Content. Introduction. Chapter. I. Famous Irish Poet

Content.
Introduction.
Chapter.I. Famous Irish Poet.
1.1 Modernism in literature.
1.2 William Butler Yeat’s biography.
Chapter.II. The aspects of modernism in The Wild Swans of Coole by W.B. Yeats.
2.1 William Butler’s Famous work.
2.2 The aspects of modernism in The Wild Swans of Coole by W.B. Yeats.
Conclusion.
References.


Introduction
Two key characteristics define the writing style known as modernist poetry. The extensive use of free verse in the writing is the first technical novelty. The second departs from the Romantic notion of an unproblematic poetic "self" directly addressing an ideal reader or audience that is also unproblematic. Most scholars agree that the Imagist poets' debut at the beginning of the 20th century marked the beginning of modernist poetry in English. These poets, like a large number of other modernists, were responding to what they perceived as the excesses of Victorian poetry, which placed an emphasis on classical formalism and unnecessarily flowery poetic terminology. Their critique of modern poetry resembles William Wordsworth's Preface to Lyrical Ballads, which he penned almost a century earlier and used to launch the Romantic movement in British poetry.The modernists generally believed that they were returning to the best techniques used by poets in earlier times and other cultures. They looked to the troubadours, Dante, the medieval Italian philosopher poets (such Guido Cavalcanti), the Chinese and Japanese poets, the English Metaphysical writers, and ancient Greek literature as models. Early poetry by these authors sometimes took the form of brief, concise lyrics. Longer poems, however, became more prevalent as modernist poetry in English developed. The majority of the modernist movement's literary contributions to the canon of English poetry from the 20th century are these lengthy poems. Intimate connections exist between modernist poetry's pursuit of technical breakthroughs and its self-examination. Through the use of techniques like collage, found poetry, visual poetry, the juxtaposition of seemingly unrelated objects, and combinations of these, the authorial presence is dislocated. These devices are used to provoke thought in the reader about the nature of the poetry experience rather than for their own sake. Parallel advances in other forms of art, including painting and music, were also occurring at the same time as these innovations.¹ Additionally, Modernist poetry rejected the traditional aesthetic claims of the latter stage of Romantic poetry and stopped looking for "beauty" as the pinnacle of verse. A shift away from pastoral poetry and an effort to concentrate poetry on urban, mechanical, and industrial contexts resulted from this abandoning of the sublime. The new locations would not be "romantic chasms deep and vast," but rather abandoned lots, smoke-covered cities, and subways. The new heroes would not be swains working in the fields, but office employees trudging across London Bridge. The attention on the poem's surface is another crucial aspect of a lot of English modernist poetry. The literal meaning of the words on the page, as opposed to any metaphorical or symbolic connotations that might be ascribed to them, is the emphasis of most of this work. Ezra Pound advised aspiring writers to "buy a dictionary and learn the meanings of words" in his 1937 book The ABC of Reading, and T.S. Eliot responded when asked what the line "Lady, three white leopards sat under a juniper tree in the cool of the day" from Ash Wednesday (1927) meant, "It means 'Lady, three white leopards sat under a juniper tree in the cool of the day. William Carlos Williams' 1944 remark that "A poem is a small (or large) machine fashioned out of words" is also germane is relevant today. The writings of several earlier authors, such as Walt Whitman, whose lengthy lines resembled a form of free verse, Oscar Wilde's prose poetry, Robert Browning's subversion of the poetic self, Emily Dickinson's compression, and the early English Symbolists, particularly Arthur Symons, are where the roots of English-language poetic modernism can be found. The Imagist movement marked the first time a truly modernist literary style in the language emerged, yet these poets essentially stuck to the fundamental principles of the Romantic movement. Gerard Manley Hopkins, a peculiar member of the early modernist movement (similar to a later Ezra Pound), believed that sound could propel poetry and wrote in a radically experimental prosody on radically conservative principles. Therefore, a significant poetic device of modernism would be poetic sonic effects (chosen for verbal and aural felicity, not only images chosen for their visual evocativeness).