W.H. Auden by John Haffenden

By John Haffenden

This set includes of forty volumes protecting 19th and 20th century eu and American authors. those volumes could be on hand as a whole set, mini boxed units (by topic) or as person volumes. This moment set compliments the 1st sixty eight quantity set of serious historical past released by means of Routledge in October 1995.

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But it has serious faults (priggish and humourless)’. ) Keynes also felt that the Munich crisis of 1938 radically hampered the playwrights’ depiction of the political confrontation of countries they called Westland and Ostnia. (‘The Dance of Death’ had already run foul of current affairs, as the ‘Manchester Guardian’ remarked at the time: the sting of much of Mr. Auden’s fun has been plucked out by the irony of events. Now that the Communists are shouting for the British Navy (just as if they were ordinary pacifists) and now that ‘The Soldiers of the King’ has replaced ‘The Red Flag’ as the hymn of the Labour Party, it bears hardly on Left-wing dramatists who set out to mock the patriotic ditty of the old music-hall.

57) and Ben Belitt (No. 47), who again had no immediate prospect of seeing a stage production, all criticized the play as unco-ordinated and poor theatre. Eliot, (92) he felt less than wholehearted warmth for it: Taken as a whole I thought it extremely good—obviously much the best play of the year. But I remain exceedingly discontented with a good deal of it and angry that being so good it should not be better, for the gifts in it seemed to be from God and the errors avoidable. 22 Introduction Although Auden and Isherwood designed their next play, ‘On the Frontier’, to be a West End success, for which purpose they largely eschewed expressionistic experimentation for naturalism and a greater proportion of prose, Keynes first promoted it at the Arts Theatre, Cambridge, in November 1938 (it was the first production for which the newly formed Cambridge Arts Theatre Trust took direct responsibility).

Bridson, who was otherwise an Auden enthusiast, had to lament that the play was no more than ‘efficiently versified’, badly written, lacking in directness and particularity, and not so interesting as what he rightly called ‘the Charade which put Auden on the map’ (No. 28). Desmond Hawkins, in a letter to the ‘New English Weekly’ (24 October 1935), to the weaknesses of the production. The ‘Socialist Review’, not unexpectedly delighted by Auden’s Marxist partisanship—‘It is good that Auden should be on our side’—felt sorry only that he had chosen the indirect mode of satire.

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