Poetry Before and After World War II
Poetry Before and After World War II
Poetry Before and After World War II
Experimental Poetry
• Already after 1850: tendency to write for a limited group of cognoscenti rather than for the public
• Symbolist era of the 1890s
• This tendency rose to a second climax in the period following the First World War
• Poetry tended to become the exclusive possession of schools, movements and cults, each self-
sufficient, believing to be in the vanguard of modern literature
• The poetry produced by these various groups shares one quality: it is never obvious and it is quite
difficult or esoteric
• It is generally the product of highly educated poets who have a wide background in languages, lit.
history and philosophy
• The most prominent influence on this entire movement is that of the Symbolist school
• From this school the moderns borrowed their interest in sensory associations, which they further
refined by the addition of modern Freudian and Jungian psychology.
• The 19th c. Symbolists also share with many modern poets a certain morbidity, deriving from a
repugnance towards materialism and a disillusionment with the ideals of democracy and science.
• There seems to be little consistency in the political attitudes of these poets
• For one, they are all dissatisfied with the status quo
• Eliot objects to the tendency of modern democracy to become mobocracy, and therefore assumes
a royalist and conservative stand
• Auden and Spender, blaming capitalism for the vacuity of modern culture, take the opposite
course and turn towards the Left.
• The conservative Eliot and the reactionary Pound appear to be exceptions; the more typical poet of
the century is liberal or radical, cherishing ideals of individualism
1
• From songs of the English music hall and from American blues singers
• About four hundred poems (7 long ones)
• More than four hundred essays and reviews about various subjects
• Collaborated on plays with Christopher Isherwood; The Ascent of F6 (1936), For the Time Being
(1944), The Age of Anxiety (1947)
• Depression upset America in 1929 and hit England soon; industrial stagnation, mass
unemployment
• Not the metaphorical “Waste Land” of Eliot but a more literal “Waste Land” of poverty followed
• His early poetry is much concerned with a diagnosis of the ills of England
• The liveliness and nervous force of his early poetry made a great impression, even though an
uncertainty about his audience led him to introduce purely private symbols, intelligible only to a few
friends.
• Gradually, Auden learned to clarify his imagery and control his desire to shock; finely disciplined
movement, clarity, and deep yet unsentimental feeling
• Moved from his earlier diagnosis of modern ills in terms of Freud and Marx to a more religious
view of personal responsibility and traditional value
• But he never lost his ear for popular speech or his ability to combine elements from popular art
with an extreme technical formality.
• He was always the experimenter; brought together high artifice and a colloquial tone.
• Auden's most exciting work is found in his early volumes, Poems (1930) and On This
Island (1937)
• For the first part of his career, was very much the poet of his times (i.e. of the Depression).
• He preferred to confront modern problems directly rather than to filter them, as Eliot did, through
symbolic situations.
• Another Time (1940) shows greater control and less violence.
• Nones (1951) shows most clearly his characteristic way of combining or alternating the grave and
the flippant
• In About the House (1967) and City without Walls (1970), poems are increasingly personal in tone
and combine an apparent air of offhand informality with remarkable technical skill in versification
• Auden grew increasingly hostile to the modern world and skeptical of all remedies offered for
modern ills
• Refuge in friendship, and in an ever deepening religious feeling.
Theme of indifference:
2
They never forgot
That even the dreadful martyrdom must run its course
Anyhow in a corner, some untidy spot
Where the dogs go on with their doggy life and the torturer's horse
Scratches its innocent behind on a tree.
[Excerpt:]
His hands had put instead
An artificial wilderness
And a sky like lead. (Auden)
3
• “In Praise of Limestone” (1948)
FEATURES:
• Images most carefully ordered
• Major theme the unity of all life, the continuing process of life and death and new life
• Biology as a magical transformation producing unity out of diversity
• Unity of man and nature, of past and present, of life and death
• Closely woven imagery (deriving from the Bible, Welsh folklore and preaching, and Freud)
• His autobiographical work Portrait of the Artist as a Young Dog and his radio play Under Milk
Wood reveal a vividness of observation and a combination of violence and tenderness
• He was a brilliant talker, a considerable drinker, a reckless and impulsive man; he acted the
bohemian poet
• Poetry readings in America between 1950 and 1953 were enormous success; erratic behaviour
• died suddenly in New York
• Brilliant reader of his own and others' poems, many people were drawn to Thomas's by the magic
of his own reading
4
Though wise men at their end know dark is right,
Because their words had forked no lightning they
Do not go gentle into that good night.
5
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion
• “And God shall wipe away all tears from their eyes; and there shall be no more death, neither
sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.”
(Revelation 21:4)
• “Knowing that Christ being raised from the dead dieth no more; death hath no more dominion
over him.” (Romans 6:9 )