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| Classical (v. Romantic) poetry |
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| Hulme. romanticism-- style informed by a belief in the infinite in man and nature, characterized as "spilt religion," associated with revolutional political ideals Classical--a mode of art stressing human finitude, formal restraint, concrete imagery and "dry hardness" More catholic, less protestant. |
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| Joyce. when something becomes manifest, a deep realization. would use it so that his protagonists would come to sudden recognitions that changed their view of themselves or their social condition and often sparking a reversal or change of heart. |
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| It embraced discontinuity, rejecting smooth change in everything from biology to fictional character development and moviemaking. It approved disruption, rejecting or moving beyond simple realism in literature and art, and rejecting or dramatically altering tonality in music. difficulty, related "isms," self-conscious iconoclasm, rejection of 19th century ideals. Dates: 1910-1965 |
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| New Criticism(1920s-1960s) |
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| formalist, objectivist. Celebrates "close reading." Reacts against romantic focus on authors' lives, intentions, and personalities. Coins phrases like "heresy of paraphrase" and intentional fallacy." Cf. theories of T.S. Eliot. |
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| Eliot. A reason. symbolic article used to provide explicit, rather than implicit, access to such traditionally inexplicable concepts as emotion or color. "The only way of expressing emotion in the form of art is by finding an "objective correlative"; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked." (From "Hamlet and his Problems") to express the character’s emotions by showing rather than describing feelings |
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| Postcolonialism/Postcolonial theory |
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| Empire begins to unravel around the end of WWII. "The Empire Writes Back." Postcolonialism as a literary theory (with a critical approach), deals with literature produced in countries that once were colonies of other countries, especially of the European colonial powers Britain, France, and Spain; in some contexts, it includes countries still in colonial arrangements. It also deals with literature written by citizens of colonial countries that portrays colonized people as its subject matter. |
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| 1960s to present? This really means "after the modernist movement." It rejects the rigidity and the aesthetic limitations of Modernism. It revels in meta-discourse. It distrusts theories and ideologies, draws attention to conventions, and tries to unhinge commonplaces. It's fascinated with codes and styles. It often indulges in parody. In the end, it includes so much that it's awfully hard to define. Some people question the usefulness of the term. |
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| Wilfred Owen's "Strange Meeting." Almost rhyme, high register vowel to a lower register vowel |
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| Yeats. Great collection of Architypes within the mind. each human mind is linked to a single vast intelligence, and that this intelligence causes certain universal symbols to appear in individual minds. |
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| seeks to portray an individual's point of view by giving the written equivalent of the character's thought processes, either in a loose interior monologue, or in connection to his or her sensory reactions to external occurrences |
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| Eliot. The new effects the old and the old effects the new. Absorb the tradition before you can grasp originality. "Tradition...cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense...compels a man to write not merely with his own generation...but with a feeling that the whole of the literature of Europe from Homer and within it the whole of the literature of his own country has a simultaneous existence and composes a simultaneous order." |
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| Lost generation, traumatized writers, etc. Death blow to Victorian culture. Women enter workforce in unprecedented numbers. |
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| Edwardian Age (Edward II on throne) |
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| Women over 30 given right to vote with some property restrictions |
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| Formation of the Irish Free State |
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| India and Pakistan become independent nations |
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| Ghana, Kenya, Nigeria, Uganda, Jamaica, and Trinidad and Tobago become independent nations...(arguably, this historical movement doesn't end until Britain returns Hong Kong to China in 1997) |
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| "The Soldier" wartime poet. Talks a lot about England. "If I should die, think only this of me:/ That there's some corner of a foreign field/ That is forever England. There shall be/ In that rish earth a richer dust concealed;" |
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| "The owl" and "Rain" Wartime poet. Owl--"Then at the inn I had food, fire, and rest, Knowing how hungry, cold, and tired was I. All of the night was quite barred out except An owl's cry, a most melancholy cry" Rain--"Rain, midnight rain, nothing but the wild rain On this bleak hut, and solitude, and me Remembering again that I shall die And neither hear the rain nor give it thanks For washing me cleaner than I have been Since I was born into this solitude." |
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| "Glory of Women" and "They" wartime poet. Uses irony, shock tactics, and direct speech in his poems. would attack old men of the army, Church, and gov't, whom he held responsible for the miseries and murder of the young. Contrasts between the romanticization of war and the grim realities. |
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| "Strange Meeting" "Disabled" and "Dulce et Decorum Est" Wartime poet. Puts literary and religious language into jarring new relationships with the absurdities of modern war experience. He recuperates but distorts the conventions of pastoral elegy, relocating them to scenes of terror, extreme pain, and irredeemable mass death. Strange Meeting--the trenches v. hell. Disabled--a veteran who lost all of his luster. Dolce--vivid, a man dies of the gas... |
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| Romanticism and Classicism--Prophesies a "dry, hard, classical verse" that ehibits precision, clarity, and freshness. He sharply repudiates the "split religion" of Romanticism, responsible for vagueness in the arts. He sees human beings as limited and capable of improvement only through the influence of tradition. |
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| Tradition and the Individual Talent, "The Love Song of J. Alfred Prufrock" Tradition--Talks about what tradition in literature actually is, explains Eliot's definition of New Criticism "he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living." Love Song--Prufrock mainly talks about how he's getting older and women don't want him anymore. |
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| "The Lake Isle of Innisfree" "The Second Coming" "Sailing to Byzantium" Innisfree--uses lots of imagery words to describe this lake. Lots of reflection and longing to go back...kinda like Wordsworth. Second Coming--Spiritus Mundi comes from here. One of his last poems. Has a controlled yet startling wildness. Byzantium-- talks about the Justinian Byzantium (now Istanbul) and claims that he would love to be there. |
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| "The Dead," Ulysses. Dead--talks a lot about paralysis of ppl being stuck where they are w/o moving forward by being tied to the dead past; youth, political, catholic v. protestant, themselves. |
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| "Politics and the English Language"--Why is the language we use a political issue? "Our civilization is decadent, and our language--so the argument runs--must inevitably share in the general collapse." he discusses things like "dying metaphors," "operators, or verbal false limbs," " pretentious diction," and "Meaningless words." "By using stale metaphors, similes and idioms, you save much mental effort, at the cost of leaving your meaning vague, not only for your reader but for yourself." "Never use a metaphor...which you are used to seeing in print. Never use a long word where a short one will do. If it is possible to cut a word out, always cut it out. Never use the passive, Never use a foreign phrase...if you can think of an everyday English equivalent. Break any of these rules sooner than say anything out right barbarous." |
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| Decolonising the Mind--"my farewell to English as a vehicle for any of my writings. From now on it is Gikuyu and Kiswhili all the way." Says English language and literature are tools of colonialism, which continue to have insidious effects long after formal decolonization. He feels that because of the close relation between language and cultural memory, the imposition of English language and literature severs colonized peoples from their cultural experience. |
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| "English is an Indian Literary Language"--recounts the spread of English as a world language and describes its indigenization by the non-English, Rushdie claims it as a vital and expressive South Asian literary language, with its own history and tradition. |
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| "The Moment before the Gun Went Off"--a farmer accidently shoots his black friend. set in south africa. she comments on how no one cares that the white man shot the black man, but if it was the other way around it would involve a lot more politics. |
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| "A Far Cry from Africa"--his cross-cultural inheritance is sometimes the source of pain and ambivalence...he refers to himself as being "poisoned with the blood of both." At other times it fuels a celebratory integration of multiple forms, visions, and energies. |
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| tolerance for uncertainty |
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| An "unacknowledged legislator of the world." |
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| An alien, mysterious, and gloomy spirit, superior in passions and powers to the common run of humanity. |
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| voice in which the speaker assumes the voice of a prophet |
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| Rhyme scheme adopted by Byron in Don Juan. It ends in a rhymed couplet that's often funny |
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| The idea that "poetry is passion" or an "overflow of emotion" and thus an emanation of the unique self. |
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| Elevated lyric with irregular meter, addressed to a particular subject |
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| The idea that poems shape themselves according to their own rules, growing like living things. |
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| "[A] man speaking to men: a man, it is true, endued with more lively sensibility, more enthusiasm and tenderness..." |
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| "Low and rustic life was generally chosen, because in that condition, the essential passions of the heart find a better soil in which they can attain maturity...and speak a plainer and more emphatic language..." |
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| The notion that divinity fills nature, and that the poetic soul can find miracles in the common and the everyday. |
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| It tends to round back on itself, ending, as it began, in nature. In the middle, it undertakes a journey of thought. |
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| Popular narrative poem with simple rhyme |
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| Poet (according to Keats) |
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| Tradition form revived in the Romantic Age. "Surprised by Joy" is one example |
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| Quatrain with alternating four-stress and three-stress lines, usually with simple rhyme scheme. |
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