I have so far examined the way in which the Baudelairean paradigm of the poet as dandy is variously released by Eliot, Auden and Lowell. What I now want to do is to look at their work from a different perspective, by considering the political meanings which their work generates and investigating how far this affects the kind of creativity they are permitted, in order to achieve a deeper understanding not merely of the virtues of the tradition within which they operate but also of its weaknesses. We shall take two points of reference, the work of Hannah Arendt and Shakespeare’s Coriolanus.
KeywordsEurope Cage Coherence Flare Assure
Unable to display preview. Download preview PDF.
- 1.T. S. Eliot, Complete Poems & Plays (London: Faber & Faber, 1969), pp. 127–30.Google Scholar
- 8.T.S. Eliot, Notes towards the Definition of Culture (London: Faber & Faber, 1948) p. 84.Google Scholar
- 10.T. S. Eliot, The Idea of a Christian Society (London: Faber & Faber, 1939) p. 30.Google Scholar
- 12.George Steiner, In Bluebeard’s Castle: Some Notes towards the Re-definition of Culture (London: Faber & Faber, 1971) p. 13.Google Scholar
- 38.Baudelaire, ‘Mon Coeur Mis à Nu’, Oeuvres complètes, ed. Y.-G. le Dantec (Paris: Gallimard, 1954), p. 1234.Google Scholar
- 49.See Lyndall Gordon, Eliot’s Early Years (Oxford & New York: Oxford University Press, 1977) pp. 2–6.Google Scholar