He connects this hidden structure with Auden’s poem The Hidden Law, and suggests that Auden wished to claim that even though we cannot understand suffering, it has a hidden meaning known only to God. In an analysis of the structure of the poem, the author argues that there is a clear structure hidden under the surface of day-to-day language. Finally, there is reason to suppose that John Singer Sargent’s Crashed Aeroplane influenced Auden. Moreover, Philippe de Champaigne’s Presentation in the Temple and Peter Paul Rubens’s The Martyrdom of St Livinus (in the same museum in Brussels) seem also to have influenced the poem. The author argues for the layered intertextuality of the poem, in which allusions to Bruegel’s Landscape with the Fall of Icarus, The Census at Jerusalem, and The Massacre of the Innocents can be recognised. His article situates Auden’s poem Musée des Beaux Arts in the process of his conversion to Christianity. The hybridity both in form and in content, on the one hand, shows the inevitable trend of poetic modernity in urban writings on the other hand, it also manifests the desire of Chinese poets in search of a discourse that embraces both Western and Chinese culture by focusing on their shared fate under the grand sociohistorical background of World War II. ![]() In the context of national salvation in 1940s China, this paper sees the description of cities in Chinese poems, especially those by the Nine Leaves School, as more than a rewriting and translation of Auden's poems. The construction of cities in Auden's poems is based on two-dimensional hierarchies, namely, the disparity between ancient Western cities in their heroic glory and modern Western cities in their moral degeneration, as well as the sharp binary opposition between Western cities of colonial powers and the marginalized cities of the Orient. Auden's poetry and how these images relate to Chinese poetry in the 1940s when used archetypally. This paper focuses on the creation of the image of cities in W. Reading Auden's 1950’s sequence 'Horae Canonicae', I establish the pervasiveness and the interpretative importance of the City and seek to adumbrate the Christian philosophy and history – and philosophy of history – that informs Auden’s specifically Christian civic discourse. If, as Charles Williams suggested, the development of a poet’s mind consists in the ‘adequate growth and analysed growth of the particular images he tends to use’, then Auden’s ‘new discourse’ can usefully be approached through a consideration of the continuity and the ‘growth’ in his image of the City. rather, a translation into a new discourse of those impulses which lay behind his thirties writing. But this essay argues that Auden’s later work constitutes what Stan Smith has called neither a quietist cult of waiting for the millennium, nor a recantation of his radical past. ![]() ![]() abandoned his audience together with their common dialect and concerns’, and suffered ‘irreparable’ damage to his poetry (1983: 125). Philip Larkin famously pronounced that Auden, in leaving ‘Europe and the fear of war. The voice that in the thirties called for ‘The conscious acceptance of guilt in the necessary murder’ required to ‘build the just city’ (‘Spain’) was, despite Auden’s repudiation of this phrase (Hecht 1993: 131), the same voice that in the post-war years acknowledged that the ‘courtesies of the city’ (‘Sext’) could only be bought in blood. Auden was, throughout his career, very much a civic poet.
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