Hart Crane's poetry : "Appollinaire lived in Paris, I live in Cleveland, Ohio" / John T. Irwin.
Irwin, John T.
2011
PS3505.R272 Z725 2011 (Mapit)
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Title Hart Crane's poetry : "Appollinaire lived in Paris, I live in Cleveland, Ohio" / John T. Irwin.
Author Irwin, John T.
ISBN 9781421402215 (alk. paper)
1421402211 (alk. paper)
Publication Details Baltimore : Johns Hopkins University Press, 2011.
Language English
Description xiv, 424 p. : ill. ; 27 cm.
Call Number PS3505.R272 Z725 2011
Dewey Decimal Classification 811/.52
Summary In one of his letters Hart Crane wrote, "Appollinaire lived in Paris, I live in Cleveland, Ohio," comparing--misspelling and all--the great French poet's cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet's work in decades. Irwin aims to show that Hart Crane's epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work--from art history to biography to classical literature to philosophy--revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entry-way to Crane's notoriously difficult shorter poems is through close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane's poems in White BUilding and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane's poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.
Bibliography, etc. Note Includes bibliographical references (p. [399]-403) and index.
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The pictorial and the poetic ; The Bridge as a prophetic vision of origins
The visual structure of prophetic vision ; a simultaneous glimpse before and behind
Spengler's reading of perspective as a culture-symbol
The Bridge and the paintings in the Sistine Chapel; Moses and Jesus : Columbus and Whitman ; Joseph Stella ; El Greco's Agony in the Garden ; the Grail; Dionysus and Jesus
Counterpoint in The Bridge
Foreshadowing and lateral foreshadowing ; the Grail quest ; Eliot's The Waste Land
The return to origin ; the total return to the womb ; the primal scene ; vision and invisibility ; the dual identification
The reversal of the figures of father and mother in "Indiana" ; Crane's dream of the black man by the river ; Crane's quarrel with his father ; the composition of "Black Tambourine"
Crane's dream of his mother's trunk in the attic
Fantasies of return to the womb and the primal scene ; three dimensions reduced to two as a sign of body transcendence ; the triple archetype ; Goethe's Faust ; Plato's cave allegory as a sublimated womb fantasy ; Helen as mother ; the influence of Williams and Nietzsche ; Demeter, Kore, and the Amerindian corn [etc.]
Building the virgin ; Crane's "To Liberty" ; Lazarus's "The New Colossus" ; Helen and psyche ; Astraea and the constellation Virgo ; Demeter and Kore ; the Virgin Mary and Queen Elizabeth I
The Education of Henry Adams ; Arnold's "Stanzas from the Grande Chartreuse" ; Wandering between two worlds ; Seneca's Medea ; Whitman and the rebound seed
"Three Songs" ; golden hair ; "Quaker Hill" and the motherly artist ; the return of the golden age ; Astraea and Atlantis
Epic predecessors : Aeneas and Dido ; Survival through a part-object ; stellar translation and the golden-haired grain
The historical Pocahontas and the mythical Quetzalcoatl ; Prescott, Spence, and D. H. Lawrence as influences on The Bridge, Waldo Frank's Our America and the image of submergence
Nietzsche and the return of the old gods ; Zarathustra and Quetzalcoatl ; the eagle and the serpent ; the dance
The Aeneid, book 6, and "The Tunnel" ; "Cutty Sark" and Glaucus in Ovid ; Burns's "Tam o' Shanter" ; Glaucus in Keats's Endymion
Time and eternity in "Cutty Sark" ; Stamboul Rose, Atlantis Rose, and Dante's Rose ; Moby-Dick and "Cutty Sark"
The historical Cutty Sark ; Hero and Leander ; Jason and the Argo ; Dante and the Argo
Constellations and The Bridge
Constellations continued ; Panis Angelicus
Time and eternity ; temporal narrative and spatial configuration ; the bridge as memory place ; "Atlantis" ; one arc synoptic of all times
"Atlantis" and the image of flight ; Shelley's "To a Skylark" ; Pater and the tears of Dionysus
Love and light ; love-as-bridgeship ; Pater and Botticelli's Venus ; Venus and the rainbow ; foam-born ; pyramids and fire ; From Ritual to Romance, Venus and Adonis
Three structures ; the visualization of the womb fantasy in The Last Judgement ; the transumptive relationship
Michelangelo's self-portrait ; Marsyas and the suffering artist
"Legend," "Black Tambourine," "Emblems of Conduct," "My Grandmother's Love Letters," "Sunday Morning Apples"
"Praise for an Urn," "Garden Abstract," "Stark Major," "Chaplinesque"
"Pastorale," "In Shadow," "The Fernery," "North Labrador"
"Repose of Rivers," "Paraphrase," "Possessions"
"Lachrymae Christi"
"Passage"
"The Wine Menagerie," "Recitative"
"For the Marriage of Faustus and Helen"
"At Melville's Tomb," "Voyages I, II, III"
"Voyages IV, V, VI"
"The Broken Tower."

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