Abstract
Ted Hughes’ and Geoffrey Hill’s largely retrospective late sequences (Birthday Letters / Canaan and The Triumph of Love) are read as poetic renderings of account in the private or, respectively, public mode by two poets whose reputations were already firmly established in the Sixties. In some ways these poets prove antithetical, or rather complementary: accessible vs. learnedly allusive, confessional vs. moralistic, insular vs. European. But the fact that their texts reflect the traumatic aspects of the twentieth century in order to use them – if, at times, in a questionable manner – for purposes of passionate mourning and accusation, makes them comparable, and ultimately representative of British poetry at the fin de siecle.
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