Word: auden
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Dates: during 2000-2009
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...make people smile while they are absorbing it. If you disagreed with a Safire column, fine (I usually did); but at least it got the juices flowing. And this meant, I suspect, that many of those with political views a million miles from those of Safire - to adopt W.H. Auden on William Butler Yeats - pardoned him for writing well. They missed him when he'd gone...
...Padel was named Oxford University's Professor of Poetry, following in the footsteps of such literary giants as Matthew Arnold, Cecil Day-Lewis, W.H. Auden, Robert Graves and Seamus Heaney. Yet even in this illustrious company, there was something that distinguished Padel from the crowd: she was the first woman to win election to the five-year post since its creation...
...Ashbery’s poems were published in the Advocate during his time at Harvard, but his real breakthrough came post-graduation. His poetic debut, “Some Trees,” was selected by Auden to be published as part of the Yale Series of Younger Poets in 1956, kick-starting a prolific career distinguished by the release of another critically acclaimed work every few years. It was in 1975 that major recognition arrived, however, when he bagged all three of the nation’s major poetry prizes—the Pulitzer, the National Book Critics Circle...
...Academically, he received a broad education, participating in one of Harvard’s first poetry workshops and immersing himself in the work of Surrealist painters Max Ernst and Joan Miró in a class on 20th century art. Ashbery did write a thesis, on W.H. Auden, though he has always considered himself more of a poet than a critic. “I think of the two as opposites,” he says. “Writing poetry is striking out and finding something you don’t know yet, whereas criticism is dealing with something...
When two figures as imposing as Igor Stravinsky and W.H. Auden collaborate to produce a work of art, the result is bound to mesmerize. Yet “The Rake’s Progress,” a modern opera first performed in Venice in 1951, is seldom included in the repertoire of major companies due to the common but misguided perception that English opera is inferior to its Italian or German counterpart. Over the past two weekends, the Dunster House Opera sought to correct this under-appreciation of Stravinksy’s work. Though the undertaking was an ambitious...