By Albert Gelpi
During this e-book Professor Gelpi lines the emergence of yankee Modernist poetry as a response to, and outgrowth of, the Romantic ideology of the 19th century. He specializes in the awesome new release of poets who got here to adulthood within the years of the 1st international conflict and whose works represent the primary physique of poetic Modernism in English. this huge ancient argument is constructed via monographic chapters at the poets which come with shut readings in their significant poems. finished in scope and refined in its research, Gelpi's booklet can provide to be one of many significant reports of yank poetry for future years.
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Extra resources for A Coherent Splendor: The American Poetic Renaissance, 1910-1950
The essays in the Fugitives' manifesto, 77/ Take My Stand: The South and the Agrarian Tradition by Twelve Southerners (1930), attacked twentieth- century collectivism in the name of the individual's allegiance to soil and blood and to the hierarchical institutions and customs that supported those allegiances. The enemy was Leviathan: the secular and materialistic state. Fascism was already established in Italy and communism in Russia; Nazism was around the corner. The United States was vibrating with the noise of various totalitarian ideologies, and when the New Deal arrived, it seemed to the Fugitives an alarming move toward socialism here at home.
The pioneer myth is the major myth of Frost's poetry, as of his politics, and the source of his controlling images and metaphors. "Into My Own," the very first poem of A Boy's Will, the first book, posits the myth: ROBERT FROST AND JOHN CROWE RANSOM 2$ One of my wishes is that those dark trees, So old and firm they scarcely show the breeze, Were not, as 'twere, the merest mask of gloom, But stretched away unto the edge of doom. I should not be withheld but that some day Into their vastness I should steal away, Fearless of ever finding open land, Or highway where the slow wheel pours the sand.
31 By this Frost did not mean flirting with vers libre, a la Pound and Eliot. In commending Robinson for being "content with the old-fashioned way to be new," Frost would ridicule the Modernist modes of Cummings and Eliot, Pound and Stevens: Poetry, for example, was tried without punctuation. It was tried without capital letters. It was tried without metric frame on which to measure the rhythm. It was tried without any images but those to the eye It was tried 20 A COHERENT SPLENDOR without content under the trade name of poesie pure.