A Critical Context for Hart Crane’s Poem, “For the Marriage of Faustus and Helen”: A Tragic History of Intellectual Power
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With the poem, “For the Marriage of Faustus and Helen,” which appeared in 1922-1923, Hart Crane created controversy among Gorham Munson, editor of Secession, Allen Tate, Yvor Winters, the so-called New Critics, and an editor of The Dial. The controversy between Crane and the would-be New Critics was the way Crane put poetry and life together. Crane was severely criticized when he believed that poetry is poetry and life is life. In other words, critics blamed that Crane did not try morality on his poetry, as compared to T. S. Eliot who did so in his poetry, especially in The Waste Land. Unfortunately, on April 27, 1932, Crane took his own life. The kind of literary history continued the fight between poets and critics, perhaps indicating two kinds of poetry: literature-initiative life or criticism- initiative life in poetry. Unfortunately, it is amazing to see the politics of intellectual culture from the fight. The New Criticism is believed to lose the literary history which regards creativity in poetry to be most valuable, taking morality seriously from the European tradition as we might see from New Critics: a political game in intellectual history. This paper examines a critical context for the Crane’s poem, “Faustus and Helen,” which also drew from native sources: what the poet envisioned in his own voice and how he put it in the poem, not in a moral sense, yet in formalistic devices of language, such metaphors, symbols, irony, and paradox as even the New Critics favored to read poetry with care. Crane argued that a great deal of romanticism may persist even when Tate posited Crane’s long project, The Bridge, at the end of tradition of romanticism. We now assure his prophecy for 21st century poetry.
Abstract
With the poem, “For the Marriage of Faustus and Helen,” which appeared in 1922-1923, Hart Crane created controversy among Gorham Munson, editor of Secession, Allen Tate, Yvor Winters, the so-called New Critics, and an editor of The Dial. The controversy between Crane and the would-be New Critics was the way Crane put poetry and life together. Crane was severely criticized when he believed that poetry is poetry and life is life. In other words, critics blamed that Crane did not try morality on his poetry, as compared to T. S. Eliot who did so in his poetry, especially in The Waste Land. Unfortunately, on April 27, 1932, Crane took his own life. The kind of literary history continued the fight between poets and critics, perhaps indicating two kinds of poetry: literature-initiative life or criticism- initiative life in poetry. Unfortunately, it is amazing to see the politics of intellectual culture from the fight. The New Criticism is believed to lose the literary history which regards creativity in poetry to be most valuable, taking morality seriously from the European tradition as we might see from New Critics: a political game in intellectual history. This paper examines a critical context for the Crane’s poem, “Faustus and Helen,” which also drew from native sources: what the poet envisioned in his own voice and how he put it in the poem, not in a moral sense, yet in formalistic devices of language, such metaphors, symbols, irony, and paradox as even the New Critics favored to read poetry with care. Crane argued that a great deal of romanticism may persist even when Tate posited Crane’s long project, The Bridge, at the end of tradition of romanticism. We now assure his prophecy for 21st century poetry.
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