Chapter 6 is entitled “The sway of Romantic Poetics in Jennings’s Moments of Grace and Celebrations and Elegies” .Many critics have argued that Jennings sensibility is Romantic compared to her anti-romantic peers. So the chapter looks into the romantic aspects of her poetry especially with the poems in the above two volumes. The chapter also draws throws light on the essay ‘Fond of What He’s Crapping On’: Movement Poetry and Romanticism by Michael O’ Neill.
Chapter 7 “Elizabeth Jennings as a Woman Poet” ponders into Jennings’s place in the history of Modern British poetry as a woman poet; evaluates the definitions of poetry given by critics, it also looks at the factors responsible for the neglect of woman’s poetry, cross references from her …show more content…
It included a wide variety of poetry from Northern Ireland, Scotland, Wales and English-speaking countries overseas. As the British Empire contracted and Britain’s past colonies achieved freedom, the new migrant populations began to develop their own cross-cultural, English Language poetry using vernacular, slang or regional dialects. After the 1960s a growing number of poets outside the mainstream got acknowledgment. Poets from different ethnic, class and cultural backgrounds are now included in Contemporary English poetry. Peter Finch in his article entitled “British Poetry Since 1945” comments:“Since 1945 British Poetry has moved steadily from what many regard as twentieth century parochial to a twenty-first century international”( 1 …show more content…
However with international fascism on the rise and the nearness of war and the coming of the economic depression, the thirties, also called the Auden decade, threw up an urgent political poetry. The “Macspaunday” supplied the poetic idiom suitable to that decade, an idiom informed by public school Marxism and Freudian beliefs. When war broke out in 1939, the urge to warn which had characterized Auden’s verse was no longer there. The spectre of death and destruction was uppermost in the public mind and the forties needed a new poetic idiom which was supplied by Dylan Thomas, the Apocalyptic poets and the poets of the Celtic Renaissance. Their Neo-Platonic poetry of visionary intensity and thundering rhythms fulfilled a religious need and affirmed life amidst death and decay and disintegration. But poetry after 1945 changed and kept pace with developments in society, with the zeitgeist. The name given to this general propensity after the war was the Movement, which one Oxford undergraduate called: “the only Zeitgeist literature we have” (Morrison
Chapter 7 “Elizabeth Jennings as a Woman Poet” ponders into Jennings’s place in the history of Modern British poetry as a woman poet; evaluates the definitions of poetry given by critics, it also looks at the factors responsible for the neglect of woman’s poetry, cross references from her …show more content…
It included a wide variety of poetry from Northern Ireland, Scotland, Wales and English-speaking countries overseas. As the British Empire contracted and Britain’s past colonies achieved freedom, the new migrant populations began to develop their own cross-cultural, English Language poetry using vernacular, slang or regional dialects. After the 1960s a growing number of poets outside the mainstream got acknowledgment. Poets from different ethnic, class and cultural backgrounds are now included in Contemporary English poetry. Peter Finch in his article entitled “British Poetry Since 1945” comments:“Since 1945 British Poetry has moved steadily from what many regard as twentieth century parochial to a twenty-first century international”( 1 …show more content…
However with international fascism on the rise and the nearness of war and the coming of the economic depression, the thirties, also called the Auden decade, threw up an urgent political poetry. The “Macspaunday” supplied the poetic idiom suitable to that decade, an idiom informed by public school Marxism and Freudian beliefs. When war broke out in 1939, the urge to warn which had characterized Auden’s verse was no longer there. The spectre of death and destruction was uppermost in the public mind and the forties needed a new poetic idiom which was supplied by Dylan Thomas, the Apocalyptic poets and the poets of the Celtic Renaissance. Their Neo-Platonic poetry of visionary intensity and thundering rhythms fulfilled a religious need and affirmed life amidst death and decay and disintegration. But poetry after 1945 changed and kept pace with developments in society, with the zeitgeist. The name given to this general propensity after the war was the Movement, which one Oxford undergraduate called: “the only Zeitgeist literature we have” (Morrison