Download War trauma and English modernism : T.S. Eliot and D.H. by Krockel, Carl; Eliot, T. S.; Lawrence, D. H PDF

By Krockel, Carl; Eliot, T. S.; Lawrence, D. H

This is the 1st publication to continually learn English Modernist literature as testimony to trauma of the 1st and moment international Wars. Focusing upon T.S. Eliot and D.H. Lawrence, it examines the influence of battle upon their lives and their suggestions to withstand it via literary innovation.

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Additional resources for War trauma and English modernism : T.S. Eliot and D.H. Lawrence

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3 A classic example of the poetry which sought to respond to this split between soldier and civilian is Sassoon’s “Remorse”. ”4 For Sassoon “the essential quality” of his poetry lay in it being “true to what I experienced. All the best ones are truly experienced and therefore authentic in expression”;5 this principle runs counter to the Modernist aesthetic of impersonality. Yet instead of bringing the “two nations” together, his poetry presented an unbridgeable gulf between them. The shocking effect of “Remorse” relies on the presentation of a personalised form of war recognisable to the civilian, the hand-to-hand combat of the bayonet.

This opposition continued after the Second World War. Bernard Bergonzi and Jon Silkin privileged immediate eyewitness poetry in their canon of war literature, since their priority lay in access to the authentic experience of war. 2 This perceived absence, or repression, of the memory of the First World War in English Modernism threatens to restrict the event to Flanders instead of the whole of our culture and history. Nonetheless the division between Modernism and war writing that we have inherited is not an arbitrary consequence of later cultural trends, but is rooted in the conditions of the war itself.

Barbara Wright explains that as spleen ennui was more intense than the world-weariness of “melancholy” associated with Romantics in France and Britain, such as Lamartine and Keats. While they despaired in frustration at the gap between the ideal and real, Baudelaire’s ennui is closer to clinical depression or anxiety neurosis, traceable to a sense of personal inadequacy in the face of hostile circumstances: “a kind of no-man’s land, intermediate between life and death, in which objects are anthropomorphised and the poet is depersonalised in a series of lucid self-explorations”.

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