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Eliot
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Montale
Only those who will risk going too far can possibly find out how far one can go T.S. Eliot
Poetry, Poems, Bios & More poets.org Poetry, Poems, Bios & More poets.org Lost Generation - Wikipedia, the free encyclopedia en.wikipedia.org American literature: The Lost Generation and After Infoplease.com infoplease.com T.S. Eliot - Biography nobelprize.org Eugenio Montale - Wikipedia, the free encyclopedia en.wikipedia.org Il Pendolo (Rivista trimestrale gratuita a cura del Circolo letterario Bel-Ami) Letteratura La poesia di Eliot e Montale fra modernismo e metafisica ilpendolo.info
Thats not it at all, thats not what I meant at all from The Love Song of J. Alfred Prufrock, by T. S. Eliot
Modernism
The English novelist Virginia Woolf declared that human nature underwent a fundamental change on or about December 1910. The statement testifies to the modern writers fervent desire to break with the past, rejecting literary traditions that seemed outmoded and diction that seemed too genteel to suit an era of technological breakthroughs and global violence. On or about 1910, just as the automobile and airplane were beginning to accelerate the pace of human life, and Einsteins ideas were transforming our perception of the universe, there was an explosion of innovation and creative energy that shook every field of artistic endeavor. Artists from all over the world converged on London, Paris, and other great cities of Europe to join in the ferment of new ideas and movements: Cubism, Constructivism, Futurism, Acmeism, and Imagism were among the most influential banners under which the new artists grouped themselves. It was an era when major artists were fundamentally questioning and reinventing their art forms: Matisse and Picasso in painting, James Joyce and Gertrude Stein in literature, Isadora Duncan in dance, Igor Stravinsky in music, and Frank Lloyd Wright in architecture. The excitement, however, came to a terrible climax in 1914 with the start of the First World War, which wiped out a generation of young men in Europe, catapulted Russia into a catastrophic revolution, and sowed the seeds for even worse conflagrations in the decades to follow. By the wars end in 1918, the centuries-old European domination of the world had ended and the American Century had begun. For artists and many others in Europe, it was a time of profound disillusion with the values on which a whole civilization had been founded. But it was also a time when the avante-garde experiments that had preceded the war would, like the technological wonders of the airplane and the atom, inexorably establish a new dispensation, which we call modernism. Among the most instrumental of all artists in effecting this change were a handful of American poets. Ezra Pound, the most aggressively modern of these poets, made Make it new! his battle cry. In London Pound encountered and encouraged his fellow expatriate T. S. Eliot, who wrote what is arguably the most famous poem of the twentieth centuryThe Waste Landusing revolutionary techniques of composition, such as the collage. Both poets turned to untraditional sources for inspiration, Pound to classical Chinese poetry and Eliot to the ironic poems of the 19th century French symbolist poet Jules Laforgue. H. D. (Hilda Doolittle) followed Pound to Europe and wrote poems that, in their extreme concision and precise visualization, most purely embodied his famous doctrine of imagism. Among the American poets who stayed at home, Wallace Stevensa mild-mannered executive at a major insurance firm in Hartford, Connecticuthad a flair for the flashiest titles that poems have ever had: Peter Quince at the Clavier, Thirteen Ways of Looking at a Blackbird, Le Monocle de Mon Oncle. Stevens, the aesthete par excellence, exalted the imagination for its ability to press back against the pressure of reality. What was new in Marianne Moore was her brilliant and utterly original use of quotations in her poetry, and her surpassing attention to the poetic image. What was new in E. E. Cummings was right on the surface, where all the words were in lower-case letters and a parenthesis (a leaf falls) may separate the l from oneliness. William Carlos Williams wrote in plain American which cats and dogs can read, to use a phrase
of Marianne Moore. No ideas but in things, he proclaimed. In succinct, often witty poems he presents common objects or eventsa red wheelbarrow, a person eating plumswith freshness and immediacy, enlarging our understanding of what a poems subject matter can be. Unlike Williams, Robert Frost favored traditional devicesblank verse, rhyme, narrative, the sonnet formbut he, too, had a genius for the American vernacular, and his pitiless depiction of a cruel natural universe marks him as a peculiarly modern figure who is sometimes misread as a genial Yankee sage. Of the many modern poets who acted on the ambition to write a long poem capable of encompassing an entire era, Hart Crane was one of the more notably successful. In his poem The Bridge, the Brooklyn Bridge is both a symbol of the new world and a metaphor allowing the poet to cross into different periods, where he may shake hands in the past with Walt Whitman and watch as the train called the Twentieth Century races into the future. poets.org
In a Station of the Metro The apparition of these faces in the crowd; Petals on a wet, black bough. Ezra Pound
Imagism
The Imagist movement included English and American poets in the early twentieth century who wrote free verse and were devoted to clarity of expression through the use of precise visual images. A strand of modernism, Imagism was officially launched in 1912 when Ezra Pound read and marked up a poem by Hilda Doolittle, signed it H.D. Imagiste, and sent it to Harriet Monroe at Poetry. The movement sprang from ideas developed by T.E. Hulme, who as early as 1908 was proposing to the Poets Club in London a poetry based on absolutely accurate presentation of its subject with no excess verbiage. The first tenet of the Imagist manifesto was To use the language of common speech, but to employ always the exact word, not the nearly-exact, nor the merely decorative word. Imagism was a reaction against the flabby abstract language and careless thinking of Georgian Romanticism. Imagist poetry aimed to replace muddy abstractions with exactness of observed detail, apt metaphors, and economy of language. For example, Pounds In a Station of the Metro started from a glimpse of beautiful faces in a dark subway and elevated that perception into a crisp vision by finding an intensified equivalent image. The metaphor provokes a sharp, intuitive discovery in order to get at the essence of life. Pounds definition of the image was that which presents an intellectual and emotional complex in an instant of time. Pound defined the tenets of Imagist poetry as: I. Direct treatment of the thing, whether subjective or objective. II. To use absolutely no word that does not contribute to the presentation. III. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of the metronome. An Imagist anthology was published in 1914 that collected work by William Carlos Williams, Richard Aldington, and James Joyce, as well as H.D. and Pound. Other imagists included F. S. Flint, D. H. Lawrence, and John Gould Fletcher. By the time the anthology appeared, Amy Lowell had effectively appropriated Imagism and was seen as the movements leader. Three years later, even Amy Lowell thought the movement had run its course. Pound by then was claiming that he invented Imagism to launch H.D.s career. Though Imagism as a movement was over by 1917, the ideas about poetry embedded in the Imagist doctrine profoundly influenced free verse poets throughout the twentieth century. poets.org
The Lost Generation is a term used to refer to the generation, actually a cohort, that came of age during World War I. The term was popularized by Ernest Hemingway who used it as one of two contrasting epigraphs for his novel, The Sun Also Rises. In that volume Hemingway credits the phrase to Gertrude Stein, who was then his mentor and patron. In A Moveable Feast, which was published after Hemingway and Stein were both dead and after a literary feud that lasted much of their life, Hemingway reveals that the phrase was actually originated by the garage owner who serviced Steins car. When a young mechanic failed to repair the car in a way satisfactory to Stein, the garage owner shouted at the boy, You are all a gnration perdue. Stein, in telling Hemingway the story, added, That is what you are. Thats what you all are all of you young people who served in the war. You are a lost generation. This generation included distinguished artists such as F. Scott Fitzgerald, T. S. Eliot, John Dos Passos, Waldo Peirce, Alan Seeger, and Erich Maria Remarque.
In literature
Gertrude Stein with Ernest Hemingways son, Jack Hemingway (nicknamed Bumby) in 1924. Stein is credited with bringing the term Lost Generation into use. The term originated with Gertrude Stein who, after being unimpressed by the skills of a young car mechanic, asked the garage owner where the young man had been trained. The garage owner told her that while young men were easy to train, it was those in their mid-twenties to thirties, the men who had been through World War I, whom he considered a lost generation une gnration perdue. The 1926 publication of Ernest Hemingways The Sun Also Rises popularized the term, as Hemingway used it as an epigraph. The novel serves to epitomize the post-war expatriate generation. However, Hemingway himself later wrote to his editor Max Perkins that the point of the book was not so much about a generation being lost, but that the earth abideth forever; he believed the characters in The Sun Also Rises may have been battered but were not lost. In his memoir A Moveable Feast, published after his death, he writes I tried to balance Miss Steins quotation from the garage owner with one from Ecclesiastes. A few lines later, recalling the risks and losses of the war, he adds: I thought of Miss Stein and Sherwood Anderson and egotism and mental laziness versus discipline and I thought who is calling who a lost generation?
Other uses
Variously, the term is used for the period from the end of World War I to the beginning of the Great Depression, though in the United States it is used for the generation of young people who came of age during and shortly after World War I, alternatively known as the World War I generation. Authors William Strauss and Neil Howe, well known for their generational theory, define the Lost Generation as the cohorts born from 1883 to 1900, who came of age during World War I and the roaring twenties. In Europe, they are mostly known as the Generation of 1914, for the year World War I began. In France, the country in which many expatriates settled, they were sometimes called the Gnration au Feu, the generation in flames. In Britain the term was originally used for those who died in the war, and often implicitly referred to upper-class casualties who were perceived to have died disproportionately, robbing the country of a future elite. Many felt that the flower of youth and the best of the nation had been destroyed, for
example such notable casualties as the poets Isaac Rosenberg, Rupert Brooke, and Wilfred Owen, composer George Butterworth and physicist Henry Moseley. In the late-2000s recession, the phrase is often used when discussing the high level of youth unemployment.
Notes
^ a b Hemingway 1996, p. 29 ^ Mellow 1991, p. 273 ^ Mellow 1992, p. 302 ^ Baker 1972, p. 82 ^ Hemingway 1996, p. 29-30 ^ Howe, Neil; Strauss, William (1991). Generations: The History of Americas Future. 1584 to 2069. New York: William Morrow and Company. pp. 247260. ISBN 0-688-11912-3. ^ Wohl, Robert (1979). The generation of 1914. Cambridge: Harvard University Press. ISBN 978-0-674-34466-2. http://books.google.com/books?id=YLe3e3FDXQkC&lpg=PA1&dq=wohl %201914&pg=PA1#v=onepage&q=&f=false. ^ The Lost Generation: the myth and the reality. Aftermath - when the boys came home. http://www.aftermathww1.com/lostgen.asp. Retrieved 6 November 2009. ^ J. M. Winter (November 1977). Britains Lost Generation of the First World War. Population Studies 31 (3): 449-466. http://www.jstor.org/pss/2173368. ^ What was the lost generation?. Schools Online World War One. BBC. http://www.bbc.co.uk/schools/worldwarone/hq/outcomes1_03.shtml. Retrieved 22 March 2012. ^ Blastland, Michael (17 February 2011). The youth unemployment mystery. Go Figure. BBC. http://www.bbc.co.uk/news/magazine-12480633. Retrieved 1 April 2012.
Sources
Meyers, Jeffrey (1985). Hemingway: A Biography. London: Macmillan. ISBN 0-333-42126-4. Hemingway, Ernest (1996). A Movable Feast. New York: Scribner. ISBN 0-684-82499-X. Mellow, James R. (1992). Hemingway: A Life Without Consequences. New York: Houghton Mifflin. ISBN 0-395-37777-3. Mellow, James R. (1991). Charmed Circle: Gertrude Stein and Company. New York: Houghton Mifflin. ISBN 0-395-47982-7.
Further reading
Fitch, Noel Riley. Sylvia Beach and the Lost Generation: A History of Literary Paris in the Twenties and Thirties. (1985) Norton. Mellow, James R. (1991). Charmed Circle: Gertrude Stein and Company. New York: Houghton Mifflin. ISBN 0-395-47982-7. Categories: Literary movements Cultural generations Aftermath of World War I Roaring Twenties en.wikipedia.org
long before: Wallace Stevens and William Carlos Williams. The admirable novels of Willa Cather did not resort to new devices; the essays of E. B. White were models of pure style, as were the stories of Katherine Anne Porter and Jean Stafford. In this period humor left far behind the broadness of George Ades Fables (1899) for the acrid satire of Ring Lardner and the highly polished style of Robert Benchley and James Thurber. The South still produced superb writers, notably Carson McCullers, Walker Percy, Flannery OConnor, and Eudora Welty, whose works, while often grotesque, were also compassionate and humorous. The tension, horror, and meaninglessness of contemporary American life became a major theme of novelists during the 1960s and 70s. While authors such as Saul Bellow, Bernard Malamud, Hortense Calisher, and Philip Roth presented the varied responses of urban intellectuals, usually Jews, and John Updike and John Cheever treated the largely Protestant middle class, William Burroughs, Joyce Carol Oates, and Raymond Carver unsparingly depicted the conflict and violence inherent in American life at all levels of society. Irony and so-called black humor were the weapons of authors like Roth, Joseph Heller, and Jules Feiffer. However, other writers, notably Donald Barthelme, Jerzy Kosinski, Thomas Pynchon, and Kurt Vonnegut, Jr., expressed their view of the world as unreal, as mad, by writing fantasies that were by turns charming, obscure, exciting, profound, and terrifying. Many of these writers have been called postmodern, but the term encompasses a number of charactistics, including multiculturalism, selfreflection, and attention to new means of communication. Although the poets Allen Ginsberg, Gregory Corso, and Lawrence Ferlinghetti gained initial recognition as part of the beat generation, their individual reputations were soon firmly established. Writers of perceptual verse such as Charles Olson, Robert Creeley, Denise Levertov, and Robert Duncan became widely recognized during the 1960s. One of the most provocative and active poets of the decade was Robert Lowell, who often wrote of the anguish and corruption in modern life. His practice of revelation about his personal life evolved into so-called confessional poetry, which was also written by such poets as Anne Sexton, Sylvia Plath, and, in a sense, John Berryman. Accomplished poets with idiosyncratic styles were Elizabeth Bishop and James Dickey. To some degree, poetry has also become polarized along ideological lines, as shown in the work of feminist poet Adrienne Rich. Meanwhile, the bittersweet lyrics of James Merrill expressed the concerns of a generation. The pressure and fascination of actual events during the 1960s intrigued many writers of fiction, and Truman Capote, John Hersey, James Michener, and Norman Mailer wrote with perception and style about political conventions, murders, demonstrations, and presidential elections. PostVietnam War American literature has called into question many previously unchallenged assumptions about life. In addition, writing in many prose styles, such novelists as Don DeLillo, Peter Taylor, William Kennedy, Richard Ford, Robert Stone, E. Annie Proulx, and T. Coraghessen Boyle have explored a wide variety of experiences and attitudes in contemporary American society. The literature of the 1980s and 90s also encompasses the work of African-American (e.g., Nobel Prizewinner Toni Morrison, Alice Walker, and Gloria Naylor), Latino (e.g., Oscar Hijuelos, Rudolfo Anaya, and Sandra Cisneros), Native American (e.g., Louise Erdrich and N. Scott Momaday), Asian-American (e.g., Maxine Hong Kingston and Amy Tan), and homosexual (e.g., Edmund Wilson, David Leavitt, and Rita Mae Brown) writers, who previously were often excluded or ignored in mainstream literature. The Columbia Electronic Encyclopedia, 6th ed. Copyright 2007, Columbia University Press. All rights reserved. Premium Partner Content Related content from HighBeam Research on: American literature: The Lost Generation and After Scholar and exegete: a tribute to Sacvan Bercovitch, MLA honored scholar of early American literature, 2002. (Early American Literature) Literature Lost: Social Agendas and the Corruption of the Humanities. (The American
Enterprise) Craig Monk. Writing The Lost Generation: Expatriate Autobiography and American Modernism. (Book review) (English Studies in Canada) A Mule on a Piano, Cezanne Hung Upside Down, The Lost Generation Wobbles.(Brief Article) (Newsweek International) Expatriate literature: if, indeed, you cant go home again, why not go far, far, away? (Recommended readings) (Bookmarks) Something Every Teacher and Counselor Needs to Know about African-American Children (Multicultural Education) Interview without Warhol; two years after Warhols death, and 20 years after Interviews launch, the downtown title reshapes its identity. (Folio: the Magazine for Magazine Management) Reconciling Memories of Internment Camp Experiences During WWII in Childrens and Young Adult Literature (ALAN Review) Recovering American Literature. (The Public Interest) In a Generous Spirit: A First Person Biography of Myra Page. (The Womens Review of Books) Additional search results provided by HighBeam Research, LLC. Copyright 2005. All rights reserved. infoplease.com
en.wikipedia.org Eugenio Montale (October 12, 1896 September 12, 1981) was an Italian poet, prose writer, editor and translator, winner of the Nobel Prize for Literature in 1975.
Poetic works
Montale wrote a relatively small number of works. Four anthologies of short lyrics, a quaderno of poetry translation, plus several books of prose translations, two books of literary criticism and one of fantasy prose. Alongside his imaginative work he was a constant contributor to Italys most important newspaper, the Corriere della Sera. Despite having written only a few works, he did however write a forward for Dantes The Divine Comedy or La Comedia Divina. In his foreword he mentions the credibility of Dante, and his insight and unbiased imagination Montales work, especially in his first poetry collection Ossi di seppia (Cuttlefish Bones), which appeared in 1925: as an antifascist, he felt detached from contemporary life and found solace and refuge in the solitude of nature. A famous poem of Ossi di seppia ends with these two verses: Codesto solo oggi possiamo dirti, ci che non siamo, ci che non vogliamo. (Only this is what we can tell you today, that which we are not, that which we do not want.) The Mediterranean landscape of Montales native Liguria was a strong presence in these early poems: they gave him a sort of personal reclusion in face of the depressing events around him. These poems emphasise his personal solitude and empathy with the little and insignificant things around him, or with its horizon, the sea. According to Montale, nature is rough, scanty, dazzling. In a world filled with defeat and despair, nature alone seemed to possess dignity, the same that the reader experiences in reading his poems.
Works
Each year links to its corresponding [year] in literature or [year] in poetry article: 1925: Ossi di seppia (Cuttlefish Bones), first edition; second edition, 1928, with six new poems and an introduction by Alfredo Gargiulo; third edition, 1931, Lanciano: Carabba 1932: La casa dei doganieri e altre poesie, a chapbook of five poems published in association with the award of the Premio del Antico Fattore to Montale; Florence: Vallecchi 1939: Le occasioni (The Occasions), Turin: Einaudi 1943: Finisterre, a chapbook of poetry, smuggled into Switzerland by Gianfranco Contini; Lugano: the Collana di Lugano (June 24); second edition, 1945, Florence: Barbra 1948: Quaderno di traduzioni, translations, Milan: Edizioni della Meridiana 1948: La fiera letteraria poetry criticism 1956: La bufera e altro (The Storm and Other Things), a first edition of 1,000 copies, Venice: Neri Pozza; second, larger edition published in 1957, Milan: Arnaldo Mondadore Editore 1956: Farfalla di Dinard, stories, a private edition 1962: Satura, poetry, published in a private edition, Verona: Oficina Bodoni 1962: Accordi e pastelli (Agreements and Pastels), Milan: Scheiwiller (May) 1966: Il colpevole 1966: Auto da f: Cronache in due tempi, cultural criticism, Milan: Il Saggiatore 1966: Xenia, poems in memory of Mosca, first published in a private edition of 50 1969: Fuori di casa, collected travel writing 1971: Satura (19621970) (January) 1971: La poesia non esiste, prose; Milan: Scheiwiller (February) 1973: Diario del 71 e del 72, Milan: Arnoldo Mondadori Editore (a private edition of 100 copies was published in 1971) 1973: Trentadue variazioni, an edition of 250 copies, Milan: Giorgio Lucini 1977: Quaderno di quattro anni, Milan: Mondadori 1977: Tutte le poesie, Milan: Mondadori 1980: Lopera in versi, the Bettarini-Contini edition; published in 1981 as Altri verse e poesie disperse, publisher: Mondadori Translated in Montales lifetime 1966: Ossi di seppia, Le ocassioni, and La bufera e altro, translated by Patrice Angelini into French; Paris: Gallimard 1978: The Storm & Other Poems, translated by Charles Wright into English (Oberlin College Press), ISBN 0-932440-01-0 Posthumous 1981: Prime alla Scala, music criticism, edited by Gianfranca Lavezzi; Milan: Mondadori 1981: Lettere a Quasimodo, edited by Sebastiano Grasso; publisher: Bompiani 1983: Quaderno genovese, edited by Laura Barile; a journal from 1917, first published this year; Milan: Mondadori 1991: Tutte le poesie, edited by Giorgio Zampa. Jonathan Galassi calls this book the most comprehensive edition of Montales poems. 1996: Diario postumo: 66 poesie e altre, edited by Annalisa Cima; Milan: Mondadori 1996: Il secondo mestiere: Arte, musica, societ and Il secondo mestierre: Prose 1929-1979, a two-volume edition including all of Montales published writings; edited by Giorgio Zampa; Milan: Mondadori 1999: Collected Poems, trans. Jonathan Galassi (Carcanet) (Oxford-Weidenfeld Translation Prize) 2004: Selected Poems, trans. Jonathan Galassi, Charles Wright, & David Young (Oberlin College Press), ISBN 0-932440-98-3
Notes
^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa Eugenio Montale, Collected Poems 1920-1954, translated and edited by Jonathan Galassi, New York: Farrar, Strauss and Giroux, 1998, ISBN 0-374-12554-6 ^ Montale 1948, pp. 190-195. ^ Article of G. Raboni on Corriere della Sera (archiviostorico.corriere.it)
Bibliography
Montale, Eugenio. Eliot and Ourselves. In T. S. Eliot: A Symposium, edited by Richard March and Tambimuttu, 190-195. London: Editions Poetry, 1948. Pietro Montorfani, Il mio sogno di te non finito: ipotesi di speranza nelluniverso montaliano, in Sacra doctrina, (55) 2010, pp. 185196.
External links
Eugenio Montale e la sua poesia (in Italian) Some poems in English Montale at the Nobel E-Museum Montale and T.S.Eliot (in Italian) View page ratings Rate this page Rate this page Page ratings Whats this? Current average ratings. Trustworthy Objective Complete Well-written I am highly knowledgeable about this topic (optional) I have a relevant college/university degree It is part of my profession It is a deep personal passion The source of my knowledge is not listed here I would like to help improve Wikipedia, send me an e-mail (optional)We will send you a confirmation e-mail. We will not share your e-mail address with outside parties as per our feedback privacy statement. Saved successfully Your ratings have not been submitted yet Your ratings have expired Please reevaluate this page and submit new ratings. An error has occurred. Please try again later. Thanks! Your ratings have been saved. Please take a moment to complete a short survey. Thanks! Your ratings have been saved. Do you want to create an account? An account will help you track your edits, get involved in discussions, and be a part of the community. or Thanks! Your ratings have been saved. Did you know that you can edit this page? Categories: 1896 births 1981 deaths Italian poets Nobel laureates in Literature Italian Nobel laureates People from Genoa Italian Life Senators Action Party (Italy) politicians en.wikipedia.org http://www.fareletteratura.it/2012/04/28/video-montale-legge-forse-un-mattino-andando-in-unaria-divetro/ The hollow men http://youtu.be/7KvkJdcmqek
Il Pendolo (Rivista trimestrale gratuita a cura del Circolo letterario Bel-Ami) Letteratura La poesia di Eliot e Montale fra modernismo e metafisica ilpendolo.info