![]() Serving as a substitute "religion," as secular or religiousĭogma that tells the reader what to think-rather than give him or her ![]() In part, this commitment aligns with his desire to save poetry from That remaining true to this legacy entails serving as a jester to hisĪnti-Romantic age-not to his vocation of poetry or to the imagination. Even more intensely than in the first half of his career,Īuden's awareness of his Romantic inheritance helps him to realize Suspicious of the aesthetic experience the imagination brings toĬonsciousness. Mid-career Auden is acutely aware of the anti-Romanticism of his age, anĪge (like our own) that deifies the intellect and is ignorant and In working out the difficulties of his Romantic inheritance. All ofĪuden's thinking at mid-career shows that he continues his interest He never turns his genius to undermining poetry. More importantly, he does not at mid-career (or ever)ĭecide to become anti-Romantic. Mid-career (or ever) declare that he wants to become a Christian or a Mid-career to serve as a secular or Christian hero: Auden does not at There is a problem with judging Auden as someone who decides at Remains unquestioned is that Auden changes his approach at mid-career,īecoming anti-Romantic -and always, somehow, less. Interestingly, regardless of the decision of any particular critic, what The predominant tendency since his death is to argue whether the laterĪuden chooses to serve in the secular or Christian arena, and, in eitherĬase, becomes a failed or successful, secular or Christian hero. Scholarship on Auden, which, since his death, continues to grow, I find With the advantage of looking back, in 2012, at the abundance of As HumphreyĬarpenter observes (in 1981), some view this second half as a decline,īut some see it as a successful revision or purging of poetry written in "becomes" in the second half of his career. Of being human, as is the case with Stephen Spender's Tribute,Ĭriticism becomes increasingly concerned with judging what Auden Recognize Auden's genius in exploring the mystery and indeterminacy Responsible for the number of poems that are "sloppy and speciousĪfter Auden dies, however, even though there are those who Sloppy, and since Auden has a certain influence on other poets, Auden is As Donald Hall complains in 1962, Auden's poetry is This disappointment in Auden continues through the second half of Of "seriousness and flippancy" destroys any meaning (221). ![]() Leavis, for example, complains in 1931 that Auden's peculiar sense (3) Reviewing the play Paid on Both Sides, F. Critics have difficultyĭiscerning his intent. New: from the start of his career, Auden disappoints. ![]() To a degree, Bromwich's disappointment with Auden is nothing Him a "victim" of his own "survival" (100). "rest of us," when his "all-too-human" nature made Bromwich sees Auden asĪ failed secular hero in this regard, and Bromwich ends his review byĭeclaring that he prefers the early Auden-when he was like the Irremediable, determinate nature of being human. Offering poetry that jests about transcendence while insisting on the Not do what a good jester should do he does not become a secular hero, (2)Īs Bromwich's review makes clear, however, the way in whichĪuden's poetry makes nothing happen is disappointing. Which it is (foolishly) drawn is nothing. Realizing that any belief in the imagination or the transcendence to Process and applauds the poet's intellect for maturing: for Perhaps Bromwich findsĪuden's nothing-making a sign of Auden's cooperation with this That this view of Auden as jester is positive. Which poets discard any belief in transcendence, it might be surmised Of Romantic poetry into Modern poetry as a secularization process in (1) Since deconstruction has a primary interest in seeing the evolution ![]() Auden's death in 1973, David Bromwich'sĭeconstructionist assessment of Auden's Collected Poems finds anĪuden who changes at mid-career from an "oracle" to anĪnti-Romantic "jester" whose poetry makes nothing happen (91). Various works, taken together, make one consistent oeuvre.Īfter W. When a writer is dead, one ought to be able to see that his Griefs, / Raw towns that we believe and die in it survives, / A way of flows on south / From ranches of isolation and the busy for poetry makes nothing happen it survives / In the valley of Auden's Romantic legacy." Retrieved from Auden's Romantic legacy." The Free Library. ![]()
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