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• W791531151 abstract "Back in 1968, when I was a fledgling assistant professor at Catholic University in Washington, D.C., I was exhilarated, one fine day, by the acceptance by the editors of PLL of my essay on Yeats's Easter 1916 as an poem. Over the years--and I recall reviewingJacob Korg's book on the avant-garde for PLL--what I have especially admired is PLL's breadth: articles on Kafka's critique of imperialism sit side by side with reconsiderations of the sexual innuendos in the of the Earl of Rochester or of the metrical innovations of the British nineteenth At once theoretical and historical--and genuinely comparatist--PLL continues to be a journal I read with pleasure and real profit. While other seemingly trendier journals have come and gone, PLL is still going strong, a journal I recommend to my colleagues and to those students who do truly superior work. Congratulations to PLL on this, its 50th anniversary! Marjorie Perloff Stanford University, Emerita What have contemporary poets, as distinct from literary critics and historians, learned from Yeats's poetry? In the view of W. H. Auden, His main legacies to us are two. First he transformed a certain kind of poem, the poem, from being either an official performance of impersonal virtuosity or a trivial vers de societe into a serious reflective poem of at once personal and public interest.... Secondly, released regular stanzaic poetry, whether reflective or lyrical, from iambic monotony; the Elizabethans did this originally for dramatic verse, but not for lyric or elegiac. (1) Of these two legacies, it is the first which is my subject, although the second is not entirely irrelevant. Auden's praise for Yeats's been echoed by other poets; recently Charles Tomlinson observed that Yeats revivifies for us the language of courtesy that we know from the seventeenth century. He has found a poetic style for domesticity, one that never descends to the banal and one that bestows on its human subject the kind of more-than-individual importance which Jonson gives to his figure of the lady in 'To Penshurst'. (2) number of critics have speculated that it is the poems of civilization as himself called them, the such as Easter 1916, A Prayer for my Daughter, Coole Park, 1929, and Parnell's Funeral, that, rather than the more overly philosophical poems, constitute Yeats's central achievement and are the cause of his continuing popularity. (3) But it remains to define Yeats's real contribution to the form: how does he transform the poem into something new and important in the history of English poetry (Auden 313)? According to the definition of Samuel Holt Monk, an poem is one which celebrates events of a public character--a coronation, a military victory, a death, a political crisis. Such are social and ceremonial, and they demand of the writer tact as well as talent. They are public and formal, blending with rhetoric and oratory, and their tone is that of the forum, not of the intimate conversation or private (4) Beginning with this definition, which Monk applies to such as Dryden's Annus Mirabilis, one can see immediately that a poem like Yeats's Easter 1916 is occasional with a difference. It does celebrate a particular event of a public character--in this case, a political crisis--but its tone is not that of the forum but, on the contrary, that of private meditation. Again, A Prayer for my Daughter, which Donald Davie calls classic and Jonsonian in its stress on tradition and ceremony, its domestication of classical mythology, and its use of such hackneyed literary properties as the cornucopia and laurel tree, been described by other readers as Romantic and subjective; I clearly recalls Coleridge's Frost at Midnight, in that the speaker's personal meditation is occasioned by the presence of his sleeping infant and turns upon the question of that child's future in the light of his father's past. …" @default.
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• W791531151 title "Yeats and the Occasional Poem: Easter 1916" @default.
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