pensamiento critico y practica poetica en donald davie - Universidad ...

exclusiveness, its determination to trace a predestined pattern, and the suggestion
of the transmission of literary grace through at times unlikely vessels”. Así critica el
rechazo al enfoque social de la historia, la omisión de personajes como Mrs
Oliphant y la presentación de los relatos de Mark Rutherford como de inspiración
calvinista. De esto último Foster escribe (1978: 469): “The claims for Mark
Rutherford’s artistry... seem to evade the fact that Hale White himself saw
writing stories as a degradation; nor do his youthful inspirations in Carlyle and
Wordsworth relate easily to Calvinist classicism”. El crítico incluso llega a
afirmar (1978:469): “Indeed, the influence of dissenting cultural norms must always
have been deeply subconscious, for there remains the inescapable fact that most
of dissenfs literary otfspring rejected it’. En este sentido, el propio Donald Davie es
un ejemplo de ello,
William L. Sachs (1979: 225> juzga, por su parte, que “Davies attempt to
recover dissenting culture is provocative; casting Evangelicalism as a villain is far
less credible. History is reduced to a test of sensibilities’.
Lionel Adley (1978: 327) encuentra a “Blake and Lawrence spiritually
deformed”. Sobre Blake, Adley estima que el responsable de eso enthus¡asm no
fue tanto el evangelismo sino el metododismo de Wesley (1978: 324-325). Adley,
además, recuerda que (1978: 324) “the real villains in Davies account, Whitefield
and the aristocrats in the Clapham Sect who strove... to reform the nation from the
top, were Calvinist lo a man”.
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