British Poetry in the Age of Modernism by Peter Howarth

By Peter Howarth

If Modernist poetry ruled the early 20th century, what did it suggest for British poets like Thomas Hardy, Edward Thomas and Wilfred Owen to not be Modernist? this is often the 1st severe account of ways non-Modernist poetry replied to the Modernist revolution. Peter Howarth uncovers the origins of the battles over poetic sort nonetheless being fought this present day, and connects the early twentieth-century controversy approximately poetic shape with modern social and political advancements and the trauma of the 1st international warfare. Howarth argues that on the middle of the department among smooth and standard poetic shape are diverse principles of freedom, energy and individuality. students and scholars of twentieth-century poetry will locate this an informative and encouraging account of the subjects and debates that experience formed British poetry of the final hundred years.

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The poet H. 24 Unfortunately, this also meant that H. D. was not an Imagist either, and the absurdity of justifying Imagism because none of its poets actually belonged to it underlines the threat that Monro’s comment represented. 25 Worse for Sinclair, it was Monro himself who had done the most to make the general reader aware that Imagism did not differ unequivocally from the company it kept, because he was the editor of the first magazines in which Imagists and non-Imagists had alike made their case for brevity, precision and accuracy.

The June 1914 issue contains Thomas on reprints, Hulme’s ‘German Chronicle’ with its important recantation of his previous Imagism, and almost in summary of the mix, a reprinting of work from both Des Imagistes and New Numbers, the self-publicising magazine set up by Brooke, Gibson, Abercrombie and Drinkwater. What with its Imagist issue, Futurist issue, Flint’s up-to-the-minute ‘French Chronicle’ and Hulme’s introductions to German Expressionism, the subscribers to Poetry and Drama (who included Thomas Hardy) would probably have been better informed about new movements in European modernism than anyone else in the country, as well as thoroughly familiar with the Georgian poets.

In July it sponsored T. E. 26 In October it provided the first English appearance of William Carlos Williams’s poetry, with commentary by Pound. But the Poetry Review was not a modernist house organ, it was an outgrowth of the Poetry Bookshop, and the Georgian poets are equally in evidence. 27 This mixture carried on when the Poetry Review seceded to Stephen Phillips in 1913 and Monro began Poetry and Drama, which provided regular exposure for works by the Georgian anthologists (awarding a prize to Rupert Brooke’s ‘Grantchester’), and at the same time, to Pound’s circle and other avant-garde movements, so that Futurism and Imagism were each given a whole issue to promote their poetry and manifestos.

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