Методические указания к изучению курса ''Английская поэзия ХХ века''

Министерство Образования Российской Федерации РОСТОВСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ

ДЖУМАЙЛО О.А. МЕТОДИЧЕСКИЕ УКАЗАНИЯ К изучению курса «Английская поэзия ХХ века» для студентов 4-го курса романо-германского отделения факультета филологии и журналистики

РОСТОВ-НА-ДОНУ 2003

Указания утверждены на заседании кафедры романо-германской филологии. Протокол №7 от 24.04.03

Рецензент: доцент кафедры романо-германской филологии, к.ф.н. Николаев С.Г.

Методические указания содержат ряд творческих заданий по английской поэзии ХХ века для студентов английского отделения. Курс «Английская поэзия ХХ века» призван познакомить студентов с наиболее значительными представителями, широким диапазоном тематики и стилей литературы 20 века; побудить интерес к профессиональному изучению языка поэтического текста, а также дать навыки исследовательской работы. Указания ориентированы на формирование у студентов представлений о необходимости учитывать биографические, культурно-исторические и эстетические предпосылки, связанные с появлением того или иного художественного текста. Курс нацелен на развитие навыков поэтического анализа текста, исходя из свойств его формальной организации. Однако больший акцент сделан на базовом принципе целостного разбора текста с ориентацией на представление о том, что «Стихотворение – это сложно построенный смысл» (Ю.М.Лотман). Студентам также предлагается ряд заданий, связанных с вопросами перевода. Структура указаний представляет собой семь разделов, посвященных заметным представителям английской поэзии ХХ века и список литературы, включающий кроме справочного и критического материала на английском языке также русскоязычные труды по теории и практике анализа стихотворного текста. Каждый раздел указаний содержит краткий обзор творчества поэта, текст предлагаемого к анализу стихотворения, примечания и комментарии к нему, помогающие указать возможные направления интерпретации, и вопросы. Кроме того, включенные в разделы дополнительные задания способны расширить представления студентов о палитре художественных интересов изучаемых авторов. Предполагаемый разбор поэтического текста должен более всего опираться на формально-структуральный подход, а так же на методологию американской «Новой критики». Вместе с тем, современная практика разбора текста показывает необходимость подключения культурно-исторического и биографического материала. Форма отчетности по курсу предполагает: подготовку студентом развернутого анализа творчества английского поэта ХХ века (на выбор) в контексте его эстетических взглядов и поэтических новаций; подробный разбор стихотворения (на выбор) с учетом всего комплекса макро- и микрокомпонентов в целостной структуре текста; декламацию ряда (5-6) стихотворений на память.

William Butler Yeats (1865-1939) William Butler Yeats lived during a tumultuous time in Ireland, during the political rise and fall of Charles Stuart Parnell, the Irish Revival, and the civil war. Partly because of his love for the politically active Maud Gonne, Yeats devoted himself during the early part of his career to Irish patriotism, seeking to develop a new religious iconography based on Irish mythology. He quickly rose to literary prominence. Yeats wrote his early poetry out of a love of a particular place, Sligo, in the West of Ireland, with its folklore, its belief in the supernatural. His early collections “Rose”, “The wind among the Reeds” contain eleborate poetry upon Caltic and Gaelic mythology images. In 1923, Yeats was awarded the Nobel Prize for Literature. Because his work straddles the nineteenth and twentieth centuries, Yeats is stylistically quite a unique poet; his early work seems curiously modern for the nineteenth century, and his late work often seems curiously un-modern for the 1930s. Yeats is the greatest poet in the history of Ireland and probably the greatest poet to write in English during the twentieth century. His themes, images, symbols and poetic sensibilities encompass the breadth of his personal experience and great comlexitiy of ittelectual patterns. A man of great knowledge he creates his elaborate iconography, which takes elements from Irish mythology, Greek mythology, nineteenth-century occultism (which Yeats dabbled in with Madame Blavatsky and the Society of the Golden Dawn), English literature, Byzantine art, European politics, and Christian imagery. All themes were wound together and informed with his own experience and interpretive understanding. To contemporary readers, Yeats can seem baffling; he was opposed to the age of science, progress, democracy, and modernization, and his occultist and mythological answers to those problems can seem horribly anachronistic.ButYeats goal is always to arrive at personal truth; and despite his profound individuality, he remains one of the most universal writers ever to have lived. The most ingenious works by Yeats are universally accepted The Lake Isle of Innisfree, The Second Coming, Two Songs from a Play, Leda and Swan, Easter1916. Sailing to Byzantium I

That is no country for old men. The young In one another’s arms, birds in the trees, -Those dying generations –at their song, The salmon-falls, the mackerel-crowded seas, Fish, flesh, or fowl, commend all summer long Whatever is begotten, born, and dies. Caught in that sensual music all neglect Monuments of unageing intellect.

II An aged man is but a paltry thing, A tattered coat upon a stick, unless Soul clap its hands and sing, and louder sing For every tatter in its mortal dress, Nor is there singing school but studying Monuments of its own magnificence; And therefore I have sailed the seas and come To the holy city of Byzantium. III O sages standing in God’s holy fire As in the gold mosaic of a wall, Come from the holy fire, perne in a gyre, And be the singing-masters of my soul. Consume my heart away; sick with desire And fastened to a dying animal It knows not what it is; and gather me Into the artifice of eternity. IV Once out of nature I shall never take My bodily form from any natural thing, But such a form as Grecian goldsmiths make Of hammered gold and gold enamelling To keep a drowsy Emperor awake; Or set upon a golden bouh to sing To lords and ladies of Byzantium Of what is past, or passing, or to come. Notes and comments - “Perne in a gyre” is Yeats’ term for “spinning in a spiral motion”. “Perne” can be found in the dictionary as a noun, “pirn”. - “Gold mosaics” is an allusion to one of the great mosaics in Sancta Sophia in actual Byzantium. - “I think if I could be given a month of Antiquity and leave to spend it where I chose, I would spend it in Byzantium … I think I could find in some little wine-shop some philosophical worker in mosaic who could answer all my questions, the supernatural descending nearer to him than to Plotinus even, for the pride of his delicate skill would make what was an instrument of power to princes and clerica, a murderous madness in the mob, show as a lovely flexible presence like that of a perfect human body. I think that in early Byzantium, maybe never before or since in recorded history, religious, aesthetic, and practical life were one, that architects and artificers – though not, it may be, poets, for language had been the instrument of controversy and nmust have grown abstract – spoke to the multitude and the few alike.” ( W.B.Yeats) - “Finally, the soul attains the conditions of fire, time comes to an end, and soul puts on a rhythmic or luminious body, and contemplates all the events of its memories in an eternal possession of itself…” ( W.B.Yeats) “When all fuel has become flame, where there is nothing but the state itself, nothing to constrain it or end it … We attain it always in the creation or enjoyment of a work of art… but it passes from us” (W.B.Yeats)

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“I have read somewhere that in the Emperor’s palace at Byzantium was a tree made of gold and silver, and artificial birds that sang.” ( W.B.Yeats) All art is in the last analysis an endeavour to condense as out of the flying vapour of the world an image of human perfection, and for its own and not for the art’s sake, and that is why the labor of the alchemists, who were called artists in their day, is a befitting comparison for all deliberate change of style. We live with images, that is our renunciation, for only the silent sage or saint can make himself into that perfection, turning the life inward at the tongue, as though it heard the cry Secretum meum mihi, choosing not, as we do, to say all and know nothing, but to know all and say nothing.” ( W.B.Yeats)

Questions 1) One of the important themes among Yeats’ writing is his exploration of the relationship between the natural and the artificial, and particularly the relationship between nature and art. Describe the wayYeats characterizes this relationship. Does he prefer the natural to art, or art to nature? 2) What does Byzantium symbolize? Is it a real geographical entity? How do you interpret the “country” mentioned in the first lines? 3) In the starting lines of the first verse there are physical images which are paralleled in the rest of the poem by similar images of spirit. Can you find architecture of contrasts and oppositions here? 4) Think about different uses of movement and time notions in the poem. Does “gyre” mean anything? Is the poem paradoxical, and in what sense? 5) Consider the role of poetic means in the first stanza. What do the words “monuments” and “unagening intellect” suggest in contrast to what has been mentioned before? 6) Compare John Keats' great "Ode to a Nightingale," to Yeats' "Sailing to Byzantium." In what ways does Yeats’ poem seem designed to refute Keats’ poem? How does the singing golden bird differ from Keats' singing nightingale? 7) Consider the precise implication of: - “gyre” ( 19) - “the singing-masters” (20) - "a dying animal" (22) - “golden” (30) - “lords and ladies” (31) 8) What characterizes the given poetic style? What kind of consciousness seems to be indicated by Yeats rough meters, half-rhymes, and frequent violations of formal constraints? How do these traits affect, enhance, or interfere with his aesthetic articulation of the themes? Additional tasks 1) "The Irish Airman Foresees his Death" is a good example of the way in which Yeats combines the political with the personal and the mystical. How does the airman's involvement in World War I relate to his "lonely impulse of delight," and what does the "lonely impulse of delight" say about his understanding of the war? What does the poem itself seem to say about the war? I know that I meet my fate Somewhere among the clouds above: Those that I fight I do not hate Those That I guard I do not love; My country is Kiltartan Cross,

My countrymen Kiltartan’s poor, No likely end could bring them loss Or leave them happier than before. Nor law, nor duty bade me fight. Nor public men, nor cheering crowds, A lonely impulse of delight Drove to this tumult in the clouds; I balanced all, brought all to mind. The years to come seemed waste of breath, A waste of breath the years behind In balance with this life, this death. 1) In the book “Юмор и сатира Ирландии» (Сборник. Сост. А.Я.Ливергант. На анг. яз. – М.: Радуга, 1986 ) the poem “The Dolls” is considered to be a witty parody on the book by J.M.Synge The Aran Islands, in which the partriachal manners of the western coast Irish are shown: “…Today a grotesque twopenny doll was lying on the floor near the old woman. He picked it up and examined it as if comparing it with her. Then he held it up: “It is you is after bringing that thing into the world”, he said, “woman of the house?” Can you give any other interpretations of the poem? Do you find the translation by A.Sergeev successful in rendering the idea? What are the stylistic means used in the translation? The Dolls A doll in the doll-maker’s house Looks at the cradle and bawls: “That is an insult to us.” But the oldest of all the dolls, Who had seen, being kept for show, Generations of his sort, Out-screams the whole shelf: ”Although There’s not a man can report Evil of this place, The man and the woman bring Hither, to our disgrace, A noisy and filthy thing.” Hearing him groan and stretch The doll-maker’s wife is aware Her husband has heard the wretch, And crouched by the arm of his chair, She murmurs into his ear, Head upon shoulder leant: “My dear, my dear, O dear, It was an accident”.

Куклы В кукольной мастерской Появилась люлька. - Нас детеныш людской Опозорил! – крикнула кукла. И из витрины паяц, Переживший множество кукол, За ней заорал, распалясь: - Мало того, что наш угол Отвратителен и зловещ, Так хозяева нас оскорбляют И еще сюда выставляют Крикливую грязную вещь! – Понимая, что муж все слышит, Кукольникова жена К креслу его спешит. Ему на плечо она Голову приклонила И тихо произнесла: - Милый, прости меня, милый, Это ведь не со зла.

Imagism Imagism was a poetic vogue that flourished in England between the years 1912 and 1917.It was exemplified by a group of English and American writers in London. Partly under the influence of the poetic theory of T.E.Hulme, Imagists revolted against what Ezra Pound called the “rather blurry, messy… sentimentalistic mannerish” poetry at the turn of the century. Leading participants were Ezra Pound, Amy Lowell, H.D. (Hilda Doolittle), John Gould Fletcher, F.S.Flint, Richard Aldington, D.H.Lawrence. In brief the Imagists are: 1) for poetry, abandoning conventional and especially romantic poetic materials - poet “never forgets this … limit of man… He may jump, but he always returns back; he never flies away into the circumambient gas” ( T.E.Hulme) 2) for no fixed meter or rhyme – but a rhythm organic to the image itself and versification; syntax and rhythms of common daily speech To compose in sequence of the musical phrase not in sequence of a metronome (F.S.Flint) 3) for no moralizing tone, no reflection on human experience, no striving for the spiritual, freedom to choose any subject - Freedom from didacticism (Ezra Pound) - Go in fear of abstractions (Ezra Pound) - The Image is the furthest possible remove from rhetoric ( Ezra Pound) 4) for no similes, no symbols, no vagueness of generalization: the writer’s response to a visual object or scene presents an image that is hard, clear and concentrated, undertakes to render it as tersely as possible without comment. - We must judge the world from the status of animals, leaving out “Truth” etc… Animals are in the same state that men were before symbolic language was invented (T.E.Hulme) - …absolutely accurate presentation and no verbiage (Ezra Pound) - To paint the thing as I see it (Ezra Pound) - Direct treatment of the thing whether subjective or objective (F.S.Flint) 5) for impression rendered by means of metaphor which is based upon sensory perception. - …Objective – no slither; direct - no excessive use of adjectives, no metaphors that won’t permit examination. It’s straight talk, straight as the Greek!” ( Ezra Pound) - To use absolutely no word that did not contribute to presentation (F.S.Flint) - Use either no ornament or good ornament … (Ezra Pound) - … the author must use his image because he sees it or feels it…” (Ezra Pound) Almost every major poet up to the recent past, including W.B.Yeats, T.S.Eliot, and Wallace Stevens, manifests the influence of the Imagist experiments with the representation of precise, clear images that are juxtaposed without specifying their interconnection.

Questions and tasks 1) Oread by Hilda Doolittle( H.D.) is considered to be a sample imagist poem. Try to find all imagist principles, briefly given above, wonderfully performed in the poem. Can you name the uniting element in the poem? Give your interpretation to the use of antic name in the title. Give your impression on wherther it is a piece of nature poetry or love lyric? Oread Whirl up, seaWhirl your pointed pines, Splash your great pines On our rocks, Hurl your green over us, Cover us with your pools of fir. 2) Think over the use of the visual perception peculiarities and their effect upon the progression in Evening by H.D. What are another means producing the feeling of the time passage? Why are the Indefinite verb forms used – what effect does it produce? What style in painting does this Imagist experiment resemble? Do you feel a sort of termination at the end of the poem? Explain your grounds. Point out similar features and differences in the use of formal devices, conveying an imagist evening by H.D. and a romantic one by John Clare. Evening by H.D.

Winter Evening by John Clare

The light passes From ridge to ridge, From flower to flower – The hypaticas, wide-spread Under the light Grow faint – The petals reach inward, The blue tips bend Toward the bluer heart And the flowers are lost.

The crib-stock fothered horses suppered-up And cows in sheds all littered-down in straw The threshers gone, the owls are left to whoop The ducks go waddling with distended craw Through little hole made in the henroost door And geese with idle gabble never o’er Bate careless hog untill he tumbles down Insult provoking spite to noise the more While fowl high-perched blink with contemptuous frown On all the noise and bother heard below Over the stable ridge in crowds the crow With jackdaws intermixed known by their noise To the warm woods behind the village go And whistling home for bed go weary boys.

The cornel-buds are still white, But shadows dart From the cornel-roots – Black creeps from root to root, Each leaf Cuts another leaf on the grass, Shadow seeks shadow, Then both leaf And leaf-shadow are lost.

3) Consider the extensive use of colour in F.S.Flint’s The Swan. Find out your explanation to the colours chosen? Is the mood changing – what are the formal means, which convey the feeling progression? Though Imagists preferred no reference to symbolic visions and

philosophic insights, do you think F.S.Flint offers more than a vivid picture of momentary impressions? The Swan by F.S.Flint Under the lily shadow And the gold And the blue and mauve That the whin and the lilac Pour down on the water, The fiches quiver. Over the green cold leaves And the rippled silver And the tarnished copper Of its neck and beak, Toward the deep black water Beneath the arches The swan floats slowly Into the dark of the arch the swan floats And into the black depth of my sorrow It bears a white rose of flame. 4) The Japanese haiku influenced Pound, like a number of other Imagists. Give general information on this genre and find out thematic and formal ties with haiku employed by Pound in his In a Station of the Metro In a Station of the Metro by Ezra Pound The apparition of these faces in the crowd; Petals on a wet, black bough. 5) Share your impressions of the poems given below. Do you find them enigmatic? Which of them produces a more shocking effect? Heather by Ezra Pound

Evening by Richard Aldington

The black panther treads at my side, And above my fingers There float the petal-like flames.

The chimneys, rank on rank, Cut the clear sky; The moon, With a rag of gause about her loins Poses among them, an awkward Venus –

The milk-white girls Unbend from the holly-trees, And their snow-white leopard Watches to follow our trace.

And here am I looking wantonly at her Over the kitchen sink.

D.H.Lawrence (1895-1930) David Herbert Lawrence is recognized as one of the major writers of our century. But it shouldn’t be forgotten that he practiced the art of poetry regularly and passionately throughout his career. His style influences are firstly Rossetti and Hardy. But about the time of the Great War he is deeply attracted by Ezra Pound, The Imagists and Whitman. Though he permitted himself to be represented in Georgian as well as in the Imagist anthologies, his style remained entirely Lawrentian. Lawrence enjoyed the natural world as a kind of pure relationship, which he failed to find in human beings. He expresses his belief in primitivism and emotion coupled with sexual impulse as creative and true to human nature. Being against all rational purposes, the poet is often striving for expression of difficult, almost mystical, states of mind. Because Lawrence thought of his poetry as fragmentary biography and relied on the structure of experience itself to provide the structure of his work, his poems are peculiar with their loose rhythms, irregular lines and lack of conventional metrical patterns. He manages to make a virtue out of verbal repetition. The recurrence of identical or slightly varied phrases helps to give his free verse a structure. Lawrence’s main contribution to poetry was his extraordinary skill in embodying in verse the rhythm that would correspond exactly with the powerful rhythm of his sensual perceptions and emotional life. He is praised for emotional integrity and wholeness of perception of life in death, achieving the sense of mortality impregnated with immortality. The best verse collections by Lawrence are Birds, Beasts and Flowers and Pansies. But Last Poems alone would ensure Lawerence a place among the major poets of our time. As Richard Aldington put it: “suffering and agony of departure are turned into music and reconciliation.” Bavarian Gentians Not every man has gentians in his house in Soft September, at slow, Sad Michaelmas. Bavarian gentians, big and dark, only dark darkening the day-time torch-like with the smoking blueness of Pluto’s gloom, ribbed and torch-like, with their blaze of darkness spread blue down flattering into points, flattened under the sweep of white day torch-flower of the blue-smoking darkness, Pluto’s dark-blue daze, black lamps from the hall of Dio, burning dark blue, giving off darkness, as Demeter’s pale lamps give off light, lead me then, lead me the way. Reach me a gentian, give me a torch let me guide myself with the blue, forked torch of this flower down the darker and darker stairs, where blue is darkened on

blueness. even where Persephone goes, just now, from the frosted September to the sightless realm where darkness is awake upon the dark and Persephone herself is but a voice or a darkness invisible enfolded in the deeper dark of the arms Plutonic, and pierced with the passion of dense gloom, among the splendour of torches of darkness, shedding darkness on the lost bride and her groom. Notes and comments - ‘Bavarian Gentians’ was written when Lawrence was in the South of France just before he died. He was very conscious of his approaching death - ‘poetry of that which is at hand: the immediate present. In the immediate present there is no perfection, no consummation, nothing is finished. The strands are all flying, quivering, intermingling into the web, the waters are shaking the moon … The living plasm vibrates unspeakably, it inhales the future, it exhales the past. It is the quick of both and yet it is neither.’ (D.H.Lawrence) - ‘ … my rhythms fit my mood pretty well, in the verse. And if the mood is out of joint, the rhythm often is. … It needs the finest instinct imaginable, much finer than the skill of the craftsmen” ( D.H.Lawrence) - “Anyhow, I offer a bunch of pansies, not a wreath of immortelles. I don’t want everlasting flowers, and I don’t want to offer them to anybody else. A flower passes, and that perhaps is the best of it. If we can take it in its transience, its breath, its maybe mephistophelian, maybe palely ophelian face, the look it gives, the gestures of its full bloom, and the way it turns upon us to depart – that was the flower, we have had it, and no immortelle can give us anything in comparison. The same with the pansy poems; merely the breath of the moment, and one eternal moment easily contradicting the next eternal moment. Only don’t nail the pansy down. You won’t keep it any better if you do.” ( D.H.Lawrence) Questions 1) Think over what is meant by Lawrence’s “ Only don’t nail the pansy down” cited above in Notes and comments. 2) How does the mystical mode of vision show itself? Name all the signs of even more than loose style in the poem. Meanwhile, find out some effective formal means, which help achieve coherence in it. 3) Do you feel any movement in the poem? If any – observe its character, modes of expression and value for the theme of the poem. What stylistic means evoke the feeling of total ambivalence? 4) What are the flowers’ symbols for? Are the antic myths used in any logical concession? Name and try to explain the function of every allusion you find. 5) How is darkness viewed? What does it symbolize? 6) Lawrence is famous for his conception of sex. Are there any typically Lawrentian motifs here? What is so peculiar in their use? 7) What is the mood of the poem? Give your pros et contras. Do you think that Sad Machaelmas adds to the meaning of the poem? How do you interpret the first couplet of the poem? Do you think it is the starting or final point of musing? 8) Give your own translation of the poem.

Additional tasks 1) Consider the imagery in the poem. What can be treated as a departure from imagists? What are the Christian allusions for? Consider the use of loose rhymes, enjambement, repetition and musical effects. What are their functions, if any? Autumn Rain The plane leaves Fall black and wet On the lawn; The cloud sheaves In heaven’s field set Droop and are drawn In falling seeds of rain; The seed of heaven On my face Falling – I hear again Like echoes even That softly pace

Of tears, the store Harvested In the sheaves of dead Men that are slain Now winnowed soft On the floor of heaven; Manna invisible Of all the pain Here to us given; Finely divisible Falling as rain.

Heaven’s muffled floor, The winds that tread Out all the grain 2) The following poems are Imagist experiments in form and imagery. Besides, they are rather complicated as for the mastery in delivering quite certain mood and meaning. Try to find in each case the uniting principle or motif, aiming to give coherence to all macroand micro-components of the text. Give your precise interpretation of what is meant by the titles. Green The sky was apple-green, The sky was green wine held up in the sun, The moon was a golden petal between. She opened her eyes, and green They shone, clear like flowers undone, For the first time, now for the first time seen. Listen to the Band! There is a band playing in the early night, But it is only unhappy men making a noise To drown their inner cacophony: and ours. A little moon, quite still, leans and sings to herself Through the night And the music of men is like a mouse gnawing, Gnawing in a wooden trap, trapped in.

T.S.Eliot (1888-1965) Thomas Stearns Eliot was born in 1888 in St. Louis. Throughout his life he continually sought to return to the epicenter of Anglo-Saxon culture, first by attending Harvard and then by emigrating to England, where he lived from 1914 until his death.. Eliot’s influence was predominant in English poetry in the period between two World Wars. His first small volume of poems, “Prufrock and Other Observations” was composed of ironic, disillusioned and nostalgic observations, which projected his generation as disconcerting and uncertain. In the famous “The Love Song of J.Alfred Prufrock” the speaker is a kind of modern Hamlet, who refuses to accept a life challenge and returns to the stagnation. The publication of “The Waste Land”, addressed the fragmentation and alienation characteristic of modern culture and making use of these fragments to create a new kind of poetry, burst upon its readers with the effect of a literary revolution. 1930 saw the publication of “Ash-Wednesday”, the first Eliot’s poem of Christian inspiration. Among his greatest achievements are also “Four Quartets”, “Little Gidding” and the play “Murder in the Cathedral”. Eliot was a prominent literary critic as well. However, while Eliot's poetry underwent significant transformations over the course of his career, his poems also bear many unifying aspects: all of Eliot's poetry is marked by a conscious desire to bring together the intellectual, the aesthetic, and the emotional in a way that both honors the past and acknowledges the present. Eliot is always conscious of his own efforts, and he frequently comments on his poetic endeavors in the poems themselves. This humility, which often comes across as melancholy, makes Eliot's some of the most personal, as well as the most intellectually satisfying, poetry in the English language. Marina Quis hic locus, quae regio, quae mundi plaga? What seas what shores what grey rocks and what islands What water lapping the bow And scent of pine and the woodthrush singing through the fog What images return O my daughter. Those who sharpen the tooth of the dog, meaning Death Those who glitter with the glory of the hummingbird, meaning Death Those who sit in the stye of contrntment, meaning Death Those who suffer the ecstasy of the animals, meaning Death Are become unsubstantial, reduced by a wind, A breath of pine, and the woodsong fog By this grace dissolved in place

What is this face, less clear and clearer The pulse in the arm, less strong and stronger – Given of lent? More distant than stars and nearer than the eye Whispers and small laughter between leaves and hurrying feet Under sleep, where all the waters meet. Bowsprit cracked with ice and paint cracked with heat. I made this, I have forgotten And remember. The rigging weak and the canvas rotten Between one June and another September. Made this unknowing, half conscious, unknown, my own. The garboard strake leaks, the seams need caulking. This form, this face, this life Living to live in a world of time beyond me; let me Resign my life for this life, my speech for that unspoken, The awakened, lips parted, the hope, the new ships. What seas what shores what granite islands towards my timbers And woodthrush calling through the fog My daughter. Notes and comments - The epigraph is a line from Seneca’s Hercules Furens, where Hercules, having killed his children in a fit of madness, returns to sanity, asks where he is, and then finds the bodies. - In unpublished lecture given at Edinburgh University in 1937, Eliot speaks of the “recognition scene” between Pericles and his daughter Marina as “ultra-dramatic”, “ …a dramatic action of beings who are more than human It is the speech of creatures … seen in a light more than that of day”. In Shakespeare’s play, Pericles had believed his daughter, Marina, was dead, and only at the end is she restored to him. He is overcome with amazement, feeling that his discovery of the lost child must be a hallucination, “the rarest dream that e’er dull sleep did mock sad fools withal”. - “ It is true to say that the glory of man is his capacity for salvation; it is also true to say that his glory is his capacity for damnation” ( T.S.Eliot (1930)) Questions 1) What is the general mood of the poem? Do you find any religious meaning here? Try to find the most precise words to define the experience revealed in the poem. 2) What is the semantic relation between the epigraph (allusion to Hercules) and the poem text itself (allusion to Pericles)? 3) What do you think Marina symbolizes? 4) Give your pros et contras to the interpretation of the poem as a poet’s vision of a new psychic reality (Marina) within himself, a sense of new life. Point out the means which make you think so. Find signs of the movements in the states of mind. Consider the role of full stops. 5) In what way is the sea image revealed? Is the picture symbolic? What does lack of grammar mean? 6) Why are the destructive powers shown in the second stanza “reduced” by the mystery and wonder of “this grace dissolved in place”?

7) Is there any certainty whether the moment is a real contact with something extraordinary or an illusion of senses? Give your proofs. 8) What do you think of the “ship” and “between one June and another September”? Think about the composition of the poem. Is there any nostalgic vision or a feeling of illusory dreams with the beauty of a lost paradise? Is the theme of innocence projected in the poem? Additional tasks 1) Compare the sixth poem in “Ash-Wednesday” with “Marina”. Are there different perspectives? In what way are the grouping of symbols and atmosphere different? 2) Ezra Pound called Eliot “old Possum”, after the most cunning of animals, and the name was apt. “The Song of the Jellicles” belongs to “Old Possum’s Book of Practical Cats” by T.S.Eliot The book served as a basis for Andrew Lloyd Webber’s musical “Cats”. Enjoy the poem and choose better translation of it in: - Элиот Т.С. Практическое котоведение /Пер. с англ. и комментарии С.Г.Дубовицкой - СПб.; М.:Летний сад, 2000.; - Элиот Т.С. Стихотворения и поэмы в переводах Андрея Сергеева.- М., Радуга, 2000. The Song of the Jellicles Jellicle Cats come out tonight, Jellicle Cats come all: The Jellicle Moon is shining bright – Jellicles come to the Jellicle Ball.

Jellicle Cats are black and white, Jellicle Cats are rather small; Jellicle Cats are merry and bright, And pleasant to hear when they caterwaul. Jellicle Cats have cheerful faces, Jellicle Cats have bright black eyes; They like to practise their airs and graces And wait for the Jellicle Moon to rise. Jellicle Cats develop slowly, Jellicle Cats are not too big; Jellicle Cats are roly-poly, They know how to dance a gavotte and jig. Until the Jellicle Moon appears They make their toilette and take their repose: Jellicles wash behind their ears, Jellicles dry between their toes.

Jellicle Cats are white and black, Jellicle Cats are of moderate size; Jellicles jump like a jumping-jack, Jellicle Cats have moonlit eyes. They’re quiet enough in the morning hours, They’re quiet enough in the afternoon Reserving thei terpsichorean powers To dance by the light of the Jellicle Moon. Jellicle Cats are black and white, Jellicle Cats (as I said) are small; If it happens to be a stormy night They will practise a caper of two in the hall. If it happens the sun is shining bright You would say they had nothing to do at all: They are resting and saving themselves to be right For the Jelicle Moon and the Jellicle Ball.

W.H.Auden (1907-1973) During the 1930s Wystan Hugh Auden was already universally recognized as the dominant figure among the poets of his generation. Even those who dubbed him Kipling treated Auden’s technical skill and poetic virtuosity as indisputable. Auden opposed all notions of artistic decorum and of correct style. His wish “to hang around words” was meanwhile not only a display of artistry. His “play” usually had a moral purpose. The most brilliant poems are patterns of observation and analysis of man’s moral dilemmas. The need for a poet to sit still and absorb, to “bless what there is for being” was a philosophic credo of his work. Auden established his claim to be a serious and major poet, fulfilling that specifically human vocation, the ability “with a rhythm or a rhyme” to “Assume … responsibility for time”. The most prominent works are collections of poems “Poems”, “Look Stranger”, “Another Time”, “The Shield of Achilles”. Our Bias The hour-glass whispers to the lion’s paw, The clock-towers tell the gardens day and night, How many errors Time has patience for, How wrong they are in being always right. Yet Time, however loud its chimes or deep, However fast its falling torrent flows, Has never put the lion off his leap Nor shaken the assurance of the rose. For they, it seems, care only for success: While we choose words according to their sound And Judge a problem by its awkwardness; And Time with us was always popular. When have we not preferred some going round To going straight to where we are? Notes and comments -

“One of the constant problems of the poet is how to express abstract ideas in concrete terms” (W.H.Auden). “Why do you want to write poetry?” If the young man answers: ”I have important things I want to say”, then he is not a poet. If he answers: “I like hanging around words, listening to what they say”, then maybe he is going to be a poet” (W.H.Auden ) “Whatever its actual content and overt interest, every poem is rooted in imaginative awe. Poetry can do; it must praise all it can for being and for happening” ( W.H.Auden )

Questions 1) What does the title mean? What is contrasted in the poem? Prove your opinion. Can you formulate the moral dilemma? 2) What is the Time symbol for? What time theories do you know, which of them are closely connected with morals? 3) What do you think of the general mood of the poem? Is the tone ambiguous? Can you give your reasons for speaker’s attitude and the poem’s idea? 4) The final line of this sonnet has only four feet. Why do you think it is so? Can you find any technical innovations in the sonnet form? 5) Consider the use of imagery in the first quatrain. 6) Paraphrase the poem, paying attention to the precise implications of - ‘whispers’(1) - ‘has patience for’ (3) - ‘assurance’ (7) - ‘success’(8) - ‘awkwardness’ (10) - ‘popular’ (11) - ‘straight’ (13) Additional tasks 1) W.H.Auden is also known for “a relaxed low-temperature verse”. This is often what he describes as “unofficial poetry”. He always insists that poetry does not need to be consistently on its high horse. He likes to debunk the “proper”, the decorous and the official. The following poem is interesting to discuss from this point of view. What are the signs of mockery? Consider the logic of reflection in the poem if you find any. Can you say that there is continuous inner questioning for choosing this or that? Find out these gaps in thinking, which turn out to be embranchments in moving to a certain credo. What is meant by “short views”? Thou shalt not be on friendly terms With guys in advertising firms, Nor speak with such As read the Bible for its prose, Nor, above all, make love to those Who wash too much. Thou shalt not live within thy means Nor on plain water and raw greens. If thou must choose Between the chances, choose the odd; Read The New Yorker, trust in God; And take short views. 2) Read W.H.Auden’s Musee des Beaux Arts. Find the role of allusions to Pieter Breughel’s “The Fall of Icarus”. What is the other famous painting described in the first stanza? What is the mood of the poem? Can you feel ambiguity in the tone? Do you find it makes any sense? Can you give possible variants of the theme in the poem.

Musee des Beaux Arts About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer’s horse Scratches its innocent behind on a tree. In Breughel’s Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy to and sailed calmly on. Dylan Thomas (1914-1953) Dylan Thomas is one of the most original voices in British poetry since Yeats and Eliot. While wrote stories and plays, his major achievement is as a poet. He saw himself as an heir to the English Romantic tradition. For Thomas, the poetry was a means of self-definition and self-discovery. His major subject was his own emotional life. Early poems are informed by a pantheistic view of the universe. Though there is great preoccupation with death in his poetry, Thomas not only regrets the inevitable passing of his vitality, but also celebrates his passions and joys and the splendor of God’s creation. Thomas shows how not only the poet, but every man can achieve personal salvation through his imagination. Few poets have laboured more fiercely at their craft or been more self-conscious about the process ‘of constructing a formally watertight compartment of words’. Chief works “18 Poems”, “Deaths and Entrances”. “A Winter’s Tale”, “A Refusal to Morn”, “Fern Hill” and “Poem in October” are considered to be his masterpieces. Fern Hill Now as I was young and easy under the apple boughs About the lilting house and happy as the grass was green, The night above the dingle starry, Time let me hail and climb Golden in the heydays of his eyes, And honored among wagons I was prince of the apple towns And once below a time I lordly had the trees and leaves Trail with daisies and barley

Down the rivers of the windfall light. And as I was green and carefree, famous among the barns About the happy yard and singing as the farm was home, In the sun that is young once only, Time let me play and be Golden in the mercy of his means, And green and golden I was huntsman and herdsman, the calves Sang to my horn, the foxes on the hills barked clear and cold, And the sabbath rang slowly In the pebbles of the holy streams. All the sun long it was running, it was lovely, the hay Fields high as the house, the tunes from the chimneys, it was air And playing, lovely and watery And fire green as grass. And nightly under the simple stars As I rode to sleep the owls were bearing the farm away, All the moon long I heard, blesses among stables, the nightjars Flying with the risks, and the horses Flashing into the dark. And then to awake, and the farm, like a wanderer white With the dew, come back, the cock on his shoulder: it was all Shining, it was Adam and maiden, The sky gathered again And the sun grew round that very day. So it must have been after the birth of the simple light In the first, spinning place, the spellbound horses wa’king warm Out of the whinnying green stable On to the fields of praise. And honored among foxes and pheasants by the gay house Under the new made clouds and happy as the heart was long, In the new made clouds and happy as the heart was long, In the sun born over and over, I ran my heedless ways, My wishes raced through the house high hay And nothing I cared, at my sky blue trades, that time allows In all his tuneful turning so few and such morning songs Before the children green and golden Follow him out of grace, Nothing I cared, in the lamb white days, that time would take me Up to the swallow thronged loft by the shadow of my hand, In the moon that is always rising, Nor that riding to sleep I should hear him fly with the high fields And wake to the farm forever fled from the childless land.

Oh as I was young and easy in the mercy of his means, Time held me green and dying Though I sang in my chains like the sea. Notes and comments - “My poetry is, or should be, useful to me for one reason: it is the record of my individual struggle from darkness towards some measure of light… What is hidden should be made naked. To be stripped of darkness is to be clean, to strip of darkness is to make clean…” ( Dylan Thomas, reply to “An Enquire”, New Verse, 11 October, 1934) - You asked me to tell you about my theory. Really I haven’t got one. I like things that are difficult to write and difficult to understand; I like ‘redeeming the contraries’ with secretive images; I like contradicting my images, saying two things at once in one word, four in two and one in six. But what I like isn’t a theory even if I do stabilize by dogma my own personal affections, Poetry, heavy in tare though nimble, should be as orgastic and organic as copulation, dividing and unifying, personal but private, propagating the individual in the mass and the mass in the individual. I think it should work from words, from the substance of words and the rhythm of substantial word set together, not towards words. Poetry is a medium, not a stigmata on paper. (Dylan Thomas, letters to Charles Fisher, February 1935) - “A poem by myself needs a host of images because its centre is a host of images… Each image holds within it the seed of its own destruction, and my dialectical method, as I understand it is a constant building up and breaking down of the images that comes out of the central seed, which is destructive and constructive at the same time” (Dylan Thomas, letter to Henry Treece, 23 March 1938) - “I want to go to the Garden of Eden to die … to be forever unconscious” (Dylan Thomas. Selected Letters) Questions 1) What is the poet’s view of Nature, of childhood? Could you find any symbols? Note the metaphors, which bring forth the feeling of conflict. 2) Comment on the effectiveness of the following phrases in the first stanza, and trace similar usage throughout the poem: - ‘young and easy’ (1) - ‘lilting house’(2) - ‘happy as the grass was green (2) - ‘Time let me …’ ( 4) - ‘once below a time’ (7) - ‘the windfall light’ (9) 3) Consider the stanza form of the poem, and its syntax. How does the poet achieve his wonderful, lilting exuberance? Do you find any musical effects? 4) How is the “Time” theme expressed through the poem? How do you interpret “as I rode to sleep”? 5) What role does light play in the poem? 6) Consider the use of myths – particularly the myth of Eden and the first chapter of Genesis. 7) How would you paraphrase the lines of the fourth stanza from “Under the new made clouds” to “I ran my heedless ways”?

8) Is it true that one is aware of the adult’s viewpoint, but the child’s experience is maintained intact? Additional task What do you know about the villanelle form? Consider different means of using the sounds of words in the poem by D.Thomas. What feelings do they suggest? Do you think the poet achieved high metrical artifice? Do Not Go Gentle into That Good Night Do not go gentle into that good night, Old age should burn and rave at close of day; Rage, rage against the dying of the light. Though wise men at their end know dark is right, Because their words had forked no lightning they Do not go gentle into that good night. Good men, the last wave by, crying how bright Their frail deeds might have danced in a green bay, Rage, rage against the dying of the light. Wild men who caught and sang the sun in fight, And learn, too late, they grieved it on its way, Do not go gentle into that good night. Grave men, near death who see with blinding sight Blind eyes could blaze like meteors and be gay, Rage, rage against the dying of the light. And you, my father, there on the sad height, Curse, bless, me now with your fierce tears, I pray. Do not go gentle into that good night. Rage, rage against the dying of the light.

Ted Hughes (1930-1998) Though he is still frequently described as a poet of blood and violence, throughout his life Hughes used his poetry to bring about regeneration and change. Like William Blake, he believed that poetry, art, spirit and imagination are essential and can be used to create harmony within us and in the world around us. Considering poetry as a magical and powerful way of reaching our feelings and emotions our subconscious, natural energies – Hughes believed that these energies had been repressed by scientific approach to life. The intensity of relationship between Hughes and his wife, the American poet Sylvia Plath, was expressed in the poetry that each of them wrote. Hughes interests covered a huge range of topics, including magic, mythology, world religions, language and music. He was Poet Laureate from 1984, and in 1998 he was appointed to Order of Merit. The Hawk in the Rain, Wodwo, Crow are considered to be his best verse collections. The Thought-Fox I imagine this midnight moment’s forest: Something else is alive Beside the clock’s loneliness And this blank page where my fingers move. Though the window I see no star: Something more near Though deeper within darkness Is entering the loneliness: Cold, delicately as the dark snow A fox’s nose touches twig, leaf; Two eyes serve a movement, that now And again now, and now, and now Sets neat prints into the snow Between trees, and warily a lame Shadow lags by stump and in hollow Of a body that is bold to come Across clearings, an eye, A widening deepening greenness, Brilliantly, concentratedly, Coming about its own business Till, with a sudden sharp hot stink of fox It enters the dark hole of the head. The window is starless still; the clock ticks, The page is printed.

Notes and comments -

“…the first poem in the book, which is just a poem about a fox. Which began as a poem about meeting a fox on the top of a bank, and face-to-face. A very impressive moment which I thought I would like to write a poem about, and so I tried and this is --- anyway, this is a poem about quite a different fox which I call a 'thought fox' - that is not an actual fox” (Ted Hughes)

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“The special kind of experiment, the slightly mesmerized and quite involuntary concentration with which you make out the stirrings of a new poem in your mind, then the outline, the mass and color and clear final form of it, the unique living reality of it in the midst of the general lifelessness, all that is too familiar to mistake. This is hunting and the poem is a new species of creature, a new specimen of the life outside your own” ( Ted Hughes)

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“And I suppose that long after I am gone, as long as a copy of the poem exists, every time anyone reads it the fox will get up somewhere out in the darkness and come walking towards them” (Ted Hughes)

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“Poetry …is one way to unlock the doors of those many mansions inside the head

and express something - perhaps not much, just something - of the crush of information that presses in on us....Something of the deep complexity that makes us precisely the way we are....Something of the inaudible music that moves us along in our bodies from moment to moment like water in a river...” (Ted Hughes) Questions 1) Find all possible metaphoric correspondences in the poem. What is your point as for the fox symbol? 2) Point out the major contrasts (for example, stillness/movement, coloured/ colourless, near/far etc.) and explain their meaning. 3) Is there any progress in the poem? Do you think the succession nose-eyes-dark hole of head casual or not? 4) Find numerous formal means, which mime in their own way what the poem describes. 5) Consider the musical effect of the poem. 6) What are the relationships between art and reality as presented in the poem? How do you interpret shadow and stinks in this context? 7) Consider the precise implications of: - dark snow (9) - leaf (10) - neat prints (13) - lame (14) - by stump (15) - bold (16) - clearings (17) - A widening deepening greenness (18) - sharp (21) - dark hole (22)

Additional tasks 1) The poem given below is a sample of Hughes’ violent hyperbolic style and surplus energy calling for a strong impression. Besides, the poem is the evidence of poet’s striking mastery in use of metaphysical conceit. Point out instances of hyperbole coupled with metaphor. Try to find the unique coherence of imagery in the poem. Do not Pick up the Telephone That plastic Buddha jars out a Karate screech Before the soft words with their spores The cosmetic breath of the gravestone Death invented the phone it looks like the altar of death Do not worship the telephone It drags its worshippers into actual graves With a variety of devices, through a variety of disguised voices Sit godless when you hear the religious wail of the telephone Do not think your house is a hide-out it is a telephone Do not think you walk your own road, you walk down a Telephone Do not think you sleep in the hand of God you sleep in The mouthpiece of a telephone Do not think your future is yours it waits upon a telephone Do not think your thoughts are your own thoughts they Are the toys of the telephone Do not think these days are days they are the sacrificial Priests of the telephone O phone get out of my house You are a bad god Go and whisper on some other pillow Do not lift your snake head in my house Do not bite any more beautiful people You plastic crab Why is your oracle always the same in the end? What rake-off for you from the cemeteries? Your silences are as bad When you are needed, dumb with the malice of the Clairvoyant insane The stars whisper together in your breathing World’s emptiness oceans in your breathing Stupidly your string dangles into the abysses

Plastic you are then stone a broken box of letters And you cannot utter Lies or truth, only the evil one Makes you tremble with sudden appetite to see Somebody undone Blackening electrical connections To where death bleaches its crystals You swell and you writhe You open your Buddha gape You screech at the root of the house Do not pick up the detonator of the telephone A flame from the last day will come lashing out of the telephone A dead body will fall out of the telephone Do not pick up the telephone. 2) “A Jaguar after all can be received in several different aspects … it is reader’s own nature that selects.” (Ted Hughes) What does jaguar symbolize? Why is he enraged? Do you think there could be possible thematic ties with Blake’s “Tyger”? Prove you point. The Jaguar The apes yawn and adore their fleas in the sun. The parrots shriek as if they were on fire, or strut Like cheap tarts to attract the stroller with the nut. Fatigued with indolence, tiger and lion Lie still as the sun. The boa-constrictor’s coil Is a fossil. Cage after cage seems empty, or Stinks of sleepers from the breathing straw. It might be painted on a nursery wall. But who runs like the rest past these arrives At a cage where the crowd stands, stares, mesmerized, As a child at a dream, at a jaguar hurrying enraged Through prison darkness after the drills of his eyes On a short fierce fuse. Nor in boredom – The eye satisfied to be blind in fire, By the bang of blood in the brain deaf the ear – He spins from the bars, but there’s no cage to him More than to the visionary his cell: His stride is wildernesses of freedom: The world rolls under the long thrust of his heel. Over the cage floor the horizons come.

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