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Adams, John in Canto LXXI, 44 in Canto LXXXIV, 35 in the Cantos Cambridge University Press 978-0-521-76447-6 - The Cambridge Introduction to Modernist Poetry Peter Howarth Index More information Index Adams, John Ashbery, John, 218 in Canto LXXI, 44 Athenaeum, The 63 in Canto LXXXIV, 35 Auden, W. H. in The Cantos, 51 and modernism, 189, 191 Adorno, Theodor, 14, 180–2 on difficulty, 171 and Weber, 180 The Orators, 189 advertising, 5, 7, 22–3 autonomy (of poem), 7–8 influence of, 11 avant-garde, 95, 163, 164 Aldington, Richard against compromise, 144 and H. D., 159 against fascism, 187 Some Imagist Poets, 126 against genre, 142 Allen, Donald, 214 and art–life division, 142, 144 Altieri, Charles, 139 and audience relations, 145 An “Objectivists” Anthology, 203 and black culture, 193 Anderson, Margaret, 186 and consumerism, 145 anthology, 36, 46 and feminism, 143 and publicity, 45 and ‘Language’ writing, 219 as compilation, 41 and mainstream, 142, 145–6 as education, 45 and manifestos, 142–5 as means of selection, 36 and modernism, 186 Anthology of Revolutionary Poetry, and organic form, 188 The, 198 and performance, 142 Des Imagistes, 12 and ‘post-avant’ poetry, 221 Georgian Poetry 1918–1919, 1 and Puritans, 176 Palgrave’s Golden Treasury, 46 and sexuality, 163 Apollinaire, Guillaume, 4 and transnationalism, 142 and advertising, 22 anti-personal composition, 142 and Simultaneism, 141 as postmodernism, 214 and Stein, 155 Blaise Cendrars and, 141 Arensburg, Walter, 114 characteristics of, 141–2 Armory Show, 106 experiments with layout, 14 Arnold, Matthew, 14 hybrid works, 141 art’s relation to society, 13, 187–8, influence of, 145 197–207 Kurt Schwitters and, 141 Arts and Crafts movement, 14 left-wing origins, 142 247 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76447-6 - The Cambridge Introduction to Modernist Poetry Peter Howarth Index More information 248 Index avant-garde (cont.) Breton, Andre´ military origins, 144 and avant-garde, 144 rivalries of, 144 and left-wing alliances, 197 sound poetry, 4, 141 British Poetry Revival, 219 theorists of, 145 broadcasting, 24 use of chance, 14 Brook, Peter, 209 and postmodernism, 214 Baker, Houston A., 21, 186 Brooks, Gwendolyn, 193 balance (in art), 13 Brown, Bob, 221 Ball, Hugo, 141 Brown, Sterling, 192 banks, 10 Browning, Robert, 41 creation of consumer mentality, Eliot on, 74 11 Bunting, Basil, 211–13 Baraka, Amiri, 218 against hierarchy, 213 Barker, George, 191 and British Poetry Revival, 219 Baudelaire, Charles and difficulty, 169 as flaneurˆ , 22 and Objectivism, 203 as reactionary, 74 and orality, 25 in The Waste Land, 70 and performance, 219 on crowds, 12, 22 and Pound, 211 on modernity and time, 25 and Quakers, 213 on the dandy, 59 and regionalism, 212 Bauhaus, The, 14, 143 as late modernist, 219 Baxter, Richard, 127 Briggflatts, 211–13 Beard, George, 22 on poetry as craft, 211 Beat poetry ‘On the Fly-Leaf of Pound’s Cantos’, and Mina Loy, 216 191 and orality, 25 ‘The Well of Lycopolis’, 211 and Pound, 55 bureaucracy, 10, 11 Beeching, John, 198 Burger,¨ Peter, 145 Benjamin, Walter, 13 Burnshaw, Stanley, 137 Bergson, Henri, 26–7 Bynner, Witter, 185 Black Mountain College, 215 and Pound, 55 Cabaret Voltaire, 141 Blackmur,R.P., 122 Cage, John, 214 Blake, William, 58 Camera Work, 106 and difficulty, 182 Carpenter, Edward, 163 Blast Catholic Anthology, 36 and popularity, 143 Catullus, 52 and posters, 22 Cavalcanti, Guido, 43 andT.S.Eliot, 63 Cendrars, Blaise, 4, 145 as vortex, 45 ‘Contraste’, 18 on individualism, 15 Prose du Transsib´erien, 14, 141, 188 Bogan, Louise, 191 Cesaire,´ Aime,´ 200 Brathwaite, Kamau, 81 Chaplin, Charlie, 75 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76447-6 - The Cambridge Introduction to Modernist Poetry Peter Howarth Index More information Index 249 cinema, 25 Manifesto (1918), 17 cities, 4, 21–2 mixing high and low art, 143 and blaseattitude,´ 22 on artist and audience, 8 and nerves, 22 on journalism, 22 and unconscious, 20 on spontaneity, 143 in Eliot, 61 sound-poetry, 147 Close Up, 163 spontaneous composition, 14 Coffey, Brian, 219 dandyism, 59 Coleridge, Samuel Taylor and Stevens, 139 in Eliot, 74 Daniel, Arnaut, 35 on art and society, 14 Dante (Alighieri) on free verse, 24 in The Waste Land, 63, 68 collective consciousness, 8 La Vita Nuova, 90 and ritual, 29 Purgatorio, 34 and seances,´ 19–20 Davies, Hugh Sykes, 15 in Eliot, 63 de Duve, Thierry, 174 concrete poetry, 188 Delaunay, Sonia, 141 confessional poetry, 214 Demuth, Charles, 114 Constructivism, 141, 143 Dial, The Crane, Hart, 107–10 and Eliot, 63 and Black Mountain poetics, 216 and Marianne Moore, 126 and homosexuality, 108 Diepeveen, Leonard, 169 and The Waste Land, 108 difficulty, 3, 5 ‘Atlantis’, 109 Adorno’s arguments for, 180–2 ‘Garden Abstract’, 107 against domination, 172 on Eliot’s ‘Rhapsody’, 108 against expertise, 174 The Bridge, 109 and America, 105 ‘The Tunnel’, 108–9 and anti-didacticism, 123 Whitman’s influence on, 107 and artistic elitism, 16 Creeley, Robert, 215 and citizen reform, 173–6 impact on ‘Language’ writers, 219 and cultural omnivorousness, 183 Criterion, The, 63 and diversity, 182–4 Ezra Pound in, 41 and elitism, 176–80 Cullen, Countee, 192 and exclusion, 166, 169 Cummings, E. E., 199 and fan clubs, 179 and typography, 188 and immersion, 166 compared to Olson, 216 and mainstream, 182 Cummins, Geraldine (medium), 20 and marketing, 182 Cunard, Nancy, 193 and meaning as property, 168 and ordinary life, 170–1 Dadaism and professionalisation, 177 and Cabaret Voltaire, 141 and reader participation, 175–6 and popular culture, 17 and Schiller, 171 and Pound, 50 andT.S.Eliot, 170 and primitivism, 188 and the University, 176–80 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76447-6 - The Cambridge Introduction to Modernist Poetry Peter Howarth Index More information 250 Index difficulty (cont.) and anti-semitism, 76–7 as anti-narcotic, 171 and automatism, 61 as artistic strategy, 169, 171–3 and avant-garde, 146 as discipline, 176 and banking, 63, 71 as ethical duty, 181 and biography, 72 as means to universality, 174 and Blake, 58 as resistance to homogenisation, and Blitz, 78 181 and canon, 185 in older poets, 167 and Christianity, 77–80 Steiner’s types of, 167–8 and classicism, 50, 63, 67, 73–4 disenchantment, 28 and David Jones, 196 documentary, 199–201 and definition of modernism, 221 Donne, John, 60 and difficulty, 71, 167 difficulty of, 175 and ‘dissociation of sensibility’, Dorn, Ed, 216 170 Douglas, Major C. H., 46–8 and F. H. Bradley, 63–5 Duchamp, Marcel and grail legends, 68 and mass production, 145 and hysteria, 60 and Williams, 114 and impersonality, 215 Duncan, Robert, 216 and marketplace, 187 Durkheim, Emile´ and music hall, 75 on re-enchantment, 30 and Objectivism, 203 theories of, 29 and organicism, 66 and post-colonialism, 80 Eagleton, Terry, 217 and postmodernism, 218 Eastman, Max, 197–8 andQ.D.Leavis, 75 Edwardianism, collapse of, 16 and ritual, 75 Egoist, The, 22 and Schiller, 74 and Eliot, 63 and social reform, 173 and social reform, 173 and tradition, 105 Eigner, Larry, 219 and WWI poetry, 195 electricity, 23–5 and Zukofsky, 202 Eliot, T. S. Ash-Wednesday, 77–8 ‘Ash-Wednesday’, 218 ‘Burbank with a Baedecker: Bleistein ‘Bolo’ poems, 73 with a Cigar’, 76 ‘Eeldrop and Appleplex’, 11, 191 Choruses from The Rock, 76 ‘Mr Eliot’s Sunday Morning Service’, contradictions of, 57–8 4 critical reputation, 3 After Strange Gods, 76 cultural and political criticism, against ‘inner voice’, 66 73–7 against amateurs, 177 disliked by Olson, 216 against Georgians, 65 early criticism, 65–7 against Imagists, 65 Four Quartets, 78–80 against liberalism, 74, 77 impersonality, 66 and America, 80 in Catholic Anthology, 36 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-76447-6 - The Cambridge Introduction to Modernist Poetry Peter Howarth Index More information Index 251 individualism, 63 Eliot, Vivien, 63, 72, 77 influenced by Baudelaire, 12 Ellington, Duke, 182 Inventions of the March Hare, 62 Ellis, Havelock, 163 Knowledge and Experience in the Emerson, Ralph Waldo, 14 Work of F. H. Bradley, 58 and cosmic individualism, 191 leaving America, 105 empire, 4, 7, 10, 11, 21, 43, 193–5 marriage, 63, 72–3, 77 and America, 124 Murder in the Cathedral, 72 ends vs. means in poetry, 9–10, 13, Notes towards the Definition of 25 Culture, 63 Exile, The, 202 on ‘dissociation of sensibility’, 74 on ‘mythic method’, 30 Fascism on authorial ignorance, 168 and Eliot, 75 on dandyism, 59 and Pound, 54–6 on democracy, 74 and Yeats, 100 on Durkheim, 30 Fearing, Kenneth, 198 on free verse, 59 Fenollosa, Ernest, 42 on Imagism, 42 Ficino, Marsilio, 52 on inarticulacy, 178 Fisher, Roy on individual and collective, 63–7 AFurnace, 3, 219 on intuition, 180 Flaubert, Gustave, 14 on literary heritage, 11 Fletcher, John Gould, 22 on Pater, 60 Formalism, Russian, 174 on poem as medium, 20 Forster, E. M., 177 on poetic autonomy, 73 Foster, Roy, 83, 100 on popular culture, 75–6 found materials (as artistic method), on smells, 62 10 ‘Preludes’, 61–2 fragments, 6–7 relation of form and history, 187 and difficulty, 171 ‘Rhapsody on a Windy Night’, 62 and H. D., 159 romanticism of, 186 and Judaism, 182, 202 The Criterion, 63 and Oppen, 209 TheFamilyReunion, 70 and war, 18 ‘The Love-Song of J. Alfred as connective nodes, 17 Prufrock’, 58–61, 80 in Dada, 142 ‘The Metaphysical Poets’, 74, 170, in The Waste Land, 69–70, 71 176 opposition to ends–means, 9 The Waste Land, 4, 63, 68–73 poetic significance of, 9–10 as radio, 24 Schiller’s analysis of, 12 difficulty of, 172 Frazer, J.
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