MICHAEL O’NEILL is Professor of English at Durham University. He has published books, chapters and articles on many aspects of Romantic, Victorian and twentieth- and twenty-first-century poetry. Recent books include, as editor, The Cambridge History of English Poetry (2010). He received a Cholmondeley Award for Poets for his own poetry in 1990 and his second collection of poems, Wheel, was published in 2008.MADELEINE CALLAGHAN is Lecturer in Romantic Literature at Sheffild University and has published articles on Shelley and Byron. Her research interests focus on poetry from the Romantic period to the present. She is currently preparing a book on Byron, Shelley and Yeats for publication.

“The editors have admirably carried out their self-imposed tasks ... The somewhat complicated arrangement is amply justified if one considers the work as a classroom tool, aimed primarily at giving a student audience food for thought, Helen Goethals.”  (Cercles, 2012)

• Acknowledgements viiiIntroduction 11 Modern Poetry: Transition and Trauma 11Thomas Hardy, Edward Thomas and Wilfred OwenThomas Hardy 11Extract from British Poetry in the Age of Modernism 17Peter HowarthEdward Thomas 30Extract from The Poetry of Edward Thomas 33Andrew MotionWilfred Owen 37Extract from Poetry of Mourning 41Jahan Ramazani2 Forms of Modernism: Things Fall Apart 57W. B. Yeats, T. S. Eliot and D. H. LawrenceW. B. Yeats 57Extract from Our Secret Discipline 63Helen VendlerT. S. Eliot 71Extract from He Do the Police in Different Voices 77Calvin BedientD. H. Lawrence 83Extract from ‘Hibiscus and Salvia Flowers’ 87Tom Paulin3 Poetry of the Thirties: Between Two Fires 94W. H. Auden, Louis MacNeice and Stephen SpenderW. H. Auden 94Extract from ‘The 1930s Poetry of W. H. Auden’ 98Michael O’NeillLouis MacNeice 108Extract from Louis MacNeice 112Peter McDonaldStephen Spender 120Extracts from The Ironic Harvest 123Geoffrey Thurley4 Poetry of the Forties: Realism and Rhetoric 129Keith Douglas and Dylan ThomasKeith Douglas 130Extract from ‘I in Another Place’ 133Geoffrey HillDylan Thomas 141Extract from The Romantic Survival 144John Bayley5 Post-War Poetry: Featureless Morning, Featureless Night 149Philip Larkin and the MovementPhilip Larkin 149Extract from Out of Reach 154Andrew SwarbrickThe Movement 162Extract from The Movement 166Blake Morrison6 Beyond the Movement: No Bloodless Myth 178Ted Hughes, Sylvia Plath and Geoffrey HillTed Hughes 179Extract from ‘Ted Hughes: The Double Voice’ 182Margaret DickieSylvia Plath 187Extract from Sylvia Plath and the Theatre of Mourning 191Christina BritzolakisGeoffrey Hill 200Extract from ‘History to the Defeated’ 203Alan Robinson7 Situated Sequences and Marginal Voices 214Basil Bunting, Hugh MacDiarmid, Thomas Kinsella, Stevie Smith and Tony HarrisonHugh MacDiarmid, Thomas Kinsella, and Basil Bunting 214Extracts from The Modern Poetic Sequence 218M. L. Rosenthal and Sally M. GallStevie Smith 230Extract from A History of Twentieth-Century British Women’s Poetry 232Jane Dowson and Alice EntwistleTony Harrison 234Extract from The Poetry of Tony Harrison 237Luke Spencer8 Northern Irish Poetry: The Poles of Our Condition 245Seamus Heaney and Derek MahonSeamus Heaney 245Extracts from The Poetry of Seamus Heaney 250Neil CorcoranDerek Mahon 259Extract from Poetry in the Wars 263Edna LongleyAfterword 267Recommended Reading 272Index 290

MICHAEL O’NEILL is Professor of English at Durham University. He has published books, chapters and articles on many aspects of Romantic, Victorian and twentieth- and twenty-first-century poetry. Recent books include, as editor, The Cambridge History of English Poetry (2010). He received a Cholmondeley Award for Poets for his own poetry in 1990 and his second collection of poems, Wheel, was published in 2008.MADELEINE CALLAGHAN is Lecturer in Romantic Literature at Sheffild University and has published articles on Shelley and Byron. Her research interests focus on poetry from the Romantic period to the present. She is currently preparing a book on Byron, Shelley and Yeats for publication.

“The editors have admirably carried out their self-imposed tasks ... The somewhat complicated arrangement is amply justified if one considers the work as a classroom tool, aimed primarily at giving a student audience food for thought, Helen Goethals.”  (Cercles, 2012)

• Acknowledgements viiiIntroduction 11 Modern Poetry: Transition and Trauma 11Thomas Hardy, Edward Thomas and Wilfred OwenThomas Hardy 11Extract from British Poetry in the Age of Modernism 17Peter HowarthEdward Thomas 30Extract from The Poetry of Edward Thomas 33Andrew MotionWilfred Owen 37Extract from Poetry of Mourning 41Jahan Ramazani2 Forms of Modernism: Things Fall Apart 57W. B. Yeats, T. S. Eliot and D. H. LawrenceW. B. Yeats 57Extract from Our Secret Discipline 63Helen VendlerT. S. Eliot 71Extract from He Do the Police in Different Voices 77Calvin BedientD. H. Lawrence 83Extract from ‘Hibiscus and Salvia Flowers’ 87Tom Paulin3 Poetry of the Thirties: Between Two Fires 94W. H. Auden, Louis MacNeice and Stephen SpenderW. H. Auden 94Extract from ‘The 1930s Poetry of W. H. Auden’ 98Michael O’NeillLouis MacNeice 108Extract from Louis MacNeice 112Peter McDonaldStephen Spender 120Extracts from The Ironic Harvest 123Geoffrey Thurley4 Poetry of the Forties: Realism and Rhetoric 129Keith Douglas and Dylan ThomasKeith Douglas 130Extract from ‘I in Another Place’ 133Geoffrey HillDylan Thomas 141Extract from The Romantic Survival 144John Bayley5 Post-War Poetry: Featureless Morning, Featureless Night 149Philip Larkin and the MovementPhilip Larkin 149Extract from Out of Reach 154Andrew SwarbrickThe Movement 162Extract from The Movement 166Blake Morrison6 Beyond the Movement: No Bloodless Myth 178Ted Hughes, Sylvia Plath and Geoffrey HillTed Hughes 179Extract from ‘Ted Hughes: The Double Voice’ 182Margaret DickieSylvia Plath 187Extract from Sylvia Plath and the Theatre of Mourning 191Christina BritzolakisGeoffrey Hill 200Extract from ‘History to the Defeated’ 203Alan Robinson7 Situated Sequences and Marginal Voices 214Basil Bunting, Hugh MacDiarmid, Thomas Kinsella, Stevie Smith and Tony HarrisonHugh MacDiarmid, Thomas Kinsella, and Basil Bunting 214Extracts from The Modern Poetic Sequence 218M. L. Rosenthal and Sally M. GallStevie Smith 230Extract from A History of Twentieth-Century British Women’s Poetry 232Jane Dowson and Alice EntwistleTony Harrison 234Extract from The Poetry of Tony Harrison 237Luke Spencer8 Northern Irish Poetry: The Poles of Our Condition 245Seamus Heaney and Derek MahonSeamus Heaney 245Extracts from The Poetry of Seamus Heaney 250Neil CorcoranDerek Mahon 259Extract from Poetry in the Wars 263Edna LongleyAfterword 267Recommended Reading 272Index 290

MICHAEL O’NEILL is Professor of English at Durham University. He has published books, chapters and articles on many aspects of Romantic, Victorian and twentieth- and twenty-first-century poetry. Recent books include, as editor, The Cambridge History of English Poetry (2010). He received a Cholmondeley Award for Poets for his own poetry in 1990 and his second collection of poems, Wheel, was published in 2008.MADELEINE CALLAGHAN is Lecturer in Romantic Literature at Sheffild University and has published articles on Shelley and Byron. Her research interests focus on poetry from the Romantic period to the present. She is currently preparing a book on Byron, Shelley and Yeats for publication.

“The editors have admirably carried out their self-imposed tasks ... The somewhat complicated arrangement is amply justified if one considers the work as a classroom tool, aimed primarily at giving a student audience food for thought, Helen Goethals.”  (Cercles, 2012)

• Acknowledgements viiiIntroduction 11 Modern Poetry: Transition and Trauma 11Thomas Hardy, Edward Thomas and Wilfred OwenThomas Hardy 11Extract from British Poetry in the Age of Modernism 17Peter HowarthEdward Thomas 30Extract from The Poetry of Edward Thomas 33Andrew MotionWilfred Owen 37Extract from Poetry of Mourning 41Jahan Ramazani2 Forms of Modernism: Things Fall Apart 57W. B. Yeats, T. S. Eliot and D. H. LawrenceW. B. Yeats 57Extract from Our Secret Discipline 63Helen VendlerT. S. Eliot 71Extract from He Do the Police in Different Voices 77Calvin BedientD. H. Lawrence 83Extract from ‘Hibiscus and Salvia Flowers’ 87Tom Paulin3 Poetry of the Thirties: Between Two Fires 94W. H. Auden, Louis MacNeice and Stephen SpenderW. H. Auden 94Extract from ‘The 1930s Poetry of W. H. Auden’ 98Michael O’NeillLouis MacNeice 108Extract from Louis MacNeice 112Peter McDonaldStephen Spender 120Extracts from The Ironic Harvest 123Geoffrey Thurley4 Poetry of the Forties: Realism and Rhetoric 129Keith Douglas and Dylan ThomasKeith Douglas 130Extract from ‘I in Another Place’ 133Geoffrey HillDylan Thomas 141Extract from The Romantic Survival 144John Bayley5 Post-War Poetry: Featureless Morning, Featureless Night 149Philip Larkin and the MovementPhilip Larkin 149Extract from Out of Reach 154Andrew SwarbrickThe Movement 162Extract from The Movement 166Blake Morrison6 Beyond the Movement: No Bloodless Myth 178Ted Hughes, Sylvia Plath and Geoffrey HillTed Hughes 179Extract from ‘Ted Hughes: The Double Voice’ 182Margaret DickieSylvia Plath 187Extract from Sylvia Plath and the Theatre of Mourning 191Christina BritzolakisGeoffrey Hill 200Extract from ‘History to the Defeated’ 203Alan Robinson7 Situated Sequences and Marginal Voices 214Basil Bunting, Hugh MacDiarmid, Thomas Kinsella, Stevie Smith and Tony HarrisonHugh MacDiarmid, Thomas Kinsella, and Basil Bunting 214Extracts from The Modern Poetic Sequence 218M. L. Rosenthal and Sally M. GallStevie Smith 230Extract from A History of Twentieth-Century British Women’s Poetry 232Jane Dowson and Alice EntwistleTony Harrison 234Extract from The Poetry of Tony Harrison 237Luke Spencer8 Northern Irish Poetry: The Poles of Our Condition 245Seamus Heaney and Derek MahonSeamus Heaney 245Extracts from The Poetry of Seamus Heaney 250Neil CorcoranDerek Mahon 259Extract from Poetry in the Wars 263Edna LongleyAfterword 267Recommended Reading 272Index 290