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Further Speculations by T.E. Hulme

Further Speculations by T.E. Hulme

edited by SAM HYNES
Copyright Date: 1955
Edition: NED - New edition
Pages: 262
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  • Book Info
    Further Speculations by T.E. Hulme
    Book Description:

    Further Speculations by T.E. Hulme was first published in 1955. Until now, students of modern critical thought have known T. E. Hulme, the English critic, poet, and philosopher, chiefly through the relatively small portion of his work published in Speculations. That volume of Hulme’s writing was published seven years after his death, in 1924. Now, for the first time in Further Speculations, an additional collection of Hulme’s essays, poetry, and a diary is made available in book form. Hulme, who was killed in battle during World War I, has long been regarded as one of the most controversial figures of the twentieth century. His influence on modern poetry, especially through T. S. Eliot and Ezra Pound, is generally recognized as profound; but he was also a leading force in the formulation of modern aesthetic and philosophical thought. This volume presents a collection of 16 essays on philosophy, war, modern art, and poetry, the Hulme-Bertrand Russell controversy on pacifism and war, Hulme’s “Diary from the Trenches,” and some 200 lines of poetry. This is the first publication anywhere of the diary, and only one of the essays has been previously published in the United States. The book also includes an extensive critical introduction by the editor, a complete bibliography of Hulme’s writings, and a selected bibliography of criticism of Hulme. Especially significant are the six essays on war, to which are added Bertrand Russell’s two rejoinders. These essays will modify considerably the popular notion that Hulme was an unqualified exponent of militarism and a “proto-Fascist.” The two essays on poetry establish Hulme’s place in the history of modern poetic theory.

    eISBN: 978-0-8166-6309-5
    Subjects: History

Table of Contents

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  1. Front Matter
    (pp. i-vi)
    (pp. vii-xxxii)

    Intellectual London in the decade before the First World War existed in a curious state of confusion, between two traditions: the moribund Victorian tradition survived feebly in the laureate, Alfred Austin, and in his successor; the new tradition of “modernism,” while it was stirring, had not yet found its direction. One might take the year 1909 as symbolic of the situation, for in that year Meredith and Swinburne died, and Ezra Pound publishedPersonae,his first important volume. The following year saw the first performance of the Russian Ballet in London, and the first Post-Impressionist exhibition. Subsequent years brought Imagism,...


    • Table of Contents
      (pp. xxxiii-xxxiv)
      (pp. 3-20)

      When the clown at the circus puts his head through the paper disc, he appears framed in a ring of torn paper. This is the impression I have of Mr. Bax’s position after reading the “Roots of Reality.” * He has certainly put his head through a previously unpenetrated system, but he still remains surrounded by the ragged edges of the medium he has destroyed. His own original views appear surrounded with pieces of Kantian tissue-paper. There is no doubt that Bax has brought a really new idea into philosophy — the assertion of the ultimate reality of the alogical. But,...

      (pp. 21-27)

      One may hold two very different views as to the value of congresses in general. One of these views is always associated with a simple-minded Scotch undergraduate I knew at Cambridge, whose constant topic of conversation at dinner in hall was the extraordinary progress that would take place in science if only the leading people in mathematics and physics could be got together in conference. If only Larmor, Poincaré, J. J. Thomson, Kelvin, and the rest of them could be put together in one room for a month, the exchange of views would solve the problem. It was a real...

      (pp. 28-64)

      It seems to me that the best way to write about Bergson is to start some distance off. I am the more inclined to this view as it happens to fit in with my secret inclinations. The duty of a small person writing about a big one is, I know, to give as plain an account of his subject as he can, and keep himself out of it. But my anaemic mind shrinks from the kind of concentrated perseverance involved in a straightforward “compte rendu.” The prospect of stolidly going through what has been already gone through before fills me...


      (pp. 67-76)

      I want to begin by a statement of the attitude I take towards verse. I do that in order to anticipate criticism. I shall speak of verse from a certain rather low but quite definite level, and I think that criticism ought to be confined to that level. The point of view is that verse is simply and solely the means of expression. I will give you an example of the position exactly opposite to the one I take up. A reviewer writing inThe Saturday Reviewlast week spoke of poetry as the means by which the soul soared...

      (pp. 77-100)

      I believe that while the world cosmically cannot be reduced to unity as science proclaims (in the postulate of uniformity), yet on the contrary poetry can. At least its methods follow certain easily defined routes. (Any one can be taught how to use poetry.)

      Real work, history and scientific researches, the accidental, the excrescences, like digging, and necessary just as digging is. Poetry the permanent humanity, the expression of man freed from his digging, digging for poetry when it is over.

      (i) Compare in algebra, the real things are replaced by symbols. These symbols are manipulated according to certain laws...


      (pp. 103-144)

      I begin with an apology. All through this article I write about Mr. Epstein’s work in a way which I recognise to be wrong, in that it is what an artist would call literary. The appreciation of work of art must be plastic or nothing. But I defend myself in this way, that I am not so much writing directly about Mr. Epstein’s work, as engaged in the more negative and quite justifiable business of attempting to protect the spectator from certain prejudices which are in themselves literary. This is an article then not so much on Epstein as on...

    (pp. 147-169)

    We left Southampton about 4 p.m., after marching down the principal street, all out of step, and all the girls waving from the windows. (On the way down on Sunday, people waved to us from the back windows; all the troops go down that line so they have formed a habit.)

    We had a very smooth crossing, 700 of us in a tramp steamer which was fitted out to carry cattle or horses. We slept in the stalls, hurriedly whitewashed to make them clean, with notice painted over our heads “This is for urine only not for dung.” It sounds...


      (pp. 209-213)
      (pp. 214-220)
    • APPENDIX C A Bibliography of HULME’S WRITINGS
      (pp. 221-223)
    • APPENDIX D A Selected Bibliography of CRITICISM ON HULME
      (pp. 224-224)
  8. INDEX
    (pp. 225-226)