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Modern, Post- Modern, Post- Modern, Modern, & & Contemporary Contemporary Poetry Poetry

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Page 1: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Modern, Post-Modern,Modern, Post-Modern,&&

Contemporary PoetryContemporary Poetry

Page 2: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Modern Poetry (1900-1950)Modern Poetry (1900-1950)

►Follows basic characteristics of Follows basic characteristics of ModernismModernism Rejection of traditional form and contentRejection of traditional form and content

►Generally speaking, Modern poetry offersGenerally speaking, Modern poetry offers Social critiqueSocial critique IntrospectionIntrospection Experimental formExperimental form Untraditional sources for inspirationUntraditional sources for inspiration Free verseFree verse

Page 3: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Edwin Arlington RobinsonEdwin Arlington Robinson

►Did not embrace the Modern Did not embrace the Modern MovementMovement Continued to write in more traditional Continued to write in more traditional

forms; however, content was bold and forms; however, content was bold and experimentalexperimental

Known for his wise and ironic views of Known for his wise and ironic views of human behavior (this is what makes him human behavior (this is what makes him fit the modern period)fit the modern period)

Strove for realism in his poetryStrove for realism in his poetry

Page 4: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““Richard Cory”Richard Cory”

► Who is the speaker in this poem?Who is the speaker in this poem? The people of the townThe people of the town

► What was the town’s perception of Richard Cory?What was the town’s perception of Richard Cory? He was living a perfect life; he had everythingHe was living a perfect life; he had everything

► What extended metaphor does Robinson create What extended metaphor does Robinson create regarding Richard Coryregarding Richard Cory Compares Cory to a kingCompares Cory to a king

► ““from sole to crown”from sole to crown”► ““imperially slim”imperially slim”► ““glittered when he walked”glittered when he walked”► ““richer than a king”richer than a king”

► How is Cory’s suicide ironic?How is Cory’s suicide ironic? His outward appearance does not match his internal His outward appearance does not match his internal

sufferingsuffering

Page 5: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““Miniver Cheevy”Miniver Cheevy”

►What is a “child of scorn”What is a “child of scorn” Someone who has been picked on or ridiculed by Someone who has been picked on or ridiculed by

othersothers►Why does Robinson repeat the word Why does Robinson repeat the word

“thought” in lines 27-28“thought” in lines 27-28 Emphasizes that Cheevy would rather sit and Emphasizes that Cheevy would rather sit and

brood than take steps to improve his situationbrood than take steps to improve his situation►What does Miniver claim his problem is?What does Miniver claim his problem is?

He was born in the wrong timeHe was born in the wrong time►What is Miniver’s real problem?What is Miniver’s real problem?

He’s an alcoholicHe’s an alcoholic

Page 6: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Edgar Lee MastersEdgar Lee Masters

►Product of the Midwest—found small Product of the Midwest—found small town life oppressivetown life oppressive Became a lawyer in Chicago and began Became a lawyer in Chicago and began

writing poems, plays, and essayswriting poems, plays, and essays In 1914, a friend gave him a copy of In 1914, a friend gave him a copy of

Select Epigrams from the Greek AnthologySelect Epigrams from the Greek Anthology►Collection of Collection of epigraphsepigraphs——a short poem, a short poem,

usually engraved on a gravestone, which usually engraved on a gravestone, which sums up an individual’s lifesums up an individual’s life

Page 7: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Edgar Lee MastersEdgar Lee Masters

►Decided to write a book of epigraphs that would Decided to write a book of epigraphs that would reveal the dark underside of small town lifereveal the dark underside of small town life Gossip/RumorsGossip/Rumors --Affairs--Affairs AddictionsAddictions --Secrets --Secrets

► Published Published Spoon River AnthologySpoon River Anthology in 1915 in 1915 Created fictional town of Spoon River, ILCreated fictional town of Spoon River, IL Rejected traditional forms—all poems are in free Rejected traditional forms—all poems are in free

verseverse Over 250 epigraphs create the town through the Over 250 epigraphs create the town through the

deaddead Epigraphs are written in the voice of the dead, and Epigraphs are written in the voice of the dead, and

an entire life is usually revealed through one incident an entire life is usually revealed through one incident that is remembered even in deaththat is remembered even in death

Page 8: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Dramatic Dramatic Monologue/EpitaphsMonologue/Epitaphs

►Audience is impliedAudience is implied►No dialogueNo dialogue►Poet speaks through the voice of a Poet speaks through the voice of a

fictional character (persona)fictional character (persona)

Page 9: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Spoon River AnthologySpoon River Anthology

““Blind Jack”Blind Jack”I HAD fiddled all day at the county fair. I HAD fiddled all day at the county fair. But driving home, "Butch" Weldy and Jack But driving home, "Butch" Weldy and Jack

McGuire, who were roaring full, made me fiddle McGuire, who were roaring full, made me fiddle and fiddle to the song of Susie Skinner, while and fiddle to the song of Susie Skinner, while whipping the horses till they ran away. Blind as whipping the horses till they ran away. Blind as I was, I tried to get out as the carriage fell in I was, I tried to get out as the carriage fell in the ditch, and was caught in the wheels and the ditch, and was caught in the wheels and killed. There's a blind man here with a brow as killed. There's a blind man here with a brow as big and white as a cloud. And all we fiddlers, big and white as a cloud. And all we fiddlers, from highest to lowest, writers of music and from highest to lowest, writers of music and tellers of stories, sit at his feet and hear him tellers of stories, sit at his feet and hear him sing of the fall of Troy. sing of the fall of Troy.

Page 10: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Ralph RhodesRalph Rhodes

ALL they said was true: ALL they said was true: I wrecked my father's bank with my loans to dabble in wheat; I wrecked my father's bank with my loans to dabble in wheat;

but this was true-- I was buying wheat for him as well, who but this was true-- I was buying wheat for him as well, who couldn't margin the deal in his name because of his church couldn't margin the deal in his name because of his church relationship. And while George Reece was serving his term relationship. And while George Reece was serving his term I chased the will-o-the-wisp of women and the mockery of I chased the will-o-the-wisp of women and the mockery of wine in New York. It's deathly to sicken of wine and women wine in New York. It's deathly to sicken of wine and women when nothing else is left in life. But suppose your head is when nothing else is left in life. But suppose your head is gray, and bowed on a table covered with acrid stubs of gray, and bowed on a table covered with acrid stubs of cigarettes and empty glasses, and a knock is heard, and cigarettes and empty glasses, and a knock is heard, and you know it's the knock so long drowned out by popping you know it's the knock so long drowned out by popping corks and the pea-cock screams of demireps-- and you look corks and the pea-cock screams of demireps-- and you look up, and there's your theft, who waited until your head was up, and there's your theft, who waited until your head was gray, and your heart skipped beats to say to you: the game gray, and your heart skipped beats to say to you: the game is ended. I've called for you, Go out on Broadway and be is ended. I've called for you, Go out on Broadway and be run over, they'll ship you back to Spoon River. run over, they'll ship you back to Spoon River.

Page 11: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““Thomas Rhodes”Thomas Rhodes”

VERY well, you liberalsVERY well, you liberalsAnd navigators into realms intellectual, You And navigators into realms intellectual, You

sailors through heights imaginative, Blown sailors through heights imaginative, Blown about by erratic currents, tumbling into air about by erratic currents, tumbling into air pockets, You Margaret Fuller Slacks, Petits, pockets, You Margaret Fuller Slacks, Petits, And Tennessee Claflin Shopes– You tound And Tennessee Claflin Shopes– You tound with all your boasted wisdom How hard at the with all your boasted wisdom How hard at the last it is To keep the soul from splitting into last it is To keep the soul from splitting into cellular atoms. While we, seekers of earth's cellular atoms. While we, seekers of earth's treasures Getters and hoarders of gold, Are treasures Getters and hoarders of gold, Are self-contained, compact, harmonized, Even to self-contained, compact, harmonized, Even to the end. the end.

Page 12: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Robert Frost—tradition in a Robert Frost—tradition in a Modernist worldModernist world

►Characteristics of Frost’s PoetryCharacteristics of Frost’s Poetry Devoted to traditional formsDevoted to traditional forms Focused on American landscapes, Focused on American landscapes,

specifically New Englandspecifically New England►Known for “cranky realism”Known for “cranky realism”►Influenced heavily by Emerson and “Self Influenced heavily by Emerson and “Self

Reliance”Reliance”

Page 13: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Robert FrostRobert Frost

►““Design”Design” What do you notice about the form? (hint: What do you notice about the form? (hint:

look at the number of lines…)look at the number of lines…)►SonnetSonnet

ItalianItalian

Poem comments on NaturePoem comments on Nature►Even at it’s most beautiful, it can be fierce and Even at it’s most beautiful, it can be fierce and

violentviolent God has made the world this wayGod has made the world this way

Page 14: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Robert FrostRobert Frost

►““Nothing Gold Can Stay”Nothing Gold Can Stay” What does gold symbolize in this poem?What does gold symbolize in this poem?

►InnocenceInnocence

What comment does the poem make What comment does the poem make about innocence?about innocence?►Innocence is always lostInnocence is always lost

AllusionAllusion►So Eden sank to griefSo Eden sank to grief

Page 15: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Robert FrostRobert Frost

►““Birches”Birches” Style: Blank VerseStyle: Blank Verse

►Unrhymed iambic pentameterUnrhymed iambic pentameter►Sounds like conversational EnglishSounds like conversational English►Relies on other sound effects than rhyme to Relies on other sound effects than rhyme to

create poetic elementscreate poetic elements AlliterationAlliteration

Comment about nature in this poem?Comment about nature in this poem?►Nature can help us experience freedom and Nature can help us experience freedom and

innocenceinnocence

Page 16: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Robert FrostRobert Frost

►““Birches”Birches” Begins with a memory from childhoodBegins with a memory from childhood

►““I like to think some boy’s been swinging them”I like to think some boy’s been swinging them”

►Using your picture as your guide, try to Using your picture as your guide, try to write 10 lines of blank versewrite 10 lines of blank verse Try to express the same theme that Frost Try to express the same theme that Frost

expresses in “Birches”expresses in “Birches”►What images do you connect with childhood, What images do you connect with childhood,

freedom, and innocence?freedom, and innocence?

Page 17: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

ImagismImagism

► Reject the Romantics’ focus on nature as a Reject the Romantics’ focus on nature as a source of solace source of solace

►Movement begins in France in 1875…Movement begins in France in 1875…American writers are first introduced to American writers are first introduced to French Symbolist poets during expatriate French Symbolist poets during expatriate movement after WWImovement after WWI

► Symbolism: Symbolism: a form of expression in which a form of expression in which the world of appearances is violently the world of appearances is violently rearranged in order to depict a different and rearranged in order to depict a different and more truthful version of realitymore truthful version of reality This violent rearrangement was visually apparent This violent rearrangement was visually apparent

in the work of Picasso; e.e. cummings attempts to in the work of Picasso; e.e. cummings attempts to do in poetry what Picasso was doing in paintingdo in poetry what Picasso was doing in painting

Page 18: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

ImagismImagism

► Started by Ezra Pound and TS EliotStarted by Ezra Pound and TS Eliot Also heavily influenced by Japanese haikuAlso heavily influenced by Japanese haiku

► ImagismImagism: believed poetry could be made : believed poetry could be made purer by concentrating on the precise, clear, purer by concentrating on the precise, clear, unqualified imageunqualified image imagery alone can carry a poem’s messageimagery alone can carry a poem’s message Sought to rid poetry of its prettiness, Sought to rid poetry of its prettiness,

sentimentality, and artificialitysentimentality, and artificiality► Famous imagists: Pound, William Carlos Famous imagists: Pound, William Carlos

Williams, Marianne Moore, Wallace Stevens, Williams, Marianne Moore, Wallace Stevens, Archibald MacLeishArchibald MacLeish

Page 19: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

William Carlos WilliamsWilliam Carlos Williams

► Imagist—known for short, lyric poems Imagist—known for short, lyric poems which focused on a single imagewhich focused on a single image Poems were short because Williams was a Poems were short because Williams was a

doctor—wrote many poems on doctor—wrote many poems on prescription pads.prescription pads.

Page 20: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

The Red WheelbarrowThe Red Wheelbarrow

so much dependsso much depends

uponupon

a red wheela red wheel

barrowbarrow

glazed with rainwaterglazed with rainwater

beside the white beside the white chickens.chickens.

Page 21: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““This is Just to Say”This is Just to Say”I have eaten I have eaten

the plumsthe plums

that were in that were in

the iceboxthe icebox

and which and which

you were probablyyou were probably

saving for breakfast saving for breakfast

Forgive me Forgive me

they were delicious they were delicious

so sweet so sweet

and so coldand so cold

Page 22: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

The Great FigureThe Great Figure

Among the rain Among the rain

and lights and lights

I saw the figure 5 I saw the figure 5

in gold in gold

on a red on a red

firetruck firetruck

moving moving

tense tense

unheeded unheeded

to gong clangs to gong clangs

siren howls siren howls

and wheels rumbling and wheels rumbling

through the dark city.through the dark city.

Page 23: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Futurism and Concrete Futurism and Concrete PoetryPoetry

►Poetry that considers not just the Poetry that considers not just the meaningmeaning of the words, but the of the words, but the meaningmeaning conveyed through conveyed through typography (how the poem looks in typography (how the poem looks in print)print) Created poems that were both textual and Created poems that were both textual and

visualvisual Poems take specific shapes that can only Poems take specific shapes that can only

be seen in printbe seen in print

Page 24: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

e.e. cummingse.e. cummings

►Challenged the conventions of syntax Challenged the conventions of syntax (the rules for the formation of (the rules for the formation of sentences)sentences)

►Made typography (the general Made typography (the general character or appearance of printed character or appearance of printed matter) and the division of words part matter) and the division of words part of the shape and meaning of the poemof the shape and meaning of the poem

►Heavily influenced by French Heavily influenced by French symbolism and Whitman’s free versesymbolism and Whitman’s free verse

Page 25: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

e. e. cummingse. e. cummings

►Characteristics of cummings poetryCharacteristics of cummings poetry Jubilant lyricismJubilant lyricism

►Celebration of loveCelebration of love►Beauty of natureBeauty of nature►Affirmation of the individualAffirmation of the individual

Page 26: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““in Just-”in Just-”cummings never titled his poems…sorta like Emily Dickinson cummings never titled his poems…sorta like Emily Dickinson

in Just-spring when the world is mud-luscious the little lame balloonman

whistles far and wee

and eddieandbill come running from marbles andpiracies and it’s spring

when the world is puddle-wonderfulthe queerold balloonman whistles far and weeand bettyandisabel come dancing

from hop-scotch and jump-rope and

it’sspringand the

goat-footed balloonMan whistlesfarandwee

Page 27: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““the hills”the hills”

the hillslike poets put onpurple thought againstthemagnificent clamor of

daytorturedin gold, which presently

crumpledcollapsesexhaling a red soul into the dark

soduneyed masterenterthe sweet gates

of my heart andtakethe rose

which perfect is With killing hands

Page 28: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

the skywas can dy

lu mi nous ed

Ible spry pinks

shy lemons

greenscool

choco lates

un dera lo

como tive s pout

ingvi

o lets

Page 29: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

l(a

leaffa

ll

s)onel

iness

Page 30: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

r-p-o-p-h-e-s-s-a-g-rwho

a(s w(e loo)kupnowgath

PPEGORHRASS eringint(o-

aThe):leA

!p:S a

(rrIvInG .gRrEaPsPhOs)

torea(be)rran(com)gi(e)ngly

,grasshopper;

Page 31: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Post Modern PoetryPost Modern Poetry

►1950-19901950-1990 Reaction against the ordered, rational Reaction against the ordered, rational

view of the worldview of the world Reaction against stifling conformity of Reaction against stifling conformity of

post WWII Americapost WWII America Emphasized the absurdEmphasized the absurd

Page 32: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

►Personal to individual poet’s life and Personal to individual poet’s life and experiencesexperiences Subjects previously not discussed openlySubjects previously not discussed openly

►Private experiences with feelings about Private experiences with feelings about DEATHDEATH TRAUMATRAUMA DEPRESSIONDEPRESSION RELATIONSHIPSRELATIONSHIPS

►Poetry explored the psychological aspects of Poetry explored the psychological aspects of these types of events on the psychethese types of events on the psyche

► CONFESSIONAL POETS: SYLVIA PLATH, ANNE CONFESSIONAL POETS: SYLVIA PLATH, ANNE SEXTON, ROBERT LOWELLSEXTON, ROBERT LOWELL

Confessional PoetryConfessional Poetry

Page 33: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““Mirror” by Sylvia PlathMirror” by Sylvia Plath

►Personifies the mirrorPersonifies the mirror In what ways does the mirror describe itself? In what ways does the mirror describe itself?

►Silver, exactSilver, exact►Not cruel, only truthfulNot cruel, only truthful►The eye of a little godThe eye of a little god

What does the mirror spend most of its time What does the mirror spend most of its time doing? doing? ►Mediating on the opposite wallMediating on the opposite wall

When the woman appears in the second stanza, When the woman appears in the second stanza, how does she react to the mirror? Why?how does she react to the mirror? Why?

Page 34: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

Beat PoetsBeat Poets►Sub-genre of Post Modern MovementSub-genre of Post Modern Movement

1940s-1950s—NYC and San Francisco1940s-1950s—NYC and San Francisco Questioned mainstream politics and cultureQuestioned mainstream politics and culture

►Rejected conformity and traditionRejected conformity and tradition BOTH SOCIAL CONFORMITY AND TRADITION AS WELL AS BOTH SOCIAL CONFORMITY AND TRADITION AS WELL AS

LITERARYLITERARY

Goals of the Beat PoetsGoals of the Beat Poets►Changing consciousness throughChanging consciousness through

Use of hallucinogens Use of hallucinogens Mediation/Eastern PhilosophyMediation/Eastern Philosophy

►Defy conventional writingDefy conventional writing► Beat Poets: Allen Ginsberg, Gary Snyder, Lawrence FerlinghettiBeat Poets: Allen Ginsberg, Gary Snyder, Lawrence Ferlinghetti

Page 35: Modern, Post-Modern, & Contemporary Poetry. Modern Poetry (1900-1950) ► Follows basic characteristics of Modernism  Rejection of traditional form and

““Homework” by Allen Homework” by Allen GinsbergGinsberg

If I were doing my Laundry I’d wash my dirty IranI’d throw in my United States, and pour on the Ivory Soap, scrub up Africa, put all the birds and elephants back in the jungle,I’d wash the Amazon river and clean the oily Carib & Gulf of Mexico,   Rub that smog off the North Pole, wipe up all the pipelines in Alaska,   Rub a dub dub for Rocky Flats and Los Alamos, Flush that sparkly Cesium out of Love CanalRinse down the Acid Rain over the Parthenon & Sphinx, Drain Sludge out of the Mediterranean basin & make it azure again,Put some blueing back into the sky over the Rhine, bleach the little Clouds so snow return white as snow,Cleanse the Hudson Thames & Neckar, Drain the Suds out of Lake Erie   Then I’d throw big Asia in one giant Load & wash out the blood & Agent Orange,Dump the whole mess of Russia and China in the wringer, squeeze out the tattletail Gray of U.S. Central American police state,& put the planet in the drier & let it sit 20 minutes or an Aeon till it came out clean.