A Modernist Reading of Ezra Pound, Thomas Stearns Eliot and William Carlos Williams (original) (raw)
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The Modernist Movement in English Poetry: Focusing on T.S. Eliot, W.B. Yeats, and Ezra Pound"
International Journal of Academic Multidisciplinary Research (IJAMR), 2023
This research paper delves into the Modernist Movement in English poetry, focusing on the works of T.S. Eliot, W.B. Yeats, and Ezra Pound. Through an exploration of their poetry, the paper analyzes the key themes, stylistic innovations, and formal experimentation that characterized Modernist verse. The study investigates the influence of historical and personal contexts on the poets' works and examines their contributions to the development of Modernism. The comparative analysis highlights both the shared elements and distinct approaches of Eliot, Yeats, and Pound, emphasizing their impact on the broader landscape of English poetry. The conclusions underscore the significance of these poets in reshaping literary traditions and offer insights into the enduring relevance of the Modernist Movement.
This paper owes to uncover the modern aspects in the writings of T. S. Eliot. Modernism, a movement which erupts from philosophy and has a " self-conscious " break from traditional writings and worked with literary forms and movements. As a modernist he portrays about the standard of love, money minded people and self centered people. The research is entirely based on T. S. Eliot's poetry and generalizing its work entirely which required depth study of his work and citation of the critic who entitled T. S. Eliot as a " modernist-poet ". This study is retrospective which requires depth study in order to relate by the previous work done on generalizing T. S. Eliot as a modernist poet.
International Journal of Language and Literary Studies, 2020
This paper explores analytical and stylistic tools in the discourse of modernist literature as epitomized in three canonical works of three influential modernist literary figures: Virginia Woolf, T.S. Eliot and Samuel Beckett. The paper shows how, upon meditation on the lived reality of Europe in the second half of the nineteenth century and the first half of the twentieth century, modernist literature writers resort to fragmented language, mythical usages, and nonlinear structures to respond to the much ravaging and grotesque events witnessed by the world in general and Europe in particular in this epoch. Reflecting the compartmentalized and Balkanized reality of the world through its dazzling stylistic and figurative innovations, modernist literature sought to shock audiences, to lead bare the inconsistency of the human condition. This goes in parallel with an emerging philosophy that turned conventions upside down in different domains: ethics and morals, religion, history, economy, politics, aesthetics, arts, and language among others.
Borrowing Time: The Classical Tradition in the Poetic Theories of T. S. Eliot and Ezra Pound
UCF Honors Undergraduate Theses, 2019
T. S. Eliot and Ezra Pound are two of the most prominent figures of Anglo-American modernist poetry, both having played central roles in the development of a distinct poetic style and atmosphere in the early 20th century by means of their publishing and editing the work of other poets as well as publishing their own poetry. However, Eliot and Pound have an interest in the classical world that is not clearly shared with the majority of other modernist poets, and this interest distinguishes the sense of “modernism” that Eliot and Pound promoted from that of other major modernists like William Carlos Williams. The general notion of modernism representing a radical break from tradition is, in the works of Eliot and Pound, not at all obvious despite the two poets’ shared status at the forefront of Anglo-American modernist poetry. This thesis explores the aesthetic theories that Eliot and Pound describe in their prose works and compares them with the aesthetic theories of other modernist poets to illustrate how Eliot and Pound appreciate the past, and in particular the classical world, in ways that other modernists simply do not.
The Modernist Defense of Poetry in Prose and Verse
2013
have already been identified as defenses of poetry. 8 "Prufrock," "Gerontion," and Mauberley have been called defensive ruminations on their authors' juvenilia. 9 The two most substantial titles on the list-The Waste Land and Spring and All-have been widely read as their authors' respective statements on the politics of form. 10 But there has been only one other study of the defense of poetry as a genre of poetry, Jeannine Johnson's Why Write Poetry? (2007). My work differs from hers in a few important ways, first and foremost in that Johnson is not critical of the received class bias written into the defense as a genre. Part of the reason for this, I think, is that Johnson argues that the defense is brought into verse because her poets-H.D., Stevens, Adrienne Rich, and Geoffrey Hill-bring lyric introspection to bear on the marginalization of poetry. 11 But the poets whose verse defenses I consider in this dissertation-Moore, Pound, Eliot, and Williams-are not lyrical poets. Their work is defined by their commitment to new forms that respond to the new world. Another key difference is that the poems I read convey their defenses through allegory rather than through argument. 12 (In the verse defenses I read, 8
Analysis and the Comparative Study of the Critical and Creative Process in the Poetry of T. S. Eliot
International Journal of Psychosocial Rehabilitation, ISSN: 1475-7192, https://www.psychosocial.com/article/PR260567/17977/, 2020
The subject of this paper is to investigate the creative and critical process in the poetry of T. S. Eliot systematically. There are some sardonic undercurrents that can be seen running through Eliot’s poetry which have an analytical as well as a creative process. A detailed reference comparative study has been underpinned to the poems of Wordsworth’s “Composed upon Westminster Bridge”, John Keats’s “Ode to a Nightingale”, Arthur Mizener’s “To Meet Mr. Eliot”, W. B. Yeats’s “The Lake Isle of Innisfree” and “The Second Coming”, F. R. Leavis’s “The Significance of the Modern Waste Land”, and Allen Tate’s “On Ash Wednesday”, have also been referred in which the creative and critical process has been critically analyzed with the selected poems of T. S. Eliot for their scientific discourse analysis. Keywords--Expunging, Pastiche, Irrevocable, Disjointedness, Impersonalized, Defeatism. Weblinks: https://www.psychosocial.com/article-category/issue-6/ https://www.psychosocial.com/article/PR260567/17977/
Modernism Revisited, 2007
O ffering essays from some of the leading academic writers and younger scholars in the field of American studies from both the United States and Europe, this volume constitutes a rich and varied reconsideration of Modernist American poetry. Its contributions fall into two general categories: new and original discussions of many of the principal figures of the movement (Frost, Pound, Eliot, Williams, Cummings and Stevens) and reflections on the phenomenon of Modernism within a broader cultural context (the influence of Haiku, parallels and connections with Surrealism, responses to the Modernist accomplishment by later American poets). Because of its mixture of European and American perspectives, Modernism Revisited will be of vital interest to students and scholars of American literature and Modernism in general and of twentieth-century comparative literature and art.
The Helpfulness of T.S. Eliot’s Critical Ideas in Understanding his own poetry
Anglisticum, 7(1), 9-19, 2018
At the present paper, we aim at explaining T.S. Eliot’s own poetry considering his own essays on the art of writing poetry. Thomas Stern Eliot (1888-1965) was a British essayist, publisher, playwright, literary and social critic, being regarded “one of the twentieth century’s major poets” (Bush, 1999) in the English language. Eliot’s poetry was seen as representative of the Modernist movement, beginning with The Love Song of J. Alfred Prufock (1915) and followed by some of the best-known poems, including The Waste Land (1922), The Hollow Men (1925), Ash Wednesday (1930) and Four Quartets (1943), among others. He was also known for his work as a playwright, although he was awarded the Nobel Prize in Literature in 1948 due to his pioneer contribution to nowadays poetry. T.S. Eliot also made significant contributions to the field of literary criticism, strongly influencing the school of New Criticism. It is, in fact, this arena of the literary criticism the main topic which will be dealt throughout the whole paper. In the current essay, we will explain Eliot’s critical ideas, in other words, what he conceives of poetry and the art on writing poetry, and how his own critical ideas influence on his own poetry. The poet introduces the idea that the value of a work of art must be viewed in the context of the artist’s previous works. He also covers the idea of an objective correlative which shall be dealt with in this paper. We should also consider that Eliot revived, when writing his own poetry, the interest in the Metaphysical Poets as well as in Shakespeare and, specifically, in Hamlet. After having explained the existing relationship between his own criticism and his own poetry, we will conclude the current paper by explaining what Eliot conceives of the concept of communicating.
Ekphrasis and Modernism: A Study of Two Poems by Wallace Stevens and William Carlos Williams
Odisea Revista De Estudios Ingleses, 2012
Se suele defi nir la écfrasis como la descripción o comentario literario de una obra de arte, real o imaginaria. En este artículo se partirá de la écfrasis y de su relación con la teoría de los signos de Peirce en el análisis de dos poemas de los modernistas norteamericanos Wallace Stevens y William Carlos Williams. El objetivo es estudiar cómo opera esta fi gura en un período de aguda consciencia de la relación verbal-visual, así como extraer algunas conclusiones sobre el modo en que cada poema en particular explora dicha relación. Palabras clave: écfrasis, poesía modernista, relación verbal-visual, teoría de los signos, la vanguardia.