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''To read Randall Jarrell on W. H. Auden is to read the best-equipped of American critics of poetry of the past century on the best-equipped of its Anglo-American poets, and we rush to read, perhaps, less out of an academic interest in fair judgment than out of a spectator's love of virtuosity in flight.'' From Adam Gopnik's foreword
Randall Jarrell was one of the most important poet-critics of the past century, and the poet who most fascinated and infuriated him was W. H. Auden. In Auden, Jarrell found a crucial poetic influence that needed to be both embraced and resisted. During the 1940s, Jarrell wrestled with Auden's work, writing a series of notorious articles on Auden that remain admired and controversial examples of devoted and contentious criticism. While Jarrell never completed his proposed book on Auden, these previously unpublished lectures revise and reprise his earlier articles and present new insights into Auden's work. Delivered at Princeton University in 1951 and 1952, Jarrell's lectures reflect a passionate appreciation of Auden's work, a witty attack from an informed opponent, and an important document of a major poet's reception.
Jarrell's lectures offer readings of many of Auden's works, including all of his long poems, and illuminate his singular use of a variety of stylistic registers and poetic genres. In the lecture based on the article ''Freud to Paul,'' Jarrell traces the ideas and ideologies that animated and, at times, overwhelmed Auden's poetry. More precisely, he considers the influence of left-liberal politics, psychoanalytic and evolutionary theory, and the idiosyncratic Christian theology that characterized Auden's poems of the 1940s.
While an admiring and sympathetic reader, Jarrell does not avoid identifying Auden's poetic failures and political excesses. He offers occasionally blistering assessments of individual poems and laments Auden's turn from a cryptic, feeling, impassioned poet to a rhetorical, self-conscious one. Stephen Burt's introduction provides a backdrop to the lectures and their reception and importance for the history of modern poetry.
- Sales Rank: #2759967 in Books
- Published on: 2005-05-11
- Original language: English
- Number of items: 1
- Dimensions: 8.38" h x .73" w x 5.82" l, .80 pounds
- Binding: Hardcover
- 200 pages
From Publishers Weekly
Randall Jarrell wrote one of the major mid-20th-century works of poetry criticism (Poetry and the Age, 1953); Burt wrote the major 21st-century study (so far) of Randall Jarrell (Randall Jarrell and His Age, 2002). In his introduction to this set of six lectures, which Jarrell delivered at Princeton in 1952, Burt establishes the key, if contentious, role W.H. Auden's work played in Jarrell's own development as a poet and critic. As New Yorker writer Adam Gopnick points out in his foreword, Jarrell's lectures present an "almost comically detailed analysis of the transformation of Auden's rhetoric in the 1940s," a crux period in Auden's career-he had emigrated to the United States from England a few years earlier, and in that time he had come to abjure the "We must love one another or die" sentiments of "September 1st, 1939," which he composed almost immediately after his arrival. Gopnick finds the essays to be "a cutting contest without cuts, an occasion of witticisms more than a battle of wits." Indeed, Jarrell does seem to be trying to best the older (and more famous) poet at the same time that he is lavishing attention on his smallest rhetorical shifts-and working hard to impress the audience as he sings for his supper (Burt details the financial arrangements). Jarrell registers multiple complaints about Auden's seeming "liberal pieties" (as Gopnick calls them, though he does not think them such) and the taming effect they have had on his verse. Despite the ambivalence evident throughout the lectures, it is clear that Jarrell thought Auden worth reading to the dregs. The number of people today who have read Auden's poetry of the 1940s is smaller than the work merits, and the same goes for Jarrell's poetry and criticism throughout his career. This set of critical engagements, published here for the first time, allows one to start right in the middle of two mid-century titans.
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Review
W. H. Auden's debut as a poet, in 1928, was the most prodigious since Byron's. When he arrived on the American scene in 1939, he continued to dazzle readers in this country--none more so than Randall Jarrell, who had been reading and admiring him from the start. Auden's triumphal march across the next decade, though, began to disconcert Jarrell, and these Princeton lectures are the record of his mixed feelings. His readings are bracing, and his conclusions misjudged, but where else will one encounter a major poet so intimately engaged with the work of another? We're told that, informed of Jarrell's attacks. Auden merely shrugged, "I think Jarrell must be in love with me," and in a crucial sense he was right.
(J. D. McClatchy Yale Review)This set of critical engagements, published here for the first time, allows one to start right in the middle of two mid-century titans.
(Publishers Weekly)This collection is first-rate scholarship... Jarrell is more than a virtuoso performing here.
(Jon Tribble Washington Post Book World)Jarrell was enthralled, dazzled and infuriated by Auden... and these lectures... encompass both his admiration and his reservation.
(London Review of Books)This volume may be slim, but it is substantial, a happy addition to Jarrell's criticism.
(Magill Book Reviews) Review
Painstakingly pieced together, these fascinating lectures represent a titanic clash between two of the most brilliant literary minds of the twentieth century. Randall Jarrell incisively probes the ethics, psychology, and aesthetics of W. H. Auden's poetry, and even when Jarrell's judgments seem vexed, his wit and intelligence dazzle.
(Jahan Ramazani, William R. Kenan, Jr. Professor of English, University of Virginia)Jarrell's brilliant long essays on Auden's stylistic and philosophical development have become classics of mid-century criticism. These six lectures extend the essays in their evaluative force, lightning insight and generalizing power. He invites us not only to measure but to understand, as in Lecture Six when he walks us through the difficult terrain of Paid on Both Sides. Jarrell's Auden is a poet (like Jarrell himself) working out a moral vision for his time, and developing a language for that vision. Jarrell portrays Auden with the utmost respect, as a truly human poet whose errancy becomes part of his nobility. One senses the resistance, at times, of a poet-critic wary of another poet's strong influence. Yet in holding Auden to his own highest standard, indeed to the highest standard of English poetry, Jarrell is always illuminating. Stephen Burt's introduction provides the full story of these lectures, and of Jarrell's life-long preoccupation with Auden's work; the detailed, reliable notes answer every question and comprise a concise chapter of literary history.
(Bonnie Costello, author of Shifting Ground: Reinventing Landscape in Modern American Poetry)Most helpful customer reviews
2 of 3 people found the following review helpful.
Six Fabulous Lectures on Auden (but not for the novice).
By M. Hurley
This 136 page series of lectures, a bravura treatment of a poet's work which has yet to be deciphered fully (delivered at Princeton University in 1952-53) is interesting because it is a provocative close reading of a poet by a poet (and critic). Jarrell's lectures, addressed to an invited audience, assume we (they) have read Auden and that we now his work well. As well as fixing the template with which subsequent critics and criticisms have approached the Auden oeuvre, in terms of dividing up the poet's work into discrete parts, Jarrell's encomium is a very readable take on a poet whose work he knew better than most. Jarrell's comments are often provocative and even where he was wrong, and strong editing and a good Introduction shows where he was occasionally wrong (Auden's use of rhetoric), anyone wishing for a look under the Auden bonnet (hood) to try to understand both what influenced the poet's work and how he achieved certain effects, will find this book fascinating.
The extensive notes on the Lectures themselves contain a mine of useful information. Beautifully produced (hardback) and well worth the price, it is both an assault and an homage to Auden and achieves what Auden is reported to have done when he was faced with a body of poetry, Jarrell attempts to decipher the codes that shape the work. Auden's poetry forced and continues to force theory to expand its reach so it can accommodate him, not something that can be said of too many poets.
Readers who are new to Auden might read the Cambridge Companion to WH~, 19 contemporary essays on most aspects of the poet. For those seeking an update on Jarrell's lectures, find John R. Boly's book, 'Reading Auden, The Returns of Caliban' or Rainer Emig's book, 'Towards a Postmodern Poetics', both heavy on theory but these books completely changed my thinking on Auden and on the apparently innocent habit of reading. Bahlke's earlier collected essays are interesting but were written before the poet's work was more properly understood. Was it ever.
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