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Introduction 1. Auden (1) 'An Altering Speech' Notes Introduction I. 'Introduction', to Helen Vendler, The Music of What Happens: Poems, Poets, Critics (Cambridge, Mass. and London, 1988), pp. 1-2,2. 2. Louis MacNeice, The Poetry of W. B. Yeats (1941; rpt London, 1967), p. 194. 3. The Poetry of W. B. Yeats, p. 15. 4. See chapter of that title in Cleanth Brooks, The Welt Wroughl Um (New York, 1947), pp. 176-96. 5. 'Criticism, History, and Critical Relativism' in The Welt Wroughl Um, p. 198. 6. See The Welt Wrought Um, p. 198, where Brooks writes, 'how is a critic, who is plainly the product ofhis own day and time, hopelessly entangled in the twentieth century, to judge the poems ofhis own day - much less, the poems of the past - sub specie aetemitatis!' 7. Brooks, however, comes e10se to one of our own emphases when he compares poetry to drama on account of its 'dynamic nature'. 'The Heresy of Paraphrase', in The Welt Wrought Um, p. 187. 8. 'Literary Studies: A Reply', in F. R. Leavis, Valuation in Criticism and Other Essays, collected and ed. G. Singh (Cambridge, 1986), p. 208. 9. The Welt Wrought Um, p. 186. 10. 'Making, Knowing and Judging' in W. H. Auden, The Dyer's Hand (London, 1963), p. 50. 1. Auden (1) 'An altering speech' I. This chapter discusses Paid on Both Sides as printed in 'Part I' of EA, and poems by Auden as printed in 'Part II: Poems 1927-1931' of EA. 'Part II' corresponds to the two published editions of Poems (London, 1930; second edn 1933, containing seven new poems to replace seven in the 1930 edition). 2. Stephen Spender, 'Wo H. Auden and His Poetry' in W. H. Auden: A Collection of Critical Essays, Twentieth Century Views, ed. Monroe K. Spears (Englewood Cliffs, N.J., 1964), p. 30. 243 244 Auden, MacNeice, Spender: The Thirties Poetry 3. Seamus Heaney, The Govemment of the Tongue: The 1986 T. S. Eliot Memorial Lectures and Dther Critical Writings (London and Boston, 1988), pp. 123, 117. 4. The Govemment of the Tongue, p. 116. 5. Poems (1930) contained two poems written before 'The Watershed' which were not included in Poems (1933): see EA, pp. xiii, 21-2. 6. The Govemment of the Tongue, p. 111. 7. 'Corne, Words, Away', in Laura (Riding) Jackson, The Poems of Laura Riding: A New Edition of the 1938 Collection (Manchester, 1980). Subsequent quotations from Laura (Riding) Jackson's poetry are taken from this edition. 8. Preface to Laura Riding, Selected Poems: In Five Sets (London, 1970), pp. 15, 12. 2. Spender (1) 'The sense of falling light' I. Randall Jarrell, Kipling, Auden & Co.: Essays and Reviews 1935-1964 (1981; rpt Manchester, 1986), p. 239. 2. Kipling, Auden & Co., p. 240. 3. 'Insensibility', The Poems of Wilfred Dwen, ed. and intro. Jon Stall­ worthy (London, 1985). This edition is used for all quotations from Owen's poetry throughout the book. 4. Dxford Poetry 1930, ed. Stephen Spender and Bernard Spencer (Oxford, 1930). 5. Lione! Trilling, Sincerity and Authen(icity (London, 1974), p. 11. 6. In Trilling's view, autobiography is sincerity's quintessential literary vehicle. See Sincerity and Authenticity, pp. 24-5. 7. Quoted in Cunningham, p. 34. Cunningham attributes the remark to Norman Cameron. 8. Quoted from T. S. Eliot, Collected Poems 1909-1962 (London, 1963). This edition is used for all subsequent quotations from Eliot's poetry. 9. Interestingly Spender argues that Eliot 'never appeals to a material reality outside the mind' (DE, p. 144). 10. Appendix B, 'Two Statements on Poetry', in Bernard Spencer, Collected Poems, ed. with intro. Roger Bowen (Oxford, 1981), p. 131. 11. Quoted from Bernard Spencer, Collected Poems. 12. A. Kingsley Weatherhead, Stephen Spender and the Thirties (Lewisburg and London, 1975), p. 205. 13. H. B. Kulkarni, Stephen Spender: Poet in Crisis (Glasgow, London and Bombay, 1970), p. 83. 14. Quoted from Bernard Spencer, Collected Poems. 15. 'Sincerity and Poetry' in Donald Davie, The Poet in lhe Imaginary Museum: Essays of Two Decades, ed. Barry Alpert (Manchester, 1977), p. 146. 16. The poem's revised and truncated version, 'The Photograph' (CPS(2)), turns a study of memory's tangled workings into an emotionally simpler, verbally chaster, less absorbing poem about loss. 17. Stephen Spender and the Thirties, p. 215. 18. See the end ofDouglas's 'Mersa': 'I see my feet like stones / underwater. The logical little fish / converge and nip the flesh / imagining I am one of the Notes 245 dead'. Quoted from Keilh Douglas: Complele Poems, ed. Desmond Graham (Oxford, 1978). 19. Lines 381, 384-5 and 460. Quotations from Shelley here and elsewhere are from Shelley's Poelry and Prose, eds Donald H. Reiman and Sharon B. Powers, Norton Critical Edition (New York and London, 1977). 20. Kipling, Auden & Co., p. 239. 21. 'Stephen Spender: Journals and Poems' in The Music 0] Whal Happens, p. 167. 22. See 'The Windhover', li ne 11, and Macbeth, line 7. 27. 23. Stephen Spender, Forwardfrom Liberalism (London, 1937), p. 26. 3. MacNeice (1) Turning the Music On 1. Michael Longley, 'The Neolithic Night: A Note on the Irishness ofLouis MacNeice', in Two Decades 0] frish Wriling, ed. Douglas Dunn (Cheadle, 1975), p. 104. 2. Louis MacNeice, The Poelry 0]W. B. Yeats, p. 197. 3. Robyn Marsack, The Cave 0] Making: The Poetry 0] Louis MacNeice (1982; rpt Oxford, 1985), p. 14. 4. Auden (2) The Orators: 'They stole to force a hearing' 1. The text of The Orators used in this chapter, from EA, 'restores cuts and changes made to avoid libeI, obscenity or discourtesy at the time of publication'. 2. The borrowings from Poems (1928) are pointed out by Fuller, pp. 56-8. 3. Borrowing pointed out by Fuller, p. 59. 4. Borrowing pointed out by Fuller, p. 58. 5. The Government 0] the Tongue, p. 114. 6. Auden hirnself acknowledged the influence of Anabase: see Mendelson, p. 96. Quotations are from St.-J. Perse, Anabasis, with a translation into English by T. S. Eliot (London, 1930). 7. The echoes mentioned in this paragraph are pointed out by Fuller, pp. 56-61 passim. 8. W. H. Auden, The Enchafld Flood (New York, 1950), p. 111; and see Smith, p. 61. 9. Aeeording to Mendelson, The Orators was probably eomposed between Spring and November of 1931; 'Triumphal March' was first published, as a pamphlet, in Oetober 1931: 'Diffieulties of aStatesman' was first published in Commerce, Winter 1931/2. 10. Auden himself aeknowledged the influenee of LudendorfT's The Coming War (London, 1931): see Mendelson, p. 96. LudendorfT's book contains an apoealyptie aeeount offorees that he believed were eonspiring against Germany. 11. This aecount of Coriolan draws on Gareth Reeves, T. S. Eliot: A Virgilian Poet (London and Basingstoke, 1989), pp. 78-81. 12. Eliot's borrowing from The Coming War is pointed out in Grover Smith, T. S. Eliot's Poetry and Plays: A Study in Sources and Meaning (1956; 2nd ed. Chieago and London, 1974), pp. 162, 334. 246 Auden, MacNeice, Spender: The Thirties Poetry 13. Auden hirnself acknowledged Lawrence's inftuence: see Mendelson,. p.96. 14. John Blair, The Poetic Art of W. H. Auden (Princeton, N.J., 1965), pp.78-81. 15. William Langland, The Vision of William Conceming Piers the Plowman, ed.· Walter W. Skeat (1886; rpt Oxford, 1924), Vol. 1., B-text, p. 2. 16 .. Kar! Marx, Zur Kritik der flegel'schen Rechts-Philosophie. 17. For example, Edgell Rickword objected to what he saw in the ode as the implications of a Nazi 'degradation of women and regimentation of the Strength through Joy variety', New Verse, Nov. 1937. Quoted in Fuller, p. 71. 18. Stan Smith makes much the same point: The Orators is 'making us ask that question of the wayward text which is asked in the "Epilogue'" (Smith, p.56). 5. Spender (2) 'To will this Time's change' I. Quoted from c. Day Lewis, Collected Poems 1954 (1954; rpt London, 1970). 2. Quoted from review of The Still Centre in W. H. Meilers, 'Modern Poets in Love and War', Scrutiny, vol. 8, no. I, June 1939, p. 119. 3. Quoted from The Collected Poems of W. B. Yeats, 2nd edn (1950; rpt London and Basingstoke, 1971). 4. Stephen Spender and tlle Tilirties, p. 97. 5. An Essay 011 Mall, Epistle 2, line 2; in The Poems of Alexander Pope, ed. John Butt (London, 1963). 6. See last sentenee ofpoem, translated as 'You must change your life' in The Selected Poet~y of Rainer ,\faria Rilke, ed. and trans. by Stephen MitcheII, with intro. by Rohert Hass (London, 1987). 7. Quoted from Friedricll Hölderlin, Eduard Mörike: Selected Poems, trans. with intro. by Christopher Middleton (Chicago and London, 1972). 8. Friedricll llölderlin, Eduard Mörike: Selected Poems, p. 238. 9. Stephen Spender and the Thirties, p. 212. 6. Auden (3) 'A change of heart' I. Stephen Spender, 'Wo H. Auden and His Poetry', m W. H. Auden: A Collectioll of Essays, Twentieth Century Views, p. 28. 2. Tlze GOl'emment ofthe Tongue, p. 121. 3. Tlze GOl'emment ofthe Tongue, p. 121. 4. Gavin Ewart can be heard adjusting hirnself to Auden's new voice in his review of Look, Stranger! (the volume in which 'Out on the lawn I lie in bed' first appeared): 'Since his first book, Mr. Auden's verse has undergone a considerable simplification and a more severe formal discipline'. Ir. H. .-luden: Tlze Critical Heritage, ed. John Haffenden (London, Boston, Melbourne and Henley, 1983), p. 220. 5. For a useful summary of the poem's historical context see Smith, pp. 81-2. No/es 247 6.
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