By Michael H. Whitworth
This crucial advisor to modernist poetry allows readers to make feel of a literary stream frequently considered as tricky and intimidating.
- Provides shut examinations of key poems by way of T. S. Eliot, Ezra Pound, W. B. Yeats, and others
- Considers key thoughts hired to orient and disorient the reader, reminiscent of diction, rhythm, and allusion
- Explores the ideological implications of material and the literary types and buildings of modernist poetry
- Places modernist poetry when it comes to its Victorian and Romantic predecessors
- Encourages readers to interact with the texts and make their very own interpretations, relocating clear of the query of what the poem says in favour of contemplating the impression of the poem on its reader
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Extra info for Reading Modernist Poetry
Example text
The core of her case is presented in the first stanza: The illustration is nothing to you without the application. You lack half wit. You crush all the particles down into close conformity, and then walk back and forth on them. (Rainey 647)2 The opening lines identify the steamroller as an exemplar of instrumental rationality. ” While this does not make the poem in itself a poem about poetry, the steamroller is clearly inimical to the aesthetic sensibility, in which the “illustration” might be enjoyed for its own sake, for its own particularity, not because it conforms to some more general law.
The city, although anonymous and alienating, or crowded and oppressive, might hold out more redemptive potential than nature. 11 Modernism saw its own processes as universals, and to achieve a critical perspective upon it, one needs to place it in a wider field of comparison. One needs to think outside an ideology of modernity in which “the new” is always necessarily the best; at the same time, one needs to avoid a nostalgic conservatism in which progress is always a process of decay. The city may have embodied all that was most technologically and socially progressive – though even these two assertions need to be separated and questioned – but it was not the only form of social life.
4 T. S. Eliot, “What Dante Means to Me” (1950), To Criticize the Critic (London: Faber, 1965), 126. 5 W. B. Yeats, “Paudeen,” Yeats’s Poems, ed. A. Norman Jeffares (Basingstoke: Macmillan, 1989), 211. 210). , ed. Duncan Wu (Oxford: Blackwell, 1998), 265. 8 James Reeves’s description of post-war Georgian poetry is taken from his introduction to Georgian Poetry (Harmondsworth: Penguin, 1962), xv. 9 W. H. Davies, “Days Too Short,” Georgian Poetry, 1911–1912 (London: Poetry Bookshop, 1912), 60. 10 William Carlos Williams, “Spring Strains” Collected Poems, ed.