By Harold Bloom
The increase of modernism marked one of many significant transitional classes in modern literature. the yank modernist poets created a wealthy legacy of their verse explorations of a global touched through warfare, quick industrialization, and the growing to be perceived alienation of the person. The innovators featured during this quantity comprise Ezra Pound, e.e. cummings, Edna St. Vincent Millay, and Carl Sandburg and their abiding affects. severe essays learn those poets and their works, with a chronology, bibliography, index, and an introductory essay via grasp pupil Harold Bloom finishing the name.
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Is revised by Pound into “O troubled reflection / O throat, O throbbing heart,” with “in the sea” omitted. These are the last two lines of the penultimate stanza of the song of the bird lamenting his lost mate: O darkness! O in vain! O I am very sick and sorrowful. O brown halo in the sky near the moon, drooping upon the sea! O troubled reflection in the sea! O throat! O throbbing heart! And I singing uselessly, uselessly all the night. Canto 82 rather movingly has shown the incarcerated poet studying the nostalgias of his early literary life, while meditating on the unrighteousness of all wars.
Northrop Frye followed Eliot himself in reading The Waste Land as a poem of Christian redemption. I think that Eleanor Cook is more accurate in her subtle emphasis on the poem as a representation of exile and of private grief. ” Both grand elegies for the self are American songs of death, including the deathin-life of poetic crisis. The Waste Land is an American self-elegy masking as a mythological romance, a romantic crisis poem pretending to be an exercise in Christian irony. Mask and pretense, like the invention of more congenial fathers and ancestors, are customary poetic tropes and certainly not to be censured.
This marvelous exchange of diatribes is weirdly stitched together from outrageously heterogeneous “sources,” ranging from a parody of The Rape of the Lock (in which Moore herself took a hand) to a women’s college president’s denunciation of the male love of awards and medals on to a surprising misappropriation of a great moment in the prophet Amos, which is then juxtaposed to a brutal remark of Ezra Pound’s. Amos associates the lion with Yahweh: The lion hath roared, who will not fear? the Lord GOD hath spoken, who can but prophesy?
American Modernist Poets (Bloom's Modern Critical Views) by Harold Bloom