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T. S. Eliot's ____, as a landmark of modernist poetry, is a series of scenes and images with no author’s voice intervening to tell us where we are but with the implications developed through multiple contrasts and through analogies with older literary works often referred to in a distorted quotation or half-concealed allusion.
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____was the dominant figure in what came to be known as “the Movement,” a group of university poets, whose work was seen as counteracting not only the extravagances of modernism but also the influence of Dylan Thomas’s high-flown, apocalyptic rhetoric, and preferred a civil grammar and rational syntax over prophecy, suburban realities over mythmaking.
No other poet presents the welfare-state world of postwar Britain so vividly, so unsparingly, and so tenderly. “Poetry is an affair of sanity, of seeing things as they are,” ____ said; “I don’t want to transcend the commonplace, I love the commonplace life. Everyday things are lovely to me.”
With “Digging,” placed appropriately as the first poem of his first book, ___ defined his territory. He dug into his memory, uncovering first his father and then, going deeper, his grandfather. This idea of poetry as an archaeological process of recovery took on a darker cast after the eruption of internecine violence in Northern Ireland in 1969 and 1972.
Theatre of Absurd came into being because _______.
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