![]() Piss on that grave where lies the weakly carnal?. What his more honest prudence had held in: Nothing of moment, since it had his verse. – Facts that he’d hoped his friends would not rehearse Here’s Bob Conquest’s reaction to Auden’s biographer:Ī ten-pound Life will give you every fact That is, Auden’s poem “Who’s Who” uses the same sonnet form established by Henry Howard, Earl of Surrey: iambic pentameter with abab cdcd efef gg. I wonder how many readers of ‘Second Death’ ever notice the aptness of echoing Auden’s sonnet on biography in this criticism of Osborne, and in the same verse form.” “One thing that impressed me about Bob is how everything he ever read remained lodged in that big head of his, to be effortlessly produced when needed. Liddie added, “Bob thought Charles Osborne’s biography was disgraceful, and shortly after it was published in 1979, wrote this sonnet, which appeared first in (I think) the TLS.” ![]() (Well, this reader rather likes “Nones” and in fact all of Auden’s “Horae Canonicae.” But as my brother always said, that’s why they make chocolate and vanilla.)īob Conquest at his desk (Photo: L.A. 14), finding it cold, but gradually fell for the vigour and skill-not the lowest poetical virtues-and also, I suppose, the (then) mythopoeic effect-as in part of The Orators. I didn’t take to Auden at first reading (when I was c. Also the other purveyors were either worse ( Spender) or less in the then groove ( MacNeice). (A lot of the best of Auden’s poetry has a sort of hard surface which rejects the reader-and the later stuff about Nones and Lakes and such is unreadable-but there is a certain amount of energetic unpretentious stuff, and also some other odds and ends of lyrics etc., which come off pretty well.) I think his original impact was from his a) self confidence, b) “new” preaching of not too homiletic a nature, c) not being unreadably modernist, yet able to claim the advantages of the latest thing. In the preface I stressed the formal side because, after all, it was really Auden who brought back the formality that had been destroyed by Pound and others. The argument is put forward that Auden's "hours" are not merely a cyclical devotion, but a progressive and didactic meditation on the efficacy of the sacrifice of Christ in the life of each individual willing to accept its claims upon him.She sent me a paragraph from Bob’s unpublished memoir, Two Muses. In it, he reflects on the introduction of the 1956 New Lines anthology that launched the Movement poets: The seven poems of the series are examined closely, one chapter of discussion being devoted to each. This study of Auden's poems is presented as being more detailed than any work of criticism presently available, and as a new examination of the Horae Canonicae in the light of the whole of the Auden canon, with particular attention to other of Auden's poetic works analogous in thought, manner and voice to the poetry of the Horae. The significant extant criticism of the Horae is surveyed. The Introduction gives, in brief, the historical background of the Canonical Hours of Worship in the Roman and English Churches, and there is discussion of Aude's particular use of the tradition of the hours. Auden's most important poetic statement on the nature and function of Christian faith, the Horae Canonicae. This thesis is a close critical examination of W.H. Please use this identifier to cite or link to this item:Įnglish English Language and Literature English Language and Literature
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