But why is this second chapter entitled "'Audenesque
': Seamus Heaney and Joseph Brodsky"?
Alongside his trademark techniques like integrating the titles of disco hits (the poem "Midnight Cowbell"), there are coyly Audenesque
rhymes ("It's okay, my dear / Someone cares for you here"); wry puns with Merrill's deep sparkle ("The principal's your pal and not the principle.
If in Ashbery Nealon examines an Audenesque
writer whose central response to economic conditions lies in fashioning a style of avoidance, his final two chapters take up poets who work in the Poundian tradition of poetry as economic pedagogy.
(1.) The references to this choice include Ali Mazrui's fictionalized, posthumous trial of Okigbo and Michael Thorpe's Audenesque
tribute, "He challenged foreseeable harm / and proved that the symbol / Holds no ultimate charm", (in Achebe and Okafor 1978: 22).
As we shall see, the Audenesque
transformation of popular art and children's literature into the materials for the representation of evil is a technique Hecht learned well from his master.
The result was a stream of books with edgy, Audenesque
titles such as The Dark Frontier (1936), The Mash of Demetrios (1939) and Journey Into Fear (1940).
Even so, the (late) Audenesque
tone of the opening poem, "A Physics of Sudden Light," seems entirely successful not only in itself but as a keynote for the collection: "In this light / You are not where you were but you have not moved." And in "If I Leave You," addressed to his son, the curt, almost choppy lines reflect the speaker's paradoxical disbelief in heaven and, for his son's sake, the need for it to exist.
Jarrell brilliantly turns the Audenesque
tone on Auden, in "Changes of Attitude and Rhetoric in Auden's Poetry," when he offers an exhaustive list of Auden's stylistic characteristics in the rhetoric of his early poems - and the list runs to 26 entries!
With an interpretive industry worthy of his compulsively meaning-seeking subject, but lacking the, Audenesque
gifts of swift wit and dark humor, Edward Mendelson seems to track into a corner, but never quite capture, the greatness of Auden's chatty, sprawling, learnedly allusive yet oddly relaxed late poems.
In the last stanza of his elegy "In Carrowdore Churchyard," subtitled "at the grave of Louis MacNeice," are found these Audenesque
phrases that bring the natural and personal worlds together with the res publica: "From the pneumonia of the ditch, from ague/Of the blind poet and the bombed-out town you bring/The all-clear to the empty holes of spring."
Yet while the form may be Hudibrastic, the content of the `strange desire' exhibited here (and elsewhere) is reminiscent of the Audenesque
: the `sovereign touch / Curing the intolerable neural itch, / The exhaustion of weaning and the liar's quinsy' (The English Auden, p.
Were he to gaze into a mirror, Giles would see the blasted-heath hair and eroded skull of a Beckett, softened only by an accretion of Audenesque
wrinkles and bags.