Topic: american poetry of the 1st half of 20th century. The specific features of robert frost’s poetry contents

Postcolonial poetry





Henry Wadsworth Longfellow in 1873.
The first significant poet of the independent United States was William Cullen Bryant (1794–1878), whose great contribution was to write rhapsodic poems on the grandeur of prairies and forests. However, the first internationally acclaimed poet was Henry Wadsworth Longfellow (1807–1882) who nearly surpassed Alfred, Lord Tennyson in international popularity, and, alongside William Cullen Bryant, John Greenleaf Whittier, James Russell Lowell, and Oliver Wendell Holmes, Sr.,^[13] formed the Fireside Poets (known as the Schoolroom or Household Poets). The Fireside Poets were a group of 19th-century American poets from New England. The name "Fireside Poets" is derived from that popularity: their general adherence to poetic convention (standard forms, regular meter, and rhymed stanzas) made their body of work particularly suitable for being memorized and recited in school and at home, where it was a source of entertainment for families gathered around the fire. The poets' primary subjects were the domestic life, mythology, and politics of the United States, in which several of the poets were directly involved.
Other notable poets to emerge in the early and middle 19th century include Ralph Waldo Emerson (1803–1882), Edgar Allan Poe (1809–1849), Henry David Thoreau (1817–1862), Sidney Lanier (1842–1881), and James Whitcomb Riley (1849–1916). As might be expected, the works of all these writers are united by a common search for a distinctive American voice to distinguish them from their British counterparts. To this end, they explored the landscape and traditions of their native country as materials for their poetry.
The most significant example of this tendency may be The Song of Hiawatha by Longfellow. This poem uses Native American tales collected by Henry Rowe Schoolcraft, who was superintendent of Indian affairs for Michigan from 1836 to 1841. Longfellow imitated the meter of the Finnish epic poem Kalevala, possibly to avoid British models. The resulting poem, while a popular success, did not provide a model for future U.S. poets.
As time went on, the influence of the transcendentalism of the poet/philosophers Emerson and Thoreau increasingly influenced American poetry. Transcendentalism was the distinctly American strain of English Romanticism that began with William Wordsworth and Samuel Taylor Coleridge. Emerson, arguably one of the founders of transcendentalism, had visited England as a young man to meet these two English poets, as well as Thomas Carlyle. While Romanticism transitioned into Victorianism in post-reform England, it became energetic in America from the 1830s through to the Civil War.
Edgar Allan Poe was a unique poet during this time, brooding over themes of the macabre and dark, connecting his poetry and aesthetic vision to his philosophical, psychological, moral, and cosmological theories.^[16] Diverse authors in France, Sweden and Russia were heavily influenced by his works. The poet Charles Baudelaire was particularly obsessed with Poe, and drew upon the American poet to invent Symbolism in French poetry. Also, Poe's poem "The Raven" swept across Europe and was translated into many languages. He declined in popularity as a poet, however, and alienated himself from his contemporaries by publicly accusing Henry Wadsworth Longfellow of plagiarism—although Longfellow never responded. In the 20th century, American poet William Carlos Williams said of Poe that "in him American literature is anchored, in him alone, on solid ground."
Whitman and Dickinson
The final emergence of a truly indigenous English-language poetry in the United States was the work of two poets, Walt Whitman (1819–1892) and Emily Dickinson (1830–1886). On the surface, these two poets could not have been less alike. Whitman's long lines, derived from the metric of the King James Version of the Bible, and his democratic inclusiveness stand in stark contrast with Dickinson's concentrated phrases and short lines and stanzas, derived from Protestant hymnals.

Walt Whitman

Emily Dickinson
What links them is their common connection to Emerson (a passage from whom Whitman printed on the second edition of Leaves of Grass), and the daring originality of their visions. These two poets can be said to represent the birth of two major American poetic idioms—the free metric and direct emotional expression of Whitman, and the gnomic obscurity and irony of Dickinson—both of which would profoundly stamp the American poetry of the 20th century.
The development of these idioms, as well as conservative reactions against them, can be traced through the works of poets such as Edwin Arlington Robinson (1869–1935), Stephen Crane (1871–1900), Robert Frost (1874–1963), Carl Sandburg (1878–1967), and Edna St. Vincent Millay (1892-1950). Frost, in particular, is a commanding figure, who aligned strict poetic meter, particularly blank verse and terser lyrical forms, with a "vurry Amur'k'n" (as Pound put it) idiom. He successfully revitalized a rural tradition with many English antecedents from his beloved Golden Treasury and produced an oeuvre of major importance, rivaling or even excelling in achievement that of the key modernists and making him, within the full sweep of traditional modern English-language verse, a peer of Hardy and Yeats. But from Whitman and Dickinson the outlines of a distinctively new organic poetic tradition, less indebted to English formalism than Frost's work, were clear to see, and they would come to full fruition in the 1910s and 1920s. As Colin Falck noted, "To the Whitmanian heritage of cadenced free verse she [Millay] brings the greater reflective tightness of Robinson Jeffers."
Modernism and after
This new idiom, combined with a study of 19th-century French poetry, formed the basis of American input into 20th-century English-language poetic modernism. Ezra Pound (1885–1972) and T.S. Eliot (1888–1965) were the leading figures at the time, with their rejection of traditional poetic form and meter and of Victorian diction. Both steered American poetry toward greater density, difficulty, and opacity, with an emphasis on techniques such as fragmentation, ellipsis, allusion, juxtaposition, ironic and shifting personae, and mythic parallelism. Pound, in particular, opened up American poetry to diverse influences, including the traditional poetries of China and Japan.

T.S. Eliot
Numerous other poets made important contributions at this revolutionary juncture, including Gertrude Stein (1874–1946), Wallace Stevens (1879–1955), William Carlos Williams (1883–1963), Hilda Doolittle (H.D.) (1886–1961), Marianne Moore (1887–1972), E.E. Cummings (1894–1962), and Hart Crane (1899–1932). The cerebral and skeptical Romantic Stevens helped revive the philosophical lyric, and Williams was to become exemplary for many later poets because he, more than any of his peers, contrived to marry spoken American English with free verse rhythms. Cummings remains notable for his experiments with typography and evocation of a spontaneous, childlike vision of reality.
Whereas these poets were unambiguously aligned with high modernism, other poets active in the United States in the first third of the 20th century were not. Among the more important of the latter were those who were associated with what came to be known as the New Criticism. These included John Crowe Ransom (1888–1974), Allen Tate (1899–1979), and Robert Penn Warren (1905–1989). Other poets of the era, such as Archibald MacLeish (1892–1982), experimented with modernist techniques but were drawn toward traditional modes of writing. Still others, such as Robinson Jeffers (1887–1962), adopted Modernist freedom while remaining aloof from Modernist factions and programs.
In addition, there were still other, early 20th-century poets who maintained or were forced to maintain a peripheral relationship to high modernism, likely due to the racially charged themes of their work. They include Countee Cullen (1903–1946), Alice Dunbar Nelson (1875–1935), Gwendolyn Bennett (1902–1981), Langston Hughes (1902–1967), Claude McKay (1889–1948), Jean Toomer (1894–1967), and other African American poets of the Harlem Renaissance.
The modernist torch was carried in the 1930s mainly by the group of poets known as the Objectivists. These included Louis Zukofsky (1904–1978), Charles Reznikoff (1894–1976), George Oppen (1908–1984), Carl Rakosi (1903–2004) and, later, Lorine Niedecker (1903–1970). Kenneth Rexroth, who was published in the Objectivist Anthology, was, along with Madeline Gleason (1909–1973), a forerunner of the San Francisco Renaissance. Many of the Objectivists came from urban communities of new immigrants, and this new vein of experience and language enriched the growing American idiom.
World War II and after
Archibald Macleish called John Gillespie Magee, Jr. "the first poet of the war".
World War II saw the emergence of a new generation of poets, many of whom were influenced by Wallace Stevens and Richard Eberhart (1904–2005). Karl Shapiro (1913–2000), Randall Jarrell (1914–1965) and James Dickey (1923–1997) all wrote poetry that sprang from experience of active service. Together with Elizabeth Bishop (1911–1979), Theodor Seuss Geisel (Dr. Seuss) (1904-1991), Theodore Roethke (1908–1963) and Delmore Schwartz (1913–1966), they formed a generation of poets that in contrast to the preceding generation often wrote in traditional verse forms.
After the war, a number of new poets and poetic movements emerged. John Berryman (1914–1972) and Robert Lowell (1917–1977) were the leading lights in what was to become known as the Confessional movement, which was to have a strong influence on later poets like Sylvia Plath (1932–1963) and Anne Sexton (1928–1974). Though both Berryman and Lowell were closely acquainted with Modernism, they were mainly interested in exploring their own experiences as subject matter and a style that Lowell referred to as "cooked" – that is, consciously and carefully crafted.

Denise Levertov
In contrast, the Beat poets, who included such figures as Jack Kerouac (1922–1969), Allen Ginsberg (1926–1997), Gregory Corso (1930–2001), Joanne Kyger (1934-2017), Gary Snyder (born 1930), Diane Di Prima (1934-2020), Amiri Baraka (1934-2014) and Lawrence Ferlinghetti (1919-2020), were distinctly raw. Reflecting, sometimes in an extreme form, the open, relaxed and searching society of the 1950s and 1960s, the Beats pushed the boundaries of the American idiom in the direction of demotic speech perhaps further than any other group.
Around the same time, the Black Mountain poets, under the leadership of Charles Olson (1910–1970), were working at Black Mountain College in North Carolina. These poets were exploring the possibilities of open form but in a much more programmatic way than the Beats. The main poets involved were Robert Creeley (1926–2005), Robert Duncan (1919–1988), Denise Levertov (1923–1997), Ed Dorn (1929–1999), Paul Blackburn (1926–1971), Hilda Morley (1916–1998), John Wieners (1934–2002), and Larry Eigner (1927–1996). They based their approach to poetry on Olson's 1950 essay Projective Verse, in which he called for a form based on the line, a line based on human breath and a mode of writing based on perceptions juxtaposed so that one perception leads directly to another. This in turn influenced the works of Michael McClure (1932-2020), Kenneth Irby (1936–2015), and Ronald Johnson (1935–1998), poets from the Midwestern United States who moved to San Francisco, and in so doing extended the influence of the Black Mountain school geographically westward; their participation in the poetic circles of San Francisco can be seen as partly forming the basis for what would later be known as "Language poetry."
Other poets often associated with the Black Mountain are Cid Corman (1924–2004) and Theodore Enslin (1925-2011), but they are perhaps correctly viewed as direct descendants of the Objectivists. One-time Black Mountain College resident, composer John Cage (1912–1992), along with Jackson Mac Low (1922–2004), wrote poetry based on chance or aleatory techniques. Inspired by Zen, Dada and scientific theories of indeterminacy, they were to prove to be important influences on the 1970s U.S avant-garde.
The Beats and some of the Black Mountain poets often are considered to have been responsible for the San Francisco Renaissance. However, as previously noted, San Francisco had become a hub of experimental activity from the 1930s thanks to Kenneth Rexroth and Gleason. Other poets involved in this scene included Charles Bukowski (1920–1994) and Jack Spicer (1925–1965). These poets sought to combine a contemporary spoken idiom with inventive formal experiment.
Jerome Rothenberg (born 1931) is well known for his work in ethnopoetics, but he was the coiner of the term "deep image", which he used to describe the work of poets like Robert Kelly (born 1935), Diane Wakoski (born 1937) and Clayton Eshleman (1935-2021). Deep Image poetry was inspired by the symbolist theory of correspondences, in particular the work of Spanish poet Federico García Lorca. The term later was popularized by Robert Bly. The Deep Image movement was the most international, accompanied by a flood of new translations from Latin American and European poets such as Pablo Neruda, César Vallejo and Tomas Tranströmer. Some of the poets who became associated with Deep Image are Galway Kinnell, James Wright, Mark Strand and W.S. Merwin. Both Merwin and California poet Gary Snyder became known for their interest in environmental and ecological concerns.
The Small Press poets (sometimes called the mimeograph movement) are another influential and eclectic group of poets who surfaced in the San Francisco Bay Area in the late 1950s and are still active today^.
Fiercely independent editors, who were also poets, edited and published low-budget periodicals and chapbooks of emerging poets who might otherwise have gone unnoticed. This work ranged from formal to experimental. Gene Fowler, A.D. Winans, Hugh Fox, street poet and activist Jack Hirschman, Paul Foreman, Jim Cohn, John Bennett, and F.A. Nettelbeck are among the many poets who are still actively continuing the Small Press Poets tradition. Many have turned to the new medium of the Web for its distribution capabilities.
Los Angeles poets: Leland Hickman (1934–1991), Holly Prado (1938-2019), Harry Northup (born 1940), Wanda Coleman (1946-2013), Michael C. Ford (born 1939), Kate Braverman (1949-2019), Eloise Klein Healy (born 1943), Bill Mohr, Laurel Ann Bogen, met at Beyond Baroque Literary Arts Center, in Venice, California. They are lyric poets, heavily autobiographical; some are practitioners of the experimental long poem. Their predecessors in Los Angeles were Ann Stanford (1916–1987), Thomas McGrath (1916–1990), Jack Hirschman (1933-2021). Beyond Baroque Literary Arts Center, created by George Drury Smith in 1968, is the central literary arts center in the Los Angeles area.
Just as the West Coast had the San Francisco Renaissance and the Small Press Movement, the East Coast produced the New York School. This group aimed to write poetry that spoke directly of everyday experience in everyday language and produced a poetry of urbane wit and elegance that contrasts with the work of their Beat contemporaries (though in other ways, including their mutual respect for American slang and disdain for academic or "cooked" poetry, they were similar). Leading members of the group include John Ashbery (1927-2017), Frank O'Hara (1926–1966), Kenneth Koch (1925–2002), James Schuyler (1923–1991), Barbara Guest (1920–2006), Ted Berrigan (1934–1983), Anne Waldman (born 1945) and Bernadette Mayer (born 1945). Of this group, John Ashbery, in particular, has emerged as a defining force in recent poetics, and he is regarded by many as the most important American poet since World War II.
American poetry today

Poems became shorter and more concise -- a much simpler, less ornate style was preferred. Some famous modernist poets include W.B. Yeats, Robert Frost and W.H. Auden. After about 1945, the postmodern movement brought more abstract and experimental styles to poetry. Text could be fragmented and sometimes very obscure

y the beginning of the 20th century, poetry had come a long way. Some poets loved using prescribed structures and forms, while others rejected these ideas completely and tried to do their own thing.
By The early 20th century saw a lot of push against formal structure and style. The modernist movement of the early 1900s was in a way fighting back against the idea that poetry should be elegant and beautiful. Poems became shorter and more concise -- a much simpler, less ornate style was preferred. Some famous modernist poets include W.B. Yeats, Robert Frost and W.H. Auden.
After about 1945, the postmodern movement brought more abstract and experimental styles to poetry. Text could be fragmented and sometimes very obscure. From the postmodern movement came the beat poets, such as Allen Ginsberg and Jack Kerouac, who rebelled against mainstream society in their themes and styles. From the beat movement emerged a style known as spoken word, which is a type of poetry that is both performed and makes some kind of a statement (typically something political).
Today, you can find poets and poetry of all sorts. While poetry may not be as much a part of the mainstream as it had been in previous generations, it's certainly not a lost art form if you know where to look. Many bars, cafés and schools still host poetry readings where experienced or novice poets can share their work with others.
One great way to hear modern poets today is to attend a poetry slam, which is a competition where poets battle against one another and are judged on their poem performances. Some poetry slams use an elimination system and a series of elimination rounds through which poets must progress.
Some people also look at music as a form of poetry. Musicians like Bob Dylan are well known for the poetic qualities of the lyrics they write. Rap music also is known to follow many of the structures, meters and rhyme schemes that are associated with poetry.