By Albert Gelpi
During this booklet Professor Gelpi lines the emergence of yankee Modernist poetry as a response to, and outgrowth of, the Romantic ideology of the 19th century. He makes a speciality of the awesome iteration of poets who got here to adulthood within the years of the 1st global conflict and whose works represent the primary 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 refined in its research, Gelpi's e-book supplies to be one of many significant reports of yankee poetry for years yet to come.
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Extra resources for A Coherent Splendor: The American Poetic Renaissance, 1910-1950
He lives by making associations and he is doing well by himself and in himself when he thinks of something in connection with something else that no one else put with it before. That's what we call a metaphor. I couldn't do without that sense of two-ness. " In the end, therefore, "the only materialist. is the man who gets lost in his material without a gathering metaphor to throw it into shape and order. "35 Metaphor was not typological Truth, but it became Frost's characteristic mode of committing spirit to matter.
In a 1935 open letter to the student newspaper at Amherst, where he spent part of each winter, Frost balanced the chaos of experience against the possibility of form: "There is at least so much good in the world that it admits of form and the making of form. And not only admits of it, but calls for it. " So, he concluded, "any little form I assert upon it is velvet, as the saying is, and to be considered for how much more it is than nothing. 38 So Frost steered a course between Emerson's organicism and Poe's aestheticism.
66 Nevertheless, this academically trained minister's son had enough of the would-be chevalier in him to view his less than ideal world with a sense of paradox and irony so consistent that it defined his psychological and moral stance as a poet and as the theoretician of the New Criticism: It is a paradox when you find something which in its bearing looks both ways, pro and con, good and bad; irony when you have something you thought was firmly established in the favorable sense, as good, and pro, but discover presently that it has gone bad for you, and is contra; the one is a pregnant ambiguity, the other is a radical yet slightly humorous sense of disappointment where you had least reason to expect it.