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Christopher Isherwood Papers
http://oac.cdlib.org/findaid/ark:/13030/c8pk0gr7 No online items Christopher Isherwood Papers Finding aid prepared by Sara S. Hodson with April Cunningham, Alison Dinicola, Gayle M. Richardson, Natalie Russell, Rebecca Tuttle, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department The Huntington Library 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © October 2, 2000. Updated: January 12, 2007, April 14, 2010 and March 10, 2017 The Huntington Library. All rights reserved. Christopher Isherwood Papers CI 1-4758; FAC 1346-1397 1 Overview of the Collection Title: Christopher Isherwood Papers Dates (inclusive): 1864-2004 Bulk dates: 1925-1986 Collection Number: CI 1-4758; FAC 1346-1397 Creator: Isherwood, Christopher, 1904-1986. Extent: 6,261 pieces, plus ephemera. Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of British-American writer Christopher Isherwood (1904-1986), chiefly dating from the 1920s to the 1980s. Consisting of scripts, literary manuscripts, correspondence, diaries, photographs, ephemera, audiovisual material, and Isherwood’s library, the archive is an exceptionally rich resource for research on Isherwood, as well as W.H. Auden, Stephen Spender and others. Subjects documented in the collection include homosexuality and gay rights, pacifism, and Vedanta. Language: English. Access The collection is open to qualified researchers by prior application through the Reader Services Department, with two exceptions: • The series of Isherwood’s daily diaries, which are closed until January 1, 2030. -
An Index to Alan Ansen's the Table Talk of W. H. Auden Edited By
An Index to Alan Ansen’s The Table Talk of W. H. Auden Edited by Nicholas Jenkins Index Compiled by Jacek Niecko A Supplement to The W. H. Auden Society Newsletter Number 20 • June 2000 Jacek Niecko is at work on a volume of conversations and interviews with W. H. Auden. Adams, Donald James 68, 115 Christmas Day 1941 letter to Aeschylus Chester Kallman 105 Oresteia 74 Collected Poems (1976) 103, 105, Akenside, Mark 53 106, 108, 109, 110, 111, 112, Amiel, Henri-Frédéric 25 114, 116, 118 Andrewes, Lancelot 75 Collected Poetry 108 Meditations 75 Dark Valley, The 104 Sermons 75 Dog Beneath the Skin, The 51, 112 Aneirin Dyer’s Hand, The xiii, 100, 109, 111 Y Gododdin 108 “Easily, my dear, you move, easily Ann Arbor, Michigan 20, 107 your head” 106 Ansen, Alan ix-xiv, 103, 105, 112, 115, Enemies of a Bishop, The 22, 107 117 English Auden, The 103, 106, 108, Aquinas, Saint Thomas 33, 36 110, 112, 115, 118 Argo 54 Forewords and Afterwords 116 Aristophanes For the Time Being 3, 104 Birds, The 74 Fronny, The 51, 112 Clouds, The 74 “Greeks and Us, The” 116 Frogs, The 74 “Guilty Vicarage, The” 111 Aristotle 33, 75, 84 “Hammerfest” 106 Metaphysics 74 “Happy New Year, A” 118 Physics 74 “I Like It Cold” 115 Arnason Jon “In Memory of W.B. Yeats” xv, 70 Icelandic Legends 1 “In Search of Dracula” 106 Arnold, Matthew xv, 20, 107 “In Sickness and In Health” 106 Asquith, Herbert Henry 108 “In the Year of My Youth” 112 Athens, Greece 100 “Ironic Hero, The” 118 Atlantic 95 Journey to a War 105 Auden, Constance Rosalie Bicknell “Law Like Love” 70, 115 (Auden’s mother) 3, 104 Letter to Lord Byron 55, 103, 106, Auden, Wystan Hugh ix-xv, 19, 51, 99, 112 100, 103-119 “Malverns, The” 52, 112 “A.E. -
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. -
First Name Initial Last Name
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository Sarah E. Fass. An Analysis of the Holdings of W.H. Auden Monographs at the University of North Carolina at Chapel Hill’s Rare Book Collection. A Master’s Paper for the M.S. in L.S. degree. April, 2006. 56 pages. Advisor: Charles B. McNamara This paper is an analysis of the monographic works by noted twentieth-century poet W.H. Auden held by the Rare Book Collection (RBC) at the University of North Carolina at Chapel Hill. It includes a biographical sketch as well as information about a substantial gift of Auden materials made to the RBC by Robert P. Rushmore in 1998. The bulk of the paper is a bibliographical list that has been annotated with in-depth condition reports for all Auden monographs held by the RBC. The paper concludes with a detailed desiderata list and recommendations for the future development of the RBC’s Auden collection. Headings: Auden, W. H. (Wystan Hugh), 1907-1973 – Bibliography Special collections – Collection development University of North Carolina at Chapel Hill. Rare Book Collection. AN ANALYSIS OF THE HOLDINGS OF W.H. AUDEN MONOGRAPHS AT THE UNIVERSITY OF NORTH CAROLINA AT CHAPEL HILL’S RARE BOOK COLLECTION by Sarah E. Fass A Master’s paper submitted to the faculty of the School of Information and Library Science of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Master of Science in Library Science. -
Light and Outrageous - the New York Review of Books
Light and Outrageous - The New York Review of Books http://www.nybooks.com/articles/17325 VOLUME 51, NUMBER 13 · AUGUST 12, 2004 Light and Outrageous By Edward Mendelson W. H. Auden's Book of Light Verse The New York Review of Books 1. When a poet presents an outline of the history of literature, he generally describes a tradition of many centuries that culminates in his own poems. W.B. Yeats found the high points of English verse and prose in the Irish Protestant writers he claimed as his literary ancestors, Bishop Berkeley and Jonathan Swift, and in visionaries such as William Blake. T.S. Eliot persuaded many of his contemporaries that the central line of descent in the history of English poetry extended from the school of John Donne to Eliot himself; Milton and the Romantics were mere offshoots, and Shakespeare's primacy was slightly doubtful. W.H. Auden compiled The Oxford Book of Light Verse[1] in 1937 partly to provide an entertaining textbook of literary history that emphasized a tradition that could be traced back from his own poems through the work of Byron, Pope, and Chaucer, with contributions from dozens of poets known only as "Anon.," derived not only from books but also from oral tradition, broadsides, and tombstones, a tradition that comprised ballads, limericks, nonsense verse, sea chanties, barroom songs, nursery rhymes, epigrams, spirituals, and the songs sung by soldiers, laborers, criminals, and tramps. In the first half of the twentieth century, the Oxford books of verse enjoyed greater prestige and authority than any other series of anthologies, although they had the slightly stuffy air of monuments left over from an earlier generation. -
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. -
'More Than Glass': Louis Macneice's Poetics of Expansion
THE CATHOLIC UNIVERSITY OF AMERICA ‘More than glass’: Louis MacNeice’s Poetics of Expansion A DISSERTATION Submitted to the Faculty of the Department of English School of Arts & Sciences Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Philosophy © Copyright All Rights Reserved By Michael A. Moir, Jr. Washington, DC 2012 ‘More than glass’: Louis MacNeice’s Poetics of Expansion Michael A. Moir, Jr., PhD Director: Virgil Nemoianu, PhD The Northern Irish poet and dramatist Louis MacNeice, typically regarded as a minor modernist following in the footsteps of Yeats and Eliot or living in the shadow of Auden, is different from his most important predecessors and contemporaries in the way he attempts to explode conventional ideas of place, presenting human subjects in transit and shifting, melting landscapes, rooms and buildings that tend to blend in with their sur- roundings. While Yeats, Eliot and Auden evince a siege mentality that leads them to build religious or political Utopias easily separable from the chaos of the contemporary world, MacNeice denies the validity of any such imaginary constructs, instead taking apart the boundaries of imaginary private worlds, from rooms to islands to pastoral landscapes. Mac- Neice’s representations of space favor what Fredric Jameson terms ‘postmodern space’: his poems and radio plays operate outside of ideas of ‘home,’ ‘church,’ or ‘nation,’ opposing the rigidity of such places to the fluidity of travel. MacNeice has been much misunderstood and underestimated, and a reappraisal of his career is due, particularly given the amount of material that has been published or reis- sued since his centenary in 2007. -
1934 to 1960
THE BIRDS AtTn THE BEASTS IN AUDEJ:1: A STUDY OF THE USE OF ANHiAI IEAGERY IN TIIE l\fO~J -DRAr:AT Ie POETRY OF "r1. H. AUDEN FRO}: 1934 TO 1960 AN HONORS THESIS SUBHITTED TO THE HONORS CO:r:r:I~TEE lIT PART rAL FUIJFILL!·::ENT OF T3E REQUIRE1-:ENTS FOR ~rHE DEGREE BACHELOR OF SCIENCE E~ E:GUGATION BY OLGA K. DF-'JT INO ADVISER - JOSEPH SATTER1ir~nTE BALL STATE U~IVERSITY I,lUNarE, INDIANA AUGUST, 1965 TEE BIRDS A~m TEiE BEASTS IN AUDE1r The rerutation of W. H. Auden as a poet rests not on the publication of several widely quoted and anthologized poems, but on a consistent and diversified output of technically e~·~cellent and relevant poetry over a nu!::ber of years (1930-1964). Though l;:an;.r of Auden t s individual ~:oems and lines are neDorable, it is rather the recurring patterns of his imagery which catch and hold the attention of his readers and critics. This paper will attempt to deal with one aSl_ect of Auden t S imar:;cry: his 1:!::ages of t::e animal world, and to trace the changes i~ this imagery as it corresponds to Audents ideological evolution froe the position of left-wing, near-Marxist to his positive acceptance of Christianity in the early 1940's. Thouc;h much has been written about various images which perrr,eate the poetry of 'tT. H. Auden--tllB early l)ervasi VB 1mrfare I:;otif, t!:e detective and spy inagery, and the Rilke-like Ithul!lan landscape" technique--crit:.cs have for the most part ignored uhat Randall Jarrell called Auden's "endless procession of birds and beasts"l as the -- lRandall Jarrell, t1Changes of Attitude and Rhetoric in AUden's roetry", Southern Reviel", Autumn, 1941, :po 329. -
MA Thesis Eveline De Smalen
“Dreaming of Elsewhere”: Landscape in W.H. Auden M.A. Thesis Comparative Literary Studies, Utrecht University Eveline de Smalen 3701638 Supervisor: Prof. Dr David Pascoe Second reader: Dr Kári Driscoll 21 August 2015 38,038 words 2 Table of Contents Introduction 3 “Truth Is Elsewhere”: Crossing Borders in England, Germany and the Nordic Countries 18 “Oh How I Wish That Situation Mine”: English Mining Landscapes 20 “Nicht Mehr in Berlin ”: Auden in Germany 31 “The Magical Light Beyond Hekla”: The Nordic Countries 47 “What Could Be More Like Mother”: Freudian Landscapes 59 “An Important Jew Who Died in Exile”: The Borders of Freud 61 “Never, Thank God, in Step”: The Necessity of Borders 70 “Dislodged from Elsewhere”: Auden in Exile 80 “My Cosmos is Contracted”: Landscapes of Religion 93 “Gone the Boundary Stone”: Auden and Co-Inherence 96 “You Have to Leap before You Look”: Borders and the Leap of Faith 107 “A Place I May Go Both in And out of”: Coming Home 121 Conclusion 131 Appendix: Landscape Photographs 135 Works Cited 143 3 Introduction In 1950, Wystan Hugh Auden wrote “In Transit,” on the occasion of his plane making a stopover at Shannon Airport in “Mad Ireland” (“W.B. Yeats” 34) on the way to continental Europe 1. This poem, in which words like “somewhere,” “elsewhere,” and “nowhere” abound, shows the airport as a non-place representative of modernity. Marc Augé has theorised the concept of the non-place, writing that If a place can be defined as relational, historical and concerned with identity, then a place which cannot be defined as relational, or historical, or concerned with identity will be a non-place. -
1. Taming the Monster 1. Geoffrey Grigson, 'Auden As a Monster', New
Notes 1. Taming the Monster 1. Geoffrey Grigson, ‘Auden as a Monster’, New Verse, 26–7 (1937), 13–17 (p. 13). 2. New Signatures appeared for the first time in 1932, New Country in 1933; New Verse was published from January 1933 until January 1939, New Writing from Spring 1936 until 1950. See Samuel Hynes, The Auden Generation: Literature and Politics in England in the 1930s (London and Boston: Faber & Faber, 1976), pp. 74–5, 102, 114, 198. 3. Richard Hoggart’s Auden: An Introductory Essay (London: Chatto & Windus, 1951), the first and surprisingly good study of Auden’s works, set the tone with the remark ‘Auden’s poetry is particularly concerned with the pressures of the times’, p. 9. 4. François Duchêne, The Case of the Helmeted Airman: A Study of W. H. Auden’s Poetry (London: Chatto & Windus, 1972) is an unpleasant example of this vivisection attitude that regards the author as a part of the texts and endeavours to supply its reader not only with a textual analysis, but glimpses of the author’s psyche. Herbert Greenberg, Quest for the Necessary: W. H. Auden and the Dilemma of Divided Con- sciousness (Cambridge, Mass.: Harvard University Press, 1968) is a more sensitive study. 5. Auden himself proves a perceptive commentator on such attitudes when he writes in the preface to The Poet’s Tongue of 1935, ‘The psy- chologist maintains that poetry is a neurotic symptom, an attempt to compensate by phantasy for a failure to meet reality. We must tell him that phantasy is only the beginning of writing; that, on the contrary, like psychology, poetry is a struggle to reconcile the unwilling subject and object; in fact, that since psychological truth depends so largely on context, poetry, the parabolic approach, is the only adequate medium for psychology’ (Pr 108).