204:"Anathemata" is Greek for "things set apart," or "special things." In lieu of any coherent plot, notes William Blissett, the eight sections of Jones' poem repeatedly revolve around the core history of man in Britain "as seen joyfully through Christian eyes as preparation of the Gospel and as continuation of Redemption in Christendom, with the Sacrifice of Calvary and the Mass as eternal centre." This revolving structure reflects Jones' belief that cultural artefacts of the past lived on within specific cultures in a continuous line of artistic interpretation. As such, the text is densely allusive, and moves freely between
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gave the poem a glowing review, calling it "sinewy, inventive, sensitive, vigorous, devoted, not at all a crackpot or homiletic operation. (...) I will not call it parasitic, for it enjoys its own materials; but is it epiphytic? Here is where criticism of the brilliant thing must begin." Finally, the
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over the span of roughly seven seconds. Section I: "Rite and Fore-time" begins during a mid-twentieth century Mass, but quickly shifts to contemplate prehistoric ritual and myth-making. In the following sections, "Middle-sea and Lear-sea", "Angle-Land", and "Redriff", Jones' poem considers the theme
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also gave a favourable review, but also accurately forecasted
Dilworth's lament that it would be ignored: the text "bristles with too many arcane allusions for a reader to grasp the meaning within its magic without a great deal of that 'mugging-up' which shatters the poetic illusion."
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in which the
Eucharist--at center and circumference of this structure--is contained by and contains everything that the narrator daydreams about. Symbolically, the meaning of anything and everything has its ultimate expression in the sacrament, which confirms that
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The poem is a symbolic, dramatic anatomy of historical western culture. Composed of eight sections, it narrates the thought processes of one cambrophile (lover of all things Welsh) English
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in the mid-nineteenth century. Section V, "The Lady of the Pool", is an extended monologue of sorts given by one Elen/Helen/Helena/Eleanore, a personification of the city of
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157:, in the mid-fifteenth century. In section VI, "Keel, Ram, Stauros", the ship(s) we have been following explicitly becomes the World Ship, with the divine
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wide-open form as unique in being formally whole. Dilworth notes that the structure produced by Jones' poetry is a "symmetrical multiple
181:. While in this brief summary and indeed upon first reading the poem's structure may seem chaotic, Thomas Dilworth has celebrated
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of nautical navigation. Throughout, several ships in distinct historical periods sail westward from Troy to Rome (following the
509:
Noakes, Vivien (2007). "War Poetry, or the Poetry of War? Isaac
Rosenberg, David Jones, Ivor Gurney". In Kendall, Tim (ed.).
189:," evident in Jones' manuscripts of the poem from its inception. He then provides the following illustration of its form:
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Thomas
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169:) as a mast. Finally, section VII, "Mabinog's Liturgy", concerns the Mediaeval Welsh celebration of
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described it as "very probably the finest long poem written in
English this century," and
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Blissett, William (1981). "Appendix A: 'In Medias Res,'
402:. Cardiff: University of Wales Press. p. 160, 170.
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was well received by Jones' fellow poets. For example,
459:. Cardiff: University of Wales Press. p. 176–78.
563:. Cardiff: University of Wales Press. p. 116.
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The Oxford
Handbook of British and Irish War Poetry
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348:. Cardiff: University of Wales Press. p. 131.
321:. Cardiff: University of Wales Press. p. 119.
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691:1952 poems
681:1952 books
670:Categories
655:2017-09-05
626:2017-09-05
622:. New York
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439:2017-09-05
302:References
274:Ezra Pound
270:T.S. Eliot
266:W.H. Auden
236:Ezra Pound
231:The Cantos
282:Modernism
252:Criticism
200:Allusions
116:epic poem
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592:. Jersey
435:. London
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138:Catholic
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132:Summary
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