Download The Cambridge Companion to Twentieth-Century English Poetry by Neil Corcoran PDF

By Neil Corcoran

The final century was once characterized via a unprecedented flowering of the artwork of poetry in Britain. those in particular commissioned essays via one of the most very hot poetry critics supply a stimulating and trustworthy assessment of English poetry of the 20 th century. the hole part on contexts will either orientate readers quite new to the sphere and supply provocative syntheses for these already conversant in it. Following the phrases brought through this part, person chapters conceal many ways of the 'modern', the 'modernist' and the 'postmodern'. The middle of the amount is made of vast discussions of person poets, from W. B. Yeats and W. H. Auden to modern poets equivalent to Simon Armitage and Carol Ann Duffy. In its insurance of the improvement, subject matters and contexts of recent poetry, this significant other is the main important advisor on hand for college kids, academics and readers.

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Eliot, ed. Frank Kermode (London: Faber and Faber, 1975), pp. 34–5. 17 Essays and Introductions, p. 524. 18 Cited in James Longenbach, Stone Cottage: Pound, Yeats, and Modernism (New York and Oxford: Oxford University Press, 1988), p. 213. 19 Yeats, Selected Poems, p. xxvi. 20 For Yeats’s draft and a transcription, see Michael Robartes and the Dancer: Manuscript Materials by W. B. Yeats, ed. Thomas Parkinson with Anne Bannen (Ithaca and London: Cornell University Press, 1994), pp. 146–65. 21 Selected Prose of T.

I cannot err; There is no creature . . (‘Anthem for St Cecilia’s Day’, 1940) The technical term for this sort of rhyme is anisobaric – the rhyming of a stressed syllable with an unstressed. It has usually been considered a comic device or a technical fault; but Modernist poets found exotic sonorities in the land of error. 27 daniel albright Scrutiny of metre ‘To break the pentameter, that was the first heave’, Pound tells us in Canto 81, but, from the beginning of Modern English, the pentameter is continually being broken and re-formed.

In Victor Hugo’s ‘Les Djinns’ (1829) the first stanza consists of lines of two syllables each, the second three syllables, until a nine-syllable stanza is reached, at which point the stanzas start to contract: the djinns come in a whirlwind, and in a poem shaped like a whirlwind. Among the Modernists, the notion of a stanza embodying the dynamic form of its subject matter is strong: there is no exact English equivalent of Apollinaire’s Calligrammes, in which the lines twist and curl, spin themselves into recognisable shapes, but Pound’s Canto XC (1955) has a passage shaped like a vortex: thick smoke, purple, rising bright flame now on the altar the crystal funnel of air out of Erebus, the delivered, Tyro, Alcmene, free now, ascending e i cavalieri ascending, no shades more, lights among them, enkindled .

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