By Patrick Deane
Patrick Deane argues that sleek English poetry, in a few key elements, is indebted to the classical culture and to the attitudes and modes of the 18th century. He illustrates how neo-Augustan values are obvious within the works of T.S. Eliot, W.H. Auden, Louis MacNeice, A.D. wish, Donald Davie, Charles Tomlinson, and others. The presence of those values, Deane indicates, isn't really a interest yet a part of a necessary culture of recent neo-Augustanism that has been formerly missed. by means of tracing those writers' universal curiosity in Horace, John Dryden, and Samuel Johnson, he uncovers vital hyperlinks among possible varied glossy poets. He demanding situations the full interpretation of literary modernism, which has often associated the fashionable poets to the Romantics and obvious either as anti-Augustan. Deane concludes that those glossy poets proportion a prepared reputation of linear time, during which all acts of creative and social creativity needs to happen - an important think about either the shape and substance in their writings.
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Additional resources for At Home in Time: Forms of Neo-Augustanism in Modern English Poetry
While I suggest that Hope's neo-Augustanism is a posture adopted principally for temporary, literary-political ends, it nevertheless becomes clear that he shares with Auden and MacNeice a fundamental (that is to say, pre-political or epistemological) commitment to linear temporality. In the latter part of chapter four, I trace Hope's foregrounding of what he calls the "one-directional flow" of time in the verseforms of Dunciad Minor, and in the narratives which make up his later work, The Age of Reason.
From that last qualification, however, it is apparent that Eliot's conception of the classic is not - nor can ever be - purely aesthetic, and opens upon politics of the more worldly sort. "Classicism" for him describes a particularly close relationship which exists between the work and its historical, social moment. It is the very strangest kind of literary absolute: a perfection of historical contingency. It would be wrong to think of this "classic" relationship between the text and the world as a matter of the one passively imitating the other.
With typical perversity, Pound's salvoes are also aimed at his editor on this occasion: "Mr Eliot's endeavours," he tells us, have served "only to strengthen my resolve never, never again, to open either John Dryden, his works or any comment upon them" (70). " He was also reading Mark Van Doren's study, The Poetry of John Dryden, and writing a review of it - "John Dryden," the essay which concludes with this rebuke to nineteenth-century taste and judgment: 37 Eliot, Pound, and the Drafts of The Waste Land where Dryden fails to satisfy, the nineteenth century does not satisfy us either; and where that century has condemned him, it is itself condemned.