Titlebook: British Poetry Since the Sixteenth Century; A Students’ Guide John Garrett Book 1986 John Garrett 1986 literature.poetics.poetry.sixteenth

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The Early 20th Century: T. S. Eliot,s were homogeneous in appearance only. A closer inspection reveals a far greater range of doubt, scepticism and revolt than is normally associated with Victoria’s reign. Even the queen’s favourite poet, Tennyson, confessed now and then to ‘faltering where I firmly trod’. It is only from the promonto

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The Last Romantic: W. B. Yeats, of energy and self needed to attain them, a collapse in the belief that had hitherto held sway in previous, more unwaveringly Christian centuries: the belief that through commitment, effort, discipline and self-sacrifice man could transcend the infirmities of his nature and win through to a worthy

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War and its Aftermath: W. H. Auden,echnological revolution that had been going on in the weapons and methods of warfare and rendered them unfit to make the kind of black and ominous prognostications of impending Armageddon that had been issuing from the pens of their Continental (particularly German) confrères since the 1890s. The Pr

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https://doi.org/10.1007/978-3-8349-3695-0 by as many means, or through as many channels, as possible. The poet uses many poetic devices (rhyme, rhythm, alliteration, imagery and so on) to convey his general theme, or particular aspects of that theme, as efficiently and emphatically as possible. The patterns a poem makes – its music and its

Defiance