In What Way Imagist Poetry Influences Modernists

Table of Contents . Introduction 2 2. The Return to Classicism 2 3. Unconventional Form: Vers Libre 5 4. Innovative Content and Language 6 5. Image and Consciousness 9 6. Conclusion 11 7. Reference List 12 In What Way Imagist Poetry Influences Modernists . Introduction The England-based Georgians had been attacked by the modernists as "unoriginal and slack in technique, shallow in feeling, slight in intellect...and weekend escapism" (David 1976, p.204). The American-based Genteel Mode, on the other hand, was also criticized as "...in its Romantic spiritual elevation it did not grapple with experience..."(David 1976, p.204). Modernist writers contended that the society had undergone enormous changes at the beginning of the twentieth century and that the carefree and relaxed attitude, which was representative of Georgian poetry and the Genteel Mode cannot present the real situation of the society and demanded that people should break away from traditions. Imagists were such a group of poets who refused to obey and challenged the traditions of poetry composition (some of these practices, though, were disapproved by some of the critics). As David put it, "imagism has been described as the grammar school of modern poetry," which means that it plays a fundamental role in influencing the way along which later modernist writers followed to create their work. Reviewing how

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"Representation makes dummies of us all" - How is this sentiment reflected in Carol Ann Duffy's poetry?

"Representation makes dummies of us all" How is this sentiment reflected in Carol Ann Duffy's poetry? "There is no terror in the bang, only in the anticipation of it" 1 Carol Ann Duffy's poetry is often criticised for being very simple, in both the lexis and the manner in which it is delivered. However, time must be taken to read the 'unsaid', that is, the words that are not written on the page, which create textured, layered poems. Poems such as 'We Remember Your Childhood Well' (The Other Country : 24) exemplify this; one side of the conversation is represented, but it is the other voice, the other story, which intrigues the reader and it is left to them to imagine the missing dialogue. "The whole thing is inside your head" is particularly chilling to try and presume what the absent voice has experienced. The combination of both the spoken and unspoken at once, creates more depth to poetry and it is this that the reader has in mind when trying to understand it. The Alfred Hitchcock quote above explains exactly this, how a reader will anticipate the unsaid, sometimes to a more extreme degree than the reality. The question is, how a poet, or indeed any other author, can reasonably represent a character, feeling or message to their reader accurately if each reader will individually interpret their poem, novel or text. A reviewer for the Sunday Times wrote; "So often

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Cutting A Better Man Out Of The Hedge: a discussion of the relation of land, landscapes and nature to Seamus Heaney's sense of Irishness as laid out in his poetry.

Cutting A Better Man Out Of The Hedge: a discussion of the relation of land, landscapes and nature to Seamus Heaney's sense of Irishness as laid out in his poetry. Seamus Heaney has long been recognised as one to truly epitomise the sense of Ireland in his poetry, from the vantage point of the individual as well as from a more universal perspective. However, criticism up until now has mainly focused on the relationship between Irish identity and language. While the link between land and identity is not discredited as such, it is not given the critical attention of the relationship between language and identity, and it is thus not investigated nearly as much as it deserves. The identity:language:land: identity cycle is at best ignored by the critics - a dreadful prospect when one considers how inherently and inextricably Heaney considers language and land to be linked too. Consequently this paper will explore this relationship using a variety of Heaney's work, from his earliest collection to his later poems, including his most recent collection, District and Circle, released in 2006. I will also briefly examine links between Heaney's poetry and some of that of his principal predecessor, W. B. Yeats, in order to reveal further where the link between land and identity originates and in order to contrast the poets' different approaches. Although it is acknowledged that at

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Does the simplicity of Simon Armitage's work detract from the complexity of the social issues he deals with in Kid and Killing Time

Does the simplicity of Simon Armitage's work detract from the complexity of the social issues he deals with in Kid and Killing Time Born in 1963 in Huddersfield Yorkshire, Simon Armitage is often grouped with Tony Harrison, Ted Hughes not only because of his heritage, but also because of his style. Many of his poems are social commentaries with a straight forward and somewhat cynical outlook, typical of the 'northern poet'. Armitage uses a simplistic style of writing, common lexis and usually quite overt subject matter. His anthologies range in topics, including the largely biographical Book of Matches which incorporates numerous stories about his childhood, both serious and light-hearted. Armitage was commissioned to write Killing Time for the millennium and it was later dramatised and shown television on the 1 January 2000. It is a thousand line poem reflecting on the previous years events; sometimes comic, satirical and dry, and at other times extremely powerful and serious. It is questionable, therefore, how Armitage can combine his simple style with a poignant and sombre subject matter with any degree of success. His collection Kid contains similar style poems, as well as some more optimistic poetry, so by comparing Killing Time with a selection of poetry from Kid, Armitage's methods of merging two seemingly opposing factors will become apparent. Perhaps Simon

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CRITICAL APPRECIATION OF NISSIM EZEKIEL BY ANALYZING A POEM OF DEDICATION AND AFTER READING A PREDICTION

CRITICAL APPRECIATION OF EZEKIEL BY ANALYZING ‘A POEM OF DEDICATION’ AND ‘AFTER READING A PREDICTION’ ________________ “The true business of living,” Nissim Ezekiel has written “is seeing touching, kissing, / The epic of walking in the street and loving on the bed.” These lines are from a poem entitled “Conclusion”, these lines serve aptly for the introduction of a man whose true business over the last half of the 20th has been the making of verse. A poet of the city, Ezekiel has stridden the streets of Bombay, and revelled in the sensuous and inimitable pleasures of the companionship of women. The contours of the city, the curves of the body, and the landscapes of the human mind: Ezekiel has transverse these terrains with equal facility, and for a very long time the English reading public has stood to benefit from Ezekiel’s numerous excursions into verse. Ezekiel’s first collection of verse “A Time to Change,” appeared in 1952, in the infancy of India’s emergence from the womb of British rule, and with it Indian poetry in English, which had long been pregnant with possibilities, finally found a voice that commanded attention. A language placed in a foreign environment takes time to root itself, and at first finds expression with greater ease in prose than in verse, as the appearance of Raja Rao’s “Kanthapura” (1938) and G.V. Desani’s

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Silence and Opression in Discourse on the Logic of Language

Silence and Expression in Discourse on the Logic of Language The poem Discourse on the Logic of Language by Marlene Nourbese Phillip critiques colonialism, racism, and sexism in order to express a marginalized subjectivity. Through the unconventional structure, the integration of multiple texts into the poem, and the spatial arrangement of these texts onto the page, Phillip exposes the ways in which language, through the enforcement of English as the father tongue, oppresses and displaces the colonized. The poem also articulates the pain and anguish of a subject who, through a colonial legacy of linguistic subjugation and silencing, has no mother tongue with which to speak with. The paternal is pitted against the maternal, which becomes a subversive force against European patriarchal power. The poem is unusual in the sense that it incorporates multiple texts that compete for the reader's attention. The poem consists of a stuttering verse at the center of the page, flanked by a narrative about a mother and her baby and edicts, the italicized passages that make proclamations about the treatment of salves. Occupying the entire facing page is passage containing physiological descriptions of the brain and the production of speech, and an account about scientific racism. This passage connects logic to the paternal and is expressed through the paternalistic language of science, a

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Prufrock and other observations

TMA 03 Option B 'An intellectual migration from America to Europe significantly shaped T.S Eliot's modernism.' Discuss this statement via a close analysis of the form and content of 'Cousin Nancy' and ONE other poem of your choice from Prufrock and Other Observations. To attempt to answer this question it is important to understand the reasons behind Eliot's decision to migrate from America to Europe, and how this move was influenced by his intellectual beliefs in the modernist movement. It is also essential to understand these beliefs and this can be achieved through an analysis of the poetic techniques used in the Prufrock poems. By focusing this essay on a discussion of Cousin Nancy and The Boston Evening Transcript specifically an insight into modernist writing and Eliot's dissatisfaction of America can be discussed in tandem. This joint discussion will highlight how Eliot's physical migration to Europe was influenced by a wish to intellectually migrate away from American literature towards European modernist ideals. Cousin Nancy was written in the second period of the Prufrock poems that covers the timescale of 1914/15. At this time Eliot had moved to England, and so the poems from this period covered his reflections of the USA from a European perspective. Eliot's poetry at this time was heavily influenced by European modernism and had been developed earlier through

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A Critical Appreciation of Campos De Castilla

A Critical Appreciation of Campos De Castilla "Cinco anos en la tierra de Soria, hoy para mi sagrada - alli me case, alli perdi a mi esposa, a quien adoraba - orientaron mis ojos y mi corazon hacia lo esencial castellano." Antonio Machado's love for Soria and the land of Castile is definitely one of the predominant issues in "Campos de Castilla". However, one must look at the development of Machado's life and how his mood is reflected in his poetry as well as how his influential friends had a bearing on his literary style and beliefs. The shift Machado made around 1904 in his poetry is an important one since it defines much of "Campos de Castilla". Geoffery Ribbans says that: "1904 produce una nueva tendencia a ocuparse de asuntos y objetos externos, si bien estos siguen estando estrechamente relacionados con su vida y sus emociones." Machado became more concerned with the relations between the creating self and the external world as opposed to his previous work which had been more self-absorbed and introspective. It is true that Unamuno did have an influence in this shift as well as with Machado's search for God later on in his life; but it is evident in Machado's earlier poetry that he made the change for himself. A good starting point is "A Orillas del Duero" which contains many aspects of Machado's poetry as well as being very striking. Firstly, the opening is very

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The Pomegranate by Eaven Boland

THE POMEGRANATE EAVEN BOLAND AN ANALYSIS I found The Pomegranate by Eaven Boland a beautiful poem because I felt a connection to it at a personal level. In this analysis I aim to clarify what Boland talks about, how she conveys her insecurities and fears and what the poem holds significant for me. To understand the poem it is first necessary to understand the legend it is based on: the legend of a mother and daughter. Boland talks about the Goddess Ceres and her daughter Persephone and relates to them throughout the poem. Interestingly, Boland combines two legends here: Greek and Roman. Persephone, in Greek mythology, is the daughter of Demeter, goddess of the earth. In one version of the myth, when the god Hades seized Persephone and took her to the underworld, the earth grew desolate. Demeter went into mourning for her lost daughter and thus all green things ceased to grow. Zeus, the highest ranking of the Greek gods, could not leave the Earth to die, so he commanded Hades to return Persephone. It was the rule of the Fates that anyone who consumed food or drink in the Underworld was doomed to spend eternity there. Persephone had no food, but Hades tricked her into eating four (six in some versions) pomegranate seeds while she was still his prisoner and so, because of this, she was condemned to spend four months in the Underworld every year. During these four months, when

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This essay is mainly focused on Elizabeth Bishops poem One Art, and the recurrent theme of losing, depicted as an art, or as the poet might say: the art of losing. This paper will also focus on the poems form and the way in which the usa

Mastering the art of losing. Introduction This essay is mainly focused on Elizabeth Bishop's poem One Art, and the recurrent theme of "losing", depicted as an art, or as the poet might say: "the art of losing". This paper will also focus on the poem's form and the way in which the usage of certain conventions, such as tone, language, syntax (adjectives, adverbs and verbs) and form help to convey the poet's message, which suggests that loss can lead to the mastery of "the art of losing". The poem's title conveys the suggestion that its contents deal with the theme of art, which may be considered an irony; in the sense that as the reader goes through the lines he realizes that the poem is not about art, but about the "art of losing". This "art", as suggested in the poem, resembles an acquired and accomplished skill that results from the experience of losing insignificant things, which will lead, throughout the experience gained, to an art of losing rather important things in life. The art of losing and the poem's form Elizabeth Bishop's poem is structured in a way in which one may notice the poet's struggle in expressing herself. It seems as she is trying to state something different to what is being expressed. Chief among these conceptions there is a powerful sense of loss. She is able to achieve all this throughout the manipulation of language and form. Even the tone of

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