James Longenbach and A. Walton Litz, 10 vols. (New York: Garland, 1991 ),
II, p. 206 (henceforthEPP); T. S. Eliot,The Use of Poetry and the Use of
Criticism(London: Faber & Faber, 1933 ), p. 72.
13 Dominic Hibberd,Harold Monro: Poet of the New Age(London: Palgrave,
2003 ), p. 169.
14 Selected Letters of Ezra Pound to John Quinn, 1915 – 1924 , ed. Timothy Materer
(Durham, NC: Duke University Press, 1991 ), pp. 152 – 3.
15 Lascelles Abercrombie,Lyrics and Unfinished Poems(Newtown, Montgom-
eryshire: Gregynog Press, 1940 ).
16 Ezra Pound, ‘Harold Monro’,Criterion 11 ( 1932 ), 581 – 92 (p. 590 ),EPP,V, 363.
17 A more nuanced account is found in David Perkins’sHistory of Modern
Poetry, 1 : From the 1890 s to the High Modernist Mode(Cambridge, MA:
Belknap, 1976 ), p. 135 , which distinguishes between modern and modernist
poets.
18 W. B. Yeats,Essays and Introductions(London: Macmillan, 1961 ), p. 522.
19 Occult Notebook entry of 1914 , quoted in Roy Foster,W. B. Yeats, A Life,I:
The Apprentice Mage, 1865 – 1914 (Oxford: Oxford University Press, 1997 ), p.
519 ; Yeats,Essays and Introductions,p. 509.
20 ACriticalEdition of Yeats’s ‘A Vision’ ( 1925 ),ed. George Mills Harper and
Kelly Hood (London: Macmillan, 1978 ), p. 28.
21 Cf. Fran Brearton,The Great War in Irish Poetry(Oxford: Oxford University
Press, 2000 ), pp. 50 – 5 , against the approach taken by Edna Longley,Poetry in
the Wars(Newcastle upon Tyne: Bloodaxe, 1986 ), pp. 10 – 16. The problem of
transcendental form and intransigent Irish history is also addressed
throughout Peter McDonald’sSerious Form: Poetic Authority from Yeats to
Hill(Oxford: Clarendon Press, 2002 ).
22 T. S. Eliot, ‘London Letter’,Dial 70 ( 1921 ), 448 – 53 (p. 453 ).
23 Philip Larkin, ‘It Could Only Happen in England’, in hisRequired Writing
(London: Faber & Faber, 1983 ), pp. 216 – 17 , and cf. Andrew Motion,Philip
Larkin(London: Methuen, 1982 ), p. 29. John Lucas blames Robert Graves as
well inStarting to Explain(Nottingham: Trent Books, 2003 ).
24 Philip Hobsbaum,Tradition and Experiment in English Poetry(London:
Macmillan, 1979 ), p. 291. J. P. Ward,The English Line: Poetry of the Unpoetic
from Wordsworth to Larkin(London: Macmillan, 1991 ) presents a more sober
case.
25 Eliot, ‘Tradition and the Individual Talent’, p. 15.
26 Graham Hough,Image and Experience(London: Duckworth, 1960 ), pp. 59 –
70. For modernism’s relation to place, see The Locations of Literary
Modernism, ed. Alex Davis and Lee M. Jenkins (Cambridge: Cambridge
University Press, 2000 ).
27 Edward Thomas, ‘The Newest Poet’,Daily Chronicle, 23 November 1909 ,p.
3 ; T. S. Eliot, ‘Reflections on Contemporary Poetry, I’,Egoist 4 ( 1917 ), 118 – 19.
Gabriel Josipovici has suggested that Larkin’s public dislike of foreign poetry
was also because he associated xenophilia with posing (‘The Singer on the
Shore’,PN Review 27 ( 2001 ), 16 – 20 ).
Notes to pages 6 – 11 201