Abstract

Abstract:

This article explores a noteworthy difference between Alan Jacobs’s interpretation of Auden’s oratorio and mine. Jacobs sees the oratorio as a Christian poem and proof of Auden’s Christianity–which coincides with Auden’s turn away from his Romantic roots. I interpret the piece as a sign of Auden’s continuing commitment to his Romantic inheritance and intent to serve as an aesthetic (not religious) hero, exploring the aesthetic possibilities to which his imagination is drawn. After delineating the problems each of us has in applying our respective claims, I explain mine as offering the more troublesome challenge of the two.

pdf

Additional Information

ISSN
2056-5666
Print ISSN
0148-3331
Pages
pp. 207-225
Launched on MUSE
2020-01-28
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.