Download Aberration in Modern Poetry. Essays on Atypical Works by by Lucy Collins PDF

By Lucy Collins

This serious paintings considers the function performed through parts that may be thought of aberrational in a poet's oeuvre. With an introductory essay exploring the character of aberration, those fourteen contributions examine the paintings of significant 20th-century poets from the united states, Britain, eire, Australia and New Zealand. Aberration is taken into account from the perspective of either the artist and the viewers, prompting dialogue on more than a few very important matters, together with the formation of the canon. each one essay discusses the prestige of the aberrant paintings and the ways that it demanding situations, enlarges or helps the final notion of the poet.

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Additional info for Aberration in Modern Poetry. Essays on Atypical Works by Yeats, Auden, Moore, Heaney and Others

Example text

At the time and afterwards he did represent his 1939 move to the United States as the start of a consciously new phase of writing, and in1966 he arranged his Collected Shorter Poems 1927–1957 in four dated sections, further to encourage the idea that there are clear divisions in his poetic development. This 1966 method of arranging the contents was in sharp contrast to the non-chronological, alphabetical arrangement of his 1944 collection of shorter poems, intended to “test the reader who believes that my earliest poems are the best” (Map 87).

Neither depends on hidden references. Without seeing the bottle that inspired the poem, one recognizes Moore’s reflections on it. ’” Similarly, “An Egyptian Pulled Glass Bottle in the Shape of a Fish” demonstrates the increased acuteness of Moore’s ear. Although in revising Moore loses the earlier poem’s perfect rhyme on “but / cut” for the slant “but / that” in stanza 2, she achieves a more striking aural effect overall. ” Moore’s new conclusion then builds on this alliteration and assonance as well as on the turn in the poem’s argument.

Because the workmanship of a piece reflects on its author, she did not want to be associated with the technical ineptitude of the Little Review. Not reprinting, and apparently not even attempting a revision of “You Say You Said” may also suggest that Moore felt its relevance was past — a judgment that may have to do with Moore’s acute sense of the historical moment. This sense may be underestimated by Moore’s readers because of a common misperception, namely that Moore majored in Biology; she in fact majored in History and the cumulative study of Politics and Economics — areas in which she maintained lifelong interest.

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