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In this book Albert Gelpi traces the emergence of American Modernist poetry as a reaction to, and outgrowth of, the Romantic ideology of the nineteenth century. He focuses on the remarkable generation of poets who came to maturity in the years of the First World War and whose works constitute the principal body of poetic Modernism in English. Gelpi argues that the essential dialectic in Modernism extends and reconstitutes issues central to Romanticism. This is expressed in the interaction between two important strains in Modernism: the Symbolist exemplified in Wallace Stevens, T. S. Eliot, Allan Tate, and Hart Crane; and the Imagist, exemplified in Ezra Pound, H. D. and William Carlos Williams.
Table of Contents
Introduction: the Janus-face of Romanticism and
1. Robert Frost and John Crowe Ransom: Diptych
of Ironists, the Woodsman and the Chevalier
2. Wallace Stevens: World as Mundo, Mundo as
3. T. S. Eliot: The lady between the yew trees
4. Ezra Pound: Between Kung and Eleusis
5. H. D.: Helen in Bethlehem, Hilda in Egypt
6. William Carlos Williams: Mother-Son and
7. Allen Tate and Hart Crane: Diptych with
Demons and Angels Coda
Yvor Winters and Robinson Jeffers: The
Janus-face of anti-modernism.