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He has produced some of the most difficult, and at the same time some of
the finest verse written during the thirties. Lengthy and minute
discussions of his works in the important scholorly journals and magazines
give evidP~ce to this fact. Eliot attributed a great deal of his early style to the
French Symbolists--Rimbaud, Baudelaire, Mallarme, and Laforgue--whom he first
encountered in college, in a book by Arthur Symons called The Symbolist Movement
in Literature. It is easy to understand why a young aspiring poet would want to
imitate these glamorous bohemian figures, but their ultimate effect on his poetry is
perhaps less profound than he claimed. While he took from them their ability to
infuse poetry with high intellectualism while maintaining a sensuousness of
language, Eliot also developed a great deal that was new and original. His early
works, like "The Love Song of J. Alfred Prufrock" and The Waste Land, draw on a
wide range of cultural reference to depict a modern world that is in ruins yet
somehow beautiful and deeply meaningful. Eliot uses techniques like pastiche and
juxtaposition to make his points without having to argue them explicitly. As Ezra
Pound once famously said, Eliot truly did "modernize himself." In addition to
showcasing a variety of poetic innovations, Eliot's early poetry also develops a
series of characters who fit the type of the modern man as described by Fitzgerald,
Faulkner, and others of Eliot's contemporaries. The title character of "Prufrock" is a
perfect example: solitary, neurasthenic, overly intellectual, and utterly incapable of
expressing himself to the outside world.
As Eliot grew older, and particularly after he converted to Christianity, his poetry
changed. The later poems emphasize depth of analysis over breadth of allusion;
they simultaneously become more hopeful in tone: Thus, a work such as Four
Quartets explores more philosophical territory and offers propositions instead of
nihilism. The experiences of living in England during World War II inform the
Quartets, which address issues of time, experience, mortality, and art. Rather than
lamenting the ruin of modern culture and seeking redemption in the cultural past,
as The Waste Land does, the quartets offer ways around human limits through art
and spirituality. The pastiche of the earlier works is replaced by philosophy and
logic, and the formal experiments of his early years are put aside in favor of a new
language consciousness, which emphasizes the sounds and other physical
properties of words to create musical, dramatic, and other subtle effects.
as melancholy, makes Eliot's some of the most personal, as well as the most
intellectually satisfying, poetry in the English language
They have been uprooted from their culture and tradition. But, life, if it is to be
lived, can never rest on nothing. Really, culture and tradition make human life
worth
living and myth is one of the dominant manifestations of culture. In this writing we
will
attempt to examine how the modernist poet W. H. Auden exploits Greek myths to
his
purpose of delineating a modern world. The problem of dissatisfaction in life was
being answered during these
years by Freud. P.i.s theories were being discussed by intellectuals as were
the plans laid down by the socialist, Marx, for a utopian economic society.
Auden was award of the problems and interested in seeing them worked out.
It is a wonder then that his expression of the modern world is influenced
by these philosophies
Part of the technique of modern poets such as Auden, is derived
obviously from Hopkins
Both thematically and structurally, Audens poems show the very essence of
modernism. The characteristics that are needed to consider him as a modern poet
are all in profusely blended in his poems
Symbolism imagery
In memory of w,b yeats
Imagery
Audens landscape imagery is, also modern. In the poem entitled In Memory of
W.B.Yeats, he represents the atmosphere of the then Europe as follows:
Auden shows the barrenness of modern age as well as the modern human soul.
Auden refers that Modern age is totally barren without any feature
Throughout his creative life, Ted Hughes has used his poetry to tap
the universal energies and to channel their healing powers towards
the sterility and the divisions which he sees in our world. All his
major sequences of In Church Going, Philip Larkin probes the
purpose of religion and questions rituals
associated with attending church. By setting up several contrasting
images and ideas, Larkin
enables readers to consider how the church functions in society from
a variety of lenses poetry work towards this end, and Remains of
Elmet represents an important step in Hughes ability to achieve
wholeness and harmony through the imaginative, healing processes
of his art.
Ted Hughes is often called a Zoo Laureate 3 because of the abundant use of
animal imagery in his poetry. His interest in animals began at an early age about
which he himself writes: . . . my interest in animals began when I began. 4 His
preoccupation with animals was not limited to indoor activities alone; he roamed
about the hills, accompanying his elder brother, hunting and capturing animals.
When he was eight, his family went to live in an industrial 2 town Yorkshire where
Hughes was fortunate to find enough woods and lakes5 to feed his imagination.
There he lived a dual life: one with the town boys and the other with the world of
Nature.
The Movement poets tried to evade the sordid reality of life and took refuge in 3 the
moral and religious pretensions favouring order and harmony in the world.
Movement poetry depicts Nature as a force that can be harnessed and tamed.
Hughes treatment of Nature, on the contrary, is a celebration of Nature in her