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

informing his practice of his art”, que podemos calificar de chata, imprime su
sello a la poesía británica del siglo XX:
Soma of the beatures of later Rr¡tish poatry which haya baftiad and offanded
readers, especially in Americe - 1 haya in mmd and apparent neenness of
spirit, a painful modesty of intention, extremely limitad objactivas - fa¡l mio
place ib thay are sean es peri ob en inharitanca from Hardy, an atiampí lo work
out problems aspacially social and political problems, which Hardy’s poatry has
posad forihe Iwaniieth ceniury. (THBP, 11-12)
Pasamos, acto seguido, a examinar la herencia hardyana.
¡1.4.1.3. La herencia hardvana
Philip Larkin (1922-1 985) es, de entre los poetas hardyanos
examinados, el más destacado. Para Davie, Larkin, en su “cat-and-mouse
game with the public” (US, 117), es similar a Hardy, quien “had similarly helped
to spread misleading accounts of himself, bis tastos, and bis aspirations” (UB,
117). En la línea del poeta de Wessex, Philip Larkin da un paso más en la
degradación de la poesía: “what 1 have called Larkin’s lowering of bis sights
represents a further withdrawal or surrender beyond those that Hardy had
made already... As concerned as Hardy is with landscape, he never, so far as 1
know, confronts the exploitation and poisoning of landscape by industry”
(THBP, 73).
Ante paisaje, arquitectura y literatura, Larkin tiene la misma actitud
chata que Hardy:
It is tha sama dilanma - either we accapt thai we deseive no baiter than tha
gracelessness of scene which surrounds us, or else we shut ourselves ofb froin
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