(1972b), ‘Jeffers’ “Medea”: A Dionysian Retribution’, Robinson Jeffers Newsletter 33, 4–6 (Los Angeles: Occidental College).īrown, Rollo Walter (1942), There must be a new song (Cambridge, MA: Harvard University Press).Ĭoffin, Arthur B. (1972a), ‘The Apocalyptic Dimension to Jeffers’ Narratives’, Robinson Jeffers Newsletter 32, 4–7 (Los Angeles: Occidental College). Ritchie Press).īogan, Louise (1970), A poet’s alphabet (New York: McGraw-Hill).īrophy, Robert J. On close reading, Medea is inextricably linked to such discourses, and to Jeffers’ most trenchantly political volume of poetry, The Double-Axe: it is a text which subtly combines Euripides with polemical commentary on the atomic bomb, American involvement in the Second World War, and the future of Western civilization.īeckerath, Herbert von (1942), In defence of the West (Durham, N.C.: Duke University Press).īennett, Melba Berry (1966), The Stone Mason of Tor House the life and work of Robinson Jeffers (Los Angeles: W. It sites Medea within a considerable body of post-Second World War literature which was engaged in polemical parataxis of ancient and modern these works, influenced by Spengler, used narratives of the ancient world to point up the ‘decline’ of contemporary Western society. This article offers a rather different perspective: it examines Jeffers’ preoccupation with blending the past and the present, and his debt to the historical theorist Oswald Spengler, who proposed a cyclical theory of history. While many of Jeffers’ poetic works were highly engaged with contemporary political discourses, critical opinion has been united in seeing Medea as fundamentally apolitical.
Robinson Jeffers’ adaptation of Euripides’ Medea was a Broadway hit in the late 1940s.
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