In some of the reviews of Donald Davie's New and Selected Poems there is a certain reluctance to praise, though no good reason is given for the reluctance. He writes in meter, and meter is once again … becoming unfashionable: by definition, apparently, its user is an "academic poet." He uses his brain as well as his eyes. He is a sort of symbolist at a time when symbolism is scarcely the up-and-coming thing. Moreover there appears to be an implicit assumption that if you consider, say, Denise Levertov a good poet you cannot also consider Donald Davie good. But there is more than one type of excellence in poetry, and if meter and symbolism have ever been valid devices then they must still be so: to deny such truisms is to be oneself academic in the narrowest sense—confined by historical prejudice and blind to performance.
To one who has eyes to see with, Davie's performance is one of amplitude, variety, and liveliness. The present collection is wisely selected, and should show the American public that he is without a doubt one of the best three English poets of his generation…. The early poems are pleasant, and wear better than I would have expected, in spite of an occasional stiffness of movement and a certain over-ingenuity that takes the place of emotion. (pp. 136-37)
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