This article focuses on poems written in English from the UK: England, Scotland, Wales, and Northern Ireland (and Ireland before 1922). However, although the whole of Ireland was politically part of Great Britain between January 1801 and December 1922, it can be controversial to describe Irish literature as English, and for some this includes writers from Northern Ireland. The article does not include poetry from other countries where English is spoken.
The earliest surviving English poetry, written in the Anglo-Saxon, a direct predecessor of modern English, may have been composed at the beginning of the seventh century.
Video English poetry
Early English poetry
The earliest known English poetry is a song of praise about creation; Bede this attribute to CÃÆ'Â|dmon (fl.658-680), which, according to legend, an illiterate shepherd who produces untitled poetry at a monastery in Whitby. This is generally regarded as an early sign of Anglo-Saxon poetry.
Most of the poems of that time were difficult to date, or even arranged chronologically; for example, estimates for big epic dates Beowulf ranging from AD 608 to AD 1000, and no one approaches consensus. However, it is possible to identify certain key moments. The Dream of the Rood was written before about 700 AD, when quotes were carved in runes at Ruthwell Cross. Some of the poems on historical events, such as the Battle of Brunanburh (937) and Battle of Maldon , (991), seem to have been composed shortly after the event in question, and can be dated appropriately as a consequence.
In general, however, Anglo-Saxon poetry is categorized by the manuscripts in which it survives, rather than the composition date. The most important manuscripts are the four major poetic texts of the 10th and early 11th century, known as CÃÆ'Â|dmon, Vercelli Book, Exeter Book, and Beowulf script.
While the surviving poem is limited in volume, the poem width is wide. Beowulf is the only surviving heroic epic in its entirety, but fragments of others like Waldere and Fragment Finnesburg show that it was not unique in its time. Other types include many religious verses, from devotional work to biblical paraphrase; elegies such as The Wanderer, The Seafarer, and The Ruin (often regarded as descriptions of Bath ruins); and many proverbs, riddles, and charms.
With one exception (Poetry poem), Anglo-Saxon poetry depends on an alliterative verse for its structure and any rhyme that includes only ornamental.
Maps English poetry
Anglo-Norman Period and Later Middle Ages
With the Norman conquest of England, beginning in 1111 Anglo-Saxon languages ​​were quickly reduced as written literary languages. The new aristocracy speaks primarily to Norman, and this becomes the standard language of courts, parliaments, and polite society. When the colonialists are integrated, their language and literature mingle with the indigenous population: the dialect of OAl from the upper class becomes Anglo-Norman, and the Anglo-Saxon undergoes a gradual transition to Central English.
While Anglo-Norman or Latin is preferred for high culture, English literature never dies, and a number of important works illustrate language development. Around the turn of the 13th century, Layamon wrote his book Brut , based on a 12th-century Anglo-Norman Wayang epic of the same name; Lay language is a recognizable Middle English language, although the prosody shows the strong Anglo-Saxon influence remaining. Other transitional works are preserved as popular entertainment, including romances and lyrics. Over time, English regained prestige, and in 1362 he replaced France and Latin in Parliament and courts of law.
In the 14th century the major works of English literature began to reemerge; these include Pearl Pearls, Patience, Hygiene, and Sir Gawain and the Green Knight; The political and religious alliance of Langland Piers Plowman ; Gower Confessio Amantis ; and the works of Chaucer, the most respected medieval English poet, seen by his contemporaries as the successor to the great tradition of Virgil and Dante.
Chaucer's successor reputation in the 15th century has suffered compared to him, although Lydgate and Skelton are widely studied. A group of Scottish writers appeared previously believed to be influenced by Chaucer. The rise of Scottish poetry begins with the writing of The Kingis Quair by James I of Scotland. The main poets of this Scottish group are Robert Henryson, William Dunbar, and Gavin Douglas. Henryson and Douglas introduced an almost savage satirical note, which may have something to the Gaelic poets, while Douglas' Eneados , translated into Scots of Virgil's Aeneid , is a complete translation first of every major work from classical times into English or Anglic.
Renaissance in the UK
The Renaissance was slow to come to Britain, with a general starting date of about 1509. It is also generally accepted that the British Renaissance was extended to the Restoration in 1660. However, a number of factors have prepared the way for the introduction of new learning well before this start date. A number of medieval poets, as already noted, show an interest in Aristotle's ideas and the writings of European Renaissance precursors such as Dante.
The introduction of moving block printing by Caxton in 1474 provides a means for faster deployment of new or re-discovered writers and thinkers. Caxton also prints the work of Chaucer and Gower and these books help build on the original traditions of poetry associated with his European counterparts. In addition, British humanist writings such as Thomas More and Thomas Elyot helped bring ideas and attitudes associated with new learning to the English audience.
Three other factors in the formation of the British Renaissance were the Reformation, the Counter Reform, and the opening of the era of British naval forces as well as exploration and overseas expansion. The formation of the Church of England in 1535 accelerated the process of questioning the Catholic worldview which had previously dominated intellectual and artistic life. At the same time, long-distance sea travel helps provide stimuli and information that support a new understanding of the nature of the universe that produced the theories of Nicolaus Copernicus and Johannes Kepler.
Renaissance early poetry
With a small number of exclusions, the early years of the 16th century were not very important. The Douglas Aeneid was completed in 1513 and John Skelton wrote poetry that transitions between the end of the Middle Ages and the Renaissance style. The new king, Henry VIII, is a poet.
Thomas Wyatt (1503-42), one of the earliest British Renaissance poets. He was responsible for many innovations in English poetry, and with Henry Howard, Earl of Surrey (1516/1517-47) introduced sonnets from Italy to England in the early 16th century. The object Wyatt recognized was experimenting with English, to cultivate it, to increase its power to its neighbors. Most of his writing consists of translation and imitation of sonnets by the Italian poet Petrarch, but he also wrote his own sonnets. Wyatt took the subject matter from Sonnet Petrarch, but his rime scheme made a significant departure. Sonnet Petrarch consists of "octave", rhyming abba abba , followed, after the turn ( volta ) in the sense, by sestet with various rhyme schemes; But his poetry never ends with a rhyming verse. Wyatt uses the Petrarchan octave, but the most common sestet scheme is cddc ee . This marks the beginning of the English sonnet with 3 quatrains and a closing stanza. The Elizabethans
The Elizabethan period (1558 to 1603) in poetry is characterized by a number of often overlapping developments. Introduction and adaptation of themes, models and verses from other European traditions and classical literature, the Elizabethan song tradition, the rise of palace poetry is often centered around the king's figure and the growth of paragraph-based drama is one of the most important of these developments.
Elizabethan Songs
Elizabeth's poets wrote songs, including Nicholas Grimald, Thomas Nashe, and Robert Southwell. There are also a large number of anonymous songs that still exist from that period. Probably the biggest of all songwriters is Thomas Campion. Campion is also famous for his experiments with meters based on syllabic counts rather than pressure. This quantitative meter is based on the classical model and should be seen as part of the Renaissance revival of the larger Greek and Roman art methods.
The songs are generally printed either in a variety of items or anthologies such as Richard Tottel's 1557 Songs and Sonnet or in hymn books that include printed music to enable performance. This show is an integral part of public and private entertainment. At the end of the sixteenth century, a new generation of composers, including John Dowland, William Byrd, Orlando Gibbons, Thomas Weelkes and Thomas Morley helped bring Elizabethan song art to a very high level of music.
Elizabeth poems and plays are often written in iambic meters, based on two-syllable feet, one without pressure and one being emphasized. However, many experiments took place during this period, and many of these songs, in particular, departed widely from the iambic norm.
Secret poem
With Elizabeth's consolidation of power, an original court sympathetic to poetry and art generally emerged. This encourages the emergence of poems aimed at, and often arranged in, the idealized version of a closed world.
Among the most notable examples of this is Edmund Spenser The Faerie Queene , which is effectively an extended song of praise for the queen, and Philip Sidney Arcadia . This trend can also be seen in Spenser Shepheardes Calender . This poem marks the introduction into the context of classical pastoral English, a mode of poetry that assumes an aristocratic audience with a certain attitude towards land and peasants. The exploration of love found in William Shakespeare's soneta and the poetry of Walter Raleigh and others also implies a polite audience.
Classical
Virgil's Aeneid , the experiment of Thomas Campion's mechanic, and Spenser Shepheardes Calender and playing like Shakespeare Antony and Cleopatra are examples of the classical influence on Elizabethan poetry. It remains common for period poets to write themes from classical mythology; Shakespeare Venus and Adonis and Christopher Marlowe/George Chapman Heroes and Leander are examples of this type of work.
The classic poetry translation also became more widespread, with Ovid's Metamorphoses version by Arthur Golding (1565-67) and George Sandys (1626), and Chapman's translation of Homer Iliad (1611) and Odyssey (c.1615), among exceptional examples.
Poetry Jacobean and Caroline: 1603-1660
The English Renaissance poetry after Elizabethan poetry can be seen as one of three strains; the Metaphysical poet, the Cavalier poet and the Spenser school. However, the boundaries between these three groups are not always clear and an individual poet can write more than one way.
Shakespeare also popularized the British sonnet, which made significant changes to the Petrarch model. The collection of 154 by sonet, dealing with themes such as the passage of time, love, beauty and death, was first published in 1609 quarto.
John Milton (1608-74) was considered one of the greatest British poets, and wrote at the time of religious change and political upheaval. He is generally seen as the last major poet of the English Renaissance, although the most famous epic poem was written in the Restoration period, including Paradise Lost (1667). Among the important poems written by Milton during this period were L'Allegro , 1631; Il Penseroso , 1634; Comus (a masque), 1638; and Lycidas (1638).
The Metaphysical Poet
The early 17th century witnessed the emergence of this group of poets who wrote in an intelligent and elaborate style. The most famous of Metaphysics is probably John Donne. Others include George Herbert, Thomas Traherne, Henry Vaughan, Andrew Marvell, and Richard Crashaw. John Milton in his book Comus falls into this group. The Metaphysical poets were disliked in the 18th century but began to be read again in the Victorian era. Donne's reputation was finally fully restored by the approval of T. S. Eliot in the early 20th century.
Influenced by the continental Baroque, and taking the subject of both Christian mysticism and eroticism, Donne's metaphysical poetry uses unusual or "unusual" figures, such as compasses or mosquitoes, to achieve a surprise effect. For example, in "Valediction: Forbidding Mourning", one of Donne's Songs and Sonnets , the points of the compass represent two lovers, the woman who is home, waiting, becomes the center, the farther point being his lover sailing away from him. But the greater the distance, the more the hands of the compass lean against each other: separation makes love closer. Paradox or oxymoron are the constants in this poem whose fears and anxieties also speak of the world of spiritual certainty shaken by the discovery of geography and modern science, no longer the center of the universe.
Cavalier poet
Another important poet group today is the poet Cavalier. The poets Cavalier wrote in a lighter, more elegant and artificial style than the Metaphysical poet. They were an important group of writers, who came from classes that supported King Charles I during the Three Kingdom Wars (1639-51). (King Charles reigned from 1625 and executed 1649). The main members of this group include Ben Jonson, Richard Lovelace, Robert Herrick, Edmund Waller, Thomas Carew, Sir John Suckling, and John Denham. The poets of Cavalier can be seen as the pioneers of the great poet in the era of Augustan, who greatly admired them. They are "not a formal group, but all are influenced" by Ben Jonson. Most of the Cavalier poets were court servants, with obvious exceptions. For example, Robert Herrick is not a courtier, but his style marks him as a Cavalier poet. Cavalier's work utilizes alien and classical allegories, and is influenced by Latin writers Horace, Cicero, and Ovid.
Recovery and the 18th century
John Milton's Paradise Lost (1667), the story of falling pride, was the first major poem to appear in England after the Restoration. The Court of Charles II, in the years in France, studied a worldliness and sophistication that characterized it as distinctively different from the monarchy that preceded the Republic. Even if Charles wanted to reaffirm the divine right of the kingdom, Protestantism and the sense of power of the following years would make it impossible.
One of England's greatest poets, John Milton (1608-74), wrote during this period of religious and political instability. He is generally seen as the last major poet of the English Renaissance, although his main epic poems were written in the Restoration period. Some important poems of Milton, written before the Restoration (see above). His major works later included Paradise Regained, 1671 and Samson Agonistes, 1671. Milton's works reflect his deep personal convictions, a desire for freedom and self-determination, and the urgent problems and political upheaval of his day. Writing in English, Latin and Italian, he achieved an international reputation in his lifetime, and the celebration of < Satir
The fashion world and the emerging skepticism are pushing the satire art. All the great poets of the time, Samuel Butler, John Dryden, Alexander Pope, and Samuel Johnson, and the Irish poet Jonathan Swift, wrote a satirical poem. Their satires are often written to defend public order and established church and government. However, writers such as the Pope used their gift for satire to create spicy works that responded to their critics or to criticize what they saw as social cruelty perpetrated by the government. Pope's "The Dunciad" is the satirical murder of two of his literary opponents (Lewis Theobald, and Colley Cibber in a newer version), expressing the view that British society falls morally, culturally, and intellectually.
18th-century classism
The 18th century is sometimes called Augustan's age, and contemporary admiration for the classical world extended to the poetry of that time. Not only are poets aiming for a high style that is polished in the competition of Roman ideals, they also translate and mimic Greek and Latin verses that produce rational and rational verses. Dryden translated all of Virgil's known works, and the Pope produced versions of two Homer epics. Horace and Juvenal are also widely translated and replicated, Horace most famous by John Wilmot, Earl of Rochester and Juvenal by Samuel Johnson Vanity of Human Wishes.
The 18th-century female poet
A number of female poets of note emerged during the period of the Restoration, including Aphra Behn, Margaret Cavendish, Mary Chudleigh, Anne Finch, Anne Killigrew, and Katherine Philips. Nevertheless, print publications by female poets are still relatively rare when compared to men, although the manuscript evidence suggests that many female poets practice more than previously thought. Feminine "feminine" disagreements, however, make much of the mold in the early part of the period, and even as the century goes by female writers still feel the need to justify their attacks into the public sphere by claiming the economic needs or pressure of friends. Female writers became more active in all genres throughout the 18th century, and by the 1790s female poetry thrived. Notable poets of this period include Anna Laetitia Barbauld, Joanna Baillie, Susanna Blamire, Felicia Hemans, Mary Leapor, Lady Mary Wortley Montagu, Hannah More, and Mary Robinson. In the last few decades there have been important scientific and critical works done on 18th-century female poets: first, to regain them and make them available in contemporary editions in print or online, and secondly, to assess and position them in literary traditions.
The late 18th century
Toward the end of the 18th century, poetry began to move away from the strict august aspirations of Augustan and a new emphasis on sentiment and the feeling of poets was established. This trend may be most evident in the handling of nature, away from the poetry of formal gardens and landscapes by city poets and against poetry about nature as lived. The main exponents of this new trend include Thomas Gray, George Crabbe, Christopher Smart and Robert Burns and Irish poet Oliver Goldsmith. These poets can be seen as paved the way for the Romantic movement.
Romantic Movement
See also: Romantic literature in English; English Romantic Sonnet
The last quarter of the 18th century was a period of social and political upheaval, with revolutions in the United States, France, Ireland and elsewhere. In the UK, movements for more inclusive social change and power sharing are also growing. This is the background in which the Romantic movement in English poetry appears.
The main poets of this movement are William Blake, William Wordsworth, Samuel Taylor Coleridge, Percy Bysshe Shelley, Lord Byron, and John Keats. The birth of British Romanticism is often dated with publications in Wordsworth and Coleridge's 1798 Lyrics Liris . However, Blake has been publishing since the early 1780s. Much of the focus on Blake only emerged during the last century when Northrop Frye discussed his work in his book Anatomy of Criticism. Shelley is well known for classical anthology verses like Ozymandias , and long visionary poems that include Prometheus Unbound . The great poem Shelley The Masque of Anarchy calls for nonviolence in protest and politics. Perhaps this is the first modern statement of the principle of nonviolent protest. Mahatma Gandhi's passive resistance was influenced and inspired by Shelley's poetry, and often quoted the poem to a wide audience.
In poetry, the Romantic movement emphasizes the creative expression of the individual and the need to discover and formulate new forms of expression. The Romantics, with the exception of a portion of Byron, rejected the 18th-century poetic ideal, and each of them returned to Milton for inspiration, though each drew something different from Milton. They also put a lot of pressure on their own originality.
For the Romantics, the moment of creation is the most important in poetic expression and can not be repeated once it is passed. Because of this new emphasis, incomplete poetry remains included in the work of a poet (such as Coleridge's "Kubla Khan" and "Christabel"). This argument, however, has been challenged in the study of the Zachary Leaders of Romantic Revision and Author (1996).
In addition, the Romantic movement marks a change in language usage. Striving to express "human language," Wordsworth and his Romantic poet colleagues focus on the use of poetic language for a wider audience, against the neo-Classical poetry that is mimetic and tightly constrained (although it is important to note that the poet wrote first and foremost for expression his own creative). In Shelley's "Defense Poem", he argues that poets are "language creators" and that the poet's job is to refresh the language for their society.
The Romantics is not the only poet of the record at this time. In John Clare's work, Augustan's final sound is mixed with a farmer's first hand knowledge to produce some of nature's best poems in English. Another contemporary poet who does not fit the Romantic group is Walter Savage Landor. Landor is a classic whose poems form the relationship between Augustans and Robert Browning, who admire him so much.
Victorian poet
The Victorian Era is a period of great political, social and economic change. The Empire recovered from the disappearance of American colonies and entered a period of rapid expansion. This expansion, combined with increased industrialization and mechanization, led to a prolonged period of economic growth. The Reform Act of 1832 is the beginning of a process that will ultimately lead to universal suffrage.
The great Victorian poets were John Clare, Alfred, Lord Tennyson, Robert Browning, Elizabeth Barrett Browning, Matthew Arnold, and Gerard Manley Hopkins, although Hopkins was not published until 1918.
John Clare is known for his celebration representation of the English countryside and his queen for his disturbance. His biographer Jonathan Bate claimed that Clare was "the greatest working class poet Britain ever produced." No one has ever written more strongly about nature, rural childhood, and an unstable and unstable self. "
Tennyson, to some extent, the Spenser of the new age and his Idylls of the Kings can be read as the Victorian version of The Faerie Queen, as a poetry set to lay the foundation myths to the idea of ​​the empire.
The Brownings spent much of their time out of the UK and explored European models and problems in many of their poems. Robert Browning's great innovation is a dramatic monologue, which he uses in his long novel in a long poem, The Ring and the Book . Elizabeth Barrett Browning is probably best remembered for Sonnets from the Portuguese but his long poem Aurora Leigh is one of the feminist 19th century classical literature.
Matthew Arnold is strongly influenced by Wordsworth, although his poetry of Dover Beach is often regarded as the forerunner of the modernist revolution. Hopkins wrote in relative obscurity and his work was not published until after his death. The unusual style (involving what he calls "rhythm popping" and heavy reliance on rhyme and alliteration) had considerable influence on many of the 1940s poets.
Pre-Raphaelites
The Pre-Raphael Brotherhood is a 19th-century art movement dedicated to reforming what they consider to be a reckless Mannerist painting of the day. Though primarily concerned with visual art, two members, Dante's brothers and sisters Gabriel Rossetti and Christina Rossetti, are also poets of several abilities. His poetry shares much of the painter's concerns; interest in Medieval models, an almost obsessive attention to visual detail and the occasional tendency to move on to the imagination.
Dante Rossetti works with, and has an influence on, prominent artist and craftsman and poet William Morris. Morris shared Pre-Raphael's interest in medieval European poetry, to produce a number of manuscript manuscripts illuminated by his work.
1890: fin-de- siÃÆ'¨cle
Towards the end of this century, English poets began to be attracted to French symbolism and Victorian poetry entered the decadent phase of fin-de-siecle. Two groups of poets appeared, the Yellow Book poet who embraced the principles of Aestheticism, including Algernon Charles Swinburne, Oscar Wilde and Arthur Symons and the Rhymers Club group which included Ernest Dowson, Lionel Johnson and William. Butler Yeats.
Comic paragraph
Comic texts are abundant in the Victorian era. Magazines such as Punch and Fun magazines are filled with funny inventions and are intended for educated readers. The most famous collection of comic Victoria's verses is Bab Ballads.
20th century
The first three decades
The Victorian Era continued into the early years of the 20th century and two prominent figures emerged as prominent representatives of old-fashioned poetry to act as a bridge to the new. This is Yeats and Thomas Hardy. Yeats, though not a modernist, learned a lot from the new poetic movements that appeared around him and adjusted his writing to new situations. Hardy, in terms of engineering at least, a more traditional figure and a reference point for various anti-modernist reactions, especially from the 1950s onwards.
A. E. Housman (1859 - 1936) was a poet born in the Victorian era and was first published in the 1890s, but the new one was really known in the 20th century. Housman is famous for his poetry cycle A Shropshire Lad (1896). The collection was rejected by several publishers so that Housman published it himself, and the work only became popular when "the emergence of wars, first in the Boer War and later in World War I, provided a wide appeal because of the nostalgic portrayal of brave British soldiers". The full renaissance of the cursed youth of the English countryside, in difficult language and distinctive imagery, appeals to the Victorian and Edwardian tastes, and the fact that some early 20th century composers set it up for music to help its popularity. Housman published a higher success collection of Last Poems in 1922 while the third volume, More Poems , was published posthumously in 1936.
The Georgia Poet and World War I
The Georgian poets are the first major grouping of the post-Victorian era. Their work appears in a series of five anthologies called Georgian Poems published by Harold Monro and edited by Edward Marsh. The poets are featured including Edmund Blunden, Rupert Brooke, Robert Graves, D. H. Lawrence, Walter de la Mare and Siegfried Sassoon. Their poetry represents something of a reaction to the decadence of the 1890s and tends toward sentimentalism.
Brooke and Sassoon went on to win a reputation as a war poet and Lawrence quickly distance himself from the group and be associated with the modernist movement. Graves distanced himself from the group as well and wrote poetry according to his belief in a prehistoric devotion he described as The White Goddess. Other famous poets who wrote about the war include Isaac Rosenberg, Edward Thomas, Wilfred Owen, May Cannan and, from the front of the house, Thomas Hardy and Rudyard Kipling. Kipling is the author of the famous inspirational poem If - , which is a revival of Victorian stoicism, as a traditional British virtue. Although many of these poets write social-conscious critics of war, most remain technically conservative and traditionalist.
modernism
Among the main avant-garde authors are American-born poets Gertrude Stein, T. S. Eliot, H.D. and Ezra Pound, each spending an important part of their writing life in England, France and Italy.
Pound engagement with the Imagists marks the beginning of a revolution in the way poetry is written. The English poets involved with this group include D. H. Lawrence, Richard Aldington, T. E. Hulme, F. Flint, Ford Madox Ford, Allen Upward and John Cournos. Eliot, especially after the publication of The Waste Land, became the main character and influence on other British poets.
In addition to these poets, other British modernists began to emerge. These include the London-Welsh poet and painter David Jones, whose first book, In Parenthesis, is one of several experimental poems out of World War I, the Scottish Hugh MacDiarmid, Mina Loy and Basil Bunting.
The Thirties
The poets who began to appear in 1930 had two similarities; they had all been born too late to have real experience of the pre-World War I world and they grew up in a period of social, economic and political turmoil. Perhaps as a consequence of these facts, the themes of community, social (in) justice and war seem to dominate this decade's poetry.
This decade's poetic space is dominated by four poets; W. H. Auden, Stephen Spender, Cecil Day-Lewis and Louis MacNeice, although the latter is at least equal to the history of Irish poetry. These poets are all, in their early days at least, politically active on the Left. Although they admire Eliot, they also represent a change from the technical innovations of their modernist predecessors. A number of other less enduring poets also work in the same tone. One is Michael Roberts, whose anthology of the New Country introduces the group to a wider audience and gives them their name.
The 1930s also saw the emergence of the surreal British poetry that grew up at home, whose main exponents were David Gascoyne, Hugh Sykes Davies, George Barker, and Philip O'Connor. These poets switched to the French model rather than the poet of the New Country or English-speaking modernism, and their work was to prove the importance of the future British experimental poet as it expanded the scope of the English avant-garde tradition .
John Betjeman and Stevie Smith, who were the other two important poets of this period, who stood outside of all schools and groups. Betjeman was an ironic poet from Central England, with the command of various verse techniques. Smith is a single-off sound that is completely unclassified.
The Forties
The 1940s opened with the British Empire during the war and a new generation of war poets emerged in response. These include Keith Douglas, Alun Lewis, Henry Reed and F. T. Prince. Like the poets of the First World War, the work of these writers can be seen as something of a distraction in the history of 20th century poetry. Technically, many of these war poets owe to poets in the 1930s, but their work grew out of certain circumstances in which they found themselves alive and fighting.
The main movement in 1940 post-war poetry was the New Romantic group that included Dylan Thomas, George Barker, W. Graham, Kathleen Raine, Henry Treece and J. F. Hendry. These writers see themselves as a rebellion against the poetical classicism of the New State. They turned to models like Gerard Manley Hopkins, Arthur Rimbaud and Hart Crane and James Joyce's word game. Thomas, in particular, helped Anglo-Welsh poems appear as recognizable powers.
Other significant poets emerged in the 1940s including Lawrence Durrell, Bernard Spencer, Roy Fuller, Norman Nicholson, Vernon Watkins, R. S. Thomas and Norman MacCaig. These last four poets symbolize the tendency toward regionalism and poets writing about their home country; Watkins and Thomas in Wales, Nicholson at Cumberland and MacCaig in Scotland.
The Fifties
The 1950s were dominated by three groups of poets, Movements, Groups, and poets who were clarified by the term Extremist Art, first used by poet A. Alvarez to describe the work of American poet Sylvia Plath.
The Movement poets as a group came to public notice in the Robert Conquest anthology of 1955 New Line . The core of the group consists of Philip Larkin, Elizabeth Jennings, D. J. Enright, Kingsley Amis, Thom Gunn and Donald Davie. They are identified with enmity with modernism and internationalism, and view Hardy as a model. However, both Davie and Gunn then moved from this position.
As their name suggests, the Group is far more formal as a poet's group, meeting for weekly discussions under the leadership of Philip Hobsbaum and Edward Lucie-Smith. Other poets in the Group include Martin Bell, Peter Porter, Peter Redgrove, George MacBeth and David Wevill. Hobsbaum spent some time teaching in Belfast, where he was a formative influence on the emerging Northern Irish poets including Seamus Heaney.
Other poets associated with the Extremist Arts include Plath's one-time husband, Ted Hughes, Francis Berry, and Jon Silkin. These poets are sometimes compared to the German Expression school.
A number of young poets who work in what may be called modernist venues have also begun publishing over the decade. These include Charles Tomlinson, Gael Turnbull, Roy Fisher, and Bob Cobbing. These poets can now be seen as the forerunners of several major developments over the next two decades.
The 1960s and 1970s
In the early 1960s, the center of gravity of mainstream poetry moved to Northern Ireland, with the emergence of Seamus Heaney, Tom Paulin, Paul Muldoon, and others. In Britain, the most cohesive groupings can, in retrospect, seem to cluster around what may be loosely termed the modernist tradition and appeal to both American and indigenous models.
The rise of English Poetry is a broad-based grouping and sub-grouping that includes poetry, sound and concrete poetry, as well as the heritage of Pound, Jones, MacDiarmid, Loy and Bunting, Objectivist poets, Beats, and Black Mountain poets, among others. The leading poets associated with this movement include J. H. Prynne, Eric Mottram, Tom Raworth, Denise Riley, and Lee Harwood.
The Mersey Beat poet is Adrian Henri, Brian Patten, and Roger McGough. Their work is a self-conscious effort to create English equivalent to Beats. Many of their poems were written in protest against the established social order and, in particular, the threat of nuclear war. Although not really a Mersey Beat poet, Adrian Mitchell is often associated with groups in critical discussions. Contemporary poet Steve Turner has also been compared to them.
English poems now
Some regard Geoffrey Hill as the best English poet in recent years. The last three decades of the 20th century witnessed a number of brief poetic groups, including Martians, along with a general trend towards the so-called "Poeclectics", ie intensification in the individual poet oeuvres of "all kinds of styles, subjects, sounds, lists and form ". There is also a growing interest in women's writing, and in poetry from the British minority, especially the people of Western India. Poetry performance including slamming poems continue to be active. Some of the poets who appeared in this period included Carol Ann Duffy, Andrew Motion, Craig Raine, Wendy Cope, James Fenton, Blake Morrison, Liz Lochhead, George Szirtes, Linton Kwesi Johnson, Benjamin Zephaniah. Mark Ford is an example of a poet influenced by the New York School.
Recently there were activities that focused on poets at Bloodaxe Books' The New Poetry, including Simon Armitage, Kathleen Jamie, Glyn Maxwell, Selima Hill, Maggie Hannan, Michael Hofmann, and Peter Reading. The New Generation Movement flourished in the 1990s and early 2000s, producing poets like Don Paterson, Julia Copus, John Stammers, Jacob Polley, David Morley, and Alice Oswald. A new generation of innovative poets also sprang up behind the Revival group, especially Caroline Bergvall, Tony Lopez, Allen Fisher, and Denise Riley. Important pamphlet publishers of important and experimental pamphlets include Barque, Flarestack, Knives, Forks and Spoons Press, Penned in the Margins, Heaventree (founded in 2002 but no longer published) and Perdika Press. Throughout this period, and to this day, independent pressing poems such as Enitharmon continue to promote the original work of (among others) Dannie Abse, Martyn Crucefix and Jane Duran.
See also
Note
References
- Hamilton, Ian. The Oxford Companion to Twentieth-Century Poems in English
- Online
- English poetry time line
External links
- Poets do their own work
- Archive of the Eighteen Years' Poems
Source of the article : Wikipedia
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