Metres and the Pound
Taking the Measure of British Modernism
Bibliographic Data
| ID | 12417952 |
|---|---|
| Authors | Raphaël Ingelbien (0000-0002-3820-2770, E Ink (South Korea), corresponding author) |
| Year | 2011 |
| Volume | 19 |
| Issue | 2 |
| Pages | 285-297 |
| Publication date | 2011-04-14 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | European Review (JOURNAL) |
| Journal identifiers | ISSN: 1062-7987 • E-ISSN: 1474-0575 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s1062798710000554 |
| OpenAlex | W2066634591 |
| Language | EN |
| References cited | 12 |
Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period
Aesthetics · Archaeology · Art · Art history · Avant garde · Context (archaeology · Literature · Mainstream · Modernism (music · Period (music · Poetry · Political science · Politics · Pound (networking · Reactionary · Theology · History · Irish and British Studies · Law · Modernist Literature and Criticism · Philosophy · Poetry Analysis and Criticism
| Highly cited | No |
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