Dépôt Institutionnel de l’Université libre de Bruxelles / Université libre de Bruxelles Institutional Repository
Thèse de doctorat/ PhD Thesis Citation APA:
Weisgerber, J. (1952). The poetry of W.H. Auden 1924-1941 (Unpublished doctoral dissertation). Université libre de Bruxelles, Faculté de Philosophie et Lettres, Bruxelles.
Disponible à / Available at permalink : https://dipot.ulb.ac.be/dspace/bitstream/2013/292558/3/16e19712-f811-4208-befa-8c03664a2d30.txt
(English version below)
Cette thèse de doctorat a été numérisée par l’Université libre de Bruxelles. L’auteur qui s’opposerait à sa mise en ligne dans DI-fusion est invité à prendre contact avec l’Université (di-fusion@ulb.ac.be).
Dans le cas où une version électronique native de la thèse existe, l’Université ne peut garantir que la présente version numérisée soit identique à la version électronique native, ni qu’elle soit la version officielle définitive de la thèse.
DI-fusion, le Dépôt Institutionnel de l’Université libre de Bruxelles, recueille la production scientifique de l’Université, mise à disposition en libre accès autant que possible. Les œuvres accessibles dans DI-fusion sont protégées par la législation belge relative aux droits d'auteur et aux droits voisins. Toute personne peut, sans avoir à demander l’autorisation de l’auteur ou de l’ayant-droit, à des fins d’usage privé ou à des fins d’illustration de l’enseignement ou de recherche scientifique, dans la mesure justifiée par le but non lucratif poursuivi, lire, télécharger ou reproduire sur papier ou sur tout autre support, les articles ou des fragments d’autres œuvres, disponibles dans DI-fusion, pour autant que :
Le nom des auteurs, le titre et la référence bibliographique complète soient cités; L’identifiant unique attribué aux métadonnées dans DI-fusion (permalink) soit indiqué; Le contenu ne soit pas modifié.
L’œuvre ne peut être stockée dans une autre base de données dans le but d’y donner accès ; l’identifiant unique (permalink) indiqué ci-dessus doit toujours être utilisé pour donner accès à l’œuvre. Toute autre utilisation non mentionnée ci-dessus nécessite l’autorisation de l’auteur de l’œuvre ou de l’ayant droit.
--- English Version ---
This Ph.D. thesis has been digitized by Université libre de Bruxelles. The author who would disagree on its online availability in DI-fusion is invited to contact the University (di-fusion@ulb.ac.be).
If a native electronic version of the thesis exists, the University can guarantee neither that the present digitized version is identical to the native electronic version, nor that it is the definitive official version of the thesis.
DI-fusion is the Institutional Repository of Université libre de Bruxelles; it collects the research output of the University, available on open access as much as possible. The works included in DI-fusion are protected by the Belgian legislation relating to authors’ rights and neighbouring rights. Any user may, without prior permission from the authors or copyright owners, for private usage or for educational or scientific research purposes, to the extent justified by the non-profit activity, read, download or reproduce on paper or on any other media, the articles or fragments of other works, available in DI-fusion, provided:
The authors, title and full bibliographic details are credited in any copy;
The unique identifier (permalink) for the original metadata page in DI-fusion is indicated; The content is not changed in any way.
It is not permitted to store the work in another database in order to provide access to it; the unique identifier (permalink) indicated above must always be used to provide access to the work. Any other use not mentioned above requires the authors’ or copyright owners’ permission.
Lt
8 ^ i . 9
O o c t o r a t c T î i e s i s
i
Asnng the Englitâ) poète &£ tiie 1930*a v.*H« kvà&a certaizily l a tbe ooa t b a t haa ezvJqyiSKi tbe ler^Eiat aiidîenoe and t^iat liaa glvea t l a a to the »»et p«8«l<inate controveragr. Far t a a yeara bia peraonallty^ hia p œ i l c adilevement, h i s p o l i t i c a l IdMia ëJsA hia fM-lximo^ haïra be«) e i t h e r extolled or s a ^ ^ ^ l y «ttacked. Very aaldcn» indeed^ bas hie wœrk been atudied an unbiaaed c i l t i c . I n api t e of the large
rmober of critiques i ^ c h bave been devoted t o i%, i t bas not r e o e i m d the a t t e n t i o n i t deaerved. Except for a smalî bo<dc by Fr« Searfe and aone a r t l c l e e ^ nothing serioua has been w r i t t e n on i t » That m» hama stq^lied t h i s lack im camot h < ^ . But m éiaill ha fiPUiâ i f «e have avoidad theerrors of titose w d t e r s «ho, iMaeraed i n the p o U t i c a l aztd H t e r a i y ccmfllcts of tJtieir t i a e , hav» indulgad t h e i r inrejudima*
the preaent atviày deala «Lth the poat^y etf W*H. Auden on]jr. lîLê plKya have deliberately been l e f t eut. But they have been refenred t a ^émmver it nocessarjr i fcor instance^» t o «Kplain the evolutio»
of tbe ideas or to solve acan tecimical problem, "Que f ^ e t t h a t «a hava nol caiTied on oar reseor&H ht^ond a certain date requiz«a • m m ! of e3q;)lteati(xn. Ihe years 192^-1^^ reproaenu a fair^jr r a m t e d pailoâ i n Aisien*s career* I n contraat « i t h h i s more r o œ n t waeckBkg the poeisa he ^ o t e betaaei, tiUMa dates are so d o e e l y bousà 19 « i t h tlœ histcxe^
of tho décade t h a t they engage the a t t e n t i o n of the h i a t o r i a n aaâ tha aociologiat a« « a i l as t h a t of the c r i t i e . As m mm e h l e f l y interaated i n the représentative significan(« of Auden»a poetxyj, m bave retraced hia dewlc^nent ao long aa he coold be r e ^ r d ^ aa tlu; p o e t l c ecmaden» oe of h i s âge. On the contnwy» the l a t e r worka bet^ay a d i f f é r e n t
a t t i t u d e to l i f i * Aa «e cannot sret see then i n tha i»roper perspective^ ne deeaed i t advieable to atqp i n 19Ul«
Aa f a r aa our aethod I s concemed, «a luive been aoaeihat cœ>» Bwnmtiva. F i r s t l y , t h o u ^ there has been i n the Liât twantgr yaara or ao a tendency én acadende eircles in England and Aaariea t o dlaeard the b l o p v p h i c a l and h i s t o r i e a l nethod^ ae hav« aaad i t a j ^ t ^ t t t i c a l l y throughout ^ r t 6ne (idoaa) and oceasionaUy i n Part- Iwï 4i*ethod and ttecfaniq\ie). I t una a i l the ïware advisable aa Aiiden i s a dynaîd-c perco-naliiy» Bealdea^ h i s évolution d^pwada t e a great «xtent on i n t e r » pligf of blograiâilcaX and social eleanata*
1 i l
On the oth«r ftand, m intenied to 0iQ)p33r an I n t e r p r é t a t i o n of M a i d i f i l e o l t wcKTks and t h i s could on]y be d©ae by d ^ d i n g with tbem »ai»ratc]y and i n dir<MW10éiical order. Secondîy, wa bave atudc t o tha t r a d i t i o n a l d i s t i n c t i o n betireen sait t e r and wRxsmr, Audan i s a poet «Ith a pxurpose» he atlempts to vdn the reader over t o b i s cause and^ as a ecrnsequence^ hù attadiea Ibss inpcjrtance t o f o r a than t o eonteat» To stud^ tbr; foraer» i t «aa nQceraaz^y to knœr tbe l a o t e r i
t o aiJt ibm xxp would ham brou^^t about confusion. Itevertb lese^ we bave t r i a â to aaka vp f o r tld.e a r t i f l c i a l d i s t i n c t i o n applying i a Part tiro \2xu so*callfld aetboâ of textnal aaailTsia i . e . by dealing « i t b p a r -t i c u l a r -tcxU» and -txTing -to aboir -the r e l a -t i o n * be-taaan -tbe f o m and -the ideaa aaqpresaBd»
In the Introduction wt ba-ve attnqpted t o tik»tàb tbt foreaa a t vork i n siodem Eni^lisb rxieixj and to e3q>lain ihB a i t u a t l o n aacb as i t «aa nAian Attden etarted « r i t i n g * Hie Biograii^ical l o t e aad the Chronolo»
g i c a l IM^le contain f a c t s e s s e n t i a l to the underetandlng of b i s poeaa* Fart One «bicb describ a bla atodc of ideaa bas been divlded i n t o four chapters according t o tbe atagea of b i s evolutloo. Cha^itar I deals with the P^^choloèiical Viewpoint, Chapter I I with the r o l i t i c a l VioeptrfLnt, Qiapter I I I d t b tha ISaral Vieepoint and C^tapter IV ahowe Auden cm hie «ay to Qod. Part IVro i s an inquiiy i n t o his 3^thod and faia ftelmiqua»
Oiayter V ("Ihe Interprétative Art") ia derotad t o tiMi vtçf tha poat recorda hia experianee^ Chapter VI to b i s J^jyBfools, Chapter VII to S a t i -r a «ad Mo-raUaatico, Ibc îoUjutia^ chapte-ra deal iKiih ^ Tediniqua
propert (hap^jtfr VIII v d ^ Rhytl% Chapter ÏX Tilth lior|iholog^ artd ^ntaz^i Chapter X r d t h Vocabulaiy^ Cbtept/ar H id.th the IiMgMtj» tmà C h u t e r XII
(*^)uali£iB i n Ëscpre&slQii*) «dth the relatiecoa batweaii estperience and eK» prassion. I n the Cœicluâion a» ba-va mDaoad up our ia{»rMal0B8 aad beaidea, m ham t r i e d to détermine Auden' s influence mà t o WttSja b i » a plaça
i n the h i s t œ y of zaodem Iiht,i eh poeiiy. îhe Index roflars to the authora and the |»>incipaX woxlca mad periodicals quotad* t3Mn#>« owing t o tha f a c t that most perLodicala are not available i n B e l g i m , the B i b l i o g n ^ phy i s not axhaustiva, i t i a , «e hope, f a i r l y compléta*
U i
«nd Mr. C» C<«»»13y f o r Infonaation gencroualy glven, t o the Brussel* azxl AarterdUm Ceatros of Ihe Britlah Councll, tho R r i t i l h nminril, the Britlidi Itosvua Library s t a f f and the l i b r a r l a n s of Ihe Etothoren Collection f o r tJwir patienoe i n d aling with our qiieriea.
i v CONTî^TS
voLinœ I
BIBUCKKAPIff ù-xi/i:
IlTROOOGÎIdB. Forças s i n faigllsh Poetty f r o a the Vlctorians up i b —
Modem P œ t r y i DefiniUflia*
( i ) I n t e l l e c t u a l Badcfarouod/g. Victorlaa FeMd«li«|/2.t'tt» UeorgL«zw/5. Hm afiizU'oet4i;^5t the IdM of S o c i a l D i s i n -t e g r a -t i o n / 3 . PesslHiflHi i n Modem Poe-tiy/$i W«B* Twi-t-t/^, D,B« La>reaco/6« T.S. E l i o t / 6 . Ceusea and Characteri»-U c 8 of îiodera Piesaislnv^*
( i i ) Ëètbod, (a) S a U r g / l O . a© WaxwPoativ^* îto e m Iro^sr/H ( i i i ) Dictjqn» (a) Çocabulanr/%. INwrWVictorian Experiaents/ll*
Ihe I«aslsts/I->T TSaê Vocabulary of Modam Foetryi Variety and Ac u n c y A ? * (b) laaagMt/lS. Iha lMig|jit«A&> 3 »
iMst^piiysloala/SO. The*1>?endE Sljrirbollstii/SS. Ihe Im@B8 of Modem Poetry/25. Frce AjsociatioEV^* (c) ^ f e r w ^ * S«ia-7er8e and 2^pe«d>-Vcrf3«/27. l ^ l l j à i c F r o a o ^ aad Ao-centual ProGodyfé^* H<KAlns/fe8, Free Veraa/S9« E, S i t r o l l /31« ISBsm/^. Staiisa/53.
(iv)Conclu;^<»« I n d i v i d u a l i a V î U . Social î a t e r e e t / j U . ï h e Zdaa of Di s i n t e s r a t i O T / ^ » l a n t t B B c e o f th» I « a s i s t » / 3 5 , Obacnritgr/^.
BICxmAPHICAL IWIS. I o u t h / 3 6 . Oxford/59« GSer««aQryÎ4l. U i e r a x y Debut/?^ Collaboration « i t h the O.P.O, F i l a
UnitA3*
Icsland/}4U* 3painIteptttatioiv'jM^* Chlna/U^. AaericaA^* CHRONOLOGICAL TABLE/Ï416.
PART OHg> IPg*8
cHApm ! • imms a p a t t f s r i t h e p s t c h o l o g i c a l n.m?(nm/ls*
( i ) F i r a t Atteipta (192l»''19g8)y1»9. Inflaenoa of E, Iboaaa. Bil Haidy «ici R. l-VcaV^^V Influence of E l i o t ^ . I n f l * att^e of Istenroodt tha W«Mi(^rth/5l* InTlaena» of tha Icalandio Saijaa/SU. Paid oa Both
aidet/^.
Potaa» (1928) ( i i ) Poeae (193O)/50* Contcnt8/58. Badcgroundi Bordic landaa( i i i ) The Orators. An Engllsh Study ( l 9 3 2 ) / 7 8 . Coranentary; Book
Bocik IÏ/8Ô, Book I I I / 8 3 . At itude towards Capitalisin/86. ( i v ) The Patt<:-;m/87. Inipersonality of Auden's Poetry/87. His
DoublS; UaiïE/88, His Love f o r England/o9. Duallsm of h i s Poetry / 8 9 . Inc.^nsistency of his Doctrine/89. DynarnisE/90» Influern» ces Undergorœ/90. Neir Signatures (1932)/91. Conclusion/91.
/ ( i i ) New Countiy (1933)/9U. Commentary: «Prologue"/^U, ''PoeniV95, ' "A Happy New Year*/96, "A Communiât to Others" (Criticism of
' Capitalism and Change of C l a s s ) / 9 8 /
( i i i ) The Dance of Death (1935)/100. Argument/lOO. Criticism of
Capitali 81^102.
i (iv) Auden and Jtoirxlsa» 103* Spokesman of GoœraunisVl03« His
Con-i cep'Con-ion of CommunCon-ism/lOl^. Influence of CommunCon-ism on h Con-i s Poetry/105.
CHAPTER n i . SINt THE MORAL VXEWPOINT (L935-1939)/106.
( i ) Introduction. Frexxà and Marx/106. Spokesman of Anti-Fascism /1Ô6. Msgust of P o l i t i c s and Sensé of Guilt/lO?,
I ( i i ) The Dog eneath the Skin ( 1 9 3 5 ) / l 0 7 . Argument/107. The Playt
Time/115), Frexid and iSanc/ll5. Attitude towards Communism / I I 7 .
( i i i ) The As cent of F6 (1936)/118. Ar guinent/ll8. S a t i r e / 1 1 9 . Moral Problems: Interprétation of the Character8/119, Michael's 1H.11 to Poft'er/121, Universality of Sin/122. The Problem of
Action: AnarchiBm/122. Influence of l^Tx±sm/123»
(iv) Look, Strangeri ( l 9 3 6 ) / 1 2 i + . C o n t e n t s / i a i . Background and Mood/12l+. Conparison with New Gountiy/125. The Moral View-p o i n t ! Attitude towards Coinmunism and Society In Geaeral / I 2 6 , Suffering/150 and S i n A 3 0 > the Problem of AcUon/132. (v) Letters from Iceland (1937)A3U« Contents/l3i<. S a t i r e and
Analysis of Society: "Letter to Lord Byron''/13U. Anarchim / I 3 6 . The Change of Class/l37. The Problem of Action/138. Conception of Art/139,
(vi) Spain (l957)/2i+l. The Inportanœ of the Spanish Civil War i n Eaiglish L i t e r a t u r e / l i A . Commentary/li; . S p i r i o u a l i z a t i o n of the P o l i t i c a l Conflict/lU?. Attitude towards Capitalism/liii+. The Choice/liU;. The Problem of A c t i o i v ^ u
( ^ i ) Jotirney to Wap (3.93^0ASO» ConteataASO. Th« Moral Vlewpoiatt Ai»3ysi8 o f Soç4«ty/Î52, the Good fOace/lSl^, W a r A 5 6 ,
/ / / ;
9 < » c l u 3 i W l ^ * ( • ) i y i i ç g A 5 7 « Influence of Freud/lSTi D*H» Lasrrenœ Dià«irdedA57, Dynaîdjw/lÇS, Sin/l58, Conceptdwi of A r t / l 6 0 . i è ) PoUt-lcs/lélt ftreud and Mtrx/lôl, H i s t o r i o a l tiate-r l a l i n / l ^ ? . * ihe Juat Cii;yAâe, the Ptiate-rabltiate-ra of Aciâ.<xn/X/SSi, Love f o r t:nglarià/162. (c) I^eliront A f l n l U e a idtto the Christian Bo.:;trine/à63»
<mT7m IV. iH?/;"AT TO ocm (içii.oui9ia)/i6r>» /
( i ) IntroduétionAo^« ? riod of T'nansiUon/lâÇ. I n t e r e s t i n R e l i g i m / I t Ç . ?k'ck5^cwtt^/lù5.
^ ^ o ^ g r (19ltO)/165, Contents/166. The World of Facta/îi67. k i f f e r i n g an<î Sin/169. Tbe CroatureaATO. Canceptiwi of Lova
ATIi the Qood Place/172, ar:TBlati<OT/17?, Forclvcnesa/ITU.
th» ibrogaUoo of the wil5A75* P o H t i c a l AttiUxi«/l76. Auden's
Daciaicii t o S e t t l e i n AaBricy'176 Eaqplaimd hgr hi» P a c l f l n / L 7 6 t h i e AnarchiaViT^, ^ "kW iMÙ^
( i i i ) Vim Year Letter (l$ia.)/i61. Gontents/10i, 3he S d e n t i f l c P r e a l -8e«/E=n. i'r3caa(i and a e c e t s i t y A 9 8 : .
EvilA95. SinA95. TlaieA96,
BesponaibilitirAv?* l'Ovo and tho 3m\ C i ^ / i f f i , AttlUtâ» t o r a r d s P o l i t i o a l Si/otcasi Anardiia^A'^^'^* ^ Poet*« lialk/Z 0* lha Qaestt l a d i v i d u a l SoluUcav'SOl. Influence of Ai^ilca/COJ»^^^^ g o o c l M g i g p / ^ » Influence of Sci^nee/SCii. I n f l u e n t of lake/20U banta/ZO^f Ooe^iwt/îKÇ and of O i r i s U a n Sîclotmtialisin ( P a s c a l / 209« Kiericegaard/206, Iùifka/S06). A f f i n i U e a « i t h Gtudstian Exiatenxdalisa: E e a l i a o ^ / ^ and isolaition of ihfj Iadividual/207« Marx and F r e u d / ^ , Imiaance/2(%, Tho Proî^lon of Action and the I r o r y Tor.'er/209« Aaden and P r o t e a l a n t i a V ^ ^ *
m j m n
PART t l O . KRIÎfôD AMD fHmgQPg A« iffiTOOD. Art and Psydiolosy/l.
CHAPTï>S V. ÎHiC Iim.'RPKTATITS A.RT/3, Interpi-etatlott of Landacapes W lhinga/3 (influence of Rilîce/6). Int^ rpretati<m of Peraonal Fee-lingr./7. I n t e r p r é t a t i o n of BiograptoLea/?* Pœ^^ «nd Ideas/10* S u b j e c t i v i t y / n .
CaSâPTZn VX. 3X2S0LI5iî«/l3* nature of Aaden* 8 dywtioljjt ( C l a r i t y ) / ! ? * SS&âZËîSlS^» ^ BirdsA;» Bïe Clocic/15. S » 'û?avollerA6« ( i i ) Ittadappe 5yià30li<M/19. Influence of 81iotA9* S p i r i t u a l i a a t i o o
of liatur«A9« PBycMc Oeograpby/SO* S|>iriùualisa/21*
( l i i ) Social Syitiboliaq/gg. * & a u p L a"/*^^* HljFpoa^Jt Cîiaraotor-Otwaing Auden's ihcatrei ladc of ?try^ology/25* Influence of Oeroan
1
th« Blble/50. Clarity of Aaden»» 3ywiadlM/3Z» (v) Perlifa'asl8/5a»
( v i ) Conclu8lcw/3U«
CHAPTER VII. SATIRH A':!? '^'^AUZATTON/JÎ?,
(1) SaUro/?*). (a) I r < ^ . î ) e n j d U o n / 5 5 . I r o n i c a l Uaderstateaents i n Poogg L~'.tcro fron Icelaadl/35. ^rorgr •« a Mwm» to Avoid
3 5 l M m i t y / j 9 . (b) InvecUvfAO. l a r o c t l w and C f l w a d e t P r o p a ^ » -daAO. - K d a c t i o I^ivecUv««A2. (c) Haigu5/Î42. (d) Farca.
Burlo3-( i l ) MorallwiUonA^. Burlo3-(a) Dldaetlam, Qnoslc ^^^^^M'.^^ 5 S ^ î r " * ,
fflg&/ll9. GroundOissa A«8«rtàon8A9. Hi::torlcal SurvcyaA^. U û ^ i o -( i l i ) Conclualcm. Oa-on l o ^ / 5 3 «
CHAPTER v n i . l î K f n ^ 5 «
( I ) Frce VeraaA5. Influence of ElioVÇ5. Tho CJwruaea (AJ f i n i U a » « i i h tieroan Rxpreaaiewia» ani Paul Claud«X)/37»
( i i ) R e n i l a r J 4 e ^ 5 l / 5 9 . ifetraa U8.d/59. Mixtura of D i f f é r a n t « B t w s / 6 0 . Variations! ( a j 5ttbstitutlon/6l (b) Coitpensafaoty Pau—/6g (c) CoiuecaUve 5 t r e 3 3 e s / 6 3 . Iïï?luence of Hopkina/eù. Speach-Versa anâ Scmô-Verse/6i^,
( i l i ) A l l i t e r a u i j i V a » . Influence of Ropkins and of Anglo-Saxon Poetiy/6U. ( i v ) FioTne/63. Apprordacite Rhyiucs/cSé. '•Pararhy»D«»(?i« Û«ren)/66,
(v) 3 t a n z a c FonBa/67. Quatraln/d?. Ballad-èSwWttre/SB, Othar Stanaaa / 6 8 . 5onnei/fc^, 3esUna/70,
(vi) ConclusiOTi/Tl»
CHAFTKR IX, MORPlTOLOCar AKD sniTAX/72,
( 1 ) t l f i i t a n l n g ProcBaa/7g» Influence of A n a o - 3 « < » Poctry/75.
Cobç>»-r l s o n wliJi CeCobç>»-r«an KxpCobç>»-re3sionia^/75. ( I I ) Looaanin^: Proeasa/TU»
fiii
CHAPrîSfî X, TOC.ABUURr/77. Influence of ttxe 19aO««/77. Vari«ty/77. Abatract Vocatnilazy and P l c t o r l a l Vocabttlaxy/7â« Rebabilittt»
t i o n of Ab8traetl<m/80*
CSAFtm XX • IMAQBS/Bl. Visual laaeea/SX. Staractoral Imgm/Sl»
f^uM-tioàaX lMfi»a/85» Imsi^o and 3 t « t e a e n t a / ^ « AaaoeiatioB Diaoarded/BÇ*
CHAPIsa m . DUAUSK i n iacP!dSSSIOI(/87. 1 ^ Lsvaltf i n Auden*! S t y W 8 7 *
iSiBdLvm of Ratioosl Ka0irled^/87» Ih« Wa&im l ^ t i o n / v l .
Ci) Danaaaisaj/git, Cjenvinci; fcB> Elx|>eriBBntatioiV%>» Auden*s Evolution D«s ;ribed a« a Séries of Conflicts/^l^. Tondeii<y of h i s Svolu» ( i i ) Signifleaftce/96. Auden ass an fisqxsoent of ïriLs At^/96, Collective
(JuaUtgr o F k i a Doctrine (his AuthoriUea)/56. i ' o l i t i c a l
Doctari-ne/9J, Discussion of h i s Doctrine/S?» îhe Ivoiy î o n B r / ^ »
( i i i ) Attcicn'a Plae» i a thé Hiatory of RnsHsh PoetryA^* His I^rri-citt^/99. D i d a e ^ e and à a t i r i c a l W t r y / . A t t e s ç t a t Popular Poetay (cbscurtiy)/100. l a Auden a Ûreat Pœtî/jjÔO, His I n f l u o n -ee m Modem Ent^lish Poetiy/lD8. ( « a l i t a n t Poetrj'/loe, Poetry of Bmxydaar U f e / l O J , S t y l e A 0 5 ) .
BIRIJOGPAPHT. (1)
I . Ttw Works of W«H« Audcn (a) Poetry and traîna
1920 PocM. (Axford), S.Ii.S,, 1928.
1950 Po«M* london, faber and Fabcr, 1930/1 •
1932 The oratora. An En^llah Study. London, Faber and Faber, 1932A» 1933 Poeaui. London, Faber and Faber, 19U5/2.
The Lance of Death» London, Faber and Faljer, IShX»
193k The Oratora. An ïnf;li8h Study. London, Faber and Faber, 193V2.
1956. Look, Stranper 1 London, Faber and Faber, VÀS* 1957 Spaln. Loncîon, taber and Faber, 1957.
19U0 Another Tlae. London, Faber and ^aber, 19UU. 19U1 New Year Letter»London, Faber and Faber, 19U6*
Paul Iiejiyan. UoMic by Benjasdn B r l t t e n . London, Hawkea & Son, 19Ul. 19U5 For the Tl»e Belnp. London, >aber and Faber, 19U6.
The Collected Poetry of W.H. Auden. New ï o r k , Rand«i House, lSi>U5» ISMî The Açp of Anxlety. A Baroque Eclogue by \i »iU Auden. London,
^aber and f^aber, 1.^3,
1950 Collected Shorter foeas 1930-19Ui. London, Faber and f a b e r , 1950. (b) Viorks li^ritten In Collaboration
1955 Auden (?j.H.) and Isherwood (Ghristopher) t ^ Log Beneath the Skln or Where i s rancis ? A Play in Three Acte. London, Faber and l'aber, VMi»
199^» kvà&n (w.U.) and isherwood (Ghristopher) i '^ho Aacent of f 6 .
A Tragedy in T«ro Acts. London, Faber and Faber, 1936/1* 1937 Au en ( .H.) and Isherwood (Ghristopher)I The Aacent of F6.
A Tragedy in Two Acte. London, taber and Paber, IStUj/S. Axiden (W,H.) and MaeNeiee (*'ouis) i Lettere f r o a Icel.and» London, Faber and Faber, 1937»
1958 Auden (i^.H.) and Isherwood (tihristopher) t On the Frontier» A Melodnuaa in Three Acts. london, Faber and tâber, 1939» 1939 Auden (îS.H.) and isherwood (Ghristopher) t Journey to a ftar»
London, Faber and l'aber, 1959. (e) Translation
1957 Tôlier (Em8t)t No More Peace . . . Translate^ by Edward Crankahaw. Igrrics A<iapted by W.H. Auden. London, The Bodley Head, 1937.
X.
(d) Edition»
1926 Oxford Poetry 1 ^ Edited by Charles Pluab and W.H. Audon. Oxford, Hasil Blackwell, 1926.
1927 OxXord Poetry 1^*27 Kdit«d by 'ff.H. Auden and Cecil Day Lewis. Oxford, 'àasii Ôiackwell, 19î?7.
1935 The Poet's Tondue. An Antholo(Tr Chosen b y l * H . AÙdan and «^ohn Garrett. London, G. Bell ^ Sons, 19ii5.
1936 Elton (Arthurjand Fairthorne (itobert)t »tqr Aéroplane» Fly, London, Longaans, Green & Co., 1936 (In "The «arcîi of lime Séries " Edited by *.H. Auden and Arthur Elton).
193B The Oxford Book of Lj^ht Verae Chosen by l . H , Aud«n, O.U.P., igUl. lÇii6 Tennyson. An Introduction and a Solection by W.H. Auden. London,
Piioenix House, 19U6,
(e) Articles in Books and Miacellaneous Essaya.
19^2 Wrltinp or the Pattern Tjetareen Feople i n j An Uutline for Boy» and j'irls and t f e l r Parent». Ei^ited by Naond «itchison. London, Collancz, 1932. Ipp. dU9-868).
1934 Honour (Greshain's School, Holt) in t The uld School. jissays by Divers Ilands. Edited by Graham Grcene. London, Jonathan Cape, 193U. (pp. 9^0),
The Group Ifeve'mcnt and the Middle Classes in I Oxford and the
Groupa. Edited by R.H.S. Croasman. Oxford, IBasil èlackwell, 193k* (pp.a9-.101).
1935 The pooA Life in t Christianity and the Social i^volution. Edited bly Joî'.n Lewis, Karl Polanyi, Lonald K. Kitchin. London, Gollancz, 1 9 5 5 . ( p p . 3 1 - 5 0 ) .
Psychology &ni Art To~Eay in : '^'he Arts Tp-Pay. Kdlted, wlth an introcjuction by Geoffrey CJrigaon. London, John Lai» - îha Bodlay Head, 1935. (pp.1-21).
I f^ant the '^heatre to 'tkt in the Programme of the Group Théâtre ï»ro<iuction a t the '*'estnji'nster ^heatre of Sweeney Agtnostea and The Lance of i-^eath. uctober b, 1935»
1939 I Believe. The Personal Philosophies of Twenty-Three £minent «en and l'oBien of •-'ur Tirae. London, Oeorge Allen & Un«in, s . d . (1939)»
(pp. 17-31). Auden
(a) Ganer»!
Bantley (Lric) t The Pl«y»rrlght «8 Thlnker* A Stoày of Dnwa i n ^^od«ro TiMS. hm lork, RejTial Hitchcock, 19U6.
lÉlloBgh (a«ofi>sy) I The î'rend of ^^dern ^oetry* Edlnburgh-London, The CioBbridre History of KngUeh L i t e r a t u r e . Edited \ar S i r A.A. r ard «K? A.R. l î a n . . r , C t C p . , m . Vol. J t î î ï .
Kvaoïs (B. I f o r ) t Engliah Literature Detween thc Y^ars. London, îletîiuen. Grlerson (Herbert J . C ) and Smith ( J . C . ) t A C r i t l c a l idotory of Ëngliah
Poetry. London, Chatte & Windus, Vdih,
MUirhols (berner)t l^utaetw Llteratur der Qegeiwart» Problmw* ErgebnlMM GeétAlièki. Dùirchêeëehén ^ « W e i t e r t « t e Wieaer. Berlin, Sieben-Stifbe-Verlag, 1931.
Rayaond (i^arcel) i Le -audelaire au SutTéaliaie* P a r i s , C o r t i , 19U7* Routh (H.V.) t Enpliah Literature anc Ideaa in Uie Tir;cntleth Century.
An inquiry into Présent Dii'f'icultiee and i^uture i'rospects London, Methuen,
8«af«on (Georige) » Yhe Concise Cambridge Mi«tory of F-npliah Literature* ô.' .'p., V-M5,
S t e r g e l (Albert) i richtnnp: und Dlchter der Zeit» Bine Schilderung der " en l'iteratnr der i c t z t e n Jeiiraehnte. Neua 1 . l a Banne d«s £aq>resslonisflRiB« L e l p s i g , &« Voi^ llîndera V«rl»g, 19B5.
Tlndall (William ïork) t Forcea in «odem B r l t i a h l e t c r a t u r e i m ^ V ^ ,
liem iork, Alfred A. Knopf, 1S«U7«
Walker (Kuph) t The Literature of the Victorien ^-ra. C.U.P., IVIO*
Kapd (A.C.) I Twentieth»Centxu-y Literature 1901-1^8*0» Lorjdon, «ethuen (b) Poetry
Angello» ( J . - K . ) i Raiwwr J*W»i» rdlke. l ' é v o l u t i o n s p i r i t u e l l e du poète. Paria, ^tartaam^, 1936*
Barteond (iienri) i La porsie pure. Avea "Un d^bat sur la poésie" par Rooert de i>ouaa. P a r i s , C^rasset, 1S>'37»
Cauâwell (Chrlstopher) t •illusion «nd Reality» A S t u ^ of the Fourcea of Poetry. Loiwop, Lawrence Klshart, l'jii?»
tmr UmiB (Cecil) i A llope f o r Poetry. Oxford, Basil Bl«ckirell, 19145/7»
Crink«ater («^ohn) i Swlnburne. An Estima t e . I«ndon-Toronto, Dent, IVCU» B l i o t (T.S.) f Points of Via>« London, Faber and i'aber, 19U1. (Ed. John
Hayirard).
E l i o t (T.S.) I Tha Saçred Wood» Essaya oa ^oetry and C r i t i c i s n . London, Uethuen, V)3k.
x l l . T«S« Fllot« A Study of h l s « r i t i n j s by Several lianda. Mlttd by B. Rajat
London, Tîannia Dobson, 1^7» (Focus Thraa)
GiUtca (J«artin) i A Ke^ to Modem ^nfrllsh ?oetry> I.ondon-^laag0«, Black
k Son, 19^B.
Leavla (r.R. ) i Ktm Bearinrs in ^ngllah Poetry» A Study of the Contaapou-r y Situation. London, Chatto ^ Contaapou-r.'lndua,
Lowcll (AjBy) t Tendencics ih "Odern aerican ^oetry» New ^xic, îhe Mao» adLllan Coutpany, r>17.
tneas ( F . I . ) I Firht Vlctorian i-oeta. C.ti.P., Î950.
Mac^'ielce (^ouis) : *'octjy To~Layj in l'he Arts To»i>ay« Kditad with an Introduction by Geof f r c y cirigaon» ion(;on, »'ohii JLane-Tba BodOay liead,
Jfiicîteice (Louis) t Poetry of w.B. l e a t a . O.U.P., VMiL»
Matthiossen (F.O. ) t the Achievewent of T.S. '^^liot. An Esaay on the Kature of Poetry. liem York - London, O.U.P.,
Palaer (Kerliert) i Post^Victorian ^oetry. London, Dent, 1938.
Read O^'erberb) : Collrctç;d \i^ssfi,/s in M.terary Criticisia» London, Faber and i-'aber, V:31*
Read (îierbert) t ^ œ t r y and'Anarchisg. London, Fabor and Paber,
1958»
RtM^l (Paul de) » L'ocuvi-e D.->H. Lawrence. Paria, Vrin, 1937•Shapiro (Karl) i lî^ssay on Rime. ïork, Iwîynal & Hitchcock,
19U5»
S i t w e l l (Oabert, Y.é\.\h and Sadwverell) t Trio. Cisaertationa on som Aspecta of ^'aHonal Genius. I ^ d o n , ^4acmillan, 1958. Spcnder (Stophen) i The Leatructive fclfingnt. A Study of % d e m lf*ritera
and ^ l i e i ' a . London, «Jonathan Cape, 19J5»
Spenter (Stephen) t Poetry slnce 1^3*"-'» london-Kew Ïork-Tororto, Pi^cliahs^ f o r Ihe iSritiah i^ouncil t y Xonf^mana, tiraen & Co., VÀ\b» Stanford (Darek) i Yhe ^'reedom of Poetry. Studiea i n Conteaporary Verae.
London, ilie Faicon Preas, VMl*
Taupin (René) i L'influence du syasiboliame f r a n ç a i s sur la poésie a a é r i -caing (flg iviu h ivc'u). P a r u , unampian, lyyy.
M&iiotiiè-que de l a i^evue de l i t t é r a t u r e coisparie. Tome ô é ) . *~~ •phttbaudet (Alb- r t ) t ^ poûëif; de Stcpharo -'^llaraê. Etude l i t t é r a i r e »
P a r i s , Gallimard, lv^i?/12.
îttve (Rosesiond) t tilizabethan nnci ^ t a p h y s l c a l laageiy» Renaissance Poetic and ÎVentieth Century C r i t i c s . Chicago, The i^niver-e i t y of ChiçàRo Pri^niver-eaa, VtÀif»
Wilaon (Edunind) : Aygl*)b Cas-yie* Aa Study in the Imaginative Idtljratura of i a 7 0 - l ' v ^ ) . îJew ïork - London, S c r i b n e r ' a , I S t ^ é
(c) Bocks and Essaya '..H. Aucen
Brooka (Cleanth) < ^ d é r n Poetry and the X'radition. London, Editions Poetry, IS^ji^d/g.
x i i l .
Scarfe (Francio) t Auden and After* The Liberation of P œ t r y 1930-'19WL. •k>ndon, itoutledge,
Scarfe (Francis) t W.H« Auden. j4onaco, The Lyrebird Praea, 19U9. (Con-terapojrary Britiah Poe ta)»
SaTaf* (D»S.) t The Peraonal Principle» Stxidiea i n %dorn ^oetry, Lor>-èon, Routledge, VîÛu
m « Phlloaophy-PoliticS'»Psycholo(y
Baseley (E.T.) t Hower Uine and the L i t t l e Comnorarealth» london, George Allen & Unwin-ï; illiam îteineraann, V ^ / £ ,
Day Lefwis (C«) i Révolution in V r l t i n f . London, ^he Hogarth Preaa, 1 ^ 5 * (Day to Day Pamphlets, Ho. 29).
Fo\aquié (Paul) t L » e x i s t e n t i a l i 8 » . P a r i s , P.U.F., 1S45» <Que a a i s - j e " T
normr:
Jonea (Birneat), Glover (James), F l % e l (J.Gn), Eder (M,D.), lov (Barbara), and Sharpe (r l l a ) i Social Aspects of Payr:ho«-Analy3i8. Lectui es i e l i v e r e d
under the Auspices of the Sociolopical Society. Kdited by Ëmest Jorwa, M.C. London, Williasia St Norgate, 192U* Pesch (Edgar) t La pensée de ^reud e t de; la psychanalyse» P a r i a , Boréas,
lÇiU6. ("Pour Connaître").
Sartre (Jean-Paul) t L'existentiallsi>g e s t un huiaeniam. P a r i s , Hagel, 15IU6, ^ P e n s é e s " , No. I J .
^«hl (Jean) t Etudes Kierkepaardlennes. P a r i s , Aubier, 1958. ^ ^ ^ r a r y Tçchniq^ue
Duhaa»! (Georces) and Vildrac (Charles) i l'îotes sur l a technique p o é t i -q u e . P a r i s , Chaspion, 1 ^ 5 / 2 .
Day Lewia (C.) t The Poe t i c Iwage. London, Jonathan Cape, l9t*7« Gouraont (R. de) t Le problême du s t y l e . P a r i s , % r c u r e de France,
Tillymrd (E.M.W.) i Ppetry d i r e c t and <^bliq^. London, Chatto & Windu», IStU^TsT"^
Sndth (Sgerton) » The Principle s of fc.nf:lish ê t r e . O.U.P., V^^, V» Wlacellaneous*
Manvell (Roger) i Film, tondon, Penipjdn Booka, l^ik» ("Pélican Booka» Ko, A 326).
VI, Works Qnoted
Barker (George) i Calamiterror. London, Faber and ï'aber, 1957.
x l v »
Claudel (Paul) t L»anronce f a i t e A Mtrle. F a r i s , Gallinard, 19*40/72* Davles (W.K.) : Collected j^oems of 1 Davlea» -introduction by oabert
S l t w e l l . I^ndon, «^orathan Cape, l'-4ci«
Day Lewis (Cecil) t Collected Poews 19g9"l9^6. London^ ïha liogarth P r e s s , De l a Marei^t The Listencrs and Qther ^oema» London, Constable, 1912* Eckermann (Johann Peter) t GeBprifche ndt Goethe in den l e t z t e n Jahren
seiner Lebena làg>-183g. Leipzig, Der T e i ^ l - V e r l a g , £.d» 2 vol. y^r. f onty Jacobs)•
E l i o t (T«S.)iCollected Poeas 190%1955. London, Faber and Faber, 19U6. Harbert (George) t l'he 'oorks of Seorge Herbert» Edited with a Comaentary
by F.f;.' Huichinson. 'o.V'.P., l';^^!.
HiJlderlin (Friedrich) i Aerke. Zlîrich, ^.lantis ï e r l a g , 19M^« 2 v o l . (Ed. EiBilTOTiger).
Hopkins (Oerard Manley) i ^oetta of Gérard anley liopkina» Edited with Ifotea and a ^logwiphical introduction by » .H, Gardner.
o.n.p.,
i % e / î «Isherwood (Christopher) t Ljons and ^hadoirs. An Education i n the Twanties» london, ïbé tiogarth Fres's, 1938«
Lamrence (David îiorbcrt) î :>.c -'-ainboCT. î-ct; ï o r k , Pandoa ikmse, a»d. (Thfï ' odern •t'ilDrary, fio. 126).
MtcEiamid (iiugh) » Lucky ^'oet. A Sclf-i^tudy i n Literatur© and P o l i t i c a l Ideas. iondoni, S^thuen, X^M'^*
Mallarmé (Stéphane) î Poéaiaa. P a r i s , Gallimard, 1937/5U.
Marvell (Andrew) \ Ppems of Andr«w % r v e l l . Edited by GéA. Aitk«m. Londoiir New i o r k , lïoutledge - E.lP. Button, s.d* (The Muaaa'Library)» Orren (Wilfrad) » The Poem Qf * i l f r c d Qwen. Edited « i t h a % s o i r and ^''otea
by KdjEinuM^ Biunden. London, Chatto h Windus, Yhh% Pascal (Biaise) i L'oeuvre de Pascal. Texte é t a b l i e t annoté par Jacquet
Chevalier. P a r i s , uallimard 1S41« (bibliothèque de l a Pléiade, k», 34).
pet.
(Edgar AHan) t Ppcias and E s s a y a b y Ed,rar Allan Poe. Ëdited witha
Nev i/emoir by John H. Ingram. Leipzig, Touchnits, 168^4^. (îto. £r l l ) .P < ^ (AXenndar) x The "orks of Alexander ^^ope. Eaq* London, Printed f o r G. Dathursti, H. Woodfall, 1?^, Strahan, J . and F. Rivinfrton, W, Johnson, B. ïShite, T. Caslon, T. Lonjrîaan, B. Law,
Johnson and Payne, S. Bladon, X. Cadell, and Mcm Kxacutors of A. Millar, 1769. Vol. I I .
Pound (Eara) i A Draft of XXX Cantoa. Ixïndon, Jt'aber and i^aber, 1953* Raad (Herbert) t Po^ms 19]/»-19?i4« London, Faber and Faber, 1935.
Rilke (Rainer .v;aria) i Aua^gwghlte aerke. Leipzig, Insel»Verlag, 19?42. 2 v o l . (Bd. Eilke-Archiv in KeiJaar -Ruth Sieber* Rilk», Cari Sieber «ad î^rnst £inn).
XV.
S i t w e l l ( W l t h ) I j^oeas «•» «nd ^ d . London, *«ber and i^aber, I9I46. Spencer (^tephsn) t ^oeng» london, ^aber and Faber,
Spender (Stephen) t The 3 t i l l Centre. London, Faber and l ï b e r ,
Swliibume (Alnernon Charles) j S inburne'a Collectf?d P o e t i M l '-orka» Lonc'on, '-tlllias) iielnemann, 19(^* Vol* I*
ScotWaKas (R.A.) t The l^y Befora ï e s t e r d a y . London, Fredsrlck ^ u l l a t , lSi*7.
Warner (R«x) : i^oeras and Contradictiona. London, «teîm Lona-Th» Bodlay ^^'««d* Und ed."Ôf i'ocgg, 1937)•
WordswortiJ (William) t ITie Poatlcal ^orks of Wopc8T.orth. Wlth introduction and Abtaa. hkjited by iliomaa Hutehinaon. A iBsn £<litlon, ^ r i a e d by Ernest de S e l i n c o u r t . O.l'.P*, lSi»2»
Yeats (William Bukler) 1 Gollected jr'oema of 'A'.B. Yeata. London, MaeMillan, 1950.
VII, Antholofles Quobed
Thff Albatross Hpok of Livj: g Versa. Engllah an lanerican i ' œ t r y f r o « tha Thirteenth Century to thc Vrt^aent Day. Edited by Louis i^ntermeyer» london-i^iaabxirE-Paris-Bolocna, ^he Albatross, 1935»
The Fabar Book of î^odcm Veraa. Kditad by Michael Roberts» Lond^ Faber and Faber, VM»
Ifensdheitgdjfeimerim^. Syni^honie Jiïncater i-ichtung* Herauagogaben von i u r t Pint^ua. ^ r i i n , Ernat Rowohlt Verlag, a . d . (l^l^;»)»
Hwr Cotmtry. Proae and ^'oetry by the Aufi^ra of 'îfew S i c n a t u r e a ' . £ d i t a 4 by Michael fioberts. London, Afce Hogarth F r a a s , 1953 •
Baw Sijp^nature». Pœa» by Seireral i^anda» Collected by Michal Roberta* London, Tfaa Hogarth r r e a a , 193^* (Hogarth Living Foets^ No*
Pœms of Tonorrow* £dlta<l by Janet Adam Saltb* Londonj Chatto & Wlndua,
vm:
The Poet Speaka. An Anthology for Choral Spea Ing. Selected by Marjorla Gullan and cliva iîanson. LoiK5on, ^^thuen, 19Uo.
Public School Verse. An /^ntholony* -"-ditcd by Martin Gilkea. Richard ^ h e s , P . n . n . Ly,on. London, William Heinamann, IS^feU. Vol.IV, ^3-19i^4.. Récent Poetry 19g3-lV5^* Edltad with an -introduction by Alida #>îonro* London, derald Howe and ^rhe Poetry Bookshop, IS'33»
TVralta Modéra ^octa. An Antholopy Kdited by Arthur Lundkriat* Stockholm-London, Th© Continental îook C<wpany AB, iMJi, (Zepïiyr %ok8 No lOO). VIII. Biofraphy
The I n t e r n a t i o n a l '"ho'a 'A'ho. London, :uropa Pu^^llcations, I950/IU.
Aoerlcan Scholar (The) Bookmn (The) Britain To-Day C«;"brldga I«f t Crlterlott (Tha) Barper's ^ j ^ i n a Horli.on
Journal of Engllah U t e r a r y i»lstory (A) hêtt Raviev
Ll8t«nar (The)
iotdon Marcury { ' ^ ) Ifetion(The)
flnr MuMea
tttir Qiford uutlock (Tha) Naw Ropubllc
lair V«raa AXiit^
alnaWanth Cantury and After (The) PavtlMn Reviev
Penguin Bpr f r i t i a p (Tte) Foatiy
Purpoaa
Forcop In Bnj^cfa Poetgy ÎTcaa the Viciorl»»» iq> t o 1S/30» Aqybody «ho studios Uw derelo, m n t of Ené^llah poetxy i n %tm
tirât decadts of the 20th œntuzy cannot f a i l to obeerv* t h e i r c e n t r a l
c h a r a o t e r i a t i c i n a «ideepread omcam f o r experiiaentation. I t siattera l i t t l e «hether the na« tanÉiitclea eQmtliBBa appear contradictory - the f a o t r e r a i n s t h a t soat of the outatandin^; « r i t e r a adqpt a l i n e of t h e i r oen. But then every o a j e r poet a l i n é a i s an innovator sobb WêST or a n o t h e r .
I t i s tha aoperinents of Chaucer, :^>eaoerf S u ^ ^ p e a r e ^ Donne^ lidltoni^ «nd WcNrdflworth t h a t have abaped the destiner of Ettglish poetay. Tba • a i n f e a t u i « of the period undor reviev^ h o i m e r ^ i s iSmt « e a r l ^ a i l poets •Non t o be poMMNMd by t h a t cravinb f o r innovation, r/lnor « r i t e r a too have thttir my i n t h a t s t r u g g ^ f o r freedcso,
t h i s doea not iaplsr t h a t there are no « r i t e r a «!io f o l l o v tha
beaten t r a c k . A asre look a t t2ie «eekllea and popular antholOi;ias publiai>> ed i n the l a a t taentgr yeara «111 8ho« that t r a d i t i o n i s s t i U a l i v e . tb» innovatora are slow i n aohieving aucoess» As a n a t t e r of f a c i , Victorl»-niam tsreapaaaea vipcn fho t e r r i tory of Oe<»rgian poetrjr and tha l a t t e r s t i l l
•akaa
i t a influence f e l t in the l a t e 30»ie8 i n s p i t e of Teata^ Bliot^ andiaaàma^ Ihe eteimal b a t t l e betwsen the Aneienta and the Jîodems i s fougHit
again but i t i a the l a t t e r «ho cobb off beat* Ihegr a r e aore nuaerous and
tlMQr bava msxn t a l e n t . In the foHcerin^ pagea «a a b a l l d e l i b e r a t e l y ignora the t r a d i t i o n B l « i n g .
8«~
to tholr oontttBiMrariea. Bat the f i z ^ t rfiactitaéis ag^lnst VictorLaniffias • Elpliiigf Msredlthii irild« • vould «ppear to be too t i M â to ba takiea into eonslderation* liélther the Décadents nor the Oeorglans s t r l k e us as paxv. ticalar3y nodem. Timy œ r e l y paved the vay f o r a l a t e r f l o e e r i a g . fbê f l r s t woirks «hi<âi
hav»
aonefbing in cor-^on wlth thoae filiot^ iMua,txtà Dt'nionas aeeta
to
bavobeen
written duriag Woerld Wur I or ^ t before •» Des laaglates ( i m ) , Wheels (1S>16»1921), «»îlïe Leva 3<mg of J J l l f r e dPrufrodc" (1913) ( l ) * In ahorti^ the nedeziiB eaw before public n o t i m about the f l r s t year of the
«ar.
T h ^ oould be definedas
the f l r s taftu»
sucoeeded i n gettiag r i d of the \rictarian legacy. Their work la char«et»> riaed an atMosphera^ •ethods and forma atdch are the oatoona of long évolution. I h l s ataosphere^ thèse aethods, thèse foins «e Éball t i y to describe in our îniroduotim,( i ) I n t e l l e c t u a l Sadyt^rtwind
Froa 1873 oorards Ëngland s e n t throui^ a phase of c r i td cal eaEaadna-fttioia. Ihe voice of authorlt^r «as eallod i n question and the sensé ûf
pemanenoe shich undcrlay Victcrian civilisaticm «as ahattered dotâst* I t «as an ^pooh of interrogation* Ihs •elfoCosiplaoencQr of basqt Victorian « r i t e r s i n donestlc happiness and p a t r i o t i c duiy, t h e i r pride i n the
eooBoaaic and s c l e n t i f i o progress of the a^se are qui te IUusokt'* Tenrgrs(»i*s sonfers aoods^ the haunting note of Icmglng and rncÈnass and the kswa ssnss ctf
death
std.ch
saturais
hia woricrsvaal
tlis disaatl8facti.Qn ofa
senil» tive soul vitfa i t s surrouncilnGS* If Tennors<»i i s the aoutt^iece of ths roaantic mlancholy of h i s a ^ , Arnold and Thoasan sing i t s religlatts sœptioiera and i t s aataîâjysical anguiah* SoientifLo progress lâiatters illusions» The Victorian becoass asftre tfaat h i s idéale - h i s belief i n Oodf Itoturey l a n i r t a l i l y , e t c . - a i ^ t provsuseless
i n a vorlâ controUsd by i^qrsical l a s s and the echo of his anxiety i s heard t h r o u # the «holeof his l i t e r a t u r e .
Rébellion of the i n t e l l e c t «aa soon acccaapanied by rébellion of
the se»MS* But replacing Qod and h i s Churcb by a half fi^tlc half p a ^
Beauté did iiot do taay « i t h pessiaisBu D«0*RossettL*s Beauty «alli»d hand i n hand « I t h death^ foreshadoadng Suinbume^s Dolores and
iâfilds*
s SaloMp,B08setti*s
i»lancho3y, 3iilnkume*s *tragle jqy" andtiie
docadents'ml
du aiOcle sprang tvtm theaas»
assthstLoisau Tryin^ t o escqpe froai tiis3 . -8BngB«M of t h e Viotorlan world, they chose t e wcnr^iip a d i v l n i t y wfao, being
a a | | e e t t e ehsnife and d e f e a t , eeuld o f f e r baé b r i e f s a t i s f a e t i o n a t o t h o i r aapirati<»ie«
I t i s t y p i e a l of t h e
ac«
t h a t l a « t wartc o f ijqMwtanco appear > e f o r e the oloee o f the econtury waa a peeeladstic book - A,E, Houanan'a ffflBTHMfttil
l i ^(1896)
• Andy tiMNigli Uiat peried a l a e eheued r a r i o u s e t h e r tcadMoeietaaeh as t h e •iaperial* peetrjr of Kipling «ad XeiAioIt and t h e acholarly t r a d i t i o n of Brldgee cuad Blnaroiif i t mm preoiaeljr t h i a peeeialaB* t h i a
omifliet of i a a g i a a t i e n %dth e x t e m a l foreea^ t h a t the Viotoriana bequeathad t o t h e 20Ui o m t t t r j .
The f i r a t eoXleetive reaction against Vietoriania» waa led hy t h e GetMt^ana» &reakin|i; aMajr froai i t a t r a d i t i o n ef u i l d yeaminga, deapair and aorbidity^ they foitnd a r e f ^ i n nature, Theirt waa {Hriaarilx a poetrjr of esea^w» Cwieeieaa t h a t peeetolaa itas n a i n l j due t o tho s o c i a l and r e l i g l o u a emtdltions ef urban c l v i U a a t i o B , thegr tumed t o the p a a t e r a l and exotic Mena or t o the tddaeleal ana^yila ef t h e i r aaoode* This négative a t t i t u d e to»?arda t h e «ge i s eawwpllfied i n auch Unes v$ i
I alee Icnre a quist i ^ c e
That*B greeni awagr f r e a a i l BHonklndt
k lonely pool, and l e t a t r e e
8 i | ^ t d t h her besan «ver ne» (1)
Not enly
thst
l^ngliah eountryw^ide but a l a o the a n i o a l s , the peasants «Dd t h e ohildrea ware aiu»es8fally eaqploited bjr the Georgian poète. ï e t « t h i a ravivai of t h e W^aworthian note icac inadeciuate t o oheck t h e progreas «f pessiadsK* liith W* Se l a HarOi» the n o s t a l i ^ of childhood i a suffused %dth a S09RM ef anrt&lity i>4iieh rwiinda u s t h a t hia dreaaland of f a i r i e s o n / t r a v e l l e r o bordera on a perilous country. Aise s o c i a l poetry «as notOQiqpletcly n^^losied as i ^ t e a r s f r t » the varie of X . Hasefield and W»W» Gibson* Bot in eontrast i d t h t%sefield «ho saw besuty and hope r i s i n g through tho serdidiieM of poverty aand v i c e , the l a t t e r r e t u m e d t o n a t u r a l r é a l i s a
aad h i s dishoart«Rdng pietore of induatrialism i»refigured, i n i t a resontoent sad i d t y , the l a t e r revolt of t h e War»Peete*
Tho wt was i n d e e d a ttiming point i n the évolution of peeeiniBa» Thoogfa t h e l a t e r p e e t r y ef deep- i r and revolt eannot be a t t r i b u t e d t o i t alano, theoi^ t h e forées which we have notieed in Victerian and Géorgien i B g l a n d vottld in any eaae have oeaw i n t o f u U play, the f a o t r^aains t h a t t h e var did nnoh t o croate the e l l n a t e of asdem poetiy-*
In ««mirait «dth the despcmdmoy and the n a d l t a t i r e saoods of the previoua period, iMm peasiialflB waa b«ra ef pi^vioal suffering* The horror^
the !nad»eM and the dise&se «diieh vem t o pervade sa aneh of laodern povbry, the ^mr ^aeta «ocperLeneed In «11 t h e i r phjrttieel taaiediacy*
Disappolnted i n t h e i r heroie «oqpeetations bgr the « g l j business of warfare, th<qr otroRgl/ proteetvd ai^dnst the jlngeie» aad tha f a l s e retBanticiGan of t h o i r elders» lu ft world of éleoMmtarjr sansaticnsj t h e y soœi beccoas
aMttre af the tAmm and the mirai dissolution of soeiety, Under sueh eireanstaneeaf i t WBLB naturel that thsgr shoald t u m t e s a t i r e and w r i t e
• a a i f a a t w ag&inst the cnitinuâsee ef se senseless a slaughter. I n d i g n a t i m wat a t «os pele ef t h e l r poetry, p i t y for the outsast a t the other» With W« OiMo I t was i d t y that prevalled; t h o u ^ eeholng t d t h Tineooraon I n t e n s i t é
*the aenstrous anger ef the guas** (1) énd the "desisnted choirs of wailing s h a l l s " (1), h i s «as s nsssac* ef f a i t h aad resonoillaticm
-"Stnuiii^ f r i a e d " , I said^ "hsre i s n« eaase i s laBum." *Sm»*0 said the other, "scve the vaadm» jrears,
The hopelsssness* Whaterer h ^ i s fmtB, Was wfT l i f e alsot I wtnt tasoting wild A f t e r the KUdest beeuty in the vorld»
Whieh l i e s not calm in eyes, or braided h a i r . Bot BMNSi» the steaidsr running ef the hour^ And i f i t grlevea, grlerea r i o h l i e r t b a n i»re» Fer br W aaagr mm hacve lamghed^
Aad «dt sgr weepiag soawtldag had been leîtf Vkkeih vâmt die mw* I naan the t r u t h untold. mm p i t 7 of var, the fAXj war d i s t i l l e d . " (2)
I t i s ehiefljr «d aeeouat of h i s paolfiaa th&t Owen «as t o cmmaA hioself t o the l e f t tiiriters ef the 30-ies* On the other hand tho l'evival «f
social s a t i r e nas sponsored tqr 0,Sltwell aad 3 . SaMOSB» There vas nnoh b i t t e n t e s s a t tlH> b a s i s of t h e l r attaeks against th» l l i i l i s t i n e s , a ccsiTictim th&tj, îw a U they knew» the wnrld had not changed f o r t h e b e t t o r and t h a t a i l s a c r i f i é e h^d been uselees« In f a c t ^ t h ^ vere perïmpB waen struek bgr the moral deoay at the vwre than bjr the raina ef the b a t t l s f l e l d esrA tbey tamâtd t h e i r hato of the former cm a sentinient ef social Justice aroused tqr t h e i r «aqperimees a t the f r o n t . On the yAaolm, t h e i r revolt against oontemporary standards gave a tara t e pesaiMlsBu
5 .
fhm «MT iMMts oalXod a t t e n t i o n t o t h » dlsaolution •t e o c l e t y . Their Idea ef ' s o c i a l d l 0 « a M * wu, liiâ««df of no omall i n ^ r t & a c e * Their p e s s i s i i n
WM n o t the o a t e e m of a aère netai^syslMlfetMBiB, but r a t h e r a h a r r e a t «f pain aad death forcing i t s e l f u p e n a imale g e n a r a t i o n *
nMmc^ megr a paat s t i l l f ound aalaae i n t h e bosoa ef nature o r i n ^études* of T e r b a l oreheatration, peaainlaa beaana t h e h&bitual reefxnuMi • f t h a nadema t o t | e socifd problegaa ralaad b y t h e w a r * The d i s i n t e g r a t i a n ^ t h e a a t i r l s t s peinted oat^ a f f a e t e d the moral c o d e of a œ l e t y ; y e t , ^Atm
i t att&cked t h e i n d i r i d u a l , t h e r e waa no baeia f o r a a t i r e l e f t . As a m b e t i t u t e f e r i t . A, Hudajr adepied iqmiaiaB and iroagr and, towarde a wwrld gone ms^, adopted the a t t i t u d e of a detaohed ^ s e r v e r . Unlike him S« flltifell t r i e d t o eseape her aibaeaaion of death bjr plunging h e r s e l f i n t « i r e e l a i ^ t j . She dld not t r y t o escplain the diaeaae ef aodem
eivllizatiian but sha oontented herself by s t r e s a i n g i t s ayoptOBB. For t h a t roaaon t h e ordinaxy haeicgrarad ef her earljr poetry i s one of r u i n aaft d a i ^ a i r . In her p l e t u r e of alsna md
b^^sara
aad h e r fréquent r e f e r e n a a s t o e u c h 07id»ela a e t h e Bone and the W(n«« a b e monifeated h e r aiMareiMaa 9t want and f r u s t r a t i o n and her aensa of deeayl Ta b e sure t h e r e mui a note of eosndo t e r r e r i n such U n e s aaI hâve s e m the aurdered God look through the agraa Of t h e dronkardta sinitohed
Maak ae he lurohed
0*ar t h e half of sgr heart that l i e s i n the a t r e e t MMLtfa the dancing f l e a a and the f e u l itewa->aheet* ( l )
On t h e other hpnd her w o r l d of faney -her e o n e e i t a , h e r paroohial imagery, h e r e l a b œ r a t e p a t t e m s - she e r e e t e d aa a ktnd of d e f e n e a a g a i n s t t h e enuribliae; w o r l d of f a e t a , aneh i n thm WÊom vay aa the rocoeo poets of t h e I S t h eentury*
Other w r i t e r s a t t e t n p t e d t o s t a b i l i z e o h a M taA deapair b y i n t e g r a t i n g them i n t e t h e i r d o c t r i n e . An o u t a t a n d i n g aaqMNAent of t h i s r é a c t i o n
againat peaaiadaai, w»6, Teata appeaed hia theory of gyrea and r e l n e a m a t i e n t o the braftiâlOMi of the Western t r a d i t i o n . CoivAemad a t f i r s t with
i ! ^ h o l 0 g f and beauty^, he g r a d u a l l y tumod away f r e r a t t e Celtio T v i l i g h t aad I r i e h p o l i t i s a t o the p r < ^ e y of d i a a a t e r i
Tumlng and turnln,'? in the wldeniag ggrre The faleon eannot hear the f a l c o n e r | Thiqgs f a l l apartî the csntre cat not hold} Hare anarehjr l a leoaed upen the werld,
The bXood* dinctad t l d a l a leeaady and « » e r y w l w Tha aweaopy ef Innocence l a dreàmedi
Yho heat laek a i l conviction, while the vrorat Are f u l l of paaaionate i n t c n s i t y . (1)
3ut with h i a , apiritDustl anarehjr found i t a plaoe i n the e t e m a l o i r o u i t of the univoraa* In faet» seeine t h e wnrid mût» apeeie a e t e r n i t a t i a , the old ï a a t a could explain i t aad put a a l n ^ on i t , So, even tragedjr becaïae part of a d e f i n i t e pattern of thooght involvlng paat and future» On t h e vihole, ï a a t a atood f o r ayat^a againat d i s a o l u t i m .
Oriven hr hia profoond d i a t r u s t of t h e i n t e l l e e t » D«H* LaMrenee dereloped aleng quita d i f f é r e n t linea» A t y p i e a l case of l a e n t a l projection^ hia waric betrays a mimm af a a e i a l frusizaticm which h l s over-aensitiTe nature nwr iMfir able t o c o n t r o l . Se danounead the s e l f i a f a m a t «f
i a t e s t r i e l civilisiation aad^ &gainet the deofiy of i n t e l l e e t u a l standards^ he plaïaad Ida beXlef i n bXood and inatinct* Aa ha «&• p r i a a r i l y i n t e r e a t a d i n the probXem ot B0X, the T«BB»ir he pr^wribad waa an uncorKiitional aelfHKtrrandar t o the f l u x of l i f e , in factj^ a r e t u m t o e a r t h , t o Love and i t s biologioal v luea* Thio change of heart ha auggoatad ad t h e o n l j neana t o aehiere the r a M r r e e t i o n of m&n«
Other poeta taekled the pre^leM of t h e aga i'ron t h e •antage-iground of pigroho-analyeia* H* Read ]»>o|wgated the new pagralnlAgjr i n the f i e l d a
• f pottiMB and seeiolegy and R, C ^ v e s claarljr ravealad t h » i n f l a e n e e of Freud i n hls aeacual ^rnibols mA Msrbid draeaa*
Whlle both ï e a t s and Lavcr^aee «ttaaptad t o aolTe t h e i r problaa» b j s t r i o t l y Inclividual doctrines, T«S* E l i o t headed a aofmaexA baek towarda tho authority of the Chureh* Hia r e t u m t « t r a d i t i o n has o f t e n b«an nisunderatood. Fer f r o n advocating aaaapiaa, S l i o t requirad of
Vbm paat an^ h i s t o r i e a l aenee, "a Bmse of tha t i o e l M a and of t h e
t a a y c r a l togethar" (2) which, baaed on hia knowledge of the pasi, alao^ gave hêm Inaight i n t o the neaning ef th® preaent* So i f , conscioue of i t a r e l a t i m with e t e m i t j r , he aaw tha présent «arld i n a c u l t u r e l
1) W«B« ï e a t a : Collected Foeiaa, pp.2KK2IL*
2) T.S, E l i o t I Tradition and the Indiviiteal Talent, i n The Sacred
7 -per&pectlve, h l s taeln co»cem was, hw&rer w i t h the contei^rarT- «orld» Sren a f t e r hic ccmv«r8i(X) t ^ Ângl««GatMLifii8% even « f t e r AetHWedneadey
(1930) end Ylxe liof^ (193^!*), when t i m e l e s K i e s s beeem h i s f a v o u r i t e tb«H»jp hic poetry retoained t h a t of a e l a e s i o a l a r t i s t hy the c a t h o l i -e i t y of i t a aMMMg-e aad of i t s social s i ^ f i -e a i M -e *
a u wwk tnm 1917 t o 1922 e h i e f l y cievoted t o th» analyaia of the death»will ayapteaatie of the aise, Intereated i n people, he f i r a t painted^ with i n f i n i t é s k i l l and craftsaanship^ a s é r i e s of anatesaical ehanbeter^ketehes pre^pring the hage ee«{x>eltften of H P ^^Pê (1922). In y t f ^ ^ ,^;tfre^ rP^roc^ and
P^rtrajLt of a L a ^ he introduces t h e reader t© « i « t of raiddle-aged h e r œ e belongûig t o the genteel t r e d i t i o n . tlie gênerai nood i s one of f a t i g u e and boredfltt« Unable t o &,et, exwring fmr an i i f ^ s s i b l e l o v e , indulgii^ i n e a s u i s t r y and s p i r i t u a l iBasoehlen, Fruf rock and the La^f i n f a e t s u f f e r from an anaenda of the «111 « Linked i n the Svreme^ poems t o a grcwlng sensé of relo^ouD v a l a e s , Eliot*s pietiu-e of ecntanipoaraxy b a r r m e s s oulminateâ in Gcrc^tlçfi (1920), h i s oost slsnifieayBit pœm before Waste ^^ara^. fUs assuraption t h a t the
sinfuliiess of nan vas responsible f e r t h e f u t l l i t x and '„he e t o r i l i t y of l i f e «as a décisive step f w a r d towards r e l i g i o n .
( . « . ) Tfaink
Meither f e a r nor courage saves u s . Unnatural vices Are fathered by our herolsnu Vlrtues
hre ferosd upcsi us bgr our ii^ïudent eriiass.
Thèse t e a r a are shak«n from t h e vrath^bearing t r e e . ( l ) Thottgh i t l e not the etajor achievocsent of E l i o t , The Vaste
Umà, mot h i s most i n f l u e n t i a l poem. F i r s t of a i l beeause i t was odLs»
understood. ïbo stock i n t e r p r a t a t i e n of the p o ^ , indeed, accepted I t as a statesient of d e s p a l r . I t i«rs teoptiag f o r the young intellee<» t u a i s of the post-war dooado t o a s s i a d l a i e t h e i r wwld v l t h the cactus»
grmn dOMTts of Eliot»s posa* ï t o Wasto Lmad. t h ^ thought, brought
t h e e3qpressi<Mn of t h e i r peesindsia t o p e r f e c t i o n . î h e pr<»iise of r e b i r t h csi i ^ e h i t closed thegr overlo<^ed. Another reastm whjr i t sehieved so eonsidflvable e succès «ras t h a t the poet*s outloc^ had gained i n u n i v e r s a l l t x . Tto a j ^ h on «hloh 1h> had b o i l t h i s vork
«»abled hÊm t o eontrol the pansT-ana of esalks^porszy h l s t o r y fr<»a t h e point of vlev of the t i a w l e s s .
In the old aqrth of Dooth «ad Rebirth^ the imailng of the land Wi0 |r«««iit«d ad the r e a u l t of a ourse^ the s p l r l t «f f e r t i l i t j r liaa
auppoaed t o be daad and c e r t a i n eereooniea ware performed i n order i o r e a t o r e l i f a , Ko thaaw oould hocre auitad KLlot b e t t a r * The Xoaa af f e r t i l i t y foaeaaa a agrabol f o r the nervoiia d i e l n t e g r a t i o n and t h a • a r a l dagrodatian of the aodarn a e t r o p o l l a t the d i r o r c e betvaan i n t e L -Uganaa aad a a n a l b i l i t j , the daeagr of l o r a and the cynical aeaprf»cla> af a *^«at ganaration" «ara ao «angr Idaaa g r a f t a d upon t h a o r i g i n a l tkaaia» Tc4« « h l l a glvinf Talea, lilca Baaaal^ t a tha odaeir of aan wltheut Gad, ha a l a a shoNad th» «ajr t o r a b i r i h * Ta a warld baralag witli f l r a ù£ litat^ hatrad and doubt, he taught a e l f - s u r r m d a r f
tywtà^ Md aalf«-control, t h a t l a a disoerdiag «f aelf ^ a *dark nigtai
aif tha aottl" «hieh auegaated, in t h e i r ^laiant bopa af a a l T a t i m ^ t h e parfatorjr af Aah Wedqf,f(|fff.
I t iB, no doabty Eliot «a h i s t o r i o a l aanaa «hieh lad h i n t o Gad» Aa ha wm tamn af the t i i e l M a i i e s s of otiltural •alnee^ ha naturaUj" aaM t a t h a Idaa af a force trsraaandiag itmui agqMrlanaa,
and daeaQTi^ a i a aad vanitjr* Kriting oa JPaaaal ha aald •
S l i o t Bii»le^W~înatruiB3nt of hie f a l t h , hla de^pair a graund f o r hapa aad firaai t h a l a f e m a of "Tlf Hairti ^ i a v i t a d wma t o a e ^ f o r m
lAtiaBia ardar a t iblagat
Bat thaA S l i o t ' a doabt «aa t o t r a n a f o m hin i n t o a r e l i g i o a a paei «aa a a t aa eèiviaaa a t t h a t t l a a , a i l tha aaapa a i h l a «ay t o a a l r a t i a n wui lang and p e r i l a u a . What a i t r a o t e d hie eonteitmrariea «aa hia négative oatlook» the piotare af mxlTaraal braakdawn^ not t h a araving f o r radaoption.
9 ^
The ••awad d«aad« of the ••ntozy wltnessfld i n Soglawl aad Aoierio* an a f f l o r a a e w a a af lenf poam» oora «r Xaae inflaaBoad \»y KLLot, i n whiah autattmdiBg paata i r i e d t o praaant aa aaalyaia or a o r l t i o i a a of tha aooial erialB* Wfe&w C» Aikon'a ^SQ^Ift (1916) aad S« Pcwnd*»
g f ^ ^ ^ i i i y (3.920) ahÉNed, u k e ^ r t f m \ t aM> ÇHwr Vfrwr?ifrltM {19X7)t tha Inpaot urban e i v i l i a a t i o n upon aanaitive ohaarvera,
^ fC S a t e ^ ( 3 ^ ^ ) * Aldiagtou'a rgÇt f f n f l
(1925). H. Raad«a Tiff iMHHKr tf i^lH^ P f n l i i H« Craoata ^ba^lOSitt ( 1 ^ ) aad A* MÉO Lelah'a f f fii ^jhTtoill (3*928) attaaptod« auali i n
tha taae «agr a» "nie Waata tand. t o convogr a Mnra u n l f i a d view «f nMtann paawinâ w«
In ccmcluGion^ the poat-war poata th««gh hava Inherited t h e i r •e«ptielM|lrroift i h a i r VftetoriaB grandfalhani, t h a i r aooda bave l i t t l a i n eoniaon with tboaa whieh iaapirad T«nqf8Mi aad Arnold* Tho dlfferanoo l a beth qoftlitrtS» and ^^Bantitativa» Tbe 71etorian noatalgia f o r tha Aga of Faith mpnm • wtrvie ecmfliet* OaapolXad t o reoogniza
l i s bare laïuisoapea t e s t i f y t o the v i o l e i ^ e witfa which t h e Victoriaa garden haa b e ^ ploughod» They a r e t h e oateoiae of t h e s p i r l t of
«oqporliMHitatlon «f t h e ag«|, a neeessarjr s t a g e on t h o endleas «ay t o t r u t h * A nm o r » begins* I t begins w i t h a e r y of doopair^ perhapt^ but does not the T e r y v o i d l e f t deatruetlon teapl man t o r e - b u i l d , t o oreate nm l i f e and organisKe i t ? Indeod^ t h e «warwneas of
i m l v e r B a l ehaoa aad of mental d i s i n t e g r a t i o n v a s aeoonspanled i n s o a a oaaea ^ a «ma» of g u i l t vddoh pjpismA h e l p f u l i n t h a t i t provoked a r e t u m t o t h e discarded v a l u e s of the Church, Other poeti? t u m e d i o s a b o t i i u t e b e l i e f s suoh as reinearnaticm, the l i f e ~ u r g e or Marxism* On the vihole, the négative eharaeter of post-»mr poetry has been
o v e r s t r e e s s d , I t s snalysis of despair o f t e n been counterbalanced b y a p o s i t i v e e r l t i e i s m of l i f e «hieh eaqporessod I t s e l f most c l e a r l y
in s a t i r e si»i qythHnakiBg» ( i i ) v e t h e d '
( a )
S a t i r e i s a g m r e e s s e n t i a l l y s o c i a l end e r i t l c a l . I t a i a s a t oaaesUlng abuses and, therefore,^ i t r e q u i r e s the « d s t e n c e of a c o l l e e t i v e eonsoience and of a s t r o i ^ s<»tse of r e s p o n s i b i l i t y oa t h s p a r t of t h e l n d i v i d u a l * Theoretically, t h e s a t i r i c a l potm i a p l i e s t h s identltyv/ian^d public valass^ a s o c l a l i z a t i o n of personality s u c h as w u t o be found i n t h e days of Dryden and ^opo« "^his J u d i c i a l a t t i t u d e
t y p l e a l of t h c IBth centiory s a t l r i s t m» n a d e i a p M S i b l e b y t h s Benuitie Bevlval «4dob l i b e r a t e d the eelf frooi the u n i f o r s d t y of cust<»B8, s a o t i m s and Ideas* The dlfftision of the bourgeois volued due t o the i n d u s t r i e l r s v c ^ t i o n aad t h e 1 ^ of t h e ssnss of moral r e s p o n s i b i l i t y s h a t t s r e d by d e t s r a i n i n n s t i U mhaneed the i s o l ç t i c n of the a r t i s t * As a r e s u l t of tho soei&l d l s i n t e p r a t i o n , the grwjrà frcœa ; hich t h e a t t a c k s o u l d be Isunehed beoan» exeessively l i m i t e d i i t «as e i t h e r the cresd of a p a r t i c u l a r group - Fabian Socialisai, MandLsBi, e t c * - oê t h e «Kpori^nee obtained by a p a r t i c u l a r group under c e r t a i n circuostances - t h e «ar f o r i n s t a n c e . Tet, psroehial thougjh h i s standards vmrmfi the s a t i r i s t kept a c o l l e c t i v e outlook i n t h a t t h e e b j e u t of h l s s t u d y reraained sooiety and h l s purpose the destruction of i t s abuses*
u .
-t i a i l a r «xpexdenee* H* IBmâ*» S a -t i r i a a l y-toNMf-tf-t (1919-1934)» 0» S i -t w e l l -t o
«DM^pslMè» ef tjrpleel c h a m s t e r s , the vMl» vm$s» «f s o e i a l l l f e trcm th« point of vl«iiir the «a»^Mrvlee aao •
So that*s yiottr DiatT • tlwt*s ymac private Bind îramilfttcd l a t o «liirtHilMvtd IfiLatitiy. That 1» «dtei âiplmaÊfiw has l a f t b«Miiit
F«r «iteavagM t o |>«^«a«t and f i n d
pMMMd b«B(Mth jmar «legant «riJLiB»h«i« Ton rnspê a f i n » oltt gentlanaai efu^act Of wkewiàmM, eharn« refliMHaflnt and flnessa* laptomStUM i n breadingy t a s t e aad fltrmwn S0 (ilpdisaatle ^uality /ou laelMiâ »
i o t i t t l e of s!É»&d8adorlal t a c t * ( l )
E, Cssipliell, M* Welfa «ad A* Pmrter earriad on tha t r a d i t i o n of the «aropoeta in th@ir attaftl» agi^Mit the l i t ^ r a r y vorld^ the Prasa and
the GïmTQh and T.S, Ëllot*a B^Ha^ <y John Drydeyi (L924) end E, Situell*» kâxaaaa^ (1930) w3?a fiirther aigzia of t h i a I n t a r e a t i n fcHpnal a a t i r e , As a s a t t e r of f&et„ a g r a s t daal of post*\^-ar pk^ry l a p e n m M i d t h i f a t l r i e a l elan«ïita but thef a o w t l a a t ara liArdly riogttiaÉble i n l t é landaeasM «f wutmm mâ daspair*
Foraal s a t i r e i m â e r « r ^ radical changea as voce aa the a a r a l atandpoiot adopted W tha war^aatirista «aa twmùim^ Ta t h e œdeneian of the œ e l a l djjomptioR eerraapooîtod a iieir fan» af ^ e genre* S a t i r a dagWMMWtod i s t o i r c a ^ . l a an aga «r gênerai 'OfimenX, a i l valuea are «nstaible and relatiTO» Vbm the T i e t ^ a n a t r i a d t e i ^ o r e a i l t h a t cmûA ea«t a g l m n ce the menotonoaa j o f « t r o t 9t l i f a , the laadema Isy bare wlthiNit oarc^' the eontradietiona Ktiieh «nderlle tha bAka-rLe«ir ef mm* lltegr t o «aleema and m^og- thmi, thc^ want t o revoal a i l
t h e cKmsfilmlty of t h e i r expez^ier^e. $9, iastead of aiagplii^iae r e a l i t j r hy idaaHirIng i t , t l n ^ faae I t a diaoorda&ooa i n t o a whQ2.e. Their poetry i a witty > i t l a a cjaelltjr «Meh they share with the I7th century poets -i t suggests that "the ôbv-ious att-itude toward a g-iven s -i t u a t -i o n -i s not
1 2 . -tHo VKûj pmsible attltaào " ( 1 ) , This n o t e wtd tirwt struek Iqr Kli«i
and 'Pmead idwM aorljr urork b«ti>»y«d tli* Inllaenee of Lsf orgae in th» b i t i n g IroBjr o f I t s p o r t r a i t s .
immg tlM wiadlago of the T i o l i n o
àaA iho «rlotios
Qf ««oKad comota
Ihaido ogr brsin • d&U. toeM^ai 1»ogias Abwrdlf Iwiiii'lnt a prolMd* of l i a mm^ Cttpxdaiaui M»ot«aa
That Is at leacst on* d o f l a i t e tfalae nota** - Laft «a taka tba air» in a tetaaaa %c«mm» AdBlre iha aanonentaf
OiaaiUM tha lata «ranta^
Caayaat oot watehee tagr tlto publie clool». Then a i t fi»* half an ho&r and drJjik otir bocks. (2)
tha pe«t*a e a i i r i c i d peiwer i s , oi e e u r s e » propcnriianal t o hla intereat In (bmTdagr l l f a . Se» the nnre Bliat torsed t o aaMviqraieal apeanlationf tlMi weakar h i s a a t i r i c a l
tein
beeaat». PTaa anManta« f«w traeaa• f aatlre are l e f t in his « o r k aad t h a dteraeter-sketehea o f t h e e a r l j p«rlad diM||»aar altofether.
{%ar?£t«r-»8ketehing i a praetieally inaaparable froa a a t l r e . In atpAar to ridicule the vieea và^ the eriaaa of hia t l a e , tba a a t i r i a t i a «bliged t o croate a f«w oharaetariatie typem lO», beering tha blaaa due to «thera -or t o hinaelf-» wLll aerre aa t a r g e t a for hia attaeka. ^08t««ar poetiy Ébamdod with aaapai^ta « f t h n t kind. 0 . Sitwellia
Mn Froadanthal and Kiafoai« Eliet<a Prufroek and Sireenex and
Poond*a Msuberl«gr «rare the egnribola idtieh thoae poète tried t o
illttatrate their e r i t i e i s n o f l i f e . I t goaé withaixt aaying t h â t auoh eharaatara oonM not exiat Indepand'mtly «f a apatiai and tea^poral hatkgroiml. Vihenevor a whole pattem of fenaan i4.t«uiitiaea «aa rooMaati» toiady UXe m a r o M i r o a t e d on a ayabella I t f f é l f a aaw aorth «as born. The •odam poata « w r e trae iqrth-«tk«ra in that th«f intantad ayni}ol8 f a r t h e world Of aatual « x i s t e n e e . Beeida Zoata and Eliot y&to oTten rerived forgattea apthai^ oaet pœta « a r e In saoroh of tmi ^F>bola wfaich eould
aape the« f r m daapair. l i k e a a t l r e » aorthnaaskinc «naabiguoualy dlaplajra tha oonstruetivo «haraeter of oodom poetry. I t aaana that t h e Chriatiao (1) C» Brooks ; Modem Ppetry and the Tra d i t ion, p . 46,
