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Alfred Prufrock." Poetry for Students.
These two poems are about possession, and they seem to me a poet’s poems—that is, they are about the poet’s relationship to her own power, which is exteriorized in masculine form, much as masculine poets have invoked the female Muse. In writing at all—particularly an unorthodox and original poetry like Dickinson’s—women have often felt in danger of losing their status as women. And this status has always been defined in terms of relationship to men—as daughter, sister, bride, wife, mother, mistress, Muse. Since the most powerful figures in patriarchal culture have been men, it seems natural that Dickinson would assign a masculine gender to that in herself which did not fit in with the conventional ideology of womanliness. To recognize and acknowledge our own interior power has always been a patch mined with risks for women; to acknowledge that power and commit oneself to it as Emily Dickinson did was an immense decision.
In his last article on the Soviet cinema in the Dwight Macdonald points out that kitsch has in thelast ten years become the dominant culture in Soviet Russia. Forthis he blames the political regime -- not only for the fact thatkitsch is the official culture, but also that it is actually thedominant, most popular culture, and he quotes the following fromKurt London's : ". . . the attitudeof the masses both to the old and new art styles probably remainsessentially dependent on the nature of the education affordedthem by their respective states." Macdonald goes on to say:"Why after all should ignorant peasants prefer Repin (a leadingexponent of Russian academic kitsch in painting) to Picasso, whoseabstract technique is at least as relevant to their own primitivefolk art as is the former's realistic style? No, if the massescrowd into the Tretyakov (Moscow's museum of contemporary Russianart: kitsch), it is largely because they have been conditionedto shun 'formalism' and to admire 'socialist realism.'"
Eliot: A Literary Reference to His Life and Work.
St. John's College, Oxford, includes copies of T.S. Eliot's letters to Graves pertaining to the publication of and the incarceration of Ezra Pound.
Sophisticated language The Fire Sermon - an in-depth look at modernist poetry Humanity relies on its life lessons and morals to carry itself through time.
Copyright 2017 Parnassus Poetry · ·
All values are human values, relative values, in art as wellas elsewhere. Yet there does seem to have been more or less ofa general agreement among the cultivated of mankind over the agesas to what is good art and what bad. Taste has varied, but notbeyond certain limits; contemporary connoisseurs agree with theeighteenth-century Japanese that Hokusai was one of the greatestartists of his time; we even agree with the ancient Egyptiansthat Third and Fourth Dynasty art was the most worthy of beingselected as their paragon by those who came after. We may havecome to prefer Giotto to Raphael, but we still do not deny thatRaphael was one of the best painters of his time. There has beenan agreement then, and this agreement rests, I believe, on a fairlyconstant distinction made between those values only to be foundin art and the values which can be found elsewhere. Kitsch, byvirtue of a rationalized technique that draws on science and industry,has erased this distinction in practice.
It may be that Cocteau in The Blood of a Poet and in Orpheus wanted theelaborate readings which have been given these films, in terms of Freudiansymbolism and social critique.
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Not to be confused with , an Anglo-Saxon poetic device.
Nevertheless, if the masses were conceivably to ask for avant-gardeart and literature, Hitler, Mussolini and Stalin would not hesitatelong in attempting to satisfy such a demand. Hitler is a bitterenemy of the avant-garde, both on doctrinal and personal grounds,yet this did not prevent Goebbels in 1932-1933 from strenuouslycourting avant-garde artists and writers. When Gottfried Benn,an Expressionist poet, came over to the Nazis he was welcomedwith a great fanfare, although at that very moment Hitler wasdenouncing Expressionism as . This wasat a time when the Nazis felt that the prestige which the avant-gardeenjoyed among the cultivated German public could be of advantageto them, and practical considerations of this nature, the Nazisbeing skillful politicians, have always taken precedence overHitler's personal inclinations. Later the Nazis realized thatit was more practical to accede to the wishes of the masses inmatters of culture than to those of their paymasters; the latter,when it came to a question of preserving power, were as willingto sacrifice their culture as they were their moral principles;while the former, precisely because power was being withheld fromthem, had to be cozened in every other way possible. It was necessaryto promote on a much more grandiose style than in the democraciesthe illusion that the masses actually rule. The literature andart they enjoy and understand were to be proclaimed the only trueart and literature and any other kind was to be suppressed. Underthese circumstances people like Gottfried Benn, no matter howardently they support Hitler, become a liability; and we hearno more of them in Nazi Germany.
Tradition and the Individual Talent by T
CIVIC CRITICS: A school of 19th-century Russian literary scholars who judged the value of writing primarily by its political context and progressive ideas. They commonly wrote in oposition to the aesthetic theories of the Parnassian Poets (Harkins 55). Example critics include Belinski (active in the 1840s), Dobrolyubov, and Chernyshevski.
Eliot, T. S. 1921. The Sacred Wood: Essays on Poetry and Criticism
The poetry of extreme states, the poetry of danger, can allow its readers to go further in our own awareness, take risks we might not have dared; it says, at least: “Someone has been here before.”
Marina Poetry and T.s. Eliot Essay - 1250 Words
The poet’s relationship to her poetry has, it seems to me—and I am not speaking only of Emily Dickinson—a twofold nature. Poetic language—the poem on paper—is a concretization of the poetry of the world at large, the self, and the forces within the self; and those forces are rescued from formlessness, lucidified, and integrated in the act of writing poems. But there is a more ancient concept of the poet, which is that she is endowed to speak for those who do not have the gift of language, or to see for those who—for whatever reasons—are less conscious of what they are living through. It is as though the risks of the poet’s existence can be put to some use beyond her own survival.
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