Word: lyric
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Dates: during 1940-1949
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...February issue reaches such heights only through its, poets led by Katinka Loeser, an alumna of Chicago, currently studying aviation. Her "Modern Language" combines in sixteen short lines a concise explanation of the problems and techniques of the modern writers with a poetic expression coming as near the lyric as the static quality of intellectual poetry will permit. This same bound lyricism, gaining in immediacy and intellectual intenseness what it loses in fluid song, characterizes all the better poems of the issue. Helen Wieselburg's "Starway," and Creighton Gilbert's "War Poem" again display the advantages as well...
Joyce's three major works are seen by Levin as a progression from the lyric form, in which the creation and the artist are inextricably intertwined, to the epic in which the creation is in mediate relation between the artist and others, to the dramatic, in which it is in immediate relation to others. "Portrait of the Artist As a Young Man" exemplifies the first phase, "Ulysses" the second, and "Finnegan's Wake" the last. If it might seem to some readers that the last two have achieved only the most tenuous relationship with "others," Levin's study does much...
...verse, highly accomplished throughout, is more personal and lyric and, though not intrinsically better than the stories, is much more exciting formally. The most ambitious is Dunstan Thompson's "Memorare." A little over-insistent and even incoherent in its syntax, it is an intricately graceful and deeply moving poem. Only in "Memorare" incidentally, except for the advertisements, is there any reference to the war. Mr. Thompson also contributes the only characteristically youthful note to the issue in his arrogant review of "What Are Years" by Marianne Moore, in which he pours bitter scorn, inappropriate and incommensurate for its object, upon...
...Green Was My Valley (20th Century-Fox) is Hollywood's answer to Wordsworth's definition of poetry: emotion recollected in tranquillity. Its story (from Richard Llewellyn's novel) is an aging man's remembrance of his boyhood among a lyric, godly race of coal miners in a green Welsh valley. Because his recollections ring true, they are certain to evoke a similar nostalgia in all but the most slab-sided of moviegoers...
Although the operatic baritone and the contralto (whose first cinemappearance is, nevertheless, impressive) handle the skittish libretto like a pair of pouter pigeons, they are quite at home in their singing roles. The Straus melodies (My Hero, Sympathy, the title song, etc.), written originally for a lyric soprano and a tenor, have been rearranged and somewhat streamlined. Better are some of the picture's other tunes, Moussorgsky's Song Of The Flea (courtesy of Mr. Eddy), Saint-Saens' My Heart at Thy Sweet Voice (Miss Stevens), and Wagner's Evening Star (duet...