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By Konstantina Georganta

Conversing Identities: Encounters among British, Irish and Greek Poetry, 1922-1952 presents a landscape of cultures introduced in discussion via commute, immigration and translation set opposed to the insularity imposed via conflict and the hegemony of the nationwide centre within the interval 1922-1952. every one bankruptcy tells a narrative inside of a selected time and house that hooked up the demanding situations and fissures skilled in cultures with the target to discover how the post-1922 accentuated mobility throughout frontiers chanced on a suitable expression within the paintings of the poets into consideration. both encouraged by way of their genuine trip to Britain or Greece or divided of their numerous allegiances and reactions to nationwide or imperial sovereignty, the poets tested explored the probabilities of a metaphorical diasporic experience of belonging in the multicultural city and created personae to point the stress on the touch of the outdated and the hot, the hypocritical parody of combined breeds and the necessity for contemporary heroes to prevent nationwide or gendered stereotypes. the most coordinates have been the nationwide voices of W.B. Yeats and Kostes Palamas, T.S. Eliot's multilingual outlook as an Anglo-American métoikos, C.P. Cavafy's view as a Greek of the diaspora, displaced William Plomer's portrayal of Thirties Athens, Demetrios Capetanakis' trip to the British city, John Lehmann's antithetical trip eastward, in addition to Louis MacNeice's advanced loyalties to a countrywide id and experience of belonging as an Irish classicist, translator and vacationer.

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Cavafy, The Romiosyni Series, Athens: Denise Harvey and Company, 1983, 113. P. ” 42 Conversing Identities by congregation, absence of thought, and pleasure”: “When someone is alone in a silent room, he can clearly hear a clock tick. ”31 Note here that pleasure is not capitalized as in “The Regiment of the Senses” since this is pleasure “unreproved”, a scene that is re-enacted in The Waste Land: He, the young man carbuncular, arrives, A small house agent’s clerk, with one bold stare, One of the low on whom assurance sits As a silk hat on a Bradford millionaire.

The twice repeated affirmation that “The nymphs are departed” is therefore met with the repetitive response “But at my back ... I hear” and the ears are themselves set towards the past, signifying the importance of remembering and the regaining of a consciousness that could remember, an outlet that the poem itself presents itself as being. Eliot does not offer a descriptive vision of the world but is asking his audience to imagine the unreal city and so decide for themselves how it should be, offering as images only the type of caricatured characters that would mirror the audience’s own fears.

26 Conversing Identities Schuchard argues that Eliot was in fact Philo-Semitic, as evidenced by his friendship with Jewish people and especially Horace M. 69 Unbeknown to Eliot at the time of writing the poem, the 64 Schuchard, “Burbank with a Baedeker, Eliot with a Cigar”, 1-26. Ronald Bush, “A Response to Ronald Schuchard”, Modernism/Modernity, X/1 (January 2003), 34; James Longenbach, “A Response to Ronald Schuchard”, Modernism/Modernity, X/1 (January 2003), 50. For the opposite reaction, see Anthony Julius, “A Response to Ronald Schuchard”, Modernism/Modernity, X/1 (January 2003), 41-47.

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