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Please wait wean off She is influenced by Emily Brönte and Christina Rossetti. After abandoning fiction, he began to write poetry. The agnosticism, which marked his novels takes a new shaping power in poetry. His poetry moves away from what in the fiction had seemed the pressing need to be literal. Much of the poetry of the early volumes recalls images, scenes from a personal past and an immediate history.
His huge expanse of lyric verse reveals a metrical inventiveness and a technical mastery of a variety of forms. He returned where he courted Emma and so there is the feeling of a remaking of the experience, which is now conditioned by the awareness that so much had changed. His early poetry mixes postPaterian aestheticism with Celticism.
His verse of the s exploits a languorous repetition. After , he had a deeper speculation about love and the nature of the universe and the political intensity inspired by an emerged Ireland. He rejected much of the new philosophies of the centuries, but his later poetry proclaims the independence of the artist. Homer, Dante, were points of reference within a new unity of vision. He was Irish and he felt no obligation to be a soldier in WWI. Lot of young men joined the army to defend his homeland and the idea of the war was surrounded by enthusiasm.
To the young men who fought in the trenches of the Western Front, the war offered a ready enough excuse for the marginalization of domestic political problems. He had feeling against the circumstances of the war developed later than the poets on active service. The landscapes of his poetry are often haunted by ghosts of past occupants and users and they contain the evidence of exploitation, work and decay. He celebrates the war and the national pride.
She recalls the ambitions and struggles of an educated woman, but also the tensions of waiting for news from the front. He attacks the Generals, but also the uncomprehending noncombant civilians.
His poems suggest a kind of fascination with the nature of war and with devastated men ad landscapes. He remains explorative in his interest in the imagery he found around him in the desolation of the trenches. When a Victorian man and woman married, the rights of the woman were legally given over to her spouse. At the same time, women participated in the paid workforce in increasing numbers following the Industrial Revolution.
Feminist ideas spread among the educated female middle classes, discriminatory laws were repealed, and the women's suffrage movement started to reach their aims in the last years of the Victorian era. Rights and privileges of Victorian women were limited and Victorian women had disadvantages both financially and sexually, enduring inequalities within their marriages and social statuses. Also in the Victorian literature the figure of the woman is a very important theme: Intimal feelings are always hidden to the public because the Victorian society was built on traditions and conventions.
The novels of this period are the mirror of this aspects. But the theme of double in literature is maybe an anticipation of the psychological research of Freud: But if in Freud this aspect is natural and present in the human being, in the English costumes of the 19th century this is an attitude deliberately wanted, intended to hide the real — sometimes obscure — nature of human being.
This is the reason of the story on the double that anticipates Freud theories. People belonging to upper and middle class had to conform to rigid social standards and to the principal ideals of ethic, morality and respectability, that most of the time kept the real interests and preferences of the people secret. It is divided into two parts, the high Victorian and the Late Victorian. The most important themes of the high Victorian are the condition of England and its social problems, the poor condition of the working class, the conditions of the industrial cities and the most important writers are Charles Dickens, Gaskell, Carlyle.
Another important theme is the woman, their willing to revolutionize the masculine world in which they lived: The theme of adventure and colonies, with Kipling, Conrad. Thackeray and Vanity Fair. Thomas Hardy, George Eliot Gothic novel: The Waste Land, Ulysses - Modernism is an international artistic movement which goes from the beginning of the 20th century to the end of the second World War.
It is an experimental movement, it rejects Realism, optimism and in general the classic and traditional forms of writing. It implies a sense of alienation, loss and despair and an absence of past values. Authors have a new sense of time and space, multiple personalities.
In fact according to him and his motto, in order to create something new the poets and writers had to try to use new forms of writing and painting.
Characteristics of this movement are interior monologue, stream of consciousness, fragmentation, it prefers the concrete to the abstract, dramatic monologue, emphasis on a new importance of myth, a new conception of time that is not chronological but circular. For the poetry we have T. Foster, Roger Fry and Keynes. Their discussion combined tolerant agnosticism, with cultural dogmatism and progressive rationality, but they discuss also about new themes considered taboos. It is dedicated to reconsiderations of painting and sculpture, but there are also implication for the experimental fiction of Virginia Woolf.
She does more than present a challenge to the received idea of realism, a new aesthetic of realism. It plays with problems of identity, which is both singular and multiple and insists on the opposition and the dependence of the perception of Clarissa and Septimus.
In these novels the insights into the identity of the characters are complemented by larger symbols, which allow to be both temporary and permanent. Her novels attempt to dissipate characters and to reintegrate human experience within aesthetic forms. She represents the nature of transient sensation, of conscious and unconscious mental activity and then to relate it to a more universal awareness of pattern and rhythm.
Her particular preoccupation of time is related to her interest in flux, which she recognizes in nature, in science and in the human psyche: Lily Briscoe, her paintings seem to be poisoned as she explores the elusive nature of mass and form Between the Acts: Miss La Trobe, who watches butterflies that are symbol of human soul.
She draws significantly on the landscapes and flora of her native New Zealand. Her narratives are brief triumphs of style that serves to suggest a pervasive atmosphere. The novelist insisted that each volume is only a chapter of the whole. She uses a technique expressive of an explicitly female consciousness, a style in antithesis to a received masculine tradition and a new male-dominated experiments in literature.
Her sentences are characterized by strict syntax or by formal reference t an exterior world, they fragment, form themselves into new suggestive shapes and they allow for interactions for inner consciousness with the external world. His mission was to break open fictional doors and to allow readers and writers into passing through them. He thought that this mission was the most elevated. In his novels of th s, Lawrence begins to round his often ill-defined ideas of human liberation in a political and psycho-sexual discourse.
He sees to propound a Modernist theology of the integrated personality and that relies more on the advent of a Godless prophet, Freud, than Christ. He attempts to distinguish between notions of essential maleness and essential femaleness: The characters move from the stratified English society of the early years of the twentieth-century, encountering industrial workers and magnets.
Theme of lot of his poems is the nature, the analysis of its elements and the personification in them. They had an educated audience.
Pound thought that the author must use his image because he sees or feels it, not because he thinks he can use it for some system of ethics. He was an assistant editor of The Egoist. He developed his fictional style thanks to a close association with Joseph Conrad and he wrote a series of polemical essays on the state of the novel. He founded the English Review. A Tale of Passion: He studied at Harvard and in Paris attended lectures by Bergson. At the beginning, he is influenced by the poetry of Laforgue, which is ironic, clever, with the form of dramatic monologues, but this influence is transient.
Actually, the one of Baudelaire and Dante are more lasting: Eliot also affirmed that his own prose style was formed on the dissertation of Bradley, but he is also influenced by him: He is a mix of innovation and tradition. In fact he has more conscious of what came before him. On one hand there is the importance of tradition and on the other hand we have the challenge to change.
In its relation to a larger tradition, poetry is not an expression of the emotion, but an escape from them. The poems are specifically American and it sets the tone of the whole volume with its play with politeness and failures of comprehension, with despair. Eliot delves into corruption of London. The effects of this poem are achieved through the play of juxtaposition, inconsistency of perception, multiplicity of narration and fluidity of time and place and these are all visual and lexical.
It has a smoother narrative surface and each poem at the opening of the fifth section, ponders the meaning of words. His last five completed novels show a cosmopolitan brevity and a camply decorative prose style. Her poems with their images of juvenescence and senescence, of dark and light, of the passion of Christ, are the product of an explorative feminine sensibility. In he found T. Eliot, who proclaimed him the best living prose writer.
He moved to Trieste, Zurich and Paris. He is the first major writer in English since the Reformation to have been supersatured in Roman Catholic teaching. He had chosen Dublin not for its animation, but because he thought that it was the centre of paralysis.
Its citizens are observed as incapable of judging and choosing, are disillusioned and graceless. Epiphany is a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or a memorable phase of the mind itself.
These moments seem to transform the commonplace into the special. Underneath the 18 episodes lies a Homeric precedent. Reading Ulysses is a process of familiarization with a variety of adapted styles, modes and techniques. He wrote about what he knew best of Dublin. All the three plays are characterized by their author as tragedies, but in all the reality of death is relieved by an irreverent wit. He combines the talents of actor, composer, librettist, playwright and his long career.
It combines realism with the kind of restraint which is far more than the heroics of idealized British officers. He describes a sense of alienation from post-war student life in Oxford, which he shared with his friend and fellow officer. It was through his Oxford acquaintance Lawrence, that Graves regnognized the fictional potential of feeling. He served as private soldier in the trenches of WWI. He entered in the Roman Catholic Church and this is the reason of the peculiarly Latinate reference of his poetry.
There is also a fragmentation of prose into a dense poetry. His soldiers have inherited a line of the history of the Celtics and the Romans, whose ghosts haunted the world. It is in part a tribute of London and interweaves the history of Britain with the prehistory of Europe. It has Modernist effects, Modernist fragmentation and Modernist difficulty, ordered by an artistic sensibility.
A Novel on Russian Themes: The society seems fragile and there is evidence of death and decay. He uses the life of Christ Guthrie and her three marriages to draw his three independent novels together. He attempts to root private and public history in a Marxist understanding of class struggle and also to return to the matter of Scotland.
The variations between the novels are small and each concerned with a small upper-middle-class group of characters in the period antecedent to the WWI, in the late Victorian. The conversations are simple, undramatic, determined by god manners of a polite and repressed society. It is through these flat dialogues that emerge the deceptions and often melancholic surprises on which the novel turns.
It has a variety of narrators, but then with My Man Jeeves, he used only Bertie as narrator. It glances back to the moral structures on the decay of social responsibility in the works of Dickens and Trollope. It explores the collapse of the illusions and complacencies of a rural feudalism and it exposes the surface values of the modern young things. It centres on the idea of a divorce, between old and new values, but also the legal end of the marriage.
The narrator is Ryder and he is both the central actor in the plot and the observer of the action. Brideshead remains an open and subtle novel. His form is elaborate. He offered a challenge to scientific optimism about the future by presenting a case for individual freedom rooted I the literature and religion.
The calendar is dated AF After Ford and the revolutionary thinkers of the modern age have left their mark on the name of the newly elite. He is strongly Socialist and siding with the Left, that was quite usual through the young writers of the time. He says that the young writers of the 20s have the shame not to have taken part to the WWI. Many of the writers joined the Communist Party and went to Spain to combat or for investigative visits.
They are placed in Berlin and described the Weimar Germany as decadent and economically depressed. As he left for the USA and he took up the US citizenship, he breaks with his political and personal past and he became a reviser of his previous works.
The focus lies in a declaration of independence from the State and of an alternative dependence on human relationships.
The Poems reflect on the landscape of alienation peopled by strangers, which is derived from a Freudian approach to a psychic disorder. All the human relationships of the poems are conditioned by imagery of invasions, conquests, spies and frontiers. Auden identifies suffering and human position as a key concern of art. The temporal seems to be dissolvable in the eternal and the material in the mystical. It is with the poems of the Spanish Civil War that he became famous. He was a student and teacher of Greek and Roman literature.
He was sided on the Left. He was Irish, and the geography and folklore of his motherland haunt his verse. His scepticism was determined by an intellectual exploration, which look beyond Irish confines: MacNeice recognized his ow contradictions as an artist in the external manifestations of the human history and his most important thematic emerges from a process of questioning and balancing those contradictions.
He recognized a parallel between the geographical entity and the neutral island in the heart of a man. It is made up of a series of fragmentary impressions of cars, cities and factories. He became a founder member of the Scottish National-Party and a member of the Communist party.
He was attached to Scotland and disparaging of England. The Scottish culture influenced him a lot and his most famous verse are written in a synthetic Scottish vocabulary and with archaisms.
It concerns with uses, structures and corruption of power. It seeks to free the individual from enforces fraternalism with masses. He has a firmly disillusion with Soviet Communism. He is an acute observer and generalizer. He lived making illpaid jobs and he slept in lodging-houses. The main subject is the uncomfortable and unfamiliar England. As he went to the north is repelled by the ugliness of industrialism. The fable may sentimentalize working-class strength and good nature and the pigs where probably chosen because they were associated with greed and laziness.
In this book the political language of the Big Brother is distorted, designed to make lies sound truthful and murder respectable. Themes of the Surrealist movement were the impression of a shifting relationship between objects and concepts and a Freudian stress on the meaning of the unconscious.
Surrealism looked back to the work of Blake and Lewis Carrol and find a reflection to itself. Nightmares and daydreams, distortions and distensions, shoes and ships were part of a verbal and pictorial tradition.
He was influenced by the school of Donne and its difficulty and lyric intensity. He addresses the idea of Death touching the Resurrection, in this volume the poems are explicitly Christian. His poems looked back to ancestral forms of refreshment. Wordsworth became a single stream of consciousness with the watery element.
He felt that the weight of an earlier tradition tended to influence a new generation. He is the most assertively civilian through the war poets. It is divided into three parts: The protagonist is an artist-hero who paints a mural of the Creation on a threatened wall. It rejects the elitism and the difficulty of modernism.
In postmodernism we start to get a confusion and ambiguity between high culture and low culture, it tries to create more popular forms of art, in fact post modern works are not easy to understand. Post modernism celebrates and focuses on the idea of fragmentation and incoherence of words and language. They play with nosense, there is a deeper reflection on fiction and language itself.
Postmodern characteristics are irony, playfulness and black humor; pastiche mixture of elements of previous genres and styles of literature to create a new narrative voice , intertextuality, metafiction, temporal distorsion, references, participation of the Reader When the WWII ended in Europe in the summer of , Britain was in ruins, not as much as Germany, but its cities, especially London, had been torn apart by bombs.
This landscape of ruins provided a metaphor for broken lives and spirits and for the ruin of Great Britain itself. Her London is post-War and post-Eliotic. She thought that the strange juxtapositions of flowers and dust, wild gardens and empty houses, had somehow been prepared for by the Modernist experiments with fragmentation. Her most important short story is The Heat of the Day: The Record of a Journey through Yugoslavia: It is a pre-war book and a discourse on European history which grows into an elegy for the Yugoslav national experiment.
He was the best known and most respected British novelist of his generation;. He was anti-imperial and believing Roman Catholic. The themes of a colonially wounded world beyond Europe and a sense of sin haunt his work.
It seemed as an answer to the ambiguous Catholic fiction of his French contemporaries. It was about doubt, failure and faith.
Most of the key characters of is stories are Catholics. It could be seen as rooted in the English irony of Jane Austen and the tensions of Trollope. The image is timeless: By the standard of its time it was alarming in its language and setting. The transformation of the English theatre in the late s and s was gradual and radical. Before British drama had been open to new influences and the theatre fell back on its tradition of plays and acting styles es.
Shakespeare and other more recent dramas. He had hopes of re-creating an Elizabethan ambience. The new French drama, with its energy and political directness has a sustained impact on British audiences. He was a sympathizer with the victims of the tyrannous hypocrisies and the coldness of the respectable British society.
He had a sympathy with the wounded outsider because of his own homosexuality. His literate Bible reading and Irish background influenced a lot his work. He remained part of a polyglot world of literary innovation. His use of drama was an extension of his interest in the gaps, the jumps, and the lurches, which characterized the human mind. Timepresent in his plays is broken, incostintent and inconsequential.
He uses blindness to suggest the force of alternative ways of perceiving. It is his most important play and it contained echoes of an alternative British theatrical tradition of the music-hall comedy. In his hand, this tradition had been transformed by a sparse musicality and by a dialogue rich in literary resonance. In the II Act he uses silence, to explore the value of new sensory and physical formulations. His theatrical innovation was rooted in literary precedent and in Modernist statement.
His debts to an inherited tradition of music-hall lie in his love of suggestive and loudmouthed repartee. His hero, Jimmy Porter, was born out of his time. He is a revolutionary without revolution and a rebel without a case: Arthur Miller The Berliner Ensemble visited London in , two weeks after the death of its founder, Bertold Brecht, who had an influence over the new generation of British playwrights. He was attempting to regenerate and re-energize the literary traditions of his native language.
The title character is an Irishman in London placed in time and space. The novel is constructed around the rituals and repetitions of an inert life passed in a confined urban space.
Beginnings are subverted, tenses shift between past and present and what seems to be digressions assume to be vital momentum. Born in India, he found his spiritual home in the Mediterranean. He ws influenced by Lawrence and Miller. He was not content with a reanimation of ancient myth: It is set on a desert island on which a marooned group of boys from an English cathedral choir-school gradually falls away from the civilization into barbarism and murder.
The novel is shaped by Christian concept of original sin, a post-Darwinist and post-Wellsian pessimism. There develops an exploration of the polarities of redemptive saintliness and destructive malignity and of disinterested love.
He was a convinced realist who occasionally indulged in fantasy and comic writer who allowed for tragedy and cruelty, but the world of his own novels is that of the mid th century. He had a talent for creating scenes, set pieces and characters. His novels are essentially comedies of manners. He published also an introduction to Dickens and an essay on Kipling.
Her arguments derived from a scrupulous investigation of the problems posed by moral philosophy and by independent philosophical studies. Her novels are carefully patterned, though the nature of the choosing of these patterns seems broken by the freedom which she allows her characters. She had a fascination for outsiders and strangers. It is set in a lay religious community, near to a convent of enclosed nuns and it begins with a fragmented marriage and gradually explores the emotional, sexual and moral tension which force the community to reform.
The protagonist is a novelist who tells and actually is the story. It is a contrived intellectual thriller. She has a commitment to moral issues and to their relation to fictional form. The ironic and disingenuous tone of her narrators helps her to create a sense of discordance between the aberrance of what happens and its precise delineation. The Gothic of The Ballad of Peckham Rye that is quite distinct in its comic chill and it concerns with possession.
His novels offer a retrospect on an uneasy England from the point of view of the mid-century. The novel is narrated by a man who recalls the period of his 12 years old in the summer of The novel is place in the atmosphere of political restlessness of the s and the imminence of the WWII.
He was one of the most sophisticated openers up of English Modernism because of his literary forms and his non-native landscapes.
He was one of the select group of inter-war writers approved by Ezra Pound. His work can be characterized by the idea of rediscovery. His poetry reexplores historical and personal pasts and bunting rejoices in his sexual identity. His detailing has reminded of Wordsworth, but the sensibility which determines that detailing is Modernist.
The Whitsun Weddings and High Windows, point to the inflexions of his own age and the provocative frankness. His accounts of the past are marked by an awareness of an abyss between then and now. The post-Christian narrator frets at the prospect of a future in which religion will have shrunk to a prevalent fear of death. His was a popular success based on easily comprehensible, rhymed and scanned verse.
She remained sentimentally attached to the Church of Engand, while denouncing its doctrines and its priests. It is a traditional narrative subjective to a process of disordering. It can be seen as a development of the 19 th century realist fiction. Rhys explores the nature of loneliness, victimization and exploitation.
It is set in the corrupt and uneasy society of post-emancipation Caribbean. Her first novels proclaim the virtues of restraint, good behaviour and feminine resilience. Her fiction is generally set in a small world of middle-class families. She reinvented the fairy-tale for an adult public, infusing her narratives with macabre fantasy and erotic comedy.
She thought that the pornographic fantasy would have its legitimate place in literature. The bird-woman has been hatched from an egg, in the age of puberty she has sprouted the wings and at her marriage her husband discovers her nature.
It dwells on the career of two theatrical twins and the offspring of a Shakespearian actor. She forges links between theatre and literature.
He bot appreciate the art of the Victorian novel and he feels superior to it. It is an exploration of moral antinomy. It is an anti-utopian vision of the technological future, told from the point of view of a 15 years old delinquent who fantasizes about rape, assault and murder. Burgess seems to make his readers complicit in what Alex thinks and does by obliging them to share in his lexical rebellion and excitement.
It is a novel centred on a series of interlinked relationships all of which suggest something of the disappointed contemporary England. Royal Shakespeare Company and the Royal Court, a commercial theatre. The Royal Shakespeare Company, in contrast, scared the audiences out of any sense of stability.
The play contains also remarkable moments of concerted physical action by the group of recruits. He manages to relate his intense respect for working-class community to a social, historical and political perspective stretching the anti-Fascist protests of the Jewish East End. In all three play, he conveys a sense of place by capturing distinctive ways of speaking and representing the distinctive rhythms of urban and rural domesticity.
His earlier work allowed indeterminacy and his latest work seems to want an insistent demand for moral definitions. It was first performed at the Royal Shakespeare Company. It marked a turningpoint in his career. The play opens in an undistinguished room in a north London house and with a one-sided conversation, an indifferent exchange of insults and it goes away from the idea of the comedy.
Everything in the play is unspecific. The play leaves a residual sense of sourness and negativity. All of them are distinguished with the disjunctions of memory and with unstable human relationships.
Language is seen as the means by which power can be exercised and as something which can be manipulated and defined. He was an active homosexual and he was murdered by his companion.
He was also sent to prison and he fought against the authority with anarchy comedy and priapic energy. His comedy serves to expose the folly and the fool, the double standards of the hypocrite or the unbalanced humours of everyman and the disrupt the very status quo. His villains are no fools. Innocence can ever be a defence. Orton exploit the traditional forms of comedy and he transforms them.
When he started to write to press and to the theatre, he was parodying the kind of bourgeois respectability against which he had long defined himself. He takes a fresh delight in the kind of theatrical clockwork and he seems a deep intellectual pleasure in parallels, coincidences and convergences that extend beyond a theatrical relish.
He has emerged as an almost exemplary artist in an age which has exhibited a fascination with the patternings of mathematics and metaphysical theory. His plays are plotted, logical mystery tours which find their ends in their beginnings. Everything is rendered relative and the perspective is changed, time is fragmented.
It is about the making of mental and moral jumps and the construction of a philosophical architecture.
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