Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

Modernist LegaciesThe Atypicality of Jeff Hilson: Metrical Language and Modernist Pleasure

Modernist Legacies: The Atypicality of Jeff Hilson: Metrical Language and Modernist Pleasure [Arethinking—and in most cases a rejection—of inherited meters is one of the defining characteristics of the poetry of the Modernist period. The free verse of T. S. Eliot Ezra Pound, and William Carlos Williams, the syllables of Marianne Moore, and rhc syntactic and intonational experiments of Gertrude Stein sought new sonic bases for poetic form: traditional meter was judged to have become too clotted with its past for serious use.1 To the poets and critics who descend from that generation of Modernist innovators, meter has often seemed at best an irrelevancy or a brake on poetry, at worst a nostalgic throwback to previous forms and hierarchies, both aesthetic and political. The comments of David Antin, in a particularly influential essay, arc clean meter is “trivial,” a “phonological idiosyncrasy”; it serves merely as a symbol of order.”2] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Modernist LegaciesThe Atypicality of Jeff Hilson: Metrical Language and Modernist Pleasure

Part of the Modern and Contemporary Poetry and Poetics Book Series
Editors: Lang, Abigail; Smith, David Nowell
Rumsey, Lacy
Modernist Legacies — Dec 22, 2015
Download PDF
19 pages

Loading next page...
 
/lp/springer-journals/modernist-legacies-the-atypicality-of-jeff-hilson-metrical-language-6tk1az5XMM
Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2015
ISBN
978-1-349-56699-0
Pages
109 –128
DOI
10.1057/9781137488756_7
Publisher site
See Chapter on Publisher Site

Abstract

[Arethinking—and in most cases a rejection—of inherited meters is one of the defining characteristics of the poetry of the Modernist period. The free verse of T. S. Eliot Ezra Pound, and William Carlos Williams, the syllables of Marianne Moore, and rhc syntactic and intonational experiments of Gertrude Stein sought new sonic bases for poetic form: traditional meter was judged to have become too clotted with its past for serious use.1 To the poets and critics who descend from that generation of Modernist innovators, meter has often seemed at best an irrelevancy or a brake on poetry, at worst a nostalgic throwback to previous forms and hierarchies, both aesthetic and political. The comments of David Antin, in a particularly influential essay, arc clean meter is “trivial,” a “phonological idiosyncrasy”; it serves merely as a symbol of order.”2]

Published: Dec 22, 2015

Keywords: Hedge Fund; Poetic Rhythm; Unstressed Syllable; Favourite Place; British Poetry

There are no references for this article.