Unlike high modernism, late modernism leaves the reader to draw their own conclusions regarding the impacts of modernity. The stylistic differences between Eliot and Auden represent contrasting sentiments regarding approaches to modernity and the poet’s place in a modern society. For instance, high modernists such as Eliot use modernism to explore existential questions. The content of Eliot’s “The Love Song of J. Alfred Prufrock” is cryptic, as the narrator asks the reader a seemingly rhetorical question which drives the poem forward: “’What is it?’” (11). The entirely open-ended question of “What
The imagery in W.B. Yeats’ poetry gave way to a handling of folklore and themes deriving from his deep sense of a basic dichotomy in the universe. His poems show a new hardness and irony. “Byzantium” haunts the mind and probes emotions as no other English poet had done. The theme of the poem is the attempt to escape from old age and decay by escaping altogether from the world of biological change to the timeless world of art symbolized by Byzantium.
“Before the world intruded” By Michele Rosenthal is portraying identity by its different use of literary devices in the poem such as a metaphor, a simile, and imagery. Moreover, Rosenthal uses a metaphor in order to grasp the reader’s attention and make one sympathize with her cause. The following quote “When Ideas were oceans crashing” (Rosenthal. 3), is comparing ideas with oceans crashing, hence making it a metaphor. The device shows how her ideas can sometimes be harsh and opposing to other’s beliefs because oceans crashing to the seashore are never similar to one another and can sometime be coarse.
In conclusion, the innovative techniques of the modern poetry are introduced to the reader by Eliot in The Fire Sermon of The Wasteland. The prominent feature of his poetry is hidden in disjoint timeline, abrupt end, ironic juxtaposition of past and present, literary allussions, quotations, historical and mythological interpretations and references, the multiple voices, stream of consciousness, usage of quotations in their original language, and repetition of the lines from the previous poems. Furthermore, Eliot turns his poem into a song-like poem by strengthening it with musical pieces. The chaotic modern wasteland is created through fragmented and unrelated broken images and collage of allussions. The pastoral images are embodied as the essential vehicle of aestheticism rather than metrical pattern.
Thomas Sterns Eliot who was a great American-British poet, playwright, literary critic and editor was a leader of the Modernist movement in poetry in such works as The Prufrock, The Waste Land and The Hollow Men. He almost completely and single - handedly brought about a revolution in thought, attitude and style in English poetry, and ushered in the modern age. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays he shattered old orthodoxies and erected new ones. This new genre of poetry was initiated by T.S. Eliot through the publication of his poem, The Love Song of J. Alfred Prufrock, in 1917, a collection of poems that gave birth to a new genre of poetry – modern poetry.
If There Ever Was a Godless Hymn John Knapp’s article, “The Spirit of Classical Hymn in Shelley’s ‘Hymn to Intellectual Beauty’” attempts to counter critics’ arguments that the aforementioned “Hymn to Intellectual Beauty” is an ode and not, as the title would suggest, a hymn. Knapp’s main argument is that trying to define Percy Bysshe Shelley’s work within the strict constraints of genre is ill-suited when taking into consideration both Shelley’s professional views on genre and the precedent for hymns to play with generic boundaries. In his argument, Knapp stresses Shelley’s focus on genre as something that is, “mobile and ever-changing … bound up in perpetual transference.” Referencing Shelley’s “A Defence of Poetry,” Knapp concludes that
His experimentation within language and forms brought a rapid change in literary tastes. His writings helped usher in a new era in poetry. Eliot is remarked as "not only a great sorcerer of words, but the very key keeper of the language" by Igor Stravinsky. “The Love Song of J. Alfred Prufrock” This poem is an inspection of the tortured inner self of a typical modern man who is overeducated, obsessed, anxious, fearful of the people in the society and emotionally stilted. The poem’s speaker Prufrock, seems to be addressing his possible lover.
This poem is an image, not a statement, and is not of the order of rational discourse. A poet like Enright states clearly and lucidly what he wishes to say: “Which is why I try to write lucidity, that even I /Can understand it--- and mildly, being loth to face the fashionable terrors, / Or venture among sinister symbols, under ruin’s shadow. /Once having known, at an utter loss, that utter in Comprehension/- Unseen, unsmelt, the bold bat, the cloud of jasmine, Truly out of one’s senses—it is
ELIOT 'S MODERNISM ' ' A VOYAGE FROM PAST TO PRESENT ' ': T. S. Eliot 's poetry sheds light on the modernist literature and determines the framework of the modern poetry through a plenty of innovative techniques. Principally, impersonality roots in Eliot 's poetry; which means an escape from personality and emotions (Underhill 170). His theory of impersonality in poetry is a strategy of avoiding confession (191). Ackerly draws attention to Eliot 's poetry 's paradoxical condition by claiming that his verse encapsulates the most harrowing personal feelings and presents the most agonizing image of the individual mind in spite of his insistence on impersonality (Ackerly 8). It can be said that his theory of the impersonal nature of art is
assumes toward himself and reality are accordingly, the different identities or points of view that figure in his life. Chitre 's quest is existentialist. He finds his own meaning independent of the traditional concepts and their meaning. Chitre 's “Mumbai-A Song” reveals an alienation and attempt to use poetry as a means of holding together an otherwise fragmented reality— Like a poem this city, the garbled relic of some one 's empire The remaining Voice now peopled by estranged millions. (58) Bombay here is a symbol of the modern Indian chaos resulting from contact with the west and of ‘ Man 's estrangement from a man made world’.