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Imagists insisted on “direct treatment of the ‘thing,’ whether subjective or objective,” on the avoidance of all words “that did not contribute to the presentation,” and on a freer metrical movement. In reaction against Victorian discursiveness, the imagists wrote short, sharply etched, descriptive lyrics.
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The poets of the New Apocalypse, most notably Dylan Thomas, owed something of their imagistic audacity and rhetorical violence to the French surrealists.
With the coming of the 1950s, a new generation of poets, including Donald Davie, Thom Gunn, and Philip Larkin, reacted against what seemed to them the verbal excesses and extravagances of Dylan Thomas and Edith Sitwell, as well as the arcane myths and knotty allusiveness of Yeats, Eliot, and Pound.
Since the 1980s the spectrum of Britain’s poets has become more diverse in class, ethnicity, gender, and region than ever before, introducing a range of voices into the English literary tradition.
In Waiting for Godot, plot is eliminated, and a timeless, circular quality emerges.
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