The Poetic Economies of England and Ireland, 1912–2000 by D. Johnston
By D. Johnston
Even supposing sleek English and Irish poetry arises from the several cultures of the 2 international locations those poets have shared - all through this century - an analogous editors and publishers, competed for a similar prizes, and been judged, ostensibly, via a similar criteria. This booklet examines contexts for those exchanges over 4 many years - tracing the lineages of Yeats and Hardy from their assembly in 1912 via WWI, the 30s, the 60s, and the 90s, - to work out what affects and ideas are exchanged and the way poetic price accrues.
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Extra resources for The Poetic Economies of England and Ireland, 1912–2000
Sample text
Based on questionnaires, interviews, committee discussion, and other evidence, Newbolt wrote most, if not all, of the report (Dickinson, 24) which, in Baldick’s judgment, was ‘almost . . a best seller’ and ‘a guiding influence upon the development of English studies’ (94). Although the report was never implemented officially, it contributed to an alignment of culture and literature in Britain, to a more coherent English poetic canon, and, consequently, to the relative marginalization of Yeats and other Irish poets by keepers of that canon.
To offer its spiritual history to the world it must transcend the limitations of its origins. (157) Where Ireland after the Rising needed an Odysseus or Aeneas, Yeats recovers instead founding figures divided into two types: the Irish figure – magical, impulsive, antinomian, and sexually potent – serves only as a filocide and barren warrior whereas the role of administrative leader is awarded to the John-Bull-like Conchubar: humorless, coldly logical, treacherous, and an aged cuckold. Neither figure can offer Ireland affiliation.
Always to the good’ (306). Reading this essay reminds us that Newbolt is an English Liberal and that we have sat through the literary equivalent of a committee meeting in which, ostensibly, the fairest hearing is granted to the widest divergency of views before reaching a foreordained conclusion. We may be cheered by his assertion early in this essay that ‘our best poets have all been innovators’ who have helped construct a poetic tradition of ‘creative freedom’ (287), but when we turn to his English Anthology of 1921, which includes American as well as Scots writers with English, we find Whitman rendered to two pages while we look in vain among recent writers for work by Hopkins, Edward Thomas, Yeats, and Frost, to say nothing of Eliot or Pound.