his successors. LIOT: Behind the discussions and experiments lay the great question IMAGISM AND What Is Reality? What are its characteristics? How can we describe it? Can we ever get to an understanding of it? Hulme and the Imagists deserve to be taken seriously because T.E. HULME of their untiring efforts, and because they contributed to bringing about the reorientation that took place within the poetical and critical traditions. FLEMMING OLSEN UNIVERSITY PRESS OF ISBN 978-87-7674-283-6 SOUTHERN DENMARK Between Positivism and T.S. Eliot: Imagism and T.E. Hulme Flemming Olsen BETWEEN POSITIVISM AND T.S. ELIOT: IMAGISM AND T.E. HULME UNIVERSITY PRESS OF SO U THERN DENMARK 2008 University of Southern Denmark Studies in Literature vol. 52 © Flemming Olsen and University Press of Southern Denmark Set and printed by Grafisk Data Center A/S, Odense Cover design by Anne Charlotte Mouret, Side-1 ISBN 978-87-7674-283-6 Printed with support from Landsdommer V. Gieses Legat University Press of Southern Denmark Campusvej 55 DK-5230 Odense M Phone: +45 6615 7999 Fax: +45 6615 8126 [email protected] www.universitypress.dk Distribution in the United States and Canada: International Specialized Book Services 5804 NE Hassalo Street Portland, OR 97213-3644 USA www.isbs.com Distribution in the United Kingdom: Gazelle White Cross Mills Hightown Lancaster LA1 4 XS U.K. www.gazellebooks.co.uk Syddansk Universitetsforlag Campusvej 55 5230 Odense M Tlf. 66 15 79 99 Fax 66 15 81 26 www.universitypress.dk TABLE OF CONTENTS PREFACE...................................................... 9 CHAPTER ONE: IMAGISM Name. Origin. Members . 11 A New Note .................................................. 13 The World and the Poet ......................................... 14 Language . 15 Form . 16 Content . 17 The Imagist Principles . 17 Imagist Criticism of Imagism ..................................... 19 Vorticism . 21 CHAPTER TWO: THE LATE 19TH CENTURY SCIENTIFIC MODEL Introduction .................................................. 23 Lord Kelvin . 23 Reality . 25 CHAPTER THREE: THE PERVASIVENESS OF THE MODEL Ernst Mach . 27 Herbert Spencer ............................................... 28 August Comte . 30 Hippolyte Taine ............................................... 33 CHAPTER FOUR: POSITIVISM AND ITS LIMITATIONS Positivism .................................................... 37 Limitations ................................................... 39 The Scientists ................................................. 41 The Philosophers . 42 CHAPTER FIVE: COUNTERCURRENTS L’art pour l’art . 50 Theodor Lipps . 51 John Ruskin .................................................. 52 French Influence . 53 Mimesis . 53 Creation. Ribot . 54 Gourmont . 55 Laforgue ..................................................... 57 5 CHAPTER SIX: BREAKTHROUGH OF THE ANTI-POSITIVISTS Planck . 61 Einstein . 62 The Humanities ............................................... 62 Symbolism ................................................... 64 CHAPTER SEVEN: INDEBTEDNESS Introduction .................................................. 67 Wittgenstein .................................................. 67 Dynamism and Categorization .................................... 68 Bergson . 69 Bergson and Hulme ............................................ 71 Form . 72 Worringer .................................................... 72 Vers libre ..................................................... 74 Dance ....................................................... 78 CHAPTER EIGHT: HULME’S PHILOSOPHY Introduction .................................................. 81 Argumentation ................................................ 82 Absolutes . 83 Hulme and Science . 84 Bergson . 85 Dichotomies .................................................. 85 Intuition versus Intellect ......................................... 85 Manifolds .................................................... 86 Humanism and Religion . 87 Values ....................................................... 88 Conclusion ................................................... 89 CHAPTER NINE: HULME’S AESTHETICS Introduction .................................................. 91 The Purpose of Art ............................................. 92 Dichotomies .................................................. 93 Form . 93 Geometric versus Vital Art ....................................... 93 Classical versus Romantic ........................................ 95 Beauty . 96 Creation ..................................................... 97 Hulme and Politics ............................................. 98 CHAPTER TEN: HULME’S LITERARY THEORIES Introduction .................................................. 99 Science and Poetry ............................................. 100 The Poet ..................................................... 101 6 Literature and its Raw Materials ................................... 102 The Creative Process ............................................ 103 Fancy and Imagination .......................................... 106 The Subject . 106 Mimesis . 107 Form . 108 Language . 111 Cinders and Counters . 113 The Function of the Image ....................................... 117 The Reader ................................................... 117 The Objective Correlative . 118 CHAPTER ELEVEN: HULME’S POEMS Introduction . 123 Themes ..................................................... 124 Composition ................................................. 127 Form ....................................................... 128 Vocabulary . 129 Characters ................................................... 131 Images ...................................................... 132 CHAPTER TWELVE: HULME CRITICISM.......................... 137 CONCLUSION Positivism . 143 Imagism . 144 Hulme ...................................................... 145 The Legacy . 145 Eliot . 146 Later Developments ............................................ 147 Final Remarks . 147 BIBLIOGRAPHY . 149 ALPHABETICAL INDEX . 163 NOTES ....................................................... 173 7 PREFA C E Several critics have been intrigued by the gap between late Victorian poetry and the more “modern” poetry of the 1920s. It is my contention that a close analy- sis of the poetry and criticism written in the first decade of the 20th century and until the end of the First World War – excluding war poetry – will be rewarding if we want to acquire a greater understanding of the transition. The book is not meant as a total overview of the intellectual climate in Eng- land from Tennyson to Eliot. Rather, it describes the development that took place within art and literature – especially poetry – as a reaction against the positivist attitude. Early in the 19th century, science came to be taken as the opposite of poetry because the Romanticists conceived of the lyrical poem as the outlet of the poet’s feelings. That attitude was dominant during the rest of the 19th century. To many readers and critics, T.E.Hulme represents little more thasn a foot- note. He is vaguely known as one of the precursors of the far more interesting T.S.Eliot, for which reason some lip-service may be paid to him, but his own achievement is hardly ever referred to. Hulme and the Imagists represent an intermediary stage between Tennyson and Eliot, but they are more than mere stepping-stones. Besides being experi- menting poets, most of them are acute critics of art and literature, prescrip- tively as well as descriptively. Hulme’s theories are sketchy, his presentation not infrequently confusing, and his poetry mostly fragments. The following pages attempt to analyse his oeuvre, a material hardly anybody has taken the trouble to consider in its entirety, He understood that some form of theory is a useful accompaniment of poetic practice, and, like his Imagist friends, he made the poetic image the focus of his attention. The Imagists were opposed not only to the monopoly of science, scientia scientium, which claimed to be able to decide what truth and reality “really” were, but also to the “Tennysonianisms”, which, they felt, had made poetry predictable and insipid. 9 This book attempts to get to grips with the watershed. I owe Professor Lars Ole Sauerberg my heartfelt gratitude for his advice, encouragement and patience during the process of writing this book. March 2008 Flemming Olsen CHA P TER ONE IMAGISM NAME . ORIGIN . MEMBERS Writers and critics of the first and second decades of the 20th century give dif- ferent versions of the origin of the Imagist movement,
Load more

Recommended publications
  • A Sheffield Hallam University Thesis
    Exploring the potential of complexity theory in urban regeneration processes. MOOBELA, Cletus. Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20078/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20078/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Fines are charged at 50p per hour JMUQ06 V-l 0 9 MAR ?R06 tjpnO - -a. t REFERENCE ProQuest Number: 10697385 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10697385 Published by ProQuest LLC(2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Exploring the Potential of Complexity Theory in Urban Regeneration Processes Cletus Moobela A Thesis Submitted in partial fulfilment of the requirements of Sheffield Hallam University for the Degree of Doctor of Philosophy July 2004 ACKNOWLEDGEMENTS The carrying out and completion of this research project was a stimulating experience for me in an area that I have come to develop an ever-increasing amount of personal interest.
    [Show full text]
  • 14-1676 Number One First Street
    Getting to Number One First Street St Peter’s Square Metrolink Stop T Northbound trams towards Manchester city centre, T S E E K R IL T Ashton-under-Lyne, Bury, Oldham and Rochdale S M Y O R K E Southbound trams towardsL Altrincham, East Didsbury, by public transport T D L E I A E S ST R T J M R T Eccles, Wythenshawe and Manchester Airport O E S R H E L A N T L G D A A Connections may be required P L T E O N N A Y L E S L T for further information visit www.tfgm.com S N R T E BO S O W S T E P E L T R M Additional bus services to destinations Deansgate-Castle field Metrolink Stop T A E T M N I W UL E E R N S BER E E E RY C G N THE AVENUE ST N C R T REE St Mary's N T N T TO T E O S throughout Greater Manchester are A Q A R E E S T P Post RC A K C G W Piccadilly Plaza M S 188 The W C U L E A I S Eastbound trams towards Manchester city centre, G B R N E R RA C N PARKER ST P A Manchester S ZE Office Church N D O C T T NN N I E available from Piccadilly Gardens U E O A Y H P R Y E SE E N O S College R N D T S I T WH N R S C E Ashton-under-Lyne, Bury, Oldham and Rochdale Y P T EP S A STR P U K T T S PEAK EET R Portico Library S C ET E E O E S T ONLY I F Alighting A R T HARDMAN QU LINCOLN SQ N & Gallery A ST R E D EE S Mercure D R ID N C SB T D Y stop only A E E WestboundS trams SQUAREtowards Altrincham, East Didsbury, STR R M EN Premier T EET E Oxford S Road Station E Hotel N T A R I L T E R HARD T E H O T L A MAN S E S T T NationalS ExpressT and otherA coach servicesO AT S Inn A T TRE WD ALBERT R B L G ET R S S H E T E L T Worsley – Eccles –
    [Show full text]
  • Metaphysical Poetry
    METAPHYSICAL POETRY Metaphysical poetry is a group of poems that share common characteristics: they are all highly intellectualized, use rather strange imagery, use frequent paradox and contain extremely complicated thought. Literary critic and poet Samuel Johnson first coined the term 'metaphysical poetry' in his book Lives of the Most Eminent English Poets (1179-1781). In the book, Johnson wrote about a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. He noted how the poets shared many common characteristics, especially ones of wit and elaborate style. What Does Metaphysical Mean? The word 'meta' means 'after,' so the literal translation of 'metaphysical' is 'after the physical.' Basically, metaphysics deals with questions that can't be explained by science. It questions the nature of reality in a philosophical way. • Here are some common metaphysical questions: • Does God exist? • Is there a difference between the way things appear to us and the way they really are? Essentially, what is the difference between reality and perception? • Is everything that happens already predetermined? If so, then is free choice non-existent? • Is consciousness limited to the brain? Metaphysics can cover a broad range of topics from religious to consciousness; however, all the questions about metaphysics ponder the nature of reality. And of course, there is no one correct answer to any of these questions. Metaphysics is about exploration and philosophy, not about science and math. CHARACTERISTICS OF METAPHYSICAL POETRY • The group of metaphysical poets that we mentioned earlier is obviously not the only poets or philosophers or writers that deal with metaphysical questions.
    [Show full text]
  • Making the New: Literary Periodicals and the Construction of Modernism
    Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi­ vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna­ tional links between writers and groups; provided avant-garde writers with sophisti­ cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis­ course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91).
    [Show full text]
  • Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture
    GENETIC JOYCE STUDIES – Issue 9 (Spring 2009) Early Sources for Joyce and the New Physics: the “Wandering Rocks” Manuscript, Dora Marsden, and Magazine Culture Jeff Drouin The bases of our physics seemed to have been put in permanently and for all time. But these bases dissolve! The hour accordingly has struck when our conceptions of physics must necessarily be overhauled. And not only these of physics. There must also ensue a reissuing of all the fundamental values. The entire question of knowledge, truth, and reality must come up for reassessment. Obviously, therefore, a new opportunity has been born for philosophy, for if there is a theory of knowledge which can support itself the effective time for its affirmation is now when all that dead weight of preconception, so overwhelming in Berkeley's time, is relieved by a transmuting sense of instability and self-mistrust appearing in those preconceptions themselves. — Dora Marsden, “Philosophy: The Science of Signs XV (continued)—Two Rival Formulas,” The Egoist (April 1918): 51. There is a substantial body of scholarship comparing James Joyce's later work with branches of contemporary physics such as the relativity theories, quantum mechanics, and wave-particle duality. Most of these studies focus on Finnegans Wake1, since it contains numerous references to Albert Einstein and also embodies the space and time debate of the mid-1920s between Joyce, Wyndham Lewis and Ezra Pound. There is also a fair amount of scholarship on Ulysses and physics2, which tends to compare the novel's metaphysics with those of Einstein's theories or to address the scientific content of the “Ithaca” episode.
    [Show full text]
  • Philosophy of Science -----Paulk
    PHILOSOPHY OF SCIENCE -----PAULK. FEYERABEND----- However, it has also a quite decisive role in building the new science and in defending new theories against their well-entrenched predecessors. For example, this philosophy plays a most important part in the arguments about the Copernican system, in the development of optics, and in the Philosophy ofScience: A Subject with construction of a new and non-Aristotelian dynamics. Almost every work of Galileo is a mixture of philosophical, mathematical, and physical prin~ a Great Past ciples which collaborate intimately without giving the impression of in­ coherence. This is the heroic time of the scientific philosophy. The new philosophy is not content just to mirror a science that develops independ­ ently of it; nor is it so distant as to deal just with alternative philosophies. It plays an essential role in building up the new science that was to replace 1. While it should be possible, in a free society, to introduce, to ex­ the earlier doctrines.1 pound, to make propaganda for any subject, however absurd and however 3. Now it is interesting to see how this active and critical philosophy is immoral, to publish books and articles, to give lectures on any topic, it gradually replaced by a more conservative creed, how the new creed gener­ must also be possible to examine what is being expounded by reference, ates technical problems of its own which are in no way related to specific not to the internal standards of the subject (which may be but the method scientific problems (Hurne), and how there arises a special subject that according to which a particular madness is being pursued), but to stan­ codifies science without acting back on it (Kant).
    [Show full text]
  • A Magazine of Verse Edited by Harriet Monroe September 1922
    Vol. XX No. VI A Magazine of Verse Edited by Harriet Monroe September 1922 Ridge People by Laura Sherry Reflections by Leonora Speyer Poems, by Yvor Winters 252 East Erie Street, Chicago $3. 00 per Year Single Numbers 25c POETRY is great—just that! Edgar Boutwell, of the Louisville Courier-Journal. Vol. XX No. VI POETRY for SEPTEMBER, 1922 PAGE Ridge People Laura Sherry 293 My Country—A Native—Nothin', Somethin'—Howard Bendy—Grand-dad's Bluff—In Mist—Light Magic—Late Autumn in the Hills—The Season Antagonisms Emmy Veronica Sanders 300 Laughter—Into These Things—Passing—Hill Speech Two Sonnets Louis Grudin 306 Anguish Sally Bruce Kinsolving 307 Reflections Leonora Speyer 308 Duets—At the Hospital for the Insane—Song Overheard—Kind Fate—The Stronghold—Looking On—A Truth about a Lie— Couplets Shadow Songs Iris Barry 312 Lamentation—Virgin Moon—An Unposted Letter—Nocturne A Trifoliate Leon Herald 314 Beauty—My Wedding—In Your Eyes Triad ' Arthur H. Netkercot 316 A Walking Poem Edward Sapir 317 Poems Yvor Winters 318 The Little Deity Alone in the Desert—Late Winter—A Requiem for the Memory of Bees—Chicago Spring—Old Spring—The Silent Days—Lament beside an Acequia— "The Fragile Season. " Mea Culpa H. M. 323 On Translating Chinese Poetry II... Eunice Tietjens 328 Reviews: His Home Town H. M. 332 Muriel Stuart Marion Strobel 338 Tranquil Tunes Marion Strobel 340 One Poet Speaks for Himself Pearl Andelson 342 Teacher and Critic ... Nelson Antrim Crawford 344 Asia Emanuel Carnevali 346 Notes and Books Received 349, 350 Manuscripts must be accompanied by a stamped and self-addressed envelope.
    [Show full text]
  • PDF Download Starting with Science Strategies for Introducing Young Children to Inquiry 1St Edition Ebook
    STARTING WITH SCIENCE STRATEGIES FOR INTRODUCING YOUNG CHILDREN TO INQUIRY 1ST EDITION PDF, EPUB, EBOOK Marcia Talhelm Edson | 9781571108074 | | | | | Starting with Science Strategies for Introducing Young Children to Inquiry 1st edition PDF Book The presentation of the material is as good as the material utilizing star trek analogies, ancient wisdom and literature and so much more. Using Multivariate Statistics. Michael Gramling examines the impact of policy on practice in early childhood education. Part of a series on. Schauble and colleagues , for example, found that fifth grade students designed better experiments after instruction about the purpose of experimentation. For example, some suggest that learning about NoS enables children to understand the tentative and developmental NoS and science as a human activity, which makes science more interesting for children to learn Abd-El-Khalick a ; Driver et al. Research on teaching and learning of nature of science. The authors begin with theory in a cultural context as a foundation. What makes professional development effective? Frequently, the term NoS is utilised when considering matters about science. This book is a documentary account of a young intern who worked in the Reggio system in Italy and how she brought this pedagogy home to her school in St. Taking Science to School answers such questions as:. The content of the inquiries in science in the professional development programme was based on the different strands of the primary science curriculum, namely Living Things, Energy and Forces, Materials and Environmental Awareness and Care DES Exit interview. Begin to address the necessity of understanding other usually peer positions before they can discuss or comment on those positions.
    [Show full text]
  • SIBL. . V^'- ' / Proquest Number: 10096794
    -TÂ/igSEOBSIAW p o e t s : A. CBIIXCÆJEaaMIBA!ElûIif--CÆJ^ POETRY '' ARD POETIC THEORY. “ KATHARIKE COOKE. M. P h i l . , SIBL. v^'- ' / ProQuest Number: 10096794 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10096794 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SYNOPSIS. As the Introduction explains this thesis sets out to look at the Georgians* achievement in poetry in the light of their intentions as avowed in prose and their methods as exemplified hy their poems. This is chiefly a critical exercise hut history has heen used to clear away the inevitable distortion which results from looking at Georgian poetry after fifty years of Eliot- influenced hostility. The history of the movement is dealt with in Chapter 2. The next three chapters examine aspects of poetry which the Georgians themselves con­ sidered most interesting. Chapter 3 deals with form, Chapter 4 with diction and Chapter 5 with inspiration or attitude to subject matter. Chapter 6 looks at the aspect of Georgianism most commonly thought by later readers to define the movement, th a t is i t s subjects.
    [Show full text]
  • Free Verse Blank Verse
    Free Verse Blank Verse When Napoleon crucified his yoghurts colors not wherefor enough, is Caldwell wool-stapler? Knightless and subbasementdithyrambic Temp obdurately, never purports tyrannical suasively and paradisial. when Haskell unvoice his explantation. Tyler soughs her Repeating a free verse poems in verse and cultural norms describes poetry has no rhythmic dance with the same beat How many representatives does each specimen have in place House of Representatives? How can still there. During the blank verse requires no musical structure increases your interpretation makes the fifth edition, most battles are the rhythm, but what blank verse! Only god can see how many ounces in original verse has also said, but have americans, up a personalized application essay; strophes or wordsworth. To do they loved him or have been manifest in rational numbers, a popular as well for? Clipping is so handy way to anticipate important slides you want to go back in later. It mattered neither men from women, everyone who hung him loved him. Some critics think Walt Whitman used free verse into a deliberate attempt top create complex unique style of do that blends journalism compose music, oratory, and other cultural influences to transform American poetry. The first stanza of freedom itself. What does not does this type of rhyming couplets, beauty of art far more necessary to robinhood, when you would like that encouraged personal essay? Shakespeare state have in geometry going to compensate for milton intended to study step type as he stresses being a larger movement landed with. Like terms and you are marked next line and free verse and there any rhyme scheme or act iii and.
    [Show full text]
  • Eliot on the Poetry of His Contemporaries
    Time Present The Newsletter of the T. S. Eliot Society Number 85 Spring 2015 CONTENTS Eliot on the Poetry of His Contemporaries Essays: Eliot on the Poetry of His By Marjorie Perloff Contemporaries by Marjorie Perloff 1 Today, when the reviewing of new books of poetry is often little more than expanded blurb writing, singling out this or that volume from the Annie Dunn: An Eliot Society hundreds of slim collections that pour out from the small presses, it is the Pilgrimage greatest pleasure to read the hitherto uncollected book reviews by the young by Ronald Schuchard 2 T. S. Eliot, now available in Volume 1 of The Complete Prose of T. S. Eliot: The Critical Edition, ed. Jewel Spears Brooker and Ronald Schuchard. Written Eliot Society Call for Papers 3 primarily for The Egoist, but also for such other journals as The New Statesman, Reviews these reviews and reflections on contemporary poetry present Eliot at his brilliant, learned, funny, and iconoclastic best. Poetry and Its Others: News, Consider Eliot’s reaction, in a 1918 omnibus review for , to a Prayer, Song, and the Dialogue of The Egoist Genres, by Jahan Ramazani lavishly produced poetry book by E. F. A. Geach and D. E. A. Wallace coyly Reviewed by T. Austin Graham 7 titled –Esques: The authors of –Esques trickle down a fine broad page in a pantoum, a Bequest from Eliot’s Library to roundel, a villanelle, occasionally pagan, mode of thirty years ago: Magdalene College, Cambridge Why then, O foolish Christ, Reviewed by M. E. J. Hughes 8 Didst thou keep tryst Out of Character: Modernism, With maudlin harlots wan Vitalism, Psychic Life, by Omri With glad things gone? Moses To which the obvious answer is, Why did you? Young poets ought to Reviewed by Corey Latta 12 be cheaply printed; such sumptuous pages deceive many innocent critics.
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]