Titlebook: British Poetry of the Second World War; Linda M. Shires Book 1985 Linda M. Shires 1985 history of literature.literature.poetics.poetry.twe

原始

The Apocalyptics and Dylan Thomas,dherence to common life, the poets of the fifties insisted that the forties was a decade of punch-drunk apocalyptic writers, a time of irrational excess, a poetry solely of myth and dream. They dismissed the period as drowning in the illogical unconscious storms of such poets as Henry Treece, J. F. Hendry, and Dylan Thomas.

別炫耀

ADJ

Endings and Beginnings,s the members of the audience at the pageant presentation in her last novel: . The spectators represent both the stupefied British public on the eve of war watching the drama of history unfold before them, and playgoers awaiting the transformation of reality into art. Written in 1939–40 and publishe

乳白光

減去

保守

Two Poets of War: Alun Lewis and Sidney Keyes,4). While Douglas, who willingly gave himself over to war, merits separate consideration, Lewis and Keyes provide a striking contrast in their literary responses to the realities of a war they did not wish to join. Lewis writes as an intelligent average man; lonely and bored, he resents war as a hin

mediocrity

No Enemy But Death: The Poetry of Keith Douglas,he toy shop there.’. In this fragment from a letter of childhood, Keith Douglas naively reveals what would become the most significant difference between himself and the other major poets of the Second World War. For, attracted to the military from his youth and schooled in its ways, Keith Douglas g

flavonoids

,Epilogue: The War’s Legacy in Verse, antithetical types of poetry. Keyes, who would perish in North Africa in mysterious circumstances a mere three years later, slighted his Oxford contemporary when he launched . (1941); Larkin, who remained in England for the duration of the war, would soon discard his Yeatsian trappings, renounce my

ARCHE

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ULCER

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