By Gary E. Day, Brian Docherty
This assortment specializes in British poetry from the Georgians to the second one international conflict. The advent offers the framework for the articles which persist with through contemplating the query of the relation among poetry and society because it seems within the paintings of F.R. Leavis, T.W. Adorno and Antony Easthope. Written by means of specialists, the essays disguise poetic pursuits and person authors, either mainstream and missed, and handle the tricky challenge of creating worth decisions whereas situating poetry in its ancient context.
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Additional resources for British Poetry, 1900–50: Aspects of Tradition
People rarely die on cue. Brooke's glory and his tragedy is that he died 'on cue' in 1915. Unlike Owen (a poet technically of a lesser stature but able to put into words the horror of the war), Brooke's 'final' words were patriotic and, apparently jingoistic. Owen's hatred of war quite correctly gained the limelight once the war had finished but, in doing so, distorted the importance of Brooke's artistic (formal) achievement, which was 'suppressed' in favour of works whose content spoke of suffering banality.
H. Davies. The 'parochiality' actively sought by Larkin or the later Liverpool poets is quite against the grain of a parochial/lyrical content in Brooke, which is always at a distance from the metropolitaninternational voice he employs. Quite simply, Brooke has more in common with T. S. Eliot than with Larkin and has more the tone of e. e. cummings or Noel Coward than that of Dylan Thomas. It's the very first word that poor Juliet heard From her Romeo over the Styx; And the Roman will tell Cleopatra in hell When she starts her immortal old tricks; What Paris was tellin' for good-bye to Helen When he bundled her into the train Oh, it's not going to happen again, old girl, It's not going to happen again .
521). For a detailed and convincing explanation of why Thomas should be regarded as a Georgian, see Press, op. , pp . 114-16. Arthur Waugh, 'The New Poetry', Quarterly Review, October 1916, pp. 365-86; reprinted in Rogers, op. , pp. 139-59 (p. 143). T. S. Eliot, 'Verse Pleasant and Unpleasant', The Egoist, March 1918, pp. 43-4; summarised in detail, because of copyright complications, in Rogers, op. , pp . 213-15 (p. 215). Murry, op. , p. 232. Ross, op. , pp . 183-4. Henceforth all quotations from the five volumes of Georgian Poetry will be referenced in the text using the following abbreviations: Georgian Poetry 1911-1912, (GP I); Georgian Poetry 1913-1915, (GP II); Georgian Poetry 1916-1917, (GP III); Georgian Poetry 1918-1919, (GP IV); Georgian Poetry 1920-1922, (GP V).