age overturned

The movement to free verse at start of the twentieth century, the turning away from regular meters and rhyme schemes, was much like the great shift in painting that occurred in the late 1200s in Italy. Driven by Cimabue and then Giotto, it brought naturalism into painting that too long had relied on the formulas that make early paintings look stilted and unreal to modern eyes.

amid alien circumstances

The substance of the late poetry is, then, the emotion of the Poet as Poet (in the romantic sense) when faced with modern times, when forced to exist and to practice his art in the circumstances of the last forty years. . . . Yeats shifted from the effort to write the “poetic” poetry of the nineties to the concern, as poet, with what it was to be a poet amid the alien circumstances of his age. That is why he is so often, in his later poetry, writing about the artists, scholars, and beautiful women he has known, and their unfortunate lives. . . . The will to seek one’s opposite, the doctrine that one must seek one’s anti-self, is at once the method by means of which Yeats found his genuine and peculiar theme, and one more example of the concern with acting a part which flows from the obsession with Art. The result has been a group of poems which will be known as long as the English language exists.

—Delmore Schwartz, “The Poet as Poet” (1939), Selected Essays of Delmore Schwartz, (U. of Chicago Press, 1970), edited by Donald A. Dike and David H. Zucker

through the side door

Frost entered the Modern canon through the farmhouse’s side door, with the nineteenth century’s snow still on his boots, bringing in a load of firewood for the stove.

not refined but final

So active, so positive is the inspiration of this poetry that the question of outside influences does not even arise. Unamumo is probably the Spanish contemporary poet whose manner owes least, if anything at all, to modern developments of poetry such as those which take their source in Baudelaire and Verlaine. These over-sensitive and over-refined artists have no doubt enriched the sensuous, the formal, the sentimental, even the intellectual aspects of verse with an admirable variety of exquisite shades, lacking which most poetry seems old-fashioned to the fastidious palate of modern men. Unamuno is too genuine a representative of the spiritual and masculine variety of Spanish genius, ever impervious to French, and generally, to intellectual, influences, to be affected by the esthetic excellence of this art. Yet, for all his disregard of the modern resources which it adds to the poetic craft, Unamuno loses none of his modernity. He is indeed more than modern. When, as he often does, he strikes the true poetic note, he is outside time. His appeal is not in complexity but in strength. He is not refined: he is final.

—Salvador de Madariaga, introduction to Miguel de Unamuno’s Tragic Sense of Life (McMillian, 1921)