Georgian Poetry 1920-22 By: William H. Davies (1871-1940)
Georgian Poetry 1920-22, compiled and edited by William H. Davies, is a captivating anthology that provides readers with a fascinating glimpse into the world of British poetry during the early 20th century. While the collection showcases the varied styles and themes of the Georgian poets, it also offers a profound reflection on the social and cultural transitions of the era. One of the notable aspects of this anthology is the diversity of poetic voices it presents. Davies successfully brings together a group of poets who, despite their differences in style and approach, share a common adherence to the tenants of the Georgian movement. From the introspective and melancholic verses of W.B. Yeats to the elegant and pastoral poetry of Rupert Brooke, the book encompasses a wide range of emotions, ideas, and perspectives. This broad spectrum of poetic voices creates a rich tapestry that engrosses readers and allows them to explore the multifaceted nature of human experience. Moreover, Davies' meticulous selection and arrangement of poems within the anthology adds to its appeal. The poems are thoughtfully ordered, creating a fluid narrative that guides readers through various themes, from introspection and romance to nature and war. This deliberate arrangement helps to effectively convey the overarching concerns of the Georgian poets, such as their longing for a simpler, more idyllic past juxtaposed with the harsh realities of contemporary society. In addition to showcasing the individual talents of the poets, Georgian Poetry 1920-22 also serves as a valuable historical document. Through their verses, the poets provide insights into the social and cultural context of their time, capturing the mood and atmosphere of the post-World War I period. This anthology, therefore, not only appeals to poetry enthusiasts but also offers a unique window into the cultural milieu of early 20th-century Britain. However, it is worth noting that some readers unfamiliar with the specific historical context or literary traditions of the period might find themselves struggling to fully grasp the significance of certain poems. Some of the works may appear overly traditional or seemingly disconnected from contemporary sensibilities. Nevertheless, with a willingness to dive into the rich cultural heritage of the era, readers can discover the beauty and relevance of these poems, as well as the lasting impact of the Georgian poets. In conclusion, Georgian Poetry 1920-22 compiled by William H. Davies is an engaging and insightful anthology that provides readers with a glimpse into the vibrant poetic landscape of early 20th-century Britain. With its carefully selected poems and meticulous arrangement, the anthology offers a captivating exploration of the diverse voices and concerns of the Georgian poets. Whether readers are poetry enthusiasts, history buffs, or simply curious about the cultural fabric of the time, this anthology is a valuable addition to any literary collection. First Page: GEORGIAN POETRY 1920 1922 EDITED BY SIR EDWARD MARSH TO ALICE MEYNELL The Poetry Bookshop 35 Devonshire St. Theobalds Rd. London W.C.1 MCMXXII PREFATORY NOTE When the fourth volume of this series was published three years ago, many of the critics who had up till then, as Horace Walpole said of God, been the dearest creatures in the world to me, took another turn. Not only did they very properly disapprove my choice of poems: they went on to write as if the Editor of 'Georgian Poetry' were a kind of public functionary, like the President of the Royal Academy; and they asked again, on this assumption, very properly who was E.M. that he should bestow and withhold crowns and sceptres, and decide that this or that poet was or was not to count. This, in the words of Pirate Smee, was 'a kind of a compliment', but it was also, to quote the same hero, 'galling'; and I have wished for an opportunity of disowning the pretension which I found attributed to me of setting up as a pundit, or a pontiff, or a Petronius Arbiter; for I have neither the sure taste, nor the exhaustive reading, nor the ample leisure which would be necessary in any such role. The origin of these books, which is set forth in the memoir of Rupert Brooke, was simple and humble. I found, ten years ago, that there were a number of writers doing work which appeared to me extremely good, but which was narrowly known; and I thought that anyone, however unprofessional and meagrely gifted, who presented a conspectus of it in a challenging and manageable form might be doing a good turn both to the poets and to the reading public... Continue reading book >>

Georgian Poetry 1920-22 By: William H. Davies (1871-1940)

Georgian Poetry 1920-22, compiled and edited by William H. Davies, is a captivating anthology that provides readers with a fascinating glimpse into the world of British poetry during the early 20th century. While the collection showcases the varied styles and themes of the Georgian poets, it also offers a profound reflection on the social and cultural transitions of the era.

One of the notable aspects of this anthology is the diversity of poetic voices it presents. Davies successfully brings together a group of poets who, despite their differences in style and approach, share a common adherence to the tenants of the Georgian movement. From the introspective and melancholic verses of W.B. Yeats to the elegant and pastoral poetry of Rupert Brooke, the book encompasses a wide range of emotions, ideas, and perspectives. This broad spectrum of poetic voices creates a rich tapestry that engrosses readers and allows them to explore the multifaceted nature of human experience.

Moreover, Davies' meticulous selection and arrangement of poems within the anthology adds to its appeal. The poems are thoughtfully ordered, creating a fluid narrative that guides readers through various themes, from introspection and romance to nature and war. This deliberate arrangement helps to effectively convey the overarching concerns of the Georgian poets, such as their longing for a simpler, more idyllic past juxtaposed with the harsh realities of contemporary society.

In addition to showcasing the individual talents of the poets, Georgian Poetry 1920-22 also serves as a valuable historical document. Through their verses, the poets provide insights into the social and cultural context of their time, capturing the mood and atmosphere of the post-World War I period. This anthology, therefore, not only appeals to poetry enthusiasts but also offers a unique window into the cultural milieu of early 20th-century Britain.

However, it is worth noting that some readers unfamiliar with the specific historical context or literary traditions of the period might find themselves struggling to fully grasp the significance of certain poems. Some of the works may appear overly traditional or seemingly disconnected from contemporary sensibilities. Nevertheless, with a willingness to dive into the rich cultural heritage of the era, readers can discover the beauty and relevance of these poems, as well as the lasting impact of the Georgian poets.

In conclusion, Georgian Poetry 1920-22 compiled by William H. Davies is an engaging and insightful anthology that provides readers with a glimpse into the vibrant poetic landscape of early 20th-century Britain. With its carefully selected poems and meticulous arrangement, the anthology offers a captivating exploration of the diverse voices and concerns of the Georgian poets. Whether readers are poetry enthusiasts, history buffs, or simply curious about the cultural fabric of the time, this anthology is a valuable addition to any literary collection.

First Page:

GEORGIAN POETRY

1920 1922

EDITED BY SIR EDWARD MARSH

TO ALICE MEYNELL

The Poetry Bookshop 35 Devonshire St. Theobalds Rd. London W.C.1

MCMXXII

PREFATORY NOTE

When the fourth volume of this series was published three years ago, many of the critics who had up till then, as Horace Walpole said of God, been the dearest creatures in the world to me, took another turn. Not only did they very properly disapprove my choice of poems: they went on to write as if the Editor of 'Georgian Poetry' were a kind of public functionary, like the President of the Royal Academy; and they asked again, on this assumption, very properly who was E.M. that he should bestow and withhold crowns and sceptres, and decide that this or that poet was or was not to count.

This, in the words of Pirate Smee, was 'a kind of a compliment', but it was also, to quote the same hero, 'galling'; and I have wished for an opportunity of disowning the pretension which I found attributed to me of setting up as a pundit, or a pontiff, or a Petronius Arbiter; for I have neither the sure taste, nor the exhaustive reading, nor the ample leisure which would be necessary in any such role.

The origin of these books, which is set forth in the memoir of Rupert Brooke, was simple and humble. I found, ten years ago, that there were a number of writers doing work which appeared to me extremely good, but which was narrowly known; and I thought that anyone, however unprofessional and meagrely gifted, who presented a conspectus of it in a challenging and manageable form might be doing a good turn both to the poets and to the reading public... Continue reading book >>

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