By Peter Howarth
If Modernist poetry ruled the early 20th century, what did it suggest for British poets like Thomas Hardy, Edward Thomas and Wilfred Owen to not be Modernist? this is often the 1st serious account of ways non-Modernist poetry spoke back to the Modernist revolution. Peter Howarth uncovers the origins of the battles over poetic sort nonetheless being fought at the present time, and connects the early twentieth-century controversy approximately poetic shape with modern social and political advancements and the trauma of the 1st global warfare. Howarth argues that on the middle of the department among smooth and standard poetic shape are assorted principles of freedom, energy and individuality. students and scholars of twentieth-century poetry will locate this an informative and encouraging account of the subjects and debates that experience formed British poetry of the final hundred years.
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Extra info for British Poetry in the Age of Modernism
Not strictly and necessarily connected with the passion’ (755), which would make Wordsworth’s form foreign to his expression of the ‘essential passions of the heart’. 57 Pound’s direct, cut-down poetics are about unimpeded emotional accuracy: Poetry is the statement of overwhelming emotional values[,] all the rest is an affair of cuisine, of art. On n’e´meut que par la clarte´. ] Stendhal is right in that clause. 58 When this rhythm, or when the vowel and consonantal melody or sequence seems truly to bear the trace of emotion which the poem (for we have come at last to the poem) is intended to communicate, we say that this part of the work is good.
On n’e´meut que par la clarte´. ] Stendhal is right in that clause. 58 When this rhythm, or when the vowel and consonantal melody or sequence seems truly to bear the trace of emotion which the poem (for we have come at last to the poem) is intended to communicate, we say that this part of the work is good. . 61 And nowhere was this Romantic emphasis on sincerity more clearly shown than in Hulme’s essay, which is premised on the fact that a truly Classical poem means not adherence to a set of principles, but a truly sincere poem and poet.
Modernism . . 73 To demonstrate such stripped-down purity of perception, it printed stories by Mansfield and D. H. Lawrence. But when the magazine became more serious about its poetry section in 1912, it was the Georgians they printed. 74 The Georgian Poetry editor Eddie Marsh had recently stepped in with a loan to save Rhythm from bankruptcy, so Middleton Murry’s praise may have been tactical: nonetheless, the fact that Marsh stepped in at all is a sign of his interest in some kinds of modernist art (he owned four Gaudier-Brzeskas), and Murry’s choice of adjectives indicates no change Inside and outside modernism 39 of editorial policy.