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.The tragedy of Ransom s characters is their inability to accept their ownduality, oscillating between extremes, paralyzed and tortured as theequilibrists are by opposing forces in their own natures.The onlyreconciliation they can find is in their own death.Despite his playfulness andwit, a Hardyesque fatalism runs through all of Ransom s poems.Ransom s typical poetic strategy is to take a passionate subject and holdit up at a certain distance, creating a feeling of balance and tension, emotionsheld in check, fever and chills.He created a detached surface and linguistictension by mixing a raw, colloquial, and informal speech with an archaic andelegant diction.And his central poetic mode was irony.He believed thatirony was the most inclusive response to human duality and in 1924 praisedit in the Fugitive as the rarest of the states of mind, because it is the mostinclusive; the whole mind has been active in arriving at it, both creation andcriticism, both poetry and science. 29 Thus out of his own poetic practiceand experience, his idea of the proper response to man s perception of hisdifference from nature, Ransom began to define the term that would be thefoundation stone for New Criticism.In the early twenties Allen Tate carried on what he called animpertinent campaign on Eliot s behalf in the South. Tate s first book, Mr.Pope and Other Poems, combines a traditional formality with a Modernistsubject matter and was heavily influenced by Eliot s Poems.His style ischiseled, concentrated, difficult.Tate arranged the poems under threecategories, Space, Time, and History, but they all deal with the sameessential theme the suffering of the modern citizen who must live in aworld of bewildering complexity (with understanding divorced from reason)and under the dispensation of a scientific and technological age.Tate s most important single poem, Ode to the Confederate Dead, isa kind of Southern analogue to The Waste Land.As opposed to Ransom, whothought The Waste Land seemed to bring to a head all the specificallymodern errors, Tate defended the way Eliot s poem embraced the entirerange of consciousness and impersonally dramatized the tragic situation ofthose who live in modern times.30 Tate s Ode treats that situation inspecifically Southern terms.The poem presents the symbolic dilemma of aman who has stopped at the gate of a Confederate graveyard.He is trappedin time, isolated, alone, self-conscious, caught between a heroic Civil Warpast, which is irrecoverable, and the chaotic, degenerate present.In his essay 264Edward Hirsch Narcissus as Narcissus, Tate argues that the poem is about solipsism, aphilosophical doctrine which says that we create the world in the act ofperceiving it, or about Narcissism, or any other ism that denotes the failureof the human personality to function objectively in nature and society. 31 Asthe poem develops, it becomes a drama of the cut-offness of the modern intellectual man from the world. The situation of the speaker issymptomatic of the crisis of his region the crisis of the Old and the NewSouth after World War I.In its diagnosis of that historical situation, the Ode is an Agrarian poem.It universalizes from the situation of the Southin the middle and late twenties to the larger condition of the modern world.In the twenties William Carlos Williams and Marianne Moore helpedto continue to create and define a Modernist poetry of the New World, alocal, homemade American poetic.Their experiments in composition areakin to the typographical innovations of E.E.Cummings and the verbalportraits of Gertrude Stein as well as to the more minor free-verseexperiments of Mina Loy, Alfred Kreymborg, and Walter Arensberg.Theirurgent struggle to create an indigenous American poetry parallels theinnovative prose experiments of the expatriates Hemingway and Fitzgeraldin the twenties.They had an even stronger and more direct connection tothe visual artists who clustered around the photographer Alfred Stieglitz sgallery, 291 (Marianne Moore called it an American Acropolis ),especially John Marin, Marsden Hartley, Arthur Dove, Charles Demuth, andCharles Sheeler.Along with the cultural journalists Waldo Frank (OurAmerica, 1919) and Paul Rosenfeld (Port of New York, 1924), these artistsemphasized immediate visual experience and the need for establishingAmerican values in art.Out of this milieu, surrounded by the call for theemancipation of American art and literature, Moore and Williams created abody of early work (Observations and Spring and All are its masterpieces) thatstands as a direct alternative to Continental American Modernism.Williams s response to The Waste Land is the most extreme example ofthe way two strains of American poetry diverged in the twenties.Williamswanted a poetry that was forward-looking and experimental, self-consciouslyrooted in American soil.Years later he recalled how he felt when The WasteLand first appeared:It wiped out our world as if an atom bomb had been droppedupon it and our brave sallies into the unknown were turned todust.To me especially it struck like a sardonic bullet.I felt at oncethat it had set me back twenty years, and I m sure it did.Critically 265Helmet of Fire: American Poetry in the 1920sEliot returned us to the classroom just at the moment when I feltthat we were on the point of an escape to matters much closer tothe essence of a new art form itself rooted in the locality whichshould give it fruit.32The poetry which Williams wrote and sponsored in the twenties was directlyposed against Eliot s version of Modernism.Williams and Moore are poets of immanence, anti-Symbolists.Forthem meaning inheres primarily in the external world, and their poemsaccord to objects a life of their own.They featured and appraised objects(also animals and other people) in and of themselves, not for what theyrepresented.Williams said of Moore, To Miss Moore an apple remains anapple whether it be in Eden or the fruit bowl where it curls. 33 There is nodepth of transcendence in their world, no secret, symbolic nature in things,no hidden correspondences to another world.So, too, for them words werefundamentally things in themselves, solid objects that match the particularthings they name.Williams writes in Spring and All, Of course it must beunderstood that writing deals with words and words only and that alldiscussions of it deal with single words and their associations in groups. Atthe same time words are themselves marked by the shapes of men s lives inplaces. 34 Words are objects interacting in their own right whichsimultaneously name and parallel the local, external world.This dual senseof language is the beginning of an Objectivist aesthetic.To render the external world accurately also meant to break radicallywith traditional ways of presenting and describing that world as well as withtraditional or received forms of poetry.The goal was not loveliness butreality itself [ Pobierz całość w formacie PDF ]
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.The tragedy of Ransom s characters is their inability to accept their ownduality, oscillating between extremes, paralyzed and tortured as theequilibrists are by opposing forces in their own natures.The onlyreconciliation they can find is in their own death.Despite his playfulness andwit, a Hardyesque fatalism runs through all of Ransom s poems.Ransom s typical poetic strategy is to take a passionate subject and holdit up at a certain distance, creating a feeling of balance and tension, emotionsheld in check, fever and chills.He created a detached surface and linguistictension by mixing a raw, colloquial, and informal speech with an archaic andelegant diction.And his central poetic mode was irony.He believed thatirony was the most inclusive response to human duality and in 1924 praisedit in the Fugitive as the rarest of the states of mind, because it is the mostinclusive; the whole mind has been active in arriving at it, both creation andcriticism, both poetry and science. 29 Thus out of his own poetic practiceand experience, his idea of the proper response to man s perception of hisdifference from nature, Ransom began to define the term that would be thefoundation stone for New Criticism.In the early twenties Allen Tate carried on what he called animpertinent campaign on Eliot s behalf in the South. Tate s first book, Mr.Pope and Other Poems, combines a traditional formality with a Modernistsubject matter and was heavily influenced by Eliot s Poems.His style ischiseled, concentrated, difficult.Tate arranged the poems under threecategories, Space, Time, and History, but they all deal with the sameessential theme the suffering of the modern citizen who must live in aworld of bewildering complexity (with understanding divorced from reason)and under the dispensation of a scientific and technological age.Tate s most important single poem, Ode to the Confederate Dead, isa kind of Southern analogue to The Waste Land.As opposed to Ransom, whothought The Waste Land seemed to bring to a head all the specificallymodern errors, Tate defended the way Eliot s poem embraced the entirerange of consciousness and impersonally dramatized the tragic situation ofthose who live in modern times.30 Tate s Ode treats that situation inspecifically Southern terms.The poem presents the symbolic dilemma of aman who has stopped at the gate of a Confederate graveyard.He is trappedin time, isolated, alone, self-conscious, caught between a heroic Civil Warpast, which is irrecoverable, and the chaotic, degenerate present.In his essay 264Edward Hirsch Narcissus as Narcissus, Tate argues that the poem is about solipsism, aphilosophical doctrine which says that we create the world in the act ofperceiving it, or about Narcissism, or any other ism that denotes the failureof the human personality to function objectively in nature and society. 31 Asthe poem develops, it becomes a drama of the cut-offness of the modern intellectual man from the world. The situation of the speaker issymptomatic of the crisis of his region the crisis of the Old and the NewSouth after World War I.In its diagnosis of that historical situation, the Ode is an Agrarian poem.It universalizes from the situation of the Southin the middle and late twenties to the larger condition of the modern world.In the twenties William Carlos Williams and Marianne Moore helpedto continue to create and define a Modernist poetry of the New World, alocal, homemade American poetic.Their experiments in composition areakin to the typographical innovations of E.E.Cummings and the verbalportraits of Gertrude Stein as well as to the more minor free-verseexperiments of Mina Loy, Alfred Kreymborg, and Walter Arensberg.Theirurgent struggle to create an indigenous American poetry parallels theinnovative prose experiments of the expatriates Hemingway and Fitzgeraldin the twenties.They had an even stronger and more direct connection tothe visual artists who clustered around the photographer Alfred Stieglitz sgallery, 291 (Marianne Moore called it an American Acropolis ),especially John Marin, Marsden Hartley, Arthur Dove, Charles Demuth, andCharles Sheeler.Along with the cultural journalists Waldo Frank (OurAmerica, 1919) and Paul Rosenfeld (Port of New York, 1924), these artistsemphasized immediate visual experience and the need for establishingAmerican values in art.Out of this milieu, surrounded by the call for theemancipation of American art and literature, Moore and Williams created abody of early work (Observations and Spring and All are its masterpieces) thatstands as a direct alternative to Continental American Modernism.Williams s response to The Waste Land is the most extreme example ofthe way two strains of American poetry diverged in the twenties.Williamswanted a poetry that was forward-looking and experimental, self-consciouslyrooted in American soil.Years later he recalled how he felt when The WasteLand first appeared:It wiped out our world as if an atom bomb had been droppedupon it and our brave sallies into the unknown were turned todust.To me especially it struck like a sardonic bullet.I felt at oncethat it had set me back twenty years, and I m sure it did.Critically 265Helmet of Fire: American Poetry in the 1920sEliot returned us to the classroom just at the moment when I feltthat we were on the point of an escape to matters much closer tothe essence of a new art form itself rooted in the locality whichshould give it fruit.32The poetry which Williams wrote and sponsored in the twenties was directlyposed against Eliot s version of Modernism.Williams and Moore are poets of immanence, anti-Symbolists.Forthem meaning inheres primarily in the external world, and their poemsaccord to objects a life of their own.They featured and appraised objects(also animals and other people) in and of themselves, not for what theyrepresented.Williams said of Moore, To Miss Moore an apple remains anapple whether it be in Eden or the fruit bowl where it curls. 33 There is nodepth of transcendence in their world, no secret, symbolic nature in things,no hidden correspondences to another world.So, too, for them words werefundamentally things in themselves, solid objects that match the particularthings they name.Williams writes in Spring and All, Of course it must beunderstood that writing deals with words and words only and that alldiscussions of it deal with single words and their associations in groups. Atthe same time words are themselves marked by the shapes of men s lives inplaces. 34 Words are objects interacting in their own right whichsimultaneously name and parallel the local, external world.This dual senseof language is the beginning of an Objectivist aesthetic.To render the external world accurately also meant to break radicallywith traditional ways of presenting and describing that world as well as withtraditional or received forms of poetry.The goal was not loveliness butreality itself [ Pobierz całość w formacie PDF ]