By Mary Ellen Snodgrass
This literary better half contains you into the lives and poetic strains of forty-one of America's such a lot sought after poets from the final century. From renowned favorites similar to Robert Frost and Carl Sandburg to the extra esoteric T. S. Eliot and Ezra Pound, this instruction manual additionally introduces you to dwelling poets, comparable to Rita Dove, who're nonetheless inscribing their areas in literary historical past. The publication opens with an method of studying poetry, and every author-specific bankruptcy comprises sections dedicated to leader Works, dialogue and examine subject matters, and a specific Bibliography.Complete record of authors coated during this complete consultant: Edgar Lee Masters, Edward Arlington Robinson, Robert Frost, Amy Lowell, Carl Sandburg, Wallace Stevens, William Carlos Williams, Ezra Pound, Hilda Doolittle (H. D.), Robinson Jeffers, Marianne Moore, T. S. Eliot, John Crowe Ransom, Edna St. Vincent Millay, Jean Toomer, Louise Bogan, Hart Crane, Allen Tare, Sterling Brown, Langston Hughes, Count?e Cullen, Elizabeth Bishop, John Berryman, Randall Jarrell, Gwendolyn Brooks, Robert Lowell, Richard Wilbur, James Dickey, Denise Levertov, A.R. Ammons, Allen Ginsberg, W. S. Merwin, James Wright, Anne Sexton, Adrienne wealthy, Sylvia Plath, Amiri Baraka, Wendy Rose, pleasure Harjo, Rita Dove, Cathy tune
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Extra info for American Poets of the 20th Century (Cliffs Notes)
He studied privately at St. John’s Evangelical Lutheran parochial school before entering high school, where he excelled at oratory and classics and wrote for the school newspaper. During three years at Harvard, 1897 to 1900, he contributed to the Harvard Advocate and edited the Harvard Monthly. He initiated an unsuccessful career in journalism at the New York Tribune before enrolling at New York Law School in 1901 and entering a partnership with Lyman Ward in 1904. Stevens married Elsie Viola Kachel; they had one daughter, Holly, and lived in midtown New York from 1909 to 1916.
In a rage at commercialism, Part III surges back into the allusive mode with cryptic poetic shards contrasting Edwardian niceties and Sappho’s spirited verses. Segueing into religion, Pound makes a similar comparison of the erotic Dionysians and breast-beating Christians. By Parts IV and V, Pound has shucked off the constraints of pre-modern verse forms to embrace an expression free of rhyme and meter. The tone resorts to a free-ranging bitterness toward the literary status quo. His cunning rhythms, more attuned to pulpit delivery, depict the emotional drive of naive warriors marching to war.
59 (4) Contrast the emotion in Wilfred Owen’s “Dulce et Decorum Est,” T. S. Eliot’s The Waste Land, W. H. Auden’s “The Unknown Citizen,” Robinson Jeffers’s “Shine, Perishing Republic,” or William Butler Yeats’s “The Second Coming” with Pound’s first canto of Hugh Selwyn Mauberley: Life and Contacts. Express the post war generation’s fear of disintegration and decay. (5) Is any of Pound’s poetry confessional? If so, discuss those poetic lines that are. What makes them confessional? ” Contemporary Authors.
American Poets of the 20th Century (Cliffs Notes) by Mary Ellen Snodgrass