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Common terms and phrases2nd edn Andrew Marvell become Book Ends canon Carnuntum celebration chorus classical Cold comic common conceit contemporary critical culture cunt dead death described Donne dramatic E. P. Thompson edition Elegy Eliot English epigraph Faber feel film fucking Geoffrey Hill Gorgon grave Gray's Greek Guardian Harrison's poems Harrison's poetry Herakles Ibid Interview Iraqi John John Donne John Haffenden John Keats Keats Kumquat Labourers language Leeds literary living Loiners London metaphysical metre metrical Milton Neil Astley never Newcastle Oresteia Oxford Palladas performance perhaps Phrynichus play poem's poet poet's poetic Poetry and Audience Poetry or Bust political reader rhyme rhythm Richard Eyre satyrs School of Eloquence seems sense skinhead social sonnet speech stanzas suggests syllables T. S. Eliot themes things thought tion Tony Harrison Trackers tragedy turn verse voice White Queen women words working-class writing References from web pagesTony Harrison: Loiner by Sandie Byrne at Questia Online Library OUP: UK General Catalogue Sandie Byrne Journal of Student Writing JSTOR: British Poetry since 1950: Recent Criticism, and the ... This is an electronic version of the following article published ... References to this bookFrom Google ScholarTony HarrisonDavid Thorley Popular passagesShe dwells with Beauty — Beauty that must die; And Joy, whose hand is ever at his lips Bidding adieu; and aching Pleasure nigh, Turning to poison while the bee-mouth sips: Ay, in the very temple of Delight Veil'd Melancholy has her sovran shrine... Page 130 We can only say that it appears likely that poets in our civilization, as it exists at present, must be difficult. Our civilization comprehends great variety and complexity, and this variety and complexity, playing upon a refined sensibility, must produce various and complex results. The poet must become more and more comprehensive, more allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning. Page 118 The poets of the seventeenth century, the successors of the dramatists of the sixteenth, possessed a mechanism of sensibility which could devour any kind of experience. Page 117 ... a fringe of indefinite extent, of feeling which we can only detect, so to speak, out of the corner of the eye and can never completely focus; of feeling of which we åre only aware in a kind of a temporary detachment from action. Page 44 The Church-yard abounds with images which find a mirror in every mind, and with sentiments to which every bosom returns an echo. Page 74 And yet what is said is one of the permanent truths; it is only in degree that any improvement of society could prevent wastage of human powers; the waste even in a fortunate life, the isolation even of a life rich in intimacy, cannot but be felt deeply, and is the central feeling of tragedy. Page 76 But wit, abstracted from its effects upon the hearer, may be more rigorously and philosophically considered as a kind of "discordia concors"; 3 a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike. Page 217 I mean Negative Capability, that is, when a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason... Page 130 What this means, as the context makes clear, is that eighteenthcentury England had no scholarship system or carriere ouverte aux talents. This is stated as pathetic, but the reader is put into a mood in which one would not try to alter it. Page 76 Many people, without being communists, have been irritated by the complacence in the massive calm of the poem, and this seems partly because they feel there is a cheat in the implied politics; the 'bourgeois' themselves do not like literature to have too much 'bourgeois ideology'. Page 76 More book information |
