By Neil Corcoran
Shakespeare is an enormous impact on poets writing in English, however the dynamics of that impression within the 20th century have by no means been as heavily analysed as they're during this vital research. greater than an account of the ways that Shakespeare is figured in either the poetry and the severe prose of contemporary poets, this booklet offers a provocative new view of poetic interrelationship. targeting W. B. Yeats, T. S. Eliot, W. H. Auden, Ted Hughes and Sylvia Plath, Neil Corcoran uncovers the relationships - combative in addition to sympathetic - among those poets themselves as they're intertwined of their engagements with Shakespeare. Corcoran deals many enlightening shut readings, totally alert to modern theoretical debates. This unique learn of impact and reception superbly screens the character of poetic impact - either one of Shakespeare at the 20th century, and between sleek poets as they reply to Shakespeare.
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The concept of tragic joy, developed early in Yeats’s life, originates in a further revulsion from the moralising of Dowden. What Yeats finds in Shakespearean tragic character is not moral example but, as he finds in Richard II, an idea of extravagance. He makes this clear in an almost enraptured passage of ‘First Principles’ in Samhain (1904). 15 13 14 15 Jahan Ramazani, Yeats and the Poetry of Death: Elegy, Self-Elegy, and the Sublime (New Haven and London: Yale University Press, 1990), p. 97. W.
Yeats, vol. III, p. 74. Setting a sail for shipwreck 35 silently makes his own while also building on them and expressing them in a kind of language of which J. B. Yeats would himself have been quite incapable, for all the stylistic virtuosity on display in his own letters. That paternities of different kinds, both overt and covert, should be so much at issue in Yeats’s Stratford essay on the virtues of Richard II makes it appropriate that when he asks ‘pardon’ of his ‘old fathers’ in the introductory poem to Responsibilities (1914) he should figure his ‘boyish’ self claiming that ‘Only the wasteful virtues earn the sun’, the kinds of virtues which the essay associates with Richard.
All murthered … Yeats might have argued, Ure says, that ‘the strong, incantatory rhythms … depersonalise Richard as he moves towards the vast generalisation supported by tradition; this ever expanding tragic rhythm rubs out the marks of individuality; the face becomes a lamenting, stylised Byzantine or Japanese mask; we commune with the falling king in an experience shaped by sorrow at our common mortality’. 9 This insight in turn illuminates a great deal that piles up behind Yeats’s own later poems and poetic, and in a way once more adumbrated by Ure when he says that some of those poems may be thought ‘the equivalents of the poetic reveries of Richard II or Timon ….