True Friendship: Geoffrey Hill, Anthony Hecht, and Robert Lowell Under the Sign of Eliot and Pound (The Anthony Hecht Lectures in the Humanities Series)
True Friendship looks heavily at 3 amazing poets of the earlier half-century—Geoffrey Hill, Anthony Hecht, and Robert Lowell—through the lens in their relation to their predecessors in genius, T. S. Eliot and Ezra Pound. The serious awareness then reveals itself reciprocated, with Eliot and Pound being of their flip meditated anew in the course of the lenses in their successors. Hill, Hecht, and Lowell are one of the so much generously alert and discriminating readers, as is borne out not just via their severe prose yet (best of all) by way of their acts of latest construction, these poems of theirs which are due to Eliot and Pound.
“Opposition is correct Friendship.” So William Blake believed, or at any cost was hoping. Hill, Hecht, and Lowell show many forms of friendship with Eliot and Pound: hostile, inventive, own. of their inventive assent and dissent, the ingenious literary allusions—like different, wider types of influence—are proven to represent the main magnanimous of welcomes and of tributes.
of bizarre genius in numerous varieties of writing,” and Hill’s final clause does strike me as a coloration grudging if one places jointly Eliot’s assessment of The Descent of the Dove in 1939, his obituary of Williams in 1945, his broadcast “The value of Charles Williams” in 1946, his advent to Williams’s All Hallows’ Eve in 1948, and the blurb for a standard variation of Williams’s novels (unsigned yet written through Eliot), the place there comes the tribute to “a guy of surprising genius in different types of.
Odes (“On interpreting Burke on Empire, Liberty, and Reform”) At those fresh moments in his poetry, Hill is considering Pound, with compassion veritably, yet with out the fecund discomposure that works inside his fascination with Eliot. I’m spent, signori, imagine i'd quite crash out than waft on via. Pound glided via his personal idiocy; in outdated age fell upon clarities of incoherence, muteness’s epigrams, issues crying off. (“Pindarics” 14) Pound used to be a Ruskinian, so it really works out, so.
All comedy. all of the higher in case you pass mad like Pound (grillo, a grasshopper; grido, a cry from the fields). The grief of comedy | you need to snigger. (Scenes from Comus three, 19) it's thoroughly hideous, the transition from the 1st to the second one line there, the second one line being so momentaneously sealed, challenging at the heels of what have been an entire sentence yet now crying out for a verb that will enable it to (as abject humans say) stream on. not anything is unforgettable yet guilt. Guilt of the.
Vespers”)6 “Thus virtues, it really is stated, …”? What could have been the crime of robbery needs to strength upon us many different types of pertinent impudence. First, there's the spatula that's “Thus,” a flat notice that's by no means “said” other than with a feeling of whatever useless. moment, there's the flat-tongued affront that takes a degree excitement in now not attributing the darkish announcing both to Mr. Eliot or to the little outdated guy who's Gerontion. 3rd, there's the re-lineation (not in contrast to what Eliot visits upon Oliver.
Hecht: the place to start? With the white, wrinkled membrane, The disgusting dermis that gathers on sizzling milk? degree this opposed to “I have measured out my lifestyles with espresso spoons.” Stir in a reminiscence of the membrane in “Gerontion”: “Excite the membrane, while the experience has cooled.”8 however the excitements in “The Venetian Vespers” should not precisely these of the poet; they personal the fellow whom the poet has summoned, the exacerbated background of a self-tormentor. Tormented too, haunted, through T. S. Eliot. Take the.