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Wolf Masks: The Early Poetry of Ted Hughes
Published online by Cambridge University Press: 01 July 2024
Extract
‘It was a violent time’. Thom Gunn’s description of the Elizabethan age (‘A Mirror for Poets’) could equally be applied to the 1950s. Again and again the poetry of this decade returned to the central theme of violence, yet, constantly, shrank back from engaging with it. Gunn’s own poetry, replete with latent aggression,, nevertheless strove to contain its smouldering energy in couplets and formal stanzas and histrionic poses (‘Even in bed I pose’) as impersonal and self-disciplining as those nazi uniforms and leather-jackets with which his poems abound. The motor-cyclists of ‘On the Move’ seemed to offer an adequate parallel to his own poetic stance:
In goggles, donned impersonality,
In gleaming jackets trophied with the dust,
They strap in doubt—by hiding it, robust—
And almost hear a meaning in their noise.
Much of the writing of ‘The Movement’ tried to explore the barbarous hinterland which recent history had shown lay behind the genteel littoral of western civilisation, but most poems had an air of ‘donned impersonality’ which seemed to brand them as exercises rather than explorations. The doubt was too profound, the revelation of depravity too recent and too raw, to make total candour possible. For many poets, an ostensibly empirical interest in the quotidian became, in fact, a rationale for escapism.
- Type
- Research Article
- Information
- Copyright
- Copyright © 1975 Provincial Council of the English Province of the Order of Preachers
Footnotes
This article confines itself, by and large, to the two volumes of Hughes' poetry written in the 1950s–The Hawk in the Rain (1957) and Lupercal (1960), hereafter H.R. and L.
References
2 Fighting Terms (1954).
3 ‘Carnal Knowledge’, op. cit.
4 The Sense of Movement (1957).
5 The same tone is displayed, but often with greater subtlety, throughout Brides of Reason (1955) and A Winter Talent (1957).
6 Life Studies (1959).
7 Beyond the Gentility Principle (printed as the Introduction to the anthology The New Poetry (1962).
8 ‘Poetry Today’, in The Modem Age (1961).
9 Seeing is Believing (1960).