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Extra info for 20TH CENTURY POETRY:TEXT CL (Interface)
1984) Selected Poems, London: Penguin). Rylance, R. (1991) ‘Tony Harrison’s Languages’, in A. O. Thompson (eds) Contemporary Poetry meets Modern Theory, Hemel Hempstead: Harvester Wheatsheaf. Sinclair, J. ) (1987) Collins Cobuild English Grammar, London: Collins. 3 Approaching Hill’s ‘Of Commerce and Society’ through lexis Michael Toolan EDITOR’S PREFACE In her recent monograph on Geoffrey Hill, Elisabeth Knottenbelt rightly observes that his poetry appears elevated and coldly austere as well as closed and dense, particularly in comparison with the verse of many contemporary poets who tend to shun the formal style and aim at plainness and openness (Knottenbelt 1990: 1).
Reading, Analysing and Teaching Literature, London: Longman. G. ’ is the final line in italics of Tony Harrison’s poem ‘Bringing Up’. It refers to what his mother said when he showed her his first volume The Loiners, and it epitomizes the social dislocation of a working-class boy who won a scholarship to Leeds Grammar School and subsequently graduated in Classics. In this chapter Henry Widdowson demonstrates in a sensitive reading that the way in which the grammatical categories of person (first, second, and third) are distributed across Harrison’s poem ‘Long Distance II’ throws into relief its basic theme of estrangement; of loss of contact, person to person.
The second ‘Dad’, however, can serve as a term of address also, a vocative (for example, ‘Sorry, Dad’) so although it is used here in the third person, it carries the implication of involvement, indeterminate, so to speak, between reference and address. He is not just being talked about in detachment but is also marked as a potential participant. ‘Dad’ seems appropriate as suggesting a continuing relationship: he is still alive. ‘My mother’, already two years dead, is distanced as a third-person entity by the use of the standard referential phrase.