But I myself was still in 1751, and remained there for a long time.All my life since I have been trying to overhaul that invisible leeway." In Glasgow, with little formal education, the fourteen-year-old Muir began work as an office clerk and subsequently held various positions, including a stint in a local bone factory.His marriage represented for Muir the most important event of his life, as his wife encouraged him to move to London, to pursue a career in journalism, and to undergo a course of psychoanalysis in order to grapple with fears and guilt related to his disrupted youth and the deaths in his immediate family.
Praising the poem "Betrayal" from wrote, "There is much more as good, and as fresh in Mr. His difficulty, as I see it, will be perfectly to relate his sensibility, which is profound, to his power of expression, which is as yet uncomplete.
If he can achieve a perfect unity, the result will be distinguished poetry." In another early review, Marie Luhrs commented in "Muir's virtues are also his faults.
A prominent Scottish poet and critic of the mid-twentieth century, Edwin Muir is also remembered as the translator who first brought the works of Franz Kafka to an English-speaking audience.
After beginning his career as a critic and journalist, Muir started producing poetry in his mid-thirties, and over the next three decades developed an individual, visionary style outside the main current of the Modernist poetry then prevalent.
The numerous quatrains and the placid moods grow monotonous when his phrases take a dull or prosy turn. Mysticism and simplicity and peace are rare qualities in this hour.
And originality is more valuable than metric fluency or fashionable mannerism." Muir's later collections, including further explore the theme of the journey, incorporate Muir's characteristic use of mythical and biblical allusions, folklore, visions, and dreams, and reveal his abiding concern with time and timelessness. His poetry is not poetry for poetry's sake, it develops an argument about time, which, it strikes one, might have been developed in a prose thesis or in an imaginative fiction.
Whether he borrows the figures and myths in which he dramatizes his themes from Homer and Sophocles, the Bible and Milton, or finds them in contemporary events and in his own dreams, he always recasts both borrowings and findings to fit his particular vision, to carry his particular signature." Closely related to Muir's poetry is his autobiographical writing in For Muir, autobiography represented a voyage of self-discovery, and he blended both the outer ("story") and inner ("fable") aspects of his personal history, creating a work that reveals in prose the same visionary style, dominant themes, and central concerns already noted in his poetry. Summers, judged it "a beautiful book," in the He wrote, "In its detailed accounts of the most important events of his life, both sleeping and waking, one can recognize the sources of some of the most moving passages in his poetry and fiction." In an essay in discussing memory and imagination in the two versions of Muir's autobiography, Roger J. Many of his essays and reviews have been collected in the volumes Muir identified and discussed such major forms as the novel of action, the character novel, the dramatic novel, and the chronicle novel.
Relating the ] is quite frankly a secondary work, a little fragmentary and inconclusive." However, he continued, "I don't mean to say that it is a bad book; on the contrary, it is a good book and contains much that is informative and well written and even wise. Porter concluded that "Muir's work is a radical statement that the past is a function of our present, that memory is a design and not merely a fact. Throughout his career Muir advocated a close connection between literature and life, and thus rejected much of New Criticism with its close reading of poetry.
The 1940s encompassed a period of heightened poetic output for Muir, with such works as He returned to Scotland in 1950 when he was named warden of Newbattle Abbey College.
He spent one year teaching at Harvard University in the mid-1950s and then returned to England where he continued to write, completing his final poetry collection, in 1956.