Notes

NOTES TO CHAPTER I: INTRODUCTION

\. Aristotle, On the Art of Poetry, in Classical Literary Criticism, trans. T. S. Dorsch (London, 1965) p. 40.

2. JohnJones, On Aristotle and Greek Tragedy (London, 1962) p. 37. 3. Classical Literary Criticism, p. 49. 4. A. C. Bradley, Shakespearean Tragedy (London, 1904, rpt., 1952) p. 12. 5. Jones, Aristotle and Greek Tragedy, p. 33. 6. W. B. Yeats, Essays and Introductions (London, 1961) p. 245. 7. W. B. Yeats, The Variorum Edition of the Plays of W. B. Yeats, ed. Russell K.

Alspach and assisted by Catharine C. Alspach (London, 1966) II. 469-73. Second quotation, II. 474-85.

8. Quotations from The Testament of Cresseid are taken from The Poems of Robert Henryson, ed. Denton Fox (Oxford, 1981) pp. 111-3\.

9. Ibid., p. 339. 10. English and Scottish Popular Ballads, ed. from the collection of Francis James

Child by H. C. Sargent and G. L. Kittredge (London, 1904). II. Gordon H. Gerould, The Ballad of Tradition (Oxford, 1932) p. 3. 12. Classical Literary Criticism, p. 50. 13. Wordsworth, The Borderers, II. 1539-44. 14. David Hume, 'Of Tragedy' (1757), in Essays: Moral, Political and Literary,

ed. T. H. Green and T. H. Grose (London, 1875) p. 260. 15. The various possibilities of interpretation are spelt out by John Barnard in

his note on II. 49-50, John Keats: The Complete Poems, ed. John Barnard (London, 1973) p. 652.

16. Ibid., p. 675. 17. See Chapter 2 below, where I discuss the views advanced by Clay Hunt in

'Lycidas' and the Italian Critics (New Haven, Conn. and London, 1979). 18. T. S. Eliot, Collected Poems, 1909-1935 (London, 1936). The quotation from

The Love Song of J. Alfred Prufrock appears on p. 15, and that from The Waste Land on p. 77.

19. 'Tragedy', The Complete Poems of D. H. Lawrence, ed. V. de S. Pinto and Warren Roberts (London, 1964, rev. edn 1972) p. 508.

20. 'Aspens', The Collected Poems of Edward Thomas, ed. R. George Thomas (Oxford, 1978) p. 233.

21. 'Lady Lazarus', Sylvia Plath: Collected Poems, ed. Ted Hughes (London, 1981) p. 245.

22. King Lear, III. vi. 77-8.

215

216 Notes

23. 'Preface', Wilfred Owen: War Poems and Others, ed. Dominic Hibberd (London, 1973) p. 137.

24. 'The Going', The Variorum Edition of the Complete Poems of Thomas Hardy, ed. James Gibson (London, 1979) pp. 339.

25. Introduction, Philip Larkin, The North Ship (London, 1945; 2nd edn 1966) p. 10.

26. 'The Triple Foole', The Poems of John Donne, ed. Sir Herbert Grierson (Oxford, 1933; rpt. 1964) p. 15.

NOTES TO CHAPTER 2: LYCIDAS AND THE PASTORAL ELEGY

1. Samuel Johnson, The Lives of the Poets, ed. G. B. Hill (Oxford, 1905) vol. I, p. 163.

2. See W. W. Greg, Pastoral Poetry and Pastoral Drama (London, 1906); the convenient summary of pastoral elegies prior to Milton in A Variorum Commentary of the Poems of John Milton, ed. A. S. P. Woodhouse and Douglas Bush (London, 1972) vol. 2, Part 2, pp. 549--65; and E. Z. Lambert, Placing Sorrow: A Study of the Pastoral Convention from Theocritus to Milton (Chapel Hill, NC, 1976).

3. Translations of the Eclogues are from Virgil: The Eclogues and The Georgics, translated into English verse by R. C. Trevelyan (Cambridge, 1944).

4. The editors of the Variorum Commentary cite the Egloga duarum sanctimonial­ium of Radbertus as the first example of a specifically Christian pastoral, and they speak of Christianity as giving 'access to the Old Testament' (Variorum Commentary, p. 555 - italics mine). Both the Old and the New are clearly relevant to Renaissance pastoralism, but at least in the work of Spenser and Milton the New Testament overtones would seem to be the more important.

5. Quoted by Clay Hunt, 'Lycidas' and the Italian Critics, p. 9. 6. Ibid., p. 151. 7. Ibid., p. 152. 8. See Variorum Commentary, p. 731. 9. J. B. Leishman, Milton's Minor Poems (London, 1969) p. 297.

10. See Variorum Commentary, p. 662. II. Ibid., p. 664. 12. Ibid., p. 664. The editors of the Variorum Commentary also cite Pyramus/

Bottom's '0 Fates! come, come; / Cut thread and thrum' (A Midsummer Night's Dream, v.i.277-8) as an example from 'tragedy'. The significant point to be made, of course, is that this example comes not from straight tragedy, but tragic farce; it is part of the antiquated 'high style' and ludicrous ineptitude of Pyramus and Thisbe as performed by Bottom and the 'rude mechanicals'.

13. First Epistle of Paul to the Corinthians, 13:12. 14. See Variorum Commentary, p. 670. (Quoted from M. Mack.) 15. Ibid., p. 670. 16. Ibid., pp. 686-706. 17. Milton may also have expected his readers to remember that, although

Notes 217

Peter was trusted with the foundation of the Church, his zeal in cutting off the ear of the servant who tried to arrest Jesus was not approved by his master; and that the imperfection of his zeal was likewise shown in his subsequent denial (John, 18).

18. See Variorum Commentary, p. 727. 19. Ibid., p. 731.

NOTES TO CHAPTER 3: THE PASTORAL ELEGY AND DOUBT

I. Jean Hall, The Transforming Image: A Study of Shelley's Major Poetry (Urbana, Ill., 1980) p. 134.

2. Richard Cronin, Shelley's Poetic Thoughts (London, 1981) p. 174. 3. See, for example, the conclusion of stanza XLII, which, as Milton Wilson

puts it, introduces 'a somewhat jarring echo of Christianity' - Shelley's Later Poetry (New York, 1959) p. 248.

4. Edwin B. Silverman argues for the specific influence of Spenser's Astrophel, taken together with 'The Doleful! Lay of Clorinda' - Poetic Synthesis in Shelley's 'Adonais' (The Hague, 1972). Cronin (Shelley's Poetic Thoughts) stresses the importance of Lycidas.

5. The Letters if Perry Bysshe Shelley, ed. F. L.Jones (Oxford, 1964) vol. 2, p. 294. 6. T. S. Eliot, 'Ash Wednesday', LII. 23-4. 7. The Complete Works of Perry Bysshe Shelley, ed. Roger Ingpen and Walter E.

Peck (New York, 1965) vol. 2, p. 387. 8. Shelley'S Poetic Thoughts, p. 179. 9. Robert Henryson, The Testament of Cresseid, I. 461.

10. Quoted in Tennyson: 'In Memoriam', ed. Susan Shatto and Marion Shaw (Oxford, 1982), p. 24, n. 2. (All quotations from In Memoriam are taken from this edition.)

11. See Alan Sinfield, The Language of Tennyson's 'In Memoriam' (Oxford, 1971), and, in particular, Chapter 2, , "In Memoriam": The Linnet and the Artifact'.

12. Robert Pattison, Tennyson and Tradition (Cambridge, Mass., 1979) p. 108. 13. Tennyson: 'In Memoriam', p. 24. 14. Ibid., pp. 8--25. 15. Ibid., p. 161. 16. Aubrey de Vere records hearing Tennyson read parts of In Memoriam

aloud, and he notes both the intoned manner and the musical effect: 'The pathos and grandeur of these poems were to me greatly increased by the voice which rather intoned than recited them, and which, as was obvious, could not possibly have given them utterance in any manner not thus musical.' Quoted Tennyson: 'In Memoriam', p. 16.

17. The Language of Tennyson's 'In Memoriam', p. 140. 18. A. Dwight Culler, The Poetry of Tennyson (New Haven, Conn., and London,

1977) p. 150. 19. The identification of the potential friend in Section 85 is not certain, but it

may well be Edmund Lushington, to whom the Epilogue is addressed on the occasion of his marriage to Tennyson's sister, Cecilia, on 10 October 1842. See Tennyson: 'In Memoriam', pp. 239 and 292.

218 Notes

20. 'In Memoriam' (1936) rpt. in Selected Prose of T. S. Eliot, ed. Frank Kermode (London, 1975) pp. 243-4 and 245.

21. Letter toJ. C. Shairp; quoted by A. Dwight Culler, Imaginative Reason: The Poetry rif Matthew Arnold (New Haven, Conn., and London, 1966) p. 261.

22. Quoted in The Poems of Matthew Arnold, ed. Kenneth Allot, 2nd edn ed. Miriam Allott (London, 1979) p. 357.

23. Ibid., p. 356. 24. Ibid., p. 369. 25. Ibid., p. 369. (Comment of William Beioe, translator of Herodotus.) 26. According to Kenneth Allott this is misleading: 'Clough's social consci­

ence (II. 46-7) had nothing to do with his leaving Oxford, and his poetry was no more troubled after than before Oct. 1848.' (Poems, p. 540).

27. 'The Fall of Hyperion: A Dream', II. 148--9. See above, Chapter I, p. 17.

NOTES TO CHAPTER 4: WORDSWORTH: 'THE STILL, SAD MUSIC OF HUMANITY'

1. A note on the Immortality Ode dictated to Isabella Fenwick by Words­worth. Quoted in William Wordsworth: The Poems, ed. John o. Hayden (New Haven, Conn., and London, 1981) vol. 1, p. 978.

2. Ibid., p. 978. 3. See the discussion of the defects of Wordsworth's poetry in Biographia

Literaria, ch. 22: The Collected Works of Samuel Taylor Coleridge, 7, Biographia Literaria, ed. James Engell and W. Jackson Bate (Princeton, N. J. and London, 1983) vol. II, pp. 136-8.

4. See above, Chapter I, pp. 15-16. 5. Poems, vol. 2, p. 915. 6. Letter to Sara Hutchinson, 14 June 1802. Quoted Poems, vol. 1, p. 986. 7. King Lear, IILiv. 34. 8. Quoted by Jonathan Wordsworth, The Music of Humanity (London, 1969)

p.70. 9. Ibid., p. 153.

10. Ibid., pp. 151-2. 11. Quotations from 'The Ruined Cottage' are taken from the text printed in

The Music of Humanity, pp. 33-49. 12. See David B. Pirie, William Wordsworth: The Poetry of Grandeur and of

Tenderness (London, 1982) pp. 55-6.

NOTES TO CHAPTER 5: HARDY: ILLUSION AND REALITY

1. F. B. Pinion, A Commentary on the Poems of Thomas Hardy (London, 1976) p.222.

2. Wordsworth, 'Ode: Intimations of Immortality', I. 187. 3. The Variorum Edition of the Complete Poems rifThomas Hardy, ed.James Gibson

(London, 1979) p. 557. All quotations from Hardy's poems are from this edition.

Notes 219

4. Tom Paulin, Thomas Hardy: The Poetry of Perception (London, 1975) p. 63. 5. Wordsworth, 'A slumber did my spirit seal', 1.8. 6. Note dated 28 September 1877 in Florence Emily Hardy, The Life of

Thomas Hardy (1928 and 1930; London, 1962) p. 116. Despite the attri­buted authorship, this is now recognised as Hardy's autobiography.

7. Hardy, The Dynasts, Part Third, VI.viii. 8. A Commentary on the Poems of Thomas Hardy, p. 7. 9. The Life of Thomas Hardy, p. 361.

10. A Commentary on the Poems of Thomas Hardy, p. 106. II. Cf. 'Something that life will not be balked of / Without rude reason till

hope is dead' ('At Castle Boterel', 11.13-15) and 'War's annals will cloud into night / Ere their story die' ('In Time of "The Breaking of Nations" " 11.11-12).

12. Robert Gittings, The Older Hardy (London, 1978, rev. edn 1980) p. 207. 13. The Woodlanders (The New Wessex Edition, London, 1975), Chapter I,

pp.39-40. 14. Gittings suggests that the details derive from an account given by Emma

of her family and their different houses in Plymouth. See Emma Hardy, Some Recollections, ed. Evelyn Hardy and Robert Gittings (Oxford, 1979) pp.42-3.

15. 'Ironically', because the plough as such destroys in order to make way for new growth, but this ploughing is merely destructive. (Cf. the cancellation of fertility associations with the word 'rain' at the end of ' Proud Songsters', discussed above, pp. 115-16.)

NOTES TO CHAPTER 6: EDWARD THOMAS: THE UNREASONABLE GRIEF

I. All quotations from Thomas' poems are from The Collected Poems of Edward Thomas, ed. R. George Thomas (Oxford, 1978).

2. Quoted ibid., p. 402. 3. Ibid., p. 417. 4. Andrew Motion, The Poetry of Edward Thomas (London, 1980) p. 39.

NOTES TO CHAPTER 7: D. H. LAWRENCE: TRAGEDY AS CREATIVE CRISIS

I. Letter to A. W. McLeod, 6 October 1912. 2. D. H. Lawrence, Phoenix II (London, 1968), pp. 291-3. The Preface was

first printed with the text of the play, Touch and Go (1920), but, according to Warren Roberts, was written in the summer of 1919. See A Bibliography of D. H. Lawrence (London, 1963), p. 42.

3. The Complete Poems of D. H. Lawrence, ed. V. de S. Pinto and Warren Roberts (London, 1964, rev. edn 1972) p. 191.

4. For a fuller discussion of Lawrence and 'the poetry of that which is at hand:

220 Notes

the immediate present' see my article, 'Form and Tone in the Poetry of D. H. Lawrence', English Studies, XLIX, no. 6 (December 1968) pp. 498-508.

5. 'Fish', 11.32-7; 'The Mosquito', 1.39; 'Bat', 1.37; 'Tortoise Family Connec­tions', 11.5 and 7; 'Turkey-Cock', 11.12-13.

6. Foreword to Women in Love, Phoenix II, p. 276. 7. Etruscan Places (1932, rpt. 1950) p. 26.

NOTES TO CHAPTER 8: WILFRED OWEN: DISTANCE AND IMMEDIACY

I. 'Preface', Wilfred Owen: War Poems and Others, ed. Dominic Hibberd (London, 1973) p. 137.

2. Ibid., p. 41. 'With lightning and with music' occurs at Adonais, 104. 3. Aeneid, 1.1.462. 4. Jon Sta11worthy, Wilfred Owen (Oxford and London, 1974) p. 228. 5. D. S. R. Weiland, Wilfred Owen (London, 1960) p. 60. 6. The title, which also makes its ironic comment, derives from the popular

wartime song, 'Pack up your troubles in your old kit bag, / And smile, smile, smile'.

7. Gertrude M. White, Wilfred Owen (New York, 1969) p. 77. 8. The title was suggested by Siegfried Sassoon, and is in itself a perceptive

piece of literary criticism. 9. Wilfred Owen: War Poems and Others, p. 147.

10. Gertrude White, Wilfred Owen, p. 70. II. As Hibberd points out, there is also a link in sound between all the

rhyme-words of each stanza. (Wilfred Owen: War Poems and Others, pp. 130-1.)

12. Quoted ibid., p. 37. 13. The Blunden and Day Lewis texts read 'His', but the MS seems to read

'this', as given by Hibberd and Stallworthy. 14. Cf. 'By the May breeze, murmurous with wasp and midge' ('Spring

Offensive', 1.8) and 'The murmurous haunt of flies on summer eves' ('Ode to a Nightingale', 1.50); 'For though the summer oozed into their veins' ('Spring Offensive', 1.9) and 'Thou watchest the last oozings hours by hours' ('To Autumn', 1.22).

15. Wilfred Owen: War Poems and Others, p. 135.

NOTES TO CHAPTER 9: SYLVIA PLATH: DEATH AND THE SELF

1. Joyce Carol Oates: 'The Death Throes of Romanticism: the Poetry of Sylvia Plath', in Sylvia Plath: The Woman and the Work, ed. Edward Butscher (London, 1979) p. 206.

2. Ibid., p. 218. 3. Ibid. 4. Sylvia Plath, Johnny Panic and the Bible of Dreams and Other Prose Writings

(London, 1977) p. 25. 5. Sylvia Plath: Collected Poems, ed. Ted Hughes (London, 1981) p. 22.

Notes 221

6. The epigraph of the poem is, of course, not from Blake, but Racine: 'Dans Ie fond des forets votre image me suit' (Phedre, II.ii.82). As an isolated line this may carry something of the sinister reverberation that would make it seem relevant to 'Pursuit', but in its context in Phedre (Hippolyte's declara­tion oflove to Aricie) it is less appropriate. However, the real reason for its appearance as epigraph may be its association in Plath's mind with other features of Racine's play, notably Hippolyte's horrific killing by Neptune's sea-monster, and Phedre's sense of irremediable self-contamination by her love for Hippolyte.

7. John Webster, The White Devil, v.vi. 268-70. 8. There is a generally pervasive debt to T. S. Eliot as well, especially to

'East Coker', Section IV, where Eliot himself imitates (not very happily) the seventeenth-century manner in a lyric on the Incarnation and 'Adam's curse', which, like Plath's, is obsessed with 'dripping blood' and 'bloody flesh'. Another hint for the 'panther' may well have come from 'Ash W ednesda y', Section II.

9. Pamela Smith, 'Architectonics: Sylvia Plath's Colossus', in Sylvia Plath: The Woman and the Work, ed. Edward Butscher (London, 1979) p. 119.

10. Collected Poems, p. 287. II. Ibid., p. 289 12. Ibid., p. 289. 13. Milton, Paradise Lost, I. 2-3. 14. This is reminiscent of the Tate & Lyle motto, 'Out of the strong came

forth sweetness'; but it is spurious, for, as the reference to Tate & Lyle in 'Wintering' shows, the sugar substitute is what the bees are fed in winter instead of real honey.

15. Jon Rosenblatt, Sylvia Plath: The Poetry of Initiation (Chapel Hill, NC, 1979) p. 129.

16. 'Our cheesecloth gauntlets neat and sweet ... a thousand clean cells be-tween us .... Thinking 'Sweetness, sweetness! ... queen . .. unqueenly ... . I have eaten dust .... And seen my strangeness ... my honey-machine .. . the creaming crests ... sea . .. with the bee-seller or with me . ... He was sweet [plus, as a half-echo, 'The sweat']. ... The bees . .. his features . .. a queen . .. sleeping .... Where has she been . ... The mausoleum.' Such a sequence, perhaps only partly conscious, underlines the central concept of bees as producers of sweetness, and also the fact that they are female workers, representatively summed up in their queen.

17. Mary L. Broe, Protean Poetic: The Poetry of Sylvia Plath (Columbia, NY, and London, 1980) p. 152.

18. Ibid., p. 155. 19. Sylvia Plath: The Poetry of Initiation, p. 129.

NOTES TO CHAPTER 10: PHILIP LARKIN: 'THE BONE'S TRUTH'

1. The North Ship (1945); The Less Deceived (1955) - includes 'Next, Please'; The Whitsun Weddings (1964) - includes 'Dockery and Son'; High Windows (1974) - includes 'The Building'.

222 Notes

2. This final line is, however, tied in with the rest of the poem both syntactically and through the rhyme-scheme, which constantly provides connections between one stanza and the next, and here rhymes 'flowers' with the preceding 'powers'.

3. The Winter's Tale, v.iii.94. However, the metre, as Simon Petch points out, recalls the trochaic measure of Longfellow's Hiawatha - which still gives an archaic effect. See Simon Petch, The Art qf Philip Larkin (Sydney, 1981) p. 107.

4. Andrew Motion, Philip Larkin (London, 1982) p. 72. A persuasively argued case for a more positive, less pessimistic, Larkin is J. R. Watson's 'The Other Larkin', Critical Quarterly, vol. 17, no. 4 (Winter 1975) pp. 347-60.

Bibliography

Aristotle, On the Art of Poetry, in Classical Literary Criticism, trans. T. S. Dorsch (London, 1965).

Arnold, Matthew, The Poems of Matthew Arnold, ed. Kenneth Allott, 2nd edn, ed. Miriam Allott (London, 1979).

Auden, W. H., Collected Poems, 1927-1957 (London, 1966). Bergonzi, Bernard, Heroes' Twilight: A Stu4J of the Literature of the Great War

(London, 1965). Bradley, A. C., Shakespearean Trage4J (London, 1904, rpt. 1952). Brereton, Geoffrey, Principles of Trage4J (Coral Gables, F1a, 1969). Broe, Mary L., Protean Poetic: The Poetry of Sylvia Plath (Columbia, NY, and

London, 1980). Butscher, Edward (ed.), Sylvia Plath: The Woman and the Work (London,

1979). Calarco, Joseph N., Tragic Being: Apollo and Dionysus in Western Drama

(Minneapolis, Minn., 1968). Child, Francis James, English and Scottish Popular Ballads, ed. H. C. Sargent

and G. L. Kittredge (London, 1904). Corrigan, Robert W. (ed.), Trage4J, Vision and Form (San Francisco, Calif.,

1965). Cronin, Richard, Shelley's Poetic Thoughts (London, 1981). Culler, A. Dwight, Imaginative Reason: The Poetry of Matthew Arnold (New Haven,

Conn., and London, 1966). __ , The Poetry of Ten'!Yson (New Haven, Conn., and London, 1977). Dixon, W. MacNei1e, Trage4J (London, 1924). Donne, John, The Poems of John Donne, ed. Sir Herbert Grierson (Oxford,

1933, rpt. 1964). Draper, R. P., D. H. Lawrence (New York, 1964).

(ed.), Har4J: The Tragic Novels (London, 1975). __ (ed.); Tragedy: Developments in Criticism (London, 1980). __ 'Form and Tone in the Poetry of D. H. Lawrence', English Studies,

XLIX, no. 6 (December 1968) pp. 498-508. Eliot, T. S., Collected Poems, 1909--1935 (London, 1936). __ , Selected Prose ofT. S. Eliot, ed. Frank Kermode (London, 1975). Fergusson, Francis, The Idea of a Theater (Princeton, Nj, 1949). Frye, Northrop, Anatomy of Criticism (New York, 1967). Gerou1d, Gordon H., The Ballad of Tradition (Oxford, 1932). Gittings, Robert, The Young Thomas Hardy (London, 1975).

The Older Hardy (London, 1978).

223

224 Bibliography

Greg, W. W., Pastoral Poetry and Pastoral Drama (London, 1906). Hall,jean, The Transforming Image: A Stu4J of Shelley's Major Poetry (Urbana, IlL,

1980). Hardy, Emma, Some Recollections, ed. Evelyn Hardy and Robert Gittings

(Oxford, 1979). Hardy, Florence Emily, The Life of Thomas Har4J (1928 and 1930; London,

1962). Hardy, Thomas, The Variorum Edition of the Complete Poems of Thomas Har4J,

ed. james Gibson (London, 1979). __ , The Dynasts, with an Introduction by john Wain (London, 1965). __ , The Woodlanders (The New Wessex Edition, London, 1975). Henn, T. Ro, The Harvest of Trage4J (London, 1956). Henryson, Robert, The Poems of Robert Henryson, ed. Denton Fox (Oxford,

1981) . Hume, David, Essays: Moral, Political and Literary, ed. T. H. Green and T. H.

Grose (London, 1875). Hunt, Clay, 'Lycidas' and the Italian Critics (New Haven, Conn., and Lon­

don, 1979). Huxley, Aldous, 'Tragedy and the Whole Truth', Virginia Quarter!>, Review,

voL 7 (1931) pp. 176-85. Hynes, Samuel, The Pattern of Har4J's Poetry (Chapel Hill, NC, 1961). johnson, Samuel, The Lives of the Poets, ed. G. B. Hill (Oxford, 1905). jones, john, On Aristotle and Greek Trage4J (London, 1962). Keats, john, The Complete Poems, ed. john Barnard (London, 1973). Krook, Dorothea, Elements of Trage4J (New Haven, Conn., and London,

1969). Krieger, Murray, The Tragic Vision (New York, 1960). Lambert, E. Z., Placing Sorrow: A Stu4J of the Pastoral Convention from Theocritus to

Milton (Chapel Hill, NC, 1976). Larkin, Philip, The North Ship (London, 1945; 2nd edn 1966).

The Less Deceived (Hessle, Yorks, 1955). The Whitsun Weddings (London, 1964). High Windows (London, 1974).

__ , 'Aubade', TLS, 23 December 1977, p. 1491. Lawrence, D. H., The Complete Poems of D. H. Lawrence, ed. V. de S. Pinto

and Warren Roberts (London 1964; rev. edn 1972). __ , Phoenix II (London, 1968). __ , The Letters of D. H. Lawrence, 1901-13, ed. james T. Boulton (Lon­

don, 1979). __ , The Letters of D. H. Lawrence, 191~16, ed. George j. Zytaruck and

james T. Boulton (London, 1981). Leech, Clifford, Trage4J (London, 1969). Leishman, j. B., Milton's Minor Poems (London, 1969). Lenson, David, Achilles' Choice: Examples of Modern Trage4J (Princeton, Nj,

1975). Michel, Laurence, The Thing Contained: Theory of the Tragic (Bloomington, Ind.,

1970). __ and Sewall, Richard B. (eds), Trage4J: Modern Essays in Criticism

(Englewood Cliffs, Nj, 1963).

Bibliography 225

Milton, John, The Poetical Works, ed. Helen Darbishire (Oxford, 1958, rpt. 1963) .

__ , The Poems of John Milton, ed. John Carey and Alistair Fowler (London, 1968).

__ , A Variorum Commentary of the Poems of John Milton, ed. A. S. P. Woodhouse and Douglas Bush (London, 1972) vol. 2, part 2.

Motion, Andrew, The Poetry of Edward Thomas (London, 1980). __ , Philip Larkin (London, 1982). Owen, Wilfred, The Collected Poems of Wilfred Owen, ed. C. Day Lewis

(London, 1968). __ , War Poems and Others, ed. Dominic Hibberd (London, 1973). Pattison, Robert, Tennyson and Tradition (Cambridge, Mass., 1979). Paulin, Tom, Thomas Hardy: The Poetry of Perception (London, 1975). Petch, Simon, The Art of Philip Larkin (Sydney, 1981). Pinion, F. B., A Commentary on the Poems of Thomas Hardy (London, 1976). Pirie, David B., William Wordsworth: The Poetry of Grandeur and of Tenderness

(London, 1982). Plath, Sylvia, Collected Poems, ed. Ted Hughes (London, 1981). __ , Johnny Panic and the Bible of Dreams and Other Prose Writings (London,

1977). Ricks, Christopher, Tennyson (New York and London, 1972). Roberts, Warren, A Bibliography of D. H. Lawrence (London, 1963, rev. edn

1982). Rosenblatt, Jon, Sylvia Plath: The Poetry of Initiation (Chapel Hill, NC, 1979). Rutherford, Andrew, The Literature of War (London, 1978). Sewall, Richard B., The Vision of Tragedy (New Haven, Conn., 1959). Shaw, David W., Tennyson's Sryle (Ithaca, NY, and London, 1976). Shelley, Percy Bysshe, The Complete Works of Percy Bysshe Shelley, ed. Roger

Ingpen and Walter E. Peck (New York, 1965). __ , The Letters of Percy Bysshe Shelley, ed. F. L. Jones (Oxford, 1964). Silverman, Edwin B., Poetic Synthesis in Shelley's 'Adonais' (The Hague, 1972). Sinfield, Alan, The Language of Tennyson's 'In Memoriam' (Oxford, 1971). Stallworthy, Jon, Wilfred Owen (Oxford and London, 1974). Steiner, George, The Death of Tragedy (London, 1961). Tennyson, Alfred, Lord, Tennyson: 'In Memoriam', ed. Susan Shatto and Marion

Shaw (Oxford, 1982). Tennyson, Hallam (ed.), Studies in Tennyson (London, 1981). Thomas, Edward, The Collected Poems of Edward Thomas, ed. R. George

Thomas (Oxford, 1978). Timms, David, Philip Larkin (London, 1973). Vergili, Maronis P., Opera, ed. R. A. B. Mynors (Oxford, 1969). __ , Virgil: The Eclogues and the Georgics, trans. R. C. Trevelyan (Cambridge,

1944). Watson, J. R., 'The Other Larkin', Critical Quarterly, vol. 17, no. 4 (Winter

1975). Weiland, D. S. R., Wilfred Owen (London, 1960). White, Gertrude M., Wilfred Owen (New York, 1969). Wilson, Milton, Shelley's Later Poetry (New York, 1959). Wordsworth, Jonathan, The Music of Humaniry (London, 1969).

226 Bibliography

Wordsworth, William, The Poems, ed. John o. Hayden (New Haven, Conn., and London, 1981).

Yeats, W. B., The Collected Poems of W. B. Yeats (London, 1950). __ , Essays and Introductions (London, 1961). __ , The Variorum Edition of the Plays of W. B. Yeats, ed. Russell K.

Alspach, assisted by Catharine C. Alspach (London, 1966).

Index

Aeschylus, Oresteia, 39, 187 Allott, Kenneth, 218n Allott, Miriam, 218n Aristotle, Poetics, I, 5, 12, 38-4{), 67,

98, 112, 215n Arnold, Matthew, 25-6, 27, 31, 53,

79-88, 92, 120, 218n; 'Dover Beach', 25--6, 31; 'Requiescat', 25; 'Scholar-Gipsy, The', 26, 79,80-4, 85, 120; 'Thyrsis', 26, 79, 84-8, 92

Auden, W. H., 'Musee des Beaux Arts', 28-9

Ballads, 9-13, 14-15, 17-18,72,90, 114, 127, 215n; 'Edward', 10-12; 'Lord Randal', 11-12; 'Sir Patrick Spens', 12-13

Barnard, John, 22, 24, 215n Bate, W. Jackson, 218n Beckett, Samuel, 205 Beloe, William, 84, 218n Bennett, Arnold, 144, 151 Bible, The, 36, 45-6, 47-8, 50, 198,

216-17n; Corinthians, 45-6, 216n; John, 198, 217n; Luke, 198; Mat­thew, 50; Revelation, 47-8

Bion, 35, 54-5, 86, 164 Blake, William, 16, 152-3, 181, 221n Blunden, Edmund, 220n Boccaccio, Giovanni, 35 Bradley, A. C., 2, 215n Broe, Mary L., 192-3, 221n Brueghel, Pieter, the Elder, 29 Bush, Douglas, 50, 216-17n Butscher, Edward, 220n, 221n

Calvin, Johannes, 105 Chatterton, Thomas, 97, 98 Child, Francis James, 9, 215n

Clough, Arthur Hugh, 26, 79, 84-5, 87, 218n

Coleridge, Samuel Taylor, 90, 101, 218n

Cousteau, Jacques, 184 Cronin, Richard, 54, 217n Culler, A. Dwight, 74, 217n, 218n

Dante, Alighieri, 37, 174 Donne, John, 'The Triple Foole', 33-

4, 216n Dorsch, T. S., I, 12, 215n Draper, R. P., 219-20n

Eliot, George, 87 Eliot, T. S., 28, 31, 55, 77-8, 181,

187, 215n, 217n, 218n, 221n; 'Ash Wednesday', 55, 217n, 221n; Four Quartets, 221n; 'Prufrock', 28, 215n; 'Sweeney Among the Nightingales', 187; Waste Land, The, 28, 215n

Engell, James, 218n

FaIjeon, Eleanor, 132, 134 Fenwick, Isabella, 218n Flaubert, Gustave, 144 Fox, Denton, 6, 215n Freud, Sigmund, 181

Gerould, Gordon H., 9, 215n Gibson, James, 216n, 218n Gittings, Robert, 124-5, 219n Glanvill, Joseph, 80 Goethe,Johann Wolfgang Von, 101 Gray, Thomas, 120-1 Green, T. H., see Hume Greg, W. W., 216n Grierson, Sir Herbert, 216n Grose, T. H., see Hume

227

228 Index

Hall, Jean, 54, 217n Hallam, Arthur Henry, 27, 66, 67,

70, 71, 72, 73, 74, 75, 76-7, 78, 79 Hardy, Emma Lavinia, Ill, 120,

122, 124, 125, 126, 130, 219n Hardy, Evelyn, 219n Hardy, Florence Emily, 219n Hardy, Thomas, 31-3, Ill-30, 131-2,

172, 208, 216n, 218--19n; 'After a Journey', 125-6; 'Alike and Un­like', 111-12; 'Amabel', 114-15; 'And There Was a Great Calm', 128; 'At Castle Boterel', 122-4, 219n; 'At Waking', 114; 'Beeny Cliff', 121; 'Beyond the Last Lamp', 118--19; 'Bullfinches, The', 116, 117; 'Convergence of the Twain, The', 129-30; 'Death-Day Re­called, A', 121; 'During Wind and Rain', 127-8, 130, 219n; Dynasts, The, 117, 128, 219n; Far from the Madding Crowd, 128; 'Gap in the White, The', 114; 'Going, The', 31, 124-5, 216n; 'Haunter, The', 125; 'He Did Not Know Me', Ill; 'In Tenebris II', 33, 112, 132; 'In Time of "The Breaking of Nations" " 123, 219n; Mayor of Casterbridge, The, 126, 128; 'Neutral Tones', 118, 119; 'Oxen, The', 208; 'Proud Songsters', 115-16, 219n; Tess of the d'Urbervilles, 119, 126; Thoughts of Phena', 32; 'Voice, The', 121; 'When I Set Out for Lyonnesse', 120; 'Winter in Durnover Field', 116-17,118; Woodlanders, The, 126, 219n

Hayden,John 0., 218n Henryson, Robert, The Testament of

Cresseid, 5-9, 18, 59, 215n, 217n Herbert, George, 44 Herodotus, 83, 218n Hibberd, Dominic, 164, 170, 174,

216n, 220n Hill, G. B., 216n Hopkins, Gerard Manley, 211-12 Hughes, Ted, 180-1, 184, 186, 192,

215n, 220n, 221n

Hume, David, 'Of Tragedy', 18--19, 33, 170, 215n

Hunt, Clay, 37-9,41,52,215n, 216n Hutchinson, Sara, 100, 218n

Ingpen, Roger, 217n

Johnson, Samuel, 35, 216n Jones, John, 1, 2, 215n Jung, Carl Gustav, 140, 180

Keats, John, 15-25, 29, 33, 55, 70, 76, 81, 83, 87, 98, 100, 116, 131, 132, 133, 137, 151, 154, 163, 169, 170, 174, 179, 190, 199, 206, 215n, 218n, 220n; 'Belle Dame Sans Merci, La', 17-18; 'Fall of Hyper­ion, The', 17, 18, 20, 163, 218n; King Stephen, 17; Odes, 17, 29, 87: 'Autumn, To', 23-5, 151, 169, 215n, 220n; 'Ode on a Grecian Urn', 22-3, 24, 100, 215n; 'Ode on Melancholy', 19-20, 23; 'Ode to a Nightingale', 20-2, 23, 24, 25, 81, 137, 179, 199, 220n; 'On Sitting Down to Read King Lear Once Again', 17, 21; atho the Great, 17

Kermode, Frank, 218n King, Edward, 35, 42, 76 Kittredge, G. L., see Child Knight, G. Wilson, 37

Lambert, E. Z., 216n Larkin, Philip, 31-3, 201-14, 216n,

221-2n; 'Ambulances', 208, 209; 'Arundel Tomb, An', 212; 'Au­bade', 33, 201, 202-4, 208, 214; 'Building, The', 201, 209-12, 213, 214, 221n, 222n; 'Church Going', 208,212; 'Dockery and Son', 201, 221n; 'Explosion, The', 209, 213-14; High Windows, 214, 221n; Less Deceived, The, 221n; 'Maiden Name', 32; 'Next, Please', 201, 221n; North ShiP, The, Introduction, 31-2, 216n, 221n; Poem XXIX, 201; 'Nothing To Be Said', 202; 'Old Fools, The', 205-7, 210, 214; 'Show Saturday',

Index 229

Larkin - continued 212; 'Sunny Prestatyn', 205; 'This Be The Verse', 205; Whitsun Wed­dings, The, 221n; 'Whitsun Wed­dings, The', 212

Lawrence, D. H., 29, 144-61, 202, 206, 215n, 219-20n; 'Abysmal Im­mortality', 153; 'After All Saints' Day', 154; 'After All the Tragedies Are Over', 150; 'All Souls' Day', 154; 'Almond Blossom', 147-9, 150, 152; 'Bat', 147, 220n; 'Bavarian Gentians', 152-3, 158; 'Be Still!', 150; 'Beware the Unhappy Dead!', 154; Birds, Beasts and Flowers, 146--9, 158; 'Butterfly', 151-2, 154; 'Death of Our Era, The', 150; 'Difficult Death', 154; 'End, The Beginning, The', 154, 159; Etruscan Places, 156--7, 220n; 'Evangelistic Beasts, The', 146; 'Fish', 146--7, 220n; 'Hands of God, The', 153; Last Poems, 149, 151-61; 'Houseless Dead, The', 154; Letters, 144; Look! We Have Come Through!, 145-6, 150, 153, 160; Lost Girl, The, 144; 'Mani­festo', 145; 'Mosquito, The', 147, nOn; 'New Heaven and Earth', 146, 149, 150; 'New Word, The', 150; 'Nullus', 150; 'Only Man', 153; Pansies, 149-51; 'Phoenix', 154; Rainbow, The, 144; 'St Matthew', 146, 147; 'Shadows', 154; 'Ship of Death, The', 29, 149, 154-61; 'Snake', 146; 'Song of a Man Who Has Come Through, The', 145; 'Song of Death', 154, 159; 'Tortoise Family Connec­tions', 147, nOn; Touch and Go, 144, 160, 219n; 'Tragedy', 150, 215n; 'Turkey-Cock', 147, 220n; Women in Love, 144, 220n

Lawrence, Frieda, 145 Leishman, J. B., 43-4, 52, 216n Lewis, C. Day, 220n Longfellow, Henry Wadsworth, 222n Lowell, Robert, 31 Lushington, Edmund, 217n

Mack, Maynard, 46, 216n McLeod, A. W., 219n Mantuan (Johannes Baptista Spag­

nolo of Mantua), 36 Marvell, Andrew, 181 Milton, John, 17, 26--7, 35-53, 55,

56,57,60,61,64,65,67,76,77,78, 79,81,86,88,96,97,104,121,190, 214, 215n, 216--17n, 221n; Lycidas, 26,35-53,55,56,57,60,64,65,67, 76,77,78,79,81,88,97,104,121, 214, 215n, 216--17n; Paradise Lost, 60-1, 79, 190, 221n; Samson Agenis­tes, 39-40

Minturno, Antonio Sebastiano, 37 Moschus, 35, 54, 164 Motion, Andrew, 139, 214, 219n,

222n

Napoleon Bonaparte, 188, 193-4

Oates, Joyce Carol, 178-9, 220n Owen, Wilfred, 31, 162-77, 215n,

216n, 220n; 'Anthem for Doomed Youth', 169-70, 174, 175; 'Chan­ces, The', 166; 'Conscious', 167; 'Dead-Beat, The', 166; 'Disabled', 167-8,169; 'Dulce EtDecorum Est', 163, 165-6, 168; 'Exposure', 172-4; 'Futility', 170-2, 174, 175, 177; 'In­sensibility', 165; 'Inspection, The', 166, 167, 168; 'Letter, The', 166; 'Mental Cases', 167, 168; 'Preface', to Poems, 31, 163-4, 166, 216n, 220n, 'So I. W.', 166, 167; 'Send­Off, The', 168-9, 175-6, 177; 'Smile, Smile, Smile', 167, 220n; 'Spring Offensive', 172, 174, 175, 220n; 'Strange Meeting', 31, 172, 174,175-7

Pattison, Robert, 67, 217n Paulin, Tom, 115, 219n Peck, Walter E., 217n Percy, Thomas, Bishop, Reliques of

Ancient English Poetry, 10, 13 Petch, Simon, 222n Petrarch, Francesco, 35, 36, 169

230 Index

Pindar,37 Pinion, F. B., Ill, 118, 121, 218n Pinto, Vivian de Sola, 215n, 219n Pirie, David B., 218n Plath, Otto E., 184, 188, 196-7,

215n, 220-ln Plath, Sylvia, 29, 30, 31, 178--200,

215n, 220n, 221n; 'Arrival of the Bee Box, The', 188, 190-1; 'Bee­keeper's Daughter, The', 188, 190; 'Bee Meeting, The', 188--90; 'Daddy', 30, 182, 195-8; 'Edge', 199-200; 'Electra on Azalea Path', 186, 188; 'Full Fathom Five', 184-5, 196; 'Gigolo', 199; John1l:J Panic and the Bible of Dreams, 180, 220n; 'Kindness', 199; 'Lady La­zarus', 30, 196, 197-9, 215n; 'Lorelei', 182-4; 'Man in Black', 185, 186, 196; 'Munich Manne­quins, The', 199; 'Pursuit', 180-2, 220n, 221n; 'Stings', 188, 191-4, 198, 221n; 'Swarm, The', 188, 193-4; 'Totem', 199; 'Wintering', 188, 194-5, 221n

Plato, 55, 62, 63-4, 65 Pope, Jessie, 166

Racine, Jean, 221n Radbertus (monk), 216n Reynolds, John Hamilton, 16 Roberts, F. Warren, 215n, 219n Ronsard, Pierre de, 35 Rosenberg, Isaac, 162 Rosenblatt, Jon, 192, 194, 221n

Sannazaro,Jacopo,35 Sargent, H. C., see Child Sassoon, Siegfried, 162, 164, 165,

166, 220n Shairp, J. C., 218n Shakespeare, William, Ant01l:J and Cleo­

patra, 3; Hamlet, 33, 72, 156, 199; Henry V, 106; King Lear, 17, 21, 30, 46, 101, 113, 176, 196, 215n, 218n; Macbeth, 46, 61; Midsummer Night's Dream, A, 216n; Richard II, 6; Son­nets, 169; Tempest, The, 185; Twelfth

Night, 128; Winter's Tale, The, 39, 213, 222n.

Shatto, Susan, 67,68, 217n Shaw, Marion, 67, 68, 217n Shelley, Percy Bysshe, 16, 27, 31,

53,54-65,66,67,76,79,80,81,86, 88, 97, 121, 159, 164, 217n, 220n; Adonais, 27, 54-65, 76, 79, 81, 88, 97; Essay on Christianity, 54

Silverman, Edwin B., 217n Sinfield, Alan, 67,70, 217n Smith, Pamela, 184, 221n Sophocles, 26, 126, 166; Philoctetes,

166 Spenser, Edmund, 35, 36-7,44, 216n,

217n; Shepheardes Calender, The, 36-7,44

Stallworthy, Jon, 166, 220n Strachey, Lytton, 32 Swift, Jonathan, 163

Tasso, Torquato, 37 Tennyson, Alfred Lord, 27, 31, 53,

66-79, 88, 217-18n; In Memoriam, 27,66-79, 88

Tennyson, Cecilia, 217n Theocritus, 35 Thomas, Edward, 29-30, 131-43,

162, 176, 215n, 219n; 'Aspens', 132-4, 137, 138, 215n; 'As the team's head brass', 142; 'Blenheim Oranges', 131; 'Child on the Cliff, The', 134; 'Dark Forest, The', 139; 'Digging [I]', 134; 'February After­noon', 131-2; 'Gallows, The', 134; 'Green Roads, The', 139; 'Liberty', 137; 'Lights Out', 140-2; 'Old Man', 137-9; 'Other, The', 139-40, 176; 'Owl, The', 134; 'Rain', 134-7; 'Roads', 137; 'Sun Used to Shine, The', 131; 'This is No Case of Petty Right or Wrong', 141; 'Thrush, The', 131

Thomas, R. George, 215n, 219n Tolstoy, Count Leo Nikolaevich,

144 Trevelyan, R. C., 36,41, 216n

Vaughan, Henry, 140

Index 231

Vere, Aubrey de, 217n Vergil (Publius Vergilius Maro) ,

35-6,41,50,82-3,84, 119-20, 159, 164, 220n; Aeneid, 82-3, 84, 119-20, 164, 220n; Eclogues: v, 35-6, 50; x, 35; IX, 41

Wagner, Wilhelm Richard, 182 Walpole, Horace, 120 Watson, J. R., 222n Webster, John, 181, 221n Weiland, D. S. R., 166, 220n White, Gertrude M., 169, 170, nOn Wilson, Milton, 217n Woodhouse, A. S. P., 50, 216-17n Wordsworth, Dorothy, 95-7 Wordsworth, Jonathan, 101-2, 218n Wordsworth, William, 13-16, 18,

27, 79, 89-110, 112, 115-16, 118, 175, 197, 215n, 218n, 219n; Border-

ers, The, 13-14:.- 215n; 'Mad Mother, The', 90; 'My Heart Leaps Up when I Behold', 90; 'Ode: Intimations of Immortality', 16, 89, 90, 95, 112, 175, 218n; 'Re­solution and Independence', 97-101, 197; 'Ruined Cottage, The', 27, 101-10; 'Slumber did my Spirit Seal, A', 115, 219n; 'Strange Fits of Passion', 14-15, 16; 'Tables Turned, The', 107; 'Thorn, The', 90; Tintern Abbey', 16, 27, 89, 90-7, 98, 102, 104, 108; 'We Are Seven', 89

Yeats, W. B., 1, 2, 3-4, 27-8, 31, 167, 172, 215n; Deirdre, 3-4, 215n; 'Easter 1916', 27; 'Lapis Lazuli', 27-8; 'Tragic Theatre, The', I, 2, 4, 27, 215n