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Ecological Activism and Some of the Poems of Ted Hughes, Seamus Heaney and Dylan Thomas
Research Journal of English Language and Literature (RJELAL) A Peer Reviewed (Refereed) International Journal Vol.6.Issue 1. 2018 Impact Factor 6.8992 (ICI) http://www.rjelal.com; (Jan-Mar) Email:[email protected] ISSN:2395-2636 (P); 2321-3108(O) RESEARCH ARTICLE ECOLOGICAL ACTIVISM AND SOME OF THE POEMS OF TED HUGHES, SEAMUS HEANEY AND DYLAN THOMAS ARINDAM GHOSH M.A. English, Presently Pursuing Research Under Visva-Bharati ABSTRACT With the rise of ecological branch of literary criticism many critics have attempted to explore the relationship of literature and environment. Consequently the role of literature, and especially poetry is re-examined from ecocentric perspective, that is, poetry is considered as promoting ecological consciousness. Some of the critics eve argue that this consciousness can be converted into activism. To them poetry can be successfully utilized in arresting the present ecological degradation and thus can save the planet from disaster. Here some mid-twentieth century poet, namely Ted Hughes, Seamus Heaney and Dylan Thomas are taken and their works are considered as promoting ecological consciousness. Further, some of the poems are thought to have reached to the level of ecological activism. Hughes’ poetry directly addresses the problem of man’s cohabitation with the non-human world. Heaney attempts to establish deeper connection of the individual with the soil. And Thomas’ pantheism is often considered as having deep ecological values. In the context it is also judged if at all poetry can have the seeds for promoting a global ecological movement. Key Words: Ecocriticism, ecological activism, poetry, deep ecology, sense of place, pantheism, eco-poetry . -
"Lady Lazarus" and Lady Chatterley
Plath Profiles 51 "Lady Lazarus" and Lady Chatterley W. K. Buckley, Indiana University Northwest For the October Conference on Plath at IUB, 2012 and Plath Profiles, Volume 5 Supplement, 20121 I. I remember my first reading of Plath, in college, at San Diego State University. We read, of course, all her famous poems from Ariel, as well as "The Jailor" ("I am myself. That is enough"[23]), "The Night Dances" ("So your gestures flake off" [29]). In my youth, on the beaches of Southern California, around a campfire, a group of us read to each other one night the poems of Plath, Ginsberg, Wilfred Owen, and D.H. Lawrence—seeing ourselves as prophets against war, despite that a few of us had been drafted to another oil adventure, including me. (Some of our friends had returned with no eyes or feet). We thought such famous poets could change America. They did not. (Despite Shelley's famous proclamation). Plath said in "Getting There": "Legs, arms, piled outside/The tent of unending cries—" (Ariel 57). Same old, same old historical mistakes: America, our 20th Century Roman Empire, we thought then. On the homefront, sexual activity in public places was then, as is now, monitored by our police, given our rape, murder, and "missing women" statistics, first or second in the world for such. Yet on that night, on that particular night, there was something "warmer" in the air on La Jolla Shores, as if we thought the world had calmed down for a moment. When the police arrived at our campfire, we all invited them to take it easy, since we saw ourselves as ordinary people, having ordinary activities in our ordinary bodies. -
History Workshop
UNIVERSITY OF THE WITWATERSR AND, JOHANNESBURG HISTORY WORKSHOP STRUCTURE AND EXPERIENCE IN THE MAKING OF APARTHEID 6-10 February 1990 AUTHOR: Kelwyn Sole TITLE: "This Time Set Again" : the Temporal and Political Conceptions of Serote's To Every Birth Its Blood J til I US 'jO 10:1-4 LK i UPpL.fr '.HilPUi Fa- lid "This Time Set Again": the Temporal and Political Concept iona':.ipf{' .' Serote's To Every Birth Ita Blood .''!'.,,; Mongane Wally Serote is recognised primarily as a poet,and his six volumes of poetry to date have received acclaim both in South Africa and internationally. His single.novel,has,however.provoked a more equivocal response from critics. Some have praised the work. Doriane Barboure believe3 it 'the most powerful and penetrating exploration of the Power period' in South Africa (Barboure:17 2>i and Jane Glegg claims that Serote manages to write about a whole community involved in political struggle in a manner which shows up the failure of English working class novel- ists to do the same (Glegg; 3-1). Other critics have,however,been less convinced. Lewis Nkosi feels the work 'too chaotic,too; dispersed,to offer anything more solid •than mere moments' I .Nkosi :A 5 ).; Barbara Harlow states that the novel remains content with the portrayal of racial conflict in the coun- try,with little attempt to show internal contradictions within the black community itself IHarlow:,IO8); and Njabulo Ndebele remarks t hat ,r)p«r>i t»» thf siithfir's.nttM'ots to rl<»a 1. with the everydav con- cerns of people within a broader political canvas,in the end 'the spectacle takes over and the novel throws away the vitality of the tension generated by the dialectic between the personal and the public' (Ndebele:156). -
Poetry (Theory)
POETRY (THEORY) Radio Broadcast 23 Sept 18:00 -19:00 STUDY NOTES Poetry analysis is often the basis for teaching literature in the classroom. If you've been to school, you've probably had to study some form of literature, and your teacher has almost certainly demonstrated the analysis of poetry or even asked you to do it. It can seem like a frightening task, but if you've looked at the way poets use language and you make an effort to understand some the things that might have been happening in history at the time the poet was writing, you've already got an edge. How to analyse poems Read the poem more than once. Use a dictionary when you find a word about whose meaning you are unsure. Read the poem slowly. Pay attention to what the poem is saying; do not be distracted by the rhyme and rhythm of the poem. Try reading the poem out loud to get a sense of the way the sounds of the poem affect its meaning. Six Easy Ways To Understand Poetry: Read the poem all the way through. It might be tempting to stop and puzzle over any tricky bits, but by reading the poem all the way through, you should be able to pick up the overall idea the poet is trying to convey. Consider the subject matter - what the poem is literally about - as well as any themes that emerge - these are the ideas that the poet wants you to think about after reading the poem. What is the mood of the poem? Think about how the writer wants you to feel at the end of the poem. -
Mrs. Luthke 2018-2019 Page | 1 Siddhartha by Herman Hesse the Alchemist by Paulo Coelho 8 Poems by a Teacher-Approved
Mrs. Luthke 2018-2019 Page | 1 English 12 AP Summer Assignment Overview Grade 12 Siddhartha by Herman Hesse Prose Reading: Advanced Placement The Alchemist by Paulo Coelho Expect to take a quote identification/ analysis test on Siddhartha and The Alchemist within 8 Poems by a teacher-approved poet the first full week of school. (100 or poet from the following: points) Maya Angelou, Matthew Arnold, John Ashberry, W. H. Auden, Elizabeth Bishop, You will also create a slide William Blake, Gwendolyn Brooks, presentation with 2-3 of your Lucille Clifton, S. T. Coleridge, Countee classmates which compares & Cullen, e.e. cummings, Emily Dickinson, contrasts some aspect of the two John Donne, Rita Dove, Lawrence young men’s journeys. (25 points) Ferlinghetti, Robert Frost, Nikki Giovanni, Robert Hayden, Seamus Poetry: Heaney, Robert Herrick, A.E.Housman, Langston Hughes, Ted Hughes, John You will need to complete typed Keats, Robert Lowell, Pablo Neruda, analyses of 8 poems that will be Wilfred Owen, Robert Pinsky, Sylvia turned in to turnitin.com before or Plath, Ezra Pound, Adrienne Rich, by the second day of school, Friday, Theodore Roethke, Christina Rossetti, September 7th. (30 points) Our Carl Sandburg, Anne Sexton, William Class ID is18222391 and our Class Shakespeare, P. B. Shelley, Stevie password is Luthke12. Smith, Edmund Spenser, Wislawa Szymborska, Dylan Thomas, John Updike, Derek Walcott, Walt Whitman, Richard Wilbur, William Carlos Williams, William Wordsworth ** Further details available online via the Woodbury School web page and via the English 12 AP teacher Mrs. Luthke 2018-2019 Page | 2 AP English 12 Summer Reading The Required Commitment . -
Download .PDF
Yale university press Fall/Winter 2020 Marcus Carey Batchelor Bate Under the Red White A Little History of The Art of Solitude Radical Wordsworth and Blue Poetry Hardcover Hardcover Hardcover Hardcover 978-0-300-25093-0 978-0-300-16964-5 978-0-300-22890-8 978-0-300-23222-6 $23.00 $35.00 $26.00 $25.00 Unwin/Tipling Delbanco Leibovitz Campbell Flights of Passage Why Writing Matters Stan Lee Year of Peril Hardcover Hardcover Hardcover Hardcover 978-0-300-24744-2 978-0-300-24597-4 978-0-300-23034-5 978-0-300-23378-0 $40.00 $26.00 $26.00 $30.00 Van Engen Reynolds Taylor Musonius Rufus City on a Hill Allah Sons of the Waves That One Should Hardcover Hardcover Hardcover Disdain Hardships 978-0-300-22975-2 978-0-300-24658-2 978-0-300-24571-4 Hardcover $30.00 $30.00 $30.00 978-0-300-22603-4 $22.00 RECENT GENERAL INTEREST HIGHLIGHTS Yale university press FALL/WINTER 2020 GENERAL INTEREST 01 JEWISH LIVES® 24 MARGELLOS WORLD REPUBLIC OF LETTERS 26 SCHOLARLY AND ACADEMIC 56 PAPERBACK REPRINTS 73 ART + ARCHITECTURE A 1 front cover illustration: Via Roma, Genoa, Italy, ca. 1895. From Stories for the Years, page 28 “This book is superb, utterly FROM TAKE ARMS AGAINST A SEA OF TROUBLES: convincing, and absolutely invigorating. Bloom’s final argument with mortality What you read and how deeply you read matters almost as much as how you ultimately has a rejuvenating love, work, exercise, vote, practice charity, strive for social justice, cultivate effect upon the reader, kindness and courtesy, worship if you are capable of worship. -
Vatra Veche 8, 2019
8 Români din toate ţă rile, uni ţi-vă! Lunar de cultur ă * Serie veche nou ă* Anul XI, nr. 8 (128) august 2019 *ISSN 2066-0952 VATRA, Foaie ilustrat ă pentru familie (1894) *Fondatori I. Slavici, I. L. Caragiale, G. Co şbuc VATRA, 1971 *Redactor-şef fondator Romulus Guga* VATRA VECHE, 2009, Redactor-şef Nicolae B ăciu ţ _____________________________________________________________________________________________ _______________________________________________________________________________ INSCRIP ȚIE Tot ce se poate-nțelege E f ără speran ță și lege Și cre ște dospind din eres Tot ce e f ără-nțeles. ANA BLANDIANA Marcel Lup șe, Buzduganul florilor de in _____________________________________________________________________________________________________________________ Inscrip ție, de Ana Blandiana/1 Vatra veche dialog cu Ana Blandiana, de Nicolae B ăciu ț/3 Cununa de Aur a Serilor de Poezie de la Struga, de Nicolae Băciu ț/4 Cuvântul de acceptare al laureatului, de Ana Blandiana,/5 Cununa de Aur, 2019, de Nicolae Băciu ț/5 Eseu. Staulul Miori ței, de A.I. Brumaru/6 Mai altfel, despre Veronica Micle, de Dumitru Hurubă/ 9 Eminescum, de Răzvan Ducan/10 Remember -30. N. Steinhardt, de Veronica Pavel Lerner/11 Poeme de Dumitru Ichim/12 Ognean Stamboliev, Premiul pentru traducerea lui Eminescu/12 Elisabeta Bo țan, Premiul European Clemente Rebora 2018- 2019/12 Să ne reamintim de… Valentin Silvestru, de Dumitru Hurub ă/13 Coresponden ţa lui Dimitrie Stelaru, de Gheorghe Sar ău/14 Inedit. Blestemul chinezesc, de Francisc P ăcurariu/15 Vremea întreb ărilor (Octavian Paler), de Nicolae Postolache/17 Text și context în diarismul românesc (Eugen Simion), de Florian Copcea/20 Poeme de Tania Nicolescu/23 Scrisori deschise, de Constantin Stancu/24 Ochean întors. -
TED HUGHES & ROMANTICISM a Poetry of Desolation & Difference
Cercles 12 (2005) TED HUGHES & ROMANTICISM A Poetry of Desolation & Difference JANNE STIGEN-DRANGSHOLT University of Bergen, Norway The common end of all narrative, nay, of all, Poems is […] to make those events, which in real or imagined History move in a strait Line, assume to our Understandings a circular motion—the snake with its Tail in its Mouth. ——— Coleridge, Letter to Joseph Cottle, 1815. In the 1960s and early 1970s a new mood began to make itself known in British poetry, manifesting itself in greater linguistic daring and a reassertion of the primacy of the imagination. This mood was far removed from the realism and trivialities of the Movement. In an interview, Ted Hughes delineates the difference: One of the things [the New Lines] poets had in common I think was the post-war mood of having had enough […], enough rhetoric, enough overweening push of any kind, enough of the dark gods, enough of the id, enough of the Angelic powers and the heroic efforts to make new worlds […]. The second war after all was a colossal negative revelation […], it set them dead against negotiation with anything outside the cosiest arrangement of society. They wanted it cosy. It was a heroic position […]. Now I came a bit later. I hadn’t had enough. I was all for opening negotiations with whatever happened to be out there. [Faas 201] Hughes’s willingness to open “negotiations with whatever happened to be out there” places him in a dynamic relationship with important undercurrents in what we like to think of as Romanticism. -
In His Writings, on Other Poets and on Himself, Ted Hughes Emphasises
Chapter 1: Poems as Explorers 1 n his writings, on other poets and on himself, Ted Hughes emphasises the Iimmutable and inviolate relationship between the poetry produced and the life of the poet. His commitment to this view emerges strongly, for example, in a comment he made on Dylan Thomas: Everything we associate with a poem is its shadowy tenant, no matter how New Critical purist we try to be... Thomass life, letters and legends belong to his poetry, in that they make it mean more.... (WP, p.81) This comment applies to Hughes own poetry and prose. Indeed, he comments on a symbiotic relationship between his biographical self and his poetic self when replying to Peter Orrs question on whether topical issues move him to write poems: You only produce the poetry you find in yourself Its not something that you easily apply to something that interests you. Hughes answer implies the poetic impulse begins as a subconscious process, and that his poetry is derived from the raw materials of amorphous personal experience. The relationship of the poetic self to the true self is of great interest to Hughes. His article entitled "The Poetic Self: A Centenary Tribute to T.S.Eliot" argues that communion with the "genetic nucleus, the true self, the self at the source, the inmost core of the individual, ... is healing, and redeems the suffering of life, and releases joy" (WP, p.275). Hughes, in his alchemical and shamanistic poetry, as discussed by Ann Skea, 2 puts such belief into practice: the resulting poetry is regenerative, passionate and joyous. -
Carmen Bugan
EnterText 4.3 Supplement CARMEN BUGAN Taking Possession of “Extraterritorial” Poetics: Seamus Heaney and Eastern European Poetry in English Translation Most of Heaney’s prose deals with the dichotomy between “life” and “art;” this chapter briefly looks at how the poet nuances and attempts to solve this dichotomy through his reading of Eastern European work.1 Osip Mandelstam, Joseph Brodsky, Czeslaw Milosz and Zbigniew Herbert appear prominently in Heaney’s prose written during the 1980s. Additionally, the Irish poet wrote dedicatory poems to each of them. Heaney presents his critical work as a form of autobiography, saying that the poets he discusses have become part of his memory.2 In particular, he sees his relationship with the poets he writes about as a form of immersion, where their work, over time, comes to bear on his poetics.3 Another metaphor for this form of influence emerges from Heaney’s discussion of his translation practices. He speaks of two motives: the “Raid” occurs when the poet looks for something specific in the foreign text and ends up with a “booty” called “Imitations.” This is a more superficial appropriation of the text. The “Settlement approach” happens when the poet “enter[s] an oeuvre, colonize[s] it, take[s] it over” (changing it) and remains with the text, allowing himself to be changed by it in return.4 I argue that Carmen Bugan: Taking Possession 77 EnterText 4.3 Heaney’s relationship with Eastern European poetry, though one of reading translations rather than translating, is a “Settlement;” this poetry has, over time, become part of his memory and he has allowed himself to be changed by it. -
0403 Plutzik.Pdf
Hyam Plutzik The namesake of the English department’s celebrated reading series, the poet began with readings of his own work as a faculty member from 1945 to 1962. 38 ROCHESTER REVIEW March–April 2012 University LibrAries/DepArtMent of rAre books, speciAL coLLections, AnD preservAtion 4_RochRev_Mar_2012_Features-Plutzik.indd 38 2/28/12 1:43 AM Li Terary LighTs Over the past five decades, the Plutzik Reading Series has brought some of literature’s biggest names to campus to carry on its namesake poet’s mission to share the power of poetry. Anthony Hecht A frequent reader in—and a former director of—the series, Hecht won the Pulitzer Prize for The Hard Hours in 1968 as a Rochester English professor. By Valerie Alhart James Baldwin he roster reads like a Who’s Who of modern literature: A novelist, James Baldwin, Ted Hughes, Robert Lowell, Bernard essayist, poet, Malamud, Michael Ondaatje, Adrienne Rich, Salman and playwright, Rushdie, Allen Ginsberg, Rita Dove, J. M. Coetzee, W. S. Baldwin was Merwin, Elizabeth Bishop, John Ashbery, Anne Sexton, a guest of the and John Updike, to name a few. series in the TSince 1962, more than 300 poets, novelists, and nonfiction spring of 1972. writers have been guests of the English department’s Plutzik Reading Series, sharing their work with students, faculty, and area community members in one of the nation’s longest-running collegiate reading programs. Plutzik, who joined the Rochester English faculty in 1945, made it his mission to ensure that students would be able to appreciate poetry not only on the page, but also as a performative act, in which listeners would experience the excitement of an impassioned author at a podium. -
These Ghostly Archives 5: Reanimating the Past
Plath Profiles 27 These Ghostly Archives 5: Reanimating the Past Gail Crowther & Peter K. Steinberg "Archival histories consist of tales we tell about the archive, and of tales the archive tells." (Helle 5) The universe of the Sylvia Plath archive is expanding. In addition to discussing long-established and worked-through archives such as the Plath papers held by Smith College and Indiana University, this series of papers has explored lesser known collections of materials such as the BBC Written Archives Centre, the Heinemann archives, and The New Yorker records. We ended our previous paper stating that "Since Plath's documents and possessions are scattered disparately in archives across the world, there are always new treasures to find" and with a quote from rare book dealer Rick Gekoski stating that "the treasure hunt must go on" (49). This is a challenge as much as it is a credo, and in this paper we continue our conversation about newly uncovered Sylvia Plath photographs, letters, and collections of archival materials. Our tales of the archive, and in particular the Plath archives, are as Anita Helle states above, a simultaneous telling. There are our experiences as researchers, and the stories we tell about our searches and finds, working alongside the stories the archives tell to us. This multi- dimensional story weaves a tale that not only informs us about Plath, but also includes history, culture, memory and time-hopping across years. As in "These Ghostly Archives 4,"1 our research for this paper took place both within the walls of traditional archives – in libraries and special collections– as well as remotely through Google queries and out of doors: both in nature and in houses where Plath resided.