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 specializes in the awesome iteration of poets who got here to adulthood within the years of the 1st international conflict and whose works represent the significant physique of poetic Modernism in English. this massive old argument is built via monographic chapters at the poets which come with shut readings in their significant poems. complete in scope and sophisticated in its research, Gelpi's e-book offers 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
50 Winter and summer, spring and fall, the relentless advance of nature moves against bewildered humankind, and the physically weaker woodsman can stave off annihilation only by using his wits and wiles to open and maintain a space for himself in the woods: a path, a road, a field, a house. In "The Wood-Pile" the poet, wandering through a "frozen swamp," "far from home" amid "tall slim trees / Too much alike to mark or name a place by," comes unexpectedly upon a moldering "cord of maple," symmetrically propped years before, still a witness to the person who once made his geometric mark there.
35 Metaphor was not typological Truth, but it became Frost's characteristic mode of committing spirit to matter. Still, for all our spirit's need of "establishing correspondence," "all metaphor breaks down somewhere," because material objects are not a perfect match. Circles, even circles with different diameters, can be concentric, but not ovals. If we press a metaphor beyond the limited terms of its statement, the differences between metaphorical elements circumscribe and imperil the area of connection or association.
In letters and conversations Frost made the point repeatedly: "Each poem clarifies something," but "you've got to do it again. You can't get clarified to stay so"; "Living alone I am made aware of how regularly I am supposed to make up my bed fresh every day. "36 22 A COHERENT SPLENDOR Yet there is compensation. The oven bird's very song is what has been made of a diminished world and a diminished mode of expression. " 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.
A Coherent Splendor: The American Poetic Renaissance, 1910-1950 by Albert Gelpi