By Neil Roberts
Compiled and edited by means of Neil Roberts (Professor of English Literature at Sheffield University), A spouse To Twentieth-Century Poetry is a powerful anthology of forty-eight scholarly essays drawn from a wide selection of authors and academicians learning the improvement of poetry in twenty English-speaking international locations during the last century. From context of the poets and their paintings; to the repercussions of the post-colonial age; to the expanding voice of girl poets; in addition to an total tendency in the direction of self-consciousness and self-reflection; A spouse To Twentieth-Century Poetry bargains expert and informative insights gleaned from as frequent and various a gaggle of individuals because the authors of the memorable poems themselves.
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Additional info for A companion to twentieth-century poetry
Pound always had a syllabus to hand, listing Homer, Catullus, Dante, Cavalcanti and Arnaut Daniel, Villon, Flaubert, Corbière and Théophile Gautier, Fenollosa and the Chinese poets Lui Ch’e and Li Po as a bare minimum. And to these ‘how to’ letters and handbooks for apprentice poets he was to add primers on economic democracy and Confucian ethics as his sense of ‘civilization’ broadened and the case for the artist’s importance to the public realm appeared more desperate. Here too, however, Pound’s commitment to ‘The Didactic’ which Poe had opposed, found a further, surprising, echo – in the cultural mission of the Victorian sages: Arnold, Ruskin and Morris.
An Image, Pound explained, ‘presents an intellectual and emotional complex in an instant of time’ (Pound, 1954, p. 4). The London Imagists soon attracted imitators. Of these the most important was Amy Lowell of Boston, whose entrepreneurial energies, if not her poetic talent, rivalled those of Pound. Lowell visited London and won several of Pound’s colleagues to her banner, including Aldington and Fletcher. Lowell edited three anthologies entitled Some Imagist Poets, which appeared in 1915, 1916 and 1917.
The role of New York in the provenance of The Waste Land reminds us that London and Paris were not the only vortices of the modernist movement. New York and Chicago were major centres as well. American writers who stayed at home read Arnold, Ruskin and William Morris, but they also followed a nativist tradition that had its nineteenth-century roots in the work of Ralph Waldo Emerson, Henry David Thoreau and Walt Whitman. In the ideology of this Romantic Transcendentalism, America is a ‘New World’ with a unique historical opportunity to create an ideal 16 Hugh Witemeyer society, to devise an order that surpasses the failed and weary feudalism of Europe.
A companion to twentieth-century poetry by Neil Roberts