The Universal Drum: Dance Imagery in the Poetry of Eliot, Crane, Roethke and Williams by Audrey T. Rogers Details
This book says that the choice of dance as a source of life-affirming images was not a coincidence among four of today's most influential poets. The common concerns of T.…
This book says that the choice of dance as a source of life-affirming images was not a coincidence among four of today's most influential poets. The common concerns of T.
S. Eliot, Hart Crane, Theodore Roethke, and William Carlos Williams, though minor and technical differences, were to find something beneath the surface of visible objects.
Man's quest for the cosmic order has always been expressed by dancing "before words and when words fail." For the first time this book shows why and how dance became central to the concept of these poets by experience. All four models were found in the poetry of Whitman and Yates, both of whom love dancing.
The four were all sensitive to cultural movements, three of which were in sync with their poetic development: the revitalization of classical ballet, the explosion of modern dance, the "mythic renaissance", a new exploration of myth and ritual by scientists and humanists alike. The myths and rituals of dancing have been traced in a number of critical books.
It was no accident, as the writer thinks, that the poets who were all chosen knew and cared for dancers. Elliott was a ballet who spent his days in Paris.
At the age of twenty-three books Crane of the influence of Lsadora Duncan it: "It was like a wave of life." Roethke taught in Bennington with Martha Graham and described himself as "crazy dance." At the age of 26, Williams wrote a tribute to Isadora, and in seventy-two he still insisted that poetry "began to dance." The International Drum begins with an overview of the intellectual and artistic intersections of the early 20th century, which provided a suitable atmosphere for the poets' experience with language, form and theme. This introduction follows detailed analyzes of the dance images in the poems of Elliott, Karen, Ruythecki and Williams. All of them were willing to try to give words to the signal, to suspend the work of the mind in order to experience the axiom.
Every one sees himself sometimes very seriously, sometimes brilliantly as a modern shaman dance order of chaos. ".
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