It can also provide insight into the self-conception of the "protestor.
Macmillan Company, v-xi. IT is impossible for any one writing to-day not to be affected by the war. It has overwhelmed us like a tidal wave. It is the equinoctial storm which bounds a period. So I make no apology for beginning a book of poetical essays with a reference to the war.
In fact, the war and the subject of this volume are not so far apart as might at first appear. The so-called "new movement" in American poetry is evidence of the rise of a native school. The welding together of the whole country which the war has brought about, the mobilizing of our whole population into a single, strenuous endeavour, has produced a more poignant sense of nationality than has recently been the case in this country of enormous spaces and heterogeneous population.
Hyphens are submerged in the solid overprinting of the word "America. It is this realization of ourselves that has drawn us into an understanding sympathy with our allies hardly to be conceived of before.
And let us make no mistake; such a result cannot be reached through a devotion to the teachings of materialism. The real truth is that at a time when most people were bewailing the growth of materialism, already, beneath the surface, the seething of a new idealism was in process.
Long before the shadow of battle flung itself over the world, the travail of this idealism began. Slowly, painfully, it took on a shape, hidden away in the dreams and desires of unknown men. Literature is rooted to life, and although a work of art is great only because of its aesthetic importance, still its very aestheticism is conditioned by its sincerity and by the strength of its roots.
Posterity cares nothing for the views which urged a man to write; to it, the poetry, its beauty as a work of art, is the only thing which matters. But that beauty could not exist without the soil from which it draws its sustenance, and it is a fact that those works of art which are superficial or meretricious do certainly perish remarkably soon.
This is why time alone can determine a man's fate.
Tinsel can be made to look extraordinarily like gold; it is only wear which rubs off the plating. To a certain extent, the change which marks American poetry has been going on in the literature of other countries also. But not quite in the same way. Each country approaches an evolutionary step from its own racial angle, and they move alternately, first one leads and then another, but all together, if we look back a century or so, move the world forward into a new path.
At the moment of writing, it is America who has taken the last, most advanced step. It is not my intention, here, to combat the opinions of the conservatives. Conservatives are always with us, they have been opposing change ever since the days of the cave-men. But, fortunately for mankind, they agitate in vain.
Already the more open minded see that the change going on in the arts is not a mere frivolous interest in experiment. Already the reasons for difference begin to stand out clearly. We who watch realize something of the grandeur of conception toward which this evolution is working.
The modern poets are less concerned with dogma and more with truth. They see in the universe a huge symbol, and so absolute has this symbol become to them that they have no need to dwell constantly upon its symbolic meaning. For this reason, the symbol has taken on a new intensity, and is given much prominence.
What appear to be pure nature poems are of course so, but in a different way from most nature poems of the older writers; for nature is not now something separate -from man, man and nature are recognized as a part of a whole, man being a part of nature, and all falling into a place in a vast plan, the key to which is natural science.
In some modern American poets this attitude is more conscious than in others, but all have been affected by it; it has modified poetry, as it is more slowly modifying the whole of our social fabric.
What sets the poets of to-day apart from those of the Victorian era is an entire difference of outlook. Ideas believed to be fundamental have disappeared and given place to others.
And as poetry is the expression of the heart of man, so it reflects this change to its smallest particle. It has been my endeavour in these essays to follow this evolution, in the movement as a whole, and also in the work of the particular poets who compose it.
I have tried to show what has led each of these men to adopt the habit Of mind which now characterizes him, why he has been forced out of one order into another; how his ideas have gradually taken form in his mind, and in what way he expresses this form in his work.
I have pointed out his ancestry, physical as well as mental, and have noted where atavism has held him back, where pushed him forward. I wish I had space to consider all the men and women whose work has aided to make this movement vigorous and important.
But that must be left to future literary historians.Poets like Ezra Pound, T.S. Elliot, Carl Sandburg, and E.E.
Cummings had written their works with an increasing lack of formality and conventional style. The innovations taking place in poetics were juxtaposed with the evolution of jazz music in the early twentieth century.
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Nicholas Vachel Lindsay (/ ˈ v eɪ tʃ əl ˈ l ɪ n z i /; November 10, – December 5, ) was an American poet. He is considered a founder of modern singing poetry, as he referred to it, in which verses are meant to be sung or chanted.
Carl Sandburg was an American writer and editor, best known for his poetry. He won three Pulitzer Prizes, two for his poetry and another for a biography of Abraham Lincoln.
Apr 19, · poetry of Robert Frost and Carl Sandburg Robert Frost and Carl Sandburg are both important poets in their own right.
Although they both grew up in the same era, their poetry styles have many differences. Carl Sandburg captured the American people’s struggles, dreams, and voice through the lecture platform, poetry, newspaper columns, novel, collection had a profound effect on Carl Sandburg and he spent published more than one-third of his works, hiked trails, and read his poetry at local schools.
He enjoyed meeting new people.