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A. D. Hope

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Alec Derwent Hope was a prominent Australian poet, essayist, and academic.

A. D. Hope bust, Garema Place
A. D. Hope bust, Garema Place

He was widely recognized for his satirical slant, a style of writing that uses humor or irony to criticize people or ideas. Some American journals even described him as the 20th century's greatest 18th-century poet. Beyond his own creative writing, Hope was a significant literary critic and teacher. His work helped shape how Australians studied and discussed their own literature. He is remembered as a polymath, which is a person with deep knowledge in many different subjects.

Hope's life journey took him through many different roles and locations. He was born in Cooma, New South Wales, in 1907. His father served as a Presbyterian minister, and his mother worked as a teacher. After moving to Tasmania in 1911 and later to Sydney, he pursued high-level education. He attended Fort Street High School and the University of Sydney, where he lived at St. Andrew's College. He also studied at the University of Oxford on a scholarship. Upon returning to Australia in 1931, he worked in various fields. He served as a psychologist for the New South Wales Department of Labour and Industry. He also worked as a lecturer in Education and English at Sydney Teachers' College from 1937 to 1944.

His career in academia was marked by several important appointments. He lectured at the University of Melbourne between 1945 and 1950. In 1951, he became the first professor of English at the newly founded Canberra University College. This institution later merged to become the Australian National University, or ANU. While at the ANU, Hope worked with Tom Inglis Moore to create a major milestone. They developed the first full-year course in Australian literature at an Australian university. This helped formalize the study of local stories and poems in higher education. Hope eventually retired from the ANU in 1968 and was named an Emeritus Professor.

As a poet, Hope's published legacy faced an early setback. Most of his early manuscripts were destroyed in a fire. Consequently, his first major collection, *The Wandering Islands*, was not published until 1955. This publication was actually delayed by concerns regarding his verse. Some people worried about the effects of his highly-erotic and savagely-satirical writing on the public. His frequent references to sexuality even led the writer Douglas Stewart to call him "Phallic Alec." Despite these controversies, his influences were deeply rooted in classic poets like Alexander Pope and the Augustan poets, as well as modern writers like W.B. Yeats and W.H. Auden.

Hope was also a formidable and sometimes feared literary critic. During the 1940s and 1950s, his reviews were known for their acidity and intelligence. While his sharp critiques sometimes hurt writers, such as Patrick White, they served a larger purpose. His reviews helped raise the overall standard of literary discussion throughout Australia. He was a writer of "answers," even composing a book of responses to existing poems. One notable example was his response to the poem "To His Coy Mistress" by Andrew Marvell. This shows his deep engagement with the history of poetry.

Throughout his life, Hope received many prestigious honors and awards. He won the Grace Leven Prize for Poetry in 1956 and the Australian Literature Society Gold Medal in 1966. In 1972, he was appointed an Officer of the Order of the British Empire (OBE). He also received the Companion of the Order of Australia (AC) in 1981. His literary impact was recognized globally with the Ingram Merrill Foundation Award in New York and the Levinson Prize in Chicago. These accolades reflect his status as one of the most significant literary figures in his country.

In his later years, Hope's public persona shifted. The poet Kevin Hart noted that from 1973 to 2000, Hope was invariably gracious and benevolent. Hope himself reflected on his character, noting a sense of "ingrained Presbyterian caution" that kept him from being too wild. He died in Canberra in 2000 at the age of 93. When he passed away, some critics, including Kevin Hart, stated that Australia had lost its greatest living poet. His life remains a vital connection between the classical traditions of the past and the developing literary identity of Australia.

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