1.

The early Victorian novel Charles Dickens The novel is a representation of real life, there is always a narrator in the novel (there might no be one in the drama). In some novels there may be more than one narrator. The setting can be imaginary, characters are agents of action, action can be both physical and mental. The early Victorian Period 1832 1848 - This time is associated with trouble, tempestuous period. Mid Victorian Period 18 8 18!" time of prosperity Late Victorian Period 18!" #1$"1 beginning of the time of disintegration of the %ictorian values The industrial revolution too& place in the mid 18th c. 'ngland was an empire, had many colonies, flourishing trade, industry developed and because of the steam engine railways were built. The social effect of the Industrial revolution was the formation of new classes. (ntil then there were no classes. )ppeared the wor&ing class and the middle class (industrialists, merchants). (rbani*ation began to ta&e place. +illions ran from countryside to cities. The growth of the cities important social event. ,anitary conditions serious problem. )ll those economic and social developments brought a crisis. In the beginning of 1$th c. it was the first wave of unrest, 18 - the hungry forties in .orth 'ngland, bad wor&ing conditions women and children wor&ed between 1-#1 hours. 18/- 1st 0eform 1ill middle class men could vote, but not the wor&ing class. 18/ The poor 2aw institution of the wor&house, abolished outdoor aid 18 - 2aw that postulated women and children to wor& no more than 1" hours. Intellectual climate3 several aspects of development of novel and literature3 1. emergence of classical political economy -. the advent of utilitarianism, 4eremy 1entham /. 'vangelicalism These three areas helped the middle class cope with the issues of poverty, famine, etc 2aisse*# faire principle the function of the state should be reduced. The century is characteri*ed by the flourishing of the sciences and machine production. +an got much confidence in his powers to the control of environment. In the name of society people had to sacrifice part of this selfishness and self#interest (4. 1entham # (tilitarianism). The utilitarian test corrects the inefficiencies in government. ) number of writers reacted against the utilitarian principle 5harles 6ic&ens 'vangelicalism 7rotestantism. The most important religious impulse behind industriali*ation. ) branch of 7rotestantism is 7uritanism. 'v. advocated a strict puritan code on morality taboo on se8, moral duty. 9n the 'nglish ,unday no theatre, no cinema, no fun. )ll people were compelled to attend the church. 7uritan spirit was the %ictorian frame of mind. ) very comple8 age both 7uritan spirit and hypocrisy. In the forties emerged the social problem novel (5harles :ingsley ;)lton 2oc&e<, 1.6israeli ;,ybil<, 'li*abeth =as&ell ;+ary 1arton<, ;.orth and ,outh<). These novels deal directly with the poverty and hard times in 'ngland. They leave specific moral issues. 7ersonal and psychological problems are rooted in the social problems. 5onditions of the wor&ing class are bad. >ueen %ictoria rules over two ?uite different nations the rich and the poor. The early %ictorian novelists (6ic&ens, @illiam Tac&eray, 1ronte) are intereseted in a variety of subAects3 # man in relation to society # man functioning in the strict moral code # controversy between religion and science Charles Dickens 1812 18 ! 183! 184!s "is early period (time of trouble for 1ritain). The novel is the most important genre in the %ictorian period. It emerged together with the emergence of the middle class (the bourgeoisie). The novels deal with the relationship between individual and society, and strong emphasis is put on the individual. .ovel in the 18th c. was no longer interested in noble life but in low life. ,tern, Bielding (0omanticism novelists) wrote about spontaneous human feelings as a moral virtue.The =othic fiction, The .ewgate novel subgenre of the =othic, The 7icares?ue novel @hose hero is a rtogue, adventurous, ,ilver for& novel about the upper#middle class life

6ic&ens inherits a wide variety of genres. Ce was very much in touch with his public. This was a new type of public who e8pected from the writer to entertain, to advise, to announce moral Audgments. ThereDs a special blend of comedy and sentimentality in his novels. 6ic&ens was born in 7ortsmouth and he started as Aournalist. @hile wor&ing he published a couple of s&etches in ;+onthly maga*ine< great success. The Pick#ick $a$ers picares?ue form, 7ic&wic& is a naEve and innocent man. Ce wants to rediscover his own self. This is the source of the humor. The world is either indifferent to him or poses a threat to his life. The moral is that goodness is no longer e8istent in the world. %liver T#ist 183 6ic&ensD most melodramatic and sentimental novel. It depicts low life, crime. It made the public cry. The novelDs main interest lies in the crime world. 6ic&ens describes the criminals as they are, without the romantic fascination that the .ewgate novel attaches to them. Ce depicts grotes?ue, carnivorous characters, through the eyes of a child. The ne8t novels ;.ic&olas .ic&leby<, ;The old curiosity shop<, ;1arnaby shop< their preliminary theme isolation amidst an overcrowded world. 5haracters live in an alien environment. ;+artin 5hu**lewit< is a picares?ue type of novel, analysis of the perennial wea&ness of man&indF selfishness. 6ic&ens has this nostalgic obsession with childhood and has a gallery of lonely orphaned children. Cis novels contain the tension between two ideas3 lying, lust, selfishness, greed vs. goodness, love, innocence, conflict between love and money 6ic&ens characters are fallen, he refuses to humani*e them. 6ic&ens was called the inimitable a great mind and a great student of the language of 2ondon. &econd $eriod The railway &illed the picares?ue novel. 0eplaced by the highly organi*ed plot. In the G"s his novels show a greater complication of thought.. ,ociety as a whole begins to embody vices and abuses. 6ic&ens pessimism grows, his vision of the world dar&ens. 'Do()ey and son* main theme pride and money. The human rel#ship between father and son is reduced to business. 'David Co$$er+ield* 1$ $ the first novel organi*ing itself around the idea of orphans, loneliness, isolation of the child. The reAection of the romantic life. Bocus is on individual, adventures and early pessimism. ',leak ho-se* the theme is money gained with effort. ,ociety as motivating social evil. The novel reflects social reality. 6ic&ens scrutini*es 'ngland, the aristocratic manners. )bsence of meaningful life. ,ociety is li&e an orphaned family. The novelDs theme is the state in which 1ritish society finds itself. The use of symbolism, the death of the sun source of life and light, a gloomy picture. 2ight stands for rationality, &nowledge, understanding. Bog its meaning is confusion, lac& of &nowledge '"ard ti(es* moral favour, 6ic&ens attac&s utilitarity. 'Little dorrit* symbol of imprisonment 3rd $eriod (at-re novel '.reat e/$ectations< a novel of education. The theme of money as an agent for isolation and a tool for manipulating others. 7ip becomes what he is than&s to his own efforts. 1st person narrative for vivid perspective of the novel. 7ipDs education is morality. The idea of loyalty, 7ip learns what matters is that everything is focused on the individual. ) central point in 6ic&ensD writing the power of imagination, his genius to create and describe types. 2. The novel in the (id-Victorian and Late Victorian $eriod0 $sycholo1ical realis( in .eor1e 2liot3 the criti4-e o+ society in Tho(as "ardy3 the reaction a1ainst realis( in 5ose$h Conrad G"#H"s +id#%ictorian development, mar&ed by prosperity. The middle class is dominant. )griculture, trade and industry flourished. Two bills are passed3 -nd reform bill 18H! that all men could vote BorsterDs education act 18H8 # primary education. ,cience also flourished. 6arwin ;9rigin of species<. 1efore his theories man was considered as an act of creation by =od. )fter that man became Aust one the many biological species. ,urvival of the fittest man lives in a world of free competition. The theory of evolultion has two maAor conse?uences3 1. The idea of process and development as opposed to the static picture of the world. 1ut that progress was both progress and regress. In the mid# %ictorian period progress began to be seen as regress, decline, fatalism -. ,ociety began to be perceived as an organismF organic wholeness

7ositivism emerged as a philosophy (Cerbert ,pencer, )ugust 5omte). It is the ideology of the middle class.:nowledge canDt e8plain everything, in the heart of it thereDs mystery. ,ociety viewed as a biological organism. Therefore the cutting off of a vital member leads to the death of the whole organism. Therefore changes should be gradual, not radical. +id#%ictorian novelists started began to see themselves as scientists. 9ne branch of positivism that sprang later was sociology, based on social 6arwinism. The mode of writing associated with positivism was realism. 18G" 188" positivism had great influence upon the topics in novel writing. There e8ists the idea that human nature can be changed for the better or worse, which may eventually lead to improvement of society. Brom the evolutionary theory sprang the idea that =od was not the creator of the world and therefore to loss of faith. Cumanism is a dominant idea in the +id#%ictorian period. This period of prosperity believed that selflessness is a real virtue, a condition of the perfect individual. .eor1e 2liot 61817-188!8 =.'liot is a representative of positivism. ,he is considered the first modern 'nglish novelist. ,he changed the nature of the 'nglish novel. The novel at that time began to be treated with seriousness. 'liotDs fiction opens up a much larger areas of ideas. ,he began writing at /8, until then she wor&ed as a Aournalist. ,he translated Beuerbach ;'ssence of 5hristianity< which shaped her humanistic view of life. ,he saw will, reason and affection no longer as divine ?ualities but as human proAections. ,he insisted that human beings are made good or evil by their own deeds. ItDs up to the individual to ma&e or unma&e his own fate. 5haracters became plot, and plot is no longer e8ternal to character. The whole action comes from the characters. Thus she placed the foundations for the psychological novel. Cer characters are often involved in moral dilemma. The individual functions within society. 'The (ill on the +loss* bildungsroman (novel of education). +aggy is the victim of society. ,ingle individuals can be morally advanced, unli&e society '9eli/ "olt the :adical< a political novel about the situation after the first 0eform 1ill. ,he analyses the individual in relation to society. ;Middle(arch< the maAor achievement of her entire career. There she describes a society which is " years earlier than her time. ItDs a historical novel, a study of reform and change of class boundaries, change of scenery (the appearance of railways), a study of scholarship and medical profession. The novel has plots stories that outline the class structure of +iddlemarch lower rural class, landed gentry, prosperous middle class. @e see the charactersD inner life the theme of process is central, rise and fall. )n attempt to reconcile art and science through imagination. 'liot portrays contrasting characters, her novels are the best e8ample of the omniscient narrator (inherited that from Bielding). Typical of her literature she doesnDt teach directly li&e 6ic&ens. ,he points the moral values but the moral lesson is subtly conveyed. Cer concern with moral and ethics is very strong. ,he opened the novel for the life of consciousness, the inner life of human beings. Late- Victorian $eriod. 6uring the last /" years of the 1$th c. began the disintegration with the era, which started with the Industrial revolution. The =reat 6epression rise of different social movements. The 'nglish socialism (Babianism). It claimed gradual introduction of a new society with careful planning and clear tactics. Babians are against revolution, focus on society and its problems Tho(as "ardy 618 " 1$-8) CardyDs idea of fate in life gave way to his philosophical struggle with =od. )lthough CardyDs faith remained intact, the irony and struggles of life led him to ?uestion =od and Cis traditional meaning. CardyDs novels are set in the imaginary world of @esse8, a large area of south and south#west 'ngland. Cardy was part of two worlds. Ce had a deep emotional bond with the rural way of life and the world of current social problems, he captured the epoch Aust before the Industrial 0evolution changed the 'nglish countrysideIto the unfairness and hypocrisy of %ictorian se8ual behaviour. Cardy criti?ues certain social constraints that hindered the lives of those living in the 1$th century. 5onsidered a %ictorian 0ealist writer, Cardy e8amines the social constraints that are part of the %ictorian status ?uo, suggesting these rules hinder the lives of all involved and ultimately lead to unhappiness. In 'T#o on a To#er*, Cardy see&s to ta&e a stand against these rules and sets up a story against the social structure by creating a story of love that crosses the boundaries of class. CardyDs stories ta&e into consideration the events of life and their effects. Bate plays a significant role as the thematic basis for many of his novels. 5haracters are constantly encountering crossroads, which are symbolic of a point of opportunity and transition. ' 5-de the %)sc-re*; met with strong negative outcries from the %ictorian public for its fran& treatment of se8. Ceavily criticised for its apparent attac& on the institution of marriage through the presentation of such concepts as erotolepsy. 'Tess o+ the d<=r)ervilles* (18$1) attracted criticism for its sympathetic portrayal of a Jfallen womanJ and was initially refused publication. Its subtitle, ) 7ure @oman3 Baithfully 7resented, was intended to raise the eyebrows of the %ictorian middle#classes.

+ost of his poems deal with themes of disappointment in love and life, and man&indKs long struggle against indifference to human suffering. 5ose$h Conrad In his art man is not strong. Ce, himself is an emotional man subAect to fits of depression, self#doubt and pessimism, disciplined his romantic temperament with an unsparing moral Audgment. )s an artist, he famously aspired, by the power of the written word to ma&e you hear, to ma&e you feel... before all, to ma&e you see. @riting in what to the visual arts was the age of Impressionism, 5onrad showed himself in many of his wor&s a prose poet of the highest order. 5onrad is at pains to create a sense of place, be it aboard ship or in a remote village. 9ften he chose to have his characters play out their destinies in isolated or confined circumstances. 5onradKs third language remained inescapably under the influence of his first two I 7olish and Brench. It was perhaps from 7olish and Brench prose styles that he adopted a fondness for triple parallelism, especially in his early wor&s, as well as for rhetorical abstraction In 5onradKs time, literary critics, while usually commenting favourably on his wor&s, often remar&ed that his e8otic style, comple8 narration, profound themes and pessimistic ideas put many readers off. Let as 5onradKs ideas were borne out by -"th#century events, in due course he came to be admired for beliefs that seemed to accord with subse?uent times more closely than with his own. Bor 5onrad fidelity is the barrier man erects against nothingness, against corruption, against the evil that is all about him, insidious, waiting to engulf him, and that in some sense is within him unac&nowledged. )rguably 5onradKs most influential wor& remains ;Ceart of 6ar&ness<. The themes of Ceart of 6ar&ness, and the depiction of a Aourney into the dar&ness of the human psyche. 3. The $hiloso$hical; scienti+ic and social conte/t o+ (odernis(0 the s-)>ective novels o+ D.".La#rence3 the strea( o+ conscio-sness novel in 5a(es 5oyce; Vir1inia ?ool+. In 0ealism man is seen as social animal. The outside world is material. +anDs development is determined by outside factors. +odernism has a totally different view on man. )ccording to modernists thereDs no outside reality, only human consciousness. 0eality is un&nowable and ine8plicable. 7hilosophy# the self is the only thing that is &nown to e8ist, no interaction between man and reality. This leads to pessimism, despair. 7urpose of literature3 +odernism e8amines psychological hidden depths human consciousness, impossible to transform reality. ,ubAect matter3 interest in psychology, inner reality, subconscious human mind, emotions, feelings. ) shift from the outside to the inside world. +aAor conflict3 man vs. himself (as opposed to man vs. society), psychological analysis +odernism gives priority to form (0ealism to content). ,mall cast of characters psychological depth is important. +odernism3 )ttitude towards life3 life as sth. elusive, baffling, confusing, subAective +odernist writers need to employ elaborate and comple8 techni?ue to fi8 the uni?ueness of every individual e8perience. Thus they fi8 psychological depths. The style verbal obscurity, unintelligibility, discrepancy between the time on the cloc& and the time in the mind. 2anguage becomes autonomous. The ending an open ending, false sometimes, double or no ending at all. ,ymbols3 metaphorical, they act on the principle of similarity and dissimilarity David ". La#rence 6188@ 173!) was an 'nglish author, poet, playwright, essayist and literary critic. Cis collected wor&s represent an e8tended reflection upon the dehumani*ing effects of modernity and industriali*ation. In them, 2awrence confronts issues relating to emotional health and vitality, spontaneity, human se8uality and instinct. 2awrenceKs opinions earned him many enemies and he endured official persecution, censorship, and misrepresentation of his creative wor& throughout the second half of his life, much of which he spent in a voluntary e8ile he called his Jsavage pilgrimage. 2awrence is perhaps best &nown for his novels &ons and Lovers; The :ain)o#; ?o(en in Love and Lady Chatterley<s Lover. @ithin these 2awrence e8plores the possibilities for life and living within an Industrial setting. 6. C. 2awrenceKs novel ,ons and 2overs (1$1/). @ritten with great lyrical intensity, it tells of a young manKs growing up in a coal#mining community. In The 0ainbow (1$1G), @omen in 2ove (1$-"), and 2ady 5hatterleyKs 2over (1$-8), 2awrence e8plored the nature of female se8uality. In particular 2awrence is concerned with the nature of relationships that can be had within such settings. Though often classed as a realist, 2awrenceKs use of his characters can be better understood with reference to his philosophy. Cis use of se8ual activity, though shoc&ing at the time, has its roots in this highly personal way of thin&ing and being. It is worth noting that 2awrence was very interested in human touch behaviour and that his interest in physical intimacy has its roots in a desire to restore our emphasis on the body.

+odernism not linear progression of events, rather flashbac&s, flash#forwards, circular structure. +aAor techni?ue 'strea( o+ conscio-sness*. 6a narrative mode that see&s to portray an individualKs point of view, the written e?uivalent of the characterKs thoughts.) The best e8ample3 ;=lysses< 5. 5oyce only three main characters, not specified setting. .arrator subAective. 2imited point of view, limited &nowledge of understanding, unreliable narrator. +ultiple view points to show the relativity of reality and Audgment. =lysses, a wor& of enormous learning, is a comic masterpiece. ,tream of consciousness was used in ways more delicate and cerebral than 4oyce by Vir1inia ?ool+ in Mrs. Dallo#ay 6172@8; To the Li1htho-se 6172 8; and The ?aves 617318. %irginia @oolf e8perimented with stream#of#consciousness and the underlying psychological as well as emotional motives of characters. Cer novels are highly e8perimental3 a narrative, fre?uently uneventful and commonplace, is refractedIand sometimes almost dissolvedIin the charactersK receptive consciousness. Intense lyricism and stylistic virtuosity fuse to create a world overabundant with auditory and visual impressions. 4. The $ost-#ar novel0 the An1ry Bo-n1 Men<s Covel3 renovation o+ the novel in the D!s0 5ohn 9o#les; the social +a)les o+ ?illlia( .oldin13 the $ost-(odern novel0 .raha( &#i+t and 5-lian ,arnes 7ost#war 'nglish fiction flourishing pluralism of styles. G"s# the novel of the angries. 5ultural disillusionment (2uc&y 4im), 7olitical disillusionment (4oe 2ampton ;0oom at the top<). In the late G"s the wor&ing class novel was regarded as a continuation of the angry spirit and its main representative was )llan ,illtoe ;The loneliness of the long#distance runner< The novel at that time is anti#romantic, anti#ideological, anti#intellectual, anti#upper#middle class. Bocus on upper#middle class movement., provincial and 8enophobic. The authors of the time main preoccupation protest against establishment. L-cky 5i( pseudo#culture and political disillusionment. 4im is an intellectual rebel against high culture, aestheticism (connection between art and reality, focus on beauty) 5ohn La($ton ':oo( at the to$* )y 5ohn ,raine. The angry young men They were all talented writers, but their protest was shallow and individualistic. 6isappointing later career. They grew old and rich and they were no longer angry. Let, they provided a deep insight into the social reality of 'ngland of young men. 0evival of the wor&ing#class novel3 6etailed picture of wor&ing class life, the protagonists are ali&e young men belonging to the wor&ing class, dissatisfied with their life and engaged in a rebellion against social norms. ThereDs tendency towards innovation and e8perimentation. Covel o+ the D!s The H"s were affluent, permissive, a cultural revolution, revolution of consciousness. )n international spirit of liberation, change. The decade of youth, se8ual revolution and the anti#baby pill. The novelist of the time stands at a crossroad one way is the non fiction novel, and the other the fabulation. Con-+iction novel3 based on fact, not fiction, Truman 5apote ;In 5old 1lood< 9a)-lation emphasis on fictive nature, allegorical wor&s fables. Third style a novel about itself 0obert ,tern ;Tristram ,handy<. +ethods of traditional realism are no longer appropriate, since the reality is so comple8, absurd and horrific. 'The 9rench lie-tenantEs #o(an* 5ohn 9o#les duality of narrative, the plot is typical 1$th century fiction, but at a certain point the author refuses to be the omniscient narrator (@ho is ,arahM I donDt &nowN) Two endings a startling maneuver %ictorian and a modern one. 1lending of a modern te8ts of the H"s with a traditional one. In the early 1$H"s, .oldin1 wrote his essay, <9a)le<, giving some answers to the thousands of ?uestions habitually put to him about 2ord of the Blies. Cere is a crucial passage3 JThe overall intention Oin writing the novelP may be stated simply enough. 1efore the second world war I believed in the perfectibility of social manF that a correct structure of society would produce goodwillF and that therefore you could remove social ills by a reorganisation of society. It is possible that today I believe something of the same againF but after the war I did not because I was unable to. I had discovered what one man could do to another.J The developments that contributed to this renovation of the 1ritish novel came from within and without 1) the reconciliation of styles blending of strong realist traditions and e8periment brought about post#modernism -) the gradual transformation of the 'nglish novel into a 1ritish one. Irish, ,cottish, @elsh authors contributed. /) The process of transplantation authors are cultural outsiders, so this gives them the right not to follow tradition, to feel free to e8periment and renovate ) 9penness to foreign literary forms and visions which heightens the 'nglish culture. # uni?ue cultural and stylistic pluralism

The mid#-"th they spo&e of the death of the author and the death of novel The post#modern novel is a contradictory phenomenon that uses realistic narratives and then subverts the very concepts it challenges. 8"s# =raham ,wift, 4ulian 1ranes they introduce a new type of narrator the reluctant, digressive one. @riting is traumatic so they tell the stories through digressions, indirectly. ;@aterland< # =. ,wift maAor metaphor waterland civili*ation as a marsh country. +an can &eep it by fortification. ;) history of the world in 1" and a half chapters< 4ulian 1arnes he plays with the boundaries between real and invented , e8posing the constructed nature of historical discourse. Cistory is always subAective. .ot a meta#narrative, consists of 1" stories plurality. .ot a traditional novel, a subversive one. .o clear plot line, each story is told from a different perspective. @. 2!th cent-ry dra(a. The dra(a o+ ideas0 ..,.&ha#. The FAn1ryF Dra(atists0 5ohn %s)orne. The theatre o+ the A)s-rd0 &a(-el ,eckett; "arold Pinter. 1etween @@1 and @@- there flourished traditional drama, also called suburban domestic drama and middle#brow literature. The plays ;soothers< (intended to soothe) rather than thrillers. ,oothers were &illed by social conditions ,ernard &ha# drama of ideas. Ce stic&s to intelligible, elevated, coherent language, clarity of meaning. 7inter is ambiguous, incoherent. ,haw a true conversation, directness, 7inter evasiveness. ,haw faith in the efficiency of verbal communication, characters enAoy spea&ing. 7interDs characters are reluctant to spea&, pointless. ,haw a sense of logical progression, a resolution, polemic style, 7inter no logical progression, random tal&. ,haw conscious refinement of ordinary speech, 7inter styli*ed presentation of everyday speech. 1oth see& musical effect through repetitions. The revival of the 1ritish drama started with the production of two plays3 # ,amuel 1ec&ett ;@aiting for =ogot<, 4ohn 9sbourne ;2oo& bac& in anger< They are maAor representatives of two dramatic trends3 1. The realist trend angry young men playwrights of protest, social realists, naturalists, political dramatists (the new wave) 4ohn 9sbourne, 4ohn )rden This is a period when plays were no longer concerned with middle class values and middle class heroes. ,hift of focus on to wor&ing#class point of view. ;2oo& bac& in anger< 4immy 7orter represents a whole generation of dissatisfied angry young people. 6isillusioned, filled with bitterness. ,everal reasons for his anger unhappy wor&ing#class childhood, lac& of creative wor&, life destroys his ambitions, monotonous life, his wife too indifferent. Ce see&s for social revenge. Ce runs down all politicians, his wifeDs parents, who belong to the upper#middle class. Ce is a rebel without aim, his struggle is verbal. Ce retreats from reality into a fantasy world and thus achieves domestic symbolic social revolution at the cost of escapism The second wave # political dramatists of the !"s and 8"s 'dward 1ond, 6avid Care, 5aryl 5hurchill

-. The e8periment modernist trend preoccupied with the e8istential problems of the individual, theatre of the absurd
,amuel 1ec&ett, Carold 7inter Theatre of the absurd human e8istence is without meaning, absurd, reAection of logical construction of the play, creation of meaningless speeches and silences. The movement emerged after @@- as a rebellion against the essential values of traditional culture and literature. Traditionalists see man as a rational creature that lives in an intelligent universe. .ow this viewDs changed. +an is isolated being, cast into an alien universe. Cis life is moving from nothingness to nothingness, e8istence both painful and absurd. &a(-el ,eckett '?aitin1 +or .o1ot*- reflects irrationalism of life, reAects realistic setting and logical reasoning. The play is absurd being both comical and irrational. 7arody of western culture and tradional drama. 7ointless funny dialogues. Two tramps in the middle of a void, waiting for something andQ or somebody and hoping. "arold Pinter he combines the e8istentialist problems issue of death, meaning of life. ) recurring symbol in his fiction is the room that stands for both security and restriction. 1st sta1e in his #ork co(edies o+ (enace (menace is so powerful due to its lac& of particulari*ation) ;The room<, ;The dumb waiter<, ;The 1irthday party< (mystery to baffle the audience, general un&nowability of things) all set in one room. 2nd $eriod +oc-s -$on h-(an relationshi$ failure of communication ;The careta&er< the room no longer a refuge from the outside world but a battlefield between incompatible characters. Bocus upon failure of communication 1oth 7inter and 1ec&ett use language with a precision of poetry. 7. is more concerned with social type. 7interDs silence either no word is spo&en or a torrent of language is employed.

D. 2!th-cent-ry $oetry0 the (odernist $oetry o+ ?. ,. Beats and T.&.2liot @@1 poets served in the army and made poetry out of their e8periences in the war. @ithin this period we can discern stages3 1. patriotic stage reflected patriotic ideas, 0upert 1roo&e -. the stage of protest and anger (against politicians, against the war), ,igfrid ,asoon /. period of compassion, feelings of sympathy and pity prevail, @ilfrid 9wen ;,trange meeting< . stage of an active desire for change, to put an end to the war +odernist poetry. +ain features are3 1. condemnation of modern life and modern society ).7rufroc& -. autonomy of individual and the poem /. private symbol, purely personal symbols which often fail to communicate to general reader T.,. 'liot . deliberate difficulty, that reflects complicated age and reality, T.,. 'liot G. tension modernist poetry tends to disturb, rather than soothe H. irrationality reAecting the view of man as a rational creature !. myth and archetypes which stand for the collective unconsciousness of men 8. aggressive unpopularity. +odernist poetry wants to create a new intellectual elite, united by the scorn for the non# intellectual mass $. subAect the tortured spirit of the industrial world (). 7rufroc&) 1". unceasing e8periment in form and techni?ue 2eading figures of +odernism are T.,.'liot and '*ra 7ound '*ra 7ound )merican settled in 2ondon the leader of imagist movement, poetry should be preoccupied with industriali*ation of society. The imagist credo included the tendency to use the language of common speech, to create new rhythms for new moods, to allow complete freedom in subAect matter, to present image but avoid vagueness. ;The cantos< T.,. 'liot (1888#1$HG) +ain subAect of his poetry is the civili*ation doomed to an inglorious end. Ce is the spo&esman of the feeling of futility and frustration sei*ed 1ritish intellectuals in the prewar and postwar period. Cis poetry is notorious for its difficulty. ,tyle based on an elaborate process of associative thin&ing. 9ne of his maAor beliefs is that a poet should embody thought rather than feeling (as compared to the 0omantic view). 7oetry is an escape from emotion and personality, it should be thin&ing aloud. T. ,. 'liot is influenced by3 1. the Brench symbolists of the 1$th c. from them he too& the idea that the only reality in life is the inner reality and that the world of the poet is superior. 7oetry should not wor& by direct statement or description but by indirect image and suggestions -. early 1!th dramatists, the metaphysical poets (4.6onne). 6onneDs fusion of tragedy and irony, lofty inspiration and association with low subAect /. his contemporaries ('*ra 7ound) ;@asteland< the most famous poem divided into five parts, among them thereDs no logical continuity, united by the theme of decay and fragmentation of @estern culture. 5oherence is achieved by related methods3 # symbols of fertility and bareness # Au8taposition of passages with contrasting rhythms, diction and imagery # use of past history in contrast to the present # use of literary ?uotation and parody. )t least /G authors he ?uoted. The poem e8pressed the bitterness of the post#war generation, the sense of sterility and hysteria in human relations. The barren land stands for the human heart, full of selfishness and lust. ;The hollow man<, ;Bour >uarters< poems which form a unity, each of them represents symbolically one of the elements water, air, fire, earth. The theme that unites them human consciousness in relation to time and the concept of eternity. @illiam 1utler Leats (18HG#1$/$) )nglo#Irish. Cis poetry anti#materialistic. Ce sought in his poetry refuge from the urban industrial harshness of the modern world. stages3 1. 188$#18$$ symbolist, leading member of the aesthetic movement, longed for escape from the harsh modern world ;The la&e Isle of Innisfree< symbol of the poetDs escapism -. 18$$ 1$"$ Irish 0evival an interesting dramatic movement in 'urope. ) movement to revive the myths and legends of Ireland /. 1$1" 1$18 period of transition no longer romantic, his mood becomes harsher particular

. 1$1$ 1$/$ totally reAected the sentimental and romantic trends of his earlier wor&. )dopted a bitterly sardonic manner
to voice his disillusionment with the world unfit for sensitive men and women ;The wild ,wans at 5oole<, ;The tower<, ;The winding stair<. The wor& of this period is mar&ed by strong rhythms, severe diction, few adAectives, symbolism. Brom the aestheticism and symbolism of the late 1$th c. to the dry and hard manner of his -"th c. poetry Leats provides a lin& between two epochs