Experimentation in literature in the 1920s essay
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The poets of the Imagist movementfounded by Ezra Pound in as a new experimentation style, the modernism its early start in the 20th literature, [9] and were characterized by a poetry that favoured a precision of imagerybrevity and free verse.
Many modernist writers also shared a mistrust of institutions of power such as government and religion, and rejected the essay of absolute truths. Modernist 1920s such as T.
Literary modernism
Eliot 's The Waste Land were increasingly self-aware, introspective, and explored the darker aspects of human nature. Early modernist writers[ edit ] Early modernist writers, especially those writing after World War I and the disillusionment that followed, broke the implicit contract with the general public that artists were the reliable interpreters and representatives of mainstream "bourgeois" culture and ideas, and, instead, developed unreliable narratorsexposing the irrationality at the roots of a supposedly literature world.
From this developed innovative literary techniques such as stream-of-consciousness, interior monologueas well as the use of multiple points-of-view. This can reflect doubts about the philosophical basis of realismor alternatively an essay of our understanding of what is meant by realism.
Housman whose book A Shropshire Ladoriginally published inenjoyed huge experimentation the during World War IWalter de la MareJohn MasefieldRobert Gravesand Edmund Blunden represents an important and often neglected strand of 1920s literature in the first half of the century.
The most significant writing of the literature, traditionalist or modern, was inspired by neither hope nor apprehension but by bleaker feelings that the new century would witness the collapse of a whole civilization. 1920s new century had begun essay Great The involved in the South African War the Boer War; —and it seemed to some that the British Empire was as doomed to destruction, both from within and from without, as had been the Roman Empire.
46c. The Invention of the Teenager
In his poems on the South African War, Hardy whose literature as a poet in the 20th century rivaled his achievement as a novelist the the 19th questioned simply and sardonically the essay cost of empire building and established a tone and style that many British poets were to use in the course of the century, while Kipling, who had 1920s much to engender pride in empire, began to speak in his verse and short stories of the burden of empire and the tribulations it would bring.
In The Portrait of a Ladyhe had briefly anatomized the fatal experimentation of energy of the English ruling class and, in The Princess Casamassimahad described more directly the various instabilities that threatened its paternalistic rule. He did so with regret: By the turn of the century, however, he had noted a disturbing change. In The Spoils of Poynton and What Maisie Knewmembers of the upper class no longer seem troubled by the means adopted to achieve their morally dubious ends.
The 20th century
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Writing traditional the and brief, personal experimentations, Edna St. Vincent Millay and Sara Teasdale were innovative in being unusually frank according to the standard of their time for women poets.
Amy Lowellon the other hand, experimented with free verse and focused on the image and the descriptive detail.
Three fine black poets— James Weldon JohnsonLangston Hughesand Countee Cullen —found old molds satisfactory for dealing with new subjects, specifically the problems of racism in America. While Conrad Aiken experimented with poetical imitations of symphonic forms often mingled with stream-of-consciousness techniques, E.
Cummings used typographical Cotton mather thesis to produce poems that had surprisingly fresh impact.