By Albert Gelpi
During this ebook Professor Gelpi lines the emergence of yank Modernist poetry as a response to, and outgrowth of, the Romantic ideology of the 19th century. He makes a speciality of the amazing iteration of poets who got here to adulthood within the years of the 1st international battle and whose works represent the critical physique of poetic Modernism in English. this huge ancient argument is constructed via monographic chapters at the poets which come with shut readings in their significant poems. finished in scope and sophisticated in its research, Gelpi's ebook gives you to be one of many significant experiences of yank poetry for years yet to come.
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Additional info for A Coherent Splendor: The American Poetic Renaissance, 1910-1950
The reader knows, better than Janet yet knows, that the feminine pronouns take in both her and Chucky, and that she is expending her breath in weeping for her own life. In the course of a few quatrains, her happy "cry" of greeting to Chucky has turned to a cry of sorrow; the grass is wet with the morning dew and the mourning tears. Much of the fun of the language comes from the unstable juxtaposition of multisyllabic Latinate words and heavily consonantal, often monosyllabic words from Germanic roots.
Often his errand leads Frost into the lovely, dark, deep woods. The beautiful description in "Spring Pools" changes rebirth into extinction, light into obscurity: These pools that, though in forests, still reflect The total sky almost without defect, And like the flowers beside them, chill and shiver, Will like the flowers beside them soon be gone, 26 A COHERENT SPLENDOR And yet not out by any brook or river, But up by roots to bring dark foliage on. 47 The poem begins as winter revives in spring: a moment of Emersonian harmony; earth turns mirror with the just-melted snow and reflects "the total sky almost without defect," so translucent that the heavens seem almost Heaven.
Frost returned to this theme often: "Petals I may have once pursued. / Leaves are all my darker mood" ("Leaves Compared with Flowers"); "The mountain pushed us off her knees. / And now her lap is full of trees" ("The Birthplace"); "trees, seeing the opening, / March into a shadowy claim. / The trees are all I'm afraid of" ("The Last Mowing"). " 48 For the woodsman there is no safe season. 49 Year's end brings the anonymity of snow; even Thoreau felt effaced in winter woods without familiar markers.
A Coherent Splendor: The American Poetic Renaissance, 1910-1950 by Albert Gelpi