Forms, Genres and Styles
Modernism and realism have always been identified as the two main lines of stylistic development within this period. Modernist writing has been seen as the genuinely new, original and authentic art of the century while realist art has been considered as simply a continuation of worthy but outmoded nineteenth-century forms. From another point of view, modernist art has been considered obscure, elitist and out of touch with everyday experience, while realist art has been embraced for its direct relevance to people’s lives in striving to present an accurate and truthful representation of historical and political actuality. As a broad categorization of stylistic tendencies at least, it can be helpful still to distinguish between these two modes of modern writing.
David Lodge helpfully elaborates on the distinction between modernism and realism as follows:
Modernism turned its back on the traditional idea of art as imitation and substituted the idea of art as an autonomous activity. One of its most characteristics slogans was Walter Pater’s assertion, “All art constantly aspires to the condition of music” – music being, of all arts, the most purely formal, the least referential… the fundamental principle of aesthetics before the modern era was that art imitates life… but by the end of that (nineteenth) century it had been turned on its head. ‘Life imitates art’, declared Oscar Wilde, meaning that we compose the reality we perceive by mental structures that are cultural, not natural in origin, and that it is art which is most likely to change and renew those structures when they become inadequate or unsatisfying… (T)raditional realism… does not aspire to the condition of music; rather it aspires to the condition of history… it regards literature as the communication of a reality that exists prior to and independent of the act of communication. (‘Modernism, Anti-Modernism and Post Modernism” PP. 5 – 6).
In the work of archetypal modernists such as Yeats, Eliot and Pound, modernism produced a ‘poetry that distinguishes itself from ordinary referential discourse by violently dislocated syntax and bewildering shifts of register… in which there are no narrative or logical climaxes but instead vibrant, suggestive, ambiguous images and symbols’ (Lodge, P. 6).
Meanwhile, poets like Rudyard Kipling, Thomas Hardy, Robert Bridges, W.H. Davies, Walter de la Mare and John Masefield stand out most strongly in contrast to the modernist for largely continuing to use metrical verse forms rather than free verse.
CONCLUSION
The twentieth century seems the most interesting mainly because it was the most debatable century. The wars, economic recession, wide spread corruption, disillusionment all made the twentieth century poetry in England something worth of attention. Both Yeats and Eliot became foremost poets of the period. In this article, you have been taught what factors made the twentieth century writers wrote the way they wrote. We traced the background of that period from the death of Queen Victoria in 1901. We told you that the major schools of writers then were the modernists and the realists.
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