Word: poeticizing
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Dates: during 1960-1969
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Faulkner, the social order is violated, debasing the semifeudal values of a landed gentry. In Tennessee Williams, what is violated is love and a kind of vagrant individuality. In Carson McCullers, there is the violation of innocence. At its best, this mixture of grief and grievance is poetic, at its worst, bathetic. As craftsmen, the Southern writers are generally sloppy; they represent the triumph of mood over matter...
Graves, by choice, is out of the main poetic current of his age. He has none of Yeats's wild, keening lyricism or his mystical obscurity, nor can he approach Eliot's dry resignation, his religious vision or his private yet colloquial idiom that is a true echo of the century. But he can give both these masters a run for their lovely money, and he can sometimes outdistance them in the moods of love and childhood or in evocations of the classic past. He cannot match Pound in the sheer demonic influence of his imagination, or Thomas...
...Poetic license." replied Eichmann. "The main thing was to make the book ... a bestseller." When he nonetheless attempted to correct a handwritten marginal note, Hausner asked...
...letter he is found trying to promote a visit to the U.S. of the prestigious Alfred Tennyson. His letter to the poet is curious on three counts. With its evocation of the "seething mass" of America and its "measureless crudity," it gives a prose version of his poetic vision. As such, its effect was only to scare off a poetic grandee, and it showed a naively crude Marxist notion of culture as a "superstructure." The combination of "wealthy incentive, no limit to food, land, money, work, opportunity, smart and industrious citizens" would surely some day be followed by "great ideas...
...generally more elegant than the intense manner of the Bolshoi. The result, in the Kirov's production of Giselle, was a performance that avoided all pyrotechnics in favor of a leisurely, unified, deliberately understated approach. Where the Bolshoi version strives for brilliance and momentum, the Kirov version was poetic and withdrawn-more of a spectacle than an unfolding drama. To many observers, the performance was unsatisfactory-but the Kirov productions of Sleeping Beauty and Swan Lake easily made up for it. Substantially different from the version offered by Britain's Royal Ballet (the famous fish dives were omitted...