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. desire, Donald Davie, Charles Tomlinson, and others. The presence of those values, Deane indicates, isn't a interest yet a part of a necessary culture of contemporary 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 assorted sleek poets. He demanding situations the complete interpretation of literary modernism, which has frequently associated the trendy poets to the Romantics and visible either as anti-Augustan. Deane concludes that those sleek poets percentage a prepared attractiveness of linear time, in which all acts of creative and social creativity needs to ensue - a very important think about either the shape and substance in their writings.
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Additional resources for At Home in Time: Forms of Neo-Augustanism in Modern English Poetry
To a large extent our relationship with all such texts is, as I will show in the case of "New Year Letter," morphological rather than hermeneutic, and in that we learn the first "Augustan" lesson: that "Transcending's fine, but then we might / As well get what's transcended right" (Davie). If such is the basic premise of these "empty" poems, then a certain type of critical approach is called for, one which reads not into the "depths" of the text, but concerns itself with those "exterior" complexities arising in the interaction between the text and its universe of readers, single or collective, immediate or remote.
He rejects the tendency of that tradition to treat poetry as "merely the vehicle ... the ox-cart and post-chaise for transmitting thoughts poetic or otherwise/' and in doing so he returns poetry from the realm of social utility to the world of "pure art" ("A Retrospect" 12, 11). As one might have predicted, this makes him particularly unsympathetic to English literature of the very period that Eliot came to find congenial: the eighteenth century. This was an age, Pound writes, in which "they had no ideogrammic method or hadn't erected it into a system" ("Mr Housman" 68).
It is especially interesting to note that such "functional" and "relational" approaches to language have been argued by Roland Barthes to be typical of "classical" discourse. " Classical language, he writes, "establishes a universe in which men are not alone, where words never have the terrible weight of things" (55). In contrast to "modern poetry," where "the [poetic] Word shines forth above a line of relationships emptied of their content" and is "an act without immediate past, without environment" (52-3), classical discourse is constituted by relationship and mediated by "the forms of History [and] ...
At Home in Time: Forms of Neo-Augustanism in Modern English Poetry by Patrick Deane