By Monroe K. Spears
Hart Crane - American Writers forty seven used to be first released in 1965. Minnesota Archive versions makes use of electronic know-how to make long-unavailable books once more available, and are released unaltered from the unique collage of Minnesota Press editions.The collage of Minnesota Pamphlets on American Writers sequence offers concise, stimulating introductions to American writers of all classes. The pamphlet authors are critics and writers famous for his or her competence of their specific fields. every one pamphlet dedicated to a unmarried author comprises biographical info, a dialogue and significant evaluate of his paintings, and a specific bibliography. lecturers of yankee literature, either within the usa and in another country, in faculties, universities, and secondary faculties locate the pamphlets excellent for his or her scholars' use. For normal readers and librarians they're both helpful and fascinating.
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Extra info for Hart Crane (Pamphlets on American Writers) by Monroe K. Spears (1965-06-21)
Sections II and III seem to me the best parts of the poem. The chief point I shall hope to establish concerning the remaining parts is that the poem constitutes a genuine sequence and unity. In IV, the lovers are separated and the sea (which literally separates them) is imagined as the element that unites them (for love is a voyage upon this element, this passionate state of being) and conveys the poet's love through song; he has a vision of reunion after suffering (after being lost in "fatal tides" the "islands" will be found through the spiritual geography of the lover— "Blue latitudes and levels of your eyes") when the final mysteries ("secret oar and petals of all love") will be revealed.
SPEARS America to be explored and known, die past, the Absolute. "The Harbor Dawn" presents very beautifully the protagonist's vision of her, between sleeping and waking, in the modern city. " Both Tate and Winters consider "The River" the best part of The Bridge, with its description of the journey down the Mississippi as it appears both to the "Pullman breakfasters" on the modern train and to the hobos, who merge with the pioneers; there is no strained philosophy or symbolism, but a loving evocation of the country and the people, past and present, in concrete terms.
The "Proem" begins with the image of the seagull in its poise and freedom (its "inviolate curve," as in Hopkins' "Windhover," which Crane had certainly not yet read, suggesting a balance of the forces of control and release). This image is contrasted with that of the file clerk in his confined routine work, taken aloft only by elevators, dreaming of sails, and with that of the denizens of the cinema who hope for revelation there. The Bridge is then evoked as a parallel to the seagull, uniting motion and stillness, freedom and necessity; though, ironically, the madman commits suicide by leaping from it.