Titlebook: British Poetry, 1900-50; Aspects of Tradition Gary Day (Lecturer in English Literature),Brian Do Book 1995 Palgrave Macmillan, a division o

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https://doi.org/10.1007/978-3-8349-8047-2y in twentieth-century British writing, producing poetry and prose (and drama and film) of great power and innovativeness. Many of the major Modernist writers of the 1920s were still active throughout the subsequent decade, including T. S. Eliot, W. B. Yeats, Ezra Pound, Virginia Woolf and James Joy

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https://doi.org/10.1007/978-3-322-81358-9nt of the beginnings of the movement in France and summary of the principal theoretical texts about surrealism by André Breton and others. In that work Gascoyne cagily suggests that ‘it is within the bounds of possibility that a surrealist group will be founded shortly in London’.. Within a year, su

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Introduction: Poetry, Society and Tradition,ndly, what is the role of a poetic tradition? As each essay raises one or both of these issues in its own way it is not the purpose of this introduction to pre-empt them by summary, rather it is to provide a general context in which the various arguments may be understood.

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Lyrics of the First World War: Some Comments,ly on in its history, and that publication in anthologies was both cause and consequence of this way of perceiving it; and secondly, that the characteristic lyric forms which the trench poets utilised are a necessary aspect of their meaning.

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The Poetry of the Second World War,oems — among them Henry Reed and F. T. Prince — did not produce the same substantial body of work. Since then, Keyes has faded fast, leaving interest divided between Douglas, polished and theatrical, and Lewis, more anguished and complex.

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https://doi.org/10.1007/978-3-8349-8047-2f criticism; and they constituted for many critics the poles within which poetic writing itself was deemed possible. So overpowering was their prestige that few thought odd the view that the significant history of English literature was to be found in the development of the lyric.