Bøger af Anthony Hecht

A magisterial exploration of poetry's place in the fine arts by one of the twentieth century's leading poets In this book, eminent poet Anthony Hecht explores the art of poetry and its relationship to the other fine arts. While the problems he treats entail both philosophic and theoretical discussion, he never allows abstract speculation to overshadow his delight in the written texts that he introduces, or in the specific examples of painting and music to which he refers. After discussing literature's links with painting and music, Hecht investigates the theme of paradise and wilderness, especially in Shakespeare's The Tempest. He then turns to the question of public and private art, exploring the ways in which all the arts participate in balances between private and public modes of discourse, and between an exclusive or elitist role and the openly political. Beginning with a discussion of architecture as an illustration of a more general theme of discord and balance, the penultimate lecture probes the inner contradictions of works of art and our reactions to them, while the final piece concerns art and morality.

"In his centenary year, a collection of the Pulitzer Prize winner's poems celebrates the indispensable artistry of a writer who faced the history of his era with a 'clear-eyed mercy toward human weakness' (NYTBR) and 'absolute raw simplicity and directness' (Ted Hughes, Poet Laureate of England, 1984-1998). Anthony Hecht, whose output spanned eight volumes, beginning in 1954 with A Summoning of Stones, served as an infantryman in World War II and participated in the liberation of the death camps in Germany. His aesthetic--bound up with a need to see the best and worst of humankind with unsparing clarity--was shaped by the cadences of the King James Bible and great literature of the past. From the seven deadly sins to a Manhattan scene of Third Avenue in sunlight, or his poems of the many faces of Death ('Death the Oxford Don,' 'Death the Whore,' 'Death the Film Director'), Hecht's subject matter called him to a formal elegance inextricably woven with the dramatic force, thematic ambition, and powerful emotions in each poem. As the late J. D. McClatchy wrote, the rules of Anthony Hecht's art were 'moral principles meant finally to reveal the structure of human dilemmas and sympathies'"

Originally published in 2003. The fruit of a lifetime's reading and thinking about literature, its delights and its responsibilities, this book by acclaimed poet and critic Anthony Hecht explores the mysteries of poetry, offering profound insight into poetic form, meter, rhyme, and meaning. Ranging from Renaissance to contemporary poets, Hecht considers the work of Shakespeare, Sidney, and Noel; Housman, Hopkins, Eliot, and Auden; Frost, Bishop, and Wilbur; Amichai, Simic, and Heaney. Stepping back from individual poets, Hecht muses on rhyme and on meter, and also discusses St. Paul's Epistle to the Galatians and Melville's Moby-Dick. Uniting these diverse subjects is Hecht's preoccupation with the careful deployment of words, the richness and versatility of language and of those who use it well.Elegantly written, deeply informed, and intellectually playful, Melodies Unheard confirms Anthony Hecht's reputation as one of our most original and imaginative thinkers on the literary arts.

Alongside Wallace Stevens, James Merrill, and other pillars of twentieth-century poetry, Anthony Hecht joins the Borzoi Poetry series.Hecht, whose writing rings with the cadences of the King James Bible, and who, as an infantryman at the end of World War II, participated in the liberation of the concentration camps, lived and experienced the best and worst of the twentieth century. Readers of this volume—the first selected poems to be made from Hecht’s seven individual volumes—will be captivated by Hecht’s dark music and allusions to the literature of the past. As J. D. McClatchy explains in his introduction, Hecht was a poet for whom formal elegance was inextricably bound up with the dramatic force, thematic ambition, and powerful emotions in each poem. The rules of his art, which he both honored and transformed, are “moral principles meant finally to reveal the structure of human dilemmas and sympathies.”This elevated sense of what poetry can accomplish defines our experience of reading Hecht, and will ensure his place in the canon for years to come.Adam and Eve knew such perfection once,God’s finger in the cloud, and on the groundNothing but springtime, nothing else at all.But in our fallen state where the blood huntsFor blood, and rises at the hunting sound,What do we know of lasting since the fall?Who has not, in the oil and heat of youth,Thought of the flourishing of the almond tree,The grasshopper, and the failing of desire,And thought his tongue might pierce the secrecyOf the six-pointed starlight, and might choirA secret-voweled, unutterable truth?—from “A Poem for Julia”