By Patrick Deane
Patrick Deane argues that sleek English poetry, in a few key elements, is indebted to the classical culture and to the attitudes and modes of the 18th century. He illustrates how neo-Augustan values are obvious within the works of T.S. Eliot, W.H. Auden, Louis MacNeice, A.D. wish, Donald Davie, Charles Tomlinson, and others. The presence of those values, Deane indicates, isn't really a interest yet a part of an important culture of recent neo-Augustanism that has been formerly missed. through tracing those writers' universal curiosity in Horace, John Dryden, and Samuel Johnson, he uncovers very important hyperlinks among doubtless different glossy poets. He demanding situations the full interpretation of literary modernism, which has characteristically associated the trendy poets to the Romantics and visible either as anti-Augustan. Deane concludes that those sleek poets proportion a prepared attractiveness of linear time, during which all acts of creative and social creativity needs to happen - an important consider either the shape and substance in their writings.
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Additional info for At Home in Time: Forms of Neo-Augustanism in Modern English Poetry
One practical problem for criticism, however, is that scholars are not permitted to quote passages from the facsimile edition, so perhaps readers will forgive the occasional ellipses and circumlocutions in what follows. My method of combining description with specific line and page references will, I hope, serve as an adequate substitute for direct quotation. The most obvious trace of a "classical" intention in the drafts has often been remarked upon. " It is hardly necessary to detail the debt.
In "Antecedents," an early "Homage and Valediction" to his precursors, he formulates his "social" morality this way: "Released / From knowing to acknowledgement, from prison / To powers, you are new-found / Neighbored, having earned relation / With all that is other" (Seeing Is Believing 56). H. Sisson, whose 1975 translation of the Ars Poetica now stands out as a symptom of its time, a telling critique of the post-war literary scene, and a harbinger of Horatian things to follow. Amongst the latter, and also of great importance for this study, is Geoffrey Hill's rediscovery of Dryden as a model.
Eliot also owed a debt to Samuel Johnson, as David Perkins has reminded us; and like his essay on Dryden, the much later "Johnson as Critic and Poet" (1944) seems to arise out of an awareness of the Augustan poet's suitability as a model for present or future poetic practice. "It remains to be seen," writes Eliot as he starts out, "whether the literary influence of Johnson ... does not merely await a generation which has not been born to receive it" (163). Again, Eliot is concerned to set aside nineteenth-century prejudices and to rehabilitate for the modern reader certain tenets of Augustan poetics.
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