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By Alan Gillis

The Nineteen Thirties have by no means fairly been thought of an epoch inside of Irish literature, even if the Thirties shape probably the most dominant and interesting contexts in sleek British literature. This e-book argues that in this time Irish poets confronted as much as political pressures and aesthetic dilemmas which regularly overlapped with these linked to "The Auden Generation." In so doing, it deals a provocative intercession into Irish historical past. yet greater than this, it deals robust arguments in regards to the method poetry regularly is interpreted and understood. during this approach, Gillis seeks to redefine our knowing of a regularly overlooked interval and to problem obtained notions of either Irish literature and poetic modernism. Irish Poetry of the Thirties provides unique and important readings of the key Irish poets of the last decade, together with unique and fascinating analyses of Samuel Beckett, Patrick Kavanagh, Louis MacNeice, and W. B. Yeats.

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26 And, arguably, this dialectic is anterior but central to the tension between things-as-experienced and the conceptual categories through which they are understood. Reconstituted through poetic form, meaning is never static (ideally), and this dynamism reacts against reiWcation. ’27 For MacNeice, meanwhile, a poem is both a kinetic object and a performance. He writes that E. E. 30 The poem speaks with two voices: one from the city and one from the country, ‘A’ and ‘B’, both saturated with ennui.

However, the idea that a poem’s meaning is untranslatable outside its unique structure is often viewed 46 Fredric Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act (London: Routledge, 1996), 81. 47 Christopher Caudwell, Illusion and Reality: A Study of the Sources of Poetry (London: Lawrence & Wishart, 1946), 155. 48 Jonathan Culler writes that the ‘primacy of formal patterning enables poetry to assimilate the meanings which words have in other instances of discourse and subject them to new organization’.

Petrifaction might be seen as an essential component of MacNeice’s aesthetic. Terence Brown calls the aspect of non-being in MacNeice’s poetry: a ‘nothingness without which there would be no ‘‘isness’’ ’, a ‘non-being which allows for being’. 57 What 54 57 55 Ibid. 24. 56 Ibid. Ibid. 23. Brown, Louis MacNeice: Sceptical Vision, 115. 40 Irish Poetry of the 1930s ‘August’ indicates, however, is that both facets of this dichotomy— non-being and the ‘living curve’ of reality—amount to much the same thing.

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