W. H. Auden and Me
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Northern Irish Poetry After the Peace Process
No "Replicas/ Atone": Northern Irish Poetry After the Peace Process McConnell, G. (2018). No "Replicas/ Atone": Northern Irish Poetry After the Peace Process. Boundary 2, 45(1), 201-229. https://doi.org/10.1215/01903659-4295551 Published in: Boundary 2 Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights Copyright 2018 Duke University Press. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher. General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:27. Sep. 2021 1 No ‘replicas/ atone’: Northern Irish Poetry after the Peace Process Gail McConnell She’s dead set against the dead hand of Belfast’s walls guarding jinkered cul-de-sacs, siderows, bottled sloganlands, and the multinational malls’ slicker demarcations, their Xanadu of brands entwining mind and income. -
Rhyme in European Verse: a Case for Quantitative Historical Poetics
1 Rhyme in European Verse: A Case for Quantitative Historical Poetics Boris Maslov & Tatiana Nikitina Keywords rhyme, statistical methods, meter, Historical Poetics, Russian verse The past decade has witnessed an unprecedented rise of interest in objectivist, data-driven approaches to literary history, often grouped together under the heading of digital humanities. The rapid multiplication of software designed to map and chart literature, often on a massive scale, has engendered an anxious (and often unpublicized) reaction. A concern for the future of literary studies, traditionally committed to the study of individual texts accessed through “close reading” of individual passages, is exacerbated in the wake of the emergence of a version of “world literature” that normalizes the study of literary works in translation, effectively jettisoning the philological techniques of explication du texte. This article seeks to bypass these antagonisms by proposing an alternative approach to literary history which, while being rooted in data analysis and employing quantitative methods some of which have been part of a century-old scholarly tradition, retains a twofold focus on the workings of poetic form and on the interaction between national literary traditions—the two topics that have dominated theoretical poetics and comparative literature ever since the inception of these disciplines in the late nineteenth-early twentieth centuries. While close reading is admittedly of limited value in the study of 2 versification, a more rigorous type of statistical testing used in this study allows for reliable assessment of tendencies observed in relatively small corpora, while also making it possible to verify the significance of highly nuanced quantitative differences. -
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. -
Larkin's Earlier Poetry: a Affirmation of War Circumstances Dr
Pramana Research Journal ISSN NO: 2249-2976 Larkin's Earlier Poetry: A Affirmation of War Circumstances Dr. Mohammad Arif Assistant Professor University Institute of Liberal Arts Chandigarh University [email protected] Abstract: A broad appraisal of Larkin’s work between 1938 and 1945 suggests that the poems which were selected for publication in The North Ship were those which were more cautious and withdrawn in their attitudes to the war circumstances and therefore least controversial and least polemical. The horrible circumstances of the second World War, turned Larkin into a war poet who captured the harsh realities of a time when everything seemed to fall apart. The conditions of the 1940s diverted the interest of the young Larkin to a war-affected society. Larkin felt the need of the time and made sincere attempts to brood over his country both physically and psychologically. He was deeply out of sympathy with England and his earlier work should be read in light of the poet as a “wartime refugee” who wrote about a society affected by the situation of the 1940s. Introduction Alarmed by the overwhelming nature of contemporary reality, Philip Larkin has confined himself to the erupting fallout of the post-war decline. Like other Movements poets who were concerned with tracing the “ historical and social circumstances of their time.” ( Swarbrick 71), Larkin’s poetry too, cannot be “ abstracted from the social and political history of those post-war years.” as Regan rightly observes ( PL 23). Essentially “a wry commentator” on the straitened circumstances of contemporary Britain.” (Regan 12). In fact, it might be argued that in the poetry of Philip Larkin, we not only see the image of T.S. -
1. Philip Larkin
Notes References to material held in the Philip Larkin Archive lodged in the Brynmor Jones Library, University of Hull (BJL), are given as file numbers preceded by 'DPL'. 1. PHILIP LARKIN 1. Harry Chambers, 'Meeting Philip Larkin', in Larkin at Sixty, ed. Anthony Thwaite (London: Faber and Faber, 1982) p. 62. 2. John Haffenden, Viewpoints: Poets in Conversation (London, Faber and Faber, 1981) p. 127. 3. Christopher Ricks, Beckett's Dying Words (Oxford: Oxford University Press, 1993). 4. D. J. Enright, 'Down Cemetery Road: the Poetry of Philip Larkin', in Conspirators and Poets (London: Chatto & Windus, 1966) p. 142. 5. Hugo Roeffaers, 'Schriven tegen de Verbeelding', Streven, vol. 47 (December 1979) pp. 209-22. 6. Andrew Motion, Philip Larkin: A Writer's Life (London: Faber and Faber, 1993). 7. Philip Larkin, Required Writing (London: Faber and Faber, 1983) p. 48. 8. See Selected Letters of Philip Larkin 1940-1985, ed. Anthony Thwaite (London: Faber and Faber, 1992) pp. 648-9. 9. DPL 2 (in BJL). 10. DPL 5 (in BJL). 11. Kingsley Amis, Memoirs (London: Hutchinson, 1991) p. 52. 12. Philip Larkin, Introduction to Jill (London: The Fortune Press, 1946; rev. edn. Faber and Faber, 1975) p. 12. 13. Donald Davie, Thomas Hardy and British Poetry (London: Routledge & Kegan Paul, 1973) p. 64. 14. Required Writing, p. 297. 15. Blake Morrison, 'In the grip of darkness', The Times Literary Supplement, 14-20 October 1988, p. 1152. 16. Lisa Jardine, 'Saxon violence', Guardian, 8 December 1992. 17. Bryan Appleyard, 'The dreary laureate of our provincialism', Independent, 18 March 1993. 18. Ian Hamilton, 'Self's the man', The Times Literary Supplement, 2 April 1993, p. -
We Met at the End of the Party’
APPENDIX: ‘Be my Valentine this Monday’ and ‘We met at the end of the party’ These poems came to light in 2002, as a result of a complicated sequence of events. Following Monica Jones’s death on 15 February 2001, the staff of the Brynmor Jones Library, Hull, cleared 105 Newland Avenue of Larkin’s remaining books and manuscripts. The Philip Larkin Society then purchased the remaining non-literary items: furniture, pictures and ornaments. These were removed in late 2001 and early 2002, and are now on long-term loan to the Hull Museums Service and the East Riding Museum Service. Both searches missed a small dark red ‘©ollins Ideal 468’ hard-backed manu- script notebook which had slipped behind the drawers of a bedside cabinet. This cabinet was removed by the house-clearer with the final debris, and subse- quently fell into the hands of a local man, Chris Jackson, who contacted the Larkin Society. I confirmed the authenticity of the book in a brief meeting with Mr Jackson in the Goose and Granite public house in Hull on 17.vii.2002. The notebook seems initially to have been intended for ‘Required Writing’, which Larkin wished to keep separate from the drafts in his workbooks proper. The first eleven sides are occupied by pencil drafts of ‘Bridge for the Living’, dated between 30 May 1975 and 27 July 1975. These are followed by notes on Thomas Hardy and other topics. Seven months later, however, Larkin used the book again, this time for more personal writing. The central pages were left blank but on the final five sides he wrote pencil drafts, dated between 7 February 1976 and 21 February 1976, of ‘Morning at last: there in the snow’, ‘Be my Valentine this Monday’ and ‘We met at the end of the party’. -
Glossary of Poetic Terms
Glossary of Poetic Terms poetryfoundation.org/learn/glossary-terms Showing 1 to 20 of 227 Terms Browse all terms Abecedarian Related to acrostic, a poem in which the first letter of each line or stanza follows sequentially through the alphabet. See Jessica Greenbaum, “A Poem for S.” Tom Disch’s “Abecedary” adapts the principles of an abecedarian poem, while Matthea Harvey’s “The Future of Terror/The Terror of Future” sequence also uses the alphabet as an organizing principle. Poets who have used the abecedarian across whole collections include Mary Jo Bang, in The Bride of E, and Harryette Mullen, in Sleeping with the Dictionary. Accentual verse Verse whose meter is determined by the number of stressed (accented) syllables—regardless of the total number of syllables—in each line. Many Old English poems, including Beowulf, are accentual; see Ezra Pound’s modern translation of “The Seafarer.” More recently, Richard Wilbur employed this same Anglo-Saxon meter in his poem “Junk.” Traditional nursery rhymes, such as “Pat-a-cake, pat-a-cake,” are often accentual. Accentual-syllabic verse Verse whose meter is determined by the number and alternation of its stressed and unstressed syllables, organized into feet. From line to line, the number of stresses (accents) may vary, but the total number of syllables within each line is fixed. The majority of English poems from the Renaissance to the 19th century are written according to this metrical system. Acmeism An early 20th-century Russian school of poetry that rejected the vagueness and emotionality of Symbolism in favor of Imagist clarity and texture. -
Book REVIEW S
BooK REVIEW S Holy Days of Obligation. By Susan Zettell. Winnipeg: Nuage Edi tions, 1998. 160 pages. $14.95 paper. Given a tomato still warm out of the garden, you instinctively bring it to your nose and take a deep breath. The essence of fresh tomato, the memo1y of eve1y perfect tomato eaten, the smell of summer. In Ho~y Days of Obligation, Susan Zettell brings memory to instant life with writing that connects to all the senses. The fift een stories in Holy Days of Obligation move forward and back in time. as mem01y makes one connection, then another in a family histo1y: the after-rain smell of worms in the backyard brings back a fishing trip; the steaming wool of ironed trousers evokes the winter mem01y of nine pairs of sodden mittens drying over the furnace vents. And the perfect tomato sand wich is insisted on by a dying man who won't give up the memory of appe tite. Bertie is the oldest child, big sister, responsible for helping with eight younger siblings. Nine children- the pattern of names sung into the suppertime dusk: ·'Bertie-Catherine-Margaret-Robert-David-Ronnie-Michael-Sancly-Simon." The siblings appear here and there in Zettell's stories as distinct personalities, but more often as part of a sticky. noisy, earful or houseful of too many bodies. Frank and Elizabeth are always "our father," "our mother," never just Bertie·s. The young Bertie watches and remembers. if she doesn't always understand at the time: "I feel as if I'm more eyes and ears than anything else . -
Poetry Form and Experience Level HE5 – 60 CATS
Creative Writing 2 Poetry Form and Experience Level HE5 – 60 CATS This course was revised and updated by Joanna Ezekiel Open College of the Arts Redbrook Business Park Wilthorpe Road Barnsley S75 1JN Telephone: 01226 730 495 Email: [email protected] www.oca-uk.com Registered charity number: 327446 OCA is a company limited by guarantee and registered in England under number 2125674 Document control number CW2pfe130213 Copyright OCA 2010; Revised 2013 No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means – electronic, mechanical, photocopy, recording or otherwise – without prior permission of the publisher. Cover image: Robert Delaunay, Nude Woman Reading, 1920 Images courtesy of Wikimedia Commons. Additional images by OCA students and tutors unless otherwise attributed. Contents Before you start Part one Getting started Projects A short history of British poetry Modern and contemporary poetry Free verse and short poems Assignment one Part two The sonnet Projects The Petrarchan sonnet The Shakespearean sonnet Variants on the sonnet form Assignment two Part three Terza rima, villanelles and terzanelle Projects The terza rima The villanelle The terzanelle Assignment three Part four Ballads, ballades and odes Projects The ballad form The ballade The ode Assignment four Part five Blank verse, syllabics and long poems Projects Blank verse Syllabic verse Sequences and long poems Assignment five Part six Pre-assessment and creative reading commentary Pre-assessment Assignment six Appendices Glossary Before you start Welcome to Creative Writing 2: Poetry Form and Experience. Your OCA Student Handbook should be able to answer most questions about this and all other OCA courses, so keep it to hand as you work through this course. -
Bigmouth Strikes Again As Morrissey's Book Hits the Shelves
40 FGM FridayOctober 18 2013 | the times the times | FridayOctober 18 2013 FGM 41 arts FRONT COVER: MICK HUTSON/GETTY IMAGES BELOW: STEPHEN WRIGHT /SMITHSPHOTOS.COM arts Bigmouth strikes Morrissey wasagenius,but he’s still singingthe same song,sayslifelong fan Robert Crampton fIhad to rank the most seminal we know that he can hold agrudge, moments of my youth, the Jam and my goodness, he can. again as Morrissey’s splitting up in 1982 would be He has apop at SteveHarley and one, the Clash falling to bits in Noddy Holder.And morethan apop 1983 would be another,and the —itgets tedious —atthe judge who Smiths calling it aday in 1987 presided over the courtcase (that he would be athird. Looking back, lost) when the Smiths’bassist and bookhitsthe shelves Iof the three ruptures, the last drummer wanted abigger shareof wasbyfar the most significant. the band’sroyalties. The appeal Morrissey and Marr still had plenty courtjudges get akicking too. of creativeenergy left in the tank, As do John Peel, Rough Trade, paragraphaiming foraT.S.Eliot-style same time beingaware of his own yetastheir respectivesolo careers SpandauBallet.Pretty It’s self-absorbed, evocation of Mancunian squalor. preposterousness. “Naturally my birth suggest,they needed eachother to much everyone. “Pastplacesofdread, we walk in the almostkills my mother,for my head is alchemise that energy.Soalot of The Smiths split up overlongand center [sic] of the road,” Morrissey toobig,” he announces. He finds the great songs never got written. morethan aquarter of writes,possibly by quill, on the city firstofmanyopportunitiestobea Iwas 18 when Ifirst heardthe acenturyago.Inthe essentialreading. -
'Absences' Graham Chesters
Tireless play: speculations on Larkin’s ‘Absences’ Graham Chesters Absences 1 Rain patters on a sea that tilts and sighs. Fast-running floors, collapsing into hollows, Tower suddenly, spray-haired. Contrariwise, 3 A wave drops like a wall: another follows, Wilting and scrambling, tirelessly at play Where there are no ships and no shallows. 6 Above the sea, the yet more shoreless day, Riddled by wind, trails lit-up galleries: They shift to giant ribbing, sift away. 9 Such attics cleared of me! Such absences! Larkin’s terza rima is a rare seascape/skyscape from someone who is thought of as an essentially urban poet. ‘Absences’, were it not for that last line, might strike the reader as a peculiarly successful descriptive poem, attaining what Larkin called in an autobiographical fragment the ‘fabulous bird’ of ‘positive objectivity’. 2 But the final exclamation, taking advantage of the special impact accorded to last lines of terza rimas , changes everything. It paradoxically asserts the absence of the self, whilst introducing the self in dramatic fashion. This eruption can be seen as a lyrical commentary on the preceding nine lines, washing the reader back to reassess the description not just as a description of sea and sky but very specifically of a scene which gains dizzying value from the fact that the poet is not there. But a re-reading might also perversely push one to colour the description more lyrically, tingeing the positive objectivity with a more personal symbolism. One might even see the changing skyscape (lines 7-9), with the clouds, first rain-bearing and then sun-infused, thinning as they recede into the distance, as a prefigurement of the clearing of the self; the ‘sift away’ from this perspective would culminate a reading (advocated by Andrew Motion) in which the poem mimes ‘the processes of change and purgation experienced by the speaker’. -
Metered Poetry
Metered Poetry There are two basic of poetic meter with which you should be familiar: 1) Accentual-Syllabic Verse (also called syllable stress verse) 2) Accentual Verse (also called strong-stress verse) This handout uses the following symbols for metrical scansion: / indicates a stressed syllable ˘ indicates an unstressed syllable Accentual-Syllabic Verse: Most metered poetry written in modern English uses accentual-syllabic verse. A line of accentual-syllabic verse can be described using two words (e.g. iambic pentameter). - The first word refers to a “foot,” a specific pattern of stressed and unstressed syllables. - The second word indicates how many times the foot is repeated in each line. There are several common feet: Everyday example: Iamb: ˘ / Become Trochee: / ˘ Notice Anapest: ˘ ˘ / Interrupt Dactyl: / ˘ ˘ Mulligan These four are not the only feet, but they are the most common. A more complete (and needlessly extensive) list of feet is available here: http://www.polyamory.org/~howard/Poetry/feet.html. The standard terms for the number of feet per line use Greek or Latin numerical prefixes, followed by the root word “meter.” Dimeter Two feet per line Trimeter Three feet per line Tetrameter Four feet per line Pentameter Five feet per line Hexameter Six feet per line Heptameter Seven feet per line Octameter Eight feet per line Here are some examples of putting it all together: Iambic Pentameter: That time of year thou mayst in me behold [This excerpt contains the first four lines of When yellow leaves, or none, or few, do hang Shakespeare’s sonnet 73. Iambic pentameter Upon those boughs which shake against the cold, is the most famous form of accentual-syllabic Bare ruined choirs, where late the sweet birds sang.