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‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation

John Goodby

Pages: 121 - 144

Swansea University Author: John Goodby

Abstract

Explores Kavanagh's later poetry in terms of its dynamic of continuously repudiating its earlier phases. Defines the critical responses broadly as that represented by Edna Longley (Kavanagh as beneficial mediator of the poisoned chalice of Irishness and modernism to successors such as Kennelly,...

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Published: Dublin / Portland Irish Academic Press 2009
URI: https://cronfa.swan.ac.uk/Record/cronfa331
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spelling 2011-10-01T00:00:00.0000000 v2 331 2011-10-01 ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation a342893822b30da6f736641802def9ab John Goodby John Goodby true false 2011-10-01 FGHSS Explores Kavanagh's later poetry in terms of its dynamic of continuously repudiating its earlier phases. Defines the critical responses broadly as that represented by Edna Longley (Kavanagh as beneficial mediator of the poisoned chalice of Irishness and modernism to successors such as Kennelly, Durcan, Heaney and Muldoon) and nationalist critics such as Declan Kiberd and Seamus Deane (for whom Kavanagh is over-rated), placing these in the context of a recention defined by the Northern Troubles, and limited but useful attempts to get around this by the likes of Michael O'Loughlin and Seamus Heaney. The main argument is that Kavanagh's poetry is an unstable blend of high and low materials, from eighteenth century neo-classicism to kisch Revivalism, mid-century realism to proto-Beat afflatus, and that this 'Parnassian hybridity' is his defining characteristic. The chapter takes issue with Michael Allen's reading of 'Lines Written on a Seat on the Grand Canal, Dublin', which is seen as limited by a New Critical desire for realism and organic integrity, and celebrate the brittle stylistic triumph of such pieces and the high-wire act it entailed. The chapter concludes by reading Kavanagh's fascination for ballad and song in terms of David Lloyd's account of the hybrid quality of popular literary forms, which constantly exceeds the monologic desire of cultural nationalism, just as they do the yearning for closure and integritas evinced by Allen and Longley. Book chapter 121 144 Irish Academic Press Dublin / Portland Kavanagh, nationalism, Parnassus, classicism, Revival, epic, Beats, not-caring, hybrid, mythology, Heaney, Colum 21 2 2009 2009-02-21 COLLEGE NANME Humanities and Social Sciences - Faculty COLLEGE CODE FGHSS Swansea University 2011-10-01T00:00:00.0000000 2011-10-01T00:00:00.0000000 Faculty of Humanities and Social Sciences School of Culture and Communication - English Language, Tesol, Applied Linguistics John Goodby 1
title ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
spellingShingle ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
John Goodby
title_short ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
title_full ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
title_fullStr ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
title_full_unstemmed ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
title_sort ‘The Later Poetry and its Critical Reception’, in Stan Smith, ed., Patrick Kavanagh: A Revaluation
author_id_str_mv a342893822b30da6f736641802def9ab
author_id_fullname_str_mv a342893822b30da6f736641802def9ab_***_John Goodby
author John Goodby
author2 John Goodby
format Book chapter
container_start_page 121
publishDate 2009
institution Swansea University
publisher Irish Academic Press
college_str Faculty of Humanities and Social Sciences
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hierarchy_top_id facultyofhumanitiesandsocialsciences
hierarchy_top_title Faculty of Humanities and Social Sciences
hierarchy_parent_id facultyofhumanitiesandsocialsciences
hierarchy_parent_title Faculty of Humanities and Social Sciences
department_str School of Culture and Communication - English Language, Tesol, Applied Linguistics{{{_:::_}}}Faculty of Humanities and Social Sciences{{{_:::_}}}School of Culture and Communication - English Language, Tesol, Applied Linguistics
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description Explores Kavanagh's later poetry in terms of its dynamic of continuously repudiating its earlier phases. Defines the critical responses broadly as that represented by Edna Longley (Kavanagh as beneficial mediator of the poisoned chalice of Irishness and modernism to successors such as Kennelly, Durcan, Heaney and Muldoon) and nationalist critics such as Declan Kiberd and Seamus Deane (for whom Kavanagh is over-rated), placing these in the context of a recention defined by the Northern Troubles, and limited but useful attempts to get around this by the likes of Michael O'Loughlin and Seamus Heaney. The main argument is that Kavanagh's poetry is an unstable blend of high and low materials, from eighteenth century neo-classicism to kisch Revivalism, mid-century realism to proto-Beat afflatus, and that this 'Parnassian hybridity' is his defining characteristic. The chapter takes issue with Michael Allen's reading of 'Lines Written on a Seat on the Grand Canal, Dublin', which is seen as limited by a New Critical desire for realism and organic integrity, and celebrate the brittle stylistic triumph of such pieces and the high-wire act it entailed. The chapter concludes by reading Kavanagh's fascination for ballad and song in terms of David Lloyd's account of the hybrid quality of popular literary forms, which constantly exceeds the monologic desire of cultural nationalism, just as they do the yearning for closure and integritas evinced by Allen and Longley.
published_date 2009-02-21T03:03:03Z
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