Krogon & Moa: Ted Hughes's Philosophical Approach to Logos

Joanny Moulin (1, 2)

1 AMU - Aix Marseille Université
2 LERMA - Laboratoire d'Etudes et de Recherche sur le Monde Anglophone

It is notorious, though inconspicuous, that the poetry of Ted Hughes lies on the bedrock of a silenced cosmology. In another occasion, I have shown that that Weltanschauung was developed to the verge of articulation in Hughes' collaboration with Peter Brook in 1971 to the experimental play Orghast[1]. But there is no published or written text of Orghast, which leaves something like a silent hypertext at the core of Hughes' work. It is an imperfect silence, though, for A. C. H. Smith, who attended to that no doubt great moment of elucubration (the play was very much composed and acted by candlelight), took notes and later published a precious work for Hughesian scholars. In Orghast at Persepolis (1972), Smith explains most of the Blake-like, Yeats-like pantheon Hughes evolved, and, as an illustration, he also published a drawing the poet had made on a piece of foolscap, and which Smith entitled "Ted Hughes's physiology of Orghast" (92). This autonomous cosmo-logia is, literally, a silent anatomy.

Mots clés: Ted Hughes; Orghast; Peter Brook

Domaines: Littératures

Joanny Moulin. Krogon & Moa: Ted Hughes's Philosophical Approach to Logos. Second Conference of the Hellenic Association for the Study of English, Athens (Greece), Mar 1996, Athènes, Greece. ⟨hal-01142493⟩