• Houseman and Crossing The Bar, by Lord Alfred Tennyson
  • Both poems have a similar theme of death.
  • Housman I believe athletes do get sad.

Additional readings reveal Housman's attempt to convey the classical idea that youth, beauty, and glory can be preserved only in death....

A simple solution to end a poem’s awkwardness is a rhyme scheme.

'Your side of the house, I believe,hardly rule by the book at all.'

Never coming down and losing your fame is death in “To an Athlete Dying Young”.
Gary Sheffield's 'Forgotten Victory, The First World War: Myths and Realities' is a shorter but very comprehensive work which makes a powerful criticism of the established view of the British conduct of the war as marked above all by futility, incompetence and suffering which achieved nothing, except for such achievements as British war poetry. He comments on what he calls the 'cultural' view of the war, which 'dominates so much of the British media and popular culture ... one should no more rely solely or even principally on literary sources to understand the First World War than base one's entire knowledge of fifteenth century Anglo-French relations on Shakespeare's Henry V. Still less should one imagine that the War Poets represent 'typical' British soldiers. The poems of Sassoon, Owen and the like provide, at best, a very limited and skewed view of both the war as a whole and the experience of the frontline infantryman.

To An Athlete Dying Young | cassadysclass


This poem hasn't attracted very much critical attention. It's difficult to understand why. I think Seamus Heaney was mistaken to single out two poems to represent 'his lifetime's achievement in poetry.' Be that as it may, the poems he chose were this one and a less impressive poem, 'The Underground' ('Station Island.')

 

ELEGY TO AN ATHLETE DYING YOUNG – HOKKU


Miroslav Holub's record is far from being an exemplary one. 'In 1973, the acclaimed poet and scientist Miroslav Holub publicly recanted, confessing his regret for having signed the Two Thousand Words manifesto and for having failed to see "during the fateful crisis ... the counterrevolutionary danger"; he now confirmed his "respect" for "the constructive effort of the new party and state leadership." He declared, in other words, his willingness to support the communist control of Czechoslovakia, including its literary life. (Paulina Bren, 'The Greengrocer and his TV: The Culture of Communism after the 1968 Prague Spring.') .The Two Thousand Words manifesto was written by a Czech reformist writer during the period of political liberalization which began in early 1968 and which was ended by the Soviet invasion later in the year.


It's adverb rather than 'verb, pure verb' which reveals the poorness of the poorer parts of this poem as of so many other poems. The poet did x or claims to have done x - verb. How successfully did the poet do this, or claim to have done this? The claim that the poet explored sexuality or class privilege - so what? Did the poet explore them mechanically, predictably, dutifully, or in an original or sensitive way?


To an Athlete Dying Young : Poetry Out Loud

I'd claim that a significant proportion of Seamus Heaney's poetry is page-bound. The poem lies inertly in the page-plane. Some of his poems, and individual lines and images seem to leap up from the page, or at least to emerge from the page-plane. I'd also claim that there are no instances in his poetry which have a linkage with artistic perspective and that these expressive possibilities lie beyond his reach. His poetry is like pre-perspective painting, flat in one sense but not necessarily flat in another. The poetry and the painting may have qualities such as vivacity which seem to go beyond a plane, but always in one direction, never in the other - into the canvas or other medium, into the page.

Casey at the Bat by Ernest Lawrence Thayer - Poems | …

This poem, like the collected poetic works, shows no sign of a poetic version of aerial perspective. The reading eye, or the listening ear, has no experience of tonal depth. The differences of tone and the depth to be found in the poems make use of different definitions of tone and depth. In 'The Ministry of Fear,' 'the lights of houses ... / Were amber in the fog,' but this certainly doesn't contribute to any effect of aerial perspective.

“To An Athlete Dying Young” | Five 19th-Century Poems

In this discussion, I make use of my concept of poem-planes. A written poem has a linkage with a painting: in particular, the page-plane (in the case of poems presented on a page, the majority) has a linkage with the canvas or other medium used to present the painting. In a painting which was created before the development of perspective, there's a flatness. After the development of linear and aerial perspective, artists could give the illusion of a receding from the picture plane. The innovation gave new expressive possibilities, including enhanced possibilities for suggesting mysteriousness. Before the development of perspective, vivid and lively portrayal could give the strong suggestion of movement away from the canvas or other medium, towards the eye of the viewer.