I read The Cambridge Companion to W.H. Auden earlier this month. Below are some key quotes from this text.
(P.3/ para 3) "The 'Auden effect' lay in that ability to catch the changing moods of the time in luminous images, magical phrases and breathtaking apercus, expressing sentiments that people were unaware they shared until they read him."
(P.7/ para 2) "For the younger Larkin Auden was of course the first "modern poet", not just in his ability to employ modern properties unselfconsciously but primarily in the 'dominant and ubiquitous unease' at the heart of his poetry. Auden's outlook was completely dislocated..."
(P.9/ para 3) "...his sleeping around with poetic forms and his plagiarism of other poet's voices, constitute a deliberate assault on the idea of autonomous authentic self, speaking with its own unique accents." "All art is ventriloquism."
(P.11/ para 3) "He denounced Stephen Dedalus' remark...as an impossible ambition, since it is precisely this attempt to escape being a historical creature that makes man's history a nightmare..."
(P.13/ para 3) "Art is born of humiliation." "(Auden was) The first poet at home in the 20th century."
(P.17/ para 4) "...his language and anxieties in the early 1930s entranced the young intelligentsia...they heard...political injustice and human pain clarified and amplified in his words."
(P.19/ para 3) "Many of his young admirers felt betrayed by the departure...the belief that he had deserted Britain during a dangerous crisis..." (seems an interesting pop-parallel when Bob Dylan went electric in the mid-1960s, and many in the folk community criticized him for selling out. Martin Scorcher's documentary No Direction Home outlines this process of following one's art, and the resultant alienation of some followers).
Monday, July 26, 2010
Too brief, Edward Estlin, too brief
I have not consulted any critical sources for E.E. Cummings, so if this ends up as a part of my exams I will need to do more work with this poet. This is a brief note or two from the five poems I looked at.
1) All in green went my love riding-- Early poem/ may be allusion to the Knight's Tale by Chaucer or refers to or retells story of Diana or Artemis/ Actaeon observes Diana bathing, and because of this Diana turns him into a stag and he is eaten by his own dogs... the myth really takes a fearful attitude to the corrupting power of female beauty.
2) O Sweet spontaneous--describes the rape of the earth, but allows that spring returns anyway.
3) The Cambridge Ladies Who Live in Furnished Souls-- this is a form of the sonnet, not as experimental in form as other works by Cummings. Seems to suggest a dead sort of religion/ an interpretation that limits one's direct experience or the real, actual physical reality/ an anit-Tao...
4) I was Sitting in McSoreley's-- poem uses strange, experimental syntax and punctuation. Shows Cumming's "manunkind" concept, lack of harmony between the organic world and human society. Maybe written to simulate 'sloppy' way the brain processes language when intoxicated.
5) A Man Who Had Fallen Among Thieves-- There is an obvious comparison to the story of the Good Samaritan. May be a comparison to "manunkind" who ignores-- contrasted with speaker in the poem who picks up the 'puke covered wretch'....
1) All in green went my love riding-- Early poem/ may be allusion to the Knight's Tale by Chaucer or refers to or retells story of Diana or Artemis/ Actaeon observes Diana bathing, and because of this Diana turns him into a stag and he is eaten by his own dogs... the myth really takes a fearful attitude to the corrupting power of female beauty.
2) O Sweet spontaneous--describes the rape of the earth, but allows that spring returns anyway.
3) The Cambridge Ladies Who Live in Furnished Souls-- this is a form of the sonnet, not as experimental in form as other works by Cummings. Seems to suggest a dead sort of religion/ an interpretation that limits one's direct experience or the real, actual physical reality/ an anit-Tao...
4) I was Sitting in McSoreley's-- poem uses strange, experimental syntax and punctuation. Shows Cumming's "manunkind" concept, lack of harmony between the organic world and human society. Maybe written to simulate 'sloppy' way the brain processes language when intoxicated.
5) A Man Who Had Fallen Among Thieves-- There is an obvious comparison to the story of the Good Samaritan. May be a comparison to "manunkind" who ignores-- contrasted with speaker in the poem who picks up the 'puke covered wretch'....
Catching up with Frost
I have been so busy with reading that I've had little time to post, but I want to keep up with my posting, so I have another layer of reflection on my readings. I read several of Robert Frost's poems during the last week of June, and now in the last week of July, I'll try to remember some of my observations, with the help of some very sketchy notes.
1) Mending Wall-- two neighbors walk a wall in spring putting the stones back in place. Speaker perhaps sees the neighbor as from some outmoded era...written in blank verse, but few lines match iambic pentameter. Most lines have five stressed syllables, but feet vary extensively to sustain the feel of natural speech. There are no patterns of rhyme, but much assonance (i.e. wall/ hill, bulls/ walls...)...why do we put up walls? Segregate, alienate ourselves? It's really impossible and yet we persist in attempts to cloister. Some have suggested this poem comments on the act of writing creatively, or any kind of creation, is a kind of duality of construction vs. destruction...also, the idea that destructive acts can result in creations, and constructions can sometimes disrupt.
2) After Apple Picking-- after a hard day of picking apples, speaker wonders about sleep coming on (is it just sleep, or something deeper?) This is a rhyming poem, but it has no regular rhyme scheme. The changing rhythms keep the reader "awake" as the speaker drifts off to "sleep". Is this the big sleep that comes at the end of human endeavor? Apples have obvious symbolic meaning in the western tradition (Adam and Eve/ Eden/ the Fall/ Genesis). Apples may represent knowledge and a punishable claim to godliness/ creation.
3) The Wood Pile-- on a walk in a frozen swamp, a speaker considers going back, follows a bird, finds a woodpile, and wonders why someone left it there to rot. This poem has typical Frostian 5 stress lines/ no discernible rhyme pattern/ looks like poetry, but sounds like speech. Something urges the speaker to get thoroughly lost. There seems to be despair in the poem's final line "the slow, smokeless burning of decay". Somehow bring Shelly's Ozymandias's last line to mind, " Round the decay of that colossal wreck, boundless and bare the lone and level sands stretch far away..."...makes me wonder is there is some sense of futility here???
4) The Road not Taken-- speaker stands at a fork in the road and chooses which road to take. He may take the other road later, but that's unlikely. He will tell this story to someone later, but will say he took the less traveled road. This is strict masculine rhyme scheme (ABAAB). For me, I think I've misunderstood this poem ever since memorizing it in 8th grade. This is not a simple Hallmark card which proclaims "I've made the hard choice; I'm an American rugged individualist; because of my trueness to myself, I've benefited in the long run." The idea that we can not know what we are choosing when we choose, makes perfect sense to me, now at 41, and feeling somewhat disappointed. I mean, we may know what we are going to get, but we can not predict how getting it is going to feel. We can't really know "what" we are choosing when we choose. The speaker in this poems, proclaims that he "will be telling this with a sigh"....is that sigh because he knows he is lying to himself and to someone else when he tells some young person, "stick to your guns and choose the road less traveled..."? In fact, we aren't really sure the speaker has actually chosen a less traveled road; the poem does say "the passing...had worn them really about the same..." So this poem is really--whether less common or more common-- about the road we did not take. There is something fascinating about that path we didn't go down, and we will try to tell ourselves we made the right choice to bring some peace of mind, but this is really just rationalizing. Is there really a right and a wrong path? We can never know. Wrong decisions? Right decisions? Who Knows? Reminds, me as I mentioned in an earlier post on Frost or the old Buddhist story of the farmer who finds the horse (Sae-ung-ji-ma) in Korean.
5) An Old Man's Winter Night-- An old man alone in the wintry climate of New England. This poem has been described as having a complicated, even Miltonian, structure-- long sentences (lines 8-13), with much enjambment (breaking of lines in mid-sentence). This is a dark, lonely story of going to one's maker alone, but is there really any other way to do it?
6) The Oven Bird-- The oven bird sings during the height of summer, perhaps near the vernal equinox. He sings that the spring's bloom was more beautiful than the bloom of mid-summer ("as one to ten"), and hints of the coming fall. This poem is a non-traditional sonnet (fourteen lines with rhyme). It seems to be a meditation on mid-life, and, once again, I completely relate and understand this feeling. I immediately related this poem to Ulysses, in terms of the setting. Ulysses takes place in Bloom's middle years, and it also takes place in the summer (June 17, the longest day of the year). By this point, the year is half over, life is half over, and maybe this is the peak. If it isn't what you'd hoped, well, that's sad. If it is all you'd hoped, well, you realize this is the beginning of the end. The "highway dust" that the oven bird acknowledges is "over all" reminds me of Eliots "handful of dust" from the Wasteland.
7) Birches-- Ice storms have weighed down and bent birch trees, and the speaker fantasizes a young boy has climbed to the top and pulled them down. There is a tension evident between the real world and the world of imagination.
8) Putting in the seed-- A sonnet. A meditation on creation/ the creator/ the earth/ mother earth/ springtime's fruit as "love child of nature"...the physical act of planting and of sex results in new life...
1) Mending Wall-- two neighbors walk a wall in spring putting the stones back in place. Speaker perhaps sees the neighbor as from some outmoded era...written in blank verse, but few lines match iambic pentameter. Most lines have five stressed syllables, but feet vary extensively to sustain the feel of natural speech. There are no patterns of rhyme, but much assonance (i.e. wall/ hill, bulls/ walls...)...why do we put up walls? Segregate, alienate ourselves? It's really impossible and yet we persist in attempts to cloister. Some have suggested this poem comments on the act of writing creatively, or any kind of creation, is a kind of duality of construction vs. destruction...also, the idea that destructive acts can result in creations, and constructions can sometimes disrupt.
2) After Apple Picking-- after a hard day of picking apples, speaker wonders about sleep coming on (is it just sleep, or something deeper?) This is a rhyming poem, but it has no regular rhyme scheme. The changing rhythms keep the reader "awake" as the speaker drifts off to "sleep". Is this the big sleep that comes at the end of human endeavor? Apples have obvious symbolic meaning in the western tradition (Adam and Eve/ Eden/ the Fall/ Genesis). Apples may represent knowledge and a punishable claim to godliness/ creation.
3) The Wood Pile-- on a walk in a frozen swamp, a speaker considers going back, follows a bird, finds a woodpile, and wonders why someone left it there to rot. This poem has typical Frostian 5 stress lines/ no discernible rhyme pattern/ looks like poetry, but sounds like speech. Something urges the speaker to get thoroughly lost. There seems to be despair in the poem's final line "the slow, smokeless burning of decay". Somehow bring Shelly's Ozymandias's last line to mind, " Round the decay of that colossal wreck, boundless and bare the lone and level sands stretch far away..."...makes me wonder is there is some sense of futility here???
4) The Road not Taken-- speaker stands at a fork in the road and chooses which road to take. He may take the other road later, but that's unlikely. He will tell this story to someone later, but will say he took the less traveled road. This is strict masculine rhyme scheme (ABAAB). For me, I think I've misunderstood this poem ever since memorizing it in 8th grade. This is not a simple Hallmark card which proclaims "I've made the hard choice; I'm an American rugged individualist; because of my trueness to myself, I've benefited in the long run." The idea that we can not know what we are choosing when we choose, makes perfect sense to me, now at 41, and feeling somewhat disappointed. I mean, we may know what we are going to get, but we can not predict how getting it is going to feel. We can't really know "what" we are choosing when we choose. The speaker in this poems, proclaims that he "will be telling this with a sigh"....is that sigh because he knows he is lying to himself and to someone else when he tells some young person, "stick to your guns and choose the road less traveled..."? In fact, we aren't really sure the speaker has actually chosen a less traveled road; the poem does say "the passing...had worn them really about the same..." So this poem is really--whether less common or more common-- about the road we did not take. There is something fascinating about that path we didn't go down, and we will try to tell ourselves we made the right choice to bring some peace of mind, but this is really just rationalizing. Is there really a right and a wrong path? We can never know. Wrong decisions? Right decisions? Who Knows? Reminds, me as I mentioned in an earlier post on Frost or the old Buddhist story of the farmer who finds the horse (Sae-ung-ji-ma) in Korean.
5) An Old Man's Winter Night-- An old man alone in the wintry climate of New England. This poem has been described as having a complicated, even Miltonian, structure-- long sentences (lines 8-13), with much enjambment (breaking of lines in mid-sentence). This is a dark, lonely story of going to one's maker alone, but is there really any other way to do it?
6) The Oven Bird-- The oven bird sings during the height of summer, perhaps near the vernal equinox. He sings that the spring's bloom was more beautiful than the bloom of mid-summer ("as one to ten"), and hints of the coming fall. This poem is a non-traditional sonnet (fourteen lines with rhyme). It seems to be a meditation on mid-life, and, once again, I completely relate and understand this feeling. I immediately related this poem to Ulysses, in terms of the setting. Ulysses takes place in Bloom's middle years, and it also takes place in the summer (June 17, the longest day of the year). By this point, the year is half over, life is half over, and maybe this is the peak. If it isn't what you'd hoped, well, that's sad. If it is all you'd hoped, well, you realize this is the beginning of the end. The "highway dust" that the oven bird acknowledges is "over all" reminds me of Eliots "handful of dust" from the Wasteland.
7) Birches-- Ice storms have weighed down and bent birch trees, and the speaker fantasizes a young boy has climbed to the top and pulled them down. There is a tension evident between the real world and the world of imagination.
8) Putting in the seed-- A sonnet. A meditation on creation/ the creator/ the earth/ mother earth/ springtime's fruit as "love child of nature"...the physical act of planting and of sex results in new life...
Monday, July 19, 2010
The Ambassadors
The Ambassadors
I began listening to an audio book version of Henry James's The Ambassadors on my trip back to Oklahoma over the fourth of July weekend. This book, according to the introduction of the edition I have, is a sort of connection between the Victorian and the Modern Novel. In many passages, listening to this very civilized work, I felt a sameness to two summers ago listening to Ulysses. The samenes is not in terms of the story structure or lack thereof, or in terms of the images or the types of characters, but there is a sameness, in certain passages, in terms of language. There is-- and the introduciton to the book pointed to this-- a similarity with any of the Moderns (Joyce, Faulkner, Woolf) who use a stream of consciouness technique. James's novel has that feel in parts, but at the same time it is simply not as hard to follow as Ulysses or The Sound and The Fury or Mrs. Dalloway. James, perhaps, has not completely gone over to the experimental techniques so common among modernist authors, but is breaking groung all the same, and so really bridges victorian 19th centruy fiction with modern 20th century writing.
It is interesting the way James always details the psychological aspects of his characters. I've heard the argument that his brother William was a gifted psychologist who could write like a novelist, and so made his ideas more accesible, and that Henry was a novelist who could think like a psychologist, and so created amazing psychological depth among his characters. This fixation on the internal working of characters' minds, even the acknowledgment of a subconscious world, again prefigures much that is great in modernist novels.
I am very interested in some of the thematic contents of this novel: the 'innocent' American (Strether) coming into contact with the more cultured, refined Europeans; the idea of 'living one's life' to some fullness, conflict between personal pleasure and duty. That idea of enjoying one's life occured to James after a conversation with a friend, novelist William Dean Howells. Howell's had traveled to Paris to visit his son, and had been positively ovewhelmed by the european capital, and had come to doubt whether or not he had really lived-- if he had not wasted his life.
I began listening to an audio book version of Henry James's The Ambassadors on my trip back to Oklahoma over the fourth of July weekend. This book, according to the introduction of the edition I have, is a sort of connection between the Victorian and the Modern Novel. In many passages, listening to this very civilized work, I felt a sameness to two summers ago listening to Ulysses. The samenes is not in terms of the story structure or lack thereof, or in terms of the images or the types of characters, but there is a sameness, in certain passages, in terms of language. There is-- and the introduciton to the book pointed to this-- a similarity with any of the Moderns (Joyce, Faulkner, Woolf) who use a stream of consciouness technique. James's novel has that feel in parts, but at the same time it is simply not as hard to follow as Ulysses or The Sound and The Fury or Mrs. Dalloway. James, perhaps, has not completely gone over to the experimental techniques so common among modernist authors, but is breaking groung all the same, and so really bridges victorian 19th centruy fiction with modern 20th century writing.
It is interesting the way James always details the psychological aspects of his characters. I've heard the argument that his brother William was a gifted psychologist who could write like a novelist, and so made his ideas more accesible, and that Henry was a novelist who could think like a psychologist, and so created amazing psychological depth among his characters. This fixation on the internal working of characters' minds, even the acknowledgment of a subconscious world, again prefigures much that is great in modernist novels.
I am very interested in some of the thematic contents of this novel: the 'innocent' American (Strether) coming into contact with the more cultured, refined Europeans; the idea of 'living one's life' to some fullness, conflict between personal pleasure and duty. That idea of enjoying one's life occured to James after a conversation with a friend, novelist William Dean Howells. Howell's had traveled to Paris to visit his son, and had been positively ovewhelmed by the european capital, and had come to doubt whether or not he had really lived-- if he had not wasted his life.
Sunday, June 27, 2010
Reading Frost this afternoon...much focus on mortality in poems like an old man's winters night...midlife in the oven bird...death or afterlife in after apple picking...the nature of decisions and rationalizing them in the road not taken...good stuff, very relevant to me at this point....love the line about highway dust over everything from the Oven Bird...sounds contemporary like Bob Dylan...(I was thinking of the line Mona Lisa musta had the highway blues...you can tell by the way she smiles...from Visions of Johanna)
...then going to Starbucks in Nob Hill to meet a friend for coffee...we talked some about the parallels between literary and architectural periods...I have tried several times to explain Postmodernism to someone not interested in literary theory, and I suppose the fact that I don't really understand it doesn't help, but I was able to talk with some coherence about modernism, and some of the parallels between literature and architecture really struck me:
-- a certain adherence (awareness at least) of the classic structure and design, not a neo-classicism, but a sort of nod to tradition, form, and structure...
--a reaction against excess and flourish of Victorian styles
--challenged by post-modernists on the grounds of a certain sterility and-- probably because of its attention to some elements of classical form-- elitism.
This is interesting, and I can really see much of this in modernist literature, though I don't know enough about architecture to recognize whether or not these parallels are real. I do know that, in literature people like Joyce, Eliot, Pound all seemed acutely aware of the western tradition in literature and not at all throwing everything away, or even deconstructing, but refashioning things, not to destroy literature, but to reevaluate literature and to make it (as Pound said) new, in order to make it relevant once again.
What I can see in modernist buildings is new materials (concrete, glass, steel), but lots of right angles and recognizable shapes. I am thinking of the Seagram Building in NYC and IBM Plaza in Chicago. Isn't there a parallel to many modernist writers' works: Joyce certainly covers some very 'new material' in Ulysses--defecation, menstruation, fornication; DH Lawrence (need I say more). So the material is new, but in many ways the form is the same (or at least recognizably based on a traditional form). Ulysses is an Odyssey, albeit a modern rendering. DH Lawrence's novels (Son and Lovers, Lady Chatterley's Lover) don't seem overly experimental in terms of form, but the material (theme, subject) is new.
And finally, in this post, we come full circle...back to Frost. I memorized Frost poems in the eight grade with Mr. Ehler's and I think I always kept the poet in my mind as a nice, respectable, patriotic, Pastoral. But, I have to say, I see something else now. The form, the language, the rhythm all seem familiar, easy, even lovable. There is something more though-- something, if not sinister, highly sceptical about Frost. You see it in a poem like the road not taken, for example. I think it is funny how that poem has been held up as a 'hallmark card' of poems-- celebrating the visionary American, the Yankee Pioneer, who's not afraid to take the less traveled path and stick to her guns. In reality, whichever path we take, the other paths in life all become 'Roads not taken'. Is this poem mainly a poem about how humans rationalize their own decisions, even though they know the other path might have been "just as fair"? And then they tell it "with a sigh" because they are aware of their own rationalizing dishonesty.
The other thing which comes to mind with much Robert Frost poetry is the possibility for a sort of Taoist/ Buddhist interpretation. I am reminded of the old Buddhist parable that is called Se-ung-ji-ma in Korean. I know it through Korean and through a children's book called Zen Shorts
. The story can be summarized as follows: A man finds a horse. His neighbors say good. He says maybe. His son falls from the horse and breaks a leg. Neighbors say bad. Man says maybe. This goes on and on, illlustrating that good and bad are all about perceptions. I think this is easily relatable to The Road Not Taken (if we take the poem as ironic).
...then going to Starbucks in Nob Hill to meet a friend for coffee...we talked some about the parallels between literary and architectural periods...I have tried several times to explain Postmodernism to someone not interested in literary theory, and I suppose the fact that I don't really understand it doesn't help, but I was able to talk with some coherence about modernism, and some of the parallels between literature and architecture really struck me:
-- a certain adherence (awareness at least) of the classic structure and design, not a neo-classicism, but a sort of nod to tradition, form, and structure...
--a reaction against excess and flourish of Victorian styles
--challenged by post-modernists on the grounds of a certain sterility and-- probably because of its attention to some elements of classical form-- elitism.
This is interesting, and I can really see much of this in modernist literature, though I don't know enough about architecture to recognize whether or not these parallels are real. I do know that, in literature people like Joyce, Eliot, Pound all seemed acutely aware of the western tradition in literature and not at all throwing everything away, or even deconstructing, but refashioning things, not to destroy literature, but to reevaluate literature and to make it (as Pound said) new, in order to make it relevant once again.
What I can see in modernist buildings is new materials (concrete, glass, steel), but lots of right angles and recognizable shapes. I am thinking of the Seagram Building in NYC and IBM Plaza in Chicago. Isn't there a parallel to many modernist writers' works: Joyce certainly covers some very 'new material' in Ulysses--defecation, menstruation, fornication; DH Lawrence (need I say more). So the material is new, but in many ways the form is the same (or at least recognizably based on a traditional form). Ulysses is an Odyssey, albeit a modern rendering. DH Lawrence's novels (Son and Lovers, Lady Chatterley's Lover) don't seem overly experimental in terms of form, but the material (theme, subject) is new.
And finally, in this post, we come full circle...back to Frost. I memorized Frost poems in the eight grade with Mr. Ehler's and I think I always kept the poet in my mind as a nice, respectable, patriotic, Pastoral. But, I have to say, I see something else now. The form, the language, the rhythm all seem familiar, easy, even lovable. There is something more though-- something, if not sinister, highly sceptical about Frost. You see it in a poem like the road not taken, for example. I think it is funny how that poem has been held up as a 'hallmark card' of poems-- celebrating the visionary American, the Yankee Pioneer, who's not afraid to take the less traveled path and stick to her guns. In reality, whichever path we take, the other paths in life all become 'Roads not taken'. Is this poem mainly a poem about how humans rationalize their own decisions, even though they know the other path might have been "just as fair"? And then they tell it "with a sigh" because they are aware of their own rationalizing dishonesty.
The other thing which comes to mind with much Robert Frost poetry is the possibility for a sort of Taoist/ Buddhist interpretation. I am reminded of the old Buddhist parable that is called Se-ung-ji-ma in Korean. I know it through Korean and through a children's book called Zen Shorts
. The story can be summarized as follows: A man finds a horse. His neighbors say good. He says maybe. His son falls from the horse and breaks a leg. Neighbors say bad. Man says maybe. This goes on and on, illlustrating that good and bad are all about perceptions. I think this is easily relatable to The Road Not Taken (if we take the poem as ironic).
Thursday, June 24, 2010
Tuesday, June 22, 2010
BC Southam on Eliot
I picked up BC Southam’s Selected Poems of TS Eliot at the CNM Library last week, along with a collection of essay on Eliot, edited by Harold Bloom. Some basic observations from Southam’s book so far:
• TS Eliot’s poetry is difficult and this book’s purpose is largely focused on helping readers deal with the difficulty caused by the many and varied allusions and quotations in his works.
• Eliot defends his own complexity as a reaction to the complexity of the modern world.
• Eliot attempted to “assemble the most disparate and unlikely material to make a new whole”… I like this idea, and I was thinking about Ezra Pound’s dictum “make it new”… some discussion of making it new in order, not to destroy art, but to make it more relevant, and essential to a new generation was included.
• There is much discussion of Eliot’s debt to the French Symbolist poets who he discovered while a student at Harvard. He learned technique and also an appreciation that his life did indeed provide poetic material out of unpoetic circumstances. He was particularly fond of and influenced by Laforgue.
Some of Southam’s ideas about Prufrock:
• Mentions parallels to Dante (Ironic, pathetic, comic), and parallels clearly some of the language in the poem to Laforgue’s language.
• Also outlines influence of Bergson
• And the echoes of Ecclesiastes (the notion of return and a time for everything)…this was a very popular theme of Americans in Paris in the 20s it seems, as Hemingway used it as the epigraph for his novel The Sun Also Rises.
Some of Southam’s ideas about Geronition:
• Wyndham Lewis observed Geronition is a close relative of Prufrock.
• Connection to war poets who “took up theme of youth dying at the front—while old men (Geronition like) remained securely…at home”.
• The image of “Christ the Tiger” is interesting
• Concept of history is reminiscent of Joyce’s Stephen Deadalus saying “History is a nightmare from which I am trying to awake.”
Some of Southam’s ideas about Sweeney Among the Nightingales
• Title may be a reference to Ode to a Nightingale
• “nightingale is also a slang term for prostitutes…Eliot once remarked that the action of the poem takes place in a dive…”
• Eliot has been quoted as saying, “all I wanted to achieve with this poem is a sense of foreboding…” It does seem to have a very strong sense of something impending.
• TS Eliot’s poetry is difficult and this book’s purpose is largely focused on helping readers deal with the difficulty caused by the many and varied allusions and quotations in his works.
• Eliot defends his own complexity as a reaction to the complexity of the modern world.
• Eliot attempted to “assemble the most disparate and unlikely material to make a new whole”… I like this idea, and I was thinking about Ezra Pound’s dictum “make it new”… some discussion of making it new in order, not to destroy art, but to make it more relevant, and essential to a new generation was included.
• There is much discussion of Eliot’s debt to the French Symbolist poets who he discovered while a student at Harvard. He learned technique and also an appreciation that his life did indeed provide poetic material out of unpoetic circumstances. He was particularly fond of and influenced by Laforgue.
Some of Southam’s ideas about Prufrock:
• Mentions parallels to Dante (Ironic, pathetic, comic), and parallels clearly some of the language in the poem to Laforgue’s language.
• Also outlines influence of Bergson
• And the echoes of Ecclesiastes (the notion of return and a time for everything)…this was a very popular theme of Americans in Paris in the 20s it seems, as Hemingway used it as the epigraph for his novel The Sun Also Rises.
Some of Southam’s ideas about Geronition:
• Wyndham Lewis observed Geronition is a close relative of Prufrock.
• Connection to war poets who “took up theme of youth dying at the front—while old men (Geronition like) remained securely…at home”.
• The image of “Christ the Tiger” is interesting
• Concept of history is reminiscent of Joyce’s Stephen Deadalus saying “History is a nightmare from which I am trying to awake.”
Some of Southam’s ideas about Sweeney Among the Nightingales
• Title may be a reference to Ode to a Nightingale
• “nightingale is also a slang term for prostitutes…Eliot once remarked that the action of the poem takes place in a dive…”
• Eliot has been quoted as saying, “all I wanted to achieve with this poem is a sense of foreboding…” It does seem to have a very strong sense of something impending.
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