British Poetry History

Author: Wang Zuoliang
Publisher:
Publish Date: 1997-07-02
Features: The preface of this book mentions that there are several cultures in the UK that clash and absorb each other, and the same situation is seen in the relationship between modern Britain and foreign cultures. Overall, Britain is open to foreign cultures, while poets have different attitudes toward them—either embracing or rejecting. Rejection is not entirely bad; it makes poetry more rooted in its local culture and deeper, but long-term introspection can also lead to narrow island mentality. Embracing and then rejecting, with rejection containing acceptance, can help poetry grow healthily. Looking at the overall picture of English poetry, it seems capable of incorporating the strengths of both the inner and outer worlds. The Renaissance and Romantic periods were great precisely because of this synthesis. The contemporary world is far more complex than in the past. After the modernist movement's extensive openness to Western European and American cultures, English poetry seems to have turned inward, focusing on everyday and personal frustrations. However, there are signs that it is now strengthening its historical awareness and responding to foreign calls. A related and unresolved issue is poetic language. Poets use language that is both refined and bold, yet they are often dissatisfied with the current linguistic situation. Britain has long had debates about "poetic language," which became more intense with the Romantics. Wordsworth demanded the use of "language that people actually use" in poetry. Keats shifted from Miltonic inversion to pure Northern English. The modernist Eliot relied on American oral poetry traditions, calling for "the dialect of a pure clan." Scottish McDiarmid pursued "a language capable of performing various functions, with a marvelous clarity and a fiery quality." More recently, Tony Harrison also wanted to "swallow the fiery language of his fathers" and use it to "ignite the silenced silences of generations," saying that even if his vocal cords were scorched, "there would be flames singing endlessly." This links poetic language to the cause of advocating for the "muted" exploited. Thus, the issue is not just about classical vs. vernacular language; vernacular language also has differences between theatrical and street styles, as well as class and ideological issues. Of course, most British poets do not care about this, but they still face daily choices about language. One of the benefits of the debate is that British poetic language has never stagnated for long. It is not only fluid in ordinary times but also, whenever a major poetic movement arises, it refreshes poetic language as a prelude. What will the future hold? A new factor has emerged—the process of European integration is accelerating. There are many people in Britain who oppose this, but they may not be able to resist the historical trend. English poetry originally started with a handful of epics from Northern Europe, but now it has become a powerful force in the global poetic arena and has returned to Europe's embrace. What kind of situation will arise? This will be a matter of great interest for all poetry lovers around the world to watch.