Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0005
Claire Armitstead
In 1991 Tony Harrison was commissioned by Alan Rusbridger, then editor of the Guardian, to write two poems on the Gulf War. The result was ‘Initial Illumination’ and ‘’A Cold Coming’. in 1995, the newspaper sent Harrison to Bosnia to send poems based on his eye-witnessing of the war, resulting in The Cycles of Donji Vakuf. In 2003, the invasion of Iraq produced two new war poems: Iraquatrains and Baghdad Lullaby. Armitstead, herself a Guardian journalist, sets these important poems in their historical and cultural contexts, and argues that the relationship between poet and paper was unique and unlikely to be repeated in the foreseeable future..
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Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0010
Fiona Macintosh
Tony Harrison is widely acclaimed for his ability to make the most complex arguments lucid and accessible. Yet it is this very accessibility that often belies the degree of scholarship that informs his work for the theatre, in particular. It is not just that his versions of ancient Greek plays are underpinned by solid classical learning; it is also that they involve a considerable amount of scholarly research in libraries. To bear witness to this scholar-poet's scrupulous attention to detailed scholarship, this chapter takes as case-study an overlooked text from Harrison’s corpus, Medea, A Sex-War Opera(1985). This work was commissioned by New York’s Metropolitan Opera House as a libretto for a score by Jakob Druckman that was never completed. Indeed, Harrison’s libretto has never properly seen the light of day: the only (albeit truncated) production to date - the 1991 Medea: Sex Warby The Volcano Theatre Company - interwove Valerie Solanis’ 1960’s radical feminist text, The S.C.U.M. Manifesto (Society for Cutting Up Men) into the Harrison libretto. Yet Medea, A Sex-War Opera is an ingenious, witty and hard-hitting piece of social intervention that still speaks powerfully back to, and vociferously against, twenty-first century gender discrimination. Ranging from George Buchanan’s Latin version (c.1540s) to Robert Brough’s demotic mid-Victorian burlesque (1856), the libretto is testament to Harrison’s extraordinary wide reading from ancient to modern versions of Medea’s story.
托尼·哈里森(Tony Harrison)因其将最复杂的论点变得清晰易懂的能力而广受赞誉。然而，正是这种平易近人往往掩盖了他的学术程度，尤其是在戏剧作品中。这不仅是因为他对古希腊戏剧的版本有扎实的古典学习基础;还因为它们涉及到图书馆中大量的学术研究。为了证明这位学者诗人对学术细节的严谨关注，本章以哈里森语料库中被忽视的文本《美狄亚》(Medea, A sexual war Opera, 1985)为例进行研究。这部作品受纽约大都会歌剧院委托，作为雅各布·德鲁克曼(Jakob Druckman)的配乐的歌词，但从未完成。事实上，哈里森的剧本从来没有真正地见过天日:迄今为止唯一的(尽管被删节了)作品——1991年火山剧团的《美狄亚:性爱战争》——将瓦莱丽·索拉尼斯1960年代的激进女权主义文本《S.C.U.M.宣言》(切割男人的社会)融入了哈里森的剧本。然而，《美狄亚，一场性别战争》是一部巧妙、机智、有力的社会干预作品，它仍然有力地回击并大声反对21世纪的性别歧视。从乔治·布坎南的拉丁版本(1540年代)到罗伯特·布劳的通俗的维多利亚中期滑稽剧(1856年)，歌词都证明了哈里森对美狄亚故事从古代到现代的广泛阅读。
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Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0015
P. Symes
In this chapter Peter Symes explores Tony Harrison’s film-poems, describing how over the last four decades the poet has constantly experimented and learned from discovery, hard graft, trial and error. Taking three detailed examples, he outlines how Harrison has developed the form, and how the use of verse can intensify and illuminate the visual in ways not possible with prose. Harrison prefaced his major feature film, Prometheus, with Pasolini’s words: ‘to make films is to be a poet’. He has managed to invert that. He is a poet who makes film
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Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0014
G. Greco
Tony Harrison has always had a deep connection with Italy and Italian poets, above all Naples and Leopardi. The article tries to show that Harrison’s sentence ‘it’s all poetry to me, whether it is for the printed page, or for reading aloud, or for the theatre, or the opera house, or concert hall, or even for television’ can be read as ‘it’s all translation to me’. The main idea is that translation works as the volcanic wine, Falanghina, disaster-nourished’, which transforms the lava of Vesuvius into a tasteful wine as described in Harrison's poem Piazza Sannazzaro. The process of translating from Latin and Greek or from other modern languages seems to equate, for Harrison, with the general process of creation either in a positive or in a negative sense. Translating, like poetry, is at the same time impossible and necessary, cannibalisation/Calibanisation of the original text (the case of The Trackers of Oxyrhynchus) and negotiation with the ruina of ‘the fleeting life’ represented by the Volcano, in order to find a new-ancient voice, the half-pissed poet-translator’s voice, that always sounds political, contains a public, even hectoring relevance (the case, among many others, of The Krieg Anthology).
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Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0016
A. Rowland
This chapter looks at the relationship between Tony Harrison’s work and the legacies of modernism. In the dominant version of Harrison’s relationship with modernism, the poet undergoes a ‘Eureka’ moment akin to Philip Larkin’s repudiation of Yeats when the Leeds poet begins to write The School of Eloquence sequence: switching to the example of Thomas Hardy, Larkin no longer wished, he contested, to ‘jack himself up’ into poetry, just as Harrison desires to be the poet that ‘blokes in the boozer’ might read. However, as with Larkin’s deployment of symbolist verse and references to T. S. Eliot in his later poetry, Harrison’s work does not simply repudiate modernism either. Harrison’s apparently antipathetic response to modernist literature seems to be encapsulated in Desmond Graham’s chapter on Harrison’s early poetry, in which he depicts the Leeds poet at Poetry and Audience editorial meetings, mimicking Eliot’s voice and demeanour. Yet the poetry tells a different story. In his first full collection, The Loiners, Harrison engages with a number of modernist antecedents, including Arthur Rimbaud, Joseph Conrad and Charles Baudelaire. This chapter then focuses on the modernist ‘double consciousness’ of myth that Harrison then draws on, and refines, throughout his oeuvre. Writers such as James Joyce and T.S. Eliot were the first authors to herald an intensification of writing about myth that fictionalises mythic characters rather than retaining them as symbols and narrative ballast. I explore how Harrison utilises this ‘double consciousness’ in his film-poem Metamorpheus and in the poem ‘The Grilling’ from Under the Clock.
本章着眼于托尼·哈里森的作品与现代主义遗产之间的关系。在哈里森与现代主义关系的主要版本中，诗人经历了一个“顿悟”的时刻，类似于菲利普·拉金(Philip Larkin)在利兹诗人开始写《口才学院》(the School of Eloquence)时对叶芝的否定:拉金转而以托马斯·哈代(Thomas Hardy)为例，他认为，拉金不再希望“把自己”“插进”诗歌中，就像哈里森希望成为“酒吧间的家伙”可能读到的诗人一样。然而，正如拉金在后期诗歌中对象征主义诗歌的运用和对t·s·艾略特的引用一样，哈里森的作品也不是简单地否定现代主义。在戴斯蒙德·格雷厄姆关于哈里森早期诗歌的一章中，哈里森对现代主义文学明显的反感似乎得到了概括。在这一章中，他模仿艾略特的声音和举止，描绘了这位利兹诗人在《诗歌与听众》的编辑会议上的情景。然而，诗歌讲述了一个不同的故事。在他的第一个完整的作品集《流浪者》中，哈里森与一些现代主义前辈进行了接触，包括阿瑟·兰波、约瑟夫·康拉德和查尔斯·波德莱尔。这一章接着聚焦于现代主义神话的“双重意识”，哈里森随后在他的全部作品中利用并提炼了这种意识。詹姆斯·乔伊斯(James Joyce)和T.S.艾略特(T.S. Eliot)等作家率先预示着神话写作的加强，将神话人物虚构化，而不是将其保留为象征和叙事压舱物。我探讨了哈里森是如何在他的电影诗歌《变形魔》和《时钟之下》中的诗歌《拷问》中利用这种“双重意识”的。
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Pub Date : 2019-01-03DOI: 10.5871/bacad/9780197266519.003.0008
R. Bower
Rachel Bower pays unprecedented attention to Aikin Mata, the version of Aristophanes’ bawdy comedy Lysistrata that Harrison wrote and produced with the Irish poet, James Simmons, when they were teaching at Ahmadu Bello University in Northern Nigeria in 1965. She argues that this encounter with indigenous African performance idioms has had a lasting influence on his later creative practice as well as the emergence of intercultural approaches in world theatre more widely.
瑞秋·鲍尔对艾金·玛塔给予了前所未有的关注。1965年，哈里森与爱尔兰诗人詹姆斯·西蒙斯(James Simmons)在尼日利亚北部的艾哈默都·贝罗大学(Ahmadu Bello University)任教时，共同创作并制作了阿里斯托芬(Aristophanes)的淫秽喜剧《吕西斯特拉塔》(Lysistrata)。她认为，这种与非洲土著表演习语的接触对他后来的创作实践以及世界戏剧中更广泛的跨文化方法的出现产生了持久的影响。
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Pub Date : 2018-12-01DOI: 10.5871/bacad/9780197266519.003.0001
B. Morrison
Among Tony Harrison’s outstanding achievements are the elegies written for his parents that appear in his School of Eloquence sequence and his long narrative poem ‘v.’. Morrison’s chapter explores the various ways in which these poems challenge and disrupt the conventions of the genre, by introducing subject matter and themes usually considered alien to the form—among them class, politics and personal identity—and by rooting them in a contemporary urban setting. The chapter also argues that Harrison’s elegies are cerebral as well as highly emotive; public as well as private; laboured rather than fluent (thereby expressing solidarity with the poet’s proletarian ancestors); and that they occupy a zone between inarticulacy (as exemplified by his father) and learned discourse. The poet’s acquisition of language is seen to come at a price: that of guilt towards his parents, from whom he feels cut off by virtue of his education and profession. After noting performative and acutely self-conscious elements in Harrison’s work, highlighting moments of humour, and touching on links to or departures from other poets (including Milton, Meredith, Yeats and Seamus Heaney), the chapter examines a single poem, ‘Marked with D’, in extensive detail. It concludes that although the poems under consideration were published over thirty years ago they are still striking relevant today—and indeed might be said foresee the key issues (of social class, affluence, regionalism and racism) that divide and disfigure the British nation today.
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