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Autumn Journal

Autumn Journal

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Because the “I's” assets are so dispersed, their collection and control requires diverse figures of accumulation. Bound in the original tan boards which are clean but the backstrip is nearly detached, end papers browned; the text is bright and crisp.

And for a thousand years they went on talking, Making such apt remarks, A race no longer of heroes but of professors And crooked business men and secretaries and clerks Who turned out dapper little elegiac verses On the ironies of fate, the transience of all Affections, carefully shunning the over-statement But working the dying fall. H. Auden, Stephen Spender and Cecil Day-Lewis; nicknamed "MacSpaunday" as a group — a name invented by Roy Campbell, in his Talking Bronco (1946). This form (a) gives the whole poem a formal unity but (b) saves it from monotony by allowing it a great range of appropriate variations. At this distance, Louis MacNeice is the clearest-eyed of the Thirties poets: humane, rigorous and never sinking to the shameful trash of `September I, 1939′ or the `conscious acceptance of guilt in the necessary murder’.So the humanist in his room with Jacobean panels Chewing his pipe and looking on a lazy quad Chops the Ancient World to turn a sermon To the greater glory of God. Like it was great timing, seasonally, but also because so much of late 30s Europe feels relateable to current events ("current events! A record of the author's intellectual and emotional experience during that period, MacNeice described the work as 'both a panorama and a confession of faith'. Judged from the ideal Classical standpoint of Thucydides, to whom reference is often made in the poem, the progressive homogenization of culture and disempowerment of the individual in the post-war Welfare state is the new threat in Britain.

Etsy’s 100% renewable electricity commitment includes the electricity used by the data centres that host Etsy. Critics tend to classify Autumn Journal as either an autobiographical or a biographical document, either as central for understanding Louis MacNeice's [→page 188] oeuvre or as central for grasping the reality of life in the thirties. As a counterweight MacNeice concludes with admiration for the unbroken spirit of the people of besieged Barcelona, bombed daily and in a state of almost total deprivation, which reproaches his own and the national complacency and self-indulgence. Intermixed with these more or less public and political events are more personal themes: memories of his schooldays (section X); of teaching in Birmingham (section VIII); of his broken marriage and subsequent love affair with Nancy Coldstream; denunciation of both sides of divided Ireland (section XVI); the poetry and philosophy of his academic subject, Ancient Greece.In it, he is fully aware of the monumental events that are taking place (indeed, could anyone who lived through the Great War not feel that weight? They underscore the empty and sterile modern life of a modern man whose “Dad was off the scene” (XIX).

The ratings/reviews displayed here may not be representative of every listing on this page, or of every review for these listings. Autumn Journal is a long poem written in 1938 , it is a record of the author's intellectual and emotional experience . He remembers Ireland, “like a ship or a car,” a “female” who equips her people with “a gesture and a brogue / And a faggot of useless memories” (XVI). But I can do nothing so useful or so simple; These dead are dead And when I think I should remember the paragons of Hellas I think instead Of the crooks, the adventurers, the opportunists, The careless athletes and the fancy boys, The hair-splitters, the pedants, the hard-boiled sceptics And the Agora, and the noise Of the demagogues and the quacks; and the women pouring Libations over graves And the trimmers at Delphi and the dummies at Sparta, and lastly I think of the slaves. Sommer says that, without the process of moving, collecting cannot happen; to collect the collector first needs to become dispersed (215).In the case of lists of “ands,” we seem to be dealing with “transindividual mental [→page 201] structures,” 9) the late modernist langue framing individual experiences. Its continuity of theme with Autumn Journal was announced in the title given the book when it was published by Faber at the end of the following year - Autumn Sequel: A Rhetorical Poem in XXVI Cantos. It is a record of the author's emotional and intellectual experience during those months, the trivia of everyday living set against the events of the world outside, Ireland, the Oxford byelection, the settlement in Munich and slow defeat in Spain. It’s simultaneously about everything and nothing, about everyday life for the common worker and the political rumblings that suggest all is not right in the world. He speaks of “the tempter” who “whispers” (III) and of the critic “jailed in the mind,” who chooses to “murmur gently” and remember what the speaker would gladly forget (X).



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