Word: poetics
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Dates: during 1950-1959
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...proclaimed in the opening sentence of his article, "The Birth of a Classic." A prefatory note explained that SR's poetry editor was saluting the work "in the deep conviction that it is not only an intrinsically great play but that it sets the model from which great poetic drama may hope to flow in our times." And, indeed, Ciardi contended that "MacLeish's great technical achievement is in his forging of a true poetic stage line for our times." Dismissing Eliot, Auden, Fry, and lesser ilk as failures in this respect, he pointed out that "until...
...great talent cannot be denied forever. Meanwhile, Yale is preparing it for production, and certainly the summer theatres and the college groups throughout the country will have found a new star forever. For J.B. adds a dimension to the accomplishment of American literature. We now have a great American poetic drama...
...CRIMSON, of course, had to carp somewhat. "J.B. is probably neither great poetry nor great poetic drama," wrote a tough-minded member of the Editorial Board--"although it is good enough in both respects. What it mainly offers for the modern reader is a literate statement of philosophy which finds the middle ground between religious panacea and existentialist despair." This "middle ground" was explained as the fact that "J.B. forgives God. This is not the tragedian's agnosticism or the atheist's bland facility--MacLeish has added to the stature of man at the expense...
...easily expressed but soft and hard graphite pencil on a thin, flexible paper cannot imbue them with the necessary conviction. The scribbly, hectic quality of a piece like La Francaise indicates the extent to which the Cubist treatment of the human form was alien to Modigliani's romantic, and poetic temperament...
...Marcel Camus,* a 47-year-old assistant to some of France's top directors. In 1957 he found an adaptation of the Orpheus legend by a Brazilian poet and playwright named Vinicius de Moraes (TIME, Nov. 19, 1956), and for the hell of it he used the wildly poetic mountains around Rio de Janeiro, where thousands of Negroes live in conditions of infernal poverty among scenes of paradisal beauty...